Best Beauty: Paris Fashion Week Day Two

Futuristic beauty and high-shine hair

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By Amy Lawrenson

Haider Ackermann:

Okay, so this look is by no means wearable but what it lacks in functionality it makes up for in creativity. ‘Haider wanted Diana Vreeland but in a raw, modern way,’ said make-up artist Yadim for MAC.

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The brow is meant to be a high society ‘smug brow’ but when Yadim initially drew it on it looked too classic. After rifling through hairstylist Eugene Souleiman’s kit he decided to use hair elastic fixed with glue. Striking, non?

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Wella Professional’s Eugene created turbans using three wide black headbands and weaving in wefts of hair. He took inspiration from Greta Garbo and Gloria Swanson in the twenties for a chic look that balanced the oversize clothing in the collection.

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Acne:

Aaron de Mey was busy taking colour out of models’ faces at Acne and piling on the shine – he wanted a cyber, boyish look. Cue plenty of MAC Lipglass to impart gloss into the high points of the face and eyelids.

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The high shine theme ran through into hair where Anthony Turner was slicking hair back with a lot of LOreal Tecni.Art Glue, before securing the hair at the nape and ironing the ponytail poker straight.

The glossy hyper-real beauty balanced out the matte, earthy textures of the collection.

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Veronique Leroy:

‘This make-up is what I call The Verge,’ said Alex Box backstage. ‘It’s a moment before something is about to happen’.

Leroy’s character this season is a girl on the verge of becoming a woman; she has no awareness of her own beauty. Box created the look of a girl who doesn’t like make-up, it was make-up that looked invisible. Mimicking the grey, mauve, taupe tones in the skin she seamlessly contoured the faces.

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James Pecis referenced The Piano, creating innocent hair using Moroccanoil Root Boost dried and massaged in to create a day-old type texture before massaging Intense Hydration Cream through the mid lengths and ends to disguise the model’s wrecked ends from weeks of shows. The mussed-up hair was pulled into a low ponytail that sat slightly to the left, with the parting on the right.

Vivienne Westwood:

Typical Vivienne, backstage there was a mix of references mentioned for the collection – the Ashaninka Tribe, designer Charles Frederick Worth and painter Toulouse-Lautrec. Val Garland created red and blue tribal markings for some of the girls, while others were influenced by Toulouse-Lautrec with rosy pink cheeks and curly hair.

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Sam McKnight created two very different hairstyles for the girls. One slick and shiny – wet-looking helmets of wrapped hair, while other girls were given matte, wooly-textured curly hair. The key product for both looks? GHD hairspray.

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Marian Newman showed Westwood three possible nail looks ‘and she like them all!’ revealed Newman. MAC’s sheer Gold Opal was painted on and layered with matte top coat; the second look (and Westwood’s favourite) was matte top coat mixed with white pigment for a barely there chalky look to the nail. Finally three brown eyeshadows were buffed into some girls’ nails before a final coat of matte.

Jean-Paul Gaultier:

A strong look at Gaultier this season. Redken’s Guido gave 80 percent of the models a sleek topknot – others were laing characters from futuristic to quaffed ‘lady’.

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Redken Hardwear 16 gel and Forceful 23 spray coaxed hair into neat shiny up ‘dos. A final mist of

added last-minute shine in the line-up.

Complimenting the tough-looking hair Lloyd Simmonds gave the models a slick of black liner on the upper eyelids.

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