Set inside the Los Angeles County Museum of Art, flanked by seas of Hollywood stars, the Dior cruise 2027 runway — Jonathan Anderson’s first for the house — parroted one major makeup message: A lip is only as powerful as its flush.
Shape definition was not a priority at the presentation on Wednesday night, though lip liner has become a universally adopted. Instead, models were fixed with faded lips courtesy of Peter Philips and the Dior Addict Maximizer in 001 Pink. The technique settled somewhere between the hyper-trendy cloud aesthetic and the Nina Park-coined contour lip — think leftover, post-meal color.
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But unlike the cushion, “cloud” lip trend, first popularized by Emma Stone on the Golden Globes carpet in January, the rose taupe hues were shiny, not matte. And the contour was subtle, embellishing the outer edges only.
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While all models donned the relaxed aesthetic with a natural complexion, a select few were sent down the runway with bedazzled eyes à la “Euphoria” seasons one and two. One woman, in particular, juxtaposed the avant-garde element with an auburn and black gingham blazer layered over a striped dress shirt — a style approach for the office siren by day and rave addict by night.
The hair, on the otherhand, shape-shifted from start to finish. Messy mermaid waves, toussled wolf cuts, ’70s pixies and 2000s boy band quiffs made for a diverse parade of styles, with a through line of organic texture. And given that cruise collections are designed to fill the void in between seasons, when the weather varies by hour and no one has a clue what to wear or what to do with their hair, a mixed batch of looks felt appropriate.
As social media algorithms and AI continue to valorize “sameness,” or a homogenized standard of beauty, presentations like Anderson’s are even more essential in the disruption. Slowly but surely, designers are fighting back. We saw this during New York Fashion Week in February, when hairstylists and makeup artists such as Mustafa Yanaz and Dick Page embraced the “imperfect” with eye bags and bedhead. Meanwhile, at Proenza Schouler, makeup artist Thomas de Kluyver painted an authentic portrait of a working woman with clumpy eye makeup and a side of smeared lipstick — Byredo Red Coma, to be specific.
“A lot of the clothes in the collection have these little sort of structures in them and things that distort them, so we wanted to do the same thing for the makeup,” de Kluyver told WWD backstage.