Tom Pecheux, for MAC, was inspired by the work of Gustav Klimt for the “dark, Gothic-feeling” beauty look at Badgley Mischka. “It’s a little bit unusual.” Designed to play off the heavy embroidery in the collection, which reminded Pecheux of a “Tim Burton character,” girls were given “burgundy-black” eyelids, which became darker by the lash line. He left brows and cheeks alone and instead focused equally on a deep, matte lip. “Everything is matte except for the gold strip,” said Pecheux, who alluded to Klimt with a flash of gilded shimmer.

Peter Gray worked on behalf of Moroccanoil to create a look that felt as if it were “breathing” and “moving.” Inspired by the 1927 film “Metropolis” and its lighting, angels and the geometry of its “imaginary cityscapes,” Gray used new product, Moroccanoil Luminous Hairspray, for hold and frizz control. Gray set out to counterbalance the strong sculpted lines of the collection with a “floating” hair texture, created from three curling irons of different sizes. After being set with bobby pins, curls were brushed out for a soft feel, while some strands were randomly back-combed throughout the head. Gray added small buns in some of the model’s heads for an “irregular silhouette.” “It’s almost like a cloud that walks,” said Gray.

Nails, led by Deborah Lippmann, featured a “duet” of aubergine shade and Dark Side of the Moon as a base, and shimmering Nefertiti, described as a “modern micro fine golden frost,” on the tip.

“This is how a sophisticated woman does nail art,” said Lippmann. “The gold feels like a piece of jewelry dripping.”

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