| Georgia Murray
From a beauty perspective, London Fashion Week Fall/Winter 2018 looked a lot like a tale of two very different cities: one a tribute to pared-back minimalism, embracing models’ unique features, and the other a playground of creativity, with adventures in color, texture, and finish.
Backstage, makeup artists spoke of fresh, dewy skin, natural, brushed-up brows, and contemporary but understated eyeliner. For some, accentuating models’ individuality was key, rather than distracting with extra detail; others drew inspiration from different decades to bring us Day-Glo-bright eyes and punky black-vinyl lip color. And hair was styled to perfection, from extreme side partings to perms and shaggy mullets, a move away from the loose, beach-waved hair that’s dominated for so many seasons.
Whether toned down or amped up, the looks shaped the shows as much as the locations and set lists, bringing front-row audiences closer to London’s favorite designers and their visions for their collections this season. Ahead, the best beauty looks we spotted at London Fashion Week…
“A baby Brooke Shields!” makeup artist Aaron de Mey said of his look at J.W.Anderson, created using NARS. Girls were given exaggerated, handsome eyebrows with three NARS products: first up, the Brow Gel to add bulk and volume, then penciled-in strokes in three tones using Brow Perfector efore a powder shadow was used to set. “I’ve kept it on the cool side, and I wanted to steer clear of the caricature brow, so I’ve kept it fluffy and realistic,” Aaron explained. Skin was kept fresh and clean with the new Natural Radiant Longwear Foundation, with a little Multiple Stick in Copacabana to add dewiness to lids.
Hair stylist Anthony Turner described the hair at J.W.Anderson as “very ‘good taste’ hair. It’s very well done, very aspirational.” He combed KMS’ AddVolume Styling Foam through side-parted sections to keep hair in place, then used a large bristle brush to blow-dry hair to a slight kick at the ends before applying TameFrizz De-Frizz Finish Oil to smooth. For the models with Afros, he let their natural texture shine: “I don’t want to treat that in the same way because they’re beautiful as they are, and I don’t want to make it feel too forced,” he said.
Charlotte Tilbury highlighted her newest product, the Hollywood Flawless Filter, backstage at Temperley, which was essential in creating the look. “When I saw the collection, I saw both a 30s and 70s element,” she explained. “The modern take we wanted to create was to have this really gorgeous, super-starlet skin.” Tilbury describes her new launch as “J-Lo in a bottle,” whether worn under or over foundation or alone for a flawless base. Tilbury brought in elements of the 70s via burnt-red-orange lips and bronzed eyes.
Hair was inspired by the likes of Marlene Dietrich and Amy Johnson, trailblazers of the 1930s. “These women, while empowering others, never sacrificed their femininity,” stylist Antonio Corral Calero said. “They were always glossy and polished, which took time to achieve in that era, but doesn’t have to in ours.” To recreate the glamorous waves, start with a deep parting, using the arch of your brow as a guide. Section the hair from the ear to the crown and bring forward, blow-drying the back section as usual. Run a volumizing mousse (Corral Calero used Moroccanoil) through the still-wet front sections, before pinning inch-thick sections into waves. Dry on a low-heat, low-speed setting, and brush through once dry, finishing with Moroccanoil Glimmer Shine.
At Ashley Williams, makeup artist Thomas de Kluyver turned to strong women of the 80s to create a bold, bright look. “What I love about women like Annie Lennox and Siouxsie Sioux is how they used makeup to feel empowered,” he explained. “It wasn’t about hiding behind a mask, but instead about creating a really incredible stage persona that elevated and gave power to their presence.”
By creating a sheer base, Thomas let the color do the talking, blending an intense combination of MAC Pro Eye Shadow in Red Brick and Powder Blush in Peony Petal across lids and cheeks. Some girls wore a heavy vinyl lip with Retro Matte Liquid Lipcolour in Caviar, topped with clear Lipglass. Several models wore graphic lines created with Pro Longwear Fluidline over their shadow. “It’s fun makeup,” Thomas said. “It’s makeup you could wear on a night out.”
Credit: Mike Marsland/Mike Marsland/WireImage
Renowned menswear designer Katie Eary debuted her first womenswear collection this season, presenting space cowgirls in boyish shapes, bold prints, and punk-inspired 70s finishes. Partnering with Cartoon Network to celebrate
The Powerpuff Girls‘ 20th anniversary, the collection dropped a healthy dose of girl power. “I wanted the hair to have a tomboy, lived-in finish, with a skater-girl look,” said Sam Burnett, founder of London salon Hare & Bone. To recreate, Burnett says to ask your hairstylist for heavy layers throughout the front of the hair, using jagged cuts. Saturate with sea salt spray and use fingers to set, before drying with a diffuser. Curl ends with tongs and texturize with a soft bristle brush.
Credit: Jeff Spicer/BFC/Getty Images
Three words to describe the look created by the legendary Val Garland at Preen? “Strong, powerful, and rebellious,” Garland said. Drawing inspiration from the strength and determination of Korea’s Jeju female divers, Garland created a look that mimicked the sparkle and moisture seen when they emerge from the water. “They all bring their own personal details to their diving outfits, and we wanted it to feel like they were diving for pearls,” she said. “They’re strong women, though; they’re not mermaids.” Skin was extra moist and glossy in what Garland described as a “glacial” – a glitter facial. Glitter was literally blown onto models’ foreheads and hair, to really recreate that sun-sparkling water effect.
Credit: Rebecca Lewis/BFC/Getty Images
Luke Hersheson’s inspiration for the hair at Molly Goddard couldn’t be more juxtaposed: “Think Britney Spears with really bad hair extensions, and the androgyny from Nick Cave.” Bringing a toughness to Goddard’s typically feminine aesthetic, Hersheson gave girls poker-straight hair by working John Frieda Original Frizz Ease Serum through wet hair, before drying and ironing section by section using Titanium Ionic Professional Straighteners. Hair was parted severely, from left to right, around two thirds of the way down from the brows. “I used a little bit of the Root Booster Blow Dry Lotion because it gives more of a hold to make it look slightly like an undercut.” And where does the Britney reference come in? “You know how those bad extensions look slightly separated? We used Secret Agent Touch Up Crème through the ends to create a piecey look.”
Makeup artist Hiromi Ueda, who used MAC for the looks, said of the Goddard girl, “She wears a lot of nice, perfect foundation to cover up everything, but she wants to be quite cool, so she’s kept it simple with a focus on eyeliner.” Using Brushstroke Liner in Black, models were given a contemporary take on the cat-eye flick. Ueda used Satin Lipstick in Peachstock to line the lips and Crème d’Nude in the center, and swirled shimmer onto cheekbones with the brand’s new Hyper Real Glow highlighter palette.
Credit: Ki Price/WireImage
This article was written by Georgia Murray from Refinery29 and was legally licensed through the NewsCred publisher network. Please direct all licensing questions to firstname.lastname@example.org.