Win­ter may be com­ing, but our ob­ses­sion with pink burns brighter than ever.

Harper’s Bazaar (Malaysia) - - Beauty Bazaar - By Anne Lee.

More than just a pretty colour, the seem­ingly in­nocu­ous pink, once rel­e­gated to Bar­bie dolls and pas­sive fem­i­nin­ity, has taken on a whole new mean­ing in fash­ion, beauty, pop cul­ture, and fe­male em­pow­er­ment. It is no longer the colour that stereo­typed the softer, fem­i­nine girl or sup­pressed woman of the ’50s, but re­branded into a fierce, pow­er­ful shade for fem­i­nist move­ments in the 2000s, tak­ing it full cir­cle to the old days when pink was once con­sid­ered a more de­cided and stronger colour for boys. Case in point: An­gela Mis­soni’s “pink is the new black” Au­tumn/Win­ter ’17 col­lec­tion, which ended with mod­els clad in hot-pink pussy hats to as­sert her pas­sion­ate sup­port of the po­lit­i­cal sym­bols of Women’s Marches across the world ad­vo­cat­ing women’s rights, LGBTQ rights, and racial equal­ity.

While it re­mains as a sym­bolic colour for Breast Can­cer Aware­ness Month this Oc­to­ber, pink was a stand­out beauty trend and po­lit­i­cal state­ment on the run­ways dur­ing the Au­tumn/Win­ter ’17 Fash­ion Weeks. From soft, rosepetal-stained lips at Tem­per­ley Lon­don to fuchsia eye­liner at Os­car de la Renta and flu­o­res­cent­pink hair at Fenty Puma by Rihanna, the fond­ness for the hue was al­most rebel-in­spired this sea­son, a cheeky homage to Steven Tyler’s favourite colour.


In a sea­son filled with mes­sages of fe­male em­pow­er­ment and po­lit­i­cal changes, the abun­dance of pink in beauty, as well as the smudgy, un­apolo­getic make-up looks, could be read as the power women break­ing the rules and do­ing as they please. At La Perla Au­tumn/Win­ter ’17, Erin Par­sons, May­belline’s global make-up artist, was in­spired by Bri­tish gar­dens, and sent out an army of mod­els in mer­lot-meets-pink eye­shadow. Par­sons used a lip liner in­stead of eye­shadow on the creases, blended the colours out­wards, and fin­ished off the sul­try look with a touch of shim­mer. At Preen by Thorn­ton Bregazzi, lips were de­lib­er­ately stained and smudged to re­sem­ble a

“post-club­bing night out” af­fair, while at Roland Mouret, the non­cha­lant “morn­ing af­ter” look was softly ap­plied in shades of pink.

Then, there is also the shade of the mo­ment, aptly dubbed “mil­lenial pink”. Softer than bub­blegum pink and bolder than pas­tel, some­times re­ferred to as “Tum­blr pink” or “Scandi pink”, it com­prises mul­ti­ple hues that range from blush and salmon to rose quartz—think Wes An­der­son’s 2014 The Grand Bu­dapest Ho­tel.

At Al­tuzarra, make-up mae­stro Tom Pecheux ap­plied a wash of rosy flush across the eyes and lips, then teased the cheeks with a soft blush for a del­i­cate tonal look.


If the smokey eye is too in­tense, di­vert the at­ten­tion to the lips and take cue from Tem­per­ley Lon­don’s gra­di­ent lip. Start­ing from the in­ner lips, gen­tly smooth out the colour to cre­ate an il­lu­sion of depth and di­men­sion.

When cre­at­ing her lim­ited-edi­tion col­lec­tion with ModelCo, It Girl Hai­ley Bald­win also fo­cused on rose-gold high­lighters and pow­er­ful pink lip­pies. “It’s sexy to rock pink. I love a pink lip,” she says. “It gives a sly sense of fem­i­nin­ity that con­trasts so well to my tomboy style. It’s ro­man­tic but bold.”


At Daizy Shely, mod­els sported an enig­matic blend of berry and pink shades on their nails, where the darker shade in­di­cated a woman that in­spired awe and re­spect. Her in­spi­ra­tion? Queen El­iz­a­beth I, and Cather­ine Deneuve’s char­ac­ter in The Hunger, both pow­er­ful, strong-willed, and in­de­pen­dent women. In Shely’s own words, “My woman hates clichés about gen­der.” She is all about break­ing the wheel to pur­sue a new world or­der, with the help of pink.

At Emilio Pucci, Mas­simo Gior­getti kept prints to a min­i­mum and went colour to­tal­ity in shades of lime green, tan­ger­ine, and of course, Pucci pink. As the colours from the col­lec­tion were al­ready strong, make-up artist Inge Grog­nard de­cided it was best to keep “the faces quite raw”. How­ever, that didn’t trans­late lit­er­ally to mean bare-faced mod­els. Neon coloured mas­cara, specif­i­cally pink, was ap­plied on the eye­lashes, with ev­ery strand curled and brushed to a vis­ually ar­rest­ing look that seemed sim­ple to recre­ate.

And so, whether it’s a soft and ro­man­tic shade of pink or an en­er­gis­ing hot pink, the colour has fi­nally come to be a sym­bol of power, unity, and change for women to­day, with­out dis­miss­ing its fem­i­nine val­ues. In the words of Steven Tyler, “Yeah pink, it’s like red but not quite/And I think ev­ery­thing is go­ing to be al­right.”

Don’t want it in­tense? Start from the mid­dle, fan the dark hue out, and fin­ish with a light layer of lip balm, like at Ci­vi­dini Eye­shadow game at Vanessa Se­ward on high— up to the brow­line

A close-up of Lanyu’s tinged eye­brows and arch

Jasper Con­ran Au­tumn/ Win­ter ’17

Daizy Shely Au­tumn/Win­ter ’17 La Perla’s shim­mery eyes are ready to party Pucci Au­tumn/Win­ter ’17 Lanyu drew at­ten­tion to the mod­els’ eye­brows by paint­ing them a bold shade of pink

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