Charlotte Tilbury (MAC): The look today is based on a mannequin, New Wave, and a nude palette. It’s all kind of nude-upon-nude, with Studio Finish Concealer down the center of the face, contouring under the cheekbones with Sculpting Powder, and beige-ing out the lip with the Studio Finish Concealer. With the lip, sometimes you have to use a darker concealer, depending on the skin tone. Then, we put a bit of a sepia shadow around the eyes, and added some Lipglass on the lids, and underneath the eyes—almost like she’s been crying. Then, we pat Prep & Prime Loose Powder down the center of the face and that’s it. Can you put Lipglass on your eyelids in real life? Well, it’s going to fall inside the eyes...you can do it, but it’s going to be tricky to control all night.
Paul Hanlon: It’s kind of a "fucked up Debbie Harry," or how a girl would interpret that. There’s a bit of a punky vibe, a bit club-kid-y, and a masculinity to it: on the combed side, we've kept the comb marks quite visible, like a guy's hair. There’s also a slight reference to Jerry Hall, but it's a bit more of a Jerry Hall-on-acid type thing. Like a Factory girl, the Warhol lot, but a little bit cooler—not at all 'lady.' I think if you do 'lady hair' with these clothes it's going to look like you’re doing an old Thierry Mugler look, and I love that, but this is not that. This girl is young, like a kid in a club who’s done her hair in the bathroom. It’s bad hair, overprocessed, chemically treated hair, not with a crimp, but a frizz to it. And it's still going to move a little bit, even though it’s got that candy-floss texture.
Photographed by Emily Weiss in Paris on March 5th, 2013.