“You construct relationships behind the scenes,” says make-up artist Peter Philips, who created the sweetness seems for this story on a few of his favourite fashions, previous and current. The set had a class-reunion type of vibe, as longtime collaborators like Malgosia Bela (“I’ve been an enormous fan for years—she simply doesn’t change”), Inge Geurts, and Delfine Bafort (whom he met at a mannequin contest in his native Belgium 25 years in the past) mingled with newer faces.

“They’re all actually inspiring to me,” says Philips. “I like the maturity of the older girls—they’ve had youngsters, they’ve had relationships, they’ve had breakups; there’s a complete life lived of their faces,” he says. “But they nonetheless have this distinctive magnificence in entrance of the digicam.”

Philips stored make-up to a naked minimal in some photographs, just like the one among veteran mannequin Christine Bergström, whose options he merely enhanced with “somewhat little bit of eye shadow, a contact of mascara, and a pleasant glow on the cheeks.” However when it got here to Sharon Aléxie, Philips (a self-described “ ’80s and ’90s child”) used a liberal utility of vivid purple Rouge Dior lipstick and exact black eyeliner to morph the French artist right into a useless ringer for the singer Sade. “You are able to do something with make-up,” says Philips. “You may improve, you possibly can rework, you possibly can cowl up, and whenever you mix it with good images and good lighting, effectively, it’s a celebration.”

Which isn’t to say each shoot is all glitter and rainbows. “It’s a really intimate job,” says Philips. “You contact individuals’s faces, and also you see them at their most susceptible—with out make-up, with out lighting—they usually belief you to make them look robust, or beautiful or horny, even once they is probably not feeling that approach. It’s as much as you, your abilities, and your phrases to offer them the arrogance to make it by way of.” And what occurs when Philips is the one having an off day on set? “It really works each methods,” he says. “We raise one another up. That’s what creates a bond.”

Make-up by Peter Philips for Dior Make-up; manicure by Nelly Ferreira at Majeure Prod. Casting by Michelle Lee at Michelle Lee Casting. Set design by Justine Ponthieux at CLM.

Fashions: Christine Bergstrom, Delfine Bafort at Noah Administration; Inge Geurts at Hakim Mannequin Administration; Kayako Higuchi at The Society Administration; Malgosia Bela at DNA Mannequin Administration; Marie Fofana at NEXT Mannequin Administration; Raynara Negrine at Business NY; Sharon Alexie at Subsequent Mannequin Administration; Steinberg at Lions Administration. Produced by Farago Tasks; photograph assistants: Clement Dauvent, Adrien Turlais; digital technician: Mitko; vogue assistants: Marie Poulmarch, Agnès Vadi; hair assistants: Damien Lacoussade, Aude Andre Gbazi; make-up assistants: Julie Camus, Delphine Delain, Yazid Mallek; set design assistant: Anne Camille Allueva.