The inspiration behind Badgley Mischka’s fall 2012 collection was the science-fiction impressionism seen in the German film Metropolis. Reflected in the strong structures, high collars, defined angles and overall mood of the collection, one might expect to see that geometric imagery replicated in the hairstyle. Rather than complement it, Peter Gray for Moroccanoil went in the complete opposite direction, counterbalancing with a much softer style. “We created a random, floating, ethereal texture with much more movement and femininity, almost romantic” Gray said. “It’s multi-dimensional, very light and airy; the result of tightly wound curls fully brushed out and then encouraged to spring upward, outward and free in all directions.”
Using only one product to execute the glamorous fluidity of this look, it was more about styling intricacies than product overload. Moroccanoil Luminous Hairspray was used to prep the hair because keeping it conditioned and shiny was key to the final appearance, used while curling because it eliminated frizz and provided hold without build-up, used all over the head once the curls were set to ensure they kept their bounce once released and used one last time once the hair was backcombed, shaped and fixed into place.
Not surprisingly, Gray wasn’t satisfied with simple curls. Instead, he wanted to add his own twist and create an “irregular silhouette, to make it a bit modern,” Gray said. “For contrast, we created a smooth, elegant, glamorous wave shape in front that flows back into the big fluffy mass.” To get the look he used three different sizes of curling irons, 3/8-inch, 1/2-inch and 5/8-inch, on random sections to create tight curls. Starting at the nape of the neck, he twisted wefts of hair from different angles and in different directions, pinning them through the middle to grip the scalp so they would uncoil easily. For the finger wave front, he created barrel curls in three to four sections, using a ¾-inch iron and directed them backward. Once the hair was completely curled, he used the Moroccanoil Ionic Ceramic Hairdryer with a diffuser sock attached to set them for about three to five minutes. Just before the models took the runway, he unpinned the springy curls and completely brushed them out, starting at the back to add drama and irregularity to the silhouette. He then backcombed random sections and shaped the overall style, finishing with a spritz of Luminous Hairspray. For the front, he combed and smoothed out strands, shaping it into a beautiful undulated form and blending it into the soft texture of the breathable, undone curly back.
Deborah Lippmann created a sophisticated spin on a classic French manicure to complement the geometry of the Badgley Mischka collection. She said she wanted it to be more angular and serious than the classic pink and white, almost as if the nail is “dripping with gold jewelry.” The short beds were first covered with two coats of Dark Side of the Moon, an opaque aubergine shade, then a thin stroke of Nefertiti, a gold frost, was added to the tip.
For the M.A.C. Cosmetics makeup team, the inspiration was creating a black-and-white contrast with big impact color. The eyes were dramatic, with a touch of youth and fantasy. Distinguishing the matte facial palette from the strong eye, the team used a dark shadow from the lashes to the brow, adding a bright glow of gold liner along the lash line. —M.R.