Runway Makeup: Derek Lam Fall 2012



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“She’s a little naughty—she likes to break the rules a bit,” coiffing star Orlando Pita said backstage at Derek Lam of the designer’s sixties-era, college coed muse. What kind of rules does she like to break? The decade’s rigid coiffing norms, for starters. “It’s a little bouffant, but not perfectly done,” Pita explained of the high hair, which he slathered with Phyto Professional Intense Volume Mousse and spritzed with its Workable Holding Spray before blowing dry, back-combing, and crafting two different variations on the style, including a faux bob and a low, messy ponytail. “There’s no uniformity,” Pita reaffirmed.

“She has a twisted mind,” Estée Lauder creative makeup director Tom Pecheux said, adding to the character profile. Like Pita, Pecheux chose to keep things almost perfect—creating a flawless base with Lauder’s forthcoming Invisible Fluid Makeup and carving out an “oval” eye using the burgundy and black shades from its new-for-fall, limited-edition Pure Color Eye Shadow Palette, which he emphasized with black mascara on the top lashes and brown on the bottom using his brand-new, dual-ended Sumptuous Two Tone Eye-Opening Mascara. Cheeks were given a pretty wash of rosy-beige pigment with a mix of Estée Lauder’s Pure Color Blush in Alluring Rose and Brazen Bronze, which was dusted below the apples of the cheeks, rather than on top, to slightly contour and prevent a feeling that was “too teen,” according to Pecheux. Lips were painted a similar shade using a blend of its Pure Color Crystal Lipstick in Crystal Pink and its Pure Color Long Lasting Lipstick in Vanilla Truffle that Pecheux matted down—as he’s been wont to do this week—with a finger patting of white powder. But there was one slightly “off” element that helped convey the bad-girl directive Lam had given his glam squad: Pecheux drew lashes onto the skin below the lower eyelid so that the models looked like dolls—”twisted dolls,” he asserted.



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Runway Makeup: Peter Som Spring 2013

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Pastel-colored hair streaks have enjoyed a longer stay of execution on the runway then some members of the style set (this one included) are willing to believe. So when we arrived backstage at Peter Som this morning only to see that they would be making another appearance here for Spring, we definitely took pause. And Wella Professionals global creative director Eugene Souleiman noticed. “It’s good clothes, bad hair,” he admitted, explaining that his goal was to counterbalance Som’s “very rich-looking” collection with something deliberately “distressed, vintage…and patchy.” So he collaborated with Wella color ambassador, Aura Friedman, to work mineral-hued dyes—tourmaline, amethyst, teal, denim, and dusty rose—into a series of long weaves. “I wanted it to feel very spontaneous,” Souleiman said, gluing the hairpieces into “unusual” parting patterns while prepping strands with Wella’s Ocean Spritz Beach Texture Spray to create a matte feel. “It’s meant to be visual, not technical,” he insisted, pointing out that application is key when it comes to keeping pops of color from looking less contrived, and more “tough and cool.”

Makeup artist Tom Pecheux also had juxtaposition on his mind. Describing Som’s clothes as “more grown up,” Pecheux was intent on keeping faces playful. “When you become an adult, you do everything for a reason; kids do everything for no reason. Like, [their] drawings are amazing,” he said, explaining the thought process behind the finger-painted, “innocent” pastels he used on models’ eyes. Dusting lids with MAC’s forthcoming Eyeshadow in Sunshine, a sunny yellow, Pecheux applied another wash of pigment through the crease in varying shades of orange, blue, green, pink, and mauve. As a finishing touch, he left a darker thumbprint right below brushed-up brows, using a more concentrated dose of one of five corresponding MAC Paintsticks. Mouths were kept nude with varying slicks of MAC Lipstick in Luxe Natural and Posh Tone. As far as who got what eye-shadow combination, Pecheux left that to models’ whims. “As soon as it becomes too studied, it loses the innocence.”

“Nail art is not going away,” Deborah Lippmann told us last season, and if there’s one thing we can already report from the backstage trenches after two days of shows, she continues to be correct for Spring. Lippmann brought her own high-design touch to Kate Spade today, where she churned out a series of multicolored gingham prints with polish, but it’s a continuation of the artful French manicure that she previewed at Donna Karan for Fall that seems to have staying power. A mattified, black-on-cream iteration stole the show at Tanya Taylor yesterday, and this morning at Peter Som, it was an orange-on-mint green version that had everyone talking. Custom-created for Som, two coats of Zoya’s pastel lime Neely were topped with a bold stroke of the mandarin Sharon. Both will be sold in a trio kit with Jacqueline, a creamy beige, starting…now: The limited-edition collection launched right after Som’s 10 a.m. show and will be available at www.zoya.com while supplies last.



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Runway Makeup: Altuzarra Spring 2013



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“I don’t want to create jealousy,” Tom Pecheux said backstage at Altuzarra, “but [Joseph's] definitely in my top three.” The famed face painter was so transfixed with the designer’s Spring collection, in fact, that recollections of the makeup test were a little fuzzy. “I don’t 100 percent remember [Joseph's] exact words [at the test] because I was hypnotized by his clothes,” Pecheux admitted. He did manage to retain a few key objectives, though. “We wanted the girls to be extremely sophisticated and perfect, but in a simple way.”

This translated into a classic Catherine Deneuve-meets-Yves Saint Laurent face treated with MAC Face and Body Foundation and emphasized with a “very French” accent in the form of a navy, not black, stroke of eyeliner. “It’s royal blue, and I think it’s so chic,” Pecheux clarified of MAC’s Technakhol Pencil in Auto-de-blu, which he drew along models’ upper lash lines. “No wings,” he reminded his team of the lines’ elongated ends, which he wanted to be straight rather than turned upward. “I didn’t want any retro feeling,” Pecheux explained.

When asked why minimalism is emerging as an early trend at the shows in New York, Pecheux noted that “you don’t want anything feeling too heavy, because life is anything but light right now,” referencing the American and French elections and the European financial crisis. “In a way, people want to do less.” Paul Hanlon was on a similar tip, as he became one of many voices to reference Helmut Newton’s special brand of nineties-era minimalism this week, which he mixed with clean, precise equestrian- and Japanese-inspired lines. “But it’s very simple,” the coiffing star stressed of the sleek side parts he prepped with Frédéric Fekkai Full Blown Volume Styling Whip, gathered into a low ponytail that he coated with its Sheer Hold Hairspray for a flat-lacquered effect, and wove into what he called a “half-bow,” not a bun. “A bun would’ve been a cop out.”

Hanlon concurred that requests for a certain kind of subdued beauty have definitely been bandied about by designers so far this season—which is a good thing for people looking for an entry point into the world of high fashion. “Sometimes, when there’s a reference in the look, it can be a bit untouchable; when it’s simple, it makes you believe you can be that woman”—a woman, it’s safe to say, everyone in attendance was envisioning themselves as by the time Altuzarra’s finale hit the runway.

 

 

 

 

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Runway Makeup: Edun Spring 2013

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“A clean youthful, rock ’n’ roll type of girl” was how Tom Pecheux, working for MAC Cosmetics, described his makeup look for Edun’s collection.

Using his fingers, Pecheux prepped the skin with MAC Comfort Cream Mineralized Moisture SPF 15 to provide natural coverage. To showcase the cheekbones, he used Sculpt and Shape Powder in Bone Beige. “I don’t think it’s about the makeup, “ said Pecheux. “I think it’s about the cool girl attitude on the runway.” To complement that attitude, Pecheux applied Feline Kohl Power Pencil to the outer corner of the eye in a “v” shape to connect the top and bottom lashes. Mineral Rich Lipsticks in Posh Tone and Luxe Naturale were applied to the lips.

“The inspiration for today is model’s day off,” said James Pecis, lead hairstylist for Bumble and bumble. Pecis added a couple of hair extensions and applied Bumble and bumble’s Thickening Spray to each model’s hair to create a consistent texture. Pecis also used the humidity from backstage to shape the hair.
To finish off the look, Essie’s nail polish in Jazz was applied to the each girl’s nails.

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Runway Makeup: Ralph Lauren Spring 2013

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Argentine gauchos crossed with all-American Ralph Lauren girls inspired the makeup at the designer’s show Thursday morning. “She’s glowy and sophisticated,” he said. After prepping skin with Estée Lauder’s Idealist and Daywear skin care products, Tom Pecheux — who is creative makeup director for the Estée Lauder brand — applied Lauder’s DoubleWear foundation. Next, he turned to the eyes: skipping mascara, he grabbed a black Lauder eyeliner and lined eyes from the middle of the eye to the edge, making the line thicker as he moved along, but without a wing. Estée Lauder’s Flower Power blush was applied to the cheeks “to satin the face,” and then Pecheux mixed the blush with lip balm and dabbed it on the mouth with his finger.

Guido Palau, working with Redken at the show, created a classic chignon. “About 90 percent of the girls are wearing hats, so the hair is sort of second-fiddle to that,” said Palau. He started with a center part, then blew hair dry with Redken’s Satinwear 02 blowdry spray. Next, he applied Redken’s Fashion Works 12, a working spray, in the hair and pinned hair at the nape of the neck. He finished with an application of Redken’s Shine Flash 02 Glistening Mist for shine.



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Runway Makeup: Badgley Mischka Spring 2013

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Mark Badgley and James Mischka were inspired by the sets and cinematography of Max Reinhardt’s 1935 film “A Midsummer Night’s Dream” this season. To interpret that for the runways, hairstylist Peter Gray for Moroccanoil designed an intricate braid hidden underneath the back of the hair. Sides were kept smooth and flat with a defined side part so that a large sweep of hair fell to the one side and back over the other. Additionally, small flowers were used as an accent. “We’re not trying to create a trend, we’re trying to create an expression,” said Gray. Out in October, Gray used Moroccanoil’s new Oil Volumizing Mousse to dampen the hair. He then applied Moroccanoil Treatment to restore damaged hair and split ends.

When speaking about the makeup look for Badgley Mischka’s spring collection, Tom Pecheux, lead makeup artist for MAC Cosmetics, described it as a virgin goddess lost in the woods. Pecheux stressed the importance of prepping the skin when achieving this natural appearance. Using a moisturizer, MAC’s Complete Comfort Cream and Studio Sculpt Foundation, he made the complexion appear flawless. To attain the look of innocence, Pecheux lined the inside of the eyes with white pencil and washed the eyelid with Sunshine Cream Eyeshadow. “The yellow eye shadow catches the light in an amazing way,” said Pecheux, “I wanted the eyes to appear very bright and open.” To top off the look, lips were dabbed with MAC’s Posh Life Mineralize Lipstick.

As soon as nail artist Deborah Lippmann saw the clothes, she envisioned a modern neutral nail to complement the muted pastels within the collection. Lippmann used a creamy mauve called Modern Love. “I was really excited to use this color, because to me mauve is the new nude,” said Lippmann, “We’ve done our sheer pinks; we’ve done our beiges; we’ve done our opaque flesh; we’ve done our greys and now mauve is the new nude.”



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Runway Makeup: Elie Saab Spring 2013

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“The makeup has to do with beauty, with femininity, and basically there are no makeup tricks,” Tom Pecheux said backstage before the Elie Saab show.

The look he concocted involved black liner and brown powder, plus lashings of mascara on models’ eyes. Pecheux just used Chapstick on their lips and contour for cheeks.

Meanwhile, hairstylist Orlando Pita conceived a sleek coif by parting models’ hair to the side and attaching it low at the backs of their heads with metal barrettes he created.



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Runway Makeup: Balmain Spring 2013



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After three weeks of nonstop shows, we are entering the home stretch of the Spring season—which means excitement and exhaustion are both at a high. “The girls are getting tired, the skin is getting tired. You can start having little damages,” Tom Pecheux said of battle-worn complexions backstage at Balmain. Although you wouldn’t have guessed that models here had been in New York—or London and Milan for that matter. “The key word is fresh,” Pecheux said of the natural look he designed for Olivier Rousteing’s presentation. “And skincare.”

“It’s the only thing we can do—it’s the only thing you have to do with this look,” Pecheux elaborated of what amounted to “50 percent makeup, 50 percent skincare,” in his estimation. Starting with a triple-threat massage using his standard mix of Rodin Olio Lusso, Estée Lauder Daywear Advanced Multi-Protection Anti-Oxidant Cream, and its Idealist Even Skintone Illuminator, Pecheux built a base using either KETT Cosmetics Hydro Foundation or Estée Lauder Double Wear Light mixed with MAC Strobe Liquid for a dewy finish. Eyes were given a highlight with a dusting of MAC’s Eyeshadow Quad in Caramel Sundae. “I’m lazy,” Pecheux joked, sweeping his brush across the peach, yellow, champagne, and bronze palette to pick up a little bit of each shade. Brows were groomed individually—”Iselin has bleached brows and we filled them in. [Juliana Schurig] has bleached brows that we left; Mila has a thin line so we’re adding color not to increase darkness but to increase size, and Manon, she’s new so her eyebrows are virgin. We’re not building them up”—and lips and cheeks were treated to a touch of muted color from MAC’s forthcoming spring 2013 Lip Palette. To give lashes definition without leaving behind visible product, Pecheux “tinted” them using an interesting technique in which he dipped an angled brush into his trusty tube of MAC Haute and Naughty Mascara and hand-painted each hair.

For hairstylist Sam McKnight, the key word was Sade. “She was a starting point,” he said of the eighties singing sensation who made hoop earrings and a slicked-back braid part of her R&B act’s signature. Blowing hair dry with hair spray to create texture, McKnight secured lengths in a ponytail, created a simple, three-strand braid, and tied it off with another elastic at the end. “I wanted it to look like I wasn’t there,” he elaborated of the style’s ease, which necessitated some “little bits” around the front to make it appear more lived in. McKnight also threw around the word “grunge,” as most people have this season, but emphasized that it’s a “new grunge” that we’ve been seeing. “It’s a healthier grunge. It’s not dirty; it’s more natural.”



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Runway Makeup: MaxMara Spring 2013

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Makeup artist Tom Pecheux created what he called a "technique-driven, ethnically-sourced" look for Max Mara's spring 2013 collection using MAC Cosmetics.

Models’ faces were massaged and then moisturized with Mineralize Charged Water Moisture Gel and Fix+, followed by a light foundation layer, set with Mineralize Foundation Loose & Mineralize Concealer. Cheekbones were delicately highlighted with taupe-colored Strobe Liquid. Then, for an unaggressive eye, no mascara or eye pencil was used and makeup was applied with fingertips to create “an enigmatic, cool girl who’s as contradictory as the collection’s mix of prints, materials and colors,” said Pecheux.

Models’ eyelids shone with earthen colors from the six-shade Forecast Eyes in Top Soil Palette — which is launching in spring 2013 — overlaid with orange and pink shades from the Right on Orange Lip Palette. Myth Lipstick sealed pouts.

Hairstylist Luigi Mureno created a metropolitan, urban coif with an African appeal, envisioning "a sporty, spontaneous girl that throws her hair back in knots and twists."

He whipped John Frieda Luxurious Volume Thickening Mousse through brushed hair and gathered it into a single twist. Fabric bandanas in complementary colors were wrapped low over foreheads and the tops of models’ ears to create a retro Seventies and Eighties feel. Mureno teased wisps of hair from the bandanas before applying a final spritz of L'Oréal Elnett Extra StrongHold Hairspray.



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Runway Makeup: Marni Spring 2013

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Consuelo Castiglioni is known by the Marni faithful for a certain way with prints. And there was plenty of that in her Spring collection today, although patterns were well paced with plenty of solids as well. “I wouldn’t call it minimal,” the desiger’s longtime face painter Tom Pecheux surmised of the wealth of white, black and color-blocking at play; “I’d call it essential”—which prompted him to take the makeup in a similar direction. “We decided [it] should be very pure,” he said.

“Pure,” in this case, did not mean bare as it has at so many other shows this season. Instead, Pecheux started each girl off with one of his signature massages—a deep-tissue rubdown with Estée Lauder Daywear Advanced Multi-Protection Anti-Oxidant Cream and its Idealist Even Skintone Illuminator—followed by a finger-blending of MAC Studio Sculpt Foundation, which provided a “healthy, glow-y” base. “We are using our fingers to melt everything” he elaborated of the “fresh” color that was applied to cheeks using a combination of MAC Cremeblush in Posey and its red-tinged Mineralize Rich Lipstick in Lushlife. A slightly darker incarnation of the transparent rouge hue appeared on eyes as well as Pecheux smudged MAC’s Mineralize Rich Lipstick in Glamour Era, a plummy black, across lids, mixing it with its Cream Colour Base in Root, a dark brown, which he buffed into the lash line. Just the tips of lashes were treated with mascara to “tint” them before Pecheux set to creating filled-in, “creamy” brows and mouths that were stained with a layering effort of both aforementioned lipsticks.

Castiglioni gave Paul Hanlon carte blanche with the hair. “She wanted me to do my own thing,” the styling star revealed—which usually means some incarnation of a deconstructed coif with a worn-in texture and a downtown feel. This time around, it was way simpler than that. “A lot of girls that work with Consuelo wear their hair like this,” Hanlon said of the sweeping, “organic” ponytail-knot hybrids that were prepped with TIGI Bed Head Superstar Queen for A Day Thickening Spray and treated individually, rather than uniformly. To let girl’s personality shine through, nary an extension could be found at Hanlon’s station as he simply groomed Janice Alida’s newly shorn fade and effortlessly brushed Athena Wilson’s bowl cut to one side.

 

 



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Runway Makeup: Moschino Spring 2013

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Makeup artist Tom Pecheux described the Sixties throwback style for the Moschino spring collection as “youthful and fun.” Using MAC Cosmetics products, Fix+ and Prep + Prime Moisture Infusion were massaged into the skin and Moisturecover Concealer streamlined pink tones. To signify a retro look, eyes were outlined in white matte Fascinating Eye Kohl Pencil and set with Gesso Eye Shadow. Fake eyelashes — number 35 on the top lid and number 33 on the bottom lid — were coated with Haute & Naughty Lash Mascara. Eyebrows were voluptuously filled in. A coral-colored pop of Morange Lipstick was sealed with a clear Lip Glass. Using Pantene Pro-V products, hairstylist Sam McKnight created a voluminous, teased bouffant with cascading, teased-out curls. Hair was parted into sections, clipped to the crown and back-combed to entice height. To protect highly worked hair, Damage Defense Conditioning Spray was applied. The bouffant was sealed with Ultra Strong Hairspray.

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