Harper’s Bazaar (Malaysia) - - Beauty -

Si­mons’s Dior and Dolce & Gabbana. “We ref­er­enced film sirens such as El­iz­a­beth Tay­lor and Kim No­vak, clas­sic beau­ties who were very strong and pow­er­ful.”

Make-up con­nois­seur Char­lotte Til­bury worked with MAC to make the Mu­gler girls “a mod­ern, glow­ing Tippi He­dren” by us­ing Clear Lip­glass to flesh out cel­lo­phane-like eye­lids, pre­serv­ing the avant-garde DNA of the brand. The fin­ish­ing is poignant yet Al­fred Hitch­cock was one of the most re­spected game-chang­ers in Hol­ly­wood best-known for pi­o­neer­ing the horror film genre back in the ’40s. With a film­ing style that was un­mis­tak­ably his own – dystopian, omi­nous, and yet

al­ways stylish – he con­tin­ued to make films un­til the late ’60s, with fa­mous pro­duc­tions in­clud­ing Pyscho, Re­becca, and The Birds. He launched the ca­reers of many ac­tresses we deem iconic to­day, namely, Janet Leigh, Tippi He­dren, Kim No­vak, and of course, the fa­mous Grace Kelly – muses who are no strangers to

de­sign­ers sea­son af­ter sea­son. fu­tur­is­tic. No mean feat.

For full-on glam­our and a lit­eral in­ter­pre­ta­tion, look no fur­ther than Bad­g­ley Mis­chka. Mod­els were all ex­cel­lently styled in tai­lored out­fits, el­e­gant evening­wear, per­fect coifs, and creamy make-up. “Hitch­cock on the red car­pet in tech­ni­colour,” says Tom Pecheux of the make-up he did for the show. And if you have had quite enough of lit-up skin, then Pecheux’s fix­a­tion against the trend may in­ter­est you: “I’m do­ing clas­sic matt skin with taupe-coloured con­tour­ing.”

McGrath is also in favour of this trend; the make-up ex­pert rec­om­mends re­vers­ing the way you would ap­ply foun­da­tion, high­lighter, and pow­der to achieve a mod­ern 1940s ef­fect. “It gives the face more di­men­sion, as well as a bril­liance to the skin, but you still get the il­lu­sion of matt.” As for those baby-doll eyes? Pecheux ap­plied false lashes on the outer cor­ners, with white-liner on the lash line for “an open­ing ef­fect”.

Prada’s fash­ion­able lit­tle sis­ter, Miu Miu, also cap­tured the el­e­gant side of cin­ema, with a coiffed updo off­set by mul­berry-stained lips. Sim­i­larly, DSquared2’s au­tum­nal col­lec­tion was an elab­o­rate af­fair of the ’40s, but Til­bury worked in a mod­ern up­date by play­ing on fem­i­nine and mas­cu­line fea­tures. “The skin is il­lu­mi­nated – I used con­cealer only where needed and a pearl il­lu­mi­na­tor on the cheek­bones, con­tour­ing the face and us­ing min­i­mal pow­der down the cen­tre.”

At Carolina Her­rera, nude nails made the best ac­ces­sories for the lady-like sub­jects, and if you are in want of a lit­tle more glitz – noth­ing too much, though, be­cause sub­tle glam­our is the key – a glossy top coat, noth­ing more, will do you jus­tice. Ren­der your dig­its beau­ti­fully in a pearles­cent sheen.

An­thony Hop­kins, who plays the mas­ter of sus­pense in the Os­car-nom­i­nated biopic Hitch­cock says: “I as­sure you – my mur­ders are all mod­els of taste and dis­cre­tion.” We could not agree more; in fact, we are al­ready hold­ing our breath for what’s next. Soak­ing up beauty thrills on the edge of our seat, like any mem­ber of Hitch­cock’s au­di­ence.

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