Check out the more subtle Spring/Summer 2012 runway beauty looks at Dolce & Gabbana, Giorgio Armani, Jill Sanders, Marni, and Prada.
“Sophia Loren, ultimate Italian cinematic moments, and a Sicilian village festival” were all reference points for Pat McGrath at the D&G show. She enhanced brows with a brown brow pencil and a brown shadow and drawing a small, black “winged eye” that she accentuated with corner lashes and a generous amount of Dolce & Gabbana The Make Up Secret Eyes mascara. Lips were treated to a combination of The Makeup Passion Duo Lipsticks in Sensation and Imperial, for a pinky nude mouth. On nails, models wore Wild Green, a glimmering dark emerald, and Dahlia, a deep rosy violet.
D&G hair was more Loren after a night out, where Guido Palau prepped classic French twists with Redken Thickening Lotion 06 All-Over Body Builder and rough drying strands with his fingers. Watch the link with McGrath here.
Giorgio Armani Beauty’s international makeup artist Linda Cantello was inspired by the delicate, iridescent, reflective color “Mother-of-pearl,” and the latest installment of Giorgio Armani Beauty Eyes to Kill Intense Eye Shadow (to debut next year) will in fact be a cream shadow called Mother of Pearl. Cantello applied the shimmering, pastel-tinged shade onto a clean, powdered base. She traced its forthcoming shadow in Ecaille, a blackened green, along the upper lash line with an angled brush, scrawling it onto the crease as well in a 1930’s-era half-moon shape to create the illusion of a double-extended flick when models opened their eyes.
For hair, Franco Gobbi created soft side parts and, finger-combing hair backward away from the hairline, he twisted small sections into tight coils that he pinned randomly.
Hair at Jill Sanders was also created by Guido. He was inspired by the 1950’s with a sculptured midcentury modern twist, shown by the helmet-like, sleek, curled-under faux bobs.
Makeup artist Peter Philips used brand-new Chanel Perfection Lumiere foundation for a completely clean face, dotting the complexion perfector onto lips so the lips and skin almost blended together. Then, in line with a growing trend, Philips filled in brows with a selection of Chanel Crayon Sourcils Sculpting Eyebrow Pencils and scrawled a thin black line across the upper lash line with its Stylo Yeux Waterproof Long-Lasting Eyeliner, incorporating a flick at the end.
At Marni, Tom Pecheux played off the cat-eye using a ruddy orange color. He also used a strong brow, along with Studio Finish Skin Correctors in Terracotta and Caramel on the face, which Pecheux blended together and applied along the upper lash line with an uptick at the outer corners, adding an etching of MAC Eye Kohl in Fascinating, a powdery white pigment, along the lower lash line for a brightening effect.
Opposingly, at Prada, Pat McGrath bleached eyebrows. She then applied a full coverage foundation followed by blotting it away with her fingers, before adding a beige-y blush to cheeks and a creamy pink lipstick to mouths, a color she also subsequently muted with a top coat of concealer. A busy Guido Palau created a 1950’s retro coif, with hair parted to the side ends were curled but textured to “look like she’s put in too much product.”