There is an interrogation of terms necessitated by this trend, since the ambiguity of the expression ‘cult’ and all it entails makes for varied interpretations of meaning. When it comes to the notion of the cult in fashion and beauty terms, two somewhat divergent paths and aesthetics appear from the same pool of inspiration. Perhaps the most commonly held impression and association with the phenomenon takes us down the ‘darker’ of these two paths – where the idea of a cult conjures up ideas of restrictive or ideologically extreme sects where uniformity is more a tool of oppression than of solidarity.
In these terms, cult-inspired beauty is something of an ‘anti-beauty’, if taken to mean that puritanical ideals typically lend to the promotion of modesty, almost to the point of de-sexualisation. Make-up free and dressed simply, the ‘cult’ woman in this sense seems an unlikely source of inspiration. However, in fashion and pop culture terms, ‘cult’ has become an idiomatic prefix for movements and groups associated purely with uniformity. Often ironically juxtaposing the modest beginnings of the term in its original sense, fashion moments associated with ‘cult culture’ are typically the most striking and theatrical, making backhanded references to ideas of purity, innocence or ‘anti-beauty’ through the exaggeration of these looks.
Even popular trends such as ‘granny-’ or ‘geek chic’ share in this idea of manipulating typically ‘anti-beauty’ looks. These trends draw from inspirations that wouldn’t necessarily promote the use of make-up or sexualisation, and turn them into aesthetics that highlight, albeit in an usual way, beauty and appeal under different rules. Most prominently demonstrating this latter cult aesthetic was the make-up and hair on Meadham Kirchhoff’s AW11 runway, where innocent, doll-like elements of styling were clashed against a look dominated by full, vibrant lips and contrasting eye make-up that brought something of a demonic edge. Tapping into the darker associations of cult sects, the models at Meadham Kirchhoff stormed the runway with a look that took uniformity to extreme lengths. Pale, powdered skin was at once doll-like and haunting – as if the models were fearsome yet oddly beautiful creatures that only appeared at night. Red and orange tones smudged below the lash-line took the concept of bloodshot or demonically glowing eyes, making blue eyes piercing but in a way that was disturbing, rather than traditionally beautiful.
The uniformity of the make-up across the runway emphasised the cult-like persona that was created, and this was accentuated all the more by the theatrical, subversive hair styles. Unnatural mixes of black and white blonde hair symbolised a deliberate attempt to create a shared identity; rejecting all concept of a beauty that came naturally (or even subtly). Deep black roots seemed to bleed into the goldilocks-esque, childlike ringlets of the blonde ends, as if a darkness was spreading from the centre of the head, shared by each model in turn. Kitsch, baby blue bows accessorised the hair in a move of subverted innocence; taking a childish adornment and re-examining it in the context of an altogether darker aesthetic. The key to this look lies in its unorthodox portrayal of youthfulness – where traditional associations with natural beauty are dismissed in favour of an almost ageless appearance that is in part childlike and at the same time deathly pale and other-worldly.
Appealing to the former definition however, cult beauty takes something of a u-turn as it takes inspiration from the more pure, simple presentation of religious sub-groups such as the Amish and other Christian Mennonites. This look hails from more familiar ground, where the idea of ‘clean living’ translates into make-up and beauty trends that promote natural, unblemished beauty. In this issue’s Fashion Editorial, barely-there make-up forms the basis of a look that exudes modesty, with eyes and lips given an effortless appeal against youthful, glowing skin. As seen at Prada AW11 and Yves Saint Laurent SS12, neutral tones prevail, with subtle peach hues dusted across the eyelid and browbone to subtly bring out the colour of the eyes. Harsh blacks in the form of mascara or eye pencil are replaced with clear gloss and an un-lined eye, making the face something of a blank canvas from which natural beauty can show through.
Products designed to enhance natural colour are the best tools for achieving the ‘no make-up’ make-up look, so mascaras that are clear or natural brown will open up the eyes without looking artificial, and a slick of clear gloss or lip balm will gives lips a subtle sheen. Shu Uemura’s Lash Builder is a serum that promotes healthy lashes and growth and can be worn alone or as a base for mascara – try Bare Minerals’ Flawless Definition Mascara as it comes in an Espresso shade that is close to a natural lash colour. For lips, MAC’s Tinted Lip Conditioner gives sheer coverage with a hint of colour, with shades to create both nude-toned and wine-stained effects.
The most prominent statement feature of this look is the base, with skin that is naturally pale from being shaded by hats, yet complimented with high colour on the cheeks. Giving the appearance of the honest ‘outdoors’ look, rose coloured blusher is key – Nars The Multiple is a cult classic for achieving subtle colour that blends well and gives a soft shimmer. The non-powder formula can be used on eyes, lips and cheeks to bring out colour in the complexion where it most needs enhancing, so helps to create the effect of rosy flushes from being exposed to the elements.
This utility-inspired look follows through in hair styling, as seen in the Cult Issue Editorial, where effortlessness and practicality are key influences. Hair is kept away from the face; swept back into a ponytail or plait that is neat, yet appears practical rather than severe. Centre partings give a youthful edge, but the styling appeals to historical trends such as low-swept buns – with sleeker styling on the crown allowing for hats to be worn. Unlike the uniformity through theatrical colouring and styling at Meadham Kirchhoff AW11, this look conveys homogeneity through styles that are natural and modest with an air of nonchalance and almost purist sobriety. What both looks share however is the play upon interpretations of meaning, and an aesthetic with an elevated level of regularity whereby the effect of group is considered above the individual.
Images by Style.com
