New York Fashion Week Backstage Beauty Diary: Day 3
Behind-the-scenes at Jill Stuart, Prabal Gurung and Hervé Léger, shine was central to all the beauty looks. Grease, cream and gloss—in shades and sheers—were smeared on eyes. Skin was dewy and glowing. And lips were just gently touched up with moisturizer or a dab of enhancing color. Hair was straight, with severe parts, slicked strands along the front and just a touch of texture from a subtle wave or braid. Nails continued to be bare, save for Prabal Gurung’s tips, which seemed better suited for Halloween than spring. Here is a breakdown of all the makeup, hair and nail looks at Saturday’s shows.
“Faded Hollywood glamour” was the inspiration at Jill Stuart, which was translated into a beauty look that was feminine and fragile. Makeup had a ’30s vibe, with reddish-brown grease paint softly swept onto the lids to make the eyes appeared hollowed out. Bare lashes were smudged with a deep brown Jill Stuart eyeliner, lips were stained with a crimson cream blush to enhance their natural color and skin had a dewy finish. For hair, Odile Gilbert modernized the Tinseltown theme by making strands as straight and shiny as can be. She first ran a flat iron through hair, and then raked Kérastase Elixir Ultime Moringa Immortel throughout the lengths for high-wattage shine. Next Gilbert created a center part and shellacked the front sections down to the scalp “to create a headband with the hair,” she said. She tucked the two front sections behind the ears and tied them together at the nape of the neck. To set the look, she blasted the front with Kérastase Double Force Control Ultime hair spray.
Prabal Gurung’s latest collection explored the juxtaposition between the haunting and the ethereal, and the beauty look matched just that. Hairstylist Paul Hanlon said he went for “skinny hair” that “reminds me of a ’70s Sissy Spacek girl.” He first created a center part and flattened hair to the head, topping the part off with a Schwarzkopf grooming cream to control flyaways. He then tucked front ends behind ears and pinned them. He released the hair right before the show for a bit of a wave. Finally he raked dollops of finishing serum with iridescence onto the ends to separate strands and make them look rope-like. As for makeup, Charlotte Tilbury created a play on light and dark with a “shaded and illuminated face for strong facial architecture,” she said. After making skin pale with a concealer, she used a brown MAC cream shadow underneath the cheekbones and jawline and in the temples and creases of the eyes. Skipping mascara, she used a shimmery white MAC cream shadow to lift lids and highlighted cheekbones with moisturizer. She finished by powdering just the center of the face for a matte effect and by pressing just a touch of lip balm onto the mouth. Nails were the most macabre element of the beauty look, painted to look like the tips were dripping blood. Inspired by artist Anish Kapoor’s own collection revolving around the crimson body fluid, manicurist Tracylee Percival used a Sally Hansen blood red polish to create the design. She first dipped a striper brush into the paint. Then she used the drip formed at the tip of the brush to dot the color onto the naked nail and drag it to the tip.
To temper the overtly sexy aesthetic of Hervé Léger, the beauty look took on a more athletic approach. The effortlessly rich makeup was all about “healthy, wealthy, super-glossy skin,” said makeup artist Val Garland. ”If we had done a smoky eye with these bodycon clothes, it might have been too obvious.” Garland began by evening out the face with Temptu airbrush foundation to give skin a seamless quality, and then went to work contouring the bone structure. She airbrushed highlighter onto cheekbones and down the nose, and brushed up eyebrows. Eyes were left completely bare, except for a touch of gloss on the lids for a healthy shine. Lips also got a dose of slickness with a coat of clear gloss. For hair, Laurent Philippon created a sharp look with a couture twist. He started by misting Bumble & Bumble thickening spray into roots, flat-ironing strands pin straight and making a deep side part. Next he made a cornrow in the smaller half of the front strands and a basic braid on the deeper half, and then joined both along the nape of the neck. He finished the look by blasting the crown of the head with hair spray for superb hold and shine. Nails were subtle in a sheer pink polish. Manicurist Michelle Saunders used two coats of Essie Nail Polish in BBF Boy Best Friend to create the look.