All the “Cool Girl” Hair and Makeup Looks From the CFDA Fashion Fund Show
time2017/10/26
All the “Cool Girl” Hair and Makeup Looks From the CFDA/Vogue Fashion Fund Show
Backstage at the 2017 CFDA/Vogue Fashion Fund, traditionally held at the Chateau Marmont Hotel in Hollywood, where up-and-coming designers compete in front of a panel of judges for $400,000 and a mentorship from CFDA members and Vogue editors, the beauty looks were a mix of avant-garde meets the new guard meets the very very old guard, from '50s bouffants to '30s brows to romantically long, floral-filled lengths plucked straight from the 18th Century. Tasked with creating and executing the wide range of hair and makeup looks were artists Alice Lane for Milk Makeup and Gregory Russell for Ouai, both of whom cited the star-studded city as another major player in many of the night's collections.
For Los Angeles-based fashion label RtA’s club rats, the duo paired a thick, graphic-and-wet black eye with "cool girl hair" that has become Ouai founder Jen Atkin’s trademark. Known for its greasy root, courtesy of the line's Rose Hair & Body Oil and Matte Pomade, and dry, grungy ends, the coveted style can be easily fudged with just a touch of Wave Spray. Another Hollywood turn was seen in Ahlem’s classic fifties collection, which featured Audrey Hepburn-esque hair that was brushed up into towering beehives, a look so major, only black sunglasses and an orange lip would do. Even more outre were Chromat’s avant-garde scuba girls, who sported rubber swim caps with a beauty look that Lane likened to being "definitely done." Of the lips, that began in a matte lipstick and were finished with a gloss, she says: “I don’t know if this was inspired by L.A. and the plumped-up filler look, but this is a very plastick-y vinyl feel that's drippy and kind of gross but she looks cool.”
Other bold looks included the Telfar models' Chaplin-esque brow (inspired by the filmmaker's movie City Lights) using Eye Vinyl in Tunnel, which Lane created in one upward swoop of a brush, as well as Mateo’s painters, reimagined down the runway as living works of art. “The models are walking and holding frames up to their faces and looking though them like a painting," says Russell, "so we literally painted on a swash of white body paint across the face and hair."
For designer Sandy Liang’s collection, Lane and Russell wanted the models to look like forest beasts. “As if they'd been running across the moors and were ruddy-cheeked, with glossy and sweaty faces,” Lane says. “In this heat, we probably got some extra help from nature.” Hair was sprayed with Memory Mist before it was crimped and brushed out for that wild, feathery texture. The fine detailing was also found in the models' "contoured nails," which were adorned only with a black-and-pastel trimming by nail artist Holly Falcone for Orly.
The one classically beautiful look belonged to the jewelry designer and sculptor, Jordan Askill. According to Lane, his delicate, sculptural pieces called for “a Renaissance nymph," inspired by "the paintings of François Boucher." For the high moisture effect, gloss was used under the eye for an almost sorrowful appearance. "Like she's been weeping," says Lane. Hair was also definitively romantic, the loose curls made softer with the incorporation of floral embellishments "almost like a fairy crown,” says Russell. After placing the flowers, the stylist finished it off with Ouai's Texturizing Hair Spray, to keep a light and fluffy texture throughout. All in all, the night felt fresh, and fun--and very fashion.