Makeup artist Mary Greenwell said of the look, a riff on the designer’s signature. “It’s not about a really strict look, that kind of New York, London vibe; it’s much more relaxed.”Though the designer’s signature sex appeal was apparent in the smoky-eyed makeup, a light-handed touch by Greenwell kept the look more natural, in keeping with the California location and making for some wearable looks.
“It’s almost like the look is slept-in,” said Greenwell. “That’s what it’s all about. There’s nothing hard about it. Nothing severe. There’s no black. It’s all about a dreamy soft, brown eye.” Eyes highlighted in earthy hues popped against a clean matte complexion. Cheekbones were contoured with Tom Ford Shade & Illuminate, while lips were de-emphasized with a mix of nude concealer and Tom Ford Lip Color Shine in Bare. Greenwell created strong, defined brows with Tom Ford Brow Sculptor; then eyes were lined with Tom Ford Eye Defining Pencil in Espresso, and several coats of Tom Ford Extreme Mascara were applied to lashes.
Shadows from the Tom Ford Eye Color Quad in Cocoa Mirage were smudged into a smoky eye. For a luminous finishing touch, Ford had the idea of applying his eponymous Lip Color in Deep Mink along the brow bones and lower lash line. Hair was all about bed-head braids that McKnight described as the convergence of a “modernized Tippi Hedren-inspired, slightly voluminous updo with an Ali MacGraw side braid that was kind of a ’70s Hollywood moment, but we sexed it up and made the braid big and fat.”
McKnight pinned in low braid extensions to match each model’s hair tone and then applied Oribe Dry Texturizing Spray and L’Oreal Professional Tecni Art volumizing mousse to the hair on top, blow-drying it back off the face to create body and structure for a French twist over the braid. The braid was looped to the side in back and pinned. Sebastian Shaper hair spray set the look. Yet nothing was too perfect.
