From clowns at Dior to flower fairies at Valentino, we round-up the best beauty looks this couture season
For Givenchy’s SS19 Couture Show, Clare Waight Keller presented a modern collection full of bold colours, structured dresses and sleek latex. Shown in Paris’s Musée d’Art Moderne, the beauty was kept natural and clean. Hair by Guido Palau was parted down the middle and pulled back, while Pat McGrath created a beautifully bare-faced look on the likes of Kaia Gerber and Adut Akech. Standing out from the unembellished crowd, however, was Cara Taylor's glittering disco ball face, looking luminous and iridescent.
For Chanel’s couture collection this season, Karl Lagerfeld looked for inspiration in the 18th century and presented a show that was full of sumptuous fabrics in jewel-toned colours. For the hair, Sam McKnight took Lagerfeld’s 18th-century romance and infused it with a Bowie-Blitz Kids' influence. “I was reading Dylan Jones’s brilliant David Bowie biography,” McKnight wrote on Instagram, “I was immersed in the period where he hung out with the Blitz Kids, so by osmosis the hair today became inspired by those early eighties style icons.” The models’ faces, meanwhile, were painted with classic red for the lips and a bold dark teal eye, courtesy of Chanel’s global make-up artist, Lucia Pica.
This season Dior took us to the circus with a show inspired by Christian Dior’s love for the fair. Staged in a circus tent with performances from actual acrobats, the collection drew from familiar clownish tropes with make-up to match. The eyes were the focus, with harlequin-esque make-up inspired by Pierrot and created by Peter Philips, creative and image director of Dior make-up, while hair was covered in Stephen Jones-designed sequined caps, completing the circus look.
Galliano’s couture collection for Maison Margiela this season was an intense sensory overload of psychedelic colours and patterns, in both clothing and setting, which, Galliano explained, represented the overwhelming oversaturation and overstimulation of our digital era. This visual chaos was paired with hair that was just as bonkers, with Eugene Souleiman in charge of the colourful grunge wigs, space buns and headpieces. Pat McGrath, meanwhile, created make-up looks that were generally more subdued. White paint was used across the eyes like a superhero mask, or all over the face on some models, while others rocked dark berry lips.
With a rare appearance from Naomi Campbell on the catwalk and Céline Dion moved to tears, Valentino’s couture show was eventful. A collection full of rich colour and romantic femininity was accompanied by enchanting beauty looks as models walked the runway with eyes framed by petals courtesy of, who else, Pat McGrath. The effect was magic, transforming the models into flower fairies.
Outside the streets of Paris were a snowy winter landscape, inside Balmain’s new flagship store was similarly snowy as models painted head to toe in white walked the runway for Olivier Rousteing’s collection – the first couture the fashion house has shown in 16 years. The category, created by Val Garland and Sam McKnight, was dreamy statues: white painted faces topped off with frosty white eyeliner and glistening glittering lips, alongside hair that was scraped back and painted white.