CUP C AK E S & C AS HME R E

Harper’s Bazaar (Malaysia) - - Beauty Bazaar -

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.”

BIG EYES

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.

Blu­girl Au­tumn/

Win­ter ’15

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

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