“She’s Jane Birkin but a bit naughty,” said M.A.C’s James Molloy of the makeup look he created for sister design duo Macgraw, showing at Mercedes-Benz Fashion Week for the first time.
To channel a sexy sixties vibe, he focused in on the eyes, using M.A.C Extended Play Lash mascara on both upper and lower lashes, but paying extra attention to the latter. “I wanted the lower lashes to look clumpy and have some attitude – too perfect and you get that doll-like Twiggy kind of sixties,” he said, explaining how he held the wand vertically, depositing colour at the root of hairs, and dragged it downwards – “You get these cool little chunks in between lashes.” Eye Pencil in Coffee was lightly smudged around eyes to add some subtle definition.
To further soften features, Molloy looked to “that ’60s honey tone” for inspiration. After applying warm shades of Face and Body Foundation all over (as in, from hairline to toes), he pressed Pro Sculpting Cream in Coffee Walnut (“an amazing sepia tone”) across the cheekbones and bridge of nose, added some freckles using Lip Pencil in Cork (“after dotting on, press in with fingertips, which makes the colour appear to be underneath skin”) and dabbed lips with Cream Colour Base in Tint. “I used my fingers to make it all malleable and real – this is about a cool, lived-in look.”
It’s lived-in if that living is done in Paris, added Goldwell’s Sharon Blain. “She’s just woken up, shaken her hair and is running down the Champs-Elysées,” she laughed. “She’s a little bit undone, but still glamorous.”
Blain’s starting point was a beautiful blow-dry, using a large round brush for bounce and a heat styling lotion (Goldwell Hot Form) for a smooth finish. To get that second-day slightly-bedheady effect, she held a large-barrel tong at jaw level and wrapped sections of hair once or twice around; she then pin-curled until cool. “The effect is a soft little bend in the middle of hair, rather than a curl or wave,” she explained.
To work back to the ’60s theme, Blain clipped in faux fringes, which were cut into a curtain style. “We didn’t want that typical heavy 1960s fringe,” she explained. “Like the makeup, it’s a soft version of ’60s style.”