Though Rochas’s fall/winter 2016 collection heavily referenced the ’20s and ’30s, the hair and makeup both drew on later decades. “It’s a little bit ’60s, Bardot-inspired,” said the makeup artist Lynsey Alexander backstage. Skin was kept relatively bare and given a natural, well-moisturized glow. Alexander then applied Cle de Peau’s cream color eyeshadow in Pony, a delicate light beige, to eyelids, followed by a coat of mascara, which she promptly removed. The remaining hint of mascara at the lashes’ roots lent a deliberate “leftover” effect on the eyes, she said. But it was the salmon-peach lips that drew the most attention. Alexander swept on several layers of Cle de Peau’s Enriched Lip Lumizer in Peach Gelato, followed by a coat of translucent powder for a strong, matte finish.
For hair, Paul Hanlon found inspiration in the photographer David Hamilton’s portraits from the 1970s. “There was lots of virgin hair, lots of static — that’s a key thing,” he said, nodding to the looks he created for the show. Starting off with clean, freshly washed hair, Hanlon relied on minimal product — just some salt spray for a delicate texture — occasionally braiding and unbraiding the models’ locks for a slightly uneven wave. “It gives it some movement, and there’s a naïveté to it,” he said. Just before the show, Hanlon and his team brushed the hair upward with their hands for an unintentional-looking fullness he described as a “pillow effect” — meaning hair that’s even better the next morning.
By LAURA NEILSON
Source New York Times
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