The backstory behind the “glass” box on the designer’s runway and the hair and makeup that was built around it goes something like this: “It’s almost like [the girls] aren’t human—as if they’ve been preserved through time, and then, for this one moment, they are let out to feel the reality of the world,” hairstylist Paul Hanlon said without stopping to take a breath. So how exactly does that translate into a look for real, live models?
For maquillage master Charlotte Tilbury that meant creating perfect, pore-less skin using liberal amounts of concealer on the lids, around the eyes, nose, and mouth. Then, topping that with a full face of MAC Mineralize Moisture Foundation and a dusting of finely milled Prep + Prime Transparent CC Powder in Adjust. The cheeks, brows, and lashes were left bare so the lips could take center stage. To create the illusion of a more voluptuous, Irving Penn-inspired pout, the outside of the mouth was slightly overdrawn with lip pencil. Tilbury filled in the middle with three custom-blended shades—Pepto pink, acidic lilac, and bright orange with a kick of red—made using various combinations of Lipmix in White, Crimson, Burgundy, and Orange. The finishing touch was a coffee-colored, feline flick on the upper lash line that was reminiscent of Marilyn Monroe in her last sitting with Bert Stern.
Hanlon’s interpretation of Gurunghttp://vogue.dev/wp-admin/post-new.php’s tale required “lots of product” for shiny, “surreal” strands that looked as if they’d been dipped in formaldehyde. He started by making an almost surgical right side part and taming any flyaways with Schwarzkopf OSiS+ Softn’ Straight (a smoothing balm). Next, he doused the hair from the roots to the neck with the line’s Freeze strong-hold hair spray and flattened it against the head by hitting it with heat from a blow-dryer. Wavy “S” shapes were molded into the remaining length using Flatliner heat-protecting serum and a straightening iron. Hanlon misted on Sparkler (a shine spray) to lend a “vinyl” finish to the look.
Eight polishes—three of them being pearlescent pastels developed by Gurung in conjunction with Sally Hansen (available in March)—were used to coordinate with the colors in his collection. And while I hate to say, “I told ya so” (OK, so I don’t exactly hate it), finger painter Ana-Maria used a forthcoming matte top coat over three-quarters of the nail and a glossy lacquer across the tips to create a textural twist on the French manicure. Looks like some beauty trends will forever be sustained.
