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It was “goodbye girly” when it came to hair and makeup looks for fall 2007. Instead, the focus on the Paris runways was on the beauty of a more mature, independent woman.
“The girly thing is gone,” confirmed hairstylist Orlando Pita, who said he’s happy with the newly emerging trend, since it’s more true-to-life in certain respects.
At some shows, one particular part of a model’s face was amplified. At Chanel, for instance, makeup artist Peter Philips made a bold brow the most graphic element. “It was very colorful — full of checks and tweed,” he said after seeing the collection before the show. “So I thought we would go simple with the makeup.”
That makeup was paired with a coif created by hairstylist Odile Gilbert, who crimped a section of the models’ hair and combed it over their faces like a veil. “We’re using a texture that’s maybe Seventies rock ‘n’ roll, but made it today,” she said.
At Emanuel Ungaro, makeup artist Tom Pécheux was inspired by a “woman who loves the night and loves to be super self-confident.” On that note, Pécheux focused on the eyes, applying a dark eyeliner and a smoky, army green shadow. The hair was styled to look “very sultry,” according to hairstylist Luigi Murenu. “It’s very sexy, very night-clubby, but we didn’t do Eighties hair,” he said.
The Chloé woman, on the other hand, was meant to look like a rebel. Pita blew models’ hair straight, leaving a few strands hanging in front of their ears. He describes the look as that of “a girl from a good family who’s a bit rebellious.”
“What’s happening with the makeup is that it gives a definite point of view,” said Pécheux, who also did the makeup at Chloé, painting models’ eyes and lips gray since designer Paulo Melim Andersson did not want “pretty girl,” but instead a “strong, unusual woman.”
So, too, was the woman at Balenciaga, where makeup artist Pat McGrath drew inspiration from Nicolas Ghesquière’s collection to create a new street “tribe.” For the look, McGrath swept white theatrical cosmetics over eyes and foreheads. “It’s almost a symbol around the eyes,” she said. “They wanted something quite daring, quite different.”
For other collections, beauty harkened back to the Forties, albeit with a modern twist. “When I think of the Forties, I think of ultimate glamour and strength,” said McGrath, who made up models at Valentino with “a dark, winged eye, dark red lip and perfectly groomed skin.” Pita rolled their hair with curling irons, let it set, then brushed it out in a side part.
At Christian Dior, McGrath and Pita also kept with a Forties theme, but with just a nod to yesteryear. The hair fell long and wavy, or twisted into updos. As for the makeup, McGrath said mouths had “a Forties shape made super-modern with gloss,” in colors such as pink, orange or fuchsia; eyes were heavily painted and fake adhesive eyebrows were added.
For Louis Vuitton, McGrath featured a strong winged eye, painted on with liquid liner, while at Lanvin, she added contour around models’ eyes. “We’re seeing the girls as they are,” McGrath said. “It’s a bare, strong face.”