Celebrity Life

Shanyan Fok Koder and Richard Bassett explain how a Hong Kong art entrepreneur joined forces with a former special-forces soldier to launch a health and mental wellbeing app, Mentor360.

"Mental health and mental fitness are universal concerns," says Shanyan Fok Koder. "And regardless of your demographic, social status, your job or your age, it’s something everyone has to deal with."

Shanyan Fok Koder & Richard Bassett on Mental Health App Mentor360

The Mentor360 app dropped on World Mental Health Day in October, the cumulation of the last 20 months of work and conversations (usually across continents over Zoom) between former military man Richard Bassett and worldly art advisor Koder. A month later, I’m sitting with both in a North London café talking over slices of pizza.

Their app, they hope, offers everyone a holistic 360 guide and framework to “finding your formula” for mental and physical wellbeing. It uses a hybrid approach, with a core layer of clinicians and professional Mentors and then celebrity Ambassadors (who’ve publicly shared meaningful life stories) critical for building noise and momentum.

"I’d been in the military for a long time. And there were a couple of incidents in my life that made me want to create something," Bassett, the CEO, explains. "Firstly, it was my father committing suicide. Then my son had a bit of misdirection. And several of my friends in the military had PTSD issues or adjustment disorders."

"The biggest issue is why people wouldn’t come forward and say they’ve got a problem?” he asks.

“Unlike some apps, we’re not trying to get people hooked. Come on to it when you need it”

— Richard Bassett

The answer often lay in culture, lack of education or concerns about privacy that prevent many from seeking help. With that came Bassett’s idea of creating an app that functions as a “non-judgmental toolkit” with content validated by experts – who include coaches, performance psychologists, mental health-specialising nurses and a clinical psychologist.

Basset’s link with Koder came when his best friend, ex-special forces colleague and TV star Jason Fox, sat next to a pregnant Koder at a charity fundraiser for Born (which researches to prevent premature birth) in late 2019. As the pair talked about their passions for mental health and children’s wellbeing, the connection to Bassett’s idea became quickly apparent.

"Foxy told me that I have to meet his friend, Richard, who’s building this app," Koder recalls. "I was always wanting to support things that are very meaningful and close to my heart … and now Jason is actually our key mentor. The partnership between Richard and I was almost like two parts of a jigsaw puzzle come together."

Although some might go to the app for help with stress, trauma or even resources to help with suicidal feelings, Mentor360 is designed specifically as a three-dimensional offering that will also encourage fitness, workouts, performance and meditation or more clinical matters.

"We wanted to maintain the human factor as a constant throughout. So it feels like somebody has given you some advice rather than some process-driven machine learning," Bassett adds.

The co-founders might come from two different worlds, but the unlikely partnership speaks to the ubiquity of the issues at hand. Bassett’s 25-year military career saw him being appointed the first ever Command Sergeant Major within the UK Special Forces military group. "It was at that stage where I was asked if I wanted to run defence,” he says. “At that point, I thought, I’ve kind of had my fill of the military now, it’s time to move on."

Koder meanwhile grew up in Hong Kong and the UK as the daughter of Li Ka-shing’s "right-hand man" Canning Fok, carving out a career in the arts and taking over her family’s impressive collection. As a female art entrepreneur and mother, her challenges would be different.

"When I had the misfortune of losing three babies to miscarriage and dealing with that emotional fallout, it led me to want to support this as a cause," Koder divulges. "If there’d been something like this app available to me, I don’t think I’d have suffered as much as I did emotionally. It’s a topic that’s still very taboo, even in this day and age … and while you eventually find your own community, at the very beginning, you do feel very alone."

Both were clearly driven towards the app through deeply personal experiences. Bassett saw first-hand how soldiers who’d done several tours in Iraq and Afghanistan suffered – his best friend, Fox, had left the forces with PTSD. Perhaps machismo or fear of institutional repercussions meant that the issue was often ignored or hidden in the military – but he hopes that Mentor360’s holistic approach can gently lead people to explore mental fitness alongside physical performance too.

The male-female perspectives of the pair offer a well-rounded, powerful tool. And while the wellness space is already crowded, Mentor360 stands out by being so broad, human-focused and non-prescriptive.

There’s been exciting traction too. Since its launch, the app has been downloaded in more than 176 countries, with the UK, the US and Australia leading. British schools have reached out and it’s one governance board away from being trialled within the National Health Service (NHS), which means added clinical risk management in the app. That has been an important validation, says Bassett, "especially when an institution like that has picked it out from a huge spectrum of apps on the market today."

Covid-19 and lockdowns have helped throw light on mental health, taking the conversation more mainstream. The timeliness has hit home; as Bassett says, “there’s a lot of people now struggling with the transition between Covid and normality”.

Koder tells us that the plan is to serve individuals but also institutions such as the NHS and the military. There’s also the option of “white labelling” it, so the app can be packaged and tailored to certain industries or corporate employees. In the future, might they look more global, with different languages and translations? Absolutely, the pair say, but they’re taking it “slow and steady”. There’s been interest from American corporations and Koder says that she’s keen to push into Asia very soon. Although going truly global might mean translating for languages, cultures and tone, as well as working with diverse psychologists, it remains a future ambition.

Mentor360 may be extra helpful in cultures where mental health is still relatively taboo. As Koder says, "I think, coming from our Asian culture, it speaks volumes to me – so much of our culture is about still performance or hiding a lot of what you’re feeling."

"Unlike some apps,” Bassett adds, "what we’re not trying to do is create a hook or get people hooked. Come on to it when you need it, and if you don’t need it for a while because you’re good, you can just put it away … We’re starting to see those patterns in the trend analysis."

To get a little personal, I ask what works for them individually to keep a healthy mind and body. Bassett’s formula revolves around daily exercise, time with the family, dogs and good sleep – even the occasional glass of wine on the sofa in front of a crackling fireplace. Koder’s happiness hacks centre around motherhood, being content and at peace in her skin, and looking at life with a certain romanticism: "I always love to see the poetry in my day,” she says, "and I think it’s important to just pause throughout the day, check-in and acknowledge that I’ve achieved these things and I should be proud of myself, rather than just rushing on to the next thing."

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A socially distanced affair, Giorgio Armani digitally presented the 40th-anniversary, Emporio Armani autumn/winter 2021 show from his Via Borgonuovo headquarters, streaming it online for audiences from Paris to Tokyo and New York to New Delhi.

Followers of fashion clicked on to a collection that mixed the disco era of the late-’70s and early-’80s with the modern. A patina of hues accompanied his signature navy and all-black ensembles, emboldened by flashes and pops of colour with contemporary cuts, exquisite silhouettes, patterns and monochrome.

Filmed against a backdrop of the brand’s name writ in neon, the collection had all the signature pieces one expects from the legend; luxurious fabrications, glitter, leather, whimsical cuts and classic silhouettes, the pride, the peplum, the pinstripe, he showed it all. Models wearing knits with sequin borders, jacquard, suitings for women and loungewear tailoring for men.

For long loving, enduring fans of the brand, there were new graphic shapes, amplified colours, as well as reassuring crystals and glittering gowns – those most often seen on the red carpet of every award show. Pieces you’ll see again on Armani’s muses like Cate Blanchette, Julia Roberts and that A-list ilk; there’s a reason why he’s held the crown of “the king of the Hollywood red carpet” (Vanity Fair) since 1978, when he first dressed Diane Keaton. Movie stars and Armani go hand in velvet-gloved hand so when you see a black and white gown with glittering embellishments, you know Kidman will swan down the stage like he made it just for her.

No other designer of his vintage – Giorgio Armani turned 87 this past July – stands this tall, relevant and a force to be reckoned with. Trends come and go, tides rise and fall. Style is eternal and Armani is forever.

Discover the full collection at Armani.com.

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As Chaumet's CEO Jean-Marc Mansvelt tells us, bringing the house's 240-year heritage into the modern era is an immense task that amounts to a "daily obsession". But if the new pieces in the Chaumet Joséphine collection are anything to go by, the Place Vendôme stalwart is heading in the right direction.

What kind of woman today does the Joséphine collection appeal to?

First, it’s about a woman with a certain character. Because when you choose to wear a tiara on your finger, you’re making a choice of distinction, a choice of character. You’re sending a message to say you’re not like everyone else and you have a certain strength and a certain personality. But also a sense of virtuosity, grace and beauty, because it’s not for women who want to be too provocative.

It’s a way to set your personality. And then of course, there are two major reasons to become a client of Joséphine. On one side, it remains one of the favourite pieces chosen for a bridal purpose. It’s connected to the initial history of Chaumet, the history of the power and love between Napoleon and Joséphine. And Napoleon is known everywhere, that’s incredible. There’s another type of client on the other side of the connection with the pearls, the coloured stones, something a bit easier and more accessible.

This year, Chaumet's creations have also incorporated sleeker, more modern takes on the tiara. Can you tell us a bit about the new high jewellery?

After many creations that were a bit more tiara-like, a bit more decorative, more visible, more baroque in a certain way, we wanted to enrich the collection with new ways to mix and match, and to go for designs that were slicker, with a more minimalist approach, because that’s also the style of today. We have a feeling that clients today are a little more understated, and we have the capacity to create beauty through a fine line, rather than an accumulation. So one of our high- jewellery pieces, which is sort of a V with a stone in suspension, doesn’t shout about its design. It’s all about balance.

This year is the 10th anniversary of the Joséphine collection...

But we don’t mark it that way for two reasons. I always feel that if you start doing anniversaries for everything, then at the end, what’s the meaning in it? Last year, when we did the 240 years of Chaumet, that was slightly different. For Chaumet, our heritage is much longer than a decade, it’s about centuries. Instead, this year, we’re celebrating our connection with the 200th anniversary of the death of Napoleon, which is significant in Europe and in France. We’ve done an exhibition at 12 Place Vendôme that was open to the public which tells the love story of Napoleon and Josephine through 150 different objects, beautiful loans from museums and private owners.

Which piece proved to be the most challenging piece in the collection?

The most discussed and the most debated one was the watch. Because we’re clearly a jeweller, and we’ve focused all our efforts and attention on jewellery. But since a few years ago, we’ve reassessed and repositioned what watches mean for Chaumet. It’s true that with the business of watches within Chaumet, we’ve really tried to be coherent with what the story of watchmaking for Chaumet is as a jeweller. One of our challenges was to look at the market – in the market, 90 percent of watches are round – and nobody’s waiting for Chaumet to create a round watch, because we already have thousands of beautiful options on the market.

We decided on a shaped watch, and it wasn’t very difficult to settle on the pear shape, like an illusion of a diamond. We also faceted the watch’s dial.

How do you balance 240 years of heritage behind a brand and stay relevant at the same time?

That’s really the obsession every single day. How do we continue the narrative, the link to the story? Since the pandemic, we’ve seen clients choose Chaumet because there’s longevity. And so it becomes a daily obsession of ours to convey this message to our clients through different means, including the digital approach, so we can speak to the needs of our audience today. We also go through the traditional channels and have books and exhibitions. I regularly write down on paper in two columns: on one side, how much do we tell the story of Chaumet, and on the other, how do we take a contemporary approach, either through the narrative or through using different tools? I take a step back and ask myself is there a balance? If we’re going too much in one direction, maybe it’s time to rebalance. It’s in everything we do.

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In our autumn/winter 2021 style spotlight, we break down the best in this season’s womenswear runways.

What to wear in a pandemic? Something to remember or something to forget? Something in between perhaps, with many fruitful explorations coming from soul-searching that middle ground.

VALENTINO 

THE BIG PICTURE

The autumn/winter 2021 collection at Valentino is all about precision, with such a pointedly restricted palette – other than monochrome, there was just the odd injection of sand, gold and beige. How eye-catching are the razor-sharp lapels that give all those shirt and jacket combos a subversive ’70s quality? The collection is anchored on the contrasts and shapes created with black and white using sheers, mesh-effect constructions and graphic prints – the most intriguing signature here is when cut-outs reveal what lies beneath.

THE FINE PRINT

Accessories boldly decorated with studs, quilting and leather textures. Slashed or meshed items layered over and under. Killer capes, both long and short.

CHRISTIAN DIOR

THE BIG PICTURE

Fairy tales and their symbols take a mysterious and occasionally dark turn at Christian Dior’s autumn/winter 2021 collection. The runway featured dramatic capes (Red Riding Hood vibes!) and winter cashmere coats worthy of a Grimm Brother’s tale. Although there are plenty of body-skimming pleats and romantic princesses gowns, the collection rides that precarious line between innocence and sensual subversion. Titled Disturbing Beauty, this is a collection full of fantasy, escapism, mystery and provocation – almost a sartorial version of a labyrinthine Gothic novel or story.

THE FINE PRINT

Sensual pleats that are almost sheer, subversively shiny lacquered shoes and boots. Gothic overtones abound.  

GIVENCHY

THE BIG PICTURE 

Matthew Williams’ Givenchy “debut” is all about extravagance – with sleek and modern tailoring, hulking faux fur coats and matching mittens (that look more like boxing gloves than winter wear), structured puffer jackets and cupless bralettes. Lavish but utilitarian, luxurious but comfortable. The looks were mostly in black, chocolate brown and off-white, with pastel purple, deep green and bright red also making appearances. An accessory highlight – the 4G flask with strap bag, making a reappearance from spring/summer.

THE FINE PRINT

Head-to-toe monochromatic looks featuring huge fur coats and mitts, slim tailored suits, elevated streetwear, leather, barely-there bralettes and ski masks.

GUCCI

THE BIG PICTURE

The Aria collection debuted in a special film by Floria Sigismondi and Alessandro Michele, with music credits spanning from Lil Pump’s “Gucci Gang” to Bhad Bhabi’s “Gucci Flip Flops” and Rick Ross’s “Green Gucci Suit”. The equestrian-inspired looks also seem to contain elements of bondage – with helmets, fringes, saddlebags, leather harnesses, riding crops (ie, whips) and boots. We like the accessories best – the big dangling septum rings, the anatomical heart-shaped clutch and necklaces with letter pendants spelling out the brand’s name. Also hard to miss? The logo-printed pieces that stamp Balenciaga’s iconography over Gucci’s emblem.

THE FINE PRINT

Relaxed and retro silhouettes. Nods to horseback riding and the ’70s. Bold, psychedelic prints.

BURBERRY

THE BIG PICTURE 

Sharp and graphic, the autumn/winter 2021 collection from Italian designer Richardo Tisci is far removed from all the gentle bohemian flavours we’ve had so much of lately. Black, white, tans and neutrals made a decisive statement about feminine power on the runway, punctuated by sharp pinks and reds and flashes of full-on metallic evening shimmer. Tisci’s adjustment with the inevitable slowing-down in fashion has resulted in something rather positive and powerful. Structured jackets, trousers and coats were statement-making. Eco-shearling and furs lend a sensual hand this autumn and the cleverest signatures this season involve the deconstructed elements, such as on coat lapels. 

THE FINE PRINT

Roll-neck collars, capes, extended shoulders and sharp silhouettes. Flag-like stripes and shapes were a modern play on the Burberry check and the Union Flag. 

PRADA

THE BIG PICTURE

After what can politely be described as a difficult year, there’s a sentiment that amounts to precarious optimism at Prada. Miuccia Prada and Raf Simons, the Italian brand’s co-creative directors, are putting a spring in our steps with outfits that balance serious structured tailoring with capricious details. Those glorious big coats (so often vintage-inspired) in solid block colours are paired with vibrant graphic prints on skin-tight undershirts, gloves, tights and boots. Fun furry trims provide much delight, a hint at perhaps more opulent times to come.

THE FINE PRINT

Swirling ’60s and ’70s graphic prints, alongside wool, sequins and fur. Some stellar collectable accessories like those leather gloves with zipper pouches.

HERMÈS

THE BIG PICTURE

“It’s urgent now to live again,” Nadège Vanhee-Cybulski told Vogue in a post-show interview. “The message to the world is that I have this conviction of designing clothes for a confident woman. It was about resilience.” The autumn/winter 2021 collection makes use of fabrics such as denim, fine leather and suede for looks that are truly ready-to-wear, right off the runway out into the world. Colours are warm and comforting – in burnt reds, blush pinks and chocolate browns. Don’t miss the details: leather cuffs and belts, and tiny bags just big enough to fit your phone, a card and a lipstick bullet.

THE FINE PRINT

Sturdy materials and neutral colours (denim is a neutral!). “Rich aunty” looks – sophisticated, safe and made-to-last.

CHANEL

THE BIG PICTURE 

Virginie Viard, creative director of Chanel, describes the autumn/winter 2021 collection as a mix of two influences – the ambience of ski holidays (which she adores) and Parisian chic from the 1970s to the present. The looks play with sensuality and contrasts, with voluminous winter coats over bare legs; sheer, light chiffon and crêpe de Chine paired with solid, heavy tweed; and long coats over fragile, slinky dresses. This line-up ranges from muted sophistication to the downright whimsical, usually achieved through bold bolts of colour and material contrasts.

THE FINE PRINT

Luxurious resort outfits for a winter retreat. Tweed suits in classic form-fitting silhouettes, cropped knit sweaters and structured jackets, tiny handbags, chain embellishments, faux fur and shearling.

LOEWE

THE BIG PICTURE 

Loewe’s autumn/winter 2021 collection is avant-garde – there are no ifs and buts about it. The palette is an explosion of acrylic hues (canary yellow, cobalt blue, forest green, pinks and reds) and the silhouettes are big and abstract. The looks feature bold geometric prints striping across quilted coats and asymmetrical skirts, over-the-top circular and square-buckle embellishments, giant tassels on the hems of suede trouser suits and leather harness-vests over knitted wear. A standout accessory? The Anagram cut-out tote in calfskin that pairs beautifully with the matching Anagram belt.

THE FINE PRINT

Canary yellow. Abstract silhouettes. Psychedelic prints. All very audacious and perfect for making big statements.

LOUIS VUITTON

THE BIG PICTURE 

Louis Vuitton’s digital runway had models in pieces that paid tribute to the Golden Age (the Age of Enlightenment), walking through the Michelangelo Gallery of the Louvre Museum. A collaboration with Italian art and design atelier Fornasetti, the pieces were fashion-forward with plenty of streetwear elements (cropped bombers, sweatpants, logos) and slouchy, relaxed fitting. We love the wide shoulders – also present in LV’s spring/summer show – and the Greco-Roman nods, with gladiator-inspired dresses and boots, and Fornasetti drawings of ancient statues and motifs (locks and keys) printed on clothing and handbags.

THE FINE PRINT

Relaxed, slouchy fits. Big and wide silhouettes. Mixing athleisure with evening wear and plenty of layering. 

MIU MIU

THE BIG PICTURE 

Captured in the Italian ski resort of Cortina d’Ampezzo, Miu Miu’s models took a “voyage through the mountains” with a show in the snow. Each look brings out a feeling of the bitter, frigid cold – with knitted balaclavas and scarfs, faux-fur mittens and knee-high mountain boots, and quilted padded jumpsuits. The looks paired heavy winter wear with soft lingerie – utilitarian ski suits layered over crocheted satin camisoles, sheer tops with padded trousers, and long structured coats that revealed embellished satin-silk slip dresses underneath.

THE FINE PRINT

Heavy winterwear and soft lingerie. Pastel tones like lilac and lavender, blush and rose pinks, baby blue as well as deeper shades.

SALVATORE FERRAGAMO

THE BIG PICTURE 

Paul Andrew, Salvatore Ferragamo’s creative director, aims to “disrupt and upgrade 21st-century tropes of uniform” with the Future Positive collection. Moving away from tailored suits in safe colours, models on the digital runway wore shiny parkas and trousers, slouchy wide-shouldered jackets, clear plastic-looking ponchos (biodegradable PVC), and outerwear with fringed yarn and space boots. The looks featured a fluorescent colour palette (cobalt blue, neon orange, lime green) against a sci-fi-, outer-space-themed backdrop – giving the collection a youthful and futuristic feel.

THE FINE PRINT

Influences from sci-fi cinema. Utilitarian fits. Relaxed and casual tailoring. Shiny and metallic finishes.

FENDI

THE BIG PICTURE 

With a bevy of neutral-toned monochromatic outfits, Kim Jones at Fendi is forcing more focus on texture, silhouette and contrasting fabric surfaces (shiny satins, fluffy furs, supple leathers, tactile knits and draped silks) this collection. Ivory, concrete greys, muted moss, camel, chocolate and khaki – the palette follows a very linear journey. It’s full of sophistication, elegance and movement – Jones took as his muses the five Fendi sisters (and the real women he’s surrounded by) – hence such a wearable collection, especially those divine shirt-and-skirt combos. With upcycled furs and repurposed shearling, even Fendi (known for its commitment to real fur) has made some inroads into a more sustainable way in luxury.

THE FINE PRINT

Heritage details are dropped into the collection, such as revisiting the Baguette bag. Monograms laser cut into suede. Clever and artisanal constructions (if you look close enough).

VERSACE

THE BIG PICTURE 

Presented inside a vertical maze, Versace’s digital runway featured the fashion house’s new maze-like print (a rework of the brand’s signature Greca pattern and log) on everything from trouser suits to coloured tights, shiny minidresses and midi skirts, belted coats, opera-style long gloves and handbags. The collection was all about sharp angles and clean lines in a strong colour palette – black and browns (camel, tan, beige, walnut), olive green, royal blue and brights (canary yellow, strawberry red, fuchsia pink).

THE FINE PRINT

Bright pops of colour and bold bandanas. Rounded shoulders and cinched waists. The new Versace print – a dynamic 3D maze.

CHLOÉ

THE BIG PICTURE 

With gentle, natural tones and plenty of padding, quilting and pleating, Gabriela Hearst’s Chloé autumn/winter 2021 collection hit on feminine, pure notes. There was a protective, outdoorsy theme throughout the collection that nodded to sand dunes, safaris and eco-resorts, and, finally, outdoorsy mountain chic with oversized patchwork padded coats. Graphically, V necklines and V shapes on the torso were achieved by oversized zip-ups, pinafores or frills. 

Sustainability is at the heart of Hearst’s work, from production (eco furs and shearling) to aesthetics, making her mark on the French brand by decreasing this season’s environmental footprint by 400 compared to the last autumn winter’s line.

THE FINE PRINT

Big tasselled boots and slouchy bags. Gorgeous knits that skim the body. Stripes and earthy tones paired with caped outfits. Long ankle-skimming hemlines are the order of the day. 

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Nonchalant luxury and high sophistication — there is a sense of romance and grandeur in the women’s looks at Giorgio Armani’s Autumn/Winter collection this year.

Seemingly every collection in the year’s autumn/winter season has its designers looking to the future, towards a post-pandemic world. The Giorgio Armani collection is clear in its vision — we will make a triumphant return to refined looks, indulging in glorious eveningwear in silky and soft materials while retaining the comfort-first attitude we’ve all developed while at home, social distancing.

The womenswear sat prettily in a pink to blue-green gradient colour family (think: baby pinks, purples, greens with turquoise reflects, all shades of blue) lending a soft, watercolour feel to outfits and helping in creating a nature-focused, oceanic ambience.

The loose and casual tailoring, with cinched waists and wide shoulders, billowing trouser pants and swathes of material draped on models hinted at a more relaxed attitude to formalwear, after months of isolation. Couture-typical abstract silhouettes also made an appearance, with over-the-top spiral embellishments resembling waves, peacock tails and flowers.

The head-to-toe monochromatic looks included all-black and all-silver ensembles; an ultramarine, violet and Prussian blue patchwork trouser suit over a periwinkle and cerulean blouse; and a slinky sheer indigo dress with beaded petal and leaf stitchwork. Plush black velvet was juxtaposed with shinier ultrafine satin-silk and metallic and reflective fabrics. Flowing coral-like ruffles ran along the collars of blouses and at the cuffs of sleeves.

Beautifully embroidered jackets and gossamer dresses made the most impact — an air of nonchalant luxury, effortless and subdued but purposeful.

You can see the whole Giorgio Armani Women Autumn/Winter 2021 collection and more in person at various Giorgio Armani branches in Hong Kong, including at Chater House in Central, on Canton Road in Tsim Sha Tsui,and at K11 Musea in Tsim Sha Tsui.

Find out more at Armani.com

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Bright and healthy skin, accentuated eyes – we took notes. Here are the top beauty trends from the autumn/winter 2021 runways.

We take note of the bright, healthy skin and accentuated eyes on this season’s runways as we preview the looks that will capture our attention this autumn.

Bold colours on eyes

Loud pops of colour on the lids are perfect for the current times when you’re masked up and the eyes only are on display. Make-up royalty Pat McGrath was backstage seemingly everywhere – Prada, Anna Sui, Miu Miu – but her bold lids at Versace’s autumn/winter ready-to-wear defined the season. The digital runway show saw electric-blue and hot-pink cat eyes on fresh, natural-looking faces. McGrath’s looks for Dolce & Gabbana also featured cyan and pink lids but with black winged liner and bright red and sea-green pouts. And at Valentino Couture, McGrath matched eyeliner colour to the gowns and cocktail dresses, with pops of lime green and acid pink on the lids.

Elsewhere, bright hues on lids made statements that seemed rebellious – a bold take-no-prisoners look. Make-up artist Helene Vasnier at Giambattista Valli’s show exemplified this with striking lids in geometric shapes, packing on M.A.C pigments in bright and dark tones – in teals, cyans, violets, pinks, oranges and greens among other shades – and played with shapes and lines. The shadow extended up past the eyebrows, covering them entirely and sometimes replacing them with slim powdered-pencilled coloured lines.

Armani Privé went for more muted tones, with models showcasing icier and pastel blues and purples on the lids, courtesy of make-up artist Linda Cantello who followed the designer’s idea for something blue, playful and pastel.

Dewy, clean skin

Letting the outfit do the talking doesn't have to mean absolutely nothing on the face. Natural-looking fresh faces trended on runways everywhere, achieved with minimal make-up that worked to enhance models’ features. Clean and dewy skin was seen at Giambattista Valli, Armani Privé, Markarian and Ambush. “Health is wealth,” and glowy, healthy skin is the natural go-to.  

Clean, bare-looking skin also made a nice base for facial decorations, as seen on models at Bora Aksu and Courrèges. At Maison Rabih Kayrouz, the face was dewy and glowy – almost glass-like. Make-up artist Cécile Paravina created luminous skin that had a soft, diffused sheen to it, flawless at every angle yet with no distinguishable cosmetics. The outfits at Ermanno Scervino (neutral tones with notes of green, pink and purple) were also complemented with natural and seemingly bare faces.

Although models at the Iris van Herpen couture show appeared make-up free, a closer look revealed feathered brows, a nice sheen of colour on the lids and a natural-looking base, as well as highlighted top points of the face, freckles and beauty spots, and a touch of gloss on the lips. At Elie Saab’s haute couture show, the skin was clean with a pastel flush on the cheeks, complemented by soft smoky lids in neutral tones and lightly filled brows. 

Big black winged liner

From everyday wings to smoked-out kohl and classic cat-eye, big, black liner is guaranteed to come into fashion again and again. Whether it’s retro or even slightly goth, the look serves up some of the evening glamour we’ve been missing over the past 18 months. 

At Chanel and Dior Haute Couture, slim black wings were complemented by royal-blue shadow and liner. Both runways featured reverse cat eyes (smoked-out shadow under the eyes to create an upside-down, mirrored liner look). For more reverse cat-eye inspiration, look towards Schiaparelli Couture’s heavy inky liner underneath the eye, complete with skinny, barely etched eyebrows.

There was a nod to the ’60s styles with looks like that at Giambattista Valli Couture, where the entire lid was covered with black cat-eye doll-like liner while keeping the rest of the face (including under the eyes) neutral and bare looking for dramatic effect. A similar, top-heavy liner look was also seen at Balenciaga at the fashion house’s return to couture after 53 years. There was dramatic black liner that extended up towards the brow bone, as well as black in the waterline, as at Valentino. And at Erdem, NARS global artistry director Jane Richardson played with lines to create black graphic looks that winged up towards the temples and then back under the eyes.

For some everyday liner inspiration, look to Alessandra Rich and Prabal Gurung, who both featured classic wings on models – wearable, thick and sharp. 

High-pigment blush

Blush has been back for a moment now, with more popular placements including a dusting over the bridge of the nose for a sun-flushed look – or, for a lifting effect, beneath the part of the face you’d normally apply highlighter. On the runways, however, blush was high impact – on the apples of the cheek and the sides of the face, and even up into the hairline.

Effective blush has some powerful connotations – it can highlight health and vitality. But there are also edgier ways to achieve a well-flushed look. As the Vivienne Westwood ready-to-wear collection was inspired by François Boucher’s 18th-century painting Daphnis and Chloe, beauty looks resembled old aristocracy, with models wearing coral and orange blush in the hollows of the cheek.

Elsewhere, fuchsia blush was worn on the sides of the face – from the cheeks up past the brow bone onto the temples. And at Molly Goddard, extravagant, almost haphazard blush gave models an ’80s feel – complete with big hair and big dresses – and a maximalist look that’s returning to trend post-Covid. Make-up artist Miranda Joyce created high-impact beauty with intensely pigmented fuchsia blush complemented with pink and red shadow on the eyes and a berry-red pout.

The post All About Face: Beauty Trends From the Autumn/Winter 2021 Runways appeared first on Prestige Online - Hong Kong.