Lead­ing LADIES

Im­mac­u­late style, tem­pered with a cool gaze that veils fire within. En­ter stage right, the mod­ern Hitch­cock hero­ine. By Li Ying Lim.

Harper’s Bazaar (Malaysia) - - Beauty -

LBot­tega Veneta Au­tumn/ Win­ter ’13 eave it to Prada to por­tray film­maker Al­fred Hitch­cock’s hero­ine at her most vul­ner­a­ble. Bathed in sin­is­ter light, taunted by a heart-pound­ing or­ches­tral score, girl af­ter girl walked the run­way with glazed eyes and glam­orous wet hair; the sil­hou­ette of a cat poised in an­tic­i­pa­tion of prey cast a long grainy shadow against the wall, its tail sway­ing like the pen­du­lum of a clock; and a raven’s beak froze open in a silent scream of ter­ror. Clearly, high drama was the name of the game.

“Very cin­e­matic, very film noir, this sea­son is about a more wom­anly kind of beauty,” says tress mae­stro Guido Palau, who gave the girls that all-new, dark, damp fin­ish.


The en­dur­ing al­lure of Hitch­cock’s cin­ema is no se­cret in fash­ion. Even fash­ion’s en­fant ter­ri­ble, the late Alexan­der McQueen, was in­spired by him. So much so that he launched a full Hitch­cock­ian col­lec­tion for Au­tumn/Win­ter ’05.

Fast for­ward to the present: this sea­son rocked the boat with both beauty and fash­ion equally mes­merised by the Tippi He­drens and Grace Kellys of the au­teur’s hey­day. “This sea­son is all about dark ro­man­ti­cism and cel­e­brat­ing the dark side of glam­our,” says Vimi Joshi, MAC’s prin­ci­pal make-up artist. The macabre mood? Think Janet Leigh’s shower scene in Psy­cho. The glam­our? Think Tippi He­dren in The Birds and Marnie.

Ref­er­enc­ing He­dren’s al­abaster beauty, make-up mav­er­ick Val Gar­land worked a beau­ti­ful beige to pale-skinned per­fec­tion at Tem­per­ley Lon­don Au­tumn/Win­ter ’13, mak­ing this a more mys­te­ri­ous and pen­sive look. “Lash­ings of mas­cara, set off by beau­ti­fully groomed brows, shim­mer­ing high­lights and cheek­bones,” quips Gar­land, who used L’Oréal Paris prod­ucts for the show. Her part­ner-in-show Mal­colm Ed­wards twisted up the chignons and painted them blond. He says of the trans­for­ma­tion: “She’s a femme fatale.”

At Rochas, Mar­cel waves went with pale skin and hooded eyes. Lu­cia Pieroni used Clé de Peau’s nude-pink Ex­tra Rich Lip­stick in Ves­per to fill in the pouts – just make sure the hue is pat­ted in lightly to get that lived-in ef­fect. “No eye­liner or mas­cara was used to em­pha­sise the eyes, but I drew the top of the eye­brows in a straight line to add strength.”

For Vera Wang’s show, which ran in a sim­i­lar Hitch­cock­ian vein, Pieroni played along with the co­coon coats and rich bro­cades in black with min­i­mal­ist make-up. “It is clean, ex­cept for one fo­cal point – a deep crim­son lip, matt and creamy.”


Oth­er­wise, the Hitch­cock­ian muse was al­most in­stantly recog­nis­able – cue the coiffed (prefer­ably blond) hair, deeply se­duc­tive ru­bi­cund lips, and winged eyes, cou­pled with pen­cil skirts, fem­i­nine hour­glass curves flaunted in tai­lored pen­cil skirts, and epic af­fairs with sump­tu­ous coats. Just look to Pat McGrath’s and Palau’s cre­ations for Raf

Dior Au­tumn/ Win­ter ’13

Tem­per­ley Lon­don Au­tumn/ Win­ter ’13 Rochas Au­tumn/ Win­ter ’13

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