Eugene Souleiman: These girls look so perfect that they’re another species, basically. For hair, I wanted to do something with a nod to Mars Attacks!, and a kind of nod to Parisian couture—there’s a slight 50’s influence to it. So it’s a bit sci-fi, it’s a bit 50’s, and it’s just beautiful and really well done. We’re not putting any product in the hair besides hairspray—we’re just creating a structure internally. It’s basically a ponytail that’s teased to death, so that it becomes this kind of frizz, and then you roll that frizz into a ball and that gives you the base of the hairdo. It makes things much quicker—I wouldn’t say you should do it at home—but I would say that instead of the set taking an hour and a half, it takes fifteen minutes. But this look is really about preparation—that blow out, and getting the shine. It really is about something being well done and crafted, but still looking like hair and really refined. It’s supernatural. There are these chiffon headscarves on some of the girls that when they walk, just kind of float. You know that scene in Mars Attacks! when Lisa Marie is walking, and you don’t really see her legs moving? She’s just kind of levitating? It kind of feels a little bit like that. There’s a strangeness and an outer-worldliness about it, but it’s not weird.
Lucia Pieroni (Clé de Peau): The inspiration is cinematic—sort of a mish-mash of all cinematic things. It is a little bit Mars Attacks!, it is a little bit Tim Burton. So basically, she’s kind of this perfect beauty who’s just come off a spaceship. They have this incredible, uniform, alien beauty. It’s a bit Stepford Wives in the sense that they’re all the same; they’re these immaculate beauties. A very 50’s eyebrows, a little bit of shading, a tiny bit of eyeliner—used with shadow rather than pencil. She’s shiny in the right places. We’re using the new Clé de Peau brown/taupe eye shadow quad that will come out in spring 2012, and then we’re using an illuminating powder for an all-over glow. That gives them the highlight that makes them look quite wax-y, in a sense. And then we are also using a combination of two lipsticks: one’s called Honey Nut and the other one is kind of a pinky color…they’re both kind of nude, caramel-y colors. I’m using eye shadows on the eyebrow in quite cool, taupe-y grey colors. The arch is quite wide. Marco [Zanini] is really all about this sculpted beauty—playing with light and shade. His women are quite simple but they’re quite made up. It’s not a natural face…it’s a little bit of a modern Belle de Jour in a sense—there’s no lashes and no strong liner, but there is a little bit of the dark shadow in the lashline.