MyteesUSA - Washington Huskies FUCK GONZAGA Shirt

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Compared to previous collections, the clothes barely featured any frills or embellishments. Instead, embellishments were found in the makeup, with gems, pearls and crystals delicately placed around models’ eyes. “I always love the idea that makeup is worn as a fashion accessory and is just an extension of your personality and identity,” said makeup artist Thomas de Kluyver. “So, this season for Simone I have taken that quite literally. Simone usually has so many embellishments and accessories in her show but this one was more toned down, so we discussed the idea of the makeup actually becoming an accessory itself.” In fact, most of the sequins and rhinestones de Kluyver used on the face and body are the same as ones featured on jewelry and garments within the collection. To keep focus on the sparkles, de Kluyver wanted to keep the skin quite clean and fresh; a touch of moisturizer was used along with foundation and concealer. “What I loved about this look is it is something that feels very futuristic but also vintage at the same time which I think is something Simone always captures so beautifully,” de Kluyver said.

Affiliate Disclaimer: All products featured on Vogue are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission. Things felt a little darker this season at Simone Rocha, in no small part due to the show’s setting: London’s Lincoln’s Inn. In a room otherwise shrouded in darkness, models were bathed in pools of light as they moved around the spherical runway, designed to reflect a lake from an old Irish tale. The collection was also based on The Children of Lir, which tells the story of a young girl and her brothers who are transformed into swans by a wicked stepmother and banished to live on a lake for 900 years before returning home to die as humans.

Brows were either brushed through with brow gel, or made slightly fuller through use of powder and gel, while lips were either left natural, or accentuated with the bold red. “The red lip was created using the Precision Lip Liner in Holy Red, Air Matte Lip in Dragon Girl, and Ravishing Red Lipstick.” For a matte finish, Exhibit A Blush and Douro Single Eyeshadow was dusted on using a blending brush. Hairstylist Larry King looked to the late 1920s and early 1930s for inspiration, particularly at Kallmus and other female artists who occupied the fringes of European culture at the time: Jeanne Mammen, Elfriede Lohse-Wächtler, Anita Berber and Valeska Gert. “The early ’30s were a period of dissolving boundaries and subverting conventions,” said King. “It was a time of exploring notions of gender and sexuality, identity and expression. Everyone is welcome, and all participate.” Visually, this was translated through a high-shine, flat hairline and deep side-parting. “An androgynous look but brought up to date and worn in a very modern and wearable way,” he explained. To create the look, King primed the hair with a mousse, using the Dyson Supersonic and a round brush to smooth and straighten the hair. “We sectioned out a deep right hand parting and applied a combination of a pomade, clay and an oil spray to give a high-shine finish just to the hair that lays on the head but not the lengths.” Keeping the hairline flat and round, tucked tightly behind the ears, he then styled the lengths into a low ponytail at the nape of the neck, running the Dyson Corrale along it to keep it smooth and shiny. “We finished by taming flyaways using the Dyson Supersonic and Flyaway attachment, to really smooth down those stragglers at the crown and around the hairline, something those in this era were obsessed with,” King noted.

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