Giambattista Valli

“The woman this season is a nomadic traveler,” said Val Garland backstage before the Giambattista Valli show. “Today she might go up a mountain in Nepal, and tomorrow she might be on a [jet ski]. She’s a very confident, empowered, assured woman. She is a free thinker. She’s gorgeous. We’re just doing great foundation, making women look the best of themselves. We are doing sculpting, grooming, dressing — but it’s not illumination.” However, there is an injection of high shine. With a nod to a Guy Bourdin photograph of a woman whose face is swathed in sparkling sugar, eight models were to be sent down the runway with faces incrusted with glitter. Garland, who was working with MAC Cosmetics, called it a “magical moment.” — Jennifer Weil

Stella McCartney

“Natural” and “beautiful” was how Pat McGrath characterized the beauty look at the Stella McCartney show. The makeup artist used products from her namesake Labs line, including colors from one of her Mothership palettes to contour models’ eyes, a touch of highlighter, brown mascara at the roots and Lip Fetish Lip Balm. “It’s very easy, very simple,” she said. “Stella just wanted the girls to be themselves — so really gorgeous.” Natural was the name of the game for nails, too. They sported, from Kure Bazaar, a layer of Rose Milk brushed over with Clean, a base coat that dries with a satiny matte finish. — Jennifer Weil

John Galliano

The makeup look at John Galliano was meant to be as raw as possible, serving as a foil for the fashion ornamented with necklaces, earring and hats. “They wanted something very, very natural, so we worked only on the skin,” said Christelle Coquet. “We just put a little bit of highlight on the eyelid and also on the top of the cheeks to catch the light. We worked a little bit on the eyebrows, but everything has to be very subtle, very natural — like nothing.” Working with MAC Cosmetics, she used products such as Mixing Medium. — Jennifer Weil

Givenchy

Makeup artist Pat McGrath created “fresh, gorgeous skin” and “statement lashes” on models walking the Givenchy fall 2018 show. “[It’s] layer upon layer upon layer of mascara,” she said. “It does a lot for the eyes.” — Jennifer Weil

Sonia Rykiel

“The inspiration this season was a mix between classic Sonia Rykiel and a little bit of New Romantic punk,” explained makeup artist Diane Kendal backstage before the show. Using L’Oréal Paris products, she applied black eyeliner along models’ eyelids and extended it out, but not in a winged fashion. A bit of kajal was added to the inside of lids and a tinge of mascara to top lashes. Eyebrows were groomed. Kendal also put Infallible Blush Paint on the apples of cheeks and 643 Color Riche Shine on lips. — Jennifer Weil

Elie Saab

“The inspiration is Mr. Saab’s collection,” said Tom Pecheux backstage before the Elie Saab show. “It’s very Seventies, Eighties. It’s very flower-printed, so we wanted to create joy in the makeup. We are doing that kind of classic smoky eye that Mr. Saab really likes. [It] makes the women look beautiful.” Eyelids were given a shimmer, lashes got a tad of mascara and a blue line of eye pencil was drawn along peepers’ waterline. Pecheux applied a peachy blush to cheeks and lips were left natural. He was working with MAC Cosmetics. — Jennifer Weil

Poiret

“The look is very simple, very clean,” said Val Garland, referring to the makeup at the Poiret show. “It’s all about gorgeous, glowing, reflective skin.” Garland, the global makeup director of L’Oréal Paris, was using the brand’s products, including Glow Mon Amour Highlighting Drops. “We’re mixing that in with the concealer, putting it across the eyes,” she said. “The makeup design is a boyish brow. It’s very simple.” On the cupid’s bow of models’ mouths, she applied Color Riche lipstick 905 for a holographic high shine. On their lips, for a flesh color, she used Color Riche lipstick 624. — Jennifer Weil

Rochas

“It’s Seventies looks-inspired,” said Lynsey Alexander, of the makeup at the Rochas show. “We are doing rosebud-velvet matte-petaled mouths.” Working with MAC Cosmetics, to obtain the effect, she layered products including Ruby Woo Lip Pencil and Dance With Me Retro Matte Lipstick, which dried down matte. “Then we’re layering MAC Basic Red pigment on top of that, so the lips almost look like they are 3-D, [as if] you can peel them off the mouth. They’re really matte,” she explained. “And it’s juxtaposed with a super glossy face.” Alexander used minimum foundation, Lipglass on eyes and cheeks and no mascara, “just everything brushed and groomed. So you get this balance of raw with something so glam.” — Jennifer Weil

Balmain

Val Garland said that she was “making the best of each girl and her features,” at Balmain. The global makeup director of L’Oréal Paris used the brand’s products such as Tattoo Signature liner on the eyes. She sculpted, shaped and highlighted skin, and applied Glow Mon Amour Highlighting Drops for a glowy effect. Brows were slightly emphasized. On eyelids, Garland applied 905 Color Riche Shine — to reflect mirrors on the clothing. The makeup artist said she had spoken with the house’s artistic director Olivier Rousteing, who said models were to look natural but glowing. “He was like, she’s herself. She wears Balmain — she’s confident, empowered, looks amazing. She takes care of herself,” said Garland. — Jennifer Weil

Yohji Yamamoto

Pat McGrath created the black-and-white, highly graphic, asymmetric makeup at Yohji Yamamoto’s fall 2018 show. — Jennifer Weil

Makeup at Christian Dior RTW Fall 2018

Peter Philips, creative and image director of Christian Dior makeup, received an e-mail with some 20 images of sunglasses that the house’s artistic director Maria Grazia Chiuri, was thinking of sending down the runway during the fall display. “Could this inspire you for the show?” he was asked. Yes was the answer, and Philips used the glasses colors as cues for different hues of eyeliner. “Let’s play color matching,” thought the makeup artist, turning to the Diorshow On Stage Liners, out in May. Yellow glasses were paired with yellow eyeliner and blue with blue, for instance. Because the models were to seem like part of a demonstration (think student uprisings in France during May 1968), the idea was not to create makeup that seemed too pretty, Philips explained. “I could make makeup which is cool,” he said. “But not precious.” He drew liner on models’ top and bottom lids, but it didn’t reach either corner of their peepers. “That kind of opens up the eye, but at the same time gives a bit of a conceptual aspect to it,” said Philips, adding it lends a strength to the look, too. “We went for beautiful skin, but no contouring, no blush, no highlights.” He curled models’ lashes and gently enhanced their eyebrows. Some key products used included Dior Capture Youth Glow Booster Age-Delay Illuminating Serum, Diorskin Forever Undercover Foundation and Dior Addict Lip Maximizer. — Jennifer Weil

Y/Project

“The inspiration is mainly just like [a] fresh girl — she could be one of these girls from a Sofia Coppola movie,” innocent-seeming and not at the same time, described Carole Colombani backstage at Y/Project. Models were also meant to look strong, so she opted to tint their lips with a mix of two lipstick colors for a dusky pink hue and used any leftover on cheeks as a hint of blush. — Jennifer Weil

Makeup at Jacquemus RTW Fall 2018

Keeping in mind the theme of Marrakech, makeup artist Dick Page smudged a brown or black color underneath models’ eyes for the Jacquemus fall show. “There is not too much foundation on the skin, nothing on the lips, just a little bit of lip balm, he said, adding that for certain models’ cheeks he was putting some tone that was created by mixing brown and red lipstick. “I’m just custom-coloring that.” Page was working with L’OreŽal Paris products. — Jennifer Weil

Tommy Hilfiger Makeup

As the overall inspiration at Tommy Hilfiger was auto racing, Mark Carrasquillo shaped makeup around the eye “to mimic what people do to customize their cars.” He traced a thin black line along the top lashes, the end kept a little darker. Then a lot of mascara was applied.

Carrasquillo also placed a luminous silver color along the top and bottom tearlinA wash of Baby Lips by Maybelline New York was rubbed over the cheekbones to get a shiny effect.

Lips were kept bare. — Teresa Potenza

Etro

A “physical woman, but supergorgeous at the same time,” makeup artist Mark Carrasquillo said backstage, noting that he gleaned inspiration from Seventies supermodel Janice Dickinson. A smoky eye in chopper brown and a lot of mascara attracted all the attention: “I wanted to shape a really dark, smoky eye but I did not want it to be black,” he said. A coffee pencil by MAC Cosmetics was used on the top and bottom waterline, while Foiled Retro Matte Liquid Lip Color Metallic was applied into the inner corner of the eye.

Eyebrows were just brushed up and well groomed while skin was left natural and lip conditioner applied. — Teresa Potenza

Emporio Armani

Linda Cantello described the beauty archetype at Giorgio Armani as a “kind of mysterious, chic woman,” whose pale face and strong eyebrows winked to the late Eighties and early Nineties.

Skin was well moisturized with Prima Balm, while brows were lengthened and thickened slightly. Lashes were curled, and black mascara was applied on top lashes only, with a dash of a natural color on lids.

Lips carried a shade which was just a step away from natural. — Teresa Potenza

Giorgio Armani

Linda Cantello described the beauty archetype at Giorgio Armani as a “kind of mysterious, chic woman,” whose pale face and strong eyebrows winked to the late Eighties and early Nineties.

Skin was well moisturized with Prima Balm, while brows were lengthened and thickened slightly. Lashes were curled, and black mascara was applied on top lashes only, with a dash of a natural color on lids.

Lips carried a shade which was just a step away from natural. — Teresa Potenza

Marco De Vincenzo

It’s “a woman who’s not seeking glamour, but business,” makeup artist Terry Barber said of Marco de Vincenzo’s beauty look, which winked to Margot Tenenbaum. MAC’s Ebony eye pencil ensured a tough, strong and intensely black glance. “As Marco’s look is very chic and eclectic, the intensity of a natural skin and black eyes keeps it really chic,” Barber explained.

A small amount of MAC Cosmetics Face and Body Foundation was applied and mixed with Face and Body white to keep skin transparent. Concealer was used only if needed. — Teresa Potenza 

Antonio Marras

Red and black eye makeup — whether bold or more romantic — stood out at the Antonio Marras show. Tom Pecheux created bold shapes in multiple variations, always with the same color palette. “It’s all about the eyes: they give a bold and powerful feeling with a romantic twist,” he explained backstage.

Using MAC Cosmetics, Pecheux started with Chroma Graphic eye pencil in Basic Red over the eyelid, enhanced with eyeshadow in Passionate and powder blush in Frankly Scarlet.

Skin and lips were kept natural. — Teresa Potenza

Roberto Cavalli

Makeup artist Diane Kendal said she wanted the models’ skin to be “really beautiful and luminous, keeping their own tones and concentrating on the eyes.”

A dark brown pencil was used in the waterline, a thin line was drawn on top of the lid and lashes were curled. Eyebrows were groomed, brushed and filled in when necessary.

The apple of the cheek carried a touch of blush and a dash of highlight at the top of the cheekbone. Lips got lip gloss.

— Teresa Potenza

Prada

Prada’s show was a tale of two beauty looks — bold makeup with sparkly eyes on the one hand and a natural, fresh take on the other. The inspiration overall was a fresh, very modern feeling, “but then we played with graphic shapes,” explained Pat McGrath. Those were created with crystals applied around eyes in bold colors such as green, blue and pink on a handful of models. Others’ skin was simply moisturized to bring out its freshness. The makeup artist was using products from her own Pat McGrath Labs line, including new eye palettes and the Precision Liquid eyeliner, which is due out in March. Lips were kept nude. — Teresa Potenza

Emilio Pucci

“I imagined a baby Marilyn [Monroe], thinking also about the younger sisters of my big family,” said Tom Pecheux, describing what he had in mind when creating the makeup look at Pucci. Specifically, he envisioned the moment when a little girl dreams of becoming a woman and starts using her mother’s makeup in a light-touch, natural way — so she can wear it to school. “I used a little bit of eyeliner just in the corner of the eye, with a little wing,” Pecheux explained. He worked with MAC Cosmetics, including Brushstroke Liner, and applied a touch of Haute and Naughty Too Black Lash mascara. Lips remained natural colored but with a high gloss, thanks to a layer of Cremesheen Lipstick in Pure Zen overlayed with Gloss Crème Brillance. Skin was made fresh-looking. — Teresa Potenza

Fendi

Peter Philips said he was inspired by the sophisticated Fendi woman in creating the makeup look for the fashion brand’s show. He described it as “natural but very controlled.” Illuminating models’ faces were dashes of white cream applied from the inside corners of their eyes to their noses. A bit of mascara was put on to their lashes, and eyebrows were groomed. Key products used here included Diorskin Forever Undercover. — Teresa Potenza

Alberta Ferretti

The makeup at Alberta Ferretti was focused on models’ eyes. Tom Pecheux said he was inspired by a glamorous, Sixties eyeliner look from Italy combined with what he described as a French under-eye smudge for a more lived-in effect. Working with MAC Cosmetics, he softly smudged lower lash lines with Chromagraphic Pencil Black Black, while Brushstroke Liner Brushblack was used to draw wings. Upper and lower lashes were coated with mascara. Meanwhile, faces were given a fresh and clean appearance. To obtain this, Pecheux used the Conceal and Correct Palette for cover-ups when needed and Sculpt powder as a soft contour. Lips were kept natural, with just a coat of conditioner. — Teresa Potenza

Moschino

A classy, Jacqueline Kennedy-Onassis-like woman and conspiracy theories featuring aliens (as the possible killers of both her and of Marilyn Monroe) were what inspired makeup artist Kabuki while shaping the look for the Moschino show. Working with MAC Cosmetics, he gave most models a classic Jackie O. treatment, with a slight wing on eyelids using Brushstroke Liner in Brushblack. A bit of mascara was applied to lashes for a doll effect, while a combination of Mademoiselle and Divine-Divine Retro Matte liquid Lipcolour was applied to lips, along with Patentpolish Lip Pencil in Kittenish for a creamy effect. A handful of models also had their faces and bodies painted in monochromatic pop colors (like pink, green or blue) for the more “alien” take. — Teresa Potenza

Moschino show, Detail, Fall Winter 2018, Milan Fashion Week, Italy – 21 Feb 2018

A classy, Jacqueline Kennedy-Onassis-like woman and conspiracy theories featuring aliens (as the possible killers of both her and of Marilyn Monroe) were what inspired makeup artist Kabuki while shaping the look for the Moschino show. Working with MAC Cosmetics, he gave most models a classic Jackie O. treatment, with a slight wing on eyelids using Brushstroke Liner in Brushblack. A bit of mascara was applied to lashes for a doll effect, while a combination of Mademoiselle and Divine-Divine Retro Matte liquid Lipcolour was applied to lips, along with Patentpolish Lip Pencil in Kittenish for a creamy effect. A handful of models also had their faces and bodies painted in monochromatic pop colors (like pink, green or blue) for the more “alien” take. — Teresa Potenza

Erdem

“Erdem was inspired by a red lipstick that his mother always used to wear,” said Val Garland, who was working with Nars Cosmetics at the show. “He thought of all things aristocratic and was very inspired by flowers. We felt this Thirties-Forties vibe in the makeup.” Here, Garland crafted three variations, including a red powdered pout and an eye look that had an iridescent sparkle and used a black and a gray chubby pencil on lids. A third look focused on satin skin that was a bit dewy rather than shiny. Garland bleached some models’ eyebrows and skipped mascara altogether, “so it feels like it is all about the eye.” – Lorelei Marfil

Haider Ackermann

Inge Grognard said that since models’ coifs at the Haider Ackermann show were “quite important, we brought down the makeup — that is to say, pale skin, transparency, a little bit of highlight on the cheeks.” She also added a tad of shading to emphasize cheekbones, since Ackermann has a penchant for angular faces, and then put some gloss on eyelids. Eyebrows were brushed up and lips moisturized. “[It’s] in a way very simple, but a beautiful, fresh [look],” continued the makeup artist, who was working with MAC Cosmetics. — Jennifer Weil

Christopher Kane

“It’s all about celebrating the individual,” said makeup artist Lucia Pieroni of the beauty look at Christopher Kane. “Her skin is a little bit dewy, as if she had been running for a bus or up a hill, so she has that sort of flushed cheek and a bit of a flushed lip color.” Pieroni, who was working with Nars Cosmetics, focused on glowing skin and so applied Optimal Brightening Concentrate, Luminous Moisture Cream, Aqua Gel Luminous Oil-Free Moisturizer and Total Eye Replenishing Cream. She swept a highlighter across models’ eyelids, the top of their cheeks and noses. Pieroni used a dab on eyelids for some radiance and curled lashes. Cheeks were made to appear a tad flushed by blending two lipsticks with an Illuminator and a bronzing powder. She also painted lips with Pride and Greed lipstick.  – Lorelei Marfil

Burberry

Makeup artist Wendy Rowe described the look she created for Burberry’s fall show as “keeping the pure, true beauty” of models. She said there was a focus on gorgeous skin, which was obtained by using Burberry’s new gel foundation stick in natural tones, which Rowe dabbed onto skin to reduce redness. — Lorelei Marfil
 

Gareth Pugh

Makeup artist Val Garland had an old Dior campaign in mind when creating the makeup for Gareth Pugh’s show. The advertisement, she said, was all about “dirty girls and car mechanics,” and so Garland focused on sweaty, oily, muddy skin. “We were thinking Nineties Comme des Garçons mixed with Herb Ritts and Peter Lindbergh,” said Garland. “That whole moment where there was an oil-slick eye.” Working with MAC Cosmetics, skin was prepped with a Prep + Prime balm stick for “glossy humidified skin.” She blended Cream Color Bases on eyelids, in hues of brown, black and navy, and applied the Prep + Prime balm stick on top for a slicker look. Some of the models’ mouths were made matte, while others got a high-shine gloss. — Lorelei Marfil
 

Peter Pilotto

The makeup look for Peter Pilotto was inspired by the Seventies and youthful — with a disco edge. Makeup artist Thomas de Kluyver applied light moisturizer, Face + Body foundation as well as minimal concealer on models’ skin. He kept eyebrows naturally groomed. Eyes were the focus as he applied pressed eye shadow colors such as copper, fuchsia and grape with fingers for a more reckless, rock-‘n’-roll feel. 

Mary Katrantzou

“The face is a little bit softer and a little bit more romantic,” said makeup artist Lynsey Alexander, who worked with MAC Cosmetics. “We’ve gone for this idea of cool tones so we’ve custom-made our own highlighter using this new lip gloss called Funfetti cake.”

She wanted to keep the look quite boyish and young and skipped mascara. Brows were fluffed and brushed back to look very masculine. She accented the inner corner of eyes with a white pigment.

Simone Rocha

“Simone’s girls again are gorgeous, fresh, young,” said makeup artist Sam Bryant. “There’s hardly any base. It’s very simple, and we used it only where they need it. There was little bit of work under the eye just to make them a bit brighter.” Bryant simply added some gloss that was mixed with glitter on eyelids. Ñ Lorelei Marfil

J.W. Anderson

Makeup artist Aaron de Mey channeled Brooke Shields – with a touch of strangeness – at J.W. Anderson. Working with Nars Cosmetics, he applied Brow Perfector, Kinshasa Brow Gel and hairspray, adding pencil strokes for softness and powder shadow for thickness. Lips got moisturizer. For eyes, he added a bit of highlight in the inner corner with the Multiple stick for a light and shiny effect. – Lorelei Marfil

Marc Jacobs

Jin Soon Choi used nine shades of Marc Jacobs Beauty nail polish in deep jewel tones. “It’s about how to show off your skin, shamelessly,” said Choi, who noted that darker shades enhance skin tones.

Marc Jacobs

The beauty look at Marc Jacobs was a celebration of matchy-matchy colors, going back “to the roots of fashion,” said Diane Kendal, who led makeup using Marc Jacobs Beauty products. Models were outfitted with a light layer of Jacobs’ new Shameless Youthful-Look foundation, and the focus was brought to the eye with different color shadows — hat-donning models sported shadows that matched the underside of their brims. To get the look, Kendal pressed glitter eye shadow onto lids with her fingers, before wetting a makeup brush and applying the next glitter layer. The color extended beyond the outsides of the eye, to the temples. Eyes were finished with black liner, and cheeks were lightly stained with a deep berry lipstick, called Scandal. The eye shadow focus of the fall New York runways is a shift from seasons’ past, Kendal acknowledged. “It’s a nice way of playing with makeup,” she said. “It’s a way of creating a look without being too [made up] — there’s no lip, there’s very little cheek, so it is just about the eye.” 

Backstage at Jill Stuart RTW Fall 2018

Backstage at Jill Stuart RTW Fall 2018

Michael Kors show, Detail, Fall Winter 2018, New York Fashion Week, USA – 14 Feb 2018

Model on the catwalk, detail
Michael Kors show, Detail, Fall Winter 2018, New York Fashion Week, USA – 14 Feb 2018

Jeremy Scott

To celebrate the designer’s recent collaboration with MAC Cosmetics, makeup artist Kabuki created a neon, three-dimensional look that emulates the graphic element seen in Scott’s designs. “I wanted to put across a feeling of Eighties’ futuristic pop in a way that was pretty and fresh,” Kabuki said. The look focused on a three-dimensional winged eyeliner created with plastic, with the corresponding color eye shadow blended in the inner corner of the eyes. — Layla Ilchi

Makeup at Derek Lam RTW Fall 2018

Makeup, crafted by Tom Pecheux for MAC, but explained by senior artist Keri Blair, included sheer washes of color. “It’s very melted, kind of beautiful — [there’s] almost a transparent, stained eye,” Blair explained, as Pecheux had not yet arrived to the Lam backstage after keying the makeup at Ralph Lauren earlier in the day. To get the look, artists used colors from a new MAC eye shadow palette, pressing a taupe-ish shade called Sabled into the inner corner of eyes, with a deeper tone called Oliveyou toward the outer edges, from the lashes to the brow bone. Eyelashes — top and bottom — were coated with three coats of Haute & Naughty mascara, and eyes were rimmed with a green liner (Minted Eye Kohl). For skin, models were lightly contoured and then highlighted with a mix of shades from MAC’s not-yet-released Hyper Real Glow Palettes. A muted pink called Demureish was pressed into lips. — Allison Collins

Prabal Gurung

Diane Kendal for MAC Cosmetics used the brand’s Extra Dimension highlighters — Glow With It for darker skin and Beaming Blush for lighter tones — to create a flushed cheek. She used a light brown shadow with a pearlescent sheen to fill in the full lid and line the upper and lower lashes, finessing the outer corners with a darker brown shade and creating a glossy finish with a MAC Lip Glass. — Ellen Thomas

Alice + Olivia

“It’s the easiest smoky eye that you can do,” said Erin Parsons, who keyed makeup for Maybelline. Makeup focused on a black, smoky eye, which was first created with the Maybelline Eyestudio Lasting Drama Waterproof Gel Pencil in sleek onyx. The eyeliner was applied on the crease, on the top and bottom of the eye and water line. Then a black glitter was coated onto the eyelids by using a finger application. Waterproof black mascara was also added to further the graphic look. — Layla Ilchi

Libertine

The look at Libertine was “kind of like the girls just walked out of an opium den,” said makeup artist Katie Jane Hughes, working for Too Cool for School and Whal Myung. Models sported dark black shadow — “almost tarlike” — with matte skin and a wine-stained pout, Hughes said. Eyes were coated in gloss just before models hit the runway. — Allison Collins

Libertine

The nails were a big part of the show at Libertine, where CND’s Jan Arnold crafted a variety of fringed options — including several sets that had ombré fringe long enough to drag on the runway. Others had appliqué flowers, some were beaded and some had shorter fringe. “We were able to find this fringe in South Africa, it came to us totally white — we dyed it,” Arnold said. “The girls who wear the fringe will wear a solid set of fringe, it’ll drag down the runway and then [designer Johnson Hartig’s] vision was if they plunge their hands in their pockets, the fringe is pouring out of the pocket.” — Allison Collins

3.1 Phillip Lim

“The collection is inspired by Eighties Versace,” said Jin Soon Choi, who keyed nails. Models received one of four shades of nail polish: Charade, a grayish blue; Army Green; Caramel Brown, and Bright Gold. The color palette was meant to mimic the earthy tones and mixed prints within the collection. — Layla Ilchi

3.1 Phillip Lim

“We’re calling this a modern nomad with intense earth-colored eyes,” said Francelle Daly, who keyed makeup for Nars. To create the earthy eye, Daly used a brown and black eyeliner. She first applied the brown eyeliner on both lash lines and smudged it with a brush. Then she went over with the black eyeliner to further the smudgy look. A clear mascara and brow gel were also applied to emphasize the eye, but not to take away the earthy feeling. The look was then finished with a new lip balm in the brand’s iconic Orgasm shade, which will launch in the summer. — Layla Ilchi

Philipp Plein

Kanako Takase for Maybelline had snow bunnies in mind when creating the makeup for Philipp Plein. Playing off of the bedazzled snowboards in the collection, Takase first mixed Maybelline Facestudio Master Chrome Metallic Highlighter with the Facestudio Holographic Prismatic Highlighter for a luminous sheen. Then eyes were given a dramatic look with a mixture of brown and plum eye shadow. The eyes were then finished off with a thick black eyeliner and Maybelline Total Temptation Mascara. — Layla Ilchi

Oscar de la Renta

“Glitter on top of a very English garden rose,” is how Tom Pecheux for MAC Cosmetics described the makeup look he created for Oscar de la Renta’s fall show. Pecheux was inspired by the botanical-themed embroidery throughout the collection. For the eye, he used a sheer wash of MAC’s Spiceberry eye shadow all over the lid, then applied a hot pink liquid lip color — Pink Trip — in the center and blended out for a glossy, shimmery finish. — Ellen Thomas 

Oscar de la Renta

Julie Kandalec for Essie conceived of a burgundy manicure to match the floral and Elizabethan prints featured in the collection, using Essie’s bordeaux polish. — Ellen Thomas

Anna Sui

“She’s talking about a time of innocence, pre-hippy and pre-bohemian,” said Pat McGrath, who keyed makeup at Anna Sui. Makeup focused on a graphic pink and purple eye. The look was first started with a pink eye shadow applied by the brow bone and a purple eye shadow applied on both lash lines. Then, a high-pigment, wet purple eye shadow was applied directly on the crease to create a graphic arched line. A glittery highlighter, which McGrath hinted as her next launch, was also applied on the eyelids to finish the look. — Layla Ilchi

Nails at Derek Lam RTW Fall 2018

Jin Soon Choi said nails at Lam was inspired by the 1944 film “National Velvet.” “This girl got a horse and she became a competitor,” Choi said. “Like blush makes you [look] healthier — that’s kind of the idea. A healthy glow on your nails.” — Allison Collins

Carolina Herrera

Diane Kendal for MAC Cosmetics created a deep royal blue eye with MAC pigment in Naval Blue. She called it “midnight smokey.” — Ellen Thomas

Jill Stuart

“It’s like jewelry on nails — when the light hits, you want it to shine,” said Naomi Gonzalez for Zoya, who led the nail look. Gonzalez alternated painting nails with solid coats of four shimmery jewel-tone shades, ranging from copper to a gold-flecked emerald, and blended two shades of purple to get a custom gold-flecked amethyst. — Ellen Thomas

Tom Ford

Nails, by Mei Kawajiri, were nude, with an extra coat to emphasize the half moon. 

Backstage at Alexander Wang RTW Fall 2018

Backstage at Alexander Wang RTW Fall 2018

Brandon Maxwell RTW Fall 2018

“It’s a red lip with a thread of gold,” said Tom Pecheux, who keyed makeup for MAC, on the focal point of the look. The look was first created with two glitter pigments, one white and one gold, which thinly lined the upper lip. Pecheux then went over the gold line with a matte red lipstick, so that the red would look rich while still having the gold peep through. The look was finished off with the same gold pigment dabbed at the center of the bottom lip.

Cushnie Et Ochs

“Python lips,” was all James Kaliardos, who keyed makeup for Maybelline, said when he first explained the look. The look focused mainly on the lips with a rich matte plum hue. To create the look, Kaliardos used a layered approach by first drawing the lips in with liner, then applying the Maybelline Superstay Matte Ink. He then used the Maybelline Lip Studio Python Metallic Lip Kit in Snakebite on the cupid’s bow. A gold hue was also dusted on the eyelids. — Layla Ilchi

Chromat

“It’s that signature cobalt blue,” said Fatima Thomas, senior makeup artist for MAC Cosmetics, who led makeup for Chromat. The idea was to pull the water elements of the show’s invitation into the look with a less structured take on the show’s generally blue-oriented makeup look. To create it, Thomas used an ulta marine blue in the models’ waterlines, and mixed cyan and cobalt colors to create an imperfect wing. “It looks painterly,” she said. Lips were orange. — Allison Collins

Tom Ford

Makeup artist Pat McGrath channeled street style into the beauty look for Tom Ford, using Tom Ford Beauty. “Street beauty, smoky eyes…a little bit boyish,” McGrath described the look — “like they did it themselves.” For the eye, she used a combination of black and gray on the lids, with a slight sparkle “for texture and depth.” Clumpy mascara on the top and bottom lashes finished the look.

Tory Burch

Beauty at Tory Burch was hardly a look at all — the designer tapped makeup artist Diane Kendal and hairstylist Guido Palau for Redken to design a “natural beauty” look. Kendal swept a MAC Cremeblend Blush in a shade in a bright pink shade called Posey across cheekbones, and lined inner rims with a white liner for a bright-eyed effect — sorely needed, as the backstage call time was early-morning in the empty Bridgemarket space under the Queensboro Bridge. — Ellen Thomas

Sandy Liang

The nail look at Sandy Liang was pure Millennial nostalgia. Nail artist Holly Falcone for Orly created a shimmery blue-green blend designed to match the nail look sported by Hallie Parker, one of Lindsay Lohan’s twin characters in the 1996 remake of “The Parent Trap.” The reference is one many of those who grew up in the Nineties — like Liang herself — remember fondly. Falcone created the custom color with a blend of two of the brand’s polishes: Royal Navy and I See Blue. — Ellen Thomas 

Adam Selman

“She’s a little bit New Wave-y and a little rough,” said Dick Page, who keyed makeup for MAC. Taking inspiration from the tiger print seen in the clothing, Page applied a graphic black eyeliner across the model’s eyelids with a generous amount of mascara. Some models also received a large swipe of neon pink, blue, purple or yellow above the black eyeliner, some corresponding to their outfits and others clashing. — Layla Ilchi

Adam Selman

After seeing the image of Tonya Harding holding her ice skates with purple glittery nail polish in her recent New York Times profile, Selman knew he wanted the look re-created for his show. Holly Falcone, who keyed nails for Orly, gave the models an almond-shaped nail and either applied a bright red polish, called Love My Nails, or a purple glittery hue, called Miss Conduct, that resembled the shade worn by Harding. — Layla Ilchi

Ulla Johnson

“It’s an organic play on disco,” said Romy Soleimani, who keyed the makeup for MAC. The focal point of the look was a gold leaf applied on the eyelids in a natural way that didn’t look too precise. To apply the gold leaf, Soleimani used the Tata Harper Contouring Eye Mask as an adhesive instead of glue. The look was finished with a dusty, matte pink. — Layla Ilchi

Alice + Olivia

“We want the nails to look like black patent,” said Rita Remark, who keyed nails for Essie. For the rock ‘n’ roll meets Rococo inspiration, Remark used two coats of Essie nail polish in Licorice, a jet-black hue and topped it off with Essie Speed Setter Top Coat for a patent finish. — Layla Ilchi

Carolina Herrera

Nails at Carolina Herrera’s fall show were painted using Patricia Nail Lacquer in Covenant, a rich mahogany shade with a pearlescent sheen. Nail artist Pattie Yankee told WWD the choice in color was a departure for Herrera. “She usually goes with a natural nail, so this is something different.” — Ellen Thomas

Backstage at Michael Kors RTW Fall 2018

Backstage at Michael Kors RTW Fall 2018

Balmain

“Generally when I do Y/Project the hair is always tucked behind the ears, behind the shoulders, because there is usually so much going on with the clothes that they don’t want [it] to compete,” explained Ramona Eschbach. “So it’s kind of the same vibe, but the texture this season is dry.” She said the house’s artistic director Glenn Martens wanted models to look like they’d gotten their hair done for a gala with oodles of hairspray and then brushed it out. So Eschbach used Tecni.Art Beach Waves from L’Oréal Professionnel before blowing tresses dry straight with a Mason Pearson brush and finished the coif off with a dry shampoo. “There’s no hairspray, there’s nothing sticky,” she continued. “It’s still going to move when the girls are walking, but it’s a rough finish — like the ends aren’t polished.” — Jennifer Weil

Backstage at John Galliano RTW Spring 2018

Backstage at John Galliano RTW Spring 2018

Backstage at John Galliano RTW Spring 2018

Backstage at John Galliano RTW Spring 2018