Thanks to MAC Cosmetics and photos from Style.com and Elle.com, here is a recap of more beauty trends straight from Spring/Summer 2008 Mercedes Benz Fashion Week in New York.
Tom Pecheux took Catherine Malandrino’s theme; a petal palette—and ran with it. “Think of the sunrise in St. Tropez,” he said. “But think of it rising over a beautiful old French hotel, where all the artists live and work.” In others, flowery—but arty flower. Kind of Renoir. The rose colors went on the cheeks. The jasmine, lavenders and lilacs went on the eyes. And the mouths were a pouty purplish pink reminiscent of peony. Think Flower Power á la Francais.
The theme of Madame Pompadour was taken pretty seriously at Ruffian. The models’ hair was in the literal pompadours—and Polly Osmond applied white powder base to the outlining areas of their faces, reminiscent of powdered wigs. then she painted on China Doll-like pink cheeks for a regal feeling and matched them with a soft pink mouth. On the eyelids—only gloss. The effect? Marie Antoinette goes clubbing.
At Temperley, it was “1930s glamour meets new wave- bright pink/orange matte lip and hot, sexy skin” said key makeup artist Charlotte Tilbury. Eyes had a futuristic, wet looking glow; while cheeks, temples and nose were accented with gloss. An extra punch of color topped lips for an all-over sexy look.
James Kaliardos went eye to eye with Rodarte’s punk ballerina look for spring by creating an unusual and highly artistic eye makeup design: black lines underneath and above the eye that met in an exaggerated cat formation somewhere out in the nether brow bone area. The lids were dabbed with turquoise or cobalt, reflecting Rodarte’s major color theme. An art statement or a new way to apply eyeliner that’s post modern and pushes the makeup envelope? At Rodarte, it was actually both. The rest of the face was dewy, natural and young—as were those Belle du Jour ponytails dipped in colored ink.
Remember—if you’re old enough—Scavullo’s photos of Patti Hansen in the seventies? Her gold hair, large, teased and waved, on the beach in a printed jersey caftan, with a beautiful pink pout and matching cheeks…the eye took a major backseat in Charlotte Tilbury’s DKNY spring face. The lips and cheeks matched like a purse and pumps, in a sheer shade of lilac pink—while the eyes were naked and shiny. Anyway, who needs eye makeup when they’re wearing a caftan?
James Kaliardos did perhaps the most minimalist makeup of the week at Richard Chai. There wasn’t even any foundation—just concealer where needed. The eyes were dotted with Soft Ochre Paint Pot, touched with a little Nanogold Eye Shadow on the top of the lid. Coppering Eye Shadow was dusted on the crease and lightly under the eye. And Beurre Cremestick Liner adorned the mouth radiating from the center out—so there were no harsh lines. It was practically a nudist camp for the face.
If Grace Kelly went to the beach—which she probably never did—but IF she did, she’d be this season’s Tuleh girl. As envisioned by Polly Osmond, she looks beautiful—but does not appear to have a lot of makeup on, but she does. Osmond worked with bronze powder to highlight and low light areas of the face and cheekbones—using her favorite color, MAC’s Taupe. In the crease of the eyes, she applied a pinkish gold Eye Shadow called Hey, and then used the all-important concealer on the lips, covered with Subculture Lip Pencil and the 2N Lipglass. Are you getting a hint of the trends no? 2N, Subculture, Taupe and a white eye pencil inside the eyes have turned up at more than half the NY shows.
Mariel Barrera kept it chic and simple at Berardi, using safari warm hues on the lips and cheeks, and only a pale copper on the eyes. But the effect was terra cotta meets red earth; a bronzed goddess who goes Big Game Hunting with Peter Beard.