Charlotte Tilbury, working with MAC Cosmetics at Donna Karan, based the look on “black-and-white film noir, sort of Greta Garbo meets modern.”
The focus? Red, red lips that Tilbury said were intended to resemble lacquered cherries. “I used a bright cherry MAC lip pencil and MAC Mixing Medium to create a deep red shade, then covered the lips with MAC’s clear Lipglass immediately before the girls hit the runway,” said Tilbury. “There’s almost a pointy quality to the mouth. I’m not into the trout pout anymore — the color and the outlining make the look more interesting and refined.” Skin, first prepped with porcelain-hued foundation, was given a “waxy” quality by applying clear MAC Mixing Medium on cheeks and eyelids. Tilbury next applied blue-gray eye shadow from the socket to the brow, for a shadowlike effect. She eschewed both mascara and blush.
Eugene Souleiman keyed the hair, creating what he called a “classic Donna look” with black plastic headbands he picked up in Paris. “The hair is all about how light reflects off of glossy hair,” he said. “It’s intended to look almost unnaturally perfect and elegant — almost like the girls are mannequins.” Souleiman first sectioned off hair, then dampened it with water at the roots and pulled it back tightly into a ponytail, which he tied with cord. “Hair dampened with water shrinks as it dries,” explained Souleiman. “We wanted a very, very tight look, and with the combination of water and pulling the hair back tightly, this hair is completely smooth.” Next, Souleiman gathered the hair and rolled it around and under chopsticks at the back of the head to create a nontraditional bun. “I didn’t want to do a ballerina bun,” he said.
Wella System Professional Ultimation Shine was sprayed generously on the hair — more heavily toward the front of the head, getting slightly less glossy toward the back of the head. “The light plays on the different amounts of shine, creating different textures,” he said. The look was finished with the headbands, worn at the front of the hairline.