With a simple brushstoke, make-up guru Peter Phillips created a feathered look worthy of angel teamed with a thin line of Chanel’s Stylo Yeux Waterproof Eyeliner across the top of the lashes. ‘Medusa’ plaits were whipped up by Sam McKnight backstage with double row twisted rope plaits sitting angelically around the head like a halo whilst low pigtails, spilt into several rope strands gave it a style McKnight described as ‘dark, Nordic’.
Inspired by the red-headed muses of 19th Century oil painter Rossetti, Gucci’s romantic goths had a bleach treatment on their brows followed by a dose of power pout courtesy of Pat McGrath. Pat used Cover Girl Queen Collection Lipcolor in Fine Wine to create the deep, dark red shade and then dabbed in the centre from the same collection, Hot.
Magna style Japanese cartoons inspired the hair at Prada. Muiccia Prada described the models as ‘virtual dolls, virtual princesses’ and here’s why – the two-tone dip dye hair, created by the one and only Guido Palau, came in three different shades, red, black and white, depending on the natural shade of the model’s own hair. Weaving waist-length extensions Guido explained ‘there’s a computer-generated quality to it, a pop of fakeness’. Pat McGrath created a theatrical eye with purple, black and orange eyeshadows that fanned out from lash lines to bleached-out brows, which were colored in shades of orange cream shadow. For emphasis, Cover Girl Smoky Shadow Blast in Onyx Smoke lined upper eyelids, and white eyeliner was worked across lower lids, while lips were kept natural.
Models channelled a pin up – slash – rock n roll vibe for the Fall 2012 Versace collection. Pat McGrath used CoverGirl products to create ‘three layers of black’, and defined eyes with Liquidline Blast Eyeliner, filled in with Smoke Shadow Blast in Smoke and black cream shadow and set with shimmering onyx eye shadow all finished off with 24 hour Lash Blast Mascara on the top and bottom lashes to create the perfect smoky eye effect. Lips and cheeks were kept simple while eyebrows were bleached to remove the colour and made a shade lighter than the models’ natural hair colour. “Donatella wanted the girls to look super cool and modern, but still bring out that Versace rock ‘n’ roll girl,” said hairstylist Guido Palau who fitted the models with fake blunt fringes that hit mid-forehead. “The whole thing is a lot less blown-out than we’re used to seeing here”.
Dolce and Gabbanna
Makeup artist Pat McGrath, used Dolce & Gabbana Make Up to bring ‘light to the face’, creating a look inspired by religious iconography of the Virgin Mary. Flat, matte neutral tones from the Smooth Eye Colour Quad in Desert were swept over eyelids with the gold shade from the Golds quad, Luminous Cheek Colour in Delight was applied to the cheeks and Classic Cream Lipstick in Petal was dabbed on the centre of the models’ lips while Mandorala was put on the top lip for a creamy finish. Now that’s what we call a high maintenance lip!
Hairstylist Guido Palau was at it again creating a simple look to accommodate the elegant jewelled and embroidered headpieces and accessories by parting the models hair in the centre and gathering over the ears in a low loosely twisted soft knot. Redken Body Full Volume Amplifier was sprayed onto damp hair and blow-dried with fingers, adding slight texture and grip for the stunning hair accessories.
If you needed proof that Lana Del Rey is set to take over the world, you’d only need look so far as to the past few weeks of fashion week. She not only had the amazing honour of having a Mulberry bag named after her in London, she also inspired the beauty behind DSqaured2’s fall show in Milan. Makeup artist Charlotte Tilbury created the high school prom look by applying a thick slick of MAC’s Blacktrack Fluidline Eye-Liner Gel on the top of lids in a feline-eye shape, crowned by a double set of lashes. Black eyeliner was teased out on bottom lids and brows were made thicker and arched.
Hairstylist Sam McKnight used Pantene Pro-V Volume Mousse and Extra Strong Mousse on damp hair before it was blown dry and then heavily back combed to create two styles; a volumized crown with flat sides and a pinned-back beehive to echo “girl bands from the Fifties and Sixties, like The Shirelles and the early days of The Supremes with a touch of Lana Del Rey.”