Beauty Highlights: Day One of NZFW
See the freshest backstage takes on hair and makeup
Get thee a gold hair clip and fold that pony tail under. Texturise your tresses and work in a plait or two. Slick back your greasy hair and call it sport luxe styling. Three ways to get runway ready hair, seen at more than three shows at Fashion Week’s first day.
Take skin: moisturise, blemish disguise and get a glow on. Kiss kiss: condition lips and colour press the flesh. Line your eyes: fine and high or smudgy and low, but forget the flick. The prevailing makeup mood is fresh faced, minimally mascara-ed and with the odd unexpected accent for individuality.
A peachy flush to fresh skin carried over the delicate clothes palette and the desirable nude but better makeup look du jour. Kiekie Stanners added a feature lip on some models, with the wine-red shade (M.A.C Paramount lipstick over Chestnut pencil) showing depth but not darkness.
Michael Beel for L’Oreal won the prize for the day’s smartest easy update for hair, shopping at Farmers for gold Mita brand hair clips. Simply centre part, work a dry texturising spray through hair and smooth off before folding up and securing with the clip. Finish with spray.
A show inspired by artists’ muses needed but a single stroke to play up the starting point for Kate Sylvester’s collection. Kiekie Stanners for M.A.C choose a black cubist line, to cut unexpectedly across the models’ eye area. This horizontal gesture, sitting above the crease, delineated a face otherwise all but free of artifice. “They look like incredibly clean perfect canvases,” Stanners told Viva backstage.
A “nonchalant knot” was the hair twist chosen by Matt Benns of Stephen Marr. The low-slung knot was run though with a gold pin.
In the flicker of an eye, where sleep enters a REM-state of unease, lies the origins of Nom*D’s smudgy makeup and static-y hair. The designer brief to draw on disturbed dreams, saw Stanners opt for a greasy black eye look. “It needs to look undone by the time they walk out,” she told her artists. Hair by Benns and co-director Tommy Stayton
wafted airily atop a sectioned off area braided as a base for a loosely secured cinch.
Go for gold was clearly the message from Moore to her backstage team, with the collection’s Japanese influences showing up strongly in gilded brows and in calligraphy on the nape of those models who wore their hair up. Smashbox artist Sam Hart went to town on selected models, grunge-ing up the eye area and layering gold leaf at their temples, but the facial ornamentation worked best when simply arched above the eye.
Hair director Sara Allsop for Joico took gold pigment from the hairline upward and used dry shampoo for texture throughout. Loose buns were one of several styles seen at the show, along with loose waves and loose pony tails. Gold hair accessories again featured and unlike the costly jewelled barrettes seen at Prada earlier this year, these can be easily bought at your local department store.
Red and black were the gothic choices of Sarika Patel for M.A.C for the two designers in the Contemporary Salon show. Dmonic Intent served up one of the most dramatic looks of the day, with eyes ringed round in red and geisha lips drawn dark. For Syre, it was another fashion day out for the black-eyed brigade. To accommodate the ecclesiastic headdresses at Dmonic, Marr hair director Emma Bryce fashioned side rolls and a fine fishtail making a nice change from the usual fat plait. The braid was the best take home idea from an overall look strictly for show.
The dark ombre polish used on Third Form’s models was one of the few feature nail looks seen thus far. Otherwise it was business as usual at this group show, mining some of the season’s main trends. Skin was clean and dewy, with the Body Shop team led by Louise Mills adding radiant highligihter and also trying out a melting black gloss eye and nude glossy lips. Hair was centre parted, raked through for texture with a lived in wet-look through the lengths where shine spray was worked in by the Servilles Academy team led by Glenn Mercer for Wella.
Slicked back greasy looking hair was the choice of Richard Kavanagh for Redken, with the rough-hewn effect providing the textural contrast for minimally pretty makeup by Kristen Stewart. The contrast of fresh-faced with a touch of grunge is a way to keep beautifying real. This approach is showing through both internationally and locally, leaving aside the idea of perfect prettiness in favour of a more modern mixed message.