Guido (Redken): They're Goody barrettes! They sent me 6,000 barrettes...we're not using all of them. Sarah [Burton] showed me pictures of the past and pictures of the future, and I wanted it to be a head that wasn't too big...I wanted it to be very modern and hard, but kind of soft at the same time. I was thinking of reflection—plastics and metals—and that movie Tron, the original and the remake. So all those kind of things. I'd done a ponytail covered in barrettes before, but here I flipped it up and did the whole head. So that's how I got here. It's amazing that something so inexpensive—these drugstore things that you get on a card—can be made into something so beautiful. I always say to people about hair accessories: it's not what you spend, it's what you do with them.
Peter Philips (Chanel): It's almost the same makeup as last season. We found this girl and we wanted to keep it...calm, on the face. You've got this strong thing on the head, so we just kept it simple so that all the attention goes to the armor. And the woman in the armor, is a bit more fragile. So we use Chanel Pro Lumiere foundation, which has a lot of pearl in it, and I mixed a special ivory shade. The eye is just a pale champagne eye shadow, which I also dusted over the nose and cheeks as a highlighting powder. It's the base we found for McQueen: the 'pure' woman. And that leaves an opportunity to work up in future seasons—similar to Jil Sander; for years we did natural makeup, no makeup, and if there was an opportunity, we'd do a bright lip or an eye, but we could always fall back on that base.