Victoria FW11 - The Make-up report
Article by makeup.com:
Charlotte Tilbury was more like Madame Mix A’ Lot backstage at Victoria Beckham’s fall 2011 show yesterday. The makeup artist extraordinaire swooshed and swirled products together to create her own custom palette for the models’ glowy makeup. Which takes a lot of know-how no matter what the hour, but considering the show’s call time was a yawn-inducing 5am (and on a Sunday, no less!), it’s amazing Charlotte had so much focus when the rest of us were blatantly bleary-eyed.
Victoria’s latest collection—which she showed inside the sprawling Upper East Side townhouse that served as Carrie and Big’s apartment in the first Sex and the City movie—was an ode to modern minimalism, and the hair and makeup certainly reflected that aesthetic. Working with Lancôme, Charlotte focused on neutral, glistening makeup with a futuristic feel. “We want the models to look hyper-perfect, almost like mannequins,” she said.
With that in mind, Charlotte combined the shimmery gold and beige powder shadows fromColor Design 5 Shadow & Liner Palette in Taupe Craze with Aquatique Eye Shadow Baseand Éclat Miracle Illuminating Serum and swept the dewy mix all around the eyes from the lids to the brow bones and past the outer corners of the eyes. To give the skin a space-age sheen, she dusted the brand’s new Star Bronzer (out in April) under the cheeks and around the face, then swiped Éclat Miracle Illuminating Serum down the bridge of the nose, along the temples, and on the mouth for extra poutiness. There was no liner or mascara, though Charlotte used brow gel to tame the arches, noting that Lancome’s formula is her favorite. Nails also got the custom treatment, with Nonie Creme, founder of Butter London, whipping up a different lacquer for each model that perfectly matched her skin tone.
But while the makeup and nail polish was minimal, the hair was downright nonexistent, with stylist Guido covering the entire head in a black stocking cap and two stretchy black American Apparel headbands—one placed at hairline and the other under the chin. “Victoria wanted a clean, futuristic look, but one that wasn’t linked to a particular time period,” said Guido. “I was worried maybe this style would be too extreme for her, but she understood it and really liked it. And when the hair is absent like this, the focus goes entirely to the face and clothes.” Seems Victoria already knows the finer points of captivating a fashion audience.