When in doubt, keep it minimal. “Some of the trends I’m seeing for makeup both on the red carpet and on the runways are fresh makeup looks,” says celebrity makeup artist Vincent Oquendo. You can accomplish this either through investing in impeccable skin makeup, or keeping it minimal with easy skincare.
“The sunburn or [TikTok’s viral] W blush hack for one is something makeup artists have done for years to mimic a healthy glow, and is becoming popular with consumers now as well,” says celebrity makeup artist Kale Teter. Just swipe on some cream or powder blush–then add some more. And some more.
Making a statement has never been easier. By just adding a few stark lines with either a pencil or liquid eyeliner, you can become the coolest kid on the block in no time. Bonus points if you use a fun color like blue or pink to really make the look pop.
The song “Teenage Dirtbag” is still all over my TikTok, and a return to our Tumblr grunge era is long overdue. Channel season three Jenny Humphrey by layering on black eyeliner, then smoking it out with powder eyeshadows.
After years of forgoing lipstick altogether, it’s finally time to paint on your brightest lip. If it’s a long-wear formula, even better, but it’s back to traditional lipsticks this winter. Because nothing cuts through the cold quite like a bold lip.
Whether you were born with naturally fluffy lashes or you could use a little help in that department, this is one of the easiest looks to achieve this winter. Just grab a strong-hold gel, swipe up, and you’re done.
“I think we’re all kind of yearning for something a little playful and joyful,” says Teter. “It’s about having more fun now.” To achieve that joyous makeup look we’re all craving, lean into color. A single-toned, bright eyeshadow is an easy way to make a statement.
We’re still not over the Euphoria season finale–or the beauty looks. A statement color, glowing skin, and graphic eyeliner are not going out of style anytime soon. And don’t forget to add on your face gems–they’re a must-have (trust us).
Bleached eyebrows are the new breakup bangs, you heard it here first. And you don’t need to be an artist with a collection of vintage jewelry to pull it off. As long as you wear them with confidence, no one will bat an eye. The best part? The worse it looks, the better it looks.
Seeking simpler times? The ’60s are an endless source of style inspiration, and this winter, let’s commit to the cat-eye like never before. Instead of a subtle swipe, go bold with the liner. A Mia Farrow-inspired pixie cut would pair perfectly.
With a focus on the eyes this season, the beauty at the Giorgio Armani fall 2022 show in Milan on Sunday night complemented a collection full of plush velvets, reflective metallics and smoky hues. Statement eyes were paired with a sophisticated nude lip on the runway.
As per the brand’s Instagram page, Mr. Armani can be found “backstage before a fashion show overseeing every detail from the beauty to the runway,” so you can see his meticulous hand in every final touch. The show was staged in a small theatre, reminiscent of an intricate jewelry box, and models walked the runway in silence. The designer’s decision not to use any music in the show was a sign of respect in light of the unfolding tragedy in Ukraine.
To emulate the Armani look, try a smoky line of eyeshadow along the crease of the eye, applied using a small but dense smudge brush. That way, the eyeshadow pigment remains while giving you the freedom to draw your cut crease with the space to smudge out (or conceal) any mistakes. To soften the eyes and brighten the look, a matte white eyeshadow was used in the inner corners, giving an ethereal halo effect and adding even more dimension to the look.
A few individual eyelash extensions were applied on the outer corners of the eyes on a number of models to achieve the right amount of flutter and lift the eyes with minimal effort. Brows were filled and extended, but the focus was on the structured eyeshadow. Using Giorgio Armani’s Lip Power, each model wore their perfect nude. The pigmented yet satin finish of the lipstick left lips looking healthy and hydrated.
Meanwhile, models’ hair was styled in cornrows or combed back and saturated with product to create a cool high-shine wet look that perfectly complemented the dazzling metallics in the collection.
As a blanket of snow fell upon Bryant Park just outside, the Ulla Johnson runway supplied showgoers with a soothing respite at the New York Public Library. Inside the grand marble lobby, the winding runway was punctuated by towers of mimosas and dotted with abstract wood sculptures by Alma Allen, while the soulful sounds of singer PawPaw Rod and smokey aroma of Astier de Villatte incense wafted through the air.
Above this season’s slouchy mohair pullovers, psychedelic-print taffeta dresses, and lush cocoon coats, there was a feast of beauty details supplying Johnson’s signature bohemian romance with an unexpected edge. Hairstylist Bob Recine crafted a lineup of chic styles including sleek, fabric-wrapped low ponytails; choppy, asymmetrical bobs; and waist-grazing braids embellished with polished stone charms. Playing off the collection’s neutrals, nails were painted in Tenoverten’s Canal, a creamy nude in total harmony with Johnson’s warm, earthy world.
The most dramatic statement came by way of the eyes, with make-up artist Romy Soleimani administering sharp, graphic cat-eyes flicks characterised by a tiny dash of negative space along the lower lash line. “It’s a bit tough,” she explained while etching on the shape using Bobbi Brown’s carbon black Ink Liner Pen. “Everything Ulla does is soft and romantic, so I like to add a little bit of hardness.” But for some models, that was just the beginning.
“Monet-like, Impressionistic,” is how Soleimani described the soft-focus, two-tone “watercolour-y” treatments she proceeded to bestow on a few select gazes. She began by haphazardly tapping on a matte, pale greige pigment with a blending brush, before layering on finger-smudged swipes of metallic gold along the inner corners and brow bone. “I wanted them to feel not too colourful, not too earthy – more minimal and futuristic,” she said. The face was finished with fresh, healthy skin enhanced with a “high flush” on the upper cheekbones, blended with Luxe Matte Lipstick in pink-coral Bitten Peach and Crushed Lip Colour in cool pink Buff, each tying back to tones in the collection, and a dab of Extra Repair Eye Cream Intense on temples for a “natural sheen.”
While the prospect of painting on Impressionist-inspired eye make-up sounds intimidating, making like Monet is closer to child’s play than you think, stresses Soleimani. “It’s spontaneous,” she says, “like finger painting.” And just like that…this editor already has plans to embellish her next cat-eye with a dose of off-kilter colour and a gilded brow bone highlight.
Liquid liner and bold lip color may be tried and true staples of “going out” makeup, but allow us to offer up an inspired alternative, courtesy of makeup artist Pat McGrath: blush — and lots of it.
For Anna Sui’s Spring 2022 runway show, the backstage legend dreamed up a blush-on-blush look, sweeping pink pigment (Pat McGrath Labs Divine Blush in Electric Bloom and Lovestruck, to be specific) over models’ cheeks as well as their eyelids, blending it out into a hazy but vibrant halo. To liven things up (and to add her signature luminosity), McGrath dabbed metallic silver eye shadow (the “Sterling” shade from the Pat McGrath Labs Mothership IV: Decadence Palette) on the lids, keeping it concentrated at the very centers to exaggerate and highlight the eyes. She also placed a strategic “stamp” of silver at the inner corners, over the tear ducts, for more impact.
“[It’s about] transporting us to somewhere, not necessarily specific, but going to a place where we all want to be,” said McGrath in an interview backstage. “It’s really like an adorned face, but it’s still so soft and very pretty.”
While the ample use of pink, as well as the technique of pulling it up toward the temples, is certainly reminiscent of the “blush draping” trend we saw way back on the Spring 2017 runways, here it feels reimagined in a way that’s fresh, rather than ’80s or retro. Seeing it in person backstage — the way the silver pigment, cheekbone highlight and accompanying glimmery lip gloss caught the lights and dazzled in front of the cameras — this look is positively begging to be worn out for a night on the town. I couldn’t help but think to myself: Pat McGrath just created the Going Out Top of makeup. It’s trendy, it’s fun, it looks good on everyone and it’s one thing you can put on to let the world know you’re ready for a party.
Pink and red eye shadows are notoriously tricky to pull off, but leave it to Mother McGrath to come up with a technique that makes it wearable for any skin tone: “I think if the pink was [on the eyes] alone, it would look a lot more drawn, a little more pale. It’s adding that kiss of color [to the cheeks as well] that gives it that beautiful effect,” she explained, adding, “I really do think wearing the silver and the gilted colors on the eyes makes it more fun.”
When McGrath debuted her powder blush last spring, it was with this exact holistic approach in mind. “That’s how we launched blush, using it around the eyes and making it a whole statement of blush — blush isn’t just that thing that you add for a glow; it [can also be] an eye statement,” she said.
Neon beauty is having a moment. Recently, singer Selena Gomez took to Instagram to show off her neon coral make-up, which faded out from the inner corners of her eyes and was masterfully executed by Los Angeles-based make-up artist Jenna Nicole. To complete the look, the pop star wore a set of lime-green nails and a bronze tan.
Cut to Off-White’s AW21 show, and, once again, neon took centre stage. Using specially crafted crayons in neoprene orange and Yves Klein blue, which picked out the main colours of creative director Virgil Abloh’s latest collection, make-up artist Morgane Martini offered a masterclass in how to work a graphic-neon eye in an off-beat, modern way.
“The name of the show was Laboratory of Fun, which instantly led me to colourful make-up ideas, and Virgil wanted a strong eye,” Martini tells Vogue. “Neon is like bringing a flashlight to your face and, in this case, to your eyes. It was important that these looks reflected a kind of self-expression that could suit anyone, no matter the gender or age.”
Here, Martini shares her top tips for creating the perfect neon eye with a cool, modern twist.
1. Less is more
“My number one tip would be to use neon sparingly. There’s no need to go crazy here. I didn’t want anything that would take over from the actual looks. I just wanted it to be a little detail, a little splash of colour — a bit on the inner corner of the eye or a small eyeliner will give a strong impact and I love that.”
2. Go graphic
“The idea for those graphic elements came from the collection. They brought a touch of modern and cool. lt didn’t feel like make-up, it was more an accessory for the eye.
“To create the look, I used tape and went over it with a pencil. It’s not that difficult at all — you just have to place the tape correctly. It has an instant modern and creative feel, and the ability to be both bold and subtle. It’s nice to change things up and explore other ways to enhance features.”
3. Avoid the lash line
“Make sure it doesn’t get into the lash line and lashes. You can use a thin cotton swab dipped in micellar water to clean any mistakes after application.”
4. Keep colours to a minimum
“Neon is such a bold statement in itself that you have to be shy about applying it. You don’t want to look like you’re going to [California festival] Coachella. I used colours that I saw in the collection that felt complementary, without taking over everything.
“For the graphic line, we kept it monochromatic. Other looks have a mix of blue and orange, but, for example, the look I did on Joan Smalls had the blue, but with a warmer orange, not as bright. I kept it minimal — sometimes, things are more powerful when they’re simple. Whereas the more you use, it can become gimmicky and you lose impact.”
5. Leave everything else natural
“We wanted the make-up to be genderless, so that’s why I wanted to keep it clean, simple and paired with fresh skin. I didn’t even put blush, contour or any mascara on the models — it was really as pared back as we could get it.”
Much has been written about the return of FOMO as restaurants—and borders—reopen, and the luckiest among us begin revisiting our once thriving (and debatably overscheduled) social and professional commitments in a world tiptoeing back to some form of pre-pandemic normalcy. This week’s haute couture shows, many of which are being held in person, have presented the biggest post-lockdown FOMO opportunity for the fashion faithful, and there was perhaps no bigger moment to miss out on than Demna Gvasalia’s couture debut for Balenciaga.
Welcome to Artist Spotlight #57 series on my blog.
Those lucky enough to be present have reported audible gasps as Gvasalia evolved his street sensibility with what Vogue’s Sarah Mower called “confidence, grandeur, and ease” and the brand returned to the couture calendar for the first time since Cristóbal Balenciaga shuttered his house 53 years ago. In a particularly impressive feat, the collection—with its mix of structured tailoring, voluminous gowns, and extravagant embroideries—nodded to the past while still respecting the modern aesthetic that has earned Gvasalia legions of millennial fans. The hair and makeup did a similar dance, riffing on classic techniques with idiosyncratic treatments.
“It felt like a gesture that was just always there,” makeup artist Inge Grognard says of the purposeful, gender-neutral slashes of black eyeliner that she applied to a selection of models, both men and women. The reference to more recognizable couture makeup—the thin, black cat-eye flicks that were once a fixture of the Paris salons of the ’50s and ’60s—wasn’t lost on Grognard, who made handy work of avoiding anything too retro. “This had to be a modern version,” she says of the graphic statement, a layering effort of Kiko Milano’s gel eyeliner to anchor a coating of Maybelline’s liquid eyeliner pen for “a shiny thing” on top. Grognard estimates she tried 30 different eyeliners before arriving at this specific combination, which appeared against almost starkly bare skin—no blush, no mascara, no painted brows.
Hairstylist Holli Smith’s sleek, individualized hair looks furthered Gvasalia’s rebuke of more standardized forms of beauty. “Wet was the key word for a lot of the looks,” says Smith, who used the utilitarian French pomade Pento to get a noticeable sheen without the stiffness of gel. Smith’s razor-sharp parts with angled ends, occasional bursts of texture, and even a few refined chignons offered a similar update to more familiar couture shapes while providing the perfect base for a series of instantly iconic Philip Treacy hats.
Both Grognard and Smith confirmed the collective suspicion gripping those of us who watched as these runway photos came in online this morning: that the show was really something to behold in person. “There was a lot of emotion,” Grognard reveals of the mood today at 10 Avenue Georges V, which had been retrofitted to resemble Cristobal’s original atelier and where call time was a bright and early 5:00 a.m. Adds Smith, “It’s very special to be a part of.”
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.