The Best Makeup Trends For Fall 2017

For fall, there isn't one eyeshadow color trending above others. But there is one key texture—metallic, in shades of all shades. And we're not just talking about a dab of silver around the eyes. Metallics were swept across lids unapologetically, a beauty statement of strength that mirrored the girl power message on the runways. At Alberta Ferretti, left, gold, black, and red shadows were blended together into an eye look that was equal parts beautiful and badass. 

An eye look as strong and unapologetic as the women who wore it on the runway at Brandon Maxwell. "We are embracing the difference in the looks, it's the same makeup with different colors," says makeup artist Tom Pecheux, who painted the strong black-and-metallic eyeshadow on each model. "I love the fact that it's the same, but it's not the same color. Like human beings—we are the same, but we are all different colors." 

This season, the Balmain woman was born to be wild. The African inspired fall collection  from designer Olivier Rousteing was an amalgamation of exotic furs and textiles, all done in palette of rich, warm colors, metallics, and ornate prints. For makeup artist Tom Pecheux and hairstylist Sam Mcknight, the beauty look was a no-brainer. The makeup was all about the eyeshadow: a punch of black cream shadow swept all around the eye and extended out along the lower lashline. Silver pigment was dashed along the lower lashline, while the top lid was accentuated with a dab of metallic copper. Pecheux jokingly referenced Metallica backstage as an inspiration, as well as girlfriend's of rock stars and warriors. What he was trying to get at is this look send a message of strength—the woman who wears it is not to be messed with. As for the rest of the face? "We're doing a contour, we are at Balmain," Pecheux said with a laugh

This season is all about touches of metallics: a little silver swept under the eye, a little copper pressed on the center of the lid. At Alexis Mabille, gold was the element du jour, and it carried all the way down on the runway from the eyes to the foiled gold boots. Makeup artist Lloyd Simmons painted a gold pigment across the models' eyelids in a brushstroke pattern. The rest of the face we left bare. The eyes were only matched in shine-factor by the gold chrome nails.

Sleek hair and gold glitter eyes were just as cool as the oversize hoop earrings at Nicholas K. Backstage, makeup artist Sarah Lucero used the Stila Glitter & Glow Liquid Eye Shadow in Golden Goddess to line both the upper and lower lashline. A little contouring enhanced the overall warm glow of the look, and Lucero finished with a swipe of Stila Apricot Lip Glaze, a pinky-nude shade with a slick finish.

A copper smoky eye backstage at Les Copains.

Another gold look, this time done in a yellow hue on both eyes and nails.

The star-studded cast who walked La Perla's fall runway called for a beauty look of the same caliber (Naomi Campbell opened the show, after all). Makeup artist Erin Parsons created either a burgundy eye or lip for each model, drawing inspiration from the "British gardens feel" of the set. The bold eye was achieved by layering a lip liner, the same lipstick, plus two eyeshadows: the plum shade from the Maybelline 24K Nudes shadow palette and Expert Wear Eyeshadow in Fierce Fuchsia.

The most delicate take on metallics was at Genny, where the silver shimmer swept up to the brow bones could only be seen in certain light.

Emporio Armani's fall show gave us a new failproof color combination: Barbie pink and glittering chrome.

If we were rating looks from a little to a lot—black smoky eyes with a layer of glitter would be considered a lot of look. But something about the way Tom Pecheux expertly blended the liner and shadow around the eyes, then tapped on two different micro glitter pigments in silver and gold, made the eyes at Elie Saab seem delicate, feminine, and even soft. These were not disco eyes, or clubbing eyes—they were eyes fit for a spookier side of classic romance (the collection was inspired by Giselle, after all).

It's time to color outside the lines with your basic black eyeliner. Drag it along your crease, scribble it all over your lids, or smear it on with your fingers—as long as you do anything 

While designer Clare Waight Keller's last collection for Chloé served-up everything we know and love about the brand (sweet mini dresses, tailored blazers, sporty sweaters), the beauty look was decidedly more punk. Makeup artist Aaron de Mey referenced Kate Moss backstage as he traced (and smudged) black pencil and gel liner around the models' lids. The line was ever-so-lightly flicked out, then topped with gloss before hitting the runway.

It's a rare occasion when a fragrance inspires a designer's entire ready-to-wear collection. But such was the case at Mugler's fall show, where the star motif could be traced back to the house's own Angel perfume. The "celestial" influences didn't stop there—the collection had a futuristic element to it, as well as a nod to power dressing in the '80s. That same duality showed up in the beauty look, where the slicked-back and side-parted hair had a slightly retro feel, and  the floating black liner looked fit for a starship.

Makeup artist Pat McGrath used the Versace show to debut a new black shadow stick (available in her Dark Star #006 set) that's somehow both matte and slick. "It's so creamy and so incredible to blend and dries completely," she says. 

In his years as a backstage makeup artist,Tom Pecheux has done and seen it all. But the YSL show this season called on him to do something he has never done before: As each model lined up for the finale, he decided to change their entire beauty look, going from a bare face to one with a wing of messy black pigment. Pecheux and his assistants dipped their fingers in The Shock mascara from YSL and swiped it across each models' lids one by one. Then they hit the runway one last time. It wasn't perfect by any means, but that was precisely the point. "For me, that is the YSL girl, and that girl is like 'Fuck it! Boom, boom! And I'm ready!' because everyone is always in such a rush," says Pecheux. " It was really right for the clothes, but it was really right for what was needed."

At Osman, black pigment was artfully smudged on the outside corner of some seriously glossy lids.

The heavy-handed black liner approach seen at Versace also popped up at Marni, but this time it was continued to the lower lashes, too. 

Rich-girl waves and an intense smoky lid defined the beauty look at Julien Macdonald.