Here's Why Dramatic Eye Makeup Reigned at Paris Fashion Week
"Easy on the eyes" was definitely not the motto for makeup artists backstage at Paris Fashion Week. Instead of the "no-makeup" effect that was so popular on the New York runways, the designers' bold ensembles were complemented by even bolder liner and shadow effects, like the ones seen at Chanel, Anthony Vaccarello, and Elie Saab among many others.
At Chanel, Joan Smalls worked a sharp, winged out eye, just after taking the catwalk in jagged lower liner at Anthony Vaccarello earlier in the week. Meanwhile at Elie Saab, lead makeup artist Tom Pecheux for MAC used equal parts punk rock and ballet as inspiration for the grey, double-winged shadow, and went minimal on the rest of the face. "What makes it a little bit harder is the fact that there is pretty much no color---there is very little blush, the pink of the blush is very soft, the lips are a nude, beige-y color, and the eyes are extended with two wings," he says. "It's kind of rock n' roll."
In addition to the trio above, we rounded up even more of our favorite beauty moments from Paris Fashion Week, ranging from the wearable to the completely wild. Click through our gallery to see each one up close!
Two very different looks took the runway at Chanel's brasserie-themed show. While half of the girls wore dramatic winged-out shadow with their strands pulled back with a headband, the rest worked a heavily-contoured brow bone and inner socket, paired with a severe side part and ultra-lacquered finish.
A little bit ballet, a little bit rock n' roll. Lead makeup artist Tom Pecheux for MAC drew inspiration from both punk rockers and ballerinas to create the grey, double-winged eye at Elie Saab, keeping the lips and cheeks soft to not distract from the dramatic shadow. "It's a little bit harder than usual, but still very chic, and still very sophisticated," he says.
Lead makeup artist Tom Pecheux used a navy blue liner to freehand a graphic, jagged strike extending from each model's lower lash line as a homage to the architechtural pieces in the collection.
Drawing inspiration from the Victorian Era, lead makeup artist Pat McGrath paled down each model's complexion to mimic the appearance of faded roses, then topped off the look with matte shadow and white mascara.
Dior creative and image director Peter Phillips went for an asymmetrical, color-blocked appearance, with each girl wearing a different shadow color to match their outfit. "Every outfit is asymmetric, so I obviously took a take on that," he says. Strands were styled by Guido Palau into a smooth, asymmetric ponytail.
At Givenchy, baby hairs were gelled down in curl patterns, while the rest of the strands were twisted into two braid-bun hybrids. Handfuls of faux piercings looked even more dramatic against a bare face.
The steely silver shadow was blended over the models' lids at Guy Laroche, and the reflective vibe was extended to the inner corners of the eyes.
At Chalayan, silver shadow was blended onto the lids, while the rest of the face was kept minimal, save for a wash of terracotta blush.
Though each of the models wore different accessories, like the nose cuff seen here, the gilded wigs and pop of gold at the center of the lip remained the same at Manish Arora.
Talk about giving some side-eye. A handful of models at Jacquemus walked the runway with strands covering part of their faces, and another face drawn along the side.
True to form, Issey Miyake's models played with texture, wearing the front of their hair sleek and parted into a V-shape, then crimped in the back. Strategically-placed pops of color accented the otherwise bare face.
At Rick Owens, the models who weren't completely covered in gold leaf either walked the runway in a bare-faced effect, or the bleached brow and blocked liner combo seen here.
Maison Martin Margiela
While some models had no shortage of color on their faces, others gave the term "winged-out shadow" a literal meaning with inky noir wings painted onto each eye. The hairstyles were just as varied, alternating between pastel wigs, and strands tucked into a choker and dusted at the top with powder.
The beauty look at Mugler was all about retro-futurism, with sweeps of liner adorning the upper lashes and crease of the eye. "David [Koma, Mugler creative director] was being influenced by fifties, sixties sci-fi movies," says lead makeup artist Val Garland, who used a black liner by Clarins to achieve the effect. "It's more elongated, rather than a cat-eye."
Against the clean skin and smooth, pulled-back hair, the heavy sweep of white eye shadow served as the focal point at Kenzo.