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The grooming trends that shaped Milan Fashion Week A/W 2014
The grooming trends that shaped Milan Fashion Week A/W 2014
Gucci: With a nostalgic nod back to Gucci's glory days, Pat McGrath created a make-up look that was 1960s in design. False lashes and thick black liner added definition to the lash line, while drawn on Twiggy-style bottom lashes added glamour. Hair was kept loose and glossy, intensifying the sexy seductive vibe of the Sixties Gucci siren to a salacious level
Photography: Jason Lloyd-Evans
Gucci: With a nostalgic nod back to Gucci's glory days, Pat McGrath created a make-up look that was 1960s in design. False lashes and thick black liner added definition to the lash line, while drawn on Twiggy-style bottom lashes added glamour. Hair was kept loose and glossy, intensifying the sexy seductive vibe of the Sixties Gucci siren to a salacious level
Photography: Jason Lloyd-Evans
Antonio Marras: With a vertical stripe of platinum pigment running down the centre of the eye, and smudged lipstick under the lash line, Tom Pecheux created a look that was as dangerously alluring as the mystical wolves printed on Marras' designs. The same animalistic approach was applied to the hair, which was pulled and teased into a sleek, two peaked, ear-like up-do
Antonio Marras: With a vertical stripe of platinum pigment running down the centre of the eye, and smudged lipstick under the lash line, Tom Pecheux created a look that was as dangerously alluring as the mystical wolves printed on Marras' designs. The same animalistic approach was applied to the hair, which was pulled and teased into a sleek, two peaked, ear-like up-do
Bottega Veneta: Inspired by this season's strong and sexy woman, hair stylist Guido Palau pulled the models' hair back into secure, fly-away-free ponytails. This streamline look was complemented by Pat McGrath's luminous and dewy make-up that used champagne shades and a golden bronzer to create a healthy complexion
Bottega Veneta: Inspired by this season's strong and sexy woman, hair stylist Guido Palau pulled the models' hair back into secure, fly-away-free ponytails. This streamline look was complemented by Pat McGrath's luminous and dewy make-up that used champagne shades and a golden bronzer to create a healthy complexion
DSquared2: The sexy 1950s housewife was all dressed up with no place to go at DSquared2. As a result, Gordon Espinet created a subtle beauty look 'with a touch of madness'. Using bronzer to define and shimmer to highlight, cheekbones were chiselled to perfection. Cool-toned dusty mauve lips created a slightly lifeless look that was both pretty and subdued - much like life in the suburbs
DSquared2: The sexy 1950s housewife was all dressed up with no place to go at DSquared2. As a result, Gordon Espinet created a subtle beauty look 'with a touch of madness'. Using bronzer to define and shimmer to highlight, cheekbones were chiselled to perfection. Cool-toned dusty mauve lips created a slightly lifeless look that was both pretty and subdued - much like life in the suburbs
Emporio Armani: To complement Mr Armani's man-style A/W collection, hair stylist Roberta Bellazzi and make-up artist Linda Cantello worked to create a look that produced strong women. Hair was a roughly chopped black wig, while black eye shadow and liner was applied with a heavy hand. The sliver lining was a thick swipe of metallic liquid liner to up the pretty factor
Emporio Armani: To complement Mr Armani's man-style A/W collection, hair stylist Roberta Bellazzi and make-up artist Linda Cantello worked to create a look that produced strong women. Hair was a roughly chopped black wig, while black eye shadow and liner was applied with a heavy hand. The sliver lining was a thick swipe of metallic liquid liner to up the pretty factor
Fendi: Bronzed, defined and bold, Peter Philips' make-up combined flawless skin and glossy lips with a grey, smoke-effect extended from the corner of eyes and down the cheekbones. Further highlighting the face structure, the hair by Sam McKnight created definition with three sections and two clean partings, scraped back and secured with plenty of wet-look gel
Fendi: Bronzed, defined and bold, Peter Philips' make-up combined flawless skin and glossy lips with a grey, smoke-effect extended from the corner of eyes and down the cheekbones. Further highlighting the face structure, the hair by Sam McKnight created definition with three sections and two clean partings, scraped back and secured with plenty of wet-look gel
Salvatore Ferragamo: Lipstick and gloss were disregarded at Ferragamo. Instead, Diane Kendal's look was all about 'bold beauty'. Relying upon a purifying layer of foundation and powder, the face was given depth with a fresh and subtle pink powder pressed high into the cheekbones and a golden bronze shadow to contour the eye. The result was a nude simplicity that spoke of the naked boldness that Kendal referenced
Salvatore Ferragamo: Lipstick and gloss were disregarded at Ferragamo. Instead, Diane Kendal's look was all about 'bold beauty'. Relying upon a purifying layer of foundation and powder, the face was given depth with a fresh and subtle pink powder pressed high into the cheekbones and a golden bronze shadow to contour the eye. The result was a nude simplicity that spoke of the naked boldness that Kendal referenced
Jil Sander: Complementing the label's structured minimalism, Pat McGrath created a futuristic look that revolved around luminous, silver toned skin. Finalising the look, Guido Palau kept the hairstyling to a modern minimum by brushing, parting and tucking straight hair behind each model's ears, resulting in a clone-like catwalk
Jil Sander: Complementing the label's structured minimalism, Pat McGrath created a futuristic look that revolved around luminous, silver toned skin. Finalising the look, Guido Palau kept the hairstyling to a modern minimum by brushing, parting and tucking straight hair behind each model's ears, resulting in a clone-like catwalk
Marni: Inspired by a texturally diverse approach at Marni for AW14, the velvetiness of Tom Pecheux's polished, silver-toned make-up was juxtaposed with wet, tangled and dishevelled hair, pulled across the forehead by Paul Hanlon. Both elements, although contrasting, worked together to create 'a cool girl' who, while beautiful and alluring, was also 'a bit rough'
Marni: Inspired by a texturally diverse approach at Marni for AW14, the velvetiness of Tom Pecheux's polished, silver-toned make-up was juxtaposed with wet, tangled and dishevelled hair, pulled across the forehead by Paul Hanlon. Both elements, although contrasting, worked together to create 'a cool girl' who, while beautiful and alluring, was also 'a bit rough'
Max Mara: 'Glossy grunge' was the direction at Max Mara with Tom Pecheux's faces displaying flawless skin and zero eye make-up. A daring, deep red lip stood out as a statement of defiance, along with Luigi Murenu's textured strands of tousled hair
Max Mara: 'Glossy grunge' was the direction at Max Mara with Tom Pecheux's faces displaying flawless skin and zero eye make-up. A daring, deep red lip stood out as a statement of defiance, along with Luigi Murenu's textured strands of tousled hair
Missoni: 'Cool girls in their boyfriends coats at the bus stop at six in the morning...' was the mission statement at Missoni. Balancing the grittiness of the bedraggled bun by Eugene Souleiman, and the thick black morning-after panda-eye by makeup artist Lucinda Piero, a pearl toned highlighted brow bone gave the girls that envious 'I woke up like this' glamour
Missoni: 'Cool girls in their boyfriends coats at the bus stop at six in the morning...' was the mission statement at Missoni. Balancing the grittiness of the bedraggled bun by Eugene Souleiman, and the thick black morning-after panda-eye by makeup artist Lucinda Piero, a pearl toned highlighted brow bone gave the girls that envious 'I woke up like this' glamour
MSGM: Colour was bold and the prints romantic at MSGM. The collection translated into a playfully elegant, make-up design. Bright eyes were framed by thick and dark eyebrows, while lips were stained a deep shade of wine. This polished and refined look was then unhinged with the use of a single silver jewel under each eye. Fun but chic, MSGM's girls were both confident and mischievous
MSGM: Colour was bold and the prints romantic at MSGM. The collection translated into a playfully elegant, make-up design. Bright eyes were framed by thick and dark eyebrows, while lips were stained a deep shade of wine. This polished and refined look was then unhinged with the use of a single silver jewel under each eye. Fun but chic, MSGM's girls were both confident and mischievous
No.21: Envisioning a 'young girl who doesn't look so normal', Tom Pecheux contrasted the naivety of clean skin and fresh pink cheeks with a well-defined, black line of glitter, carefully painted along the upper lashes. Also inspired by the conflict between innocence and experience, was hair stylist Luigi Mureno who kept things youthful with a middle-parted, dishevelled, school-girl-after-playtime style
No.21: Envisioning a 'young girl who doesn't look so normal', Tom Pecheux contrasted the naivety of clean skin and fresh pink cheeks with a well-defined, black line of glitter, carefully painted along the upper lashes. Also inspired by the conflict between innocence and experience, was hair stylist Luigi Mureno who kept things youthful with a middle-parted, dishevelled, school-girl-after-playtime style
Ports 1961: Tom Pecheux was inspired to create a simple, sexy look based on Jane Birkin in the late 1960s and early 1970s for Ports. With rosebud lips and highlighted cheekbones, Pecheux updated the Birkin-look by giving the era's compulsory black liner a subtle blue tinge. The less-is-more make-up was complemented by long hair, styled by Eugene Souleiman to be blown away from the face by a wind machine, strategically placed at the end of the catwalk
Ports 1961: Tom Pecheux was inspired to create a simple, sexy look based on Jane Birkin in the late 1960s and early 1970s for Ports. With rosebud lips and highlighted cheekbones, Pecheux updated the Birkin-look by giving the era's compulsory black liner a subtle blue tinge. The less-is-more make-up was complemented by long hair, styled by Eugene Souleiman to be blown away from the face by a wind machine, strategically placed at the end of the catwalk
Prada: Using the 1970s for inspiration, Prada's A/W collection looked back without nostalgia. So Pat McGrath used both the iconic blue shadow and clumpy black mascara left over from the Twiggy-era to create a striking look. Leaving the models' unique features to standout, the hair was coated with gel from the roots to the ends and brushed back into a tight, low ballerina bun
Prada: Using the 1970s for inspiration, Prada's A/W collection looked back without nostalgia. So Pat McGrath used both the iconic blue shadow and clumpy black mascara left over from the Twiggy-era to create a striking look. Leaving the models' unique features to standout, the hair was coated with gel from the roots to the ends and brushed back into a tight, low ballerina bun
Pucci: Make-up artist Yadim selected just five girls for the golden brow treatment at Pucci, an exclusivity that ensured the look would be talked about. Brushing the metallic pigment across the brow and down the nose Yadim created a tribe of 'polished savages' whose black-rimmed eyes were altogether animalistic
Pucci: Make-up artist Yadim selected just five girls for the golden brow treatment at Pucci, an exclusivity that ensured the look would be talked about. Brushing the metallic pigment across the brow and down the nose Yadim created a tribe of 'polished savages' whose black-rimmed eyes were altogether animalistic
Roberto Cavalli: Inspired by 'fire and water, and strong elements' Diane Kendall created 'a strong eye paired with beautifully sweaty skin' at Roberto Cavalli. Smudging dark coffee and black shadow out into a graphic-wing, the eyes were daringly defined. This, along with the models' greasy buns, created a look that was defiant of nature
Roberto Cavalli: Inspired by 'fire and water, and strong elements' Diane Kendall created 'a strong eye paired with beautifully sweaty skin' at Roberto Cavalli. Smudging dark coffee and black shadow out into a graphic-wing, the eyes were daringly defined. This, along with the models' greasy buns, created a look that was defiant of nature
Sportmax: Designing hair to maximise the impact of the collection's bold patterns, Paul Hanlon created a plain, simple hairstyle at Sportmax. Parted in the middle and loosely tied back into a low ponytail, it was a no-fuss affair. With a similar notion in mind, Lucia Pieroni created a make-up-less, moisturised face
Sportmax: Designing hair to maximise the impact of the collection's bold patterns, Paul Hanlon created a plain, simple hairstyle at Sportmax. Parted in the middle and loosely tied back into a low ponytail, it was a no-fuss affair. With a similar notion in mind, Lucia Pieroni created a make-up-less, moisturised face
Trussardi: For A/W Gaia Trussardi was inspired by rebellion, and subsequently created a tough, oversized, mostly masculine collection. Following suit, eyes were ringed with a moody and sophisticated combination of grey, pink and taupe. Contrasting this subtle eye was a strong red lip, painted with the uttermost precision for a seductive edge
Trussardi: For A/W Gaia Trussardi was inspired by rebellion, and subsequently created a tough, oversized, mostly masculine collection. Following suit, eyes were ringed with a moody and sophisticated combination of grey, pink and taupe. Contrasting this subtle eye was a strong red lip, painted with the uttermost precision for a seductive edge
Versace: Using two pairs of false lashes, Pat McGrath ensured that heavy, feline eyes were the main focus of her look for Versace - like McGrath's neatly groomed eyebrows and hair, which was sleekly parted to one side. The 'not a hair out of place' style was a modern take on Brigitte Bardot's iconic mane
Versace: Using two pairs of false lashes, Pat McGrath ensured that heavy, feline eyes were the main focus of her look for Versace - like McGrath's neatly groomed eyebrows and hair, which was sleekly parted to one side. The 'not a hair out of place' style was a modern take on Brigitte Bardot's iconic mane
Giorgio Armani: Contrasting Giorgio Armani's sharp tailoring, hair stylist Roberta Bellazzi used a three-barrel waver to create beautifully bohemian, loosely crimped waves. Coated with a thick layer of fixing oil, the girls had a certain 'mermaid on land' appeal. Make-up artist Linda Cantello continued the ethereal look with a grey shaded eye that was framed with thick, straight, graphic browns
Giorgio Armani: Contrasting Giorgio Armani's sharp tailoring, hair stylist Roberta Bellazzi used a three-barrel waver to create beautifully bohemian, loosely crimped waves. Coated with a thick layer of fixing oil, the girls had a certain 'mermaid on land' appeal. Make-up artist Linda Cantello continued the ethereal look with a grey shaded eye that was framed with thick, straight, graphic browns