ries was thinking of the kind of girl who goes to Burning Man,” describes Peter Philips, the make-up extraordinaire who has consistently brought us the most iconic beauty looks of the runway. Season after season, his work is especially breathtaking when he teams up with long-time good friend and fashion designer Dries Van Noten.
This season is another triumph. Van Noten translates literature and art into fashion that festival girls would love. Referencing A Midsummer Night’s Dream, Burning Man, and Rainbow Gatherings, nymph-like designs float down a runway lit in a stardust-like filter, with models resting upon mossy carpeted floors as though in slumber for an elegant, languid denouement. But the story will not be complete without ethereal make-up. “She’s not a hippie, but she loves nature – and she’s also a bit high-tech,” says Philips. He draws a delicate gold ring on the lower lips of the models, leaving the rest of the face fresh and bare. “It could be tribal, in a Maori sense; it could be a piercing,” he adds. “It could even look like the shine from a lip gloss.”
“This ia perfect make-up for girls at gigs,” agrees make-up artist Lucia Pica. And this mood for love and celebration, free parties and pumped-up raves, continues through the runway. Skin is kept radiant and dewy, and unexpected colours and effects find their way in the most creative manner onto the face instead of the hair.
At Marques Almeida, “washes of sun-bleached pastels” flash like slits of sunlight across the faces of models. “She’s post-festival – slightly sunburned with a touch of hay fever,” says MAC make-up artist Terry Barber. His tip to make this look work: “Anything involving colour only looks modern when you take away the skin coverage.”
“Young, fresh, innocent,” make-up maestro Tom Pecheux chimes in, referring to the pop-coloured decals he pressed upon the temples of Antonio Marras’s girls. “They are artsy, playful, and creative.”
Antonio Marras Spring/ Summer ’15