Scenes From Marc Jacobs F/W 2016

I’m not sure there’s a way to spin the Marc Jacobs beauty look from last night into something that’s feasible for the modern, everyday woman. If nothing, it does feel a bit more like art than just about anything else I’ve seen this season. (And maybe it’ll inspire you to buy some Redken hair gel or Nars eyeshadow—certainly, if you don’t have a good black nail polish, you’ll want to buy Marc's.) It’s not surprising; Guido, François Nars, and Jin Soon are all artists…put them together and they’re bound to produce something epic. I think they did.

Marc Jacobs backstage is undoubtedly my favorite place to shoot every season. It’s always a spectacle. And it makes for great Instagram scrolling long after the show is over. This was the scene: the Park Avenue Armory, a creepy Tibetan bell soundtrack, models with hair-gelled finger waves. Weird, but beautiful. There were six makeup looks. Francois can elaborate:

“I think [the six looks] give a really good range and was enough to tell the story of the girl Marc had in mind. The inspiration comes from different singers like Alice Cooper or those night performers–very New York, very underground. It’ a pretty dramatic look and more extreme than anything you’ve seen this week. Some have dark eyes with very strong liner and no lips. Not much foundation, a little bit shiny and not like a cosmetic look. We like to be away from anything that’s too perfect, like foundation and lipstick. All the eyebrows are gone because it gives a much blanker canvas so you can really restructure the whole face and you can make the eyelid really big…it just changes the whole face.”

It should be noted that anytime a girl's look appeared too perfect it was sent back and smudged a little further.

The hair matched in intensity. Guido said:

“So this is unnatural and a high-fashion hair look, like a total top to bottom fun, crazy Marc Jacobs girl. We’ve modernized it by leaving the ends out, so you get these two textures, the very structural set look and then the natural hair, which gives it a gothic-y feel in a way. It feels a little strange and very character-full. With the ears poking through it’s kind of boyish in a way. It’s two key products, Redken Hardwear Gel, which we have finger-waved into the hair, and then the Redken Forceful 23 Hairspray to set it in. It is a very set look.”

And no 'goth' look is ever complete without a black nail. From Jin Soon:

“It’s called Blacquer. I love that idea of ‘black’ plus ‘lacquer’–Blacquer! Marc really likes to have it super shiny, so on top of this black color we are using a high shine top coat called Shiny. It’s about goth looks from all different periods, so we tried to do a more sophisticated spin on this. The good thing about this color is that it has super great pigment, which means it covers really well with one coat. And Marc specifically told me on the test, ‘Jin! Short nails, short nails!’ Because you don’t want to have dagger nails with this one, otherwise it becomes too much, so short nails and high shine will make you more sophisticated.”

But I didn’t want to end this story with just the look. My time slot to shoot backstage ended at 3:30pm and Lady Gaga strolled in at 3:20. She looked like she was playing the part of a model: a pretty bare face for her, freshly-washed hair and a black turtleneck. She sat right in front of Guido and took her hair down, not a misstep—it seriously seemed choreographed. Made for an easy photo, thankfully. Then I ran down Park Ave to the subway (knowing I had the shot), tried to catch the train, got my foot caught in between the tracks and the car, got pulled out, and bumped into a horrified editor who had been backstage with me. I assured her it was OK—nothing else really mattered that day.

—Tom Newton

Photographed by the author.

For the full NYFW backstage report, click here.

The post Scenes From Marc Jacobs F/W 2016 appeared first on Into The Gloss.

The Backstage Fix For Skin That’s Not Quite So Perfect

Hair the past few seasons at the shows has been all about individuality—Ruth Bell's got a buzz cut, Mica's got her short curls, Lineisy has her natural texture, and stylists are game to work with it all, not against it. But what about on the face, I wonder? Seems hard to believe that makeup artists would do the same skincare on every single model pre-look...

Believe it or not, some models get *gasp* pimples. (In all honesty, most of them are easy enough to blur out in Photoshop and it seems like common courtesy given the kind of stress everyone is under this week—no one wants their zits slapped up on a beauty website, even if they believe in journalistic integrity.) That said, the skin at Adam Selman was particularly good. Like, noticeably different even in a sea of shows where good skin is the only beauty look. It all came down to a tip from Emi Kaneko, the makeup key artist this year. I had asked her a sort of odd question: If I were an 18 year-old Dutch next-big-thing model, with bone structure like Julia Fleming BUT with my skin (sensitive, red, prone to breakouts), could she make it work? Yes, she said without hesitating. She then suggested some products—including one that we haven't already covered to death on ITG (oh boy!). Read closely:

"I always start with Bioderma Créaline to remove any excess oil, dirt, makeup, or residue. You always want to start with a clean palette. Then I use the SK-II Facial Treatment Clear Lotion—it's the absolute best for oily or acne-prone skin. It purifies and gently exfoliates without drying. Most toners for oily skin contain alcohol which makes the skin dry which then causes the skin to produce more oil throughout the day, leading to more breakouts. Not good. After that, my favorite product is Nelsons Pure and Clear Acne Treatment Gel. It's homeopathic and has arnica, calendula, and tea tree oil to instantly relieve any inflammation and redness without the dryness. Once it sets, it almost creates a kind of seal so that you can safely use products on top. I like it for makeup because you don’t have to do half the work with covering with foundation. I’m all about using skincare to make it work. And Nelsons is especially great under makeup because it won’t pill once it sets. Also a little trick I use is Homeoplasmine for those super dry blemishes with excess skin that won’t go away. I slab on some all over and let it sit for about five minutes, apply a bit of Nelsons and voila…smooth and ready to go."

And there you have it.

—Tom Newton

Photographed by the author.

More artist tips and good-looking models can be found in ITG's Fashion Week roundup, right this way.

The post The Backstage Fix For Skin That’s Not Quite So Perfect appeared first on Into The Gloss.

All The Backstage Beauty From NYFW F/W 2016

We interrupt your regularly scheduled programming for a special dispatch from New York Fashion Week. For seven days, Tom and company will be out and about snapping pictures, gathering soundbites, and inhaling all of the free food Spring Studios has to offer. For real time updates, you can follow us on Instagram @intothegloss and on Snapchat @glossier.irl. Then check back here, where we'll be covering the looks in more detail. Let's dive in:

PROENZA SCHOULER
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Diane Kendal (MAC): “We wanted it very clean and fresh and simple, so basically we’re just evening out the skin, filling in the eyebrows slightly, and using taupe in the [crease] of the eye and a white eyeliner all around. It’s a lot of greys and taupey browns—in that sort of color palette. On six girls we are doing a matte red mouth with MAC Lady Danger—very simple and chic. We aren’t using a lip pencil, we’re using a brush. We dab the lip with a tissue and go over with loose powder to take any shine off. We wanted the skin to look dewy with just touches of highlight on the cheekbone and down the center. I think it goes with the look of Proenza's inspiration...the simplicity, and adding a pop of color.”

Anthony Turner (Bumble and bumble): “It’s a very modern take on a classic hairstyle, and we’ve tried to slot it into the Proenza world and make it feel cooler and a little bit more downtown. We’re using a Bumble and bumble Prep Spray throughout the whole hair and then doing a really low side part, but really messy—very, very quick. I’m using a hairdryer and the nozzle allows me to dry the hair a lot quicker. With fashion shows, time is of the essence. Then I’m going through the hair with a flatiron because I don’t want it to be romantic, I want the ponytail to be stick straight. I’m then going through the hair section by section using Bumble Cityswept. It gives the hair an oily, gritty feel and it’s meant to look like gym hair—a little bit sweaty and worn-in. Then we just whip the hair back into a low ponytail… It holds well, and the Cityswept gives it some great shine.”

Julie Kandalec (Essie): “It’s a satin finished [nail] and the shade is called All Eyes On Nudes from the Cashmere Matte collection. This one has a mica pigment in it so it’s a little pearlescent and isn’t super matte—it gives a great texture. We talked about coloring and things like that, but we wanted this texture. There’s a lot of textures in the collection, like leathers, so I wanted something that would speak to that versus the color. It has a cooler feel to it.”

ANNA SUI
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Pat McGrath (Covergirl): “Anna was talking about ‘pop-psychedelic’. Lots of Biba-esque drawings and dresses and all the Sui intricate detailing—the ‘60s, but something more unusual. The look is very simple and clean with a false lash and very natural, beautiful, gorgeous skin. We started with Covergirl Clean Matte Liquid Foundation mixed with a little moisturizer for that lustrous finish. Then we used the TruNaked Waterproof Pencil and I used the ebony side close to the lashline. Then mascara, and then we apply a double layer of lashes. It’s all about the big, graphic lash. Five girls are getting some spikes, and some girls are getting lashes drawn on…faint but very pretty. We also used a bit of our [forthcoming] TruBlend Contour Palette on the cheekbones to give a little bit of luminosity. It’s a very fresh look.”

Garren (R+Co): “[It’s] during the psychedelic period, but it’s not like Woodstock. See how it’s natural? It’s just that beautiful, youthful hair. It’s about letting hair have its personality. We used R+Co's [forthcoming] Twister Curl Primer on the natural, curlier hair. It formulates the curl and adds control to it, so if you have soft wavy hair, it’ll encourage the wave. If you have frizzy curly hair, it’ll encourage a softer spiral so it doesn’t look frizzy. Then we have a leave-in detangler, but I figured I could use it to soften. It’s good for bleached and damaged hair. The look is not volume, it’s more movement. The volume will come when they are walking down the runway. I’m so over the over-done, over-polished thing. For this day and age and the way the girls are, they don’t work with their hair, they just let it be. They keep it in good condition.”

MICHAEL KORS
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Dick Page (MAC): “It’s about individuality, so we’re trying not to let the makeup get in the way of that. We’ve come up with the idea using just eyeliner—black, blue, or brown liner, or some girls have nothing. And we’re also trying not to be too obvious about it, so it’s quite random. Some girls get it on the top lash line, some girls get it on the bottom, some girls get both. We’ll do a little flush in the cheek, but there’s nothing really graphic. She’s so perfect just the way she is.”

Jin Soon: “It’s done/undone. The look is more buffed, without any color, so we wanted to do a satin finish top coat. This gives a really even tone. No color underneath. This just kind of filters the look.”

BRANDON MAXWELL
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Tom Pecheux (MAC): “The inspiration was a kind of fucked up Audrey Hepburn. On the skin, we just concealed where needed and contoured gently with a darker shade of foundation. The brows were groomed and filled naturally, but we used MAC Haughty and Naughty Mascara on the top lashes and applied it very thick and messily. Then we used a combination of eyeliners in Grey Utility and Costa Riche under the eye and smudged it. On the lips, we used a [forthcoming shade] to kind of beige them out.”

NARCISO RODRIGUEZ
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Dick Page (Shiseido): “On pretty much all of the girls, it’s just beautiful skin. A little bit of fill in the eyebrows, nothing too strong. But then on six girls, I’m doing a little painting on the eyelid with Shiseido Shimmering Cream Eye Color in Caviar. I just wet the brush, load it up, and do a very simple paint detail. You can see the brushstrokes. Lip balm on the lips, nothing on the cheeks.”

Paul Hanlon: “The hair has a bit of a ‘70s thing to it, like that Cher one-length hair. It’s natural but a tiny bit more polished. We’re doing a middle part and flatironing the hair so it kind of looks like curtains, and we’re using a little bit of Fekkai serum in the ends. We might use Brilliantine on drier hair. And then Elnett. I mean, you could probably do every show just with Elnett hairspray, because it’s everything. You can gloss it, brush it out, you can make it hard, you can make it soft… It’s just the best.”

Deborah Lippmann: “I just got off the plane from doing the Grammys, so if I don’t make sense, please be a little forgiving. We’re actually doing kind of a layered nail look for Narciso—we’re taking this really cool taupe, She Wolf, and then we’re softening it with one coat of Like Dreamers Do. A lot of people are like, ‘Why don’t you just pour them all together?’ It just doesn’t work that way. You have the get the right amounts of opacity and sheerness. And we’re using Flat Top over the top because Narciso loves a matte nail.”

OSCAR DE LA RENTA
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Diane Kendal (MAC): “It’s very Oscar to have that woman who likes to wear makeup, and we were also trying to make something classic a little bit more modern. The focus is on the eye, with a dramatic eyeliner. We’re using a MAC Creme Liner and drawing a rectangular piece coming through the center of the eye out towards the outer corner, and then straightening it across. On top of the pencil, I’m using a black creme liner, and then drawing a line in the contour and putting mascara just on the outer corner of the eye where the liner is. The rest of the face should have a fresh, healthy glow—a highlight on the top of the temples and down the center of the nose, filling in the eyebrows, a hint of a lip, but nothing detracting from the eyes.”

Guido (Redken): “The collection has a lot of soft pinks and it’s very feminine. There’s something about the Oscar woman that should be effortlessly sensual without being pushed in any way. So we did a chignon just below the crown of the head—it’s kind of like a painting of the hair, with soft wisps around the face… It’s 18th century, very womanly and very painterly. I used a Redken Express Primer to blowdry the hair which gives a little texture, and then I put a little Windblown in it for some hold. Then I’m catching it in a ponytail, but leaving the front out. It feels easy, even though it was thought-out. Definitely ‘uptown!’”

Sunday Riley: "The skincare process takes roughly five minutes. We try to keep it down to two or three if we can, but we want to pamper the girls as much as possible. We see a lot of redness and irritation, especially in these evening shows. So we’re starting out with our Blue Moon Tranquility Cleansing Balm. We apply just a small amount of that to the girls’ faces to remove any leftover makeup and to soothe the skin, and then we remove it with a warm washcloth. We follow with a flash facial, which is one pump of Ceramic Slip Clay Cleanser and then two to three pumps of Good Genes. Then we remove the facial with a warm washcloth and apply the Tidal Brightening Enzyme Water Cream, which is a brightening treatment infused into a next generation water cream, and it’s amazing. And it’s not tacky, which I think a lot of hyaluronic acid products are."

Michelle Saunders (Essie): “We’re modernizing an 18th century French manicure. During that time there was no polish used—just a shiny, buffed nail with white pencil to clean underneath. It’s called a vintage glow manicure, and that’s what we’re doing today. We’re mimicking that using a shade called Hi Maintenance, which is so sheer and mimics the natural nail bed. Then we’re using our Matte About You Finisher which gives a satin finish, and highlighting the tip with Allure. It’s the most elegant manicure that you could ever have, because in the 18th century, a sign of a well-groomed nail meant health and vigor. History lesson!”

COACH
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Guido (Redken): “The approach was a cool girl with a messy ponytail, a side part, and bangs. The ponytails have some grip to hold the hair out of the way and create some character, some individuality, in the front with broken pieces—and it was high on the crown, which is really flattering. I used Redken Wax Blast to get it a little edgier, so it wasn’t so soft, and it had a little shine. It was very texturized and felt very cool.”

Jin Soon: “The color reads more like a cool, downtown girl. So we did one shade of pink, so it’s kind of cool, and a little punk. We applied a Matte Maker Top Coat. It’s really good. I wish I could tell you the shade, but I can’t. It’s coming out in May!”

RODARTE
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James Kaliardos (NARS): “We’re doing a tough, but ethereal, look for the show. For foundation, we’re using NARS Velvet Matte Skin Tint—the Mulleavy sisters really like a finished look, and this does that but still keeps your skin transparent-looking. It’s important that it doesn’t look like a mask. The blush shade is Liberté, because we all care about freedom, up high on the cheek, and we’re also using a Contour Blush in Paloma, which is really alive-looking. The lip is really dark and matte—it’s a Velvet Matte Lip Pencil in Train Bleu—and we’re drawing to the full extent of the lip, diffusing the ends with a Q-tip. We’re also darkening the brows with black Audacious Mascara and lining the inner rim of the eye with a metallic white pencil. It’s about mixing elements of fairy dust, moonlight, goth girl, and tough bitch."

Odile Gilbert (Schwarzkopf): “The look is ‘naughty romantic.’ We’re wetting the hair and then squeezing the hair with a blowdryer and diffuser, to get this natural-looking texture, and finishing with an Osis Dust It Powder. From there we have some girls with a middle part, some girls with a side part, and we’re applying real flowers and crowns—then putting the hair into a bun or chignon. When they walk, the flowers should shake.”

RAG & BONE
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Gucci Westman (SK-II): “The inspiration for the beauty look was the individual, strong personalities of these girls. We wanted to enhance their own beauty without cloning them, so it was very important to achieve their best skin possible. We actually used a lot of SK-II, like the Facial Treatment Essence, which we just massaged into the skin. Then we used SK-II’s [forthcoming] R.N.A. Power Cream as the last step. The makeup was minimal—I used some of MAC’s Eyeshadow in Wedge blended with their Powder Blush in Sincere over the eyes. Other than that, it’s pretty ‘real girl.’”

Julie Kandalec (Essie): “We wanted something that was unexpected, but not weird. We chose a really rich, opulent green—it’s called Stylenomics, and we’re using just one coat over everyone so it reads green on the runway. Two coats would be too dark, and it’s flattering for everything, so we didn’t think we needed to change it up.”

OPENING CEREMONY
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Yadim (Maybelline): “The show is futuristic, but it’s also about speed and propelling forward. They wanted the girls to feel like they were in a time warp. The makeup was very natural, because in general, Opening Ceremony isn’t a big makeup moment. But we did have a makeup moment today with this amazing theatrical glitter. It’s silver but with all different color holographs in it. We applied it to certain parts of the models’ faces, almost like they’re morphing—it sticks and we’re literally adhering it with moisturizer. On the skin we’re using Maybelline Fit Me Foundation, blended and mixed with moisturizer so it doesn’t feel heavy. All around the eyes, we’re using a Brow Drama Crayon as a taupe-y wash. We’re highlighting with Maybelline’s Strobe Stick [launching in June] to give that kind of beautiful, dewdrop skin. And Baby Lips on the lips—a little on the eyelids, too. One of the references was Blade Runner and this idea of a future society, but we were careful to make it feel modern, too.”

Jimmy Paul (Bumble and bumble): “It’s the idea of motion. It’s futuristic, but at the same time, the hair is quite do-it-yourself. One side is finger-waved, and the other side is quickly gelled back with Bumble and bumble Bb Gel. In the back, it’s a little more natural—just a little bit of Dryspun to give it a wet look. If you don’t brush it, it gives a slightly crispy texture. But if you do brush it, it’ll go clean, so that’s a tip for the models who have shows after this. More than anything, the hair is inspired by girls in New York. Girls on the street, girls going out…but in spaceships.”

PRABAL GURUNG
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Diane Kendal (MAC): “The inspiration for Prabal this season was a poem by Lord Byron called ‘She Walks In Beauty,’ so we really wanted the girls to look like they were walking in nature, having that flush, being in the elements. We decided on a wash of color over the face—on the cheeks we’re using MAC Cream Color Base in Vintage Rose just on the apples, blending down a bit, and we’re using a highlighter on top of the cheeks to give that gorgeous dewy effect. For the lips we’re using a pinky color, but mixed with foundation, so it gives a really beautiful stain. And we’re using two more bases on the eyes, Tint and Dusk, all over the lid to the eyebrow—using the brown-y one more in the contour. It’s all applied with fingers, for that worn-in look.”

Anthony Turner (John Masters Organics): “The hair follows the idea of this woman who’s been wandering through a forest—it was once something, but now it’s been a bit weathered by the wind and the rain and the rest of it. It’s very romantic and pretty. I’m using John Masters Organics’ [forthcoming] Volumizing Foam through the roots and then the Sea Mist through the middle and end, to make the hair fluffy and ethereal. I’m using my fingers to dry the whole thing and to lift the roots in the front, and I’ll crunch it with my hands to create a little bit of wave. I’m securing the hair into a ponytail, but as a nod to that Edwardian feel, I’m twisting the hair starting from the sides back into the ponytail. I’m doing it really quickly, and I’m trying to enjoy the little mistakes. It shouldn’t feel like event hair. It’s ethereal, but it should look a little rough around the edges.”

Keri Blair (MAC): “The nail is actually nude, but what’s unique about it is we’re starting with a base called Delicate, which is MAC’s manicure shade—it’s a lovely sheer pink. But we’re customizing the nude for each girl. It’s as if the girl came to her manicurist and said, ‘I want the perfect nude for me.’ The makeup is really transparent and a little bit wet, and the nail is the same way. The hand is also very luxurious and pampered, with MAC Prep & Prime Essential Oils, and the nail is really elegant and lacquered, too.”

DEREK LAM
fashion week beauty 2016
Tom Pecheux (Maybelline): "We're making the girl really beautiful in a fresh, natural way. The inspiration is from the collection, which is very wintry and extremely feminine, so the makeup is a bit warmer... You can feel the winter. There's a nice foundation of skincare, and we're using a lot of Maybelline Cream Contour and highlight, with a pale eyeshadow—we mixed a beige gold and a copper gold, depending on the skin tone. The eyebrows are a bit groomed and fuller than they are naturally. We also used a tiny bit of a rosy cheek, so you can really feel the gold and the shimmer. On the lips, we dabbed in a white matte lipstick, to create that pale, monochrome finish. It's very groomed, but natural at the same time."

Orlando Pita (Phyto): "When we went into the [runway show] meeting, I saw the clothes and thought we shouldn't have complicated hair. There are all these beautiful coats and collars and shapes, and hair would just obstruct that and not show it off. If the girl has long hair, it's a simple knot tucked in the back. I have girls with natural hair, I have girls with short little bobs... We're using some Phyto products to keep the hair moisturized and healthy, but other than that, we're letting girls be individuals. There's been sameness for way too long. This is so refreshing."

ALTUZARRA
fashion week 2016 beauty
Tom Pecheux (MAC): "It’s an individual eyeliner look for each girl, and it’s very conceptual. I used MAC Liquidlast Liner in Point Black. I'm freaking myself out because there's no room for mistakes, but you just have to let it go and keep it organic. The rest of the face is very nude, with a bit of contour and a bushy eyebrow—but very gentle. We used MAC Concealer to give the skin a sateen, matte finish. We have to treat the skin because it's so dry, burned by the wind! No product is getting in, everything is just sitting on top of the skin. We're fighting the cold."

Odile Gilbert (Kérastase): "The Altuzarra hair is classic, natural, and imperfect, inspired by Sharon Tate in the '60s and Kate Moss in the '90s. We prepped with the [forthcoming] Kérastase L'Incroyable Blowdry Lotion on damp hair, and we styled for each model's natural hair texture and style. For straighter hair, we used Mousse Bouffante on the mid-lengths and ends of the hair, and then blow-dryed with a diffuser while fluffing at the crown. For curlier hair, we used Curl Fever and blow-dryed with a diffuser again, touching the curls up with a curling iron. We fluffed and shook the curls instead of brushing them. For all looks we finished with Laque Dentelle to give hold, but still allowing for the hair's natural movement."

ALEXANDER WANG
fashion week 2016 beauty
Diane Kendal (NARS): "For Alexander, this season’s inspiration was youth culture’s take on high fashion. We did a very 'morning' makeup look—the girls have been up all night partying, so we just prepped the skin by moisturizing and used a light foundation to cover any blemishes. On the eyes, we applied this NARS Velvet Shadow Stick in Dark Angel all across the lid, into the contour and underneath the eye, blending that with a brush. We also went over with some moisturizer to leave a kind of a residue. There was no mascara, but on blond girls we did a very thin black liner close to the lashes to give definition. The blond girls are also getting their brows bleached, and we're using a black brow pencil on the darker-skinned girls. We used applied lip balm on the lips and also on the eyes, just to give it a really worn-in look. And Penny Lane Cream Blush on the cheeks—just on the apples, to make them look healthy."

Guido (Redken): "We’re reiterating the idea of individuality and different kinds of beauty. If they've got a cut, we're going to emphasize that and make it stronger—if they've got natural hair, we're going to emphasize that, too. A lot of the shapes are based on the '70s, that kind of feather cut or shag. We used Redken Wax Blast to give texture. It's got hold and a bit of shine, but with some separation—great for longer hair. It adds a little personality, but doesn't make it too big. We also used this new Beach Envy shampoo [launching in March]. It shampoos the hair but leaves it with a beach texture. And we let it dry naturally."

LACOSTE
fashion week 2016 beauty
Mayia Alleaume (MAC): "The inspiration is ski, so the girls are going to be very simple. There’s a contrast on the skin between shine and matte, so we used just a tiny bit of MAC’s [forthcoming] tinted Strobe Cream on the lid and on the cheekbone. And we don’t like powder, so we work with this MAC Mineralize Charged Water Moisture Gel that works like a powder to mattify the skin. On the cheeks, we tried to just give them a natural blush, like they've been outside. We did the brows with the MAC Pro Longwear Waterproof Brow Set—we don’t draw, it’s more of a brush with the right color. And for the rest, we want to keep [the models’] personalities, so it’s nothing dramatic. Curled lashes, beautiful skin, it’s super simple."

Laurent Philippon (Bumble and bumble): "It’s a case by case situation [with the hair]—the variety resides in the casting, really. So we really want to work with and enhance whatever we have. We’re using Bumble and bumble Prep with some Hairdresser’s Invisible Oil as a liquid conditioner. Sometimes we’re doing a little bit of curling iron, and we did a few heads of extensions as well for girls who need it for when the hair is thinner, to make it look full and healthy. It’s all about having healthy-looking hair, but keeping it very cool and contemporary. A lot of the hair when it’s good hair, we’ll just wet it and let it dry as it is."

JASON WU
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Yadim (Maybelline): "I think that the Jason girl is becoming cooler and younger, and I think there’s something to be said for the sense of rebellion that young girls have. Just a really clumpy spider lash, but only at the ends and not on the roots. It’s a little bit childlike and destroyed. We shwished mascara back and forth a couple times on the lashes, the roots are not getting any, only the ends. I’m putting a bunch of them together to make four or five really big lashes. On the ends is an all purpose clear gloss and it looks amazing. Then what we did was put a little taupe on top—almost like a wash—for depth."

Deborah Lippmann: "It’s kind of a younger, edgier Jason Wu, but she’s still chic and a little grungy. The grungy girl who still does her nails! We were originally doing red nails, but until the girls got dressed and went down the runway, it just seemed like too much of a departure. It became a full, opaque beige called Fashion–appropriately. It’s the color I use most in fashion shows. This has a little too much yellow in it for my skin, so when I’m applying it to myself or someone who has a pinker skin tone, I have to apply very, very thin coats, otherwise my cuticle turns red. Your body literally says, "Nope, that's not right." For darker skin tones we would do a normal application and for girls with lighter skin tones we do it very sparingly."

ADAM SELMAN
fashion week 2016 beauty
Emi Kaneko (MAC): "The look is a little messy with a sweet element... We came up with 'Dangerously Sweet.' We used a MAC Kohl Power Eye Pencil in Feline all around the rim and inside the eye and it’s quite thick. I have the girls blinking afterwards so it’s been worn in. There’s no mascara and nothing on the brows—the liner is the big star. For the cheeks we used this Cremeblend Blush in Something Special, applied kinda like she’s been out and about in the winter of New York—like today! For the lips, just a little bit of Retro Matte Liquid Lipcolor in Back in Vogue. We used it as a stain, so the lips look wind-blown, not chapped."

Naomi Yasuda (MAC): "We did a reverse French manicure for the show. Crime scenes were one of his inspirations, so I wanted to do something a little bit spooky and goth but fun and young at the same time. We prep the nails with a base coat and applied MAC Nocturnal Black Pigment. Then we used either MAC Flaming Rose or Fabulous Fete a little bit above the cuticle line. The top coat was MAC Shadow—it’s a semi-sheer translucent black polish. It darkens the base and gives depth to the red and silver, but also retains its vividness."

Photographed by Tom Newton. Story updated as of February 19, 2016 at 2:25pm.

We'll be updating throughout Fashion Week. In the meantime, catch up on all things NYFW in The Backstage.

The post All The Backstage Beauty From NYFW F/W 2016 appeared first on Into The Gloss.

The Food Of Fashion Week

I shot 20 shows this season and I can tell you that I ate something different and delicious backstage at each one. (I’m not 100 percent certain I’m supposed to be eating any of it—maybe it’s just for the models and the crew—but that’s part of the excitement.) I don’t care who you are, free food is exciting. That love doesn’t die after college. It’s like a very elevated version of attending some weird safe sex seminar because they're serving free pizza, except instead you get to attend Michael Kors backstage for some free parfait and sausage-egg-cheese sandwiches that would put any overpriced Manhattan cafe to shame.

It’s really how I stay functioning throughout all the model-chasing and PR coordinator-dodging I have to do during the week. Let me break down the big ticket items for you:

Those apples! I have no idea what to call them but the apple slices covered in peanut butter and granola. They’re amazing, somewhat healthy, and they’re usually the first item to go. I always try to grab a couple of these on my way in at most shows—I especially know to watch out for them at Spring Studios.

Juice Press: As I've written before, I refuse to pay for Juice Press. I just can’t. That said, I will choke someone out to get the last Pink Punk if they’ve got free Juice Press somewhere backstage. Delicious, just not worth $20.99 or whatever they charge for it. Sadly this season I didn’t see much of it around—just some green juice at Prabal, which I was not about to go for.

Cookie & dessert trays: Anna Sui had a killllerr one this season. Like semi-fancy but still low-end enough to be delicious. They had at least 10 different types of things—mini strawberry cheesecake, linzer bars, brownies, oatmeal cookies without raisins...it was all I could have asked for.

Fiji Water: They have this everywhere. I’ve never purchased a Fiji Water myself in my life but I’ve gone through dozens during NYFW. Spring Studios always has ones with holes in the lids and very cute, extra-durable straws. Awful for the environment, yes, but helpful to the camera guy with no room for a water bottle and with a low thirst tolerance. Don’t worry guys, I do always recycle.

Pesto pasta salad: As seen at Thakoon the past two seasons. This is a major one for me because it usually comes in a nice to-go container, which makes for good subway food. Convenience is key because I’m not about to try and take that messy roast beef sandwich to go.

Popcorners: These, also at Thakoon this season, really got me. I hadn’t tried them before, so bless some producer/coordinator/caterer for including them backstage here. They’re delicious! I had one bag of the kettle ones and then managed to sneak two more away with me. Sustenance enough for multiple shows! (This post is not sponsored by Popcorners, I swear).

Melissa’s Bakery: Leave it to Jeremy Scott to have some funky little cupcakes backstage. I had about five too many, but they were delicious.

Sliders: This is a rarity, but one time, a show had mini chicken and beef burger sliders with mini fries alongside. I’m still chasing that dream. This season, ODLR did have little BLT slider sandwiches on potato rolls. Golden.

Shout out to NYFW for caring about those of us putzing around backstage for a week straight. It’s very much appreciated. See you next season.

—Tom Newton

Photographed by the author.

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Marc Jacobs Breaks The Makeup Rules

Someone needed to bring some theatrics to Fashion Week this year, and Marc Jacobs did so quite literally on Thursday evening at the Ziegfeld Theatre. But past the marquee, past the red carpet, past Beth Ditto slithering out from under tables backstage (hi, Beth!), was makeup that wasn't so much glamorous as it was a celebration of grunge. Ziggy Stardust slept in his makeup and now he's going to walk a Marc Jacobs show in the remnants. Starlets from the '40s out all night dancing was the reference on everyone's lips. Also John Waters' version of Americana. Girls were slick and messy. But most of all, they were made-up.

Of course there is always the 'Is this wearable?' question—and the answer is most likely no, unless you're really feeling like the grunge belle of the ball. But that doesn't mean that it wasn't exciting to see. And there's plenty to learn from it in all of its unwearable glory. Want to get something different out of your bright red lipstick? Blot the bullet on your fingertips first, then apply with your hands. And who among us isn't thinking about blue cream eyeshadow now (specifically the Nars Eye Paint in Solomon Islands)? Inspiration can come from stranger places than a Marc Jacobs show.

Guido Palau (Redken): "So the hair at Marc Jacobs today has a ‘40s feeling to it with the shape. Though it’s disheveled, and there are bits sticking out. It’s taken to a modernity by the product, which is Redken Guts 10, and then the Forceful 23. The combination the two products gives a shiny finish but with a hold to it. It’s got a punky feeling because it’s raw and it’s young, and it’s like a girl who’s done it herself but she’s inspired by the ‘40s. So it’s got all those kind of elements to it. In some ways, it’s super feminine, but in a very downtown kind of way."

François Nars: "Marc likes the idea that the models look a little bit worn out, like they have been out all night, just sweating but still have those bright bits of color without looking too well-done. She's wearing too much mascara, no foundation, dark circles. We are breaking all the cosmetic rules. [Laughs] The girls should still look really interesting and beautiful and more like characters without looking like they have come out from a makeup salon. It’s really the opposite of that look. Whatever makeup we do at the shows always looks like it has lived, that it’s not pretty. We don’t like pretty.

There's a lot of shine—we just use Vaseline on the lids, cheekbones, and a lot under the eyes. There's no foundation and no concealer. We actually created dark circles, a little bit brown under the eyes, a little bit tired. But then at the same time they look so beautiful anyway, so it’s not a problem.

The mascara is like spider legs—the more the better! Really dirty and sticking together to give the effect that it’s the piling of the mascara for a couple days. You can add some powder so it thickens the lashes a little bit more and makes them look stuck together, but really by adding coat after coat—about five or six coats—it's enough. Then we chose a turquoise blue placed on the inner corner of the eye, not on the outer corner because we really like the idea that it’s not a shade, it’s not a cat-eye, nothing like that. It’s a bit more interesting and there’s a lot of bright colors in the clothes. There are some blues, some reds, golds, and sequins. It’s unbelievable with beautiful embroidery, it’s very downtown rock, but at the same time looks like a couture show. I actually added some brown to make it a little bit more dirty so it doesn’t look too blue. We applied a little bit of greasy brown over the eyelid…the brown disappears, but it’s still there because it looks a bit more dirty.

There is absolutely nothing in the brows. I like when they are not even brushed because, again, the idea is just a girl who is very glamorous, but a different type of glamorous. It’s more like a rock glamour, more sophisticated. And for the lips, again we liked the idea that they were not drawn very well. It’s the same spirit—she went out all night, so it’s a little bit of what’s left after dancing all night."

Photographed by Tom Newton. Video edited by Maya Margolina.

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