At the avant-garde HG production, the opening act was a drag show sendup of the Viva film Sana’y Wala Nang Wakas. Makeup on Dina Bonnevie, Cherie Gil and Sharon Cuneta impersonators were inspired by the fall 2006 Christian Dior couture shows which featured a strong tranny factor on the face. While they are not everyday looks, the heavily-caked makeup, particularly the strong eyes and lips, captured the essence of a drag queen. Extreme and exaggerated, this look was intense and indeed delivered the feeling it was intended to capture.
The Motorola presenter showcase was a short film which immediately followed a fashion show featuring a much cleaner and polished look inspired by the fall 2006 Valentino ready-to-wear show. Bold red lips and strong brows were prevalent in the quick flick. Next in sequence was the Bench segment that had a completely minimal look, the no-makeup makeup look topped off with sweet black ribbons tied around the models’ heads. Chanel’s fall 2006 ready-to-wear line was the baseline for this simple, Frenchified look.
The full on fashion show by YDG’s triumvirate Ivar Aseron, Patty Eustaquio and Yvonne Quisumbing-Romulo was unconventional to say the least. Ivar Aseron’s collection and makeup was based on Ridley Scott’s ’80s futuristic film Blade Runner. Darryl Hannah, a humanoid Replicant by the name of Pris, had dark black eyes in certain scenes throughout the movie. At the time of the movie release, this look was very forward. To recreate this same look would be too typical, so Shu Uemura chief makeup artist Xeng Zulueta reinterpreted the eye with a softer yet still very dark look that showed inspiration was drawn from the movie yet didn’t come across as being too severe. To further achieve the look, the base used on the models was semi-matte with a dewy finish communicated by waterproof and sweatproof UV liquid foundation. Cheeks were relatively bare yet contoured using matte amber blush while eyes were highlighted with a winged smoky effect in charcoal black achieved with drawing pencils in matte black and pearl black powder eyeshadow topped off with full black false lashes. Lips sealed the look with intensely red bloody lips in a satin and creamy finish through Rouge Unlimited lipstick in Red 170 to be launched here next month.
Michelangelo Antonioni’s ‘66 UK movie Blow Up was the premise for Patty Eustaquio’s collection at the show. In the film, a photographer accidentally shoots a crime scene but only realizes it once the photos are blown up. The look they were going for was wild and scattered eyeliner on the lids for an anti-fashion look; models used in this portion were made not to look typically pretty. UV liquid foundation in shades 754 and 763 were utilized for an extreme pale cold complexion, liquid eyeliner and drawing pencils provided for the scattered marks and lines over the lids topped off by pale, creamy lips delivered not with lipstick but with pro concealer in 7YR medium light.
Yvonne Quisumbing-Romulo’s portion was based on Terry Gilliam’s retro-future movie Brazil featuring Jonathan Pryce and Robert De Niro. Glamour looks from the ’20s and ’40s provided for the pale and simple makeup look. The almost dewy, semi-matte skin was perfected with Depsea water in cake cream foundation set with loose pearl powder. Hues were eliminated and the only color that was applied was metallic silver eyeshadow for silver stained skin on the lips, eyes, cheeks, neck, décolleté and forehead.
The beauty of makeup is that it can truly deliver anything you can fathom. From Blade Runner to Blow Up to Brazil, a touch of the brush is all it takes to bring you to another place and time.