Make-up: RED LIPS
How do you reinvent a classic beauty cornerstone like the red lip? Makeup artists dreamt up a multitude of ways: modifying the tone, playing with texture or dialing down the intensity. At Givenchy, designer Riccardo Tisci wanted a red lip but one that was “decadent, modern embellished,” says Pat McGrath, who delivered by crushing glitter into lipstick. In line with the film noir inspiration at Donna Karan, Charlotte Tilbury layered on pencil and lipstick and topped it with gloss to create a maraschino-like mouth. Meanwhile, in Milan, Domenica Dolce and Stefano Gabbana had the heritage of the brands in their minds, so to honour their Sicilian sartorial inspiration, they envisioned “a new Sophia Loren,” says McGrath. She patter on three shades of lipstick from the designers’ cosmetic line with her fingers and blotted, “so that the mouths looked a little bit worn and not perfect.”
Another beauty classic, the black-lined eye was reinterpreted for fall, and its boundaries were pushed far beyond most editors’ imagination. Case in point: Peter Philips mimicked a pattern on the boots in the Chanel collecton, which were inspired by a polar bear’s nose. Using cream liner, he applied tiny flecks in a splotchy pattern across the models’ lids and past the outer corners. At Zac Posen, Stephane Marais smudged liner with a fine brush both above and below the eye to evoke “a young woman who’s gone out, and a couple of hours later, the makeup is melting.” Marais felt this migratory effect held its own charm. “There’s something beautiful about it, because it has lived.” Meanwhile, Val Garland forced archetypal Jean Shrimpton-inspired ’60s liner out of its box at Giambattista Valli. She drew a traditional winged flourish in brown cream liner on the upper lid and outlined it in black, then added a thin, white line below the eye-modernized mod at its best.
The words “blown out” no longer apply only to hair—they also describe the way shadow was applied this season. Eyes were encircled in a swoosh of a single, subtle shade like putty, taupe or dove grey. Pat McGrath calls this approach “minimalism but with maximum care.” At Nina Ricci, she used a “muted tone” on the lids to complement the ’60s-influenced hair, while at Valentino, she translated the theme of “dangerous romanticism” using mushroom shadow, which she applied from crease all the way up to brow. “It made the girls look really strong, but at the same time ultra-beautiful.” The sophisticated ’70s Arts and Crafts influence at Anna Sui inspired McGrath to surround the entire eye in a wash of brown. Using these tones in a diffused way “makes the eyes look really interesting—more sexy, but in a nude way,” she said.
STRAIGHT AND STRUCTURED
Texture yand movement in long and loose hair are runway staples. This season, the look dominated but it had definite structure, style and focus. “For a few seasons now, we have seen some kind of form or shape in hair, with lots of product,” says Guido Palau, Redken creative consultant and architect of the sexy, free-flowing structured waves at Jean Paul Gaultier and Roberto Cavalli. “I think women want to feel like themselves again, without the forced effort.” Labels like Blumarine showed it with height and lift at the crown, while at Diesel Black Gold and Salvatore Ferragamo, locks looked as au naturel as styled hair can possibly be. Pantene global ambassador and runway-and-celebrity hairstylist Sam McKnight referred to the looks he created for Balmain and Jaeger as “grunge to groomed.” Not to be confused with bedhead waves, this look requires time and the use of scrunching products, lightweight hairspray, a blow-dryer and even a curling iron. Part hair down the middle, then tease, twist and curl it, and brush it into place.
THE MESSY BUN
Worn predominantly at the nape of the neck, buns made a fashionable resurgence this fall at Celine, Dolce & Gabbana, Balenciaga, Valentino and Donna Karan. Casual and wispy, messy and imperfect, twisted and twirled, and sometimes little more than a ponytail tucked up and under-each version exuded a romantic feeling. “I think a casual knot at the nape of the neck is a little more sophisticated and refined,” says Redken creative consultant Guido Palau of the version he created for Alberta Ferretti. “We saw a lot of uptown references this season too; a lot of the looks were very womanly, and this nods to that. ” It’s also possibly the simplest Fall 2010 runway hairstyle to recreate. Eric Del Monaco, official hair artist and colourist for L’Oréal Paris, calls the nape-of-the-neck bun “elegant” and “timeless,” and “a favourite among women.” It’s versatile and leaves the face unobstructed, making it the perfect complement to the season’s dominant red lip and decorative black eyeliner.
ALL PUFFED UP
The sky-high pompadour updo of seasons past has clearly paved the way for fall’s inflated Lady Gaga-esque styles. “She’s relevant but not in an ordinary, everyday-wear way,” says Pantene global ambassador and runway-and-celebrity hairstylist Sam McKnight—creator of Chanel’s glamourous pouf-ball updo—of the platinum-blonde, often wig-wearing icon, with whom he works frequently. “She’s opened so many boundaries, and people are actually thinking of their hair more.” This season, there’s a lot to think about, be it the sophisticated, supersized, balloon-like bun at Prada or the sleek, plastic-looking, bell-shaped style at Loewe. “At Loewe, the shape was very classic, very ’40s and very womanly. To bring this shape into today and give it a real twist, we sprayed it with super-strength finishing spray—so much so that the shape became like plastic. This turned a very classic shape into something unusual and modern,” says Redken creative consultant Guido Palau who crafted the bun at Prada. The overall message for hair: “Women shouldn’t be conforming to one specific idea,” says Palau. Amen.