“For Donatella, this is very minimal makeup,” said face painter Pat McGrath. But then again, only Donatella would consider a set and a half of false lashes “minimal.” With Axl Rose and Stephanie Seymour serving as muses (there were concert-like tees, ruched biker shorts, and a shimmery take on denim incorporated into the collection), McGrath created a rocker-worthy eye by rimming the upper and lower rims and waterlines with an ebony-colored pencil. For a smoky finish, she topped off the black along the bottom lashes with a gray-brown powder shadow. In addition to mascara, faux fringe was used to amplify the eyes, and a half pair was stacked on the outer corners for an elongating effect. The rest of the face was actually quite pared down—with a clear balm on lips, a hint of nude-rose blush for warmth, and a touch of highlighter dabbed on the cupid’s bow, cheekbones, inner corners and center of the lids.
As for the hair, Los Angeles was yet again mentioned backstage—this time the music scene—and strands were left lank and nearly untouched. Mane master Guido Palau made a center part and misted Redken Powder Refresh 01 all over for texture—concentrating the majority of product from mid-length to ends. For girls who needed slightly more help to achieve “movement,” he wound strands into a chignon and released them just before show time, while other members of Palau’s team opted to wrap sections loosely around a curling iron.
The total package wasn’t nearly as complicated as we’ve seen in season’s past (in fact, the majority of models were ready by 5:30 for a 7 p.m. show), but the beauty DNA remained unchanged, explained Palau. “Its still got the same code—rock ‘n’ roll and sexiness—[both] key to the Versace woman.”
