Maison Margiela x Pat McGrath: Maximalist makeup is back
Courtesy of Pat McGrath Labs
For its Artisanal Collection at Haute Couture Week, Maison Margiela presented a sensual body of work accentuated by sheer fabric, prominent silhouettes and layers of texture under a film-noir atmosphere. But among the many eye-catching elements featured in John Galliano’s latest show, the models’ porcelain-like faces have proven to be quite memorable, spurring much discussion and attempts to recreate them.
Conceived by famed makeup artist Dame Pat McGrath, the look drew much curiosity afterwards in the MUA community and beyond. So how was it achieved? In an Instagram Live last Friday, the professional shared her magic behind the glass skin effect. First, a normal layer of foundation, eyeshadow and a dab of lipstick was applied, which was followed by a mixture of various peel-off face masks thinned out with water, that was layered on models’ faces with an airbrush, and then dried in between coats. It was vital that the concoction did not lift nor crease, so gloss was used instead for the eyelids, and essentially the look was transfer-proof. For anyone itching to try the look for themselves, the artist revealed that a product to attain the polished finish is to be released under her namesake brand.
Pat McGrath shared that the designer’s creative direction imagined the models moulded into dolls, beaming under a moonlit landscape with a “no-makeup makeup look that’s ethereal and otherworldly.” However, this is not the first time that the creatives have partnered. In fact, McGrath had brought Galliano’s visions to life with similar looks for his 2007 Autumn/Winter show, which were inspired by the Parisian Pigalle scene of the 1920s. They had worked closely during his tenure at Dior as well, conjuring up glitter pharaohs and divas with sequined smokey eyes.
As the mannequins stalked the runway in corseted, see-through gowns with some even featuring merkins, the erotic yet sophisticated garments were complemented by the models’ delicately romantic countenance. In addition to the theatrical nature of the show, aided by the models’ hip-swinging prowls, its artistry is duly welcomed amidst a recent hyperfixation on commercial awareness and corporate profitability in the industry over creativity and risk-taking.
Galliano’s and McGrath’s collaboration only calls to mind more shows known for their virtuosity as a whole. Thierry Mugler’s AW97 “Les Chimères” collection, for example, transformed models into mythical creatures outside the limits of thread, embodied by “La Chimère” dress which was accompanied by reptilian eyes and an elaborate headdress that blended into Adriana Karembeu’s skin. Sometimes, makeup is about creating a high contrast with the looks heading down the catwalk as seen in Alexander McQueen’s AW09 show, where childishly overdrawn red lips seemed at odds with the craftsmanship and flamboyance of the garbs.
Nevertheless, McGrath’s demonstration of her signature cosmetic prowess once again, has drawn admiration from fellow makeup artists to ordinary people at a rate unprecedented to the artist, signalling that maybe it is time to take our outfits to the next level. While the 2010s have shuffled between Instagram box brows, and cut creases to the newest ‘clean-girl’ aesthetic, beauty trends seem to have been largely ordinary and minimalist. And although one can appreciate that doing a full face of doll makeup is not a realistic routine for the average person, Margiela’s show proves that fashion is more than just clothing, it is a complete commitment to a look.