Yannis Vlamos
Don't you just love couture? I always find it inspirational; it brings with it an air of the theatrical and the magical. What's more lust-worthy than something that feels ever-so-slightly out of reach? With a catwalk inspired by origami and cherry blossoms, the makeup on the Armani Prive catwalk reflected a fresh, cool and graphic look, with strong linear eyes in a beautiful apricot shade and split-sectioned up-dos. I love anything Japanese-inspired and this show was no exception.
Luca Cannonieri
"With the makeup we wanted to wink towards Japan, without a full-on nod to Geisha" said Linda Cantello, Georgio Armani International Makeup Artist. The base was kept deliberately matte and without blusher and bronzer. Apparently Mr. Armani was "emphatic that he didn't want any colour on the face," said Cantello. What I thought was amazing is they considered that most people see the show from the sides of the runway, so why not make the focus on the profile? Apparently Mr. Armani is obsessed by it. For the lid, Georgio Armani Maestro Eye Shadow in 5 was used. I wasn't going to go out and buy any more eye shadows for this look, so I chose some soft orange/coral shades from my collection to use; ones which I already know suit my colouring.
"With the makeup we wanted to wink towards Japan, without a full-on nod to Geisha"
For a base to stop my shadow from creasing and to intensify the colour, I used a wash of Benefit'sCreaseless Cream Shadow Liner in Prenup all over the lid and slightly above the socket line. Trace the colour as far up as you want to go. On some of the models the colour was right up to the brow bone, but this can be too much for real life. I blended using my ring finger.
Next I took my favourite orange shade, Shu Uemura's Pressed Eye Shadow in ME Orange 250. This looks a lot more scary in the pan than it does on the eye. I used a fluffy blending brush (Mac's 217), which is perfect for applying and blending colour at the same time. Follow the same shape you created with the cream shadow and blend at the edges for a seamless finish.
Next comes the liner. This looks a lot more tricky than it is; practise and a steady hand will go a long way here, as will looking at the right angle. Aim your gaze slightly downwards into a mirror to allow you to get the perfect line direction and thicken the line slightly as you near the edge of your eye. I used Mac's Powerpoint Eye Pencil in Grey Utility for a slightly softer effect than the charcoal-black used the runway. Run the lines along the lower and upper lash lines; I chose to start about halfway across to focus the liner on the outer edge of the eye, but you can take it all the way along if you prefer. Follow the line of the lower lashes as it comes up and out to get the right angle.
Then take a similar coloured eye shadow to soften and blend the liner. Here I am using Mac's Eye Shadow in Knight Divine on a Jemma Kidd Double Ended Eye Define brush.
Use the larger side of the brush to soften the lines. You can also take some of the grey shadow into the outer corner of the eye and up into the socket line to create a smokier effect.
Use a white eyeliner to line the waterline; if you have problems with your eyes watering and ruining your liner before you've even started, gently place the tip of a cotton bud on the tear duct to soak up the tears before they ruin your makeup. Be careful not to poke yourself in the eye... Extend the liner to run in between the two dark lines and blend slightly so the lines are not quite so harsh. You can also 'flick' the ends of the liner with a small angled brush to get that calligraphy-like edge.
Finally add a few strokes of your favourite mascara; here I am using Jemma Kidd's Ultra Plush Volumising Mascara in Stage Black. Add a neutral pink lipgloss and there you have it; perfect couture makeup for a night out in Brighton town. I personally love this look and think it's very wearable for the right occasion.
