London has a reputation as the rebel of the fashion weeks and this year was no different. When it came to painted faces on the runway, there were no hard and fast rules. While the look at Erdem was velvety matte, models at Matthew Williamson were dewy and fresh faced. Andrew Gallimore at Danielle Scutt opted for blinging gold eyebrows, and thick Sixties-style lashes and nude lips ruled at Smith Spence. Lynsey Alexander, senior make-up artist at MAC cosmetics UK who worked a number of the shows, tells how to take the catwalk looks to the high street.

Fresh and dewy skin

Charlotte Tilbury created a sporty and playful the look at Matthew Williamson which was achieved through clever highlighting with MAC’s Silver Dust loose powder - a fine crystallized silver diamond powder buffed onto the skin to give a healthy halo effect. “Apply on the top of the cheekbones, the inner corner of the eye, down the nose and the tip of the cupids bow. All they the areas that light is drawn to, to illuminate the face.” says Lynsey. “The key is buffing and polishing with good brushes. Use a flat topped blending brush to refine the powder into almost nothing on the skin. The aim is to work it into the skin so you don’t see individual speckles, just a healthy sheen.”

Smoky eye

This enduring eye trend was given a modern taupe makeover at Matthew Williamson using MAC’s cream Paint Pots in Quite Natural and Architecture – a concrete-coloured flat muddy brown. “It’s not a messy splish-splosh-splash smoky eye, it’s about a dynamic approach, using smaller tools to create more detailed work.” explains Lynsey, “Start with an intense colour in the middle of the lash line where you want the most colour and then blend outwards using a very soft, long-haired blending brush for that dappled watercolour look. Keep buffing and polishing the colour away so that it fades into the edges of the skin. Use the same technique for the lower lid.”

Peachy nude lips

For the rock‘n’roll faded-out lips sported on numerous runways, forget liners, brushes and lipstick and use your fingers. It’s important to keep the lips hydrated and nourished without giving too much shine, so use a matte conditioning lip primer rather than a balm. The primer stops the lipstick feathering and blurring and keeps it on much longer. “The thing with nude colour is, unless you put concealer on first, your natural lip colour comes through and distorts the colour of the nude lipstick so you’ve got to knock out the red first. We did this with a soon-to-launch new MAC pro product called Lip Erase, but another easy way is to mix a smidge of concealer with lip balm and dab onto your lips using your fingers to literally remove the feature. Follow by dabbing a peach rather than a pink nude lip colour on top.” Lip Erase is set for release in December and will be available at MAC freestanding stores only.

Sixties-inspired eyes

At Smith Spence the make-up created by Andrew Gallimore was Sixties-inspired baby doll with lots of lash but an edgy new palette. According to Lynsey, the look was achieved by contouring around the eye in a rich chocolate chestnut brown before adding a dash of neon blue colour on the lid. “The technique was classic Sixties, using a brush to build a brown socket round the eye, then going over it with an aqua lid. We didn’t curl the lashes for this particular look, just built up layer upon layer of black mascara.”

Flawless matte skin

Dusty matt monochromatic make-up was de rigeur at Erdem giving a sophisticated and grown up look. “Achieving the perfect matte look is all about layering,” explains Lynsey, “You put all your creams and foundation on first, and then you build up and polish over the skin with an airbrushing powder like MAC’s Invisible Powder on the eyes round the face on the lip to kind of flatten everything without it looking like there’s powder on the skin. You’re trying to make the skin look velvet not take the life out of it.”

Cleopatra eyes

Amy Winehouse will be pleased: winged eyeliner is resolutely refusing to flap its wings and fly away just yet. Whether it’s flicked-up bright red eyeliner as seen at Ben De Lisi, a dramatic thick black wing sported by the girls on the runway at Gavin Douglas or a sexy sweep of teal a la Eley Kishimoto, the feline look is here to stay. You need a steady hand, or a flat surface to rest your elbow on and a good quality liquid liner with a felt-tip-style applicator rather than a brush. Start at the inner corner of the eye as close to the lash line as possible sweeping up at an approximate 40 degree angle just before reaching the outer corner.

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