The top 20 beauty trends to shape the S/S 2016 womenswear season
Marni: Tom Pecheux created a slightly surreal take on doll-like beauty with excessively long individual lashes places randomly along the top and bottom lash lines at Marni. The rest of the face was left bare, save for a little bronzer for definition. Paul Hanlon then lacquered the hair to frame the face and twisted the lengths into pigtails.
Writer: Alice Shaughnessy
Burberry Prorsum: Wendy Rowe made lips the focus of her spring Burberry make-up look, with models receiving either a bold, oxblood hue or a rosy nude. Eyes were kept extremely natural, sometimes with a dab of mascara, or a wash of a pale orange shadow for definition. Top stylist Christiaan Houtenbos kept manes freshly washed and air dried, allowing the natural texture of each models’ hair to shine through
Mary Katrantzou: Lucia Pieroni layered blue mascara to create a graphic, clumpy effect at Mary Katrantzou. The mascara was only used on the centre lashes of each eyelid, which gave the models’ eyes a more rounded appearance. Paul Hanlon then parted hair to one side and left the lengths in soft tousled waves
Calvin Klein Collection: It was business as usual for Pat McGrath and Guido Palau, creating a minimalist beauty look for Calvin Klein Collection. McGrath brought warmth and definition to the models’ faces with the subtlest touch of bronzer, and a dab of gloss to the centre of the lips. Hair was dried, leaving the natural texture except for some shine serum to keep the waves defined
Cédric Charlier: A French take on the minimalist look; here the emphasis was on skin preparation to create the appearance of clean and fresh complexions with minimal colour. Hair was textured, but with a more matt effect so it looked slept in rather than air dried. The most dramatic intervention was the focus on a strong brow, with extra hairs drawn in at the base of the brow and the rest brushed up with gaps filled in with a matching powder
Chloé: Clare Waight Keller wanted to infuse a ‘youthful optimism’ into her rainbow hued S/S 2016 collection. To that end, Lucia Pieroni gave the models a fresh, healthy glow with delicately highlighted cheekbones and flushed rosy blusher on the cheeks. Eyes were lined in black for some definition and then smudged to soften the effect. Continuing the trend for lived-in hair, Eugene Souleiman left each models’ hair au naturel
Christopher Raeburn: Liner was again the key feature of the make-up look at Christopher Raeburn, but it was kept sharp and defined all the way around the eye. The usual sporty feel was still apparent however, with glowing skin and slicked back hair. The darkness of the eye make-up was then complemented by similarly vampish polished nails
Dior: A subtly romantic look was created by Peter Phillips with a wash of soft pink eye shadow and a touch of Dior’s Lip Glow (a balm designed to enhance the natural colour of the lips). Lashes were curled and brows brushed up. Guido Palau styled hair back into ponytails fastened at the nape of the neck, which were then secured by ribbon, and further wrapped around the models’ necks
Dries Van Noten: Make-up at Dries Van Noten is often focused on one element and in this case a thin line of blue glitter at the eye line. The rest of the face was left extremely natural, with just a touch of balm on an otherwise matt complexion. Sam McKnight twisted the hair into a messy 1940’s quiff at the front, which was left long and loose in the back
Haider Ackermann: The hair at Haider Ackermann was far removed from the designer’s usual darkly romantic aesthetic as a riot of pastel shades was introduced through hairpieces and extensions. Orange, lilac, blue and pink pieces were safety pinned into the models’ own hair, and draped across the face. This called for a very pared back make-up approach with subtle contouring and a muted lip stain introducing some colour. The rest of the face was very fresh, with curled lashes and white eyeliner to brighten
Issey Miyake: A clean, glowing complexion was the perfect backdrop to the bold splashes of colour at Issey Miyake. Face paint in neon pink or yellow was mixed with water to give it a more fluid texture. With the models lying down for application MAC artists blew through straws to distribute the colour in a highly individual, graphic pattern. To complement, hair was given a windswept appearance, with plenty of volume in the crown to lift away from the face
Jonathan Saunders: Inspired by a blue dress in the collection, Lucia Pieroni applied a graphic, blue eyeliner all the way around the eyes, and paired this with matching coloured mascara. Hair by Luke Hersheson was long, straight and sleek
Marc Jacobs: Francois Nars created a ‘morning after the night before look’ with blue eyeshadow applied to the inner corners and smudged out with balm, clumpy mascara and a rosy lip stain. Cheekbones were also highlighted with balm, creating a slightly sweaty glow. The wet effect was continued into the hair direction, created by Guido Palau, as soaked tendrils were pulled haphazardly away from the face and held in place by decorated clips
No 21: The look at No 21 was another take on lived-in make-up. Once again, clumpy mascara was a feature, along with glittery, lilac eyeshadow worn all around the eye. This was applied with fingertips to smudge the shadow into the lids, and soften the edges. Hair too was dishevelled, sometimes worn with a jewel-encrusted headband
Paul Smith: Artists at Paul Smith reversed the strong brow look seen at Cédric Charlier, by drawing a thick defining line across the top of the natural brow. Hairs were then brushed up and filled in where needed, softening the overall effect, but keeping the brow as the main focus of the look. Once again, the rest of the face was bare. Hair was swept back from the face and fastened into messy chignons, and a few strands pulled forward to frame the face
3.1 Phillip Lim: Francelle Daly took a more graphic approach to the eyeliner trend (seen here in bright cobalt and classic black), drawing a straight, sharp line from the middle of the eye to just past the edge of the lashes. The colour was then gently dabbed into the inner corner. Paul Hanlon gathered the hair at the nape of the neck and tied it messily in place. A few hairs were allowed to escape to keep the dishevelled feel, otherwise secured by hair bands in hessian and colourful netting, in keeping with the collection’s earthy tones
Altuzarra: Tom Pecheux focused on creating beautiful natural skin, with strong brows and a little eyeshadow. The tiniest touch of mascara defined only the longest lashes. Hair was half pulled away from the face by Odile Gilbert, with soft waves throughout
Prada: In a season full of clean skin, and minimal colour, Prada’s gold lips by Pat McGrath were always going to stand out. Using her first ever product, Gold 001, McGrath gave each of the models a metallic pout, but kept the rest of the look minimal. Guido Palau fastened the hair into low ponytails so as to fully display the large, spherical earrings, and gelled their baby hairs around the face
Sonia Rykiel: This season Sonia Rykiel moved away from an understated Parisian make-up look, for a more glamorous evening effect. Here again was blue, but it took the form of a glittery eyeshadow, pressed into the lids and worn with lashings of black mascara and smudgy pencil eyeliner. The hair was smoothed at the crown and allowed to flow into voluminous curls through the length
Vionnet: The season’s most graphic eye was seen at Vionnet. Starting at the inner corner with a sharp edge, black cream eyeshadow was painted across the eye and allowed to trail off giving the impression of brushstrokes. With such a bold make-up direction, little was needed for the hair, save for pulling it away from the face and securing it high on the head in a messy, wispy bun