Spring Ready-to-Wear 2012

Jason Wu

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Backstage at Jason Wu

Backstage at Jason Wu RTW Spring 2012

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  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012
  • Backstage at Jason Wu RTW Spring 2012

Backstage at Jason Wu

Birds of a feather flocked together at the show, where Odile Gilbert, working for Kérastase at the show, created a hair look punctuated with black feathers.

Birds of a feather flocked together at Jason Wu, where Odile Gilbert, working for Kérastase at the show, created a hair look punctuated with black feathers. Gilbert used Kérastase’s Fiber Architect to protect hair, then added Mousse Volumactive for texture and added protection. After making a side part, she twisted small sections of hair in random directions, pinning them with bobby pins. Next, Gilbert took a sheaf of black feathers — using as many as 50 small feathers for each model — and pinned them into the hair, interspersing them with the twists and finishing with a healthy application of Double Force Hairspray. “In the front it’s slightly Fifties Grace Kelly, and toward the back it’s a non-traditional feathered chignon. Doing a regular chignon would have been way too old-fashioned; we wanted modernity. It’s a nice contrast of feminine and boyish.”

Diane Kendal, working with MAC Cosmetics at the show, was inspired by Nineties graffiti artist Kaws and Sixties pop-art as she created her look. Kendal used MAC Studio Finish concealer where needed to perfect skin, then applied Blot Powder through the T-zone. Next, she used Blacktrack Fluidline along the top lash line only, sweeping it on to the lashes at the outer corner and eschewing mascara. Cubic Blush, a pink tone, was applied to the lower apple of the cheek, while Silver Dusk, a MAC pigment, was used on the cheekbone, bridge of the nose and inner lower lash line to catch the runway lights. Lips were lined in Redd Pencil, a bright red, and filled in with Scarlet Ibis lipstick. Neo Orange Pigment was used on top in a patting motion.

Toenails got a coat of OPI’s Samoan Sand, a nude shade, while nails were polished in bright-red Monsooner or Later.

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