Backstage at London Fashion Week: makeup artists’ favorite products
Ever wanted to take a look behind the scenes at a London Fashion Week show? Well, you’re in luck, because we’ve been lucky.
The backstage of a Fashion Week show is manic, stressful and intense, and occupied with models, runners, designers, producers, makeup artists and hairdressers running everywhere.
Then through all this chaos, a beautiful spectacle emerges.
We took a look at what was going on before the models paraded on the Osman Yousefzada runway show and got to see makeup artist David Gillers work his magic.
He tells Metro.co.uk that his inspiration for the show’s look was the 2000s, making a comeback, and a shimmer that is “a little trashy, with sexy vibes.”
When designing the looks he returned to the culture of the 2000s and studied movies, red carpet events, Christina Aguilera and Paris Hilton’s silver eyeshadows and then from there he started to put his ideas on stage before the show.
He adds that she is “a modern woman who has no time to mix her eye shadows – it’s a slap and go.”
And her best advice for modern women off the catwalk is to “apply the foundation as well as you can, and everything else will be gorgeous if your base is done.”
“When I do my makeup I usually make sure the skin is nice, so I know that makes sure anything I put on it will look good,” he adds.
When it came to applying the mascara, David moved the wand back and forth horizontally across the lashes, rather than vertically.
He says it was to “bundle the lashes more together – when they stick, they give a little more volume and they also look prickier.”
Famous drag queen Tayce was her role model here, loading up layers of mascara without the need for scythes.
If you’re inspired by a look you see at LFW, David says you shouldn’t stray from it – even if it looks too bold.
‘Take the details of the looks. If you see a look you like, actually take a look at it and see what you like most about it, ”he says, then pull that part out and tone down the rest of your look.
He then quoted Coco Chanel, advising that “before you go out of the house take one thing off”, and that way you know it’s a assertive look rather than an unportable one.
Here are his top picks for flawless makeup – and the products he used on the models for the show:
Pat McGrath Mothership VII: Divine Rose Eyeshadow Palette
Get it for £ 115 at Selfridges.
A luxury purchase, but one that David says he does not regret.
“There’s nothing better than Mothership Palettes if you want a standout look, it’s just because their products have this beautiful texture,” he says.
Additionally, Pat is known for her “special undertones” in these palettes, which are largely unmatched in the beauty scene.
Get it for £ 16.50 at Boots.
The shade David used was in a limited edition and is no longer available, but he loves this formula for a super shiny sheen.
Its texture is a bit thick, but it gives the glass-like finish that its name promises while still providing some hydration.
Flawless Charlotte Tilbury Airbrush Finish
Get it for £ 35 at Cult Beauty.
We weren’t surprised to see this in David’s kit, given how popular this powder is.
But the problem with powder is that it can mattify and take away the shine that other products have given, although powder is a key way to “set” makeup, extending its wear time.
David says to work with this, start by doing your highlighter first and “take it off”.
Then take your powder and “work it in to the climax”, layering it lightly so that the shine is toned down with just a touch on the edges.
This gives the best transition, he says, advising that “you should never be afraid to mix textures.”
Full diamond veil Fenty Diamond Bomb
Get it for £ 31 at Boots.
Who Said Glitter Is Too Much?
This fine, putty-like reflective highlighter can be used on the cheekbones and eyes for an eye-catching look that connects those parts of the face.
David patted it with his fingers for the best finish.
Get it for £ 26 at Cult Beauty.
Sweep it higher on the cheeks than usual for a blush drape effect, which visually enhances the bone structure.
David says that while this technique has been gaining popularity in recent years, it actually dates back to the 1980s.
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