To get the look, Tom Pecheux applied a heavy dose of translucent powder to lids before coating them and the lower lash lines with a combination of two shadows—Estée Lauder Pure Color Eyeshadow in Ivy Envy (a forest green) and the "petrol blue" shade from a trio dubbed Camo Chrome—using a big, fluffy brush.
|Diane von Furstenberg|
James Kaliardos employed techniques normally used by dancers onstage, such as contouring the sides of the face with various tones of concealer and brightening the eyes by rimming the lower waterline with MAC Cosmetics' forthcoming Technokohl liner in Nude. Wanting a "glossy taupe" shade for the lids, Kaliardos mixed Grey Matter, a cream shade from the Fall 2014 Trend Palette, and Dusty Mauve, a hue from the season's lip palette. He topped it off with Gloss Crème Brilliance for additional sheen and coated the top lashes with Haute & Naughty mascara. "You know when you see those girls from ballet school and they just look like ballerinas even though they don't have makeup on? This is what we're doing," Kaliardos explained.
"It feels a little bit punky, yet at the same time it's got a futuristic element," said Charlotte Tilbury of the makeup at Donna Karan's 30th anniversary show. She began by running MAC's Eye Kohl in Phone Number (a pewter shade) along the upper and lower waterlines, then smudging it onto the top and bottom lashes. A gunmetal cream shadow was tapped onto the lid, and to "pick up under the lights," a platinum pigment was blended with Mixing Medium, dabbed around the tear duct, and buffed up toward the crease. For extra sheen, Tilbury glazed over the eyes and tops of the cheekbones with a clear gloss.
The look at Jason Wu is always glamorous, but the gold glitter sprinkled across lids last season gave way to a more subdued—but strong—brow and a flat "boyish" bun for Fall 2014. "It's a feminine/masculine look," said mane master Odile Gilbert.
|Marc by Marc Jacobs|
To help those pigtails feel more badass, makeup pro Dick Page densely rimmed the upper and lower waterlines using black cream liner and a soft lip brush, then "piled on the mascara." He kept the skin as bare as possible—opting out of both a mouth and a cheek. "It's the gesture of a kid who is trying makeup for the first time," he said. Well, at least one who's very adept at applying eyeliner.
"If you don't impose a line or shape on the face, you maintain integrity of the natural features, and that's always what is most beautiful to me," said Dick Page of the sun-kissed look. Similar to last season, he employed the designer's Sporty Bronze Powder in Glow, dusting it along the contours of the cheeks and buffing it into the skin with translucent powder. "It's not Shake 'n Bake, but warm," he explained of models' tanned faces. Brows were defined and a chocolate hue was smudged around the eye before it was topped with a clear balm (like Aquaphor) for shine. "The old-fashioned theater [trick] was to put a red dot in the [inner] corners to make the eyes look more alive and whiter," he said. "A contemporary thing to do is put a flash of color and grease [around the tear duct] to pick up the light." Top lashes were emphasized with black mascara, while the lips were dabbed with lipstick in Dame "dosed with a bit of brown." The inspiration for the color came from a somewhat unusual place: Baptiste Radufe. "Michael thinks everyone should have his natural lip color," he said. After coming face-to-face with the male model backstage, I can confidently say that his pout was in fact the perfect shade of mauve-y plum. Some boys have all the luck.
|Rag & Bone|
"This is Saturday morning makeup," Gucci Westman said of the yé-yé girls- and Katharine Hepburn-inspired look at Rag & Bone. "It's about fixing what you had on the night before." If you're not Joan Smalls (who closed the show), you likely don't wake up after a Friday evening out on the town looking anything close to this—at least I don't. But Westman says it's possible to turn last night's liner into this graphic shape by applying Revlon ColorStay Crème Gel Eye Liner in Black with a skinny brush and perfecting the shape by tracing over it with the Liquid Eye Pen. "Pointed Q-tips clean up everything," Westman said as she sharpened the wing on a model's eye. As for the rest of the face, things were rather pared-down in order to achieve the "tomboy" aesthetic. The Rag & Bone woman doesn't wear blush, she explained: "It feels too finicky." Instead, she contoured and highlighted in all the usual places (cheekbones, bridge of the nose, cupid's bow, etc.). Any pink or red tones in the lips were canceled using a beige cream shadow (on darker complexions) or a white liner pencil for fair-skinned girls.
I know, es ist noch nicht mal Frühling und ich weiß jetzt schon wie ich mich im Herbst schminken werde. Der Nude Trend bleibt en vogue und das kommt mir sehr gelegen, ist es doch mein liebster daily look (zumindest untertags). Aber Nude Look ist nicht gleich Nude Look und wenn es zu „krank“ aussieht, gefällt es mir auch nicht mehr. Jason Wu kommt meinem perfekten Fall-Gesicht schon sehr nah: strong brows, pink lips and cheeks und dezente eyelashes. Was ich aber auf alle Fälle abends ausprobieren muss ist der Derek Lam Look. Großartig und der undone Effekt der Augen gefällt mir extrem gut – Concealer brauchst du hier keinen mehr. Jetzt warte ich schon gespannt darauf, was die London Fashion Week so zu bieten hat. Welcher Look gefällt euch am besten?