New York Fashion Week: Kate Spade
New York-based creative director Deborah Lloyd designed Kate Spade’s fall 2013 ready-to-wear collection as an ode to the city she calls home—with a ’70s twist. The beauty look played off that inspiration with an exaggerated cat eye, high-shine lips, fuchsia talons and full, flouncy hair.
Makeup artist Neil Scibelli began by applying Jouer Powder Eyeshadow in Crême all over models’s lids. He then buffed Jouer Powder Eye Shadow in Amaretto in the creases. For a touch that he called ultra-glam meets modern-day chic, he sketched strong winged liner with Joeur Liquid Eyeliner in Linx and applied a pair of full strip lashes to add plenty of depth to fringe.
To counterbalance the clean, matte skin that was achieved with Jouer Matte Moisture Tint, Scibelli painted high-wattage red color on the lips, using Jouer Hydrating Lipstick in Simone topped with Jouer Essential Lip Enhancer.
Hairstylist Tommy Buckett had Warhol on his mind when he created the big, bouncy curls with plenty of height at the crown. He laid the foundation for so much volume by prepping hair with Garnier Fructis Style Sky-Hi Volume Mousse and Hi-Rise Lift Root Booster. After spraying Garnier Fructis Volume Extend Instant Bodifier Dry Shampoo to roots for a bit of grit, Buckett vigorously backcombed strands on the top of the head. He then horizontally curled sections of hair, pinning each one in place to set the coils. Right before the show began, Buckett let out the curls and brushed strands out for softness and movability. After carefully smoothing out the teased top and sweeping all the hair back off the face, he finished the look with Garnier Fructis Sleek & Shine Moroccan Sleek Oil Treatment for plenty of polish and shine.
Nails referenced the days of disco with a long almond shape topped with a gold pyramid stud. There were two color combinations for tips: a shiny black (Deborah Lippmann Nail Polish in Fade to Black) and a bright pink that nail artist Deborah Lippmann said had a “zing” to it. The customized fuchsia shade was actually a mixture of three colors: the white Deborah Lippmann Nail Polish in Amazing Grace, the magenta Deborah Lippmann Nail Polish in Between the Sheets and the neon pink Deborah Lippmann Nail Polish in I Kissed a Girl. After painting two coats of either the black or pink on nails, Lippmann placed the stud “using tweezers and a prayer” just above the base of the nail so a little color peeked out above. She finished with a top coat brushed around the edges of the stud and onto the rest of the nail to seal the look.