CUP C AK E S & C AS HME R E
Christian Dior Autumn/ Winter ’15 Talk about keeping up appearances. In The Stepford Wives (2004), Nicole Kidman, who plays a perfect ’50s housewife, gets a retort from her friends – “You kind of look like Betty Crocker … at Betty Ford” – when she presents herself in a Stepford wife get-up.
“It’s a backlash to that static, ‘selfie’ look,” affirms make-up doyenne Alex Box of this whiff of eccentricity amidst the perfect faces and coiffures. There is still, though, something ething beautiful about it. “Make-up has moved forward towards something more polished, d, but still very much respects the individual,” says French make-up artist Lyne Desnoyers.s. For Francelle Daly at 3.1 Phillip Lim, it means “deconstructing the face, because I wanteded raw radiant skin,” and then giving the girls a modern semi-matt but refined lip. “There’s no lip liner either. I didn’t want it to be shiny. It’s chic and understated, but bold.”
The season’s lips are definitely the easiest inlet to twisting a perfect face, a trend that would have gotten mileage from the original, legendary “faction” spinnerner and Harper’s BAZAAR editor-in-chief, Diana Vreeland: “All my life I’ve pursueded the perfect red. I can never get painters to mix it for me. It’s exactly as if I’d said, ‘I want rococo with a spot of Gothic in it and a bit of Buddhist temple’ – they ey have no idea what I’m talking about. About the best red is to copy the colour of a child’s cap in any Renaissance portrait.”
Desnoyers could not agree more: “True crimson automatically recalls a specific, iconic glamour. These rusty tones are less referenced, less obvious.”
Lips are not the only features that are getting twisted this season. “Strengthening the face can be through a pink blush, bronzer or mascara as much as a razor-sharp contour,” says Terry Barber, MAC’s key make-up artist. “It’s about the tweaks that bring sharpness to the features, much like a beautifully well-cut garment, make-up should be tailored to a perfect fit.”
Dior’s Peter Philips, beloved for his magical ability to create gorgeous complexions distressed with a quirk in the eyes, warped a polished ponytail and flawless skin with block colours on the lids. “Quite a lot of the models had green eyes, so I used the red or purple shade to bring out the colour of their eyes,” he explains. “We just tried different things for the right fit with the clothes. We did asymmetric nails to reflect the asymmetry in the collection also – one hand in one colour, one in another.”
Philips’s spin on the dark, smokey eyes is just the tip of the iceberg. There is a movement towards an overnight, lovelorn, imperfect eye, breaking the mould of the traditional eye make-up – think smudged liner at House of Holland, fake lashes turned upside down at Mary Katrantzou, and cheek colours for the lids at Alexander McQueen. At Chanel, glossy helmet “boy” hair and loosely heldback manes created by Sam McKnight mingled with modern black cat gazes and washed out blacks smoked all the way to the temples by the talented Tom Pecheux to complete the look.
“It takes classic make-up to the next level,” adds Barber. “A nuanced version of something that used to be quite done.” Urban Decay Matte Revolution Lipstick in Blackmail, RM85 GET THE LOOK CHEATSHEET 1. Hair can be super polished but the twist is in the makeup – or it can go the other way, where a perfect coiffure looks like it is coming undone,
as seen at Erdem. 2. Smokey eyes are almost alien-like and futuristic. Best effected with a clean glowing complexion, and tame
down the lips. 3. Vampy lips in dark hues, such as wine, mulberry (maybe mix two hues together, if you dare). If opting for classic red,
go utterly matt.
Shu Uemura Drawing Pencil
in M Black 01
M ar c Ja c o b s A u t m n / W i n t e r ’ 1 5