Runway Make-Up Resort & S/S 2016

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Vera Wang | New York





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3.1 Phillip Lim | New York
Make-Up: Francelle Daly.
Hair: Paul Hanlon.





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By Belisa Silva

Organic with a touch of blue was the look at 3.1 Phillip Lim.

“My reference this season was new romanticism. I wanted to bring a modern take on that,” said Francelle Daly, for Nars Cosmetics. “There’s a little of an homage to Boy George, Steve Strange…There’s a modern, new wave kick to it.” On faces Daly used Nars Velvet Matte Skin Tint, launching in January, to “emulate skin without the shine.” There was no cheek color, contour or highlight to underscore the show’s organic vibe. “There’s one product [on the face],” said Daly, who introduced a vibrant pop of color to the look via Nars Eye Paint in Solomon Islands (half the girls had black lines, Nars Black Valley, instead), which was drawn onto the eye in a disconnected shape. “There’s an asymmetrical shape to the eye, and reading in the same organic sense there’s no mascara, the eyelashes curled, the lid is naked, but there is a pop of color, it’s almost like a cut-out eye line,” said Daly. “When you close the eye, there’s a negative space.” Brows were brushed up with a little bit of brow gel and lips given some lip balm. “I call it organic new romanticism for Phillip Lim,” she said. “It’s really about accentuating the eye, giving it a fun kick of color without thinking too hard.”

Hair, styled by Paul Hanlon for Wella Professionals, was a game of tweaking before the right look came about. “It wasn’t like I walked in and we did it. We spent a long time, actually two days,” said Hanlon. “It had to have street without being too conceptual.”

To begin, Hanlon created messy center parts then used a flat iron to mold in flat waves. He then applied Wella Professionals EIMI Stay Firm section by section using his fingers to detangle. “He [Lim] wanted this inspiration ‘stop and smell the flowers,’ and for me it was almost like a wasteland, a revolting teenager,” said Hanlon, who made low ponytails with a long elastic, using a small amount of EIMI Stay Firm on the ends. He then used the end of the elastic to wrap the hair back up slightly half way, leaving it piecey. “I always think these girls have a bit of a toughness to them. She’s very cool.” To finish the look he put a square of netting across the head, securing it behind the ear with a white bobby pin, then setting the style in place with EIMI Stay Essentials. “He [Lim] was talking about this thing where girls do their hair back with their bandanas,” said Hanlon, adding that the look referenced a bit of a Chola vibe. “I thought to use the material it had to feel very naive, not romantic or like decoration, it had to feel tough.”

Nails, done by Madeleine Poole for Sally Hansen, were meant to look as though a woman was almost digging in the dirt. “We thought, let’s do something that’s more of an organic color with this high-shine silver,” said Poole, who used a silver striping tape in a variation of sizes on chocolate-brown shade, All Bark. “It’s the color coming form the dirt, [it’s about] appreciating the organic and finding the beauty in the organic and noticing the small hints of color.”

 

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Tory Burch | New York





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Opening Ceremony | New York





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I love black&white manicures it always looks classy. I usually prefer to make my nails at a beauty nail salon, so I think I should save this picture to explain my manicurist what exactly do I want.

 

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Badgley Mischka | New York
Make-Up: Tom Pecheux.
Hair: Peter Gray.



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By Ellen Thomas

Beauty at Badgley Mischka was playfully sophisticated, imbued with a hit of Fifties sensibility.

Tom Pecheux for MAC Cosmetics led makeup. “It’s a young look, but very rich,” he said of the inspiration drawn from Fifties-era socialites in Argentina. Pecheux skipped blush, opting for a highlighting cream on the cheekbones, and a MAC Cream Colour Base underneath in a brown tone for a sculpting effect. A pink shadow highlighted with flecks of gold was applied all over the lid for a glow. Lips were a bold, matte red that veered almost into hot pink territory.

Hair, imagined by Peter Gray for Oribe Hair Care, fit the feminine, “Young Ladies That Lunch” vibe of the collection. “I wanted to get away from glamorous and sexy — this is young, soft, and sensual,” said Gray of the carefully constructed, loose waves. Hair was prepped with Oribe Maximista Thickening Spray all over and Grandiose Hair Plumping Mousse at the crown. Once dry and curled with an iron, hair was given texture with Thick Dry Finishing Spray and Dry Texturizing Spray. Pieces of tulle were used to hold hair in place, tied around the neck and secured at the base of the neck, hair tucked in, to flatten out the curl.

Nails by Deborah Lippmann were all about “glamorous lifestyles and sexy, sassy attitudes.” One coat of Lullaby of Broadway, a blush color with a chromatic effect served as base color, and was layered over a coat of Gold Digger, which contains 24-karat gold flake particles.

 

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Suno | New York





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Oscar de la Renta | New York
Make-Up: Diane Kendal.
Hair: Guido Palau.





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By Julie Naughton

Pretty and ladylike was the order of the day for beauty at Oscar de la Renta.

Diane Kendal, working with MAC Cosmetics at the show, made the lip the centerpiece of the look — some models got a bright red lip, others a more nude shade. After moisturizing skin with Studio Moisture, Kendal applied a light coat of MAC Studio Water Weight foundation with a makeup brush. Next, she used Studio Finish Concealer where necessary to conceal imperfections. She added MAC Buff blush to cheeks before turning her attention to the eyes, where she applied the neutral Climax Cream Color Base on the lids and brown Crevasse Cream Color Base in the crease of the eye. After adding black cream liner extremely close to the lashline, Kendal finished some girls with a nude lip, others with an allover treatment of Follow Your Heart, a red lip pencil. She lightly powdered lips to make them matte.

Guido Palau, working with Redken at the show, fashioned a low ponytail casually tied with black grosgrain ribbon. “At Oscar de la Renta, it’s all about softness, about richness and sophistication,” he said. “Something simple can say so much, and there’s a droopy kind of ease to this.” Palau used Redken’s Pillow Proof to prime and protect hair, and Satinwear, a styling product and heat protector, then fashioned a soft, short part in the hair and formed a loose, low ponytail finished with a casually tied ribbon. “It’s amazing how much a simple ribbon can make something so poetic,” opined Palau.

 

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Rag & Bone | New York
Make-Up: Gucci Westman.
Hair: Paul Hanlon.





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By Belisa Silva

With reggae music playing, backstage beauty at Rag & Bone certainly matched the laid-back sexy feel.

For her part, Gucci Westman, working on behalf of MAC, channeled a Blue Lagoon-era Brooke Shields in a desert. “I wanted the girls to look super beautiful and simple,” said Westman, who first applied Omorovicza Rescue Cream and Blue Diamond Eye Cream to models’ faces to create a “luminous palette” under makeup. Westman also mixed a little of the skin-care brand’s Glam Glow self tanner product to mimic the beachy look on skin. “I wanted them to have freckles, look a little sun-kissed, a little windswept sort of safari, desert-meets-Brooke Shields in the Blue Lagoon.” Westman applied shades of brown and pink to faces, including MAC Matte Bronze Bronzing Powder, in places that sun would hit if “they had a nice vacation.” Westman then added freckles on the bridge of the nose with MAC Copper Pencil, careful to keep them asymmetric. She then created “bushy, sexy eyebrows,” filling in with eyeshadow to add volume. On lips Westman used cult-classic MAC lip liner Spice, as well as lip conditioner. “I wanted a sheer wash of warmth, said Westman, who used MAC Strobe Cream and MAC lip gloss on the eye.”I keep thinking of the girls who look beautiful with no makeup, like Cara Delevingne…That’s my favorite [look], dark brown and olivey skin. It’s so nice.”

Hair, done by Paul Hanlon for Bumble and bumble, was cool and full of flyaways. “In thinking what the Rag & Bone girl is, there’s always that very cool, street, urban feel to her. She’s a bit tough,” he said. “They’re English so there’s that reference of English culture.” Hanlon created a tight, windswept knot in the back of the head, and began by prepping with Bumble and bumble Thickening Hairspray, then blow drying with his hands. He then applied Sumotech along the hairline for definition, and completed the style with Cityswept Finish through hair to the top of the head. “We always feel like the hair has got to have a little attitude towards it, said Hanlon, who next created an imperfect side part with fingers, pulling hair back into a tight ponytail just above the ears. After twisting the hair, he wrapped it in a knot and secured it with pins, leaving “face-framing” pieces along the front.”There’s a military feel to it in that it’s slightly parted,” said Hanlon. “They liked it back. We like the idea of this little ratted knot, very sprayed and a bit punky.”

Meant to reference sea glass, Miss Pop for OPI mixed OPI Color Paint in Indigo Motif, a sheer bright, with a matte top coat. “It gives this frosted, beach glasslike effect,” she said, after applying two coats of the deep-blue hue. “The key to getting an even matte topcoat is to first apply a regular top coat, so I’m using Rapid Dry and then after, the Matte Top Coat.”

 

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Michael Kors | New York
Make-Up: Dick Page.
Hair: Orlando Pita.





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By Ellen Thomas

Backstage at Michael Kors, beauty was unfussy, and almost earthy in a desert rose kind of way.

“It’s super simple,” said lead makeup artist Dick Page for Michael Kors Beauty. Page applied Michael Kors Bronzer in Glow across cheeks and the bridge of the nose for a “believable warmth,” and glossed over eyes with Aquaphor (or whatever else was laying around) for a sheen. Lips were glossed over as well — no color, only shine.

Orlando Pita led hair, which was an artfully deconstructed, three-quarters up, one-quarter down twist that was wrapped around an amber stick. “It’s a Southwestern girl, a traveler in a dusty terrain,” said Pita. After prepping with plenty of dry shampoo for texture, Pita expertly wrapped hair around the stick to look purposefully messy. “You have to know technique to break technique.”

Nails were a “dusty look,” according to Jin Soon Choi for Michael Kors Beauty. Choi used Michael Kors Nail Lacquer in Hint, a nude shade, as a base color, and finished off with a matte top coat. “It’s nude with a twist.”

 

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Boss | New York





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Naeem Kahn | New York





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DKNY | New York
Make-Up: Yadim.
Hair: Eugene Souleiman.



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By Ellen Thomas

The DKNY girl is growing up, and the proof is in the beauty look.

Far below the ground-level entrance to PATH’s World Trade Center station, Yadim, working with Maybelline, led makeup. “It’s that sexy, strong career woman who’s out to rule the world, but what makes it modern is that it’s more boyish and fresh.” Yadim kept skin “raw,” using no foundation, and lined the lash line and outer ends of the eyes with a taupe shadow. Lashes were curled but mascara was nixed, and eyebrows were filled in and straightened out — to avoid that “hiked-up, Nineties look.” Lips were nude for most, but a few girls were given a matte red lip.

Eugene Souleiman for Wella Professionals led hair. “It’s a different feeling in the house — the DKNY girl has become a woman, and I wanted to do something graphic, but pretty, and very pared-down.” Souleiman created a side-parted, slicked-back look using only Wella EIMI Stay Firm Workable Finishing Hairspray, and roughed up texture at the ends with a dry shampoo. “It’s a sleek, shiny feel that becomes textured and dry.”

Nails, led by Michelle Saunders for Essie, were nude. Essie All Eyes on Nude was used as a base color, and Au Natural, a gel-like top coat, was layered over for shine.

 

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Narciso Rodriguez | New York
Make-Up: Dick Page.
Hair: Paul Hanlon.





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By Belisa Silva

The look backstage at Narciso Rodriguez was decidedly lived-in.
Inspired by a photo of a young boy with shadows around his eyes, Dick Page, on behalf of Shiseido, said the look was “all very skin tone. It’s a mix of pinkish mauve on the face and a greeny brown on the eye,” said Page, who mixed Shimmering Cream Eye Color in Sable, Leather and Shoyu for the shadowy eye effect. He then applied a “little trace of dark-chocolate-brown pencil [Smoothing Eyeliner Pencil in Brown],” with his ring finger to keep things soft and smudgy. Page next mixed bubblegum pink and “coffee-brown” cream shades on the cheek, blending them upward toward the eye. “It goes quite high and always meets the eye makeup,” said Page, who left faces as simple as possible, with no concealer. “There’s not very much to it. It’s all very see-through, but there’s still depth. It’s making the girls look quite raw and it’s also in contrast with the collection, because it’s very pure.”
On hair duty was Paul Hanlon, who was creating an undone yet soft style. “This time the hair is a lot more free, a bit easier than in the past few seasons,” Hanlon. “He’s [Rodriguez is] the master of precision and we’ve always had the hair more that way, very groomed and perfect, and this time he wanted it to feel a little bit lighter and not so cosmetic in a way.” Hanlon referenced a guy’s “two-day-old” hairstyle and achieved the texture by mixing Oribe Curl Mousse, which has a wax in it for shine, Bumble and bumble Brilliantine in the ends and Bb Sumotech at the roots. The key product was TIGI Bed Head After Party for a little bit of greasy feel, rather than too uptown. “It’s not so clone-y,” said Hanlon, who said he also channeled Stephanie Seymour for the hair look. “The textures will all be a little different, a bit like his old Nineties shows used to be.”
Deborah Lippmann, who was doing nails for her Deborah Lippmann brand, said she wanted to create a chic “dead nail,” at the request of Narciso. “The Narciso woman this season is as always elegant and chic. She got dressed to the nines, she went out, she had a full face of makeup on, she had her hair done, her nails did and went out to the club all night. And we meet her as she’s come out of the club in the morning and her makeup is almost off and her hair is wet at the root from sweating, and her shiny nail that she started with has…become a dead nail. She has no more blood in her hands from waving them all night,” said Lippmann.
To create the look, Lippmann contoured natural nails into a short, rounded shape, then applying Gel Lab Pro Base Coat, part of Lippmann’s new Gel Lab line, due in January. She then applied one coat of a new spring color, Dirty Little Secret, a “holographic greige shimmer,” next applying a coat of Like Dreamers Do, a pale bisque hue. “Normally we take a shimmer and layer it over the nude, but we did the reverse because she started shiny and went a little less shiny.” Lippmann finished the look with a matte top coat that left nails with an almost soft-touch, satin finish.

 

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Ralph Lauren | New York
Make-Up: Tom Pecheux.
Hair: Guido Palau.





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By Julie Naughton

Individuality with a classic twist was the order of the day for beauty at Ralph Lauren.

“The look is really rich in its simplicity,” said Guido Palau, working with Redken at the show. “It’s that freshly washed, naturally textured hair look. It’s sophisticated, in a way.” All models were told to wash their hair the night before the show and sleep on it. “We are checking all the models as they come in, and if it dried well, we’re leaving it alone for the most part.” However, to add even more texture, Palau used Redken’s Windblown, which he noted has been a key part of all of the shows he did at New York Fashion Week. “It gives just that little bit of lift at the root, a little attitude in the hair. Here, it’s also making the look slightly edgy.” A few girls got ponytails, simply because it’s a favorite hairstyle of Lauren’s. “I’m seeing a lot this season that not everything is the same — if the girl’s hair is curly, at some shows it’s just left that way. We’re seeing lots of different textures on the runway this season. A lot of the designers want the girls to have a personality — they don’t want to eradicate individuality.”

“I’m doing a very see-through Riviera makeup,” said Tom Pecheux, who keyed the makeup. That translated to applying moisturized, very light to no foundation, concealer as needed and powdering the T-zone, “although we leave everything else very dewy,” he said. Cheeks got a swipe of pink cream blush and bronzer, lips were finished with ChapStick and Pecheux added brown mascara at the roots on top and bottom lashes for subtle definition.

 

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Proenza Schouler | New York
Make-Up: Diane Kendal.
Hair: Anthony Turner.





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By Ellen Thomas

Beauty at Proenza Schouler was purposefully pared down.

“It’s a simple, simple look,” said lead makeup artist Diane Kendal for MAC, who had finished early and was taking a moment to sit amidst the last-minute backstage frenzy. Skin tone was evened out with foundation, brows were kept natural — only groomed — and MAC Lip Conditioner was applied to eyelids and lips for a glossy shine.

Lead hairstylist Anthony Turner, working with Bumble and bumble, had only a bit more work cut out for him. Turner spoke with designers Jack McCollough and Lazaro Hernandez about a recent trip to Cuba they’d taken. Inspired by the “strong, confident, passionate women” they met, Turner went for a structured hairstyle – a tightly pulled-back, braided ponytail. Wet hair was prepped with Bb Thickening Spray, and a rough blow dry, was parted in the center and pulled into a secure, low ponytail at the nape of the neck. A three-strand flat braid, tied at the end of the hair with an elastic, finished off the look.

Nails, led by Julie Kandalec for Essie, were edgy — a change from this week’s sheer manicure. Most girls were given a coat of Au Natural, a nude, with a matte top coat, but eight were chosen to wear Licorice, a true black, on their middle and ring-finger nails, also with a matte top coat layered over. The effect was cool, but not overpoweringly so.

 

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Watch Makeup Artist James Kaliardos Re-Create Rodarte’s Runway Beauty Look
by CALIN VAN PARIS

If Rodarte’s Spring collection—conceptualized after Kate Mulleavy and Laura Mulleavy spent the summer reflecting on the works of Emily Dickinson, Elizabeth Barrett Browning, and Leonard Cohen—was a study in poetically romantic textures, the accompanying beauty look mirrored its sartorial vision with a refreshing pared-down femininity. Backstage, makeup artist James Kaliardos created the canvas of sunset pinks and nudes with three simple steps, resulting in a delicate monochromatic palette. Above, watch him re-create Rodarte’s runway look.

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- NARS Cosmetics Velvet Matte Lip Pencil in Belle de Jour.
- NARS Cosmetics Dual Intensity Blush in Craving.
- NARS Cosmetics Audacious Mascara.

 

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Marc Jacobs | New York
Make-Up: François Nars.
Hair: Guido Palau.



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By Julie Naughton

Francois Nars created a downtown vibe with the makeup look at Marc Jacobs. “Marc likes the downtown, East Village girl,” said Nars, using his makeup line at the show. “They’re meant to look like they’ve been out all night.”

After prepping skin with NarsSkin Luminous Moisturizer, Nars added multiple coats of black Audacious Mascara, giving lashes a spider-leg look — and if the girls didn’t have natural dark circles under their eyes, Nars created them with brown eye shadow. “We’re usually breaking all the cosmetics rules,” he said with a grin. “It’s the anticosmetic makeup. I treat the girls more as characters.”

On the eyes, Nars layered pale brown Dark Angel Velvet Shadow stick on lids before topping it with Cressida Dual-Intensity Eyeshadow and Solomon Islands Eye Paint for a wash of turquoise from the middle of the lid to the inside corner of the eye, topping that with Vaseline for extra shine (he also applied Vaseline under the eyes and on the cheekbones for shine). He finished up on the lips with Damned Velvet Matte Lip Pencil, Mambo Eyeliner Pencil and 413 BLKR lipstick, mixed together and applied with fingers for an imperfect look.

Guido Palau, working with Redken at the show, channeled a bit of a Forties look, then added his own modern twist. “It’s a shiny, almost wet look that almost looks like the girl did it herself,” he said. Palau liberally applied Redken’s Guts 10 Volume Spray Foam section by section to damp hair, oversaturating the roots to create a lot of grip and texture. He used a diffuser to dry hair, then used his hands to loosely swoop hair across the forehead. He then pulled it back into a messy, asymmetrical chignon, securing it with hairpins. He liberally applied Redken Forceful 23 Super-Strength Finishing Spray to add shine and hold the shape, and then added hair accessories to each look.

Nails, by Jin Soon Choi for Marc Jacobs Beauty, had four variations: some girls got Surrender Dorothy, a glittery red; some Glinda, a silver glitter polish; others Rouge Crème, a matte red, and still others got only a coating of clear nail polish. Because Jacobs wanted a very noticeable sparkle on the glitter polishes, Choi did three layers of Surrender Dorothy and four coats of Glinda. On all of the models, Choi applied three coats of a clear, shiny top coat, “almost making the polish look like glass.”

 

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Julien MacDonald | London
Make-Up: Val Garland.
Hair: Syd Hayes.





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By Stephanie Hirschmiller

LONDON — Val Garland’s makeup look for Julien Macdonald took its cue from Nineties supermodels as lensed by Peter Lindbergh – all matt black eyes and super glossy skin. “It’s hot, it’s wet, it’s glam and it’s sexy,” she said.

Using L’Oréal Paris products, she applied Super Liner Smokissime to the lash line, going over it with Super Liner Perfect Slim and then matted down the lid with Color Riche shadow in Ombre Pure. At the last minute, she slicked Infallible lip gloss in Say Seychelles on top “for a really vinyl eye.”

She used True Match Foundation and Lumi Magique Base Pure Light Primer on the skin and dabbed lips with Color Riche in Doutzen’s Nude.

For the hair, Syd Hayes for L’Oréal Paris referenced the collection’s Balinese inspiration. Hayes was also thinking about a Bond girl. “She’s just come out of the sea and pushed back her hair with her hands,” he said.

He used Studio Line Fix & Style 24h mousse mixed with water to slick back the hair having first braided away the underneath of hair in an S shape to take out some of the volume.

 

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J.W. Anderson | London
Make-Up: Mark Carrasquillo.
Hair: Antony Turner.



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By Stephanie Hirschmiller

“A study of flesh tones and bringing back the brow bone,” Mark Carrasquillo said of his Nars makeup look for the J.W. Anderson show. He played with shine on the cheek and brown bones, “bruising” cheeks with a haze of foundation a little darker than the skin and mixing in Copacabana Illuminator.

He emphasized the brow bones with more illuminator, and finished with Triple X Lip Gloss so they stood out as whiter than the rest of the face. Brows were brushed up and lashes were curled. Lips were loaded with Rosebud Salve Balm.

With regard to hair, “Jonathan said his girl had been to space and back since last season,” said stylist Antony Turner, working with L’Oréal Professional.

He created a tight, central ponytail at the back of the head and using Mythic Oil, split it in two and wrapped the lengths around each other so they resembled a rope that he then secured at the end. This was inspired by the swirls on the clothes, he noted.