During a week of Parisian haute couture, it’s refreshing to find details that the layperson can recreate. While Maria Grazia Chiuri’s Dior collection of angelic feathers, liquidy pleated silks, and sheer pieces twinkling with hand embroidery required thousands of hours and an entire atelier, the beauty was intentionally attainable. “We decided to go for a very simple makeup thing that almost every girl has tried once in their life—a black kohl liner,” says makeup artist Peter Philips.
Within the Musée Rodin, artist Isabella Ducrot’s installation “Big Aura” lined walls and shaped discussions. Philips and Grazia Chiuri touched on themes of metamorphosis, along with the idea that the reproduction of an original is never the same. “I thought, Okay, it’s what we should actually do for makeup in the show—take one element and put it on every girl, and every girl makes it her own,” says Philips. He motions to a few of the 60-some models prepping within the backstage tent, noting that sometimes it reads punk, sometimes elegant, sometimes moody, and on and on. “Aura is what you project.”
After the morning demo, Philips made sure to “destroy” any element of too-perfect makeup. Once eyes were traced in Diorshow on Stage Crayon 091 Black, he instructed models to squint hard to smudge it into every crevice. “It applies really smooth, but it sets and it doesn’t move,” he explains. “I like when it’s lived a bit.” He pressed in a bit of Diorshow 5 Couleurs Eyeshadow in 539 Grand Bal, brown pigment to cut the inkiness, and a bit of metallic shadow in the center of the lids to create a sheen “wet look.” Brushed up brows and a clear Rouge Dior Balm in 000 was enough to finish the effect. “There’s no contouring, no highlights,” Philips says. “If you want to translate it to the street, I would add a bit of mascara.”
Photographed by Acielle/Style Du Monde
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