Paris Fashion Week is here again, and with that comes a slew of amazing, inspirational beauty looks from the runways. As we’ve already seen on the catwalks of New York, London, and Milan, makeup artists are unafraid to make a bold statement this season, whether it comes in the form of neon eyeliner or crystal-embellished eyes.
Paris is often one of the most exciting weeks of Fashion Month, simply because of the lineup of major names. For example, we'll be looking forward to what kinds of masterpieces makeup artist Pat McGrath will be creating for the likes of Maison Margiela and Valentino, both of which have previously involved feathered eyelashes and creatively colorful face-painting. Elsewhere, makeup artist Peter Philips will be leading the looks on the catwalks of Dior and Dries Van Noten, where he's been known to experiment with both no-makeup makeup and the definitively daring.
On the hair front, Redken global creative director Guido Palau will be leading some of the biggest shows, such as Chloé and Loewe. Given he created some of the most visually stunning hair for Paris Couture Week this past July — such as the aerodynamic coifs at Givenchy — we can only imagine what he’s up to next.
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For Chanel's Spring 2020 show, hairstylist Sam McKnight was inspired by the women of the '60s and '70s and the way their volumized hair fell like curtains. Models such as Gigi Hadid and Kaia Gerber wore long, thick, straight hair on the runway. McKnight gently curled the ends of models' hair and parted it down the middle, followed by a heavy dose of McKnight’s own dry shampoo for added texture.
Lucia Pica, Chanel's global creative makeup and color designer, created a sun-kissed look with rose gold lids and a just-bitten lip using Rouge Allure Liquid Powder in Radical with clear Rouge Coco Gloss. She also applied Le Volume Revolution mascara and added faux freckles to cheeks using eyebrow pencils that matched the models' brows.
The supersized earrings, pastel sunglasses, and sustainable bags and fabrics certainly stood out on the runway at Stella McCartney’s show, but so did something else: the super glowy, natural skin. The hair and makeup were mainly minimal, so Tata Harper helped to prep each models' complexion for the runway. Skin was cleansed with Tata Harper Nourishing Oil Cleanser and Regenerating Cleanser followed by the Tata Harper Resurfacing Mask for an instant dose of brightness. After that, the Concentrated Brightening Essence was applied to skin, followed by Elixir Vitae and Elixir Vitae Eye Serum. The final touch for the flawless complexion we saw on the catwalk: Crème Riche was applied, in blotted motion, for a hydrated but not shiny effect.
At Miu Miu, Miuccia Prada sent models down the runway wearing off-the-shoulder cardigans, embellished vests, and plenty of leather skirts covered in playful floral prints. To complement the fashion, Redken global creative director Guido Palau made an equally strong statement with the hair, creating distinct curl for most models. "I’ve done a tissue-set, '40s-inspired look," he explained. "It’s an old-school way of achieving curls, where you wrap individual sections of hair with a tissue, heat them up with an iron, then allow them to cool. Once you take out the tissues, the result is a soft curl. I’ve then brushed through and shaped the curls into a '40s style at the front, and squared-off in the back." Paired with cat-eye glasses, the hair also had a very librarian geek-chic vibe. His key product to create the look was Redken Triple Dry 15 Dry Texturizing Spray for lots of chunky texture throughout.
Pat McGrath created one of the most glittery looks of Paris Fashion Week. For Valentino, the makeup legend sent out an array of different metallic looks in the shape of cat eyes and extending upwards onto the brow. She first applied her own Sublime Perfection Primer before covering the models' faces with her own foundation. To get the deep shade of metallic gold, McGrath applied a shade from her Nocturnal Nirvana Quad Palette, a forthcoming product launch she's been testing out on the runways this week. To top it all off, she applied crystals, glitter, and metallic lashes from her secret stash of extreme beauty knickknacks.
As for the hair, Redken global creative director Guido Palau kept things loose. "The hair this season at Valentino is super rich, super glamorous, and super dream-like, which perfectly complements the Valentino girl, who is uptown, fancy, and feminine," he explained. "To achieve the look, I've utilized Redken’s Extreme Play Safe leave-in to heat-protect for a luxurious blow-dry."
This season's shows are proving that sparkle is here to stay. At Schiaparelli's debut ready-to-wear collection under the recently hired Daniel Roseberry, makeup artist Erin Parsons created individual looks for models that rivaled the surrealism-tinged clothing. On one model, she covered the eye area in rainbow ombre crystals that cascaded down the face. Another model had silver rhinestones applied from the lid downwards as if she were crying glitter tears. Elsewhere, models sported neon green lashes, pear-shaped crystals, textured gold lips, and bare faces under skin-hued netting. "I used glitter and Swarovski for the rhinestone cowgirl," Parsons tells Allure. "All the inspiration came directly from Daniel Roseberry’s clothes and the totems he had at the presentation."
Giambattista Valli’s Spring 2020 collection was full of the floral motifs the designer so often uses in flowy dresses and ladylike pieces, but the designer took it one step further with a beauty look created by makeup artist Isamaya Ffrench. For the show, Ffrench covered the area around the models’ eyes and foreheads in petals that matched the colors of the collection. The sculptural effect of the orchid petals looked otherworldly. The rest of the face was left bare and strikingly minimal, with a bit of glow. To achieve the healthy, glowing skin, Giambattista Valli worked with the luxury British skincare line Orveda (founded by Sue Nabi, a personal friend of Valli's) to prep the skin. The team used a variety of Orveda products to prime skin for Ffrench, but two of the standouts were the Healing Sap for its instant glow properties and Eye Unveiler 422, an extremely rich prebiotic eye cream.
Playing off the romantic vibes in Alexander McQueen's Spring 2020 collection, the hair followed suit. Redken global creative director Guido Palau created custom braids that pulled from references such as pirates and the Victorian era. "McQueen looks always have a touch of romance — always beautiful, always with a touch of British sensibility. I was inspired by pirates and the high seas, with a small braid in the front inspired by Adam and the Ants, who often wore a similar look," said Palau. "I've finished off the braids with a gold ribbon wrapped around them, which gives a slightly Victorian vibe." To achieve the look, Palau used Redken Guts 10 Volumizing Spray Mousse, which he "slathered heavily into each section to give it a product-y feel, which helps to form the braids."
He topped off each braid with a few spritzes of Redken Shine Flash 02 for a wet, modern feel that made the hair glisten under the bright runway lights.
Perhaps one of the most extreme hairdos at Paris Fashion Week came in the form of Thom Browne’s Marie Antoinette-inspired wigs by Eugene Souleiman. He and his team worked on the wigs for a full month, spending up to eight hours on each one individually. "I've never really done a Marie Antoinette hairstyle, and I wanted to do something that I felt was inspired by that, but not entirely," explained Souleiman backstage. "I didn't want to reproduce something that was done in the 18th century because I'm just not interested in doing that."
The makeup followed a similar aesthetic in that it was loosely inspired by Marie Antoinette. Led by Mark Carasquillo, there was plenty of white powder and heavy pink blush, in addition to major, exaggerated cat eyes. "You’ll see some girls with this really winged out big graphic punk cat eye," explained MAC senior artist Fatima Sees. "You will see other girls that have white powdered face with that high blush that [makes you] think of movies like Dangerous Liaisons."
For Saint Laurent, creative director Anthony Vaccarello took to the archives to construct a collection that touched on signatures from the house. Think: structured suiting, bohemian dresses, and plenty of sequined black pieces. Most of the collection touched on the 1970s, which some may call the heyday or pinnacle of the brand. With that being said, the beauty look also took inspiration from the 1970s vibes. The look was significantly bare and natural, with hair left slightly tousled, sometimes under boho scarves. Under the guise of Tom Pecheux, global beauty director of YSL, models in the show wore the Top Secrets Instant Matte Pore Refiner, All Hours Concealer, All Hours Setting Powder, Rouge Pur Couture The Slim Sheer Matte Matte Lipstick in 106, Couture Brow, and La Laque Couture Nail Lacquer in 74 — all from YSL Beauty.
Following the trend of 1970s-style minimal beauty, Celine’s Spring 2020 collection showcased a variety of everyday, wearable staples with a luxurious twist and perfectly rimmed kohl eyes. Makeup artist Aaron de Mey applied black liner to the upper and lower lash lines of any models in the show who weren’t wearing sunglasses. Most of the models also had lighter brows, slightly rosy blush, and a nude lip. Esther Langham styled the hair, which was left loose, wavy, and tousled. Center parts, chunky bangs, and shag layers made the hair feel intrinsically vintage.
For Noir Kei Ninomiya's Spring 2020 show, the theme was all about creation and going back to the roots. The brand is often known for its otherworldly, outre shapes, and mind-bending fabrications, and the beauty looks followed this lead. In place of typical hairstyling, famed artist and floral designer Azuma Makoto created headpieces out of cacti, ferns, succulents, and tropical plants for each model. "Ninomiya gave me the concept of going back to the roots," explained Makoto. "He thought not to use flowers, but just plants and the concept of the energy they give off."
"I focused on creation, and creation has a power,” Ninomiya told Allure. “The brand has a power this season, and I expressed in the show. That’s why I collaborated with Makoto, because I get power from him."
When it came to the makeup, Go Miyuki created a textural white effect on the lid using a paintbrush and a liquid white shadow. "It’s very simple for the show — just white streaks," he said. "I just wanted something very simple yet strong. It’s liquid color, and I used a lot so you can see the texture. The rest of the face is natural."
Are we ready for the return of deep-side parts? According to Loewe’s Spring 2020 show, we should be. "We've done a super-sleek ponytail with a very deep side part for a masculine, almost '20s feel," said Guido Palau, Redken’s global creative director, of the look. "My two key products here are Redken’s Extreme Play Safe to heat-protect as I blow-dry and my new backstage must-have, the Triple Pure 32 Hairspray to clean up any flyaways without the crunch. The simplicity of the hair complements the more complicated clothing at the show, while showcasing the strength of each model."
As for the makeup, faces were left bare for the most part, with a more pronounced, thick brow to add a bit of drama.
Working with MAC, lead makeup artist Karim Rahman created an unusual style of contouring in unexpected colors such as violet and saffron yellow for Rick Owens. "The makeup is inspired by Rick Owens's world," explained Rahman backstage during the dress rehearsal. Rahman applied touches of yellow and violet in places that were a bit untraditional — for example, under the nose, under the lips, and around the eyes. Rahman mixed a custom shade for the yellow contour, using the yellow and chartreuse Paint Sticks from MAC across all the tinted areas.
The MAC team also collaborated with special-effects artists to apply bald caps to 10 of the models — the latest interpretation of Instagram artist Salvia, who collaborated with the brand last season. Some of the models then had strips of curly hair extensions applied far on the back of their heads by stylist Duffy. "We used a lot of foundation on the latex bald cap and on the top; we're using lots of powder," adds Rahman. It was a 45-minute process."
At Lanvin Spring 2020, the mood was all about slicked-back, wet-looking hair. And considering the show was outside in the rain, the hair created by hairstylist Duffy paired particularly well with the collection. To get the look, the stylist blow-dried hair using L'Oréal Tecniart Pli. He then topped the hair off with Kiehl's Silk Groom Serum and flat-ironed the lengths.
To make the hair look even more piece-y and textured, as if models had just walked through a rainstorm, Duffy added Supremo Magic Move, a matte wax. The look was defined yet casual, not to mention an extremely easy and wearable way to pull off the wet-hair trend.
For Chloé's Spring 2020 show, Redken global creative director Guido Palau took inspiration from the 1940s. "I've done a few different main looks," Palau explained backstage. "All are inspired by the '40s, with some girls wearing their hair curly, some with a boyish updo, and some with a boyish twist with their lengths left down."
To get the looks, he used Redken Guts 10 Volumizing Spray Mousse, Redken Triple Pure 32 Hairspray, and Redken Shine Flash 02 Spray. Specifically, for the romantic updos, Palau prepped hair with Redken Guts 10 then blow-dried upwards to create texture and volume. He then curled front pieces toward the back of the head and combed through with a wide comb. Spritzing with hairspray, he used the comb again to backcomb and double spritzed for even more texture. Finally, he parted the hair to the side and finished with Shine Flash 02 for an overall glossy texture.
The swinging '60s had a definite influence on Guy Laroche's Spring 2020 hair and makeup. Backstage, makeup artist Kabuki worked with deep shades of brown, purple, and black MAC Pigments to create a dramatic, broadly blended smoky eye inspired by 1960s fashion brand Biba. Brows were groomed upward, a light nude gloss was applied to the lips, and the rest of the face was contoured. The hair also had a vintage vibe, blown out and curled under.
For the first time, Dries Van Noten teamed up with Christian Lacroix for a collection. The result was a stunning mix of floral prints and moody colors. Taking inspiration from that, hairstylist Sam McKnight used plume feathers in different shades and attached them to the forehead hairs as fringed bangs using his Easy Up-Do Texture Spray. Elsewhere, he attached larger-than-life black ostrich feathers to the back of models' heads.
As for the makeup, Peter Philips was inspired by the 1982 sci-fi film Blade Runner and used a fine brush to create stokes of gold, black, and white across the models’ eyes. All in all, it was a very futuristic look that was topped off with a golden metallic lip.
At Maison Margiela, a slew of models took to the runway wearing military-inspired clothing with a twist of whimsy, as well as a variety of different hats and veils. Pat McGrath kept the makeup minimal and chic. She applied her Sublime Perfection System of foundation and powder and left the rest of the face noticeably bare, with the exception of a strongly groomed brow and mascara. Some of the models also had a swipe of metallic blue liner applied thickly just below the brow. For these statement-making looks, the brows were bleached.
Eugene Souleiman sculpted the models' hair so that it paired with the different hats in the show. Others had hair hidden completely under the veils, while others had bits of texture sticking out from underneath.
Designer Manish Arora staged a Paris Fashion Week show full of diverse models from the Instagram beauty world, drag culture, and more. "It's all different," explains makeup artist Kabuki. Intricate paintings on faces, cutouts of leather and non-traditional materials, faux butterfly wings, oversized black contacts, and fan-like golden metallic paper lashes glued below the eyes were all on display. The personalities who vogued or MC'd through the show, such as Miss Fame and Virgin Xtravaganzah, chose to do their make up themselves. "It’s more fun more like real life that way," explained Kabuki. "It's the merge of Manish’s world with their world."
As for the key products used, Kabuki focused on MAC Glitters with the vibrant colors of the Pro Palette Paintstick. Even the nails were over-the-top in this collection, created by Marian Newman using CND. "All these other little embellishments and motifs are all based on symbols seen in the collection," she explained of the different heart-shaped 3D features.
"I've done a kind of Dutch braid on the hairline," Redken global creative director Guido Palau said backstage before the Dior show. To highlight the summery collection inspired by archival photographs of Catherine Dior, braids were styled under wide straw hats paired with a long sheer dress. "The softness in the braid and the profile feels very soft, very romantic, and a bit youthful." To add texture to the braids, he used Redken Powder Grip 03 and Redken Triple Pure 32 Hairspray for a bit of hold.
As for the makeup, Dior creative and image director of makeup Peter Philips was inspired by the set of the show itself, which was lined with towering trees. "There's a message about holding onto sustainability and being green as much as we can," said Philips. "From my point of view, that means using as little product as possible. Just a little bit of eyeliner with a French flick."
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He prepped the skin using Dior Hydra Life Fresh Hydration Sorbet Crème then used a drop of the new Backstage Glow Primer (available this October) mixed with Backstage Face & Body Foundation. He set the look using powder on the nose and hairline. "This is a toned-down version of a classic French woman’s eyeliner," he said, applying the liner from the center of the eye outwards with just the slightest flick.
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