Makeup lead Pat McGrath for Marc Jacobs Beauty brought her otherworldly powers to make makeup magic for Marc Jacobs. McGrath created a “modern take on street style,” she said, working with hair lead Guido Palau to craft 60 looks, individualized for each model. Smokey eyes, bedazzled eyelids and dramatized lashes reflected the past as well as the future. — Alexa Tietjen
Eyes and lips were the focus at Christian Cowan, keyed by makeup artist Isamaya Ffrench for MAC. One particular eye look, inspired by Cowan’s collection, involved coating the eyelids in shine and applying silver hologram glitter with a brush, followed by star glitters on top. Ð Alexa Tietjen
Makeup was minimal, centered around eyebrows and blush. Dick Page, who led makeup for Maybelline at Michael Kors, used brow pencil, an upcoming brow gel, cream shadow and mascara on models, then created warm blushes on cheeks and the bride of the nose, using a shard of natural light coming in through a back door of the backstage prep space in the Brooklyn Navy Yard. “Of course, it’s simple, it’s always simple. It’s a huge cast, there’s a really diverse mix, there’s a choir, it’s a celebration of Americana, but we’re trying to avoid these fashion clichés of it, and mostly operate on the basis of this contrast between people,” said Page. “We’re putting a little bit of heat in the skin, and as much as possible getting to the point where the skin looks naturally flush…you’re getting to the point where you look like you rode your bike across the Brooklyn Bridge. — Allison Collins
The beauty look at Oscar de la Renta for spring 2020 was individualistic all around, but not strictly in a no-makeup makeup way. Makeup artist Tom Pecheux, who keyed the show for MAC, either left models nearly bare in terms of makeup, or went wild with bold dashes of bright yellows, pinks, blues and oranges around the eye. Color is making a comeback this season, he said, because of the need for something bright and happy. “When you go to see a piece of art with or without explanation, sometimes it’s a completely different thing…when somebody explains to you why the artist did it and the meaning of the work, it’s very impressive,” Pecheux said. — Allison Collins
![Drawn toward the Sixties and Seventies, lead makeup artist Emi Kaneko relied on black and brown eyeliners and glossy lips for the makeup look at Vaquera. "We wanted to marry the [Sixties and Seventies], bring it now and make it a New York cool girl," she said. "Just really wearable, but also a Vaquera version of wearable." Ñ Alexa Tietjen](https://martav.shop/wp-content/uploads/2019/09/vaquera-cdlm-s8-s20-bsb-006-1-1.jpg?w=200)
Drawn toward the Sixties and Seventies, lead makeup artist Emi Kaneko relied on black and brown eyeliners and glossy lips for the makeup look at Vaquera. “We wanted to marry the [Sixties and Seventies], bring it now and make it a New York cool girl,” she said. “Just really wearable, but also a Vaquera version of wearable.” — Alexa Tietjen
Makeup: Continuing with the “Euphoria”-esque beauty theme at NYFW and true to her penchant for theatrical makeup, Pat McGrath created a look for “a very free-spirited, modern young girl — dreamy and romantic with a fresh, naïve attitude.” Astral Solstice, a shade from McGrath’s Mothership IV palette, was used on the eyes and cheekbones for extra shimmer. – Ellen Thomas
While the beauty vibe at Tom Ford was decidedly edgier than normal, with long, pointed nails and female fauxhawks, he stuck to his signature smoky eye in terms of makeup. “It’s a classic Tom Ford…he loves the girls looking sexy, beautiful,” said Diane Kendal, who led makeup for the show. “The hair’s a little more fun/edgy so he definitely wanted to keep the faces a little bit more his world.” She used Tom for Beauty products to get the look, blending a deep brown pencil in the crease and under the eye, with black liner in the waterline. Shimmery deep shadows were blended across the lid, and brows were filled in. Skin was evened out, but not overly covered. — Allison Collins
Makeup at Sandy Liang, by Rena Takeda for Shiseido, centered around a metallic liner above the eye crease. To get the look, Takeda used silver eye shadow on a flat brush to create an arched shape. She went over that with a pearlized highlighter. Skin was prepped with Shiseido’s skin-care products, and concealer was applied only where needed. “It’s a Sixties-inspired double line,” Takeda said. — Allison Collins
Dramatic eyes were the underlying theme of the makeup at Pyer Moss. “It’s all about bringing out the eyes, creating that Seventies feel of the blush connecting with the eyes,” said lead makeup artist Daniel Sallstrom, who used Uoma Beauty products and, in some cases, Swarovski crystals. “It’s a lot of reflection, a lot of shadows, glitter. We’re going very natural on the skin. Nothing too empowering.” — Alexa Tietjen
Makeup: The look at Jonathan Cohen was skin-care dominant, with splashes of bright color on models’ inner and outer eyes. To prep skin, Deanna Hagen used 111Skin Essence under eye patches and serums. Then, Yuki for Inika Organic used bright pigments on the inner corner and outer bit of the models’ lids, trying the eye look in with the broader collection’s bright patterns. — Allison Collins
The makeup look at Prabal started with a serious skin-care priming from Romy Soleimani, who prepped models with several layers of Whal Myung products. The lips were the standout part of the makeup looks — models either sported balm, a black glossy lip, a red lip or a deep burgundy. The inspiration was “etherial girls with a feminine touch,” according to MAC senior national artist Lousie Zizzo. — Allison Collins
“There is a bit of a Donna Summer feel, there is a bit of a Grace Jones feel, there is a little bit of a nod to beauty in the Eighties, but the makeup overall has a little bit more of a relaxed fit,” said Chantel Miller, senior national artist for MAC. Skin was evened out with Studio Fix Stick Foundation, paired with either about six layers of liquid lipstick for a graphic red lip, or a flick of forest green liquid eye lacquered liner. “It actually points down… it means as the girls walk in the show in profile, the liner looks exactly straight,” Miller said. Other models had MAC’s Glow Play blushes brushed up through the temple, onto the brow bone. — Allison Collins
MAC senior makeup artist Fatima Thomas revived looks from Chromat’s archive for the 10-year anniversary show. For a teal graphic eye look, Thomas used MAC’s Acrylic Paint, saying, “it sets and dries and becomes very tenacious. I don’t have to worry about it creasing or moving around.” — Alexa Tietjen
Sir John incorporated “convertible color” in his makeup creation for Laquan Smith. The celebrity makeup artist used products from new beauty brand Uoma to craft a “serious feline silhouette to the eyes” that was punctuated by flame wings a la “Blade Runner.” “As a makeup artist, I love spotlight eyes — eyes that make an impact at Coachella, at the Super Bowl, even the strip club,” he said. “I wanted to make sure we did a tiny bit of glitter in the center of the eyes. We made that happen with this Uoma Black Magic palette.” — Alexa Tietjen
“We’re doing an Eighties eye, dusting the lid with a beautiful shimmer, almost a water-effect,” said Diane Kendal for Shiseido of the taupe, young Lady Diana Spencer-inspired look she created. — Ellen Thomas
Romy Soleimani for Bobbi Brown swiped a custom shade of pistachio across lids, and kept the rest of the look colorful with coral blush and a bright orange lip. — Ellen Thomas
The beauty vibe at Jeremy Scott was all Eighties. Makeup, by Kabuki for MAC, was inspired by Nina Hagen, and included bright, geometric shadow on the lid, topped with glitter, plus black winged eyeliner created using the Liquid Liner Pen and Pencil combo. — Allison Collins
The vibe was “painterly,” said Erin Parsons, who led makeup for Maybelline. To get the look, Parsons mixed custom shades of pink, blue and sea foam green and used her fingers to smear the shadow across models’ lids, and the heel of her palm to push splashes of color up through the eyebrow. The makeup was similar for girls and boys. “We’re doing sort of smaller versions on the boys, which kind of feels David Bowie-esque, which I really love. It’s really working well on them…there are certain ones that look hot,” Parsons said. — Allison Collins
Angie Parker for Moart created a white painterly stripe for eyes with a peachy tint for cheeks. “It’s a little bit like a woman in the desert in Morocco and she’s in her tent…a little bit elegant, defined sophisticated… a desert lady!” Parker said. — Ellen Thomas
“This does not need to be serious, people came all the way to Brooklyn,” Brandon Maxwell told models backstage during the run through for his spring 2020 runway show. The beauty look echoed that sentiment — “very, the end of the day, surfer, putting on their clothes to go to whatever activities,” Pecheux said. The look included a bit of black eyeliner, enough sparkle on the eye to make it look wet-ish on the runway and freckles, with a strong eyebrow “to make the hair look highlighted from the sun,” he said. — Allison Collins
Chandelier makeup was all the rage at Area. The look was created by Kanako Tasaki for Addiction, a Japanese line. She cast models in something of a coral glow using a shade of blush, with highlighter on cheekbones of the women playing men — those models sported chandelier-looking “beards,” she noted. Others had strips of rhinestones glued around the eye and brow area using makeup glue. The selfies were everywhere. — Allison Collins
At Rui Zhou, makeup artist Seong Hee Park created “clean, dewy” skin using Whal Myung products, giving some models water-inspired lip looks in red, orange and plum. “I [call it] water-stained makeup,” explained Park, adding that the collection was ultimately inspired by long distance relationships. – Alexa Tietjen