MAC Cosmetics artists describe the looks they created for specific designers from days 4, 5, and 6 of New York Fashion Week 2007 (Spring/Summer 2008).Â For specific look break downs and more photos, check out this post from yesterday: New York Fashion Week | MAC Cosmetics Look Breakdowns
The Chaiken woman has come into some cash. “She’s a jet setting expensive woman who gets off the red eye looking great,” said makeup artist Polly Osmond. “But that’s because she’s been in first class! Call the look “beachy done” – and we’re seeing it all over the NY spring runways; cheeks highlighted and accented on the brow bone. Beigey lips (the famous Spice lip pencil filled in with Subculture lip pencil and 2N lipglass) with a tint of pink and white eye pencil inside the eyes. Remember the smoky eye? This season, it’s on hiatus. Wide eyed is where it’s at.
How many times do we have to hear the name “Lauren Hutton” before we smell a trend? For J. Mendel, Charlotte Tilbury evoked that seventies glamazon – and a Jerry Hall feeling – in the makeup. Last spring’s words like “fresh” and “pretty” have been replaced by “diva” and “expensive and glamorous.” On top of the glowing skin and the ubiquitous 4N lipstick (paled down by concealer), Tilbury bronzed out the models’ eyes with MAC Paint Pots, placing a copper shade right over the eyeball. You could almost hear Roxy Music playing in the background. “More than this…”
Okay, so perhaps the predicted death of colour for the Spring ’08 makeup palette was just tiny bit premature. But then Baby Phat always breaks all the rules. For Kimora Lee Simmons’ collection, makeup artist Lisa Butler used fuchsia like Giorgio Armani uses greige. She blended strong fuchsia blush for both the cheeks and eyes, but applied them in a light dust of powder. But when it came to the lips, she didn’t hold back – blending three different red fuchsias together to get the perfect dark pink pout.
Designer Tia Cibani’s spring influence was African safari so makeup artist Greg Wencel kept the faces slightly moist (“from humidity”) and put emphasis on tanned cheeks and matte terra cotta mouths. “Think African clay paintings,” he explained. The eyes were opened up by a trend we’re starting to see everywhere for spring: a white line painted close to the lash line. So forget that fifties cat eye – and stat thinking; white eyeliner!
Keep reading to see what trends were created on Day 5 and Day 6 at spectacular Fashion Week!
To Pecheux took Catherine Malandrino’s theme; a petal palette – and ran with it. “Think of the sunrise in St. Tropez,” he said. “But think of it rising over a beautiful old French hotel, where all the artists live and work.”In others, flowery – but arty flower. Kind of Renoir. The rose colours went on the cheeks. The jasmine, lavenders, and lilacs went on the eyes. And the mouths were a pouty purplish pink reminiscent of peony. Think Flower Power a la Francais.
The theme of Madame Pompadour was taken pretty seriously at Ruffian. The models’ hair was in literal pompadours – and Polly Osmond applied white powder base to the outlining areas of their faces, reminiscent of powdered wigs. Then she painted on China Doll-like pink cheeks for a regal feeling and matched them with a soft pink mouth. On the eyelids – only gloss. The effect? Marie Antoinette goes clubbing.
Okay, we already know that Spring ’08 is about channeling the casual jet set chic of Lauren Hutton. But at Rosa Cha, Gordon Espinet was going for the looks for all the great cover girls of the seventies. “Think Francesco Scaullo,” he said. To Espinet, seventies makeup implies, “No structure in the makeup – but lots of strong textures.” He made the skin shine with gold and bronze highlighters applied to the cheeks, eyes, and lips. “It’s about taking beach style,” he said of the famous bathing suit line, “and making it fashion.”
We’ve seen a hint of fluorescence slipping into makeup for Spring ’08 – in the form of the matte electric orange mouth. Charlotte Tilbury invoked it to balance the palette in Alice Temperley’s frocks: we saw a lot of whites, neutrals – and orange. Tilbury used a combo of three MAC tools to create the look: a MAC Orange Lip Pencil, the Lipstick Morange, and Lipmix. The mouth was counterbalanced by a large “C” shape of gloss painted in a semi circle from the brow and eye bone over the cheekbone. “I think of it was 1930’s makeup that’s mixed with rave culture,” Tilbury noted.
Face — Face and Body Foundation was applied to even out skin discolorations and Blot Powder was dusted where necessary. Mâˆ™Aâˆ™C Gloss was applied on the nose, cheekbones and temple for an all-over, sexy look.Face and Body Foundation was applied to even out skin discolorations and Blot Powder was dusted where necessary. Mâˆ™Aâˆ™C Gloss was applied on the nose, cheekbones and temple…
Eyes — For a futuristic, wet looking glow, Mâˆ™Aâˆ™C Gloss was applied all over lids. Lashes were curled and coated with Plush Lash Mascara in Black.
Lips — Mâˆ™Aâˆ™C Pro Orange Lip Mix was blended with Mâˆ™Aâˆ™C Pro Creme Color Base in Flaming Fuschia, defined with Lip Pencil in Redd and topped with Morange Lipstick for an extra punch of color.
James Kaliardos went eye to eye with Rodarte’s punk ballerina look for spring by creating an unusual and highly artistic eye makeup design: back lines underneath and above the eye that met in an exaggerated cat formation somewhere out in the nether brow bone area. The lids were dabbed with turquoise or cobalt, reflecting Rodarte’s major colour theme.An art statement or a new way to apply eyeliner that’s post modern and pushes the makeup envelope? At Rodarte, it was actually both. The rest of the face was dewy, natural, and young – as were those Belle du Jour ponytails dipped in coloured ink.
Remember – if you’re old enough – Scavullo’s photos of Patti Hansen in the seventies? Her gold hair, large, teased and waved, on the beach in a printed jersey caftan, with a beautiful pink pout and matching cheeks … the eye took a major backseat in Charlotte Tilbury’s DKNY spring face. The lips and cheeks matched like a purse and pumps, in a sheer shade lilac pink – while the eyes were naked and shiny. Anyway, who needs eye makeup when they’re wearing a caftan?
James Kaliardos did perhaps the most minimalist makeup of the week at Richard Chai. There wasn’t even any foundation – just concealer where needed. The eyes were dotted with Soft Ochre paint pot, touched with a little Nanogold eye shadow on the top of the lid. Coppering eye shadow was dusted on the crease and lightly under the eye. And Beurre cremestick liner adorned the mouth radiating from the center out – so there were no harsh lines. It was practically a nudist camp for the face.
Face — To keep skin clean and minimal, MAC Select Moisture Cover was applied where needed. Loose Blot Powder was dusted over t-zone to complete a soft, clean look.
Eyes — MAC Paint in Bare Canvas was applied to lid as a base. All That Glitters Eye Shadow was then layered over with a MAC #239 Brush to give the eye an opalescent, golden goddess look. Copper Plate Eye Shadow was added to crease and underneath the lower lash line to create a soft, deep ethereal eye. Lashes were liberally curled with a MAC Eye Lash Curler MAC Paint in Bare Canvas was applied to lid as a base. All That Glitters Eye Shadow was then layered over with a MAC #239 Brush to give the eye an opalescent, gold…
Lips — MAC Lip Conditioner and Lip Erase in Dim were applied to lip as a base and Cream Stick Lip Liner in Buerre was buffed on to create a natural stain.
If Grace Kelly went to the beach – which she probably never did – but IF he did, she’d be this season’s Tuleh girl. As envisioned by Polly Osmond, she looks beautiful – but does not appear to have a lot of makeup on – but she does. Osmond worked with bronze powder to highlight and low light areas of the face and cheekbones – using her favourite color, MAC’s Taupe. In the crease of the eyes, she applied a pinkish gold eye shadow called Hey – and then used the all important concealer on the lips, covered with Subculture lip pencil and 2N lipglass. Are you getting a hint of the trends now? 2N, Subculture, Taupe, and a white eye pencil inside the eyes have turned up at more than half the NY shows.
Mariel Barrera kept it chic and simple at Berardi, using safari warm hues on the lips and cheeks, and only a pale copper on the eyes. But the effect was terra cotta meets red earth; a bronzed goddess who goes Big Game Hunting with Peter Beard.