According to Style.com these are the new trends for Winter 2011. What do you think?
Is it the new sense of androgyny we saw on the catwalks this season from Dolce and Gabbana 80′s ska look to the likes of the new he/she look ofmodel sensation Andrej Pejic to the post modern femininity at Balenciaga and Ackermann, the buzz word this season is Handsome beauty. Gone is the flash, glam and bling bling. Forget about painting sunset scenes on your nails either everything is more natural and paired down. Remember it is about personal style so maybe you will feel comfortable adopting just a few of these new trends whatever you choose stay true to your inner nature and you’ll be right.
Onre thing is for sure everything goes and that can only be good news.
Fall’s masculine/feminine trend necessitated a borrowed-from-the-boys primping mantra. “Handsome beauty” is how Wella global creative director Eugene Souleiman dubbed the look, and he accessorized sculpted cheeks, bare skin, and greasy brown lids with sleek hairstyles at both Narciso Rodriguez and Rochas. Quiffs, meanwhile, were seen at Louise Gray, Preen, and, most notably, Dolce & Gabbana, left, where Guido Palau pinned up a classic French twist, leaving small “bits” out on both sides, which he coated with styling wax to create—wait for it—makeshift sideburns
A Bolder Brow
Whether it was the menswear influence or a backlash against three seasons of the peroxide bottle, full brows dominated—a relief, no doubt, for models who’ve tired of skin-irritating lightening creams. While there were a few standout bleach performances—we’re thinking of Thakoon and Rick Owens, specifically—it was the heavily filled-in arches at Alexander Wang, Jill Stuart, Kenzo, and Prada that left a lasting impact. If you want to go bold, take pointers from Stéphane Marais’ individually drawn brow hairs at Jean Paul Gaultier, left.
Spring’s avant-garde nail art and bright lacquers persisted at the beginning of the season with “nail rings” at Vena Cava and graphic designs at both Prabal Gurung and Topshop Unique, but before long, we detected a shift toward a less-is-more mentality. It started at Marc Jacobs, as most things do, and continued at Giambattista Valli before culminating at Yves Saint Laurent, left, with a cameo from the house’s La Laque No. 14, Transparent Pink.
Charlotte Tilbury went Pepto pink at Donna Karan and broke out a tangerine tube at Hakaan, while Lucia Pieroni pioneered a lust-worthy bordeaux at Missoni. But true red was the lip color of choice for makeup artists, turning up at shows from Diane von Furstenberg to Ralph Lauren to Emanuel Ungaro. At Giles, left, Pieroni channeled strict Victorian governesses with a precise application of MAC Lipstick in Ruby Woo. If you still haven’t invested in a statement-making scarlet bullet, this one is a good bet.
Rouge Gone Rogue
It wasn’t just a proclivity for rosy and peachy pigments but a diverse array of placement techniques that made blush such a standout product this season. Creamy color was blended high across cheekbones at Versace and powdery pigment was dusted low at Marc Jacobs and Ralph Lauren, while Pat McGrath used rouge on cheeks, lids, and lips for an “innocent glamour” at Prada. Gucci Westman’s adaptation at Oscar de la Renta, left, takes the prize, though, incorporating as it did a blend of Revlon ColorBurst Lipsticks for a cheek that you could “really feel.”
The Big Tease
Forget Spring’s frizzed-out disco manes. Fall’s sixties bouffants meant backstage stylists on both sides of the Atlantic burned through many a bottle of hair spray. Avedon muse and sixties stunner China Machado inspired Odile Gilbert’s super-high back-combed twists at Suno; Eugene Souleiman was going for “Upper East Side girls who just don’t care” at Peter Som; and Sam McKnight added colored streaks to his ratted-out hair rolls at Fendi. But leave it to Guido Palau to bring on the glamour—Hitchcock heroine-style—at Bottega Veneta, left.
Say hello to spider lashes, ladies. Whether it was Pat McGrath’s trusty tube of CoverGirl NatureLuxe Mousse Mascara at Gucci, Versace, Valentino, and Lanvin, left, or Charlotte Tilbury’s magic wand of MAC Fibre Rich Lash at Chloé, both top and bottom lashes were treated to multiple slicks of black pigment for a thick and—a new addition to our ever growing beauty lexicon—”cloggy” effect.
Twiggy and co. didn’t rely on mascara alone for their amped-up eyes. Eyeliner also factored into the sixties agenda, as it did on the Fall runways, getting a slew of artful updates. At Marc Jacobs, François Nars etched a “droopy” black stroke, like “a grandmother who’s a bit eccentric that puts on her eyeliner wrong.” Peter Philips added shimmering aqua to the color palette at Jil Sander. And after going retro at D&G, left, coating the inner rims with white pigment and adding a thick black line to top lids with a kick at the end, Pat McGrath got graphic at Louis Vuitton.
How best to highlight Fall’s rich color palette? Makeup artists agree: with metallics. We saw shades of gold on eyes at Dries Van Noten and Roberto Cavalli and copper on lips and nails at Peter Som and Rodarte, respectively. But silver was the clear winner. Tom Pecheux dabbed it on the inner corners of lash lines at Altuzarra, making models look as though they were “crying chrome tears,” and swiped it across lids at Derek Lam, left.
If ponytails conjure visions of the girl next door, you weren’t paying attention this season. Guido Palau couldn’t get enough of the look, sculpting severe dominatrix-worthy ponies at Marc Jacobs and Louis Vuitton and looser, bedhead-y versions at Alexander Wang and Balmain—both styles spelled sex. Luigi Murenu accented his take on the trend at Gucci, left, with a feather. It doesn’t get more glam than that.
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