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Read all the backstage tips from Missoni Spring 2013 »

Nothing says Missoni like colourful knitwear. So when the 60-year-old Italian label strayed from its trademark in favour of new shades and textures for the Spring 2013 collection, it was a shock to all. The Missoni runway show started with white, ended with black and featured a selection of amped-up pastel shades in between. The label went even further out of its comfort zone in applying layers of futuristic looking organza and embellishments over the signature raschel knit. When it came to beauty, a whole other set of surprises was in store. The au-naturel look typical to the Missoni runway was ditched in favour of a playfully amped up, space-age anime aesthetic.

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.

See more backstage pictures from Rochas Spring 2013 »

The bold red lip at Rochas Spring 2013 has quite the enchanting quality to it. The shade? A deeply pigmented rosebud red. The texture? Perfectly matte. Paired with a fresh-faced no makeup look it’s the sort of colour that shows just how much influence a well-done lip can have. (Anyone who’s ever thrown on her favourite lipstick in place of doing any other makeup knows this trick well.) Makeup artist Lucia Pieroni used two different Clé de Peau lipsticks to create the velvety look for Rochas, applying “R1,” a blue toned brick-red shade first and then layering and “R2,” a cherry-red colour, on top. However, the almost vibrating lip colour has another trick: hot pink blush. According to Into The Gloss, Lucia Pieroni finished the look by brushing on pink pigment. She started at the centre of the lip, blending outward with a Q-tip, which both enhanced the matte texture and added depth to the colour. It’s a different take on the two-toned lip that’s been popular the last few seasons—less colour blocking, more multi-dimensional. Lucia Pieroni called the final colour “beetroot berry” and we’re just going to go ahead and rename it our favourite lip colour for Spring 2013.

All eyes are on Milan now, but let’s not forget some of London Fashion Week Spring 2013’s best in beauty. Most refreshing was the influx of bright lips, an area of the face that didn’t get a lot of play at New York Fashion Week, where the general trend was minimal makeup and manicures—nude polish dominated as did completely bare, buffed-to-shine nails. In fact, backstage in the Big Apple makeup artists often skipped putting pigment on the mouth entirely opting for clear gloss. (One of a few notable exceptions, the matte raspberry lip at Jason Wu was awesome.) When they did pull out the colour, they applied it to the top half of the face: take Dick Page’s green and blue over-the-eye arches at Michael Kors, and Tom Pecheux’s abstract smears on lids at Peter Som. But, where New York left us wanting for bold, colourful lips, London made up for it in spades. Even bare-face-loving Burberry Prorsum busted out the rouge lipstick, hopefully a sign that lips won’t be silenced from here on out.

See our top 5 makeup looks from London Fashion Week Spring 2013 »

By Lesa Hannah and Sarah Daniel

Liquid liner hasn’t lost its momentum, but makeup artists left last season’s ’60s mod influence behind and moved back a decade to the ’50s, with inspirations like Sophia Loren and Elizabeth Taylor. At Jonathan Saunders, artiste Lucia Pieroni gave models a Stepford streak, inspired by a mid-century Miami housewife who likes her Valium, she says. At Marni, makeup artist Tom Pecheux applied a cinnamon-coloured flick instead of the standard noir, which was inspired by a terracotta clutch in the collection and brought “a sophisticated finish to the face,” he says. Hair-stylists also mined the past for ideas—from the ’20s to the ’70s, and every decade in between. At Diane von Furstenberg, teased ’60s French twists were “textured so it’s rustic and earthy, and quite simple in shape,” says coiffeur Orlando Pita. But at Jean Paul Gaultier, it was an old photograph that led to the loose wartime rolls that hair guru Guido Palau fastened to the top of the head. Our favourite was the sterile-looking ’50s faux bob at Jil Sander, in all its vacuum-sealed nurse practitioner perfection.

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“It’s all about a red wine–stained, snogged mouth,” said Lucia Pieroni of the makeup at Giles Spring 2012 show, applying M.A.C’s lip pencil in “Brick” onto the inside of the mouth and “Burgundy” on top, blended outward with a Q-tip. “There’s no defined line around the edge, but it’s quite dark in the middle.” The rest of the face was quite bare—a smidge of “Russian Red” lipstick on the cheeks, rubbed in with a large brush and a bit of lip balm on the eyelids, tops of the cheeks, and on the bridge of the nose for a bit of highlight.

Ahh, Florida; the ‘50s Miami woman inspired the hair and makeup at Jonathan Saunders, where Paul Hanlon first blow-dried hair using Fekkai Strong Hold Mousse—“it gives a lot of guts to the hair,” he said—then parted it on the right and combed it into a low ponytail, tied with a basic black elastic. Then, using his fingers, he pulled bits out around the ears. “It gives it a feeling of being undone; a moment that’s just gone kind of wrong,” he said. “It’s a little bit disrupted and takes away from it looking so done.” The finishing touch: a brown bobby pin, its end tucked in, pinned just the way a girl would to get her hair off her face. Easy, not too messy, and not too clean.

We connect the dots between the artists and this season’s top trends. Meet the artists behind the season’s biggest beauty messages.

By Lesa Hannah and Sarah Daniel

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Beauty editor Lesa Hannah goes backstage at Jason Wu’s Fall 2010 show to with makeup artist Lucia Pieroni and hair stylist Odile Gilbert. See pictures from backstage

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