Looking at the makeup on the models walking the autumn/winter runways, you could have been forgiven for thinking that you were seeing a show from the wrong season. Pops of blue, flashes of orange and pink, dustings of yellow, green and lilac… the painterly palettes chosen by makeup artists backstage at shows such as Dries Van Noten, Gucci, Maison Margiela and Missoni were decidedly springlike. And so, too, was their application, which was as important as the spectrum of colour itself. Sheer watercolour washes gave the look a very accessible appeal.
“Transparency automatically makes colour more beautifying on the face,” explains Terry Barber, director of makeup artistry for MAC Cosmetics. “It takes away the fear of looking garish or retro, and it’s those fresh, plump washes of colour that allow you to be more playful.” Be it a halo around the eye, a new or unusual experimentation in lip colour, or a gentle tonal clash on both eyes and lips, using products in this way gives an end result that is much softer – and this is, according to Barber, the easiest and most flattering in-road to exploring technicolour choices. “Veils of colour that bring out the features rather than enclose them are the unsung heroes of makeup,” he says.
So what to make of this more romantic approach? “It’s a good time to break the seasonal rules and not resort to the classic earthiness of autumnal beauty,” says Barber. “Instead celebrate the colours of optimism and freshness. Can we say spring/summer is the new autumn/winter?” It’s a resounding yes.
From Dior and Chromat to Chloé and Valentino, winged eyeliner dominated the SS21 shows, in bright colours, graphic lines, and geometric shapes. Today, the feline-inspired beauty go-to is highly individualistic and takes many forms — but where did it all start?
The cat-eye flick is undoubtedly one of the most powerful makeup statements of all time. The sultry, feline-inspired beauty go-to has been made a style signature by many, from the queens of ancient Egypt to its modern-day incarnations at the SS21 shows of Dior, Valentino, and Chloé.
From cultural traditions to famous interpretations worn by screen legends Sophia Loren, Ava Gardner and Elizabeth Taylor, Vogue charts the fascinating history of the iconic winged-eyeliner look.
The origins of the cat-eye flick
The cat-eye is one of the oldest makeup tricks in the world, dating back to ancient Egypt (from 3100 BC to 332 BC). The look was said to have been made popular by the likes of Nefertiti and later, Cleopatra, who used minerals such as copper ore and malachite to create either thick lines etched from the eye upwards to the hairline, or little flicks that stretched out parallel to the brow. The style was also popular among men, as exemplified by Pharaoh Seti I.
According to beauty historian and Makeup Museum co-founder Doreen Bloch, kohl and minerals were worn around the eyes for health reasons. “Kohl had immunological and antibacterial properties that supported eye health and minimised glare from the sun,” she tells Vogue.“So, ancient Egyptians, especially the ruling class, would use this cosmetic for health benefits, and lined their eyes accordingly.” Samples of makeup from ancient Egypt on display at the Louvre were found to contain nitric oxide, which is said to help revitalise the immune system.
As well as for health reasons, women wore a cat-eye as a way of warding off evil spirits. “Women used kohl liner for centuries as protection against the evil eye,” says Makeup Museum co-founder and celebrity makeup artist Rachel Goodwin. “But, like most things, the practice evolved into a way of signifying social status, eventually becoming the ultimate sign of beauty for both women and men of all ranks.”
Though the idea of the cat eye is believed to have its roots in ancient Egypt, there were also both subtle and extreme forms seen in men and women in ancient Asia and the Middle East, dating back to 3000 BC. In the latter, for example, crushed-up kohl (made from lead sulfide and other minerals mixed with water) was used around the eyes as a means of protection from the harsh desert climate.
A re-emergence in the ’20s
In the west, the story of the cat-eye as we know it began in the ’20s, with inimitable French entertainer Josephine Baker wearing the style during her intoxicating dance performances. Elsewhere, actresses Louise Brooks and Greta Nissen wore it for their red-carpet appearances, teamed with high-volume lashes and skinny brows.
“The discoveries of items from ancient Egypt [in the ’10s and ’20s], such as the bust of Queen Nefertiti, put styles and looks from a bygone era into the public consciousness,” explains Bloch. “Movies such as 1917’s Cleopatra,starring Theda Bara, showed the cat-eye worn by a modern-day superstar. As cosmetics became more acceptable for use by mainstream women, eyeliner became more prevalent.”
The look brought about a sense of theatre, mystery, and exoticism, which tied in with the rebellious flapper fashion of the time, as women were shedding their restrictive garments and cutting their hair short. During this period, soot and Vaseline were mixed together to create the eyeliner.
Recreated by mid-century icons
The cat-eye was the style du jour during the ’50s and ’60s, with women making it part of their everyday style. Less dramatic than that of the ’20s, pin-up icons such as Hedy Lamarr would wear subtle, skinny flicks of winged liner both on-screen and off.
The ’50s saw the mass production and commercialisation of makeup, and the invention of liquid eyeliner. “That innovation, plus movie makeup artists Max Factor, Ben Nye and the Westmores using the style on Marilyn Monroe, Ava Gardner, and Audrey Hepburn, helped define a whole new era in beauty,” says Goodwin.
In Italy, some of the biggest movie stars of the ’60s, such as Sophia Loren, captivated audiences with their own version: swiped-on inky black, with heavy lashes and dark brown or blue shadow worn to the crease. “There’s a vintage ’50s advertisement from beauty brand Borghese, which speaks to Italian women about ‘a new eye look called ‘cat’s eye’,” explains Bloch.
Meanwhile, British model Twiggy gave the look a space-age twist with her graphic lines and feathered lower lashes. There was also Elizabeth Taylor, whose turn as Cleopatra in Hollywood’s 1963 epic only reinforced its overwhelming popularity. And, finally, model Pattie Boyd, who in 1965 wrote a beauty column for US magazine 16, on how to perfect the subtle cat-eye flick.
Sweeping through music and youth culture
The cat-eye took a turn in the ’70s and ’80s as youth culture exploded, with punks, goths, grunge lovers, and metal fans taking the look and making it their own. Blondie’s lead singer Debbie Harry wore a smudgy, messy cat-eye in the ’80s, and her fans followed suit, as did fellow rockstar Pat Benatar.
Style pioneers Grace Jones and David Bowie played with feline shapes and mixed new colours with bolder lashings of blush to amp it up even more. Bowie was known to use Indian kohl around his eyes, often lining the lashes and sweeping up slightly. “I always had a repulsive sort of need to be something more than human,” he once told Rolling Stone of his makeup application.
Elsewhere, Siouxsie Sioux experimented with sharp lines and graphic shapes, as did Robert Smith of The Cure. Egyptian actress Soad Hosny was also fond of a feline flick, as was China-born Singaporean star Gong Li, especially in the early days of her career in the ’80s and ’90s.
By the time the 2000s rolled around, the cat-eye was divided into two camps. Amy Winehouse took the classic look and blew up its proportions with a heavy-handed wing that extended past the eyebrow. Other celebs, such as Lauren Conrad on US reality TV show Laguna Beach, went for a much more subtle version.
“The early 2000s became a time in the world where there was suddenly a lot of nostalgia for the Golden Age of Hollywood,” says Goodwin. “Women such as Gwen Stefani and Dita Von Teese began paying homage to their beauty icons. The cat-eye was moved forward and reframed through a reverent and rebellious lens.”
Iterations on the runway and social media
Today, makeup artists such as Pat McGrath, Fatima Thomas, and Isamaya Ffrench are refining the shape for a modern generation. At Chloé spring/summer 2021, McGrath lined the models’ eyes in a smoky, sultry, elongated cat eye, which extended from the bottom waterline. Meanwhile, at Chromat, Thomas did duochrome neon in cobalt blue and highlighter green.
For Dior, Peter Philips executed a thick yet minimal look that wrapped around the entire eye. At Andreas Kronthaler for Vivienne Westwood, Ffrench used exaggerated white-and-black pigment and drew ’80s-inspired winged lines towards the temples. Makeup artists are taking the humble cat-eye to new heights, making it both customisable and adaptable to the prevailing mood of whoever is wearing it.
On social media, beauty Instagrammers such as Juliana Horner create works of art based on the simple cat-eye, as does directional makeup artist Rowi Singh. A search for ‘cat-eye’ on Instagram gets 2.6m results, proof of its popularity, and you’ll see the classic shape covered in rhinestones, red and orange flames, cloud motifs, chunks of glitter, and even flower petals.
“The biggest evolution of the cat eye is that unlike past eras where it symbolised social status or conformity, it now symbolises the total opposite,” says Goodwin. “The cat-eye of today is much more versatile, and it moves with ease between classic beauty applications and subculture with absolutely no irony.”
Though tough to recreate, the looks at Haider Ackermann’s otherworldly show were impossible to forget. It saw bleached brows and gravity-defying hair sculptures, courtesy of make-up artist Lynsey Alexander and hairstylist Duffy. Drama reigned at Rodarte, Anna Sui, Fendi and Roksanda, too, where lips were painted in gothic deep-plum hues. Lastly, at Moschino, the Marie Antoinette-inspired hair and make-up was more theatre than catwalk.
The foil to sleek, polished moments of glamour? Lived-in make-up. The look was led by Gucci and its entry into the make-up arena – Thomas de Kluyver, Gucci Beauty’s global make-up artist, mixed the label’s new mascara with water to create a smudged, tear-stained effect. This was co-ordinated with chipped nails – the height of high-school cool. Pucci and Max Mara also favoured worn-in eye make-up, with the models’ black liner and mascara looking as though they had slept in it and woken up just in time to stride down the catwalk. At Lanvin, the two-day-old, chunky-but-neat lashes took the edge off the otherwise sleek look. Do note, imperfect make-up isn’t as simple as it looks – utilising remnants of make-up from the day before might be an easier way to tap into the trend.
Let’s Go Retro
“Hitchcock heroines” and “18th-century-inspired hair” were just a couple of the beauty references uttered backstage at the autumn/winter 2020 shows. In Paris, at Miu Miu, hairstylist Guido Palau created styles in homage to the 1940s, using an “old-school way of achieving curls” that were shaped into waves and flipped to one side. There was a similar theme at Chloé, with Palau crafting everything from boyish updos to set waves. In London, at Erdem, Anthony Turner’s lacquered S-shaped finger waves were set low on the side of the head with a severe side parting, for a modern take on the look. Meanwhile, at Shrimps, hair recalled a young Diana, Princess of Wales. It’s retro, but now.
The Mane Event
With the creation of colourful roots (at last, a way to conceal grey regrowth in a joyous spirit) and the return of the ponytail, hair became the ultimate beauty accessory this season. Slicked-back looks populated the catwalk. At Erdem, Burberry, Christopher Kane and Givenchy, Guido Palau pulled hair into strict middle partings or combed and gelled it into place, leaving the hair to hang loose at the back. “I’ve complemented the amazing clothes with some soft hair textures,” he explained at Christopher Kane. Bright roots featured at Alexander McQueen and Balenciaga, where there was a nod to pop star Billie Eilish’s penchant for two-tone colour. Sam McKnight improvised with feathers to create the illusion of colour at Dries Van Noten. For a day-to-day hair trend, the humble ponytail took centre stage (see Carolina Herrera and Brock Collection) – perhaps the most mesmerising being McKnight’s half-up/half-down version, complete with a Chanel bow. Butter wouldn’t melt.
Winged eyeliner has had an overhaul. Yes, black remains a classic, but this season blues and metallics frequently featured, too. At Dior, Peter Philips, creative and image director of make-up, perfected a full-kohl look with thick outer-corner wings – it reminded us of Maria Grazia Chiuri’s own signature eyeliner, and was statement enough for the collection. Pat McGrath’s futuristic, cyber-esque take at Prada resulted in a block of metallic shadow that sat in and above the eye socket, extending out on either side, so as to expose a flash of molten colours. Whether you prefer a delicate flick, as seen at Missoni, or a more adventurous approach, such as Altuzarra’s, it was all about dressing the eyes for the runway.
The return of red lipstick has officially replaced the past few seasons’ run of natural hues, and it was paraded down the catwalks in a variety of textures, from matt to glossy to balm-like. At Carolina Herrera, make-up artist Lauren Parsons used the fashion house’s new lipsticks to reimagine “Spanish baroque beauty”. Punchy matt-red mouths were among the looks, with lips silhouetted in a crisp red outline on a canvas of clean skin. At Oscar de la Renta, Tom Pecheux was eager to turn the classic on its head: “It felt like the right time for red again, so we created a very precise lip that’s glossy,” he said (he went the extra mile and colour-matched the shade to a swatch of red fabric from the collection). Diane Kendal painted perfect rouge lips at Lanvin, Jason Wu and Proenza Schouler, and Pat McGrath returned to the red pout at Givenchy and Marc Jacobs, cementing the trend for the season.
As we dial back the chiselled contour in favour of a softer look, the runways inspired new ways of defining cheekbones. Subtle, flushed hues and bronze shading helped to create perfect skin. At Michael Kors, make-up artist Dick Page warmed cheeks with a creamy peach blush to give natural definition. At Tom Ford, the illusion of symmetry was created by playing with light and shade, and at Brandon Maxwell the make-up direction of “ultimately feminine” meant a blended cream to add warmth and highlight.
At Marni, there was extreme glitter application by Julien d’Ys, who painted over faces and hair. At Erdem, Lynsey Alexander created silver-foil strokes across the eye sockets to reflect the collection, entitled The Age of Silver. At Preen and Simone Rocha, broken-up textures in metallic colours abounded, while at Halpern, Giambattista Valli and Valentino, jewelled eye-halos and winged, crystal-encrusted crowns framed faces. It was a welcome touch of couture beauty creeping into the ready-to-wear runways.