As she steadily drew a single straight line across the middle of a model’s eyelid before the fall 2013 Rag & Bone show with serene accuracy, makeup artist Gucci Westman said, “You can’t do the ‘Kate Moss’ thing forever, this is something totally different.” She was hard at work on creating a look with her go-to Revlon products – a simple but graphic eye paired with clean skin and a blush-colored lip – that held the illusion it did not require much labor to construct. Kate Moss 2.0, an effortless beauty look with just a touch of something a little off, was widespread on the runway during New York Fashion Week this February. At Rag & Bone it was manifested in eyeliner drawn midway between the brow and lashes. For Alexander Wang’s show, a pinned-on ponytail in a rich color famed hairstylist Guido Palau deemed “cognac” modernized an otherwise simple hairstyle, slicked-back with Redken’s soon-to-be-released Diamond Oil. The updated, edgy interpretation of a chignon and blue eyeshadow at both Jason Wu (a signature shade created for his Lancôme line out later this year) and Thakoon also fit the bill; the latter’s look even featured soft, whimsical glitter that perfectly balanced the amount of shine with a more subdued, sculpted face. Then there was Francois Nars’ punk-girl-with-a-mullet at Marc Jacobs. With a Joan Jett double by his side, Nars dissected the vibe backstage saying, “Marc and I love the ‘60s and ‘70s. These girls are characters with the heavy eye and glossed lip, but I like to pay attention to their individual details and highlight them.”
Take a look through the DuJour gallery to see our take on backstage beauty – the faces, strands, angles and eyes that captured the real essence of fall’s nod to the updated undone.