FASHION Magazine

See the full backstage gallery from Chloé Comme Parris Fall 2013 »

The makeup: “It’s about society girls gone bad. Rich girls who’ve been partying all night long and their makeup’s been really worn in and lived in and danced in.” —Grace Lee, Maybelline New York lead makeup artist

Skin was evened out with a mixture of Maybelline Dream Fresh BB Cream and moisturizer. For a dewy, “sweaty” highlight, clear Baby Lips lip balm was rubbed on the high plains of the cheek and the bridge of the nose.

Eyes were lined with a black kohl pencil, then more Baby Lips was pressed right into the liner with a thin brush, to give the effect of a girl who’s been in her makeup all night long. Soon-to-launch pots of Maybelline pigments in “Luxurious Bronze” and “Cashmere Brown” were applied on the lids, with more Baby Lips pressed on top. “It’s all about layering,” said Lee. She had models close their eyes while she held the lids open slightly with her finger so she could apply Rocket Mascara thickly to the top and bottom lashes at the same time, which gave an imperfect look, with smudges left below the eyes. “I want them to look a little bit messy, a little bit off. “ Brows were brushed up but left natural, because “it’s all about the screwed-up eye.”

See the full backstage gallery from Pink Tartan Fall 2013 »

The makeup: “When I talked to [Kim Newport-Mimran], it was really Alfred Hitchcock meets Tippi Hedren. She’s a little bit off, she could be a little bit crazy, but she’s beautifully dressed. She wanted beautiful skin, but really it’s about that big, dramatic brow.” – Grace Lee, Maybelline New York lead makeup artist

– With a focus on “big and bold brows, with an element of naturalness,” Lee layered multiple products in a variety of colors to ensure the the brows didn’t come across as one dimensional and flat. First she filled in the brows by brushing through a shade of ashy-brown. Then she lightly went over the hairs with and almost-black shade to achieve “3D effect.” Finally. Lee finished them off by combing a gel through to keep all the hairs in place.

See the full backstage gallery from Tanya Taylor Fall 2013 »

If you’re a fan of loose curls and beachy waves, listen up. While backstage at the Tanya Taylor Fall 2013 show I witnessed an incredibly inventive way to add movement and texture to hair without relying on a curling iron.

Justin German, Pantene Pro-V’s consulting stylist, wanted “dropped out waves” for the ’60s-inspired look, which meant no structured ringlets were welcome. Instead, German added texture and movement to the hair by rolling pieces up into pin curls and setting them with a quick clamp of the flatiron. “To make it a little more random we [rolled] some one way and some the other way,” German explained of the technique. “We didn’t want it to look like it was done with a curling iron.” Finally, he set everything in place with a quick spritz of Pantene Pro-V Stylers Flexible Hold Hairspray.

See the backstage beauty gallery from Jeremy Laing Fall 2013 »

The makeup: “The cool thing about this look is the shape of the eye; Jeremy wanted to have a very hollowed out eye socket. He doesn’t like the girls to look too preppy, princess-y, or too done. Maybe a little bit androgynous. It’s all about the shapes; and you can tell his shapes are a little bit unusual. “ – Greg Wencel, Cover Girl makeup pro

To achieve this “Sleepy Hollow” look, Wencel custom mixed a shade of slate grey, using both shades from the Cover Girl Smokey ShadowBlast eyeshadow stick in “Onyx Smoke” on the back of his hand. The cream shadow was chosen because it would give a “lived in, glossy eye effect.” Wencel applied the majority of color is from the crease of the eye to the brows, leaving a slightly lighter wash of grey on the lid of the eye. To set the cream, a silver shadow was pressed over top, which also added a “hint of blue.” The lashes were kept natural with no curling or mascara. To keep models looking fragile, Wencel wanted a “pale veil of color” on the skin. He used a foundation one or two shades lighter than the models natural color then set it with an even paler shade of pressed powder. For cheeks, it was all about “hollowing and sculpting” with bronzer to exaggerate the contour. Finally, lips were almost devoid of pigment: Wencel applied a clear balm on the lips and then buffed foundation over the edge of the lip line for an ombré effect.

See all the backstage pictures from Jean Pierre Braganza Fall 2013 »

The makeup: “It’s a very structured eye. We’ve applied a black shimmery shadow over black liner and blended it out. There are two graphic lines [that almost merge near the inner corner of the eyes] creating a downturned feline-esque look. It’s very lioness and a little bit sixties.” — Greg Wencel, Cover Girl makeup pro

To achieve what Wencel deemed the designer’s signature eye (“[Jean Pierre] likes graphic shapes and contrast”), he dragged a black eyeliner pencil along the upper lash line all the way to the inner corner of the eye, splitting it into two lines. He used white liner along the water line and in between the two noir streaks to highlight the space between them. He blended the black liner up into the lids, layering a black shimmery shadow on top and blending it out “to diffuse the colour.” Wencel also brushed two coats of black mascara through both top and bottom lashes, and used a clear mascara to make brows look “clean and tapered.” On cheeks, “we created a soft sculpted look,” he says, applying blush really close to the hairline and contouring cheekbones. For a dewy complexion, he blended a highlighting serum into skin with a flat synthetic brush targeting the chin, the bridge of the nose and the cupid’s bow. The mouth was kept simple with just a swipe of a flesh-toned glossy lip pencil.

There was plenty to take in at the Chanel Fall 2013 show this morning at the Grand Palais, not to mention the giant globe centered in the middle of the runway. While everywhere you looked was an extravagant feast for the eye, our gaze was fixed upon the sequins adorning the models’ twinkling eyes.

Dramatic and artistic makeup is not new for Chanel (remember the leaf-like tulle appliqués on the eyes for the Spring 2013 Couture show?) and this spectacle stayed true to showing an innovative look. The focus on the models was a perfectly bedazzled eye, creating just enough glitter to balance the wearable with the over-the-top. What appeared to be tiny silver sequins adorned eyelids starting at the lash line and working out into a slight wing shape. Some were also glued onto the tops of the lashes for an added shimmering effect. A thin black line was penciled in under the lower lash line for definition and to give balance to the eye. The rest of the face was suitably bare, with sheer natural skin, a lightly defined brow and a light berry shade staining the lips.

See the full backstage beauty gallery from Isabel Marant Fall 2013 »

Makeup inspiration at Isabel Marant Fall 2013:
“I wanted to create a makeup look that was both feminist and boyish. The focus is on the brows, which are effortless but controlled—full, with volume, almost masculine. Makeup on the face is very light, very sheer, like a veil, while the lips are simple, natural and nude.” – Tom Pecheux, creative makeup director for Estée Lauder

Get the look:
– Models’ faces were prepped with a cocktail of anti-aging serums and creams, including Estée Lauder Revitalizing Supreme Global Anti-Aging Crème and Advanced Night Repair Synchronized Recovery Complex. These helped to smooth out the surface of the skin and added a much-needed dose of hydration. Skin was then kept fresh and clean with just a sheer layer of Estée Lauder foundation and concealer where needed.

Silver screen beauties at Dries Van Noten
First, we saw them at Rodarte Spring 2013. Then they returned at Thakoon this season, and here they are again at Dries Van Noten. Ear jewelry! Makeup artist Peter Philips is all about appliques (he’s behind those the crystal brows at Chanel and the glued on neoprene under eyeliner seen at Fendi Spring 2013) so it didn’t surprise us that he was the one to adhere rock crystal formations on nine Dries Van Noten models’ ears. His make up was kept simple—black liner, matte skin and filled in brows—so as not to compete with the many twinkling elements in the collection. Hairstylist Paul Hanlon did marcel waves, with Old Hollywood as a reference. Think: A magical dance scene featuring Fred Astaire and Ginger Rogers, aka what Channing and Charlize were trying to achieve at the Oscars.

We still have Paris to go, but it’s safe to say that so far, there has been a lot of pared down beauty this season. When makeup artists do drag the colour out, it seems a strong lip is in favour. As Milan Fashion Week Fall 2013 winds down, here are three of our favourite bold mouths from that city.

Is there anything more enchanting than red eyeshadow? It’s an unassuming colour—we’re accustomed to bright-red lips and rosy-red cheeks, but apply the shade on your eyelids and everyone will take note. Shades of crimson and maroon have been slowly infiltrating red carpets and runways for a few seasons now: Miu Miu did a stunning red winged shadow for Spring 2012 and Keira Knightley wore the shade for a very romantic look last fall. And now Gucci has brought the shade back into the spotlight with a burgundy eye that, frankly, I haven’t been able to stop looking at ever since makeup artist Pat McGrath tweeted pictures from backstage.

According to Allure, the deep red shade was a direct request from Gucci’s Frida Giannini as a necessary “flash of colour.”

The punk rock-inspired beauty look at the Marc Jacobs Fall 2013 show had many elements worth obsessing over. Models all wore cropped, shaggy wigs which were done as homage to Joan Jett (remember when Kristen Stewart had the same hair?), covered in so much hairspray that they looked authentically rock show sweaty. The makeup—which cited Marianne Faithful as muse—was equally gritty, with heavily-lined eyes that had “cool girl” style. “The eye is smoky, but round and defined and we created really matte, perfect skin,” explained lead makeup artist François Nars of the look.

However, it was the nails at Marc Jacobs Fall 2013 (it always comes back to the nails, doesn’t it?) that had everyone excited.

See more photos of Prabal Gurung for Sally Hansen Fall 2013 »

On the heels of his recent capsule collection with Target, Prabal Gurung is quickly becoming known as a designer who embraces collaborations. His latest –and most prolific—venture comes in the form of nail polish, specifically with Sally Hansen. For a sixth consecutive season, Gurung has worked with Sally Hansen to create new nail polish shades to be used on the runway—and then later sold at retail.

Three new shades were used this week for the Prabal Gurung Fall 2013 presentation. The runway show, which had a strong military feel, was complemented with nail art that reflected the dark colour palette of the collection. The new Sally Hansen colours include “Loden Green” (olive), “Night Watch” (navy), and “Coat of Arms” (gold). For the runway show, manicurist Jin Soon Choi used the three new shades together by layering them and creating a sharp triangle shape that extended from the moon, meant to reflect the unique style of Prabal Gurung.