See the coolest hair and makeup from the London and Milan runways.
False lashes dyed neon green, purple and pink were placed at the outer corners to go with the “new pop” theme.
Tom Pecheux played up the collection’s leather, chains and charred dresses with slick, greasy black smoky eyes—the result of layering lipstick and eye gloss over M.A.C. gel liner, while Paul Hanlon styled “punky little knots” and big, beachy ’80s supermodel waves.
“A posh girl going to Burning Man” is how makeup artist Peter Philips described this season’s Fendi woman, as he painted psychedelic swirls of color, partly inspired by this month’s discovery of gravitational waves, across the eyes at Fendi using dampened Q-tips dipped into Kryolan Aquacolor pigment.
Models got the patent lip treatment at Max Mara, wearing either bright candy apple red or vampy aubergine to play off a collection that was colorful with a touch of disco.
Pat McGrath went for “rock ‘n’ roll decadence” backstage, where she traced the waterlines in black pencil, brushed black shadow across the lids and taupe-y gray under the brows and finished with a few coats of spidery mascara.
This season, Guido Palau put a darker twist on the romantic hair he always creates for Alberta Ferretti, pinning the front pieces back and spraying the hair withRedken One United for a damp feel right before models hit the runway. “Was she maybe caught in the rain? You don’t know what it was really,” he said.
Rocker waves and Ziggy Stardust eyes paid tribute to the late pop icon.
Like the Fall collection, the hair and makeup were a loud celebration of color, texture and quirkiness. Pat McGrath gave models one of three looks: au naturale, exaggeratedly pink cheeks or fuchsia lips (the shade—Gucci Sensuous Deep Matte in Adrenaline—launches June 2016), while Paul Hanlon played with the hair’s texture, adding a bit of wave and shine to girls with straighter hair, embracing and enhancing curly hair and throwing some crimped strands in on others just for fun.
Inspired by the electric colors and metallic embroidery of the Fall collection, makeup artist Wendy Rowe and her team applied 3,000 glitter flecks under the eyes backstage at Burberry for a post-festival vibe.
For a modern nod to the ’30s, Anthony Turner pulled the hair into a low ponytail, rolled it in toward the nape of the neck and held it in place with jeweled bobby pins, while Val Garland painted on Black Dahlia-inspired lips using NARS Velvet Matte Lip Pencil in Train Bleu and Mysterious Red.
Guido described the hair at McQueen as having “a randomness and wrongness to it, which makes it punky. The clunkier it is, the better it is and the more you worry about it, the more wrong it looks.” He usedRedken Guts 10 to give messy, disheveled, thrown-up texture, then reached into a jewelry tray of brooches and chains and randomly decorated the updo with them.
Nothing says understated glamour quite like true red lips and a center-parted ponytail finished off with a black velvet bow.
The idea of pirates and mermaids floated around backstage, where Antonio Corral Calero worked the hair into “textured buns-slash-knots”, then topped the style off with dry shampoo for a matte, windblown finish.
Makeup artist Hannah Murray described the heavy winged liner and magenta lipstick on the models as what “a club kid who’s trying to recreate the 1960s” would wear. But combined with a deep side flip, they looked more like late ’80s teens who just walked off a John Hughes set—and we love everything about that.