To compliment his collection inspired by a recent trip to Isla Mujures, Mexico, both hair and makeup were meant to be beautiful but effortless.
“Christian said he really loved the rawness and found such a power in rawness and I find that less is so much more in hair,” said Anthony Cole for Sebastian Professional. “I love when women have very natural looks but are still powerful.”
With the goal of giving the models a vacation-channeling feel, Cole began by creating a layer of textures, raking though Mousse Forte and Volupt styling gel with his fingers. Next, Cole “erratically blow-dried” hair, to “get a cushion.” He then added more mousse at the ends of the hair and sprayed more Volupt on the ponytail, which was fastened to the lower part of the head, and given more heat. While the sides of the hair were pulled tightly back, the front was given a bit of height for “a shape” on the top. “I lifted the hair and hit it with the straightening iron, which causes a flat wave,” he said, next adding Microwhip Texture and Craft Clay for more of a variety of finishes. “There was shine, there was matte, there was soft and there was texture,” said Cole. “It looks like a girl on the beach all day long, who doesn’t have time [to fuss]. It’s erratic and wiry. The updo was secured in place with a piece of hair, which was used to create a “loop knot.”
The makeup, done by Polly Osmond for Hourglass., paid homage to a Mexican color palette. First faces were prepped with Hourglass No. 28 Primer Serum, followed by Illusion Tinted Moisturizer. Cheeks were given a “glow” with all three shades from a new Ambient Palette, in a circular motion and No. 28 Primer Serum was also used cheeks for slight shine. “It’s glowy not shiny, we are just diffusing,” said Osmond. Lips were first prepped with No. 28 Lip Treatment Oil for hydration, then given a few coats of Hourglass Opaque Rouge in a sunny, bright coral hue “so you have this pop of color and these nice diffused textures, so it kind of creates this gorgeous glow when the sun is setting on the island,” she said. Eyes were given a coating of mascara for definition and the Ambient Lighting Palette was used all over lids. A shimmering white shade, Shell, was applied to the inner corners, as well as along the top and bottom of the lash lines for a young, fresh feel.
Nails, created by Lisa Logan, lead manicurist for Red Carpet Manicure, aimed to offset the patterns in the collection with minimal geometric nail art.
“After going back and forth we decided on a neutral color, Fake Bake,” she said of the neutral base color. “I wanted to use a color-blocking method so we could bring two colors together.” Logan premade 40 sets of gel-manicured nail tips, which were given a white primer called White Hot to make colors pop. After she applied the Fake Bake shade, Logan used neon yellow to color block the nail with a small box shape.
“With florals and a lot of different designs you don’t want to overdo the nails,” said Logan. “There were so many colors it was almost intimidating because it’s like where do you pull from? But sometimes less is more.