Chloé Comme Parris Fall 2013 backstage beauty: Boho braids and makeup that looks like it’s been on all night long

The models were supposed to look as if they’d started with a perfectly applied orange-red lip at the beginning of the night but kept it on till six in the morning. “Maybe she’s made out with a guy in the washroom, I don’t know!” said Lee. A mixture of Maybelline Color Sensational Vivids in “On Fire Red” and “Electric Orange” were applied with a brush and then blotted, with no defined lip line.

The hair: “We wanted something natural that looked unkempt and dishevelled. Then we wanted to add texture but we didn’t want to start doing pretty hair. Once we started adding braids it turned into this rebel boho girl who does her own thing.”Jorge Joao, Redken lead stylist.

The models were asked to come in with natural hair that wasn’t too clean. A curling iron was used to add loose, natural wave and prepped with Redken Fabricate 03 for movement and Powder Grip 03 hair powder to give a textured, gritty feel. Then the braiding began, first with a cornrow on the side that opened up into a ponytail. Strands were pulled out to make it looser and loopier. Two smaller sections on top of that were braided and left to drop on top of the cornrow, and a piece of hair from the fringe was braided and swept across to pull the hair out of the face. “It’s not only an accessory, it’s a band that’s pushing away the rest of the hair,” said Joao. The ends were made piece-y with Wax Blast 10 and the look was finished with anti-humidity Control Addict 28 spray.

The nails: 

For the “oil spill” nails, metallic Essie polishes in blues, greens and greys were marbled together and slicked with glossy topcoat. “It’s an organic, really wet, greasy finish,” said Essie lead nail artist Rita Remark. (Shade enthusiasts, look for “No Place Like Chrome,” “Trophy Wife,” “Over The Top,” “Midnight Cami” and “Sexy Divide” to duplicate this look.) The shape was kept natural and just reached the tip of the models’ natural nails.

Civil servants in the town are more likely to make this distinction between western and traditional clothes more than peasants. Upon Indonesia’s independence from the Dutch people increasingly started buying factory made shirts and sarongs. In textile producing areas the growing of cotton and production of naturally coloured thread became obsolete. Traditional motifs on textiles are no longer considered the property of a certain social class or age group. Wives of government officials are promoting the use of traditional textiles in the form of western garments, such as skirts, vests, blouses etc. This trend is also being followed by the general populace and whoever can afford to hire a tailor is doing so to stitch traditional ikat textiles into western clothes.