Stained Lips, Silvery Blue Lids and Flushed Cheeks At Imitation of Christ Spring 2012 Show
Eleven years after staging Imitation of Christ‘s runway debut inside a Lower East Side funeral parlor, designer Tara Subkoff went full circle in her choice of venues and conceptual themes, choreographing her Spring 2012 runway show to resemble a wedding ceremony. Held on September 8th at the W Hotel at Times Square, the Imitation of Christ Spring 2012 runway show involved all the essentials of a traditional matrimonial ceremony — from flower girls (in this case, gals in slouchy, ankle-length, vintage-looking lace and gossamer dresses with floral prints or embroidered lace floral decals took on the role traditionally occupied by cherub-like children) to a Maid of Honor in a bluish gray, below-the-knee, lace dress with a cross-over wrap top, airy flutter sleeves, a banded waist, and soft vertical ruffles along the skirt. And, of course, it culminated in the bride’s walk down the aisle, when model and actress Lydia Hearst donned a cream-colored, semi-sheer confection with short flutter sleeves, a soft V-shaped neckline, and light vertical ruffles along the skirt, which boasted a slightly asymmetrical hemline. An asymmetrical, valance-like, apron-like ruffle in an angelic white cotton was stitched right below the waist, adding a bit of volume to the silhouette, sloping down from the left to the right hand side in an asymmetrical manner.
When describing her vintage-flavored pieces, Subkoff cited such classic beauties and cinematic inspirations as Catherine Deneuve in 1964’s The Umbrellas of Cherbourg, Grace Kelly in 1955’s To Catch A Thief, and Elizabeth Taylor in 1951’s A Place In The Sun. Working with this collage of images of old Hollywood glamour, makeup artist Gina Brooke, Artistic Director of Hourglass Cosmetics, designed a look that felt timeless, with picture-perfect skin being the main focus, eyes accentuated with a wash of metallic color and thick black liner, and lips given a subtle, stain-like finish.
To create the look, Brooke started by prepping skin with the essential oil-packed Hourglass Primer Serum, which is poised to launch in Summer 2012 and is designed to retexturize and hydrate the skin. Next, using the Foundation No. 2 brush, she applied the Illusion Tinted Moisturizer, which hydrates with hyaluronic filling spheres that smooth the skin, filling out any wrinkles and crevices. For models with oily skin, she opted for the mattifying Immaculate Liquid Powder Foundation (launching in Spring 2012) in lieu of the tinted moisturizer. Any dark circles, blemishes or imperfections were then camouflaged with the creamy, vitamin E-packed Hourglass Hidden Corrective Concealer. Once the canvas was ready, Brooke applied the Aura Sheer Cheek Stain in Flush, a true pink, onto the apples of cheeks, blending it with her fingers to yield a natural-looking rosiness. To add contour to the face, she applied the Illume Crème-to-Powder Bronzer Duo in Bronze Light along the cheekbones, highlighting the area.
On the eyes, Brooke applied the Hourglass Visionaire Eye Shadow Duo in Lagoon, a combination of light teal and silvery pale aqua; Dune, which incorporates a pale, beige-like gold and a coppery olive shade; or Prism, which incorporates a steely gray and an asphalt like black — all depending on the color of the corresponding model’s gown. To accentuate the eyes and add that screen siren effect, she traced the upper lash line with the Script Precision Liner. And, for come-hither lashes, she applied the Film Noir Mascara and finished with a top coat of Film Noir Lash Lacquer, which gives lashes a glossy finish.
To balance the dramatic flair of the eyes, Brooke kept the pout looking natural and understated, applying only the Aura Sheer Lip Stain in Flush, a delicious berry pink with a soft, near matter finish.