the new beauty REBELS

Mod­el­ling’s new guard have thrown out the rule book – and de­sign­ers are tak­ing note

ELLE (Australia) - - Beauty -

There was a height­ened sense of ex­cite­ment at the SS17 shows – change was in the air. Gone were cookie-cut­ter mod­els and in their place were ad­ven­tur­ous, rebellious, dif­fer­ent-look­ing girls. “The idea of ev­ery­one look­ing the same is com­pletely out,” says Ni­cole Thomp­son, se­nior artist for M.A.C. “The mood back­stage is one that cel­e­brates in­di­vid­ual beauty. I can’t re­mem­ber the last time we were just putting makeup on and not con­sid­er­ing the char­ac­ter of the girl.”

As the tide turns on tra­di­tional no­tions of beauty, 2017 calls for an un­ortho­dox ap­proach – one that doesn’t sim­ply ac­knowl­edge that beauty comes in all colours, shapes and sizes, but cel­e­brates it. Here’s who is lead­ing the charge.


“We’re see­ing the rise of ‘street cast­ing’ in shows, pick­ing men and women who rep­re­sent an idea, a feel­ing, rather than a par­tic­u­lar body or beauty type,” says Thomp­son. Think New York-based model Dilone, whose shaggy, boy-short hair ac­cen­tu­ates her be­guil­ing an­drog­yny, or ris­ing star Alanna Ar­ring­ton, whose mop of fluffy curls is just as eye-catch­ing.

Buzz cuts also cre­ated, er, buzz, pop­ping up ev­ery­where from atop Ger­man model Lina Hoss, who walked for JW An­der­son, to Jour­dana Phillips, whose per­ox­ide-blonde cut ig­nited thrilled whis­pers at Saint Lau­rent. The rad­i­cal look is pure punk – and eons away from the idea that mod­els are mere clothes hang­ers. Th­ese girls ra­di­ate per­son­al­ity.


Too of­ten we’re tempted to con­ceal our unique char­ac­ter­is­tics, but the SS17 shows were all about em­brac­ing our true selves. At Valentino and So­nia Rykiel, nat­u­ral makeup al­lowed the mod­els’ skin to shine through – freck­les and all. The re­sult was youth­ful, fresh and per­fect for the sea­son. Fol­low their lead by nix­ing the full-cov­er­age foun­da­tion for a dewy tinted mois­turiser.


It’s out with a paint-by-num­bers ap­proach, and in with makeup made for each in­di­vid­ual. At Vic­to­ria Beck­ham, makeup leg­end Pat Mc­grath al­ter­nated be­tween a bold stripe of blue eye shadow across the eye, a nat­u­ral face with lu­mi­nous skin and a deep green winged eye, de­pend­ing on the face in front of her. It was the same story at Mary Ka­trant­zou, where there were three sets of lips, and Louis Vuit­ton, where eye makeup var­ied from graphic black eye­liner to Bowie-es­que colour­ful eye shadow. “With many shows cre­at­ing more than just one uni­form look, we were fo­cus­ing on not just en­hance­ment of the clothes and hair but con­sid­er­ing the skin tone and eye shape and colour,” ex­plains Nars in­ter­na­tional lead makeup stylist Jane Richard­son.


Rather than seek­ing girls who con­form to their vi­sion, some de­sign­ers let the cast­ing dic­tate the show’s beauty aes­thetic. This was none more ap­par­ent than at Michael Kors Col­lec­tion, where mod­els were sim­ply in­structed to wash their hair the night be­fore the show so they could walk the run­way with vir­tu­ally un­touched tresses. Push back your alarms – this year, we’ll be do­ing the same. ]

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