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It was an accessorised look from Sam McKnight at Chanel - a perspex pony, to be exact. The hair supremo used a hoover to create the perfect ponytail and we are LIVING for this. It was Chanel's version of the amazon explorer. Beauty and makeup.

Not that this explorer has to lose her glamour - she still has time for a glossy red lip, plenty of blush (note the draping) and a washed, turquoise eye. Wherever these girls are going, we want to be.

Glossy lids are still a thing and we couldn't be happier. "Inspired by India, we wanted the girls to have a luminous glow with soft, sweaty lids," says makeup artist Mark Carrasquillo.

A beauty look based on the duality of being grown up yet youthful and fresh. "The trick to the perfect, non-gloopy red lip is to use a lipstick with a clear gloss on top, then you can add just the right amount of gloss," says YSL Beauty Director Tom Pecheux.

"Celebrating 20 years of colour". We love this pretty, pastel-winged liner.

"Donatella wants the girls to look VERSACE," says makeup artist Pat McGrath who created this gorgeous bronze, smokey eye. Hair genius, Guido complimented Pat's makeup and clipped two Versace barrette clips at brow level into each girl's hair.

The new NARS x Christopher Kane collaboration launched after the show, but not before the products were used backstage. Lucia Pica utilised different pigments from the Hardwired Eyeshadow Palette to wash over eyes and cheekbones, creating a sweaty but angelic iridescence. Holographic Nude Lipstick (TDF!!!) was pressed into the lips for a suble but light-catching effect.

Guido Palau made beautiful, ‘mistake heavy’ hair with Redken’s Control Addict 28, deconstructing the perfect pony with fingers to give a lived in, gritty take on the traditional style.

It was all about supernatural skin from Miranda Joyce at Roksanda - clean, expensive, polished. If just concealer was not enough, MAC’s Face & Body was used to give a light but more thorough coverage. Very thin layers of MAC’s mixing medium were then applied on the cheekbones and ball of the eye for a fresh, glossy glow. MAC’s Lip Pencil in Beet was then pushed into the lips, creating a stain that looked as if the models had been eating blackberries. Rich, but still youthful.

It was a fresh, relaxed take on the 90's perm from UK's Creative Director of John Frieda, Luke Hersheson. 'It's big, curly hair, but the additional of the black hairband - pulling the curls back - creates a sporty edge," said Luke. Texture was built on wet hair with John Frieda's Frizz Ease Extra Strength 6 Effects Serum, and following hair that was curled to the roots, finished with John Frieda's Frizz Ease 100% Shine Glossing Mist for a luxurious polish.

If HRH Queen Elizabeth II went to the cotton club in the 1940’s, what would she look like? That was the challenge for Val Garland & Anthony Turner backstage at Erdem. Val approached it as a perverse propriety - perfect skin (NARS’s Natural Radiant Longer Foundation - out November!) but with a strong liner. A classic winged eye, using NARS’ Eye Paint in Black Valley with an angled brush, was given a graphic, linear update that began in the middle of the eye and lacked the traditional flick.

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Anthony’s hair felt slight more prim. Initially loaded with L’Oreal Profesionnel’s Full Volume Extra Mousse for a thicker, rich feeling, it was separated into sections; a triangled fringe was rolled, low pony’s were spiralled and sides were pressed down. It was the perfect compliment to Erdem’s beautiful show.

The task was counteracting the traditional femininity that runs through Emilia Wickstead’s gorgeous clothes. Caroline Hiron’s was giving Zelen’s facials to all the models pre-makeup, really taking the time to work into the skin and stimulate a natural luminosity. Florrie White approached the makeup as ‘gender fluid’ - natural skin from Caroline, a brushed up, filled brow and blotted lip. CoverFX’s Enhance Drops were dabbed in the corner of the eyes for a youthful, ‘optimistic’ feeling.

Luke Hersheson, John Frieda's UK Creative Director, pushed the idea of a genderless model with centred, floppy curtains that felt very public schoolboy, pulled the hair back into a low pony. Bolstered with John Frieda’s Root Booster for a lift in the front and finished with the Sheer Blonde Hairspray, it felt like the most relevant hair of the season.

It was an athletic face that Lynsey Alexander championed at Joseph. The MUA mixed in Estee Lauder’s Double Wear Water Fresh Foundation with the Illuminating Primer for soft but buildable coverage and used Pure Colour Lipstick in Raw Sugar to contour and colour the cheeks and eyes. Mascara was pushed in just at the roots while brows were squared off for a androgynous, handsome appearance. The Re-Nutriv Balm, a favourite of Lynsey’s, was then liberally applied to the usual places - cheekbone, brow bone, bridge of nose & cupids bow - for a sweaty, luminous sheen.

Duffy’s take on the hair was not dissimilar - strong and slightly masculine. A graphic side parting and low pony were uniform throughout, using just L’Oreal Elnett Hairspray for a firm, slightly glossy hold.

Tommy Hilfiger’s Tommy Now Rock Circus was in full swing at Camden’s iconic Roundhouse and Eugene Souleiman, Wella Professionals Global Creative Director and GHD Fashion Week Ambassador, created individual rock inspired looks for each of the models.

“There was a real rock concert feel to the show this season and for me, I wanted to create a look that was dishevelled, raw and full of texture. Each look was individual, diverse and imperfect. I created an anti-cosmetic approach to the hair – a juxtaposition to the glamorous make up look to allow the girls personalities to come through.” Eugene Souleiman.

Eugene took a laid-back approach to getting the hair show-ready, using EIMI products and GHD tools. Each hair look heroed individuality and transported each model into the cool rock and roll Tommy world.

"The vibe is very cool. I wanted the hair to have a loose, nonchalant look that was very youthful. The hair needed to look unwashed, a couple of days old from dancing away at your favourite gig.”

Julien kept it very Julien, thankfully - a gorgeous smokey eye a la Wendy Rowe was put together using Maybelline’s Colour Shadow in Red Moon. It felt slightly feline, wrapping underneath the eye and blended into lashings of mascara and heavy liner. Clean skin, good highlight, nude lips and a brush up brow (every one of these a trend for SS18) let the eyes have their moment.

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Adam Reed spoke about a return to the 90’s supermodel-esque straight hair while still loading it with texture and movement. First blow dried with GHD’s Hair Dryer and then using the Platinum Styler to straighten but also style the hair (twisting the tool to give the hair bounce), it did bring back the glamour days while shifting the look forward into what the hairstylist referred to as ‘millennial straight’.

For the Julien Macdonald show it was all about the golden tan. The pros at St. Tropez transformed models into Amazonian Goddesses with an all-over golden, glossy tan. St. Tropez's Instant Tan Medium/Dark Body Lotion was applied to contour the limbs, and then Instant Tan Finishing Gloss was buffed in to key areas such as collarbones, shoulders and shins. The pièce de résistance: subtle sparkle on to exposed skin with any makeup shimmer. Less is so not more.

Charlotte Tilbury referenced one of her favourite muses - Kate Moss (which incidentally was the lipstick shade used) - for the Versus show. A lived in, graphic cat eye offset glowing, gorgeous skin that came from her new Hollywood Contour & Highlight wands.

Hair stylist Eugene Souleiman championed the individual girl, quickly enhancing the models natural hair for a sexy, textured, done-at-home feeling.

The reference was the same as last season (early 90s club kid) but that is a reference that Topshop was more or less founded on, so it works. Lynsey Alexander had the answer to the instant party eye, smudging Topshop lip liner in Perfectly Flawed, pressing in Chameleon Glow in Wax & Wayne then dabbing on Lip Kit Glitter in the corners of the eyes. Offset with a contrasting black lash and the brand's cult Glow Pots, it felt youthful, gritty and fun - the perfect night out.

A one-step product for a punchy green will be out at the end of the year too. Hair stylist Duffy brought the reference even further back, citing the 60s Soho scene that translated into a masculine side parting and tonged, wavy hair that was finished with L’Oreal’s Mythic Oil. Slightly sweaty, very sexy.

MAC’s Lipstick in Paramount (the reddish-brown colour you NEED next season) was the focus of Val Garland’s look for the Roland Mouret show. Combined with clean skin, a groomed brow and where needed, a slight liner, it felt polished but still young.

Hairstylist Sam McKnight was another champion of individual beauty, working with his namesake products to produce hair that would suit the girls best. The highlight of the show was the designer launching his first fragrance. Notes of Neroli, bare rose and patchouli made it the most sensual of scents - fitting, as Roland wants it to illicit a reaction and ‘challenge sexuality’. The parfum of the season, hands down.

A puritanical vein ran throughout the show, which hair stylist Eugene Souleiman channeled with undone, sweaty hair that was side parted and organically sculptural. GHD Curve Soft Curl Tong’s were used to create texture and dimension, while EIMI’s Dry Me and GHD’s Air Hairdryer pressed the hair flat against the scalp. “It’s broken and unkept, but with a strictness,” said Souleiman.

It was an earthy, glossed eye from Val Garland that peaked out from underneath the hair, with fresh skin and a natural, MAC Lipglass lip. Anyone else getting major Handmaid's Tale vibes?

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It was a psychedelic tribe that the Matty Bovan’s girls belonged to. Makeup artist Hung Vanngo used Marc Jacobs Beauty to create a heavy black eye with a colour that came from the model's individual looks for the show - cobalt blue, shamrock green or flame orange. The aim was to combine the beauty with the fashion and have a tougher, ‘almost apocalyptic’ feel.

Hair stylist Syd Hayes kept inline with that attitude by wrapping latex around fashioned dreadlocks while keeping the rest of hair textured and undone.

Hair stylist Duffy pushed for the hair - graphic, straightened and tucked under - being uniform for every girl. “I’m all for diversity, all for individuality, all for character, but fashion needs a statement right now and this is that,” he said backstage.

Glossy skin couldn't be more en vogue, which is why makeup artist Lynsey Alexander used MAC’s clear gloss & lip glass to cover the face, colour the eyes and enhance the lips at Mary Katrantzou. The result was a plastic, almost robotic finish that was both eerie and beautiful.

The work of Mark Ryden inspired Anderson’s SS18 girls, which was interpreted as ‘pretty witchy’ - part naive, part occult. Hair stylist Anthony Turner gave the models a schoolgirl-esque, rough side parting using only his fingers for a natural, unaffected look and KMS’s Sea Salt Spray.

Makeup artist Mark Carrasquillo also pushed the idea of a coven, using NARs Eyeliner Stylo on the bottom waterline while keeping the skin as natural as possible. Simple but chic.

Side-swept tucked-in chignon’s (a la Luke Hersheson, UK Creative Director at John Frieda) were framed with the designers headbands that felt like a new take on polished, grown-up hair. For a similar, slightly futuristic housewife look, smooth the hair back using John Frieda's Frizz Ease Extra Strenght 6 Effects Serum and add plenty of hairspray when twisting, pinning and clipping.

The glossy, robotic skin was seen here too; Val Garland opted away from blush & contour, using MAC’s Face & Body with a little Mixing Medium Shine for a mannequin-esque highlight. It was different shades of tan, namely Lip Pencil in Spice, that was ‘banana’d’ over the top of the eye. Plastic perfection.

Posted by at 01:16PM

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