The theme running through the beauty looks this Men's fashion week seemed to be horror – a reflection of the times perhaps?
This season at Art School saw a procession of zombies stumble down the runway. While singer-songwriter Anna Calvi performed ethereal live music (standing in a ritualistic circle of salt, of course), models slowly moved down the runway, limping and stumbling, in milky-white contacts and hair decorated with clay pieces by Shiori Takahashi – the effect was otherworldly with a touch of horror. “The idea was that they were queer deities, archangels, witches,” said designer Eden Loweth. “This season we cast more transpeople than ever before, and we wanted to show each one, give them a voice.” Dominic Skinner's make-up was kept simple and dewy with rosy cheeks, making the missing pupils stand out all the more.
For SS20, Kiko Kostadinov showed an equestrian-inspired collection inspired by The Kentucky Derby with models walking the runway in jockey uniforms and leather riding boots. In terms of beauty, this translated to models in jockey-esque caps with mud splatters on their faces. Others walked with Regency-era curls and wigs courtesy of Kiyoko Odo, with swirled patterns under their eyes thanks to make-up artist Nami Yoshida.
Charles Jeffrey’s LOVERBOY SS20 collection was as joyfully theatrical as always, if a slightly more grown-up version. In terms of beauty, no two looks were alike. Hair by John Vial could be slicked back or whipped up into a sugar cage hurricane, left long and loose or teased into a supersized bouffant. Make-up, meanwhile, was headed up by frequent Jeffrey collaborator Lucy Bridge and took inspiration from Austrian artist Arnulf Rainer whose colourful sketching over top of photographs provided the main reference point for the looks. For some models, the face was covered in abstract, painterly strokes of colour. Others had thread, fluff, straw and what looked to be (but probably were not) sea urchin needles plastered across their face. Hands were often sooty, with one model’s flame-coloured nails coming courtesy of Sylvie Macmillan creating an illusion of fire. One model had his red lipstick applied over-top of the pantyhose placed over his face.
Martine Rose’s “Promising Britain” collection this season was a “critique of contemporary British politics”. Businessmen suits were coupled with a series of clown-ish, oddball wigs by Gary Gill, bringing an element of the ridiculous to the situation and representing the current political chaos. “It’s all confused, like what’s going on right here and internationally, too. Playful, but sinister, I’d say.” Make-up by Marina Belfonrose was kept simple and bare, making the out of place wigs all the more bizarre.
Mowalola’s second Fashion East collection was inspired by "the horrific feeling of love- when your emotions are turned to a hundred." Red was the dominating theme for beauty with models walking the runway with bloodied hands (courtesy of Sylvie Macmillan on nails), blood dripping from their red-contacted eyes and piercings around the mouth thanks to Daniel Sallstrom on make-up. Hair by Virginie P Moreira, meanwhile, was at times slick and sculptural, or wild and untamed.
Paria Farzaneh created an unsettling atmosphere for her show this season. The audience was under surveillance as old schools television sets, piled up on the runway, live streamed the front row. Meanwhile, the models wore identical bobbed wigs and creepy masks with harsh make-up – part childhood doll, part clown –and grins just wide enough to be off. It was the stuff of nightmares.
The theme of the beauty at Liam Hodges this season was distortion. Make-up artist Jenny Coombs warped and deformed the faces of the models with sellotape and string forcing them into permanent misshapen expressions. Hair and wigs by Pablo Kuemin, meanwhile, were extreme: crafted rockabilly styles, punk spikes and muted pastel colours were all on display.
For SS20, Iceberg showed a collection that was a melange of kaleidoscopic colours and British subcultural tribes from the Mods and Rockers to the Punks, with a sprinkle of Sir Peter Blake. For hair, John Vial created abstract stencilled hair designs featuring colourful shapes and netting patterns to match the eye make-up done by Andrew Gallimore which he described as “Sport-goth PVC punks.” Eye looks were bright in hues of pinks and greens and spread across the face, down to the nose and up towards the temple.