New York Fashion Week: Beauty Highlights

Τhe NYFW best beauty moments

Text: Maria Meintani

New York Fashion Week is now completed while London has already undertaken the reins, as London Fashion Week is currently on, until February 19th.
While waiting for the next show in the British fashion metropolis, let’s go back and remember NYFW best catwalk looks!



Taking inspiration by the «Nouvelle vague» French films, Anna Sui presented a 60s inspired look on the runway.

«The main inspiration is a strong face», said Pat McGrath. Using a black pencil along the eyelid, she created a graphic shaped cat eye, which almost reached the eyebrow. The black pencil was also used in order to create a doll like effect on the bottomlash line, by designing a strong, dotted line. A pale pink/coral lipgloss was the final touch to this look. According to McGrath, Anna Sui wanted a monochromatic face on the models in order to balance the very rich colours of the pieces in her collection.

As for the hair, Catherine Deneuve was the main inspiration for Garren, from ‘Garren New York Salon’. «She used to pull her hair up into a ponytail, then she would tease it and then she would flip it. So, we asked ourselves how do we want to do this differently?», Garren said. Hair pulled into a ponytail and rolled under, into a big bouffant was what he did. «It looks fresh and young, and it gives it that 60s vibe».

While watching Anna Sui’s show, we also had the chance to take a look at Karlie Kloss, sporting her «Haircut of the year», all straightened down, looking even more fabulous than she already did!



Tom Pecheux, lead makeup artist for MAC, wanted the girls to look strong but not in an aggressive way. Using the creamy onyx Oil Slick Black from MAC’s Fall Forecast Eye Palette on the upper eye and lower lash line, he created a softsmokey eye effect. The key point of the whole look was his idea to add a metallic raspberry stroke of the Loves Lure eye shadow, only halfway to the inner corner and then smudge it a bit with his fingers, creating a blurry effect, which gave out a sense of madnessand was characterised as a bit spooky. «It’s a little Belle de Jour fantasy», he said, while adding a touch of MAC’s Paint Pot in Tailor Grey on the lips of the models.

Paul Hanlon bore Kate Moss and Patti Smith in mind, while creating the models’ hair. Using a mix of OSiS Schwarzkopf Grip Extreme Hold Mousse and its Buff Light Styling Cream, he managed to take the volume off the models hair, creating an unaccented hairstyle. «It’s a bit Rock ‘n’ roll and kind of dirty. And by dirty, I don’t mean it needs a wash, I mean it’s a couple days old, very languid, and a little separated. The key thing is the texture», he said. After washing the models’ hair, Hanlon applied Moisture Kick for the damaged ends and dried it with his hands, in order for a natural movement to come out. He then applied a generous amount of Magic Finish to the root area, giving it an oily effect. «It’s the opposite of beautiful, rich, quality hair», he concluded.



Pictures of Marianne Faithfull and Joan Jettwere were the main source of inspiration for the look that François Nars created for the models. Using his eyeliner pencil in Black Moon to line the eyes, he then topped them with the Eye Paint in Black Valley and his Pandora and Bengali eyeshadows. Adding a hint of a white pigment to the inner corners of the eyes, he made them look wider and brighter, while multiple strokes of his Larger Than Life Volumizing Mascara were applied to the eyelashes. Nars did not want the faces of the models to have any shine. «This is the way Marc likes his models», he said. The eyebrows were groomed and filled in with Nars Brow Perfector, a dark brown that would allow them to be visible underneath models’ fringes. “We’re making them all brunettes”, Nars joked.

Guido Palau, Redken’s creative consultant, took care of the hairstyles, inspired by the “cool girls” in the nineties, an old Kim Pierce Vogue Italia shoot, and the model Edie Campbell, whose hair he cut short for an editorial back in November. In order to create a similar look, he used fifty-five wigs, which were all cut before the show, and then hand-shaped by him using a razor. He wanted to make sure that each wig would fit perfectly on the head and face shape of the models. The hairpieces were also treated with Redken Guts 10 Volume Spray Foam to create a raw effect, before adding a few concentrated spritzes of its Shine Flash 02 Glistening Mist for a wet-looking finish. «I wanted it to have a sweaty feel», he explained.



The make up here was minimal and 40s inspired. Diane Kendal used MAC Cosmetics products, creating a classic beauty look. Bare Face blush was applied, in order to achieve a flawless complexion. A black cream liner was used on the eyelids, eyebrows were bold and defined and the lips were painted in a reddish/coral hue called “Hot Tahiti”.

Orlando Pita, working with Moroccanoil at the show, created a vintage-inspired hairstyle which, however, managed to look modern and fresh. The hair was treated with the Moroccanoil Heat Styling Protection before being blow-dried, while models with very thin hair had a bit of the Volumizing Mousse on. Next, Pita applied the Hydrating Styling Cream all over the hair, focusing on the roots and top of hair. Creating a middle part and dividing the hair in two sections, he added a third part from behind the ear, up to the crown and down behind the ear on the other side. He took each front part, rolled it very tightly and pinned the roll at its seam as well as behind the ears. Finally, he raised the back sections slightly above the nape, rolling them tight but a little wider than in the front, then tucked them in and pinned them. Moroccanoil Hydrating Styling Cream was used to fix the whole hairstyle, combined with Glimmer Shine Spray for extra luminosity.



«I met with Michael Kors and Paul Cavaco (who styled the show), and amongst other things was the idea of an uptown girl heading downtown to party, or the club kid going up to Mr. Chow’s for dinner”, said makeup artist Dick Page, Shiseido’s artistic director. “I played for a while and ended up with this block shape, which we thought was just more interesting than smoky, winged, etc.” he said. Using Shiseido’s Shimmering Cream Eye Color in Caviar to build the shape from the center of the lid outward, Page diffused the pigment with the powdery onyx and shimmering pink shadows from its forthcoming Eye Color Bar, creating a sheered-out rectangle. Adding a highlight to the inner corner of the eye and the brow bone with its Shimmering Cream Eye Color in Pale Shell, a champagne, Page placed a luminescent glow beneath the lower lash line on the high point of the cheekbones for contrast. Lining the outer corner of the upper lash line with a liquid black liner, Page applied a few coats of mascara before toning down lips with a mixture of Shiseido’s Benefiance Full Correction Lip Treatment, mixed with some drops of foundation.

This urban-chic makeup was complimented with sleek ponytails by Orlando Pita, which every model, Karlie Kloss included, received.



«We wanted to go back to Donna’s founding DNA with a smoky eye, but execute it with a modern twist», said Charlotte Tilbury. Using Mac Cosmetics, she managed to cover any imperfections, creating a fine complexion. The focal point of the look was a black/silver smoky eye, which she achieved by mixing MAC’s Paint Pot in Black Ground and MAC’s Reflex Pearl and Shine and applying it from the lids up to the brow bone, blending and topping it with a bit of moisturizer. MAC’s Sculpting Cream in Copper Beach was used to do the contouring of the cheekbones, highlighted with the Cream Color Base in Luna. To complete the look, she used the Fleshpot lipstick on the lips, applying it with her fingertips.

The hairstyle was created by Eugene Souleiman. Wanting to make every model look like a dominatrix, he pulled the hair into a strict, slightly S&M ponytail, tied with a cord near the top of the crown, in order to stand away from the head. After that, Souleiman applied a full human-hair fall over it and fastened it with a leather-covered band. «There’s something very strong, yet restricted about it. The hairpieces are heavy, but that and hair spray make this look», he said after using generous amounts of hairspray in order to form a strict, architectural ponytail. «There’s a subtlety, though. From the front, you just see a hair-sprayed, slicked-back updo, but when you see it from the side, you go, whoa!»