What beauty product helps you to relax? Do any of you use a beauty product to help you relax? How does it help?
I actually love cleansing and putting a night cream on my face when I’m feeling stressed. A dirty face is just ew, and I get a little happy feeling all clean again. I also find Lush’s massage bars are great (when a massage is included, ha!) for feeling pampered and lovely again.
NANETTE LEPORE | We’ve seen a lot of new looks for fall this week; colour on the eyes, purple lips, gradient eye makeup, and eye colour that goes from lid to brow. But there are plenty of New York designers who still love the “clean, modern, fresh” girl of New York who doesn’t try to look good — she just does. Polly Osmond gave Nanette’s wavy-haired women a pale pink lip with tinted moisturizer, and a very groomed brow with Brow Set and pencil — and went for the cat eyes with dark grey shadow at the upper and lower corners of the models’ eyes — giving them those far apart eyes that became so trendy a few years ago. “Nanette wanted them to be modern pretty,” said Polly. And they were.
MILLY | The clothes at Milly are always très femme — this time in a palette of black and white and grey — but the hair for fall was highly stylized; tight, almost frizzy, Edith Piaf marcel waves. So Romy Soleimani matched the Parisian hair with a very soft red lip that was matted and made sheer to the point of being almost pale. Call it “modern red.” The only other facial element outside of concealer was a bit of black eyeliner at the edges of the eye, done with a pencil and pigment, and extended out. The cheeks were clean, and berets completed the jaunty Frenchy face.
BREAKDOWN | For a silky, clean finish, MAC Studio Sculpt Foundation was pressed onto skin with brush. Nude Crème Colour Base was applied lightly in the corner of the eyes and on the cheekbones to highlight. MAC Studio Moistureblend Concealer was applied where needed. Smolder Eye Pencil was smudged into root of top and bottom lash lines with Eye Liner Brush. Top lashes were curled and both top and bottom were defined with a light coat of Zoom Lash Mascara. MAC Desire Lipstick was applied from the center of the lips outward with a Lip brush. The lips were then lightly patted with fingers to create a slight stain.
“A cool French girl drinking a glass of champagne, watching a foreign film or walking downtown. Looking fabulous with little effort,” says Romy Soleimani.
CARLOS MIELE | Christian McCulloch went ultra minimal because, he told us, “Carlos Miele’s clothes are so glam, I wanted the clothes to speak for themselves.” So a groomed brow, grey eye liner and a sheer coral lip — neutral with just a touch of red and brown pigments mixed together — looked finished in the only show to feature ultra straight hair parted in the middle.
BREAKDOWN | For clean, beautiful, sheer skin, MAC Face and Body Foundation was applied with a brush, followed by a dust of Blot Powder Loose. Melon Pigment was sheered out on the cheeks to highlight. To create a smoky eye, MAC Greensmoke Eye Shadow was blended on the lid and applied to the lower lash line. Tealo Powerpoint Eye Pencil lined the upper lash line and Tarnish Eye Kohl was used to colour the water line. MAC Black X Mascara was coated onto the top and bottom lashes. MAC PRO Lip Erase in Dim was patted onto the lips followed by a touch of Fresco Cream Colour Base to create a perfect pale, beige lip.
“Classic, sexy, cool, rocker chick – Kate Moss,” says Christian McColloch.
RICHARD CHAI | Wednesday was the day of minimalist makeup around New York. But then, James Kaliardos knows that Richard Chai does straight-ahead American sportswear in great fabrics. So he gave the models the “classic New York face”: a taupe cheek that sculpts and contours, nude lips — blotted out with tinted concealer — and a feline brow to match a feline eye, shadowed with a bit of tawny pink. It felt right with Chai’s more boyish aesthetic this fall.
BREAKDOWN | MAC Face and Body Foundation was brushed on to the face. A mix of Strobe Cream and Pearl Cream Colour Base was applied to the cheekbones and nose to highlight. Fleur Power Blush was placed high on the cheek for a touch of shimmer and color. MAC Naked Lunch Eye Shadow was applied from lash line to crease. A line of Phone Number Eye Kohl and Print Eye Shadow was brushed onto the crease and shaded to break up the linear feel. Pale Yellow Eye Pencil was shaded into the inner corner of the eyes. MAC Hollywood Eye Shadow in Kitty was applied on the outer corner of the eyes. Lashes were kept bare. To pale down the lips, MAC PRO Lip Erase in Dim was patted on and 3N Lipstick was layered over.
“Graphic and precise – a design that feels new,” says James Kaliardos.
TEMPERLEY | There’s a strong “boy” aesthetic for fall — but you’ll never get that from Alice Temperley, whose pure Brit “frocks” could come straight out of Shakespeare’s”Midsummer Night’s Dream.” She’s so very English that Charlotte Tilbury gave her English Rose pale skin with pinkish cheeks and a bit of highlight above them, a matte pink berry mouth — a combo of rose and coffee coloured lipsticks for fall and a shiny liquid eye dotted with rose, brown and gold, and lots of lashes, top and bottom. Very, very girl — no boys allowed here.
BREAKDOWN | Studio Fix Fluid was applied to the face. Using Brush 116, Matte Bronze was brushed lightly for a soft contouring and hint of colour. MAC Blackground Paint Pot was applied in the crease and pulled out in a straight line to extend the shape of the eye. Blackground Paint Pot was also blended out on the top lash line. Dark Brown Cream Colour Base was applied to the center of the lid, smudged into the Blackground Paint Pot with Brush 242. The inner corners of the eyes were highlighted with Silverfog Pigment with Brush 239, as well as layered lightly on the lid. Smolder Eye Pencil was applied to the bottom lash line and smudged with Brush 242. Top lashes were coated with Loud Lash Mascara. Browset Clear was used to comb the brows upward. MAC PRO Lip Erase was applied to the lips, followed by Lip Conditioner for a light, nude lip.
“It’s a smoky eye. She’s a 70s woman playing poker,” says Charlotte Tilbury.
How do you choose what lip color to wear? Do you pair certain colors with certain other colors? How do you know what lipstick and gloss to combine? What advice do you have for the lip-pairing-troubled?
How many beauty products do you use per day? Count up the products that you use nearly everyday and come back and tell us how many you ended up with!
For me, since I don’t actually wear full makeup more than two or three days a week, I will go with my off-day total, which is five (morning cream, foundation [sometimes], cleanser, night cream, lip balm).
BADGLEY MISCHKA | Tom Pecheux designs the look that focuses on a multi-layered colored eye that goes from brow to lid. It goes from burgundy to brown to golden bronze with golden pigment just above the pupils. In fact, it was a rose pink, a new MAC pigment for fall, nameless thus far. “Then I put a bit of green inthe corners of the eye — just for fun!” he added. Lips were beige and glossy, rather late seventies a la Lauren Hutton.
Look Breakdown | MAC Select Moisturecover was worked into the skin to help hydrate the skin, followed by a dust of Invisible Set Powder to create a soft, matte finish. Salsa Rose and Devil Powder Blushes were brushed high on the cheek bones with MAC Brush 116. MAC Tarnish Eye Kohl and Chocolate Brown Pigment were mixed and applied with Brush 275 onto lid in an almond shape. Copper Pigment and Reflects Gold was layered on top to add a touch of shimmer. MAC Newly Minted Eye Shadow was patted into the inner corner of the eye, followed by Mystery Eye Shadow dusted over the lids to finish the look. Lashes were coated with Zoom Black Mascara. MAC Wildly Lush Plushglass was applied to the lips.
“Mixture of texture and style – colourful, rich, young and playful,” says Tom Pecheux.
MONIQUE LHUILLIER | Val Garland created a look with a full-court, all-color eye socket using a pigment in a heavy grey blue that melded into inky blue, purple, and burgundy. She described it as, “Quite reflective” and “quite liquidy.” The rest of the face was neutral bare, with a sheer vino lip.
Look Breakdown | MAC Face and Body Foundation was used to prep the skin, followed by Bamboo Créme Colour base brushed with MAC Brush 188 to lightly shade the cheeks. MAC Smolder Eye Pencil was applied to bottom lash line, as well as inside the water line of the eye. Indigo Eye Pencil was used as a base on the inner and outer corners of the lid, blended up from lash line to brow. Using 239 and 224 Brushes, Blue Pigment was layered on top. MAC Plumed Violet Créme Colour Base was applied to the centre of lid with Brush 272, followed by Violet Pigment layered on top with a 239 Brush. Reflects Blue Pigment was applied to the inner and outer corners of the lid to intensify the colour. Night Moth Eye Pencil was applied to the bottom lash line and blended out with a 239 Brush. Beauty Marked Eye Shadow was pressed into the Night Moth with a 239 Brush to define the eye. MAC Night Moth Lip Pencil was applied to the lips and blended with Brush 318.
“Marbleizing of three colours – inky blue, rich burgundy and intense purple. Dramatic, but poetic at the same time. The look is a Lolita Lempika painting mixed with a Deborah Turbeville photograph,” says Val Garland.
RODARTE | Kate and Laura Mulleavy’s clothes are froty couture-like confections–completed concotions that are always colorful and textural wonderlands. James Kaliardos chose a frosted winter lip, using sheer layers of matte and sheen throughout the plains of the face, working with light and texture.
Look Breakdown | Skin was paled down with an application of Face and Body Foundation, followed by White Paintstick. Luna Créme Colour Base was applied with fingers to the bridge of the nose and cupids bow. Paintsticks in White and Pink Vivid were applied to the lid, followed by Underage Lipgloss. Fuchsia Pigment was brushed onto the outer corners of the eye and under the lower lash line with Brush 210. Lips were prepped with an application of PRO Lip Erase, then Desire Lipstick was brushed onto the lips.
“Japanese horror movies; ethereal, dark and dreamy – transparent, pale skin, hardcore vamp lips, accentuated cheeks and delicate eyes,” says James Kaliardos.
J. MENDEL | Mendel’s girls are chic, svelte, smart, social, and rich. Gucci Westman kept their faces matte and clean with a caramel cheek and lip tones with bronze pigment on the lids with just a touch of gray.
Look Breakdown | Makeup artist Gucci Westman used MAC Cosmetics to create a metallic eye to represent the richness of Mendel’s clothes, as well as the legendary site of the show. “I am very inspired by the Plaza. It is fitting for Gilles [Mendel]‘s clothes, with the rich textures in the environment and its gold gilding. Gilles has a lot of brown and gold in the collection and I wanted to extend that into the makeup.” Westman covered lids with a smoky, metallic brown shade and lined eyes with a gold liquid liner. Natural skin and lips kept the focus on eyes, which were without mascara. (Source: WWD)
BEHNAZ SARAFPOUR | With Gucci Westman at the helm, she did two-thirds of the models in a gray eye from lid to brow, with the other third in either lime green or fuchsia purple from lid to lash. She even used the respective colors to “flock” the lashes instead of contrastign with dark mascara.
Look Breakdown | MAC Select Moistureblend Foundation was blended with a 217 Brush where needed. MAC Canary Yellow and Bitter Eye Shadows were applied with a 252 Brush from lash line to just above the crease and also along the lower lash line. The eye shadows were blended in a round shape, around the eye with a 224 Brush. MAC Myth Lipstick was applied with fingers.
“It’s a fun season to be bold and get your rocks off as an artist. It’s all about enjoying colour, textures and freedom of expression,” says Gucci Westman.
Check out more beauty shots from the shows! Continue reading →
THAKOON | Makeup artist Gucci Westman and designer Thakoon Panichgul partnered for the fourth season to create yet another inspired look for Fashion Week. Gucci wanted makeup that was sweet but tough to complement Thakoon’s extensive color palette of greens, burgundies, yellows and fuchsias and interesting layers and patterns.
Gucci focused on a beautiful wash of color that when seen on the runway blossomed on the models’ faces. “As a makeup artist, I love the look of artists’ pastels,” says Gucci. Using a mixture of pink and lilac blushes, Gucci created a soft cheek. Placement of the color was important as she didn’t want a traditional blush look. After applying the color higher up than normal, just below the eye, Gucci made sure the blush was not too severe or too low on the face by blending with a foundation brush.
Working her way up to the eyes, Gucci layered and blended deep gray light gray, white and soft purple shadows on the lids. Gucci curled the lashes and lightly dusted them with powder. Everything about the look was matte except the lips. Combining cream blushes and a boysenberry gloss from the Fall 2008 collection, “Maharani Jewels,” Gucci created a mauvey lip stain with a bit of sheen, which perfectly complemented the pale palette of the face.
Look Breakdown | [By Lancome] Chic Cassis and Retro Rouge Color Design Cream blushes, Maharani Jewels Juicy Tubes (Fall 2008), Statuesque and Ciel du Soir Color Design Shadows, Foundation Brush #2