“Ultra-pretty” is how makeup maven Pat McGrath described the beauty look at Valentino Couture yesterday, and she wasn’t kidding. To properly complement Pier Paolo Piccioli and Maria Grazia Chiuri’s ethereal collection, McGrath and her hair partner in crime, Redken creative consultant Guido Palau, made models look soft and mythical—almost like wood nymphs. Make that “Russian princesses,” Palau confirmed of the backstage muse, which called for loose, low-lying, braided chignons that featured gilded, bejeweled wire headbands made especially for the show that he wove across the hairline and through the updo itself. McGrath added to the regal style with a palette of golds and pinks, dusting blush across models’ lids and onto the apples of their cheeks, culminating with a rosy stain pressed into their lips. As for that subtle, almost inexplicable glimmer on models’ faces that anyone lucky enough be front-row surely noticed (Anne Hathaway, we’re talking to you), that came courtesy of a barely detectable line of gold pigment that McGrath etched onto the inner corners of eyes and along the cupid’s bow of mouths to catch the bright lights of the runway. Ultra-pretty indeed.

“Ultra-pretty” is how makeup maven Pat McGrath described the beauty look at Valentino Couture yesterday, and she wasn’t kidding. To properly complement Pier Paolo Piccioli and Maria Grazia Chiuri’s ethereal collection, McGrath and her hair partner in crime, Redken creative consultant Guido Palau, made models look soft and mythical—almost like wood nymphs. Make that “Russian princesses,” Palau confirmed of the backstage muse, which called for loose, low-lying, braided chignons that featured gilded, bejeweled wire headbands made especially for the show that he wove across the hairline and through the updo itself. McGrath added to the regal style with a palette of golds and pinks, dusting blush across models’ lids and onto the apples of their cheeks, culminating with a rosy stain pressed into their lips. As for that subtle, almost inexplicable glimmer on models’ faces that anyone lucky enough be front-row surely noticed (Anne Hathaway, we’re talking to you), that came courtesy of a barely detectable line of gold pigment that McGrath etched onto the inner corners of eyes and along the cupid’s bow of mouths to catch the bright lights of the runway. Ultra-pretty indeed.