From brushed-up brows and simple centre partings to fresh skin and subtly glossy lips, pared down simplicity is usually the go-to at London Fashion Week. But last season, the city was turned on its head with glitter splashed eyeliner glimmering from the catwalk at Halpern, slapdash pastel eyeshadow at Erdem and 'troll' inspired hair embellished with rhinestone pins at Ashley Williams.
It looks like AW19 is shaping up to be bigger and better, however. Thanks to makeup artists such as Miranda Joyce and hairstylists like Syd Hayes (both industry legends) currently setting up backstage, we've seen everything from pompadour quiffs and foliage hair accessories to neon lips and claw-like nails – and that's just the tip of the iceberg.
Click through to find all the major beauty looks from London Fashion Week AW19.
Fashion East
Dripping with pearls, the mastermind behind these nails was manicurist Lauren Michelle Pires, and although they probably aren't very practical, they sure are incredibly pretty.
Terry Barber for MAC Cosmetics took charge of makeup, which was fresh, matte and youthful, while expertly tousled corkscrew curls cascaded from the models' headwear.
Photo by Nicky Sims/BFC/Getty Images
Erdem
For NARS Cosmetics, industry legend Val Garland created a look that screamed "royal meets The Vatican," - a futuristic, velvety, graphic black winged eye, inspired by Felini and Hitchcock.
The matte skin was achieved with NARSskin Luminous Moisture Cream, Radiance Primer SPF 35, Radiant Creamy Concealer and Soft Velvet Loose Powder, but the eyes stole the show. Val layered Minorque Kohliner, over Via Veneto Larger Than Life Long-wear Eyeliner and Pandora Duo Eyeshadow to craft the 60s-inspired wing, which spanned the whole of the eyelid and flicked out at the outer corner.
On hair, Anthony Turner for L’Oréal Professionnel crafted hair up which was a "nod to the 60s and 60s, but not too retro." He used the Tecni Art Full Volume Mousse (lots of it, according to Anthony) and the Tecni Art Pli Shaper, and let loose with the Dyson Supersonic, blowdrying and backcombing the hair upwards so that it was reminiscent of Trollz. Other models had their lengths twisted into top knots, while cone-style hair, similar to Halpern SS19, also reigned supreme.
Photo: Victor Virgile/Gamma-Rapho via Getty Images
House of Holland
Eyes were teal, smoky and matched the manicures at House of Holland, thanks to Zoe Taylor for MAC Cosmetics, who blended eyeshadow right up to the brows and down to the lower lash line. Skin was simple save for a smidge of foundation.
Hairstylist Syd Hayes used BaByliss’ brand new two-in-one tool, a tong meets straightener, to create s-waves. He fed the hair through at different angles and clamped down for all of a second as he moved down each section of hair. "I’m keeping it quite undone and quite messy," he said.
Photo by Michael Bowles/REX/Shutterstock.
Ashish
And the award for the biggest, baddest beauty look goes to Ashish. Straight from Vivienne Westwood, Isamaya Ffrench for MAC Cosmetics created this '70s disco-inspired, glitter-drenched makeup look by packing lids and lips with MAC Pigment. Makeup artists brushed away any stray flecks of glitter with a concealer brush, but precision didn't matter here.
When it came to the showstopping hair, Sam McKnight volumised each wig using Easy Updo Texture Spray and Modern Hairspray. That's a lot of product and even more backcombing.
Regina Pyo
"The Regina woman works in the creative industry, is super-chic and loves makeup," said Niamh Quinn for Lord & Berry. "We took inspiration from Warhol and also Madonna in the 80s. Her eyeshadow was always a bit off but it worked. We used the stardust in Aqua Blue and Gold Green and combined this with Dynamic Red, which is a a deep scarlet lipstick. Over the top, we dusted a layer of Natural Taupe from the Strip Kit, which is actually for brows. and layered more lipstick over the top to get that velvety finish."
Tina Outen took control of hair, which was styled into braids and also brushed out waves. "This girl is rich, she's immaculate, super-groomed and has all the time in the world to get ready before she leaves the house," said Tina. "We modernised the 40s by adding texture with the Tecni Art Constructor, curled with tongs and brushed the hair out into waves. I finished with a little of the Tecni Art Pure Ring Light Top Coat Brilliance on the ends for definition."
Photo: Lord & Berry
Halpern
It was all about the eyes at Halpern, who tapped makeup artist Isamaya Ffrench for MAC Cosmetics. Ffrench used a cotton bud to layer teeny tiny squares of gold leaf on to lids after painting them with MAC Acrylic Paint in different colours, from duck egg blue to sunset orange. She finished with a swipe of MAC Cosmetics Extended Play Gigablack Lash Mascara, while some models wore sweeping false lashes.
Photo by WWD/REX/Shutterstock.
Molly Goddard
When hair wasn’t worn down, Luke Hersheson for L’Oréal Professionnel tied hair into a sleek ponytail, which was twisted back on itself, fastened and accessorised with a black jersey. Hersheson tied the remaining material around the length of the twisted ponytail and gelled hair down at the crown for a wet look, using L’Oréal Professionnel Pli, L’Oréal Professionnel Mythic Oil and L’Oréal Professionnel Infinium Pure. "The quiff at the front adds a boyish, yet chic detail," he said.
Makeup artist Hiromi Ueda for MAC Cosmetics made lived-in eyeliner cool. Lids were scribbled with black kohl which was applied to the waterline and lower lash line, and then smudged out. Cheeks were packed with pink blush and lips kept bare. "She’s slept in a field all night, so she is windswept and frost-bitten," said Ueda when revealing the inspiration behind the look.
Photo: L’Oréal Professionnel
Bora Aksu
At Bora Aksu, Tina Outen was on hair using L’Oréal Professionnel’s Tecni Art Fix Anti-Frizz Spray and a pair of tongs to provide body, texture and movement that looked lived in.
Makeup artist Janeen Witherspoon encircled eyes with metallic silver eyeliner, extending it into double wings at the outer corner for an angelic feel. Lips were patted with a little gloss to bring out the models' natural lip colour and skin was kept fresh.
Photo: Ki Price/WireImage
Ashley Williams
At Ashley Williams, hair was refreshingly varied. BLEACH London 's Alex Brownsell and team were on hand to craft hair up with cutesy bows, while models with natural, curly hair were given the Swamp Spritz treatment and a good diffuse for definition and volume. Once again, Williams' rhinestone hairpins stole the show. The new collection pins (which spell out the words 'Books', 'Nervous' and 'Void') are just a handful of fresh accessories to the collection, alongside heavily embellished hearts and butterflies.
Photo: Tabatha Fireman/BFC/Getty Images
JW Anderson
Anthony Turner used tubes and tubes of L'Oreal Professionel Tecni Art A-Head Gel and a fine tooth comb to create the LEGO hair at JW Anderson. "It's conceptual, like a plastic LEGO head, a helmet," he told R29. "We didn't want to create finger waves. We aren't doing the 20s look. Instead, it's meant to look like a drawing. It's very illustrative." After fringes were sculpted, the remainder of the hair was pulled back into a tight knot at the nape of the neck.
The makeup was barely there, thanks to Lynsey Alexander for KIKO. "Because of the hair statement, we pared the makeup back and made it iridescent and radiant," she said. "The key product is the KIKO Smart Radiance Cream 3-in-1, which we used as a translucent strobe for an otherwordly glow. We wanted the brows to be boyish and applied a bit of brown mascara to lashes give a deeper, darker lash that looks natural." Lyndsey also applied a touch of Sculpting Touch Creamy Stick Contour to the hollows of the cheeks for a slight shadow. "It's all about layers of makeup that still look like skin," said Lyndsey. "All we wanted to do was bring out the features."
Photo: Victor VIRGILE/Gamma-Rapho via Getty Images
Gayeon Lee
Hair at Gayeon Lee's London Fashion Week presentation was the definition of accidental chic. Hairstylist Michaela Pezza for Aveda wrapped pieces of printed silk around ponytails to accessorise, before twisting lengths into a ballerina bun meets effortless knot. A few strategically placed hair grips and a blanket of Aveda's Control Force Hairspray kept the look in place. Models with shorter hair wore it down with silk headbands to adorn, while others were given simple ponytails.
Photo: Ian Gavan/BFC/Getty Images for BFC
Matty Bovan
Jet black, jaw-grazing bobbed wigs complete with cool micro fringes ruled at Matty Bovan, thanks to hairstylist Syd Hayes.
The juicy, two-tone red lips were created by renowned Fashion Week makeup artist Miranda Joyce, using MAC Cosmetics Lip Pencil in Nightmoth, a splash of neon coral pigment in the middle and lashings of Lipglass – a trend which looked almost as though models had forgotten to top up their lipstick post-lunch.
Photo: REX/Shutterstock
Ryan Lo
Ryan Lo brought back the pompadour, or Elvis quiff, for his AW19 show, as well as classic finger waves, but the makeup took its cue from another era. Pablo Rodriguez, director of artistry for Illamasqua, dressed lips in '80s-inspired hot pink using the shade Eurydice and washed eyes in gunmetal grey eyeshadow.
Photo: Gareth Cattermole/BFC/Getty Images
ASAI
Monochrome beauty reigned supreme at ASAI, with models wearing thinly drawn, negative space-inspired winged eyeliner by makeup artist Thomas de Kluyver. Courtesy of Sylvie Macmillan, nail art was taken to the extreme with chalky, white paint-dipped fingers and gold leaf.
Photo: Gareth Cattermole/BFC/Getty Images
Mark Fast
Hair at Mark Fast took inspiration from the '50s. Gravity-defying pin curls were piled on top of models’ heads, and if already chin length, hair was blowdried and tucked underneath at the nape of the neck. Models with longer lengths had theirs expertly pinned to create the illusion of a bob.
"I always love to hear Mark's inspiration behind the look as it helps us create the perfect collaboration," said hairstylist Maria Kovacs using TIGI. "This season he referenced gorgeous '50s pin-up women, so I wanted to create a '50s glamorous look with a modern twist. I loved creating this set look. It's something we haven't seen on the runway for a number of seasons. The '50s was a time when people needed hairdressers!"
Maria prepped hair with TIGI Copyright Volume Lift Styling Spray Hairspray, and blowdried it away from the face, then used a hot stick to curl the front section of hair, pinning it up to set. She veiled on TIGI's Volume Finishing Spray to keep the style intact and unpinned a few sections to create texture.
Bubblegum pink lips, lids and cheeks complemented the pretty pastel shades in the collection.
Photo: Gareth Cattermole/BFC/Getty Images
Vivienne Westwood
Vivienne Westwood used the catwalk to raise all kinds of issues, such as capitalism, Brexit and sustainability, virtually turning her venue into a protest. This was reflected in the makeup. Isamaya Ffrench for MAC Cosmetics covered models' faces in red and green plastic, which made a strong statement about plastic pollution. Ffrench also turned her hand to prosthetics, giving one model a Pinocchio nose, while others had their faces strategically dusted with gold pigment for a spray-paint effect.
Hair was blown out to the extreme by stylist Gary Gill using Dyson and L’Oréal Professionnel.
Jamie Wei Huang
Frizz is in, according to hairstylist Chiao Shen at Jamie Wei Huang, who backcombed hair from the fringe right down to the ends. When it came to makeup, MUA Kamila Forini made a case for wind-slapped cheeks with lashings of pink blush applied on cheekbones and blended down to the jaw, offset with a smattering of faux freckles, which, it seems, are going absolutely nowhere.
Photo: Tristan Fewings/BFC/Getty Images
Marta Jakubowski
Twisted ponytails and sleek bobs was the hair story at Marta Jakubowski. On makeup, Illamasqua’s director of artistry Pablo Rodriguez ditched wings and smudged kohl for a single ring of eyeliner around the entire eye and offset the look with a blood red lip. The classic nude and white French manicure was also given an edge with asymmetric, almost claw-like tips.
Photo: Ki Price/WireImage/Getty Images
Renata Brenha
Forget rhinestone hair slides and silk scarves. Hair at Renata Brenha was embellished with foliage, by hairstylist Sky Cripps-Jackson using evo. We're talking moss hats and extensions fashioned from succulents.
Models sans vegetation in their hair had their faces painted by Verity Cumming, who prepped skin with Weleda Skin Food and lips with Weleda Lip Balm for a fresh, dewy plumpness before letting loose with white eyeliner. She drew graphic lines from the outer corners of the eyes and extended them across the bridge of the nose.
Photo: Joe Maher/BFC/Getty Images
Eudon Choi
Hair at Eudon Choi took inspiration from the '70s with shaggy full fringes and brushed-out curls, courtesy of Davines. Micro-fringes similar to those spotted at Matty Bovan also made an appearance and makeup was minimal as models were sent down the catwalk wearing oversized, ski goggle-esque sunglasses.
Photo by Gareth Cattermole/BFC/Getty Images
Alexachung
Lisa Eldridge took charge of the makeup at Alexachung’s second ever catwalk show, smudging lids with taupe eyeshadow that was extended into a blocky wing at the outer corner. Lips were blanketed with gloss and skin was fresh and dewy.
Hair was effortlessly pulled back and stylist Alex Brownsell used a unique tool to create a halo of natural-looking frizz – a balloon, which she rubbed on the hairline to produce static before styling and setting it with hairspray. The inspiration behind the look? "The hair has a carefree, Alexa vibe," said Brownsell, who employed L’Oréal Professionnel Tecni.Art Pli, L’Oréal Professionnel Tecni.Art Liss Control and L’Oréal Professionnel Infinium Soft Hold Hairspray. "It’s a girl who’s grown up in a cult and broken out to navigate her own style. We’re adding a bit of post-apocalyptic static energy."
Photo: L’Oréal Professionnel
Markus Lupfer
“Here we need to see some neck," said hairstylist Tina Outen. "The collection is about huge trapper hats and oversized scarves so hair is easy and effortless to offset the accessories." Tina sprayed L’Oréal Professionnel Tecni.Art Volume Lift generously onto damp hair and then L’Oréal Professionnel Tecni.Art Liss Control Plus to the ends which she then blow-dried smooth. She broke the style down with her hands and a little L’Oréal Professionnel Tecni.Art Depolish on the mid-lengths and ends so that the ponytail had some matte texture. Finally, she secured hair with a tie and wrapped a piece of hair around the base of the ponytail.
Photo: L’Oréal Professionnel
TOGA
We knew it wouldn’t be long before we spotted sweaty hair. Fringes and wispy bits were stuck to models’ foreheads for a vibe inspired by hat hair. To complement, Sada Ito, NARS Global Artistry Director, opted for "super-clean, radiant skin" by tapping on the Pure Radiant Tinted Moisturiser and glossing lids and lips.
Photo by Stuart Wilson/BFC/Getty Images
Mary Katrantzou
At Mary Katrantzou, colourist and Redken Global Colour Creative Director, Josh Wood, dreamt up two new colour combinations using Redken City Beats. Hair extensions were hand painted with sunset hues and distributed through the hair at random. "Mary has sectioned her collection into four worlds – each representing an aspect of the four elements; earth, wind fire and water," said Wood. "We created two patterned hair techniques, 'colour clouds' and 'horizon colour', to work alongside and enhance her creative vision. It’s very undone, rough and raw. There is a natural, worn-in finish that’s almost anti-groomed and a little bit unkempt. Hair is swept across the face. There’s a lot of natural power in this show."
The smudged mascara under the lower lash line complemented the look, and for CND Word, nail expert Marian Newman created hundreds of stiletto nails inspired by earth and fire.
Photo: Redken
Victoria Beckham
It was all about the skin at Victoria Beckham, who enlisted Meghan Markle's facialist, Nichola Joss, to give all models a speedy facial massage using Augustinus Bader The Cream, a moisturiser VB herself really loves. "This season I wanted to create radiant and glowing skin," Victoria said. "It was important to me that the girls looked natural and fresh." Nichola added, “This is the first show of the day so we wanted to awaken the skin. We wanted to make skin feel and look fresh, so that the application of makeup was seamless."
Makeup was kept to a minimum, with a dot of concealer where needed and a dusting of pink blush to finish.
Photo: Victoria Beckham
Peter Pilotto
The inspiration behind the makeup at Peter Pilotto was simply the clothes, according to makeup artist Inge Grognard, using Code 8. She started off with the Radiate Beauty Balm, a tinted moisturiser for luminous skin, and moved on to the Palette Between Two Women, to accentuate high points like cheekbones and the brow bone.
Depending on the model's skin tone, selected shades from the Iconoclast Burnt Sienna and Jaipur Marbles eyeshadow palettes were buffed into the crease before tiny strips of material were adhered to lids for a pastel-coloured, false-lash effect. To finish, lips were patted with Am/Pm At The Barre, a subtle tinted lip balm.
Photo: Code 8
Richard Malone
There were four looks at Richard Malone, but Pablo Rodriguez for Illamsqua had one clear favourite: overloaded mascara. "I applied mascara using a spatula," he told R29. "Once I applied one coat, I went in with heaps more on both the top and the bottom lashes. If it transferred, I just left it." When it came to skin, Pablo applied Illamasqua's Matte Veil as a skin base, but only if the models needed a little touching up. He left the skin bare otherwise. "I wanted this look to be about mascara to an extreme. Always add more."
The second look consisted of a mauve lip using Illamasqua Glamore Nude Lipstick in Buff. "This is a neutral, muted colour, but I wanted it to look like a stain all around the lips," added Pablo. For his third look, Pablo dotted Illamasqua Eyeshadow in Obsidian, an intense onyx shade, in the corner of the eye and in the centre of the waterline, which looked as though it was an extension of the pupil.
The final look was no makeup at all. "Skin with a nothing vibe," he concluded.
Photo: Victor Virgile/Gamma-Rapho/Getty Images
Christopher Kane
Makeup artist Lucia Pieroni wanted the models at Christopher Kane to look like their "best, possible, natural self." She applied very little makeup, leaving skin "clean and pure" and offset the look with a clear, glossy eye and matching lip, using NARS Luminous Moisture Cream, First Time Multi-Use Gloss and Oural Brow Gel.
On hair, Guido Palau used three products: Redken All Soft Mega Shampoo, No Blow Dry Just Right Cream, and Outshine. He applied the cream through damp hair and let it air dry. "Once I had the hair's natural texture, I blow-dried the hairline and roots flat to get rid of frizz and sealed with the serum, which gives hair great shine. The look is strangely sophisticated and minimal but has personality. I think of it like a cashmere jumper. It's expensive but understated. It has this downplayed quality, but is the ultimate luxury."
Photo: Victor VIRGILE/Gamma-Rapho via Getty Images
Emilia Wickstead
"We wanted this look to be about cool, fresh faces with highlighted creamy cheeks," Suqqu makeup artist Lucy Bridge told R29. Lucy enlisted the Suqqu Nude Wear Liquid and finished with a slick of Matte Lip Crayon in 105. She also applied navy mascara (to the bottom lashes only) to intensify the black mascara layered on top.
The hair was something else, thanks to Oribe and Dyson. Lengths were blowdried upwards into a tight ponytail, then hairstylists attached a piece of gauze to the base for padding before tying a piece of hair around it for a seamless finish. The vibe was Italian chic, inspired by The Godfather.
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