FASHION Magazine

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.”

See the full beauty gallery from Marc by Marc Jacobs Fall 2013 »

Makeup inspiration at Marc by Marc Jacobs Fall 2013:
“Marc [Jacobs] wanted to do something very sophisticated and chic. There’s quite demented hair going on, so what I’m doing is very classical. Everyone has their little reference: Someone said it looks like a [Michael] Fassbender woman, someone else said a Guy Bourdin [photograph], but I was thinking more along the lines of Fanny Ardant, the French actress.” – Dick Page, Shiseido artistic director

Get the look:
On the eyes, Page used two cream shadows. He blended a shimmery taupe from the lower lash line up to the crease and brushed it along the lower lash line. He applied black shadow to the upper part of the lid, diffusing the colour. He also used some black mascara and did “a light groom.” And just before the models hit the runway, Page patted one of his favourite products—Shiseido Benefiance Full Correction Lip Treatment—on lids for a glossy finish. To achieve the “very glossy, wet-looking lip” Page mixed two Shiseido Lacquer Rouge shades: “Sanguine” and “Drama.”

See the full backstage beauty gallery from 3.1 Phillip Lim Fall 2013 »

Makeup inspiration at 3.1 Phillip Lim Fall 2013:
“She’s a sophisticated girl. She spends time in the mirror in the morning. She has an edge, she could live uptown and have a downtown boyfriend, or at nighttime be in a rock band.” – Francelle Daly, Nars lead makeup artist.

Get the look:
Daly applied Nars Luminous Moisture Cream and a illuminating foundation for a dewy effect. She also used a peachy highlighter (Nars highlighting blush in “Miss Liberty”) on cheekbones and the bridge of the nose. “It’s a flawless complexion, but it’s effortless.” Daly brushed “Yamal,” a camel shadow, on lids, defined brows with a pencil and curled top and bottom lashes with a clear mascara.

On lips she used Nars lip liner pencil in “Kenya,” a brownish red shade, to trace and fill in the mouth. Then she brushed “Mambo” eyeliner pencil on top to give it “depth and richness.”

See all the nail art from day one of New York Fashion Week Fall 2013 »

With designers opting for pale, neutral polishes, simple manicures and (possibly, worst of all) French tips on the Spring 2013 runways, nail art fanatics had to look elsewhere for inspiration. However, we’re just a few shows into the Fall 2013 collections and things are looking up: there are already some great nail art designs coming out of New York Fashion Week.