The Fall Lipstick Trend We’ll Definitely Be Trying, Thanks To Chanel Haute Couture
We always look forward to Chanel's shows, whether we're catching an in-person glimpse at the Grand Palais in Paris or gazing at a virtual presentation from a streaky laptop screen in, say, Flatbush, Brooklyn. And even though fashion week will undoubtedly look a bit different throughout these next seasons to come, Chanel Fall-Winter 2020/21 Haute Couture on Jul. 7 still delivered the same je nais se quoi as actually being in the City of Light.
“I really had Karl’s world in mind…” Virginie Viard, Creative Director of Chanel, says in her show notes. And in a one-minute-and-22-second short film, she does just that, treating viewers and brand devotees to the patterned, tweed, bedazzled looks that Chanel is known for. But the beauty look, led by Lucia Pica, was decidedly modern and refreshingly bold.
“Romantic punk with a sophisticated twist," Pica, Chanel's Global Creative Makeup Artist, describes in a statement to TZR. "A playfulness paired with a chic sense of assurance. We maintained a punk attitude to the makeup going from a bold eyeliner to a deep dark sophisticated lip, through a defined yet subtle use of pink."
Using Le Crayon Lèvres in 194 Rogue Noir and Rouge Coco in 494 Attraction (not yet available, as it's part of the Fall-Winter 2020 collection), Pica created "very strong and deep, defined browny red lips" which were universally flattering on models like Adut Akech and Rianne Van Rompaey. Le Liner de Chanel in 512 Noir Profound was used to draw a thin, elongated line across the top of the eye. As for skin, Pica wanted a very transparent and luminous finish with accents of balmy highlight on the top of the lid and high on the cheekbones to give yet another twist to the same inspiration, she says. She prepped with Les Beiges Water-Fresh Tint (which feels like a tinted serum), and added shine with Eclat Lumiere and the TZR Beauty Award-winning Baume Essentiel in Rosèe — a glow strong enough to resonate through digital distance.
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