Dior: Creative director of Dior make-up, Peter Philips brought back the rouge noir lip for A/W 2016 using the house’s Rouge Dior lipstick in ‘Poison’ to create a deep berry pout, topped with a matching vinyl shine gloss. A pale orange shadow was used all over the lid, and multiple coats of mascara volumised both top and bottom lashes to create a clumped effect. Guido Palau then created a chic double chignon (pulling the lengths of the hair into two symmetrical buns) with a deep side parting, to show off delicate ear cuffs. Writer: Alice Shaughnessy; Photography: Jason Lloyd-Evans
Dior: Creative director of Dior make-up, Peter Philips brought back the rouge noir lip for A/W 2016 using the house’s Rouge Dior lipstick in ‘Poison’ to create a deep berry pout, topped with a matching vinyl shine gloss. A pale orange shadow was used all over the lid, and multiple coats of mascara volumised both top and bottom lashes to create a clumped effect. Guido Palau then created a chic double chignon (pulling the lengths of the hair into two symmetrical buns) with a deep side parting, to show off delicate ear cuffs. Writer: Alice Shaughnessy; Photography: Jason Lloyd-Evans
Akris: Inspired by a trip to Kenya and Tanzania taken by Akris creative director Albert Kriemler, artists drew graphic lines on the models’ matte faces. Painted in a deep red (echoing the range of reds and oranges used in the collection), these lines were drawn across the eyes and down the nose. There was no other dominant make-up, save for curling lashes and brushed up brows. Hair was worn sleek and straight, with a centre parting, and lengths tucked behind the ears
Akris: Inspired by a trip to Kenya and Tanzania taken by Akris creative director Albert Kriemler, artists drew graphic lines on the models’ matte faces. Painted in a deep red (echoing the range of reds and oranges used in the collection), these lines were drawn across the eyes and down the nose. There was no other dominant make-up, save for curling lashes and brushed up brows. Hair was worn sleek and straight, with a centre parting, and lengths tucked behind the ears
David Koma: As with so many beauty looks this season, the focus at David Koma was on the eye, re-looking at the possibilities of eyeliner to create new shapes. Nars’ lead make-up artist, Andrew Gallimore, described this look as having a ‘sci-fi feel’ and used a precise black line, focused on the inner corner, and drawn into a point to elongate the eye
David Koma: As with so many beauty looks this season, the focus at David Koma was on the eye, re-looking at the possibilities of eyeliner to create new shapes. Nars’ lead make-up artist, Andrew Gallimore, described this look as having a ‘sci-fi feel’ and used a precise black line, focused on the inner corner, and drawn into a point to elongate the eye
DKNY: In a collection that reworked elements of New York street style from the 1990s, an ultra natural look was very much in keeping, with an emphasis on brows – the focal point for otherwise clear, glowing skin. Eugene Souleiman added some interest to the hair, tying sections back with white string, like braids
DKNY: In a collection that reworked elements of New York street style from the 1990s, an ultra natural look was very much in keeping, with an emphasis on brows – the focal point for otherwise clear, glowing skin. Eugene Souleiman added some interest to the hair, tying sections back with white string, like braids
Dries Van Noten: Mimicking the 1,000 individually painted show invitations and inspired by Marchesa Casati, this was what Peter Philips described as an ‘extreme smokey eye’. Eyes were painted in a rectangular shape in deepest black Kryolan aquacolour on upper and lower lids. This was then smudged and extended at the extremes to soften the look. Up top Sam McKnight parted the hair to the side, slicking it back into low ponytails
Dries Van Noten: Mimicking the 1,000 individually painted show invitations and inspired by Marchesa Casati, this was what Peter Philips described as an ‘extreme smokey eye’. Eyes were painted in a rectangular shape in deepest black Kryolan aquacolour on upper and lower lids. This was then smudged and extended at the extremes to soften the look. Up top Sam McKnight parted the hair to the side, slicking it back into low ponytails
Fendi: Inspired by the Burning Man festival and colouring books, Peter Philips was challenged to paint each model’s eyelids with a custom design, using colours picked out according to the look being worn. Upper lids were bright turquoise, green, and orange, while lower lids were smudged with blackened purple eyeliner. The designs extended past the eye in extreme curved wings, filled in with yellow, blue and pink, and decorated with dots. With such a focus on the eyes, the remainder of the look featured unfussy hair (led by Sam McKnight) and matte skin
Fendi: Inspired by the Burning Man festival and colouring books, Peter Philips was challenged to paint each model’s eyelids with a custom design, using colours picked out according to the look being worn. Upper lids were bright turquoise, green, and orange, while lower lids were smudged with blackened purple eyeliner. The designs extended past the eye in extreme curved wings, filled in with yellow, blue and pink, and decorated with dots. With such a focus on the eyes, the remainder of the look featured unfussy hair (led by Sam McKnight) and matte skin
