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New York Fashion Week 2007 (Spring 2008) – MAC Backstage Day 8


Zac Posen is always about utter sophistication – and the look James Kaliardos created for Posen’s wheat and gold themed clothes was simple, urban, refined – and utterly unique. Using bronze, gold and taupe eye shadow powders, he created a crescent in the eye crease that had width and drama – and dragged all the way out into the browbone area. A little bit of taupe contoured the face, and pearl was dotted on top – and the lip was left totally nude. Powder was actually used to nude out the mouth. It was a quiet look – that packed a lot of power.

Makeup freaks wait all year to see what kind of wonders super makeup artist Kabuki will whip up out his vast imagination for Heatherette. For Spring/Summer, he came up with two looks; one was a black metallic sparkly eye socket with a heavy line of winged white eyeliner over it, with shine on the cheeks and brow bone – the other a very powdered white face with juicy orange lips and eye lashes so long they nearly swept the ceiling – all hand applied over hours. Realism is not what it’s about at Heatherette – fantasy is.

“It’s a 1930’s contour aerodynamic face,” is how James Kaliardos described his look for the Monique Lhullier Spring/Summer show. Using MAC Taupe
Powder Blush as a facial contour and on the temples, he created a field of high and low lights. Patina Eye Shadow was placed on the eye sockets and Pearl Cream Colour Base was dotted on the inner corners of the eyes. The focus; a silvery beige pigment powder whipped up especially for the show that swooped out from the brow bone out almost to the ears. A pale peach lipgloss was applied to finish the look. But not before the all-important concealer was dotted on lips. There was not one makeup artist was didn’t mention concealer on the mouth all week.

Sure, there’s been a lot of contouring this week – but generally the tanned bronzed goddess of Spring/Summers of yesteryear has been replaced by paler dewier skin – and in the case of Carmen Marc Valvo, it’s a whiter shade of pale. Tom Pecheux gave the girls nearly pearlescent faces, and the major focus was a sparkly white shine on the eyes and cheekbones. They practically glistened. On top of that, a doll-like (because colour on a white face looks doll-like) peach cheek and pale peach lips. We’ve heard the words “Madame Pompadour” this week, and that’s clearly the influence Carmen Marc Valvo was going for.

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New York Fashion Week 2007 (Spring 2008) – MAC Backstage Day 7


Tom Pecheux was on a seventies supermodel tip  but it wasn’t Lauren Hutton. “I have in mind the young Jerry Hall,” he described. When she was starting out, she had a babyface but the sophistication of a woman. That manifested in the idea of playing with colour, just as Pecheux did he does bright Parrot blue shadow on the eyelids, then covered the creases with a shimmery dark grey to give what he called true sophistication. NEW YORK FASHION WEEK | BACKSTAGE WITH MACThere was an obvious lack of cheek colour, and the mouths were dabbed with N3 lipstick a putty-ish pink nude. The effect? A grown up in the eyes and a tender young girl in the mouth.

Face — MAC Face and Body Foundation was applied all over the face. Blot Loose Powder was then dusted over skin with Brush # 136.

Eyes — Sea Me, a blue-green M.A.C Shadestick was applied all over the lid and under the bottom lash line. Knight Divine Eye Shadow was then applied densely in the crease and faded out toward the brow for a subtly colorful eye. MAC Pro Lash in black was used for both top and bottom lashes.

Lips — For a neutral mouth, Hug Me Lipstick was patted gently onto the lips.

The Philosophy show was a study in dark minimalism at least in the faces. While the clothes were perky stripes and checks, the face by Charlotte Tilbury was bare (except for concealer) but for soft and charcoal grey crescents painted under the eye. So instead of the south of France lushness we’ve been seeing all week, it was a dose of Italian modernity.

To complete Nanette Lepore’s inspiration of Picasso’ Mistresses, Polly Osmond channeled, well  the look of a Picasso. So of course she did a heavy brow, clumpy spiky lashes achieved with rows of MAC lashes on the top and individuals on the bottom. A peachy cheek was followed by a juicy orange lip of Morange lipstick with lip conditioner added. It was absolutely Andalusian. Think Guernica hanging in the Prado.

Face — The face was primed with Face and Body Foundation to even out the skin. Select Moisture Cover was applied under the eyes and evenly over skin. Pleasureful and Lady Blushcremes were applied gently the cheeks.
Eyes — When Daryl Kerrigan says her collection is about body-conscious silhouettes, she’s not referring to bustier tops and form-fitting frocks. It’s about how everything feels on your body,  she explained. In other words, her clothes are easy with a capital E: T-shirt dresses, drawstring vests, relaxed shorts and trousers, all to typical louche effect. Despite the sporty undercurrent pulsing throughout, Kerrigan managed to work in plenty of that rocker reference, from studs embellishing necklines, hems and sleeves to belt-like straps that crisscrossed low on the hips. When Daryl Kerrigan says her collection is about body-conscious silhouettes, she’s not referring to bustier tops and form-fitting frocks. It’s about how everything feel…

Lips — MAC Morange Lipstick was mixed with Orange Dare Lipstick and applied with a #228 brush. Gloss Texture was layered on top for a soft, juicy look.

The Carolina woman is always very chic, but Diane Kendal made her eve a tad chicer, with a sophisticated minimalist face. The brows were filled in naturally, the eyes were glossed and shiny. But it was the mouth that was the standout. To go with Carolina’s fruity palette, the lips were dabbed with orange lipstick, then double dabbed with red in the centers of their mouths. Then a light wash of fuchsia was applied all over in a filmy layer the effect was a tangerine berry colour that was more like a Sex and the City cocktail colour, or the hue of a faded sunset, than a lipstick shade.

Face – Moisture Cover Concealer was applied to face with #242 Brush and set with Loose Blot Powder to create a velvety texture. MAC Iridescent Powder in Silver Dusk was sprinkled onto the bridge of the nose and cheek bones for a highlight.

Eyes – MAC Retrospeck Eye Shadow was applied to the entire lid. Boot Liquid Eye Liner was lightly wedged in between lashes for a thick lash line and Plush Lash Mascara in Black was used to coat top lashes. MAC Retrospeck Eye Shadow was applied to the entire lid.

Lips – Orange Lip Mix was feathered onto lip with a Concealer Brush. MAC Pro Lipstick in Full Fuchsia and Mattene Lipstick in Classic Dame were then mixed and layered onto the center of the lip for an intense, burst of color. For a touch of shine, Clear Lip Glass was patted onto the lips.

New York Fashion Week 2007 (Spring 2008) – MAC Backstage Day 4, 5, 6

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). 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.

PORTS 1961
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!

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Backstage with MAC Cosmetics at San Francisco Fashion Week!


Louise Zizzo created this retro-glam look that puts an emphasis on a large, natural brow (which she totally fauxed on some models by using mascara or Blacktrack fluidline) paired with a plump red lip using Mahogany lip liner nearly all over the lips and then Russian Red lipstick on top.

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