The good people over at M·A·C were kind enough to share their facecharts from the Fall 2010 shows during Milan Fashion Week. Today’s facecharts include: Kenzo, Emanuel Ungaro, Giambattista Valli, and Chloe, whose shows took place on Monday, March 8th and Tuesday, March 9th.

Kenzo

M·A·C artist, Tom Pecheux gave the models at Kenzo a multi-culti, elegant vibe. Said the artist, ” The Kenzo woman is an amazing woman-very multicultural with elegance and you’re never sure where she’s from. Add a peach color that is not too girly or bronzy-like a feel good color that is reminiscent of the 80’s. To give the look a “sick” quality, we have given them dry, mustard lips.” M·A·C Studio Sculpt Foundation was set with Prep+Prime Transparent Finishing Powder to pale and perfect skin. Blush in Utterly Game was then washed over the cheeks and up across the brow bone in a soft “v” shape. Pecheux applied M·A·C Pigment in Lithe (available Fall 2010) to highlight the lids (using a #224 brush). Several coats of  Opulash Mascara in Bad, Bad Black were applied to both top and bottom lashes. For lips, Pecheux applied Lipstick in Chintz with Invisible Set Powder dusted on top to set.

Emanuel Ungaro

“She’s a young French girl going out at night-as natural as an evening look can be,” said M·A·C artist, Carole Lasnier of the look at Emanuel Ungaro. M·A·C Face and Body Foundation in White was applied for sheer, pale coverage. Full Coverage Foundation in White was used to conceal and highlight the under eye. Set Powder in Porcelain and Iridescent Powder in Silver Dusk was applied to highlight the cheekbone, while Powder Blush in Dame and Pink Swoon was brushed on to flush the cheeks very softly, in a girly way. Face and Body Foundation in White was applied to the eyelids as a base (to highlight). Set Powder in Porcelain was used to highlight the inner corner of the eye. Eye Shadow in Kid was smudged on the outer corner of the eye and blended outwards. Studio Fix Mascara in Black was then applied to top lashes only, while Brow Set in Clear was combed through the brows. For lips, Lasnier  applied Cream Colour Base in Pink Shock to the center of the mouth very softly with the fingers.

Giambattista Valli

M·A·C artist, Val Garland created a “neo-classical” vibe for the models at Giambattista Valli. Said the artist,” It’s Jean Shrimpton made more futuristic and sporty.” M·A·C Face and Body Foundation was applied as a base, while Prep+Prime Transparent Finishing Powder was dusted on to set. Cream Colour Base was then applied to contour. Garland used M·A·C Eye Pencil in Coffee (to draw the slightest swish in the contour). Fluidline in Dipdown was applied very precisely with a #209 brush in a graphic, elongated bat wing shape. Fluidline in Blacktrack was then painted above the brown liner. Zoomlash Mascara in Lofty Brown was touched on to the roots of the lashes only. Chromacake in Pure White was painted on with a #209 brush half a centimeter below the lower lashes following the shape of the liner. Two pairs of #35 lashes were used for a heavy, hooded eye that’s sixties but more mechanical. Lips were kept muted with Lip Erase in Dim patted on to the mouth.

Chloe

“It’s the makeup of French actresses…Dominique Sanda, Carole Bouquet, very expensive and ultra luxe”, said M·A·C artist, Charlotte Tilbury of the look at Chloe. Tilbury used M·A·C Studio Sculpt Foundation sheered out with Mineralize All-Over Lotion. Prep+Prime Transparent Finishing Powder was applied all over the skin to create a satin, matte finish. Pro Sculpting Powders in Sculpt, Shadowy, and Bone Beige as well as Powder Blush in Taupe contoured the cheekbones and was blended through the temples. Cream Colour Base in Air Force Blue was applied to the eyelids. Paintstick in Black mixed with the Cream Colour Base was blended into the crease of the lids. The same mix was applied onto lower lash line and blended. Pro Lash Mascara in Black was then applied to the roots of the lashes, while Brow Set in Beguile was brushed upwards through brows. Brow Pencil in Fling or Lingering was used to fill in sparse areas of the brows. Lips were kept nude with only Lipstick in Freckletone patted onto the mouth.

Image Layout: Indieprince

The good people over at M·A·C were kind enough to share their facecharts from the Fall 2010 shows during Milan Fashion Week. Today’s facecharts include: Giles, Gareth Pugh, Balmain, and Manish Arora, whose shows took place on Wednesday, March 3rd and Thursday, March 4th.

Giles

M·A·C artist, Miranda Joyce created a lovely, creamy, and sexy look for the models at Giles. Said the artist, ” She’s a Hitchcock heroine with certain edge”. M·A·C Cream Colour Base in Pearl (mixed with Strobe Cream) was used to highlight the planes of the face. Sculpting Powder in Bone Beige or Blush in Cheek or Pinch O’Peach was applied according to models’ skin tone to slightly flush and sculpt the cheeks. Joyce then applied Cream Colour Base in Mid Tone Sepia (blended into the crease of the eyelids). Cream Colour Base in Pearl and Strobe Cream were once again blended together to highlight the inner corners of the eyes and lids. Mascara X in Brown was applied for naturally defined lashes, while Impeccable Brow Pencil lightly filled in the brows. Lipstick in Honey Love was applied to the corners of the lips for shape. Cream Colour Base was touched onto the center of the lips with a coat of Lipglass in Clear blended over the entire lip.

Gareth Pugh

M·A·C artist, Alex Box created a “perfectly deadly Android beauty”, for the look at Gareth Pugh. M·A·C Studio Sculpt Foundation was applied as a base. Iridescent Powder in Silver Dusk was applied on cheekbones and bridge of nose, while Studio Sculpt Foundation was layered over the top to soften the sparkle. Micronized Airbrush Formula in Black Black was airbrushed on to forehead for a somber effect. #42 and #44 lashes were glued together at the inner corners, flipped upside down, and applied slightly above the lash line. Creme Liner in Pro Black was used to fill the gap along the inner half of eye only between lash line and false lash. Brow Set in Clear was applied in an upwards motion on brows. Box kept lips minimal using only Studio Sculpt Foundation over Lip Conditioner to mute out natural lip color.

Balmain

M·A·C artist, Tom Pecheux’s inpiration for Balmain’s Fall 2010 show was the models themselves. Said Pecheux,” I want to make them even more perfect by giving power to each of the facial elements. It’s the perfect skin, brow, eye, and lip.” Pecheux applied M·A·C Face and Body Foundation with Select Sheer Loose Powder on top to set. Eye Shadow in Rice Paper was used to highlight the tops of the cheekbones and Mineralize Skinfinish Natural in Medium Deep contoured the cheekbones. Eye Shadow in Rice Paper and Mineralize Skinfinish Natural in Medium Dark was blended on to eyelids. Eye Pencil in Coffee was then smudged along the lash lines with a #266 brush. Pro Lash Mascara in Charcoal Brown was applied to curled lashes, while Brow Set in Clear was applied to groom the brows. Pecheux kept lips bare by only adding a touch of Lip Conditioner to the mouth.

Manish Arora

“I wanted the makeup to look like colored lights on the face.” said M·A·C artist, Kabuki, of the look at Manish Arora. “Very youthful and psychedelic, I imagined Louise Brooks going down a rabbit hole and finding herself at a techno rave. It’s a celebration of color.” Kabuki applied M·A·C Select Cover-Up Concealer all over the face including under and over the eye brows to blank them out. Paintstick in Primary Yellow was used on the inner and outer corners of eyes (with edges blurred). Cream Colour Base in Orange Alarm was placed in the center of the eyelid (from lash to slightly above the crease and blended up). Pro Invisible Set Powder was dusted on top to set color. Chromaline in Cyan was used to draw a very thin arched brow and lashes were left bare. Kabuki applied Lipglass in Pink Poodle (precisely applied) then followed up with a coat of Lipglass in Clear for added shine.

Image Layout: Indieprince

"Colored Fungus, Orchids, Bamboo, and Rocks" (1604). This is my favorite Ma Shouzhen painting. The splashes of blue give these plants a little character.

Chinese culture is the bomb dot com. Everything about it intrigues me. The Chinese are family-oriented and place a lot of emphasis on nature and wellness. Much of the art from this corner of the globe reflects such values. The creations from Ma Shouzhen are no different. Don’t let the dainty photos fool you though. Ma had a life that was fit for a segment on “The Secret Life of Women.”

"Narcissus." Ma stuck to her Chinese roots and often painted items from nature.

Ma Shouzhen was born in Jinling, China in 1548. No, her birth name wasn’t Ma. Her legal name was Xianglan, but she also went by Xuan’er and Yuejiao. Growing up in pre-modern China was difficult for Ma. The iron fist of the Ming Dynasty was banging hard upon China. The art scene was male dominated and ladies got no respect. Some women took matters into their own hands and made a way out of no way. Since art by women wasn’t respected during the duration of Ma’s life, they got exposure by not disclosing their gender or by working as courtesans who served the male artists of the time. Ma chose the latter.

"Orchid and Rock" (1572). The simplicity and monochromatic color theme are characteristics of Ma's signature style. This painting also features Ma's favorite thing to paint, an orchid.

Ma was considered a romantic figure who offered her poetry and painting to her clients in addition to a happy ending. Although her line of work was taboo, she stayed true to Chinese culture by dedicating her talent to depicting scenes from nature. Her favorite things to paint were orchids. Ma’s style consisted of painting in delicate ink monochrome. Orchids were extremely popular with courtesan painters because they were fragrant plants that blossomed in seclusion. The courtesans could identify.

"Landscapes and Flowers." In this painting Ma chose not to feature the orchid, instead she focuses on bamboo and the actual landscape.

Although Ma didn’t get the respect that was owed to her, she made amazing art. She didn’t let her lower class status or the side eyes of society keep her in the shadows. Her dirt was done in the dark, but her art shined light on her inner peace, confidence, and beauty. To Ma Shouzhen I bow in respect. She gave society the middle finger and made things happen. No matter what.

"Orchids, Bamboo, Lingzhi, and Rocks." I like the horizontal direction of this trilogy. I could definitely see these framed on my wall!

The good people over at M·A·C were kind enough to share their facecharts from the Fall 2010 shows during Milan Fashion Week. Today’s facecharts include: Marni, Salvatore Ferragamo, and Missoni, whose shows took place on Sunday, February 28th.

Marni

M·A·C artist, Tom Pecheux created a single-hued vibe for the models at Marni. Said the artist,” She’s like a woman in a Modigliani painting- everything is very monochromatic in flat blocks of soft color.” M·A·C Studio Sculpt Foundation was applied as a base, while Studio Sculpt Concealer was used only where needed. Prep+Prime Transparent Finishing Powder was dusted all over the face for matte skin. Mineralize Blush in Utterly Game was lightly touched over cheekbones with a #168 brush. Pecheux then applied M·A·C Eye Shadow in Flourishing (washed from lash line to brow with a #225 brush for a very soft veil of color. Lip Pencil in Spice was drawn into the center of the mouth and diffused with a #219 brush, while Eye Shadow in Brown Script was patted on top for a matte, copper toned mouth.

Salvatore Ferragamo

“The girl is a beauty. No big statement, just fresh and naturally gorgeous in camel and honey tones. She’s chic, elegant, and proper.” said M·A·C artist, Tom Pecheux of the look at Salvatore Ferragamo. M·A·C Face and Body Foundation was applied as a base, while Studio Sculpt Concealer was used where needed. Mineralize Skinfinish Natural Powder in Medium Dark was then applied to contour the cheekbone with a #119 brush. Pecheux used Mineralize Skinfinish Natural Powder in Medium Dark over the lids and Eye Kohl in Prunella (traced along the upper lash line, very finely and softly smudged). Opulash Mascara in Bad, Bad Black was applied to top lashes, while Pro Lash Mascara in Charcoal Brown was used on lower lashes. Eye Shadow in Cork was brushed through the brows for a slight boyish feel. Lipstick in To Pamper (available Fall 2010) was then applied straight from the tube and patted in with the fingertips.

Missoni

M·A·C artist Lucia Pieroni channeled a culturally enriched, rock look for Missoni’s Fall 2010 collection. Said the artist,” She’s a little bit Scottish, a little Masal, a little punk”. M·A·C Strobe Cream was applied on the high planes of the face, while Select Moisturecover Concealer was applied where needed, and set with Invisible Set Powder. Pieroni applied Eye Shadow in Concrete or Coquette was brushed on very softly around the eye for the slightest shaded effect. Lashes were left bare and Brow Set in Clear was brushed upward through the brows. Eye Pencil in Ebony was used to line and balance the deep lip. Lipsticks in Cyber and Hang-Up were blended together to form an aubergine shade and brushed onto the lip, blending in the liner. Matte Texture was then applied over the top to erase shine.

Image Layout: Indieprince

The good people over at M·A·C were kind enough to share their facecharts from the Fall 2010 shows during Milan Fashion Week. Today’s facecharts include: Max Mara, Etro, Emilio Pucci, and Moschino, whose shows took place on Saturday, February 27th.

Max Mara

M·A·C artist Tom Pecheux once again created a look inspired by late photographer, Helmut Newton, for the models at Max Mara. Said the artist, “The reference could be a Helmut Newton woman, or the bad Bond girl. She’s powerful and ultra feminine with a graphic cat eye.” Pecheux applied M·A·C Studio Sculpt Foundation with a #191 brush. Loose Invisible Set Powder was brushed on for a matte finish. Sculpting Powder in Sculpt was used under the cheekbones for contour. The artist then applied M·A·C Eye Kohl in Smolder, which was drawn along lash lines and blended out with a #266 angle brush in a “graphic feline, pulled out” shape. Eye Shadow in Carbon was then blended over the liner. Pigments in Golden Lemon and Vanilla were blended together to create a gold highlight for the brow bone, inner part of eye socket, inner corners of the eyes, and all around the top of the cheekbone in a “c” shape. Opulash Mascara in Bad, Bad Black was then applied to the lashes, while Eye Shadows in Embark or Mystery (for brunettes) and Omega (for blondes) were used to define brows. For lips, Pecheux used M·A·C Lipstick in To Pamper (available in Fall 2010) for a creamy, neutral tone.

Etro

“It’s a handsome, early eighties look. Very opium den eyes; shaded and softly smoked so they just look shadowed.” said M·A·C artist, Charlotte Tilbury of the look at Etro. M·A·C Studio Sculpt Foundation was used for a perfect, fresh finish. Sculpting Powder in Shadowy and Sculpt were brushed under cheekbones to contour.  Mineralize All-Over Lotion was then touched onto the tops of the cheekbones to highlight.  Tilbury then blended Eye Pencil in Earthline around the top and bottom lashes. Eye Shadow in Copperplate was then placed on top of the liner and blended. Sculpting Powders in Sculpt and Shadowy were applied in a super blown out square shape. Opulash Mascara in Bad, Bad Black was applied to top lashes only, while brows were left bare for a modern feel. Tilbury also left lips bare using only a bit of Lip Conditioner patted onto the mouth.

Emilio Pucci

According to M·A·C artist, Lisa Butler,”The Pucci woman has evolved into a strong, luxurious, effortlessly groomed creature. It’s accessible and street-y with a rubbed in khaki eye and peachy skin and lip.” M·A·C Face and Body Foundation was massaged into skin for a clean look. Mineralize Skinfinish in Natural was applied to set foundation. Blushcreme in Lilicent was then applied to warm the cheeks high up on the cheekbones. Butler then applied M·A·C Eye Pencil in Lichen (rubbed into the bottom lash line). Opulash Mascara in Bad, Bad Black was applied to top and bottom lashes, while brows were kept bare but groomed. Lips were kept light with a touch of Blushcreme in Lilicent dabbed onto the mouth.

Moschino

M·A·C artist, Charlotte Tilbury created an eighties vibe for the models at Moschino . Said the artist,” She’s an eighties girl and they wanted that classic lip: creamy textured, hot red, not too perfected.” Tilbury applied M·A·C Mineralize All-Over Lotion (massaged all over the face to prime the skin). Studio Sculpt Concealer was applied where necessary for a clean look. Eye makeup was skipped since the models wore huge black sunglasses, while lips took center stage. Lip Pencil in Cherry was drawn into the center of the mouth with intensity. Lipstick in Russian Red was then applied straight from the tube for a bright, satin finish, while a cotton swab was then used to slightly blur the edges.

The good people over at M·A·C were kind enough to share their facecharts from the Fall 2010 shows during Milan Fashion Week. Today’s facecharts include: DSquared2, Blumarine, and Alberta Ferretti, whose shows took place on Friday, February 26th.

DSquared2

M·A·C artist, Gordon Espinet channeled the Helmut Newton woman circa 1982 for the models at DSquared2. Said the artist, “She’s tough and strong but beautifully feminine.” Espinet applied M·A·C Face and Body Foundation (set with Blot Powder) to create a matte, transparent finish on the skin. Powder Blush in Taupe was used on the cheekbones as a contour. Kohl Power Eye Pencil in Feline was applied to the inner rim and outer lash lines to create a dark focal point on the face. Eye Shadow in Carbon was placed over the top of the liner with a #266 brush and swept upward, creating an elongated shape. Espinet then blended Eye Shadow in Russian Blue into the eye socket and over the Feline/Carbon line (for a soft, shadowy shape). Eye Shadow in Contrast and Reflects Duo Pigment in Purple was brushed onto eyelids using a #239 brush. To highlight the brow bone, Espinet applied Eye Shadow in Crystal Avalanche, while Opulash Mascara in Bad Black was added to lashes. Lip Pencil in Cherry was applied all over the lip, with Lipstick in Good To Go layered on top.

Blumarine

M·A·C artist, Charlotte Tilbury pulled together a sexy, smokey  look for the models at Blumarine. Said the artist, “It’s that late 50’s, early 60’s girl looking sexy in her leopard skin coat. She’s a bit minxy, a bit foxy, with a Brigitte Bardot lip and feline eye that’s smoked out.” Tilbury applied M·A·C Studio Sculpt Foundation along with Mineralize Skinfinish and Invisible Set Powder to the center of the face. Bronzing Powder in Matte Bronze was used to contour the cheek. Tilbury then applied Kohl Power Eye Pencil in Feline (thinly and close to top lashes and waterline of eye with a thicker line along the bottom lash line). M·A·C Fluidline in Dipdown and Blacktrack (pre-mixed) were applied over the Feline liner  using a #209 brush. Eye Shadows in Typographic and Corduroy were blended and “dragged out” using a #219 brush. Opulash Mascara in Bad Black was then applied to the bottom lashes only, while #30 lashes were placed on the outer corners of the lash lines. Brow Set in Clear and Impeccable Brow Pencil in Dirty Blonde was used to set and define brows. For lips, Tilbury applied Lip Pencil in Oak for definition. Pro Longwear Lipcreme in Till Tomorrow was blended into the lips, while Lip Pencil in Burgundy was used around the lip to give an overdrawn effect.

Alberta Ferretti

M·A·C artist, Lucia Pieroni created a naked look for models at Alberta Ferretti. Said the artist,” It’s a monochromatic palette of beige and nude and grey, inspired by nakedness and nature. The girls are ethereal , but not too fairy-like-they’ve got an edge. A 1950’s/Jennifer Connelly inspired brow takes the focus. Pieroni applied M·A·C Strobe Cream to prep the skin for a raw, nude, and creamy look. Select Moisturecover Concealer was used only where needed. Invisble Set Powder was then applied to the center of the face, while Pigment in Vanilla was dusted on to highlight the cheekbone with a #244 brush. Sculpting Powder in Bone Beige was used on the apple of the cheek to add warmth to the skin tone. Pieroni used Eye Shadow in Copperplate along the outer corners of upper lids and from the middle of the lash line outwards on the bottom. Eye Shadows in Copperplate and Typographic were brushed up through the top line of the brow to elongate and exaggerate. Lashes were curled and left bare. For lips, the artist applied a combination of Lipsticks in Siss and Myth, which was blended and patted onto lips with a finger.

Image Layout: Indieprince

The good people over at M·A·C were kind enough to share their facecharts from the Fall 2010 shows during London Fashion Week. Today’s facecharts include: Peter Pilotto, Nathan Jenden, and Jonathan Saunders, whose shows took place on Tuesday, February 23rd.

Peter Pilotto

Said M·A·C artist, Lisa Houghton of the look at Peter Pilotto’s Fall 2010 show, “She’s a chic, polished lady, but still has a bit of quirky attitude.  I was inspired by a shot of a dust track in Ethiopia in “Traveler” magazine (Autumn 09)-taken by Marco Paoluzzo.”  M·A·C Studio Moisture Fix was applied lightly over the skin as a primer. Studio Fix along with Face and Body Foundation were both used for a well groomed look. Prep+Prime Transparent Finishing Powder was buffed all over, while Sculpting Powder was used under the cheekbones for a taupe, womanly feel. Eye Shadow in Wild By Nature was applied over the entire eyelid, with Eye Shadow in Fresh Water blended through the crease. Paint Stick in Blue was then dabbed into the inner corners of the eye and along the socket line before being powdered to set.  Eye Shadow in Shag was taken beneath the lower lashes for soft definition. Houghton then topped eyes off with Pro Lash Mascara in Black (applied to top and bottom lashes).  M·A·C Blushcreme in Uncommon mixed with Lip Erase in Dim were blended together and patted onto the mouth for a healthy, nude, “polished” lip.

Nathan Jenden

M·A·C artist, Makky created a “tribal chic” look at Nathan Jenden.  Said the artist, “The clothes are already very powerful so I wanted the makeup to have a simple statement that’s still bold and modern.” M·A·C Face and Body Foundation was set with Invisible Set Powder for very perfect, matte skin. Iridescent Loose Powder in Golden Bronze was applied to highlight the cheeks and the bridge of the nose on darker skin tones. Mineralize Skinfinish in Soft and Gentle was applied to highlight the cheeks and bridge of the nose on lighter skin tones. Makky created 2 looks for the eyes: for darker skin tones, the artist used M·A·C Chromaline in White (applied in a slight 50’s shape, precisely on the upper  lash line. Eye Shadow in Gesso was then placed on top of the Chromaline. For a bold brow, Makky used Brow Pencils in Spiked or Stud. On lighter skin tones, M·A·C Water Based Mixing Medium and Pigment in Silver were blended together  to create a metallic silver liner, also painted on in a 50’s shape. Lip Pencil in Chestnut was drawn precisely around the mouth and was blended inwards. Eye Pencil in Ebony was used for darker skin tones. M·A·C Pro Paint Stick in Black filled in the lips.

Jonathan Saunders

“She’s a cool, nerdy, beautiful art student influenced by 1930’s intellectuals,” says M·A·C artist, Andrew Gallimore of the looks at Jonathan Saunders. M·A·C Face and Body Foundation was applied to create beautiful, glowing skin. Select Moisturecover Concealer was applied where necessary, while Invisible Set Powder was dusted over the top of the nose and eyelids. Mineralize Blush in Dainty was then applied to the apples of the cheeks with a #129 brush for a soft, blown out look. Gallimore then used M·A·C Select Moisturecover Concealer mixed with Pro Lip Erase in Dim and different shades of pink lipsticks to warm up the lips (adjusted to suit the skin tone of each model).

Image Layouts: Michelle Peredo

The good people over at M·A·C were kind enough to share their facecharts from the Fall 2010 shows during London Fashion Week. Today’s facecharts include: Christopher Kane, Roksanda Ilincic, and Erdem, whose shows took place on Monday, February 22nd.

Christopher Kane

M·A·C artist, Lucia Pieroni described the look at Christopher Kane as, “androgynous and healthy”. Said the artist, ” It’s a sporty and young look. It’s a very nude face to work against the very graphic, black collection.” M·A·C Face and Body Foundation was applied to the face for sheer coverage. Pigment in Vanilla was used as a highlight while Mineralize Blush in Dainty were brushed on to the apples of the cheeks. Pieroni applied Pigment in Vanilla over the eyelids and Eye Shadow in Woodwinked (which was brushed on under the lashes and on the center of the eyelid). A combination of Brow Set in Clear as well as Lipglass in Clear were brushed up through the brows and lashes remained bare. Lastly,  Lipstick in Peachstock and Lipglass in Clear were dabbed on to the center of the lips.

Roksanda Ilincic

M·A·C artist, Lucia Pica created a “soft, seventies disco look done in a modern, fashion-y way.” for Roksanda Ilincic’s Fall 2010 show. Pica applied M·A·C Studio Moisture Fix with Careblends Essential Oils in Grapefruit and Chamomile to give the skin a dewy sheen. Select Cover-Up combined with Studio Moisture Fix was then applied (only where needed for sheer coverage). Blushcreme in Posey was blended softly along cheekbones, while Reflects Glitter in Blue was pressed with the fingertips on top of the blush. Reflects Glitter in Gold was pressed all over the eyelid and up to the brow bones and temples with a #165 brush (staying clear of the lash line). M·A·C Studio Fix Lash in Black Fix was applied to the top lashes only (pulled out toward the sides). Brow Set in Clear was then brushed upwards through the brows. For the lips, Pica combined Lipsticks in Russian Red, Spice It Up, Cocachino, and Lipglass in Desire for the perfect brownish-purple hue. An added layer of gloss was applied for a rich, seventies lip using a #318 brush.

Erdem

M·A·C artist Andrew Gallimore created a moody vibe for models at Erdem. Said the artist,” We wanted her to look like she’s survived someting (not too tragic though!-could just be a night out). It’s more a mood than a makeup, using skin products more than actual colors.” For the face, Gallimore applied M·A·C Studio Sculpt Foundation (using one shade lighter on the cheekbones as a textureless highlight). Studio Finish Color Corrector in Deep Brown gave the eye a shapeless, smoky stain that was blended into the lash lines and eyelid. Powerpoint Eye Pencil in Engraved was layered on to top and bottom lash lines to give the smokiness added depth. Mineralized Powder was then brushed through the brows. Gallimore then applied Studio Sculpt Foundation to lips to (subtly) mute out their natural color.

The good people over at M·A·C were kind enough to share their facecharts from the Fall 2010 shows during London Fashion Week. Today’s facecharts include: Todd Lynn, Meadham Kirchhoff, and Vivienne Westwood Red Label, whose shows took place on Sunday, February 21st.

Todd Lynn

M·A·C artist, Terry Barber created a barely there look for Todd Lynn’s Fall 2010 collection. Said the artist,” It’s nude and perfect, but in a very REAL way. I’m really referencing the way that women want to look now. It’s about makeup imitating skincare.” M·A·C Studio Sculpt Foundation was applied to the face for a flawless finish. Cream Colour Base in Pearl was blended onto cheekbones with the fingers, while Cream Colour Base in Luna was added on top of the cheekbone for an intensified highlight. *Cream Colour Base in Fawntastic was used (as a highlight) in place of Pearl for deeper skin tones. For eyes, Barber used M·A·C Eye Kohl in Fascinating in the waterline of the eyelids. Full Coverage Foundation in White was smoothed over the eyelids for a milky effect, while Brow Set in Clear was brushed up through the brows. Lashes were kept bare. Barber then used Lip Erase in Dim to mute out the natural color of the lip.

Meadham Kirchhoff

The look at Meadham Kirchhoff’s Fall 2010 show consisted of “Junkie gypsies and Rahjasthani young brides, with an artistic feel.”  Said M·A·C artist, Florrie White, “They’re strong, passionate girls. I’m reflecting the coloring and layering in the collection with multiple textures and shades for a real artisan feel.”  White applied Eye Shadow in Tete-A-Tint all over the lid and underneath the eye (imprecisely for a messy look).  Eye Shadow in Palace Pedigreed (available Fall 2010) was then washed over the brown bone and lower lash line.  Eye Kohl in Smolder was used to create a thick, messy line beneath the lower lashes. Pro Gloss Texture was then painted under the lower  lashes (as a base).  Glitters in 3D Gold, Copper, and Reflects Very Pink were then randomly blended beneath the eyes.  Lip Pencil in Redd was dotted on the inner corners of the eyes and topped with Gloss Texture and a small cut out of red, reflective paper. Lashes were left bare while Brow Set in Clear was brushed  upwards through brows. White kept lips minimal using Blushcreme in Laid Back (patted on to the lips for a stain).

Vivienne Westwood Red Label

According to M·A·C artist, Gordon Espinet, “Vivienne’s brief was slightly boyish makeup that embraced the idea of of shadows from light, so I looked to the photography of Penn and Avedon and how they would shape and shade a face with light.” Espinet  applied M·A·C Strobe Liquid mixed Face and Body Foundation in White (as well as either C1 or C2) to give skin a translucent pallor. Powder Blush in Taupe was brushed on as a base for the contour. Eye Shadow in Quarry was applied to cool down the color, while Copperplate deepened the shadows (all applied to cheekbones, temples, ears, and jaw with a #116 brush). Espinet then applied Powder Blush in Taupe and Eye Shadows in Quarry and Copperplate from the lash line to the brow with a soft #224 brush (and swept beneath the eye and down the sides of the nose with a #219 brush). Lashes were kept bare. Lip Erase in Pale was applied to the lips followed by Lip Pencil in Stone (to top lip and beneath bottom lip only). Eye Shadow in Copperplate was then layered over the lip pencil for a matte grey brown tone.

The good people over at M·A·C were kind enough to share their facecharts from the Fall 2010 shows during New York Fashion Week. Today’s facecharts include: Isaac Mizrahi, Paris68, and Tommy Hilfiger, whose shows took place on Thursday, February 18th.

Isaac Mizrahi

M·A·C artist, Val Garland described the look at Isaac Mizrahi as “Siberian winter storm. We wanted the girls to look frosty, as if they had been caught in a snowy wind.” M·A·C Select Cover-Up Concealer and Careblends Essential Oil were blended together and applied to the skin. Prep + Prime Transparent Finishing Powder was dusted onto the skin to set foundation. Cream Colour Base in Pearl was brushed along cheekbones for contour. Garland applied Eye Shadow in Vanilla over the eyelid and into the crease of the eye. Select Cover-Up Concealer was then applied to the lashes and brows to mute their natural color. Lip Pencil in Soar and Oak were blended together and smudged onto the lip, while Powder Blush in Tenderling was applied onto the lip for a soft, matte finish.

Paris68

“The look is inspired by the collection, strong thoughtful browns and rich metallics-it’s a nod to great alternative bands of the 80’s.” Says M·A·C artist, Chantel Miller of the look at Paris68. M·A·C Face and Body Foundation and Strobe Liquid were blended together and applied to the skin. Eye Shadow in Nylon were applied to the highest point of the cheekbone (in the shape of an upside down L) to highlight. M·A·C Mascara X in Black X were applied to top and bottom lashes. Powerpoint Eye Pencil in Grey Utility was applied to the inner waterline and Lip Treatment was dabbed onto the eyelid using the fingertips. Miller then applied Lip Conditioner SPF 15 onto the lip to moisturize.

Tommy Hilfiger

For the look at Tommy Hilfiger, M·A·C artist, Diane Kendal gave models dewy skin and windswept cheeks. Said the artist, “It’s collegiate and prep-dewy skin and windswept cheeks, as if the girls have been running.” M·A·C Studio Sculpt SPF 15 Foundation was applied to the face for a lighter coverage. Lipstick in Russian Red and Diva were blended and applied to the apple area of the cheek. Kendal then applied M·A·C Eye Kohl in Powersurge and M·A·C Pro Cream Colour Base in Dark Brown and blended into the eyelid and under the lower lash line. Studio Finish Skin Corrector in Deep Brown was blended into the eyelid and under the lower lash line. Creme Liner in Black was penciled along the top of the lash line and the outer corner of the eye. Gloss Texture was dabbed and blended below the lower lash line. Lastly, Kendal applied Lipstick in Cunning over the entire lip.