New York Fashion Week Backstage Beauty Diary: Day 1
Today was the first day of New York Fashion Week. While it’s too soon to write up those beauty trends that might inspire us to update our grooming routines come spring, there were a few looks that already had us getting excited for what’s next when it comes to makeup, nails and hair. Red hues swept over eyes, with lipstick being used on the lids as a substitute for powdery shadows. Luminous skin dominated with naturally dewy finishes that seemed lit from within. Nails riffed on all variations of white, with translucent, semi-sheer and completely opaque alabaster tips spotted backstage. And as for hair, it was all about texture with an undone edge. Here we take you behind-the-scenes and break down each beauty look at the shows we visited.
CREATURES OF THE WIND
Backstage at Creatures of the Wind, makeup artist James Boehmer for NARS said he wanted to create a punk rock look to balance out the pretty vintage couture feel of the clothing. “We didn’t want something that felt too flawless or immaculate,” he explained. The result was a smudgy cranberry eye created by using a matte lip pencil and rubbing the formula with the fingers to hit the browbone and beyond. Lips appeared kissed, with the shade applied to the center pout and worked outward. Hairstylist Odile Gilbert, meanwhile, said her inspiration was Japanese origami. The models’ strands were sprayed with Kérastase Nectar Thermique Leave-In Nourishing Heat Protectant. Then they were combed straight and flat and enforced with Kérastase Double Force Controle Ultime hair spray and Kérastase Elixir Ultime With Imperial Tea Extract. Finally, two- to three-inch sections were folded over and secured with bobby pins. Gilbert finished the effect with a fine net that covered the head and fastened below the chin. Nails were kept minimal and matte, using Essie Nail Polish in Topless & Barefoot and Essie Matte About You Top Coat.
The eyes had it at Costello Tagliapietra, with salmon shadow sweeping over and around them in a way that was meant to mimic eighteenth-century paintings. “The look reminds me of artwork of the Madonna and her child,” said makeup artist Maki, who created the look for MAC. “It’s very innocent, very holy.” Using a palette of cream colors meant for lips and cheeks, she blended tangerine, red and fuchsia shades all over the lids and on top of cheekbones, making sure to diffuse the hues for a gentle flush of color. Lips alternated between coral for models with light skin and a purple-berry for those with dark complexions, with lipstick being pressed into pouts using a fingertip for an organic finish. In keeping with the innocent theme, nails were left nearly nude with just a single swipe of Essie Nail Polish in Minimalistic. They were then finished with a coat of Essie Good to Go Rapid Dry Top Coat for an über-glossy sheen. Models’ manes, meanwhile, had a purposefully frizzy edge in keeping with historical artwork. “Back then women didn’t know how to deal with their hair, so they just brushed it out and left it that way,” said hairstylist Nelson Vercher for René Furterer. He created this textured look by first spraying a volumizer and working a dry shampoo into strands for hold and then forming loose bends in hair with a quick zap of a curling iron. Strands were then wrapped up in a bun to set the natural-looking waves and taken down right before the models hit the catwalk.
Outside nature and the body’s inside anatomy inspired the prints and detailing on the clothes at Honor, and the beauty look followed suit. Hairstylist James Pecis gave the models tightly wound inside-out French braids that snaked down the sides of the head almost like vertebrae themselves. To soften the strong design, he used thickening and surf sprays by Bumble & Bumble before braiding the hair to impart texture to strands and encourage gentle wisps. He also angled the severe center part to the right at the base and then coiled up the ends, affixing them with gorgeous jeweled bobby pins. The makeup emphasized shine, with Stila white shadow popping from the eyelids, Erno Laszlo clear gloss topping the cheeks and a soft glistening pink on lips. To complete the look, the nails were painted with Deborah Lippmann polish to appear like bones in a neon white covered in a high-gloss gel-like top coat.
—Jennifer Hirshlag and Christiana Molina
Photo: Creatures of the Wind (main)