Renya Xydis for Wella Professional wanted “to create something sexy and beautiful, like she’s an It-girl”. The hair was parted on the side above the eyebrow, and a plait braided down the part. The rest of the hair was blow-dried, and a curling tong used to create some relaxed waves. Xydis said “it’s a bit tricky but still wearable… it’s accessible for any girl”.
Stephen Gaskett (for Elizabeth Arden) worked with Suboo to create a makeup look that made models “look structured but with an innocent look about them”. To create a flawless – but not over-done – base, the new Elizabeth Arden Sponge On Foundation was used, and the cheeks well contoured over the top. Eye Fix was applied over the lids to take out any discolouration, followed by Beautiful Color Eye Shadow in Glisten, which gave a slight pearly effect. The eyes were then lined with Smoky Eyes Powder Pencil in Expresso. To bring out each girl’s natural lip colour, Lip Fix and Ceramide Ultra Lipstick were applied.
OPI layered two shades for a custom nail colour for the show, mixing Radiance and Bubble Bath for “a really shiny, metallic look for the nails”, said Karon McKendrick-Taylor.
Jenny Kim for Prema gave models a hairstyle that paid “home to the 1950s film starlets, but in keeping with the Phoenix girl, we brought in a bit of conceptual, avant grade flair to it”. Classic French rolls were created, but modernised by exaggerating shapes, introducing a finger-wave texture and a high-shine finish.
Amber Dreadon for MAC “wanted to capture the emotions of this girl – at first she’s dreamy and hopeful, and by the end she’s distraught and devasted”. Each model was given the same skin and lip with MAC Mineralize Moisture Foundation and MAC Lipmix in Black and Fuchsia, with the “alien skin” achieved with Pigment in Pink Opal over the body and face. Dreadon said, the “eyes change as this girl changes”. At the start of the installation, the models have a graphic white liner, and as “she starts to get a little more frantic” it goes into black liner, “so towards the end it’s very dramatic”
Ali Magliveras for essie gave girls “long and pointed talons”. Half of the models were given a white base on the nails (Blanc) and the other half a black base (Licorice), over which a silver detail was placed, using No place Like Chrome.
At Haryono Setiadi, Nigel Stanislaus, director for Maybelline New York, was “striving for a modern and minimalistic luxe finish, there’s luminosity, structure but simplicity in tones thanks to a monochromatic colour palette of taupes, greys, pearls and cream”. Dream Fresh BB Cream, FITme Blush in Light Nude and Color Tattoo in Too Cool (for contouring cheekbones) made up the fresh face. FITme Bronzer was applied as bronzer for a hollowed eye, and Baby Lips in Berry Crush was patted on for barely-there lips. Color Show Nail Color in Audacious Asphalt coated the nails.
To complement the sports luxe vibe in the collection, Garreth Lennagh for KMS California gave models a loose “ponytail look” with a fishtail detail. Using tongs, a wave was put through the hair, which was then parted down the centre. Loose tendrils were allowed to fall naturally over the face, and the middle section of the hair was pulled back into a relaxed pony, over which the fishtail braid was placed.
Alan White for ghd said, “it’s spring break… kids that have a little bit of money, they can play dress-ups… they’ve got Emma Mulholland”. White collaborated with a graffiti artist to stencil pin-on hair pieces with patterns from the collection. The extensions were dyed in a variety of shades featured in the collection, which were “filled full of ghd Total Volume Foam so we’ve got… a quality finish – it’s not punk”. The rest of the hair was simply pulled back into a pony with a horizontal braid.
Nigel Stanislaus for Maybelline New York was inspired by “expensive surf – we’re luxury, lots of colour, almost that 90s punk kid look”. Combining two Eye Studio Color Tattoo shades together (Audacious Asphalt and Bad to the Bronze) with Eye Studio Masterliner in Black, Stanislaus smudged the mixture along the top and bottom lash lines “so it looks like a storm”. Plenty of mascara was applied, along with Baby Lips in Berry Crush “all over the eyes and brows to give that smouldering look”.
Redken Hair Director Jon Pulitano (from Headcase Hair, Sydney), drew influence from Shakuhachi’s “strong aesthetic”, giving the runway hairstyle “a very strong modern edge… inspired by a very bold, fashion-heavy feeling which resulted in the hair look appearing quite greasy and wet – it’s a very strong look”.
GET THE LOOK:
1. Create a deep side-part on the left hand side. Slightly dampen hair with water, then completely saturate hair with Redken Guts 10 Volume Spray Foam ($29.95).
2. To set product, dry hair with hairdryer on a low heat setting
3. Once dry, apply Argan-6 Oil ($29) liberally from roots to ends of hair to maintain moisture and shine.
4. Pull hair across forehead from side-part and tuck slightly behind the hear to create the appearance of a fringe.
5. Saturate hair with Forceful 23 ($26.95) for maximum hold and to achieve the wet texture.
Natasha Severino, makeup director for MAC, said “we’ve got a techno-raver-chic going on tonight… there’s a lot of metallics in the collection and we wanted to reflect that in the make-up with iridescent, flashy make-up”. MAC Strobe Cream and MAC Cream Colour Base in Pearl and Luna gave a iridescence to the skin, and White Pigment, Mixing Medium Shine, Reflects Pearl Glitter and a Swarovski crystal beneath the centre of the eye made up the “flashy” eye. Lips were kept completely natural with MAC Lip Conditioner.
Images: Elizabeth Giacco (except where credited)