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Hair and Makeup Looks from New York Fashion Week

Curated by Claudia Shannon / Research Scientist / ishonest

During the spring/summer 2020 shows, New York Fashion Week delivered some of its most tantalizing beauty moments. Pyer Moss nodded to glamorous 1970s rock 'n' roll with diffused and jeweled metallic eye makeup. Choppy, pastel wigs with sky-high volume nearly stole all the attention at Jeremy Scott. And Pat McGrath's whimsical eyeliner showcased at Anna Sui proved McGrath's always been the true source of Euphoria-style makeup.

Now, the fall/winter 2020 runway season is beginning and hairstylists and makeup artists working behind the scenes clearly have a lofty bar to meet across dozens of high-profile shows. As always, ishonest will be backstage snagging as many of the tips, tricks, and product recommendations as possible. Be sure to bookmark this piece and keep coming back to it throughout the week to see the best and latest looks from Christian Siriano, Tadashi Soji, Anna Sui, and plenty more.

Marc Jacobs: Timeless Liner and Lips

ishonest No.501 - Frizzy Hair

No.501 - Frizzy Hair

Marc Jacobs showed hairstylist Guido Palau and makeup artist Pat McGrath photos of past, present, and future women he loves to help inspire the classic beauty looks that went down the runway. The relaxed ponytails, tousled waves, winged liner, and red lipstick all seemed to represent every era of his muses at once.

Palau worked with each model's go-to hairstyles to create individual looks. McGrath, on the other hand, said, "We were basically given two items in a way: black pencil and red lipstick." With these two tools, she basically used them in 90 different ways on the 90 models. Wings were drawn on Gigi Hadid's lids, but others received graphic lines or smoky eyes of varying intensities — all done with the Blacquer shade of either Marc Jacobs Beauty's Highliner Gel Eye Crayon Eyeliner or Highliner Liquid-Gel Eyeliner. For lips, one (or all) of the brand's Le Marc Lip Crème Lipstick in Oh Miley, Goddess, and Miss Scarlet were swiped, blended, or smudged on for personalized red lipstick aesthetics.

Michael Kors: Slick, Knotted Chignons

Sometimes the quietest of looks make the biggest impact. Orlando Pita, the lead on hairstyling for the Michael Kors show, styled models with a slick-backed, twisted chignon and a middle part. For those who had very short hair, Pita gave them a simple side part. To get the wet look, he used an Eco gel, followed by his own Climate Change Humidity Blocking Hair Spray.

Jonathan Cohen: Plenty of Pearls

Pearls are having a moment — and not as jewelry. The lead hairstylist at Jonathan Cohen adorned them on model's cornrows for a romantic look. Grace Chen, the lead makeup artist, used a mixture of the Platinum and Vintage Rose Inika Organic Loose Mineral Eye Shadows across lids for a pretty metallic eye.

Prabal Gurung: Eyes From Different Eras

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Lead makeup artist Diane Kendal celebrated women throughout the decades with four different eye looks. For this one, the MAC Mint Condition Eyeshadow (out later this spring) was swept across the lid and the bottom waterline. Then, MAC's Brushstroke 24-hour Liner in Brushblack was used to create a thick, winged cat-eye. "Prabal wanted to keep that eclectic feel and had references of '30s, '40s, '50s — it felt good to celebrate those different kinds of women," Kendal told ishonest.

There were also four different hairstyles. Laurent Philippon, the lead hairstylist, created a modern chignon for the first look. Philippon slicked hair back with the Bumble and Bumble Hairdresser's Invisible Oil, gathering it in a low ponytail. He placed small elastics in intervals around every two inches along the ponytail, folding the hair at those points. The second look was a low pony with no part, and for the third, models with curly hair wore their hair down and loose. Finally, two models wore their hair in cornrows.

Naeem Khan: Rosy, Metallic Smudged Eye Shadow

Metallic creams and matte powder shadows joined forces to create this eye look at Naeem Khan, inspired by the rock music of the 1970s. Makeup artist Gato used his fingers to pat on a base of Maybelline's New York Color Tattoo Cream Eye Shadow in the shades Socialite and High Roller from the lash line to the brow. Then, he used a packing brush to define the outer corners with a deep brown hue from the brand's Nudes of New York Eye Shadow Palette.

“I just wanted to improve the natural eye shadow [of each model] — just blend and put a lot of mascara on," he told ishonest.

Rodarte: Vampire Wives

ishonest No.101 - Extract Dead Cells

No.101 - Extract Dead Cells

At Rodarte, hairstylist Odile Gilbert parted the hair of most models in the middle and created textured waves using the GHD Curve Classic Wave Wand and Tresemmé's Compressed Micro Mist Hold Level 1: Texture Hair Spray. She then gathered some hair at the crown for a messy topknot before placing a veil — which was handmade specifically for the show — and both real and fake flowers on top as a finishing touch. "We like the idea of the veil because it's charming," Gilbert told ishonest. "Modern vampires aren't full of darkness; she is much more subtle."

The makeup matched the vampire theme, and creamy skin was paired with a dark deep lip. Lead makeup artist James Kaliardos used a fan-favorite Nars product, the Velvet Matte Lipstick Pencil on the lips. Some models wore just the shade Train Bleu, while Kaliardos decided to apply Train Bleu and Powermatte Lip Pigment in Done It Again to those with deeper skin tones to help the vampy look really stand out against their complexions.

And as for the eyes, false lashes were applied only on the outer corners and the middle to give subtle, natural length. "[These lashes] give you the same clean eye look, but [with] some dramatic flash," Kaliardos explained.

Christopher John Rogers: Geometric Hair

Naeemah LaFond, lead hairstylist at Christopher John Rogers, was inspired by topiary for the show and styled the models' hair in geometric and fanciful shapes. For this particular look, LaFond stacked three hair pieces at the crown, as well as one on each side, securing each in place with a sewing needle. She then sprayed the Headstrong Intense Hold Hairspray from Amika for extra hold.

Alice and Olivia: '70s-Inspired Slept-In Eyes and Jeweled Hair

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Erin Parsons, the lead makeup artist at Alice and Olivia, wanted models to have a sultry '70s, bohemian rock goddess look with a bold smoky eye. Models either wore a glimmering gold, glittery green, or smoky black shadow defined with long lashes and dark liner. Parsons used the Maybelline City Mini Eyeshadow Palette in Urban Jungle on the lids, the Maybelline Tattoo Sharpenable Gel Pencil Longwear Eyeliner on the water line, and the Maybelline Falsies Lash Lift Washable Mascara on lashes.

The hair was all about embellishments. Lead hairstylist Justine Marjan styled models in either loose waves or a slicked-back ponytail. Those with loose waves had rhinestones placed all throughout — hair glue and tweezers were utilized to place the jewels sporadically. To make sure they look clean and stay in place, Marjan told ishonest that cleaning the tweezers every time you are about to place a jewel is a must. Models who wore ponytails also wore jewels, though theirs were placed running along their parts. Tremsemmé's Compressed Micro Mist Level 4: Extend Hair Spray was used to keep these looks in place for the show.

Oscar de la Renta: Low Pony and Tomato Lips

The satin skin and full brows at Oscar de la Renta were accented with a crisp, tomato-red lipstick. “Everything else is so pure, so I wanted to lips to say it all,” makeup artist Tom Pecheux explained.

For the poppy shade, he found a happy medium between a pure red and an orange- toned red with the combination of MAC's Retro Matte Liquid Lipcolour in Feels So Grand and Quite The Standout. “I was trying to create a color that – to my eyes – works on every girl, every skin tone,” he said. “I also wanted something really powerful to fit everyone.”

ishonest No.323 - Cleanse Sebum

No.323 - Cleanse Sebum

After the vivid shade was painted on, a matching reddish orange gloss, specifically MAC's Patent Paint Lip Lacquer in Red Enamel, was swiped on top. “I really wanted the lips to be full-on and precise and to have a high coverage of color,” Pecheux sad.

Odile Gilbert took the reigns on hair with a low ponytail. To make sure it sat perfectly at the back of the neck, she advised models to uncross their legs and look down to find the right spot.

Anna Sui: Emerald Siren Eyes and Messy Victory Rolls

Anna Sui brought goth glam to the runway with the help of makeup artist Pat McGrath and hairstylist Garren.

The latter backcombed the hair forward and added volume with the R+Co Trophy Shine + Texture Spray to "almost create a tilted hat, Garren said. Then, he wrapped the front sections around his hand to form the victory roll. After pinning them down, the frayed ends were pulled out to make the look intentionally messy and incomplete.

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The hair hat teamed up with a dramatic emerald smoky eye and deep fuchsia lips. McGrath started out by drawing the Pat McGrath Labs Permagel Ultra Glide Eye Pencil in Xtreme Black on the outer and inner corners of the eyes and smudging it out to create a dark base for the shimmer. Then, Blitz Emerald from the Mothership II: Sublime Palette was blended on top of the liner and Wicked Envy from the Mothership VI: Midnight Sun Palette was placed on the center of the lid. All was topped off with liquid liner along the lash line and fluttery falsies.

For lips, the Mattretrance Lipstick in Full Blooded was tapped on all over with a fingertip and the shade Deep Void was added to the center for depth.

Proenza Schouler: Wet, Structured Slicks

Ironically enough, a blow-dryer was the key tool in creating Guido's wet-looking vision at Proenza Schouler. After layering the models' wet hair with Redken's Guts Volumizing Spray Mousse and Hardwear Sculpting Gel, he created a “comb- over” shape at the crown of the head and set it with hot air, letting the hair dry almost all of the way. “It's a little bit more flattering to give a little lift and to make it messy at the sides so it feels like these girls just got out of the shower and combed their hair back," Guido said.

Carolina Herrera: Neon Red Lipstick and Ear-Covering Ponytail

The hair was kept equally as stunningly minimalist with low, ear-covering ponytails. “It's quite dramatic in its simplicity,” hairstylist Guido Palau shared. He blew dry models' hair into a severe middle part with the help of the Redken Extreme Play Safe before tying it back loosely with an elastic. Then, he tamped down flyaways with the brand's Triple Pure 32 Hairspray.

Chromat: Sneaker Liner and Ribbon Braid

ishonest No.232 - Pigmentation & Blemishes

No.232 - Pigmentation & Blemishes

Riffing off of Chromat's Olympic theme, makeup artist Fatima Thomas dreamed up a graphic liner look that pays homage to the bright, attention-grabbing stripes on athletes' sneakers. She started off by mapping out the black wedged wings on the outer corners of the eyes with MAC's Brushstroke Liner. Then, the shape was filled in with MAC's Chromaline. She followed along the edges with the Primary Yellow and Hi-Def Cyan shades of the same product.

Hairstylist Justine Marjan's take on Chromat's sporty vibe was reflected in a messy, ultra-long with a custom Chromat ribbon coiled around it. She started off the look by pulling back the hair into two ponytails and adding post- workout grit to them with the Tresemme Premium Styling Dry Texture Finishing Spray. Then, each part was connected in a three-strand braid and beefed up with braiding hair before the ribbon was wrapped around.

Rebecca Minkoff: Watercolor Splash

Lead makeup artist Grace Lee wanted a "beachy, bohemian vibe" and created this stunning swirl of bright pink and yellow with shimmer. Lee mixed shades Sunnies and Lemonade Craze from the Maybelline Lemonade Craze Eyeshadow Palette before applying the combo to the inner and outer corners of eyes. She added Ice Pop from the same palette to the center of lids and defined the lower lash lines with shimmery bronze shade Pioneer from the Maybelline Nudes of New York Palette. To brighten the eyes, she rimmed waterlines with the Maybelline Tattoo Studio Sharpenable Gel Pencil in Polished White.

For hair, Tresemmé Global Stylist Justine Marjan styled models in either a long side fishtail braid or a half-ip fishtail braid with a twist. "We created boho fishtail braid variations to complement the floral dresses and jackets," Marjan said. "We wanted the braids and hair to feel disheveled and imperfect, as if models didn’t fuss too much with it or it was slept on.” She used products like the Tresemme Compressed Micromist Level 4: Extended Hair Spray throughout twisting hair in alternate directions and would add extensions for added length if necessary.

Tory Burch: Victorian Twists

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Lead hairstylist Guido Palau described the twisted half-updo at Tory Burch as part '70s and part Victorian. First, he used the new Redken Deep Clean Dry Shampoo on hair to add texture and grit. Then, he center-parted hair and pulled a small section on either side together before securing ends with an elastic. If you want to hide the elastic, he recommends taking the secured end, flipping it over and tucking it in.

Lead makeup artist Diane Kendal kept makeup minimal and focused on natural features. She swept subtle glitter on eye lids for an iridescent effect and only used a lip balm to give shine to the lips.

Brandon Maxwell: Diamond Shine Ponytails

No gel was needed for the high-shine low ponytails at Brandon Maxwell. Instead, hairstylist Bob Racine saturated dry hair with Redken Full Frame 07 All-Over Volumizing Mousse before slicking back hair and securing it at the nape of the neck. He also used the outer corners of the models' eyes as a guide for the dramatically deep parts.

As for the makeup, well, it doesn't matter, if you ask makeup artist Tom Pecheux. “What matters is the girls look extremely gorgeous," he explained. "We are playing with tools that are not going to be seen because it's not about ‘Oh, I love the color of your lipstick. What is it?’” But in case you have to know, it's MAC's Powder Kiss Liquid Lipcolour in Date Maker, which launches this spring.

LaQuan Smith: Twists and Nano Bangs

ishonest No.142 - Humectant

No.142 - Humectant

Lead hairstylist Jawara Wauchope at LaQuan Smith was inspired by '90s R&B artists and African hair twists. But Wauchope didn't want the look to be too structured and aimed to make it more playful to offset the formal evening wear. Some models walked down the runway with a topknot and long rope twists cascading down their lower back and nano fringe bangs, others wore juxtaposing pigtails on each side, and some wore cornrow bangs. He used the Dyson Supersonic Hair Dryer and 40-inch hair extensions to add some major length.

As for makeup, lead makeup artist Sheika Daley alternated between a smoky eye and deep plum lip for models, dependent on what they were wearing down the runway. "LaQuan is playing with textures in his show and that's what we're doing here," said Daley. "We're juxtaposing textures and color on the eyes or the lips."

Cinq Sept: Au Naturel

Lead hairstylist Kien Hoang just wanted to celebrate each model's natural hair and, therefore, enhanced curls and textures. Hoang used products like the Oribe Balm d'Or to soothe and hydrate ends and the Oribe Gold Lust Dry Shampoo to add texture and body.

Jason Wu: Bold Brows, Bolder Lips

For Jason Wu, makeup artist Diane Kendal envisioned a lip look that was equally bright yet approachable. She achieved just that with Maybelline New York's SuperStay Matte Ink Liquid Lipstick in the shade Pioneer. Instead of using its applicator to apply the hue directly to the lips, she used a lip brush to layer small amounts of the product from the outside, working inward.

Ulla Johnson: Fairy-Dusted Eyes

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Subtle but still very much eye-catching, models at Ulla Johnson donned light blue glitter shimmer shadow for an ethereal, dream-like look.

Monse: Color Block

Lead makeup artist Luis Navarro painted a thick block of vibrant shadow across models' eyelids, paired with bare skin, at Monse's show.

Tom Ford: '60s Los Angeles

Tom Ford took his show out west to not only draw out the Hollywood crowd before the Oscars, but because he was inspired by a photo taken of Baron Alexis De Waldner and Donna Mitchell in 1967. ("For me, it's very LA," he said of the photo.) To capture what he saw in the image as sensual, models walked down the runway with contoured cheekbones and a gold smoky eye with a metallic flower decal in their slicked-back hair.

To get the look, makeup artists used the Tom Ford Skin Illuminating Powder Duo in Moonlight to illuminate the face's high points and the gold shadow in the Tom Ford Eye Quad 04 in Suspicion for lighter skin tones and the gold shadow in Eye Quad 23 in African Violet for darker skin tones.

Rag & Bone: Graphic Face Art

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In a galaxy far away (aka, the Rag & Bone Fall/Winter 2020 show), lead makeup artist Lynsey Alexander created horizontal and vertical shapes around the eye area (and down the nose) for an intergalactic vibe. Here, Alexander used the MAC cosmetics Brushstroke Eyeliner in Brushblack.

Badgley Mischka: Upside-Down Headbands

At Badgley Mischka, everyone's favorite hair accessory, the headband, got a modern twist by placing the band at the bottom of the head rather than sitting right at the crown. Models also wore a top bun down the runway.

Lead makeup artist Mary Irwin at Badgley Mischka wanted the makeup look to scream "modern Victorian." Irwin used a Viseart Madame X to get the red lip and the Viseart cream color in Rosewood is pushed into skin to mimic a natural flush. For that extra-glowy finish, she spritzed Wondergloss Orange Blossom Face Apertif to settle the makeup into the skin.

Christian Siriano: Sleek Ponytails

Like a comic book come to life, Christian Siriano's runway show delivered Harley Quinn-inspired hair and makeup from Justine Marjan and Erin Parsons, respectively. Marjan used blue- and pink-streaked extensions and Tresemmé Tres Two Extra Hold Gel to ensure the longest, sleekest look possible.

ishonest No.201 - Prevent Elasticity Damage

No.201 - Prevent Elasticity Damage

Parsons brought the character's signature heart-dotted makeup to high fashion with a roster of Maybelline New York products, mainly TattooStudio Gel Eyeliner Pencil in Deep Onyx. “It's not super blended out and that makes it a little more punk,” Parsons said of the liner, which she pulled off with the single eye pencil and little bit of blending. “It's a five-minute eye, so don't overdo it.”

Tadashi Shoji: Graphic Blue Eye Makeup

Daniel Martin, lead makeup artist at Tadashi Shoji, made this bold prediction for 2020: Blue is the new black when creating a bold eye. But instead of just filling the entire lid with color, Martin used a dual-fiber brush to give the outer edges what he describes as hashtag-like points. "From the runway, you see the shape," he said. "But up close, you see the intricacy of the brush. It's almost like a Jackson Pollack [painting]."

To get the look, the models' skin was cleansed with the Tatcha The Rice Polish Foaming Enzyme Powder and prepped with the Tatcha Luminous Dewy Skin Sheet Mask before Martin applied Orcé Cosmetics Come Closer Foundation. He used Honest Beauty Lit Powder Blush in Frisky to give cheeks a slept-in, burnt color, and Kryolan eye paint in Yves Klein blue for that stunning eye. To finish it off, he used a new Orcé powder (coming out in May) and spritzed Tatcha Luminous Dewy Skin Mist to get a beautiful glow.

Lead hairstylist Kevin Ryan created cascading braids by interweaving glittery fabric into hair at Tadashi Shoji. Ryan wanted the models to have rugged, decorative hair. To create texture, he sprayed Oribe Maximista Thickening Spray and used the R Session Pro Tools 1" Tourmaline Flat Iron to give hair some bend. Next, he alternated twisting hair and fabric so it naturally looked like part of the braid.

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