Pe­tal Push­ers

Dar­ing in­génues were flounc­ing around in fields of rap­ture, cheeks flushed like roses and head­phones wrought with dia­manté flow­ers. This sea­son, blooms of all va­ri­eties sowed the seeds for pret­ti­ness. By Li Ying Lim.

Harper’s Bazaar (Malaysia) - - Contents -

The last thing ex­pected at Mon­cler Gamme Rouge—a brand well known for its sports­wear and parka coats—was a show set with grassy fields, speck­led with prim­roses and tulips. But the cul­mi­na­tion of Spring’s ob­ses­sion with flow­ers seemed fit­ting. Creative di­rec­tor Gi­ambat­tista Valli de­scribes the ram­bling gar­den as “Ver­sailles meets ab­strac­tion”, and had mod­els ca­vort­ing with half-braided hair wreathed with flo­ret head­bands and flo­ral em­broi­dered sneak­ers.


Flow­ers—their al­lur­ing beauty, colours, tex­tures, scents, as well as cre­pus­cu­lar and volatile na­ture—have al­ways played muse to all things beau­ti­ful. Just as such, beauty that is in­spired by flow­ers is time­less and in­evitable. “It’s about the clas­sic idea of us­ing one stand-alone el­e­ment to make a makeup state­ment, but find­ing new ways to make this point,” says Val Gar­land, make-up artist ex­traor­di­naire.

This sea­son’s scar­let lips, as seen at shows like Ja­son Wu’s, were rem­i­nis­cent of the vel­vety in­sides of a red rose. Hair was threaded through with blooms to lend blush­ing cheeks and pouts an art­ful fresh­ness.

Del­i­cate fea­tures were framed by cas­cad­ing curls, and glowed with a lu­mi­nos­ity akin to an English rose, and were the sub­tle in­ter­pre­ta­tion of the flo­ral theme that in­spired this sea­son’s Alexan­der McQueen show.

Creative di­rec­tor Sarah Bur­ton was ev­i­dently turned on by the pret­ti­ness of flow­ers for spring, but the story ran deeper. Bur­ton was par­tic­u­larly drawn to a gothic as­pect of his­tory that linked back to the late

Bri­tish fash­ion de­signer’s blood­line— the Huguenots, French Protes­tants that es­caped the throes of per­se­cu­tion in France to set­tle in East End, Lon­don.

“I loved the sto­ries of how they ar­rived with very lit­tle, bring­ing seeds and bulbs in their pock­ets to grow,” muses Bur­ton, who was also born in the coun­try­side, where her in­nate love for na­ture blos­somed. “They were gar­den­ers, and they wove their French flow­ers into the pat­terns on their silks.”

Spin­ning wheels, folk tales, and ru­ral gar­dens—hair mae­stro Guido Palau was en­chanted, too. “You know when you’re sewing some­thing on a ma­chine and you pull the thread and the whole thing ruches? That’s what we’re do­ing to the hair.”

Clé de Peau Beauté creative eye Lu­cia Pieroni, whose make-up for the show was a sig­na­ture ra­di­ance, de­scribes the look: “There’s a bo­hemian el­e­gance.” Us­ing Clé de Peau Beauté’s cream blush and MAC Strobe Cream, she gave transparency and lu­mi­nos­ity all at once. “It’s that warm pink you get from walk­ing, the slight rud­di­ness of the cheek,” she says. “You don’t look like you’re wear­ing make-up; you just look amaz­ing.”


In Mi­lan, flow­ers were de­cid­edly more re­gal and most cer­tainly, not for the av­er­age wallflower. The queenly beau­ties of Dolce & Gab­bana wore tiaras and crown jewels adorned with Span­ish flow­ers— scin­til­lat­ing marigolds and frosted car­na­tions in­ter­min­gled with ru­bi­cund hi­bis­cuses, while sea­side-ap­pro­pri­ate head­scarves sported ex­otic flo­ral pat­terns.

The hair was once again helmed by Palau, who de­scribes the knots and wispy fringes that framed the faces as “fem­i­nine, soft, pretty”. Be­sides the cus­tom­ary cin­e­matic Ital­ian fe­line flicks around the lids, the flushed com­plex­ions were also gor­geously cam­era-, or should we say, selfie-ready.

“The new eye of the make-up artist is not to put make-up ev­ery­where,” says Lyne Des­noy­ers, MAC di­rec­tor of make-up artistry. Back­stage make-up artist Terry Bar­ber agrees: “Skin has to ap­pear through ev­ery­thing for it to ap­pear mod­ern.”

Ver­i­ta­ble queen of the night Diane von Fursten­berg also in­spired her epony­mous line—mod­els sported fan­tas­tic ’70s curls à la Stu­dio 54 laced with ex­otic flow­ers by the ear, as well as an emer­ald-green eye pal­ette. “It’s a nod to the time Diane went out without straight­en­ing her hair,” says makeup artist Pat McGrath. “The first time she went to Stu­dio 54—it’s care­free.” Hair mae­stro Or­lando Pita, who had a vin­tage shot of Fursten­berg’s disco curls and side-pinned over­sized flower on his mood board, was thank­ful for the re­prieve from sleek, blow-dried hair. “I’m so happy that peo­ple are em­brac­ing tex­ture. It’s so beau­ti­ful.”


“I grew up in the coun­try­side, and I know there is a beau­ti­ful side to na­ture but also a very harsh one,” Bur­ton elu­ci­dates. “The last show was re­ally about beauty and de­cay—the fact that there’s beauty in age also.”

Un­pre­dictable, frag­ile, and equally wild and nat­u­ral, flow­ers cast a spell be­cause of their mys­te­ri­ous qual­ity to be­come some­thing un­ex­pect­edly beau­ti­ful. To quote Vanessa Dif­f­en­baugh, author of The Lan­guage of Flow­ers, “It wasn’t as if the flow­ers them­selves held within them the abil­ity to bring an ab­stract def­i­ni­tion into phys­i­cal re­al­ity. In­stead, it seemed that ... the very be­lief in the pos­si­bil­ity [of change] in­sti­gated a trans­for­ma­tion.”

Diane von Fursten­berg’s iconic photo of her­self played muse at her show this sea­son Eyes were cast in hot pink, in­spired by trop­i­cal flo­rals at Gi­amba Spring/ Sum­mer ’16

The must-have flo­ral head­phone crown at Dolce & Gab­bana Spring/ Sum­mer ’16

At Gi­amba, hair took on a dusty pink shade rem­i­nis­cent of English wild­flow­ers Ab­stract eye make-up in­spired by the or­chid’s shape at Issey Miyake Spring/ Sum­mer ’16

DSquared2 girls with raw skin and sleek beach hair wore ac­ces­sories in shapes and forms of flow­ers

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