Sep 13, 2018 | By Sarah Owen
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Feb 15, 2012
Makeup: Tom Pecheux, MAC
Hair: Peter Gray, MoroccanOil
Nails: Deborah Lippmann, Deborah Lippmann
“The inspiration comes from the amazing collection, Egon Schiele and Gustav Klimt. When I saw the collection and the amazing accessories, I was so in love with it, but I wanted to bring a bit of fantasy, I always need to twist something. So I was thinking Egon Schiele and Gustav Klimt meets Tim Burton and you get that creature that’s very sophisticated but fun. So it’s kind of gothic, sophisticated, very precious but twisted. We are doing a matte skin. We are using a burgundy-black eyeshadow from the top lashes to the eyebrow, black mascara, and under the eyes there’s a stripe of gold. There’s dark burgundy on the lips. Everything is very matte except that gold. When the girls are on the runway, the gold will catch the light and it will be super strong.” – Tom Pecheux
“It’s soft, fluffy, cloud-y springs, like fluffy cloud bombs. We’re curling the hair very tightly and pinning them. Badgley came to me with the idea of hard, German expressionist films Metropolis with its hard angles and contrast lighting. We thought it’d be exciting to do something completely different with the hair and make it a counterpoint to the collection, make it really soft and pretty, very irregular. I didn’t want a general afro shape, so we’re combing it out using a fork comb and just puffing it out, backcombing it a little bit and using the MoroccanOil hair spray to hold it in place so you can get this big fluffy irregular shape. To strengthen and ground this floating texture, I created small hidden buns randomly over the head to create an irregular surface texture.
I want the hair to look like its breathing. When the girls walk, it should bounce and move up and down.” – Peter GrayProducts (all MoroccanOil): Luminous Hairspray Strong
“The collection was inspired by the film Metropolis so it’s 30s impressionism, dark, and angular. There are very strong metallic statements within the collection, so we wanted to do a modern 30s feel. Toes are painted an aubergine (Dark Side of the Moon) and very glossy. We wanted to add a little sickness to the fingernails so we did two coats of aubergine and created the feeling of jewelry by just frenching the tip. The idea is to do just a bit of trimming for the nail, its a French edge but not a French manicure. The idea is that there’s this jewelry hanging from the tip and its glamorous. This woman has a serious point of view about her beauty.
Here’s a great tip for doing the tip yourself. Most of us try to paint it, but try bracing your arm on a table and place the finger that you’re going to paint on the pinkie of your other hand. Place the brush on the edge of the finger, hold it and roll your finger. Don’t move the brush. Just set the brush down and roll your finger.
Thoughts on Fall colors?
I’m seeing a lot of texture combinations. I’ve done several of these modern french manicures. I’m doing some things tomorrow that have texture in the polish. People are not going for just creams. It’s not necessarily glitter but different textural things.
This season, every designer has a real point of view on the nail. It used to be, what version of sheer pink we going to use? This season, there might be a sheer pink, but if there is, it’s because the designer decided on using a sheer pink. There’s a reason. I haven’t done a sheer pink yet this season. The nails are definitely stronger, more of a statement. Color is not going away and textural things are not going away. Same with nail art. For the luxury woman to wear a red nail with a gold tip, that’s her way of wearing art. Yesterday at Donna Karan we did a nude beige nail with a red tip and it was like a patent leather… like a Vuitton bag. It makes the luxury women feel like she’s playing in the nail art space.” – Deborah LippmannProducts (all Deborah Lippmann): Dark Side of the Moon, Nefertiti (on tips)
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