It was refreshing to finally see an original beauty moment at Ivana Helsinki; faces were beautifully sophisticated with a pleasant twist. Titled “Mourning Sun Motel,” the collection was based on a film about guests at an old motel shot in Finland in the summer of 2012.
There was a drastic difference between the boudoir bondage and the beauty that accompanied it this season at BCBG Max Azria.
Designers Maria Grazia Chiuri and Pier Paolo Picciol took a surprising step away from the usual esthetic and a more mature, sensual and severe Valentino woman introduced a more arcane prestige to the dreamlike elegance of a classic beauty.
Raf Simmons said it himself, “a shift is happening.” The truth in this statement could be seen in his anomalous sense of color in his clothing as well as the makeup look that complimented the collection.
The Mongolian feel was opulent and redolent, a narrative of an evolution of style collected through travel. Makeup artist Tom Pechuex created a makeup look with geometric eyeliner, strengthened with a pop of silver on the inner corners on fresh, radiant skin.
There was a very strong eye; Pat McGrath created something “very manga” layering an orange greasepaint over blocked-out arches and sweeping a black greasepaint through the crease and up toward the brow bone. Upper and lower lash lines were then rimmed with alternating strokes of black and purple pencil.
Pat McGrath creates a really beautiful dark lip paired with perfected skin and bleached brows, mimicking textures in the deep velvets of the clothing. “It’s a little Rossetti,” McGrath continued, referring to the elegantly stained lips of his portraits.
Jason Wu transports his collection to the Orient this season as a nod to his Chinese heritage. His collection was inspired by three different Archetypes of the Chinese woman; a combination of military, the King Dynasty, and classic 1940’s Hollywood glamour blossomed into the fierce warrior woman on the Wu runway.
“India for me is an idea, I know nothing of reality,” Karl Lagerfeld says of his Chanel Pre Fall collection.
Bleached brows and clean skin exaggerated the monochromatic collection, giving the models an almost ghostly quality, ethereal and pure, pulling the look far away from sex and keeping it clean.
Lisa Butler, artist for this show explains, “It’s all about the eye, but we don’t want it to be too neat or too smoky. It’s very loose, very relaxed, and quite wild.”
Internationally acclaimed makeup artist, Pat McGrath, creates a “tougher, stronger look” for Frida Giannini’s 1920’s influenced presentation featuring striking blacked out eyes and a flawless face.
Glowing faces were clean, dewy and fresh. Cheeks were lightly bronzed, as if only slightly brushed by the rays of the sun. The only ornamentation to the eyes were two silver sequins, one for each eye, cut in half centered on the top and bottom lid like tiny sparkling moons.
Driven by lights in the big city, and a “fast woman”, hair was wet and stringy with the ultimate in sophistication. Prepping hair with Redken’s Full Frame 07 All-Over Volumizing Mousse, Guido Palau coated locks from roots to ends before creating a messy center part and rough-drying.
An army of ice queens commanded the runway adorned in 6,000 silver and metallic black barrettes for the show, all supplied by Goody to create the ultramodern vision of the Alexander McQueen girl.
The makeup is soft and simple, with just a hint of color on the cheeks, complimenting effortless, side swept hair. The illusion of a cropped coif strengthened the impression of the masculine, transforming each girl into a sleek and cool modern woman.
Riccardo Tisci makes a big statement about duality with this collection, highlighting panthers and pansies, both aggressive and fragile.