The Best Hair & Makeup Looks From London Fashion Week SS19

Some might say that predicting the beauty looks at London Fashion Week is easy. But while pared-back minimalism has reigned supreme for the past couple of seasons, SS19 is shaping up to be a melting pot of vibrant colours, textures, finishes and vibes.
Thanks to makeup artists and hairstylists like Val Garland, Sam McKnight, Syd Hayes and Pablo Rodriguez for shows including House of Holland, Ryan Lo and Halpern, perfect skin and cool girl waves have made way for '90s rave party lips, Tim Burton-inspired eye makeup, mohawks and Renaissance-esque up-dos.
Simplicity is still there, of course, but experimentation is back in a big way, with makeup artists ditching nude shades for neons, creating prosthetics and employing all manner of tools and accessories – from glitter-splashed bows to bold wigs – to serve up some seriously Instagram-worthy trends.
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Click through to find the best beauty looks from London Fashion Week SS19.
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Val Garland for Erdem using NARS
Erdem

At Erdem, makeup artist Val Garland kicked the cut crease to the kerb. Instead, eyeshadow was slapdash not perfect. The blue eye was created using NARS' Eyeshadow in Baby Jane, £16, yellow using Douro, £16, pink consisted of Gaiety Blush, £24, green using the Moskova Eyeshadow Quad, £39.60, and white using the Pandora Duo Eyeshadow, £25. Val simply plunged a cotton ball into the pigment and patted it onto closed eyes like a powder puff, so that it blanketed the entirety of the lid and lashes and dusted the lower lash line.

"The look echoes the collection’s theme of gender neutrality – it can be worn on both women or men," she said. "There is also a notion of eccentricity to it. It's painterly and the colour is more intense, rather like velvet. We pencilled the eyes first to give them a waxy base to take the colour."

Talking about her eyeshadow technique, Val told R29: "It's actually a gimmick I thought up on the spot! This way, you get a maximum amount of colour onto the wool and can then easily transfer it onto the eye. Little drops of colour are meant to fall below the eyes and to be dispersed throughout the lashes, too."
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Getty/Victor VIRGILE
Richard Quinn

"This season's hair for the Richard Quinn show consisted of two decedent and regal inspired looks," said hairstylist James Pecis, using vegan haircare brand, Mr. Smith. "One is a sleek up-do with a detailed bun and the other, a voluminous down do with a textured finish - both of which had a touch of Richard's twisted signature." To recreate the bun, rake Mr. Smith's The Foundation, £26, through wet hair to give it hold and then blow dry straight. Then, twist the lengths into a ponytail without pulling it right through, creating a loop, wrap the remainder of your lengths around the base and pin to the underside with hair grips. To finish, Pecis and his team of pros veiled Mr. Smith's Hairspray, £28, all over to provide a mirror-like shine and serious structure.
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Photo: Jacqueline Kilikita
Ashish

Isamaya Ffrench headed up makeup, and although she usually goes pretty full-on for Ashish, she mentioned that this style is a shift away from that. "It's a little more undone this year," she told R29. "We went down a sweaty clubber route as if the girls did the makeup themselves. It's basically plastered to their faces at 6am post-club vibes." Using her fingertips, she smudged MAC's Chromacake, £22.50, into the corners of the eyes and a third of the way over the eyelid and finished with a touch of Lipglass Clear, £15.50. Skin mirrored the sweaty hair. Ffrench mixed Strobe Cream, £25, with moisturiser and a tiny bit of concealer and foundation where needed, which lent skin the effect of perspiration.

On hair, Sam McKnight sprayed the lengths with water until they were damp but not soaking and raked L'Oréal Professionnel's Tecni ART Full Volume Extra Mousse, £12.50, through from root to tip, before slathering on L'Oréal Professionnel's Tecni ART Glue, £15, to achieve the drenched finish.
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Photo: Courtesy of KMS California
Peter Pilotto

Lauren Parsons for MAC created flashes of colour against "pre-Raphaelite" skin, which was inspired by glass-blowing. It involved a lengthy facial massage and lashings of highlighter over Strobe Cream, £25. Depending on their skin tone and what they were wearing, models' lids were swathed in either metallic rose gold, peach or mint pigment, and the new Powderkiss Lipstick in Sweet No Sugar (soon to launch in the UK) was gently patted onto lips.

Jawara for KMS took hair, and the imagination behind the look was the party girl that everyone knows who is also incredibly, effortlessly chic. Jawara used the Thermashape 2-in-1 Spray, £19, to flatten the roots to the head, the Hairstay Anti-Humidity Seal, £20.75, and Hairstay Hard Wax, £19.75, to create a sleek finish, and sprayed Hairplay Sea Salt Spray, £17.75, through the mid lengths to ends for natural texture.
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Photo: Daisy Walker
J.W.Anderson

Hair at J.W.Anderson was drenched in L'Oréal Professionnel's Tecni ART Pli Shaper, £15, blow-dried downwards with the Dyson Supersonic, £299, and woven into two low, schoolgirl braids before hairstylists pressed them with straighteners to create "modern day, bohemian, organic and light curls". The hair team didn't want the look to be forced, instead, exactly like the models had just washed their hair, put it in a braid and let it dry in the sun to create a subtle wave. Hair was then covered with leather headscarves which were embellished with a gilt pin.

On behalf of The Wall Group, Pebbles Aikens headed up nails. Using Leighton Denny, she groomed them short, painted on the Nail Illuminator, £12, to brighten and slicked on the Crystal Finish Topcoat, £12, to seal in colour and to lend a patent finish.
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Naoko Scintu for Emilia Wickstead Using Lord & Berry
Emilia Wickstead

The glass skin trend shows no signs of slowing down. At Emilia Wickstead, skin was meticulously prepped with a selection of Omorovicza products, including veil after veil of the brand's hydrating Queen of Hungary Mist, £50. Backstage pros Lord & Berry were on makeup with Naoko Scintu at the helm, who rather uniquely pinpointed Patrick Bateman's skincare routine in American Psycho and '80s power women and the structured shapes found on Wall Street as the inspiration behind the minimal makeup, yet intense, high shine finish.

Lord & Berry's Cream Bronzer in Sunkiss, £25, gave cheeks a natural flush, as though models had been running down the street. Scintu then layered the Seta eyeshadow in Honey Honey and Voyage, £12 each, onto lids to mimic the skin's natural tone, touched up areas with the new Perfect Skin Foundation, £25, dabbed a touch of Lip Oil Potion, £16, on lips and a stroke of Luminizer, £15, on cheekbones.
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Photo: Getty/Tristan Fewings/BFC
Victoria Beckham

At Victoria Beckham’s 10-year anniversary show, it was all about the skin. Foreo led the way and treated each model to the Foreo H2Overdose UFO Activated Mask, £16, as well as massages before their makeup using the UFO Mini Smart Mask Treatment Device, £159, to invigorate and boost circulation, making the skin less puffy and adding a natural rosiness.

Makeup artist Pat McGrath is known for her bold looks, employing glitter, sequins and lots of colour, but her brief at the show simply involved warming up the models’ complexions, adding a subtle touch of glow around the temples and blanketing lids in high-shine gloss. Lips were left bare, save for a slick of balm, and brows were brushed up.

Using Redken,hairstylist Guido Palau followed in the footsteps of Bromell at Richard Malone and Syd Hayes at House of Holland, opting for a wet look – it was brushed back off the face with comb marks on full display.
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Photo: Tristan Fewings/BFC/Getty Images for BFC
Ashley Williams

Thanks to lead MAC makeup artist, Thomas de Kluyver, and the BLEACH London hair team, the beauty look at Ashley Williams was arguably the most striking of day one at LFW.

Thomas left skin dewy and bare, so as not to create a mask, instead embracing pink, raw, fleshy tones, which made the punky, haphazard eye makeup really pop. Some models' eyes were painted sunset orange with a mixture of MAC's Frost Lipstick in Costa Chic, £17.50, and Amplified Lipstick in Morange, £17.50, while others wore a 'bruised' look – a touch of MAC's Eye Shadow in Beautiful Iris, £14. One thing they all had in common was lashings of black lipstick (Retro Matte Liquid Lipcolour in Caviar, £18), worn as eyeliner, scrawled messily around the entire eye and up into the socket. Lips were either blanketed with Whirl Lip Pencil, £14, and Retro Matte Lipstick, £17.50 or Auburn Lip Pencil, £14, teamed with Amplified Lipstick in Dubonnet, £17.50.

Six models were given a BLEACH London dye job by cofounder Alex Brownsell, and shades ranged from candy floss pink and bright red to lemon and champagne blonde, but it was how the hair was styled that really made waves. Williams took her cue from internet trolls, asking, "What is it to be young today?" which is where the diamanté slide accessories, emblazoned with words like 'VIRGIN', 'WITCH', 'SEX', 'SOCIAL', 'DAMAGED' and 'OZONE' came into play. Williams let models choose which message came to them, depending on how they were feeling. But she took the troll theme further, drawing inspiration from TROLLZ dolls (reportedly Ashley's lucky mascot), by fashioning the hair into high ponytails and slathering it in BLEACH London's Swamp Spritz Salt Spray, £6, so that it set vertically.
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Photo: Jacqueline Kilikita
Richard Malone

Makeup artist Pablo Rodriguez took dewy skin to new heights at Richard Malone, giving complexions an excessively glossy, even slightly greasy finish. He called it "Olympic skin" – mega hydrated to the point of extreme shine.

Firstly, Pablo swapped blush for a swipe of Illamasqua's Rockabilly Lipstick, £20, which was pressed onto the apples of the cheeks to lend them a flush, as if models had just finished playing sport. The same shade was patted into the corners of the lips to create a stained, almost worn-off finish. To achieve the sweaty look, Pablo used a flat foundation brush to paint on layer after layer of Illamasqua's Hydra Veil, £34, which he referred to as a "glass of water for the skin", concentrating the product to the eyelids and dispersing it through the brows.

Australian brand evo was on hair, with hairstylist Gareth Bromell at the helm. His aim? To mirror the sweaty, gym skin, with some girls sporting strands of hair stuck to their faces. "Every girl's hair is different because there's such a diversity of textures, but the vibe is the same," he said. "It's sweaty, greasy, a little bit dirty – that girl in London in the summertime who's just been sprinting down the street. We used the Day Of Grace Pre-Style Primer, £21, to completely saturate the hair, then we went in with the Whip It Good Styling Mousse, £21, to add an oily slick to it, and added the Shine Spray, £21, and the Shine Drops, £21, to provide some more 'slickness' before brushing back and blow-drying with a diffuser." Models with afro hair had it teased meticulously with the tail end of a comb and spritzed liberally with the primer to lend the same glistening, wet-look finish. "To add extra hold, use the Gangsta Grip Bonding Resin, £21, which is basically a gel, alongside the Helmut hairspray, £21, to set each look," Bromell advised.
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Photo: Jacqueline Kilikita
Preen by Thornton Bregazzi

At Preen, makeup artist Val Garland took inspiration from a Vogue magazine shoot she did years ago. "Think nomadic, Gypsy, modern traveller," she told R29. "It’s all about the freckles on clean, nourished skin. We used anything from three to seven different shades of MAC’s Shape and Shade Brow Tint, £19.50, because freckles aren’t meant to be dots – they’re all different shapes and sizes." Prior to the freckles, Val dabbed a stipple sponge into various different neutral-toned eyeshadow pans and even warm lipstick shades and pressed the pigment onto the face where freckles would appear naturally for a ruddy feeling. "The key is all natural colours," said Val. "We wanted the freckles to be believable, not cartoonish."
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PHOTO COURTESY OF GHD AND EUGENE SOULEIMAN USING PLATINUM+
Preen by Thornton Bregazzi

In keeping with the 'Gypsy' vibe, hairstylist Eugene Souleiman made models look like they had been "wandering the hot desert in a beanie hat and just taken it off" – think sweaty and slightly dishevelled. He started by rough drying wet hair with ghd’s Air Hair Dryer, £99, then took a lock of hair and twisted in a thin, black elastic band to make it look like a braid. He loaded Wella’s EIMI Hairpsray, £13.99, onto the hair and squashed it down at the crown using a hairnet, before spritzing again liberally. Once he lifted away the hairnet, hair was moulded to the crown. To finish, Souleiman whipped the lengths into a ponytail, tied in some more black elastic to create a 'bubble' effect and used ghd’sPlatinum + Styler, £175, to compress it.
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Photo: GETTY/Ian Gavan/BFC
Halpern

Makeup artist Isamaya Ffrench took winged liner to the next level with this bedazzling, glitter-packed eye look. She slicked MAC's Pro Longwear Fluidline Gel Liner in Blacktrack, £17, over the crease and kept painting until she almost reached the temple, where she joined the liner into an amped up, hollow wing.

She then layered eyelash glue over the lid and into the empty wing, and using a flat concealer brush, pressed either yellow, green, gold or red glitter over the top before adding a touch of MAC Lipglass, £15.50, over the eyelid to serve up extra dimension and drama. Lips were semi-matte, layered with just a touch of balm.
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Photo: Jacqueline Kilikita
Halpern

At Halpern, industry legend Sam McKnight took control of hair. "The clothes in the collection are quite '60s, with lots of geometric shapes, so we created lots of '60s wigs for most of the models using Easy Up Do Texture Spray, £25, Modern Hair Spray, £22, and lots of backcombing. We created a bit of a wet look at the bottom, too."
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Photo: Getty/Tristan Fewings/BFC
Molly Goddard

Hairstylists Luke Hersheson, Jordan Garrett and team, for John Frieda, drew inspiration from old '90s pictures of Galliano shows. Models wore "punky-looking mini mohawks" fashioned out of five different ponytails, which were knotted and tied back on themselves. Wisps of hair were teased out to create little mohawk spikes and punk-style fringes which fell over one eye. "It's punk but a little bit Spice Girls at the same time, because it's really fun," said Hersheson, who used the John Frieda Luxurious Volume Blow Dry Spray, £6.99, to yank hair into place, then the Frizz Ease Extra Strength 6 Effects Serum, £6.99, to seal the ends.

MAC makeup artist Hiromi Ueda created a "summer fresh" look, as if models had just come back from holiday. "Sophia Loren in the '70s is a good reference," she told R29. "She's off duty, though." Over the top of Face and Body Foundation, £26, in a shade a little warmer than each model's skin tone, Ueda applied MAC's Mineralize Skinfinish Sun Power, £25.50, to the top of the cheekbones as well as the nose and forehead for a tanned, sun-kissed look.
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Photo: Getty/Tim Whitby/BFC
House of Holland

Models at House of Holland were treated to a facial massage using natural oils to employ less product. "It's all about the skin," said MAC makeup artist Zoe Taylor, but the eyeliner spoke volumes. "We wanted a sports reference to complement the collection," explained Taylor. "We used MAC's Acrylic Paint in Pure White, £16.50, because it has a shinier finish and isn't too matte. The lines were fluid, with the first travelling one third into the eyelid and the second into the brow bone to contour both the socket and brow. Because of the angle, the lines have a lifting effect on the face, making the girls look somewhat otherworldly." Before models headed out on stage, their faces were veiled with Evian's Brumisateur Mineral Water Facial Spray, £3.85, for a dewy hit.
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Photo: Getty/Tristan Fewings/BFC
House of Holland

"The Henry Holland girl is about oomph and glamour but lots of cool, too," said hairstylist Syd Hayes, using BaByliss Pro. "Think Kate Moss coming out of the sea," he continued. "We created a relaxed, beachy wave, like she's just come out of the water and combed her hair back with her hands, looking really hot. We used the BaByliss Pro Titanium Expression Curling Tong (25mm), £65. The barrel came backwards so that the wave floated off of the face. We also carved out a deep side parting from left to right, spraying the hair with water and gel to keep it shiny."
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Photo: Tristan Fewings/BFC/Getty Images for BFC
Ryan Lo

At Ryan Lo, makeup artist Miranda Joyce created two looks: red lips and black kohl-rimmed eyes and minimal, freckled skin. Talking to R29 backstage, she revealed that the first took inspiration from Tim Burton. "It's gothic and strange but grown-up thanks to the red lip (MAC's Ruby Woo, £16), which we layered a gloss over. We then accompanied it with a black kohl eye and applied the pencil on the top and bottom waterline, as well as on the upper eyelid and underneath the lower lash line in a circle shape. In terms of skin, we took all the pink out because we wanted to counterbalance the clothes. We didn't want to make the skin paler, but we didn't want to warm it up, either." Miranda also chose not to dress lashes with mascara, as that would look too "pretty". Instead, she wanted the look to be fun and interesting.

The skin was very much the same for look number two. "We cooled the skin down a little (including the lips) and added freckles with MAC's Shape & Shade Brow Tint in Taupe and Fling, £19.50 each, concentrating them in two places – across the nose and under the eyes." The inspiration came from Cristina Ricci in Sleepy Hollow – fairytale-esque but ever so slightly ghostly. Eyes were left bare and lips were taken the same colour as the skin to cancel out any rosiness, while Marian Newman for CND lacquered models' stiletto nails in pale pink.

But it was the hair that took centre stage. Using his own line of products, hairstylist Sam McKnight fashioned hair into tight corkscrew curls using a thin tong and backcombed lengths into a messy half-up, half-down style, which he then adorned with a glitter-trimmed bow. "We were actually looking at pictures of Princess Anne for inspiration," he told R29. "She used to wear these large chignons, so we took this look and combined it with historical romance, like Renaissance paintings, but made it modern and quite '90s – someone who has naturally curly hair and just throws it up."
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Photo: Jacqueline Kilikita
Marta Jakubowski

At Marta Jakubowski, makeup artist Pablo Rodriguez pinpointed '90s rave parties and all things ethereal as the inspiration behind the finished makeup look. "The lip is quite matte but everything else is super glowy," he told R29. He liberally applied Illamasqua's Beyond Veil Primer, £34, all over the skin, which lent it a subtle, pearlised finish and dialled up the iridescence with Illamasqua's Gleam Highlighter in Aurora, £25, pressed onto the skin in a half moon shape from the temples down to the cheekbones.

On the eyelids, Rodriguez blended Illamasqua's Antimatter Lipstick in Lyra, £20, a caramel-beige hue, all over the lid with a fluffy brush, extending it out towards the temple, up to the brow bone and underneath the lower lash line for a wash of natural colour. He employed the same product as a bronzer, which he blended into the hollows of the cheeks, but it was the multicoloured, neon lips which truly beamed from the catwalk. Violet (Illamasqua's Antimatter Lipstick in Vibrate, £20), burnt orange (Flare, £20) and neon pink (a mixture of Illamasqua's Eurydice and Isotope, £20 each), made up the chosen shades. "I wanted the look to be a little retro," Rodriguez told R29. "I finished it all off with a little black mascara on both the top and bottom lashes and simply brushed the brows upwards with a spoolie brush."

So as not to outshine the makeup, hair wasn't too curled, too done or too set and consisted of a barely there wave with a little bit of volume thanks to a quick blast using the Dyson Supersonic Hairdryer, £299, Aveda's Volumizing Tonic, £20, and a once-over with straighteners to create a slight bend. Models with curly hair had their lengths spritzed with Aveda's Thickening Tonic, £22, and defined with the addition of a diffuser, while those with cropped hair were given a quick brush and were good to go.
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L’Oréal Professionnel/Bora Aksu
Bora Aksu

The muse for hair at Bora Aksu was Papusza, the Romani-Gypsy poet, and reimagined in nomadic, imperfect, low twin braids, which were a nod to travelling. "This is Gypsy-inspired hair with feathered ends for detail, said lead hairstylist Tina Outen for L'Oréal Professionnel. "We made it messy – it’s like she’s on the road in a caravan and doesn’t have a mirror."

Tina carved a perfect parting at the crown and applied L’Oréal Professionnel's Tecni.ART Pli, £15, to the top section before drenching the rest of the hair with L’Oréal Professionnel's Tecni.ART Hollywood Waves Spiral Queen Mousse, £15, to rid the lengths of any heaviness or 'niceness'. Hair was rough dried for a dishevelled finish, braided at the sides and tied, leaving around an inch of hair free at the bottom for a frayed, almost shredded look. The braids were then looped over themselves and tied before Tina picked out a few stray hairs to make the style a little more 'lived in'. The look was finished by the addition of a flower cap.
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Photo: Jacqueline Kilikita
Alexa Chung

Hyper real or "seemingly normal, but otherworldly flawless" skin, was the aim of the game at Alexa Chung's debut London Fashion Week show, according to lead makeup artist Georgia Graham for Suqqu. "We wanted to give the complexion a touch of magic," explained Graham, who applied Suqqu's Blooming Glow Primer, £40, all over the skin and concentrated the Illuminating Highlight Stick, £30, to the temples, cheekbones, bridge of the nose, Cupid's bow and even the tops of ears. "It's high shine, almost 'too pretty to be real' skin, lifted and elevated to an altered state thanks to the extreme highlight." Graham and her team didn't use any foundation on models with near-perfect skin, instead giving them a facial massage to brighten, refresh and hydrate.

Only the centre of the eyebrows were filled out using Suqqu's Framing Eyebrow Liquid Pen, £22, and the centre of the lids embellished with Suqqu's Glow Touch Eyes, £24, in shade 01, 02 or 05 depending on the model's skin tone. Graham "sheered out" each shade with her fingertips. To tie the look together, lips were lightly sketched with Suqqu's Matte Lip Crayon in 101 and finished with a dab of balm. "The trick is in the application," Graham told R29. "Keep it light – it should feel like butterfly wings on your lips. Then, take a tissue, but don't kiss it, just press it slightly for an amped-up version of your own lips."

When it came to hair, BLEACH London's Alex Brownsell was on hand with a "fuzzy, '70s texture" to mirror the concept of the show, 'arrivals and departures', based on retro airport chic. To achieve the halo of "fuzz", she spritzed L'Oréal Professionnel's Tecni Art Pli Shaper, £15, directly onto wet hair and blow-dried on a low heat, using her fingers to twist and scrunch the lengths. "The '70s texture makes it look like she's fallen asleep on a flight," said Brownsell, who even fashioned a convincing cowlick on some models.
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Photo: Jacqueline Kilikita
Temperley London

According to makeup lead, Charlotte Tilbury, Alice Temperley wanted one thing and one thing only – for the girls to have gorgeous, glowing skin – and who better to have on board than the queen of all things glow?

"It's neo-classical and really dreamy," Tilbury told R29. She layered her legendary Magic Cream, £70, onto bare skin and followed with a blanket of Hollywood Flawless Filter, £30, which she refers to as a complexion-boosting Instagram filter, or even better: "J.Lo in a jar."

"I then applied my Magic Away Concealer, £24, which is almost bouncy on the skin. It's basically like a pair of Spanx and smooths out lines, pores, pretty much everything, instantly retouching skin." Tilbury continued: "There were two different makeup looks. Number one was a soft, gold smoke around the eyes (using the Eyes To Mesmerise Cream Eyeshadow, £22), and two Hot Lips lipsticks mixed together for a slight smudge – Super Cindy and Tell Laura, £24 each. The second look consisted of a colder eye – a mocha chocolate shade, which is a little more rock 'n' roll, smudgy and lived-in, with a slick of Legendary Brows Brow Gel, £18.50, and Pillow Talk lipstick, £24."

For Moroccanoil, hairstylist Antonio Corral Calero slathered hair with the Moroccanoil Treatment Original, £32.85, and customised the rest of the products to the different hair types, qualities and colours. "It's about simplicity," he told R29. "Not too made up, not too done, just the best version of themselves. Alice and I wanted to bring out the natural beauty of each individual without changing or adding too much."
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Photo: Getty/ Tabatha Fireman/BFC
Gareth Pugh

You can always count on Gareth Pugh to bring some out-there beauty to fashion week, and this season was no different. Using MAC, makeup artist Val Garland went to town with colour to create this parrot-esque look. Avoiding the apples of the cheeks, she dusted a bold coral pigment up towards the temples to alter the face shape, before fattening up the brow with layer upon layer of liner and constructing multidimensional eye makeup by shading together onyx black and Gen Z yellow pigments. Garland even constructed prosthetic lips, while hairstylists alongside Syd Hayes worked on wigs with BaByliss Pro.
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Photo: Jacqueline Kilikita
Markus Lupfer

What would you give to be on a beach at this very moment? At Markus Lupfer, Bobbi Brown's lead makeup artist Thom Walker created this "three days before you've properly tanned" holiday-inspired look, mirroring the backdrop and props, which included sand dunes. He started by prepping the skin with Bobbi Brown's Vitamin Enriched Face Base, £44, using tapping motions to "whip" the product into the skin, which illuminated the complexion and made it appear more "youthful". He followed with Bobbi Brown's Instant Full Cover Concealer, £24, under the eyes and around the nose and washed lids with the Long-Wear Cream Shadow Stick, £23.50, in Pink Sparkle or Golden Pink depending on the model's skin tone, winging the shade out towards the temples and taking it below the lower lash line.

Lashes were muted, as they weren't the focus, but lips were daubed with Bobbi Brown's new Luxe Matte Lip Colour in Nude Reality, £28, and skin finished with the Pot Rouge in Fresh Melon, £22, mixed with the Extra Illuminating Moisture Balm, £45, and applied with a light fan brush over the centre of the face, "where the sun would catch the skin naturally".

"Anything too colourful wouldn't have worked," he continued. "We looked at the colour of the clothes and wanted the makeup to be just as ethereal." On hair, Tina Outen created a beachy texture through the lengths but kept the roots super flat, using L'Oréal Professionnel's Bouncy and Tender gel-cream, £15. "She's a clean, cool, modern, fresh girl," Outen told R29.
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