13 new ways to wear Spring beauty
EYES: New colour
Opt for blues and seascape shades on eyes. At Clements Ribeiro, makeup artist Cassie Lomas created a look that was youthful, fresh with a pop of aqua on the lids. ‘I wanted to create the perfect retro shade of powder blue shadow. For this I mixed two Bourjois products together – a creamy Metalisse eyeliner pencil with a little Touche Healthy Mix Brush Concealer into the colour on the back of your hand, before smudging the shade across the eyelids. To set the colour I dabbed a little Bourjois Round Pot Eyeshadow in a chic azure powder blue.’The Kit: Bourjois Regard Effet Metallise in Bleu Clinquant, £4.99 and Bourjois Little Round Pot Eyeshadow in shade 17 £6.49; www.boots.com and www.superdrug.com
Courtesy of Bourjois
There’s a new smoky in town – it’s all about wearing washes of colour with a metallic sheen. At Chanel, inspiration came from the few words that Karl Lagerfeld gave creative director of Chanel makeup, Peter Philips: ‘shine,’ ‘focus on eyes’, ‘silver’. He explains: ‘I did a metallic shine on the eyes.’ First, by applying black liner on and under the eyes then lots of coats of mascara. He then followed with Illusion D’Ombre all over the eyelid up until the softly drawn eyebrow and from the inner corner all the way under the eye passing the eyeliner.
Bring colour to your face with a dash of eyeliner. ‘It’s perfect if you want to add colour to your life but you don’t want your face to look like a children’s crayon box,’ says makeup artist Sharon Dowsett. ‘To create a more intense and precise eye look, use pencils. Draw the shape you want and then fill in, or just line the top lashes. A blunt end looks more modern,’ as seen at Felder Felder.
Brush up on brows to give strength and definition to your face. At Ann Demeulemeester the brows gave symmetry to the face. They were drawn in from the front hairs to accentuate and define –they look sculpted, and complemented the Japanese poker straight hair for an almost origami effect.
Polish up on good skincare and complexion-enhancers, it’s all about naturally perfected, luminous skin. At Helmut Lang, makeup artist Hannah Murray explained the focus was really on the skin – ‘fresh, sporty, and scrubbed clean.’ A little tinted moisturiser was applied to the centre of the face and blended out, followed by concealer dotted under the eyes and on the face to blur imperfections and redness.
It’s about a tanned look done minimally – in other words, a healthy reflective glow. Colour is wrapped around the features rather than sculpted onto the cheekbones, adding a languid bronze to the cheeks. On her choice of makeup for the Rachel Roy show, Bobbi Brown explains: ‘To balance the brilliant shades and dramatic draping, the makeup features a nude palette of bronzes and browns.’
Wear lip colour with conviction this spring. From nuclear orange to futuristic fuchsia, sometimes combining the two – lips on the catwalk shouted loud, while the rest of the makeup stayed quiet. At Giles, concealer was patted in as a base and then a fuchsia lip pencil defined and contoured the mouth giving it a heart shaped, opaque velvety finish.
Try mimicking skin shades and mannequin-white finishes on nails. ‘The Rag and Bone girls were given a modern day manicure using block colour on the nails in Revlon Nail Enamel in White on White for half the girls, and Revlon Nail Enamel in Elegant on the other half,’ says Jenny Longworth, Revlon UK Nail Ambassador. ‘The white nails really reminded me of a 90’s Christy Turlington with a boyish, androgynous edge. Nails were kept short and were shaped to the natural curve of the fingertip. This gave a really clean and chic finish with the white, adding a 90’s feel which looked beautiful, sporty and futuristic. A modern day take on a 90’s nail.’
Wear imperfect hair with confidence, liked the lived-in tresses seen on the catwalk. At BCBG, Laurent Philippon infused messy, feathery volume into hair by softly tonging random sections in opposite directions, and spraying lightly with hair spray. Philippon then scrunched hair with polishing pomade and finished with a puff of hair powder to create a voluminous and lightly tousled look.
Think anti-ballerina neatness – what you or I can realistically do! At Christian Siriano, Aveda Global Creative Director Antoinette Beenders explains: ‘It’s a ballerina’s bun that she’s twisted up herself after she’s danced. It’s very wearable and easy to do yourself.’ Volumising prep was finger-combed through, then the head was flipped over and texturizing crème raked through with fingers, avoiding the hairline. Hair was again finger-combed into a ponytail at the top of the head and pulled straight up. The ponytail was twisted into a loose bun and secured with elastic. The base was pinned to secure and hair was finished with hairspray, the sides massaged with fingers to loosen slightly.
Heard about the new DIY knot? Designer Nicholas K wanted an army of models who embodied effortlessness. Hair was prepped with salt spray and dried with a diffuser on a medium heat, and then sprayed with hairspray to ensure a smooth, sleek, frizz-free crown. It was loosely pulled into a side ponytail behind the ear and secured with elastic. The ponytail was then separated into two sections, again sprayed with hairspray and loosely tied into a knot at the base of the head. To exaggerate the looseness, the ends of hair were diffused and random pieces were pulled out from the knot.
Turn spring hair into a work of art - graphic, clean and crisp. A great example was at Mary Katrantzou where Eugene Souleiman created almost aerodynamic hair, while Josh Wood worked in Illumina Colour glossy tones of cool linen. Hair was blown-out with a texturising spray at the roots. Once dry, it was sprayed with shine spray before creating a backcombed bun.
Go for the sophisti-plait this season. At Herve Leger Bb Editorial stylist Laurent Phillipon crafted a single braid at one side of the head that wrapped across the back, leaving the rest of the hair to hang free. Volumising spray was applied to the roots before blowdrying. Once dry hair was parted into a deep side parting and plaited from the slimmer side of the parting in a cornrow style – flat against the head – adding small pieces each time, until it reached the ear and then it became a loose braid which was fastened securely. For light control and to create a glass like shine, pomade was then applied and the braid was brought across the back of the head and secured with pins, letting the rest hang down, finished with hairspray.
