Kate Moss, Calvin Klein Spring 1995.
Dick Page was working in London with Corinne Day and Kate Moss when his agent got a call from Calvin Klein’s stylist asking how the budding makeup artist felt about doing shows. In the early ’90s, outside of his editorial work, Page had only helped pal Stephen Jones with his small salon-style millinery presentations, and thinking she was being punked, the agent replied, “Oh, he loves fashion shows! Does them all the time!”
The Bristol, England–native up-and-comer moved to New York in 1994, where he made his runway debut with Calvin Klein and worked consistently for the brand for the better part of the next decade. It was a match made in fashion heaven: Page’s no-makeup makeup look was the ideal complement to the designer’s spare minimalist designs. As we post 10 1990s Calvin Klein shows, Page gave Vogue Runway a first-person account of his work for the house.
“Before doing the Calvin Klein show in New York in the early 1990s I’d never done a runway show. I’d never assisted anybody and actually hadn’t a clue about how fashion shows even worked. The stylist Polly Hamilton had seen the work that Guido [Palau] and I were doing in British magazines like The Face, and she thought it was a perfect fit for Calvin Klein, so she recommended us to him for the show.
At the time, runway makeup was generally glamorous, with perfectly finished, made-up faces and “rich hair”; the looks that Guido and I were doing were often unfinished and raw in comparison. The key was to make our style work for Calvin. I didn’t really think it was such a radical departure, as Bruce Weber had already established such an iconic idea of clean American beauty with his work for Calvin, but as our work came along with a new wave of models like Kate Moss and Emma Balfour, the energy changed quite dramatically.
My default look for Calvin Klein was a healthy, bare face, so I always kept the skin as clean as possible, with a minimum of foundation and rarely any powder. The skin often looked dewy, even shiny, and I’d use Vaseline on the eyelids and a dab of sheer rose or soft red lipstick for a trace of color on the cheeks and sometimes the bridge of the nose.
If there was any color detail on the eye or lip, it was a simple gesture, with no contour, lining, or complicated shading. For example, the eye makeup might be a simple swipe of coral eyeshadow (Fall 1997) or a deep charcoal cream eyeliner (Fall 1995). I rarely used mascara. The lip colors tended to be natural pinkish and mauve shades. Occasionally I’d go a little deeper with a brownish berry color (Spring 1996).
I worked closely with Guido just as we would have done on an editorial shoot, thinking about the girl in relation to the clothes and creating an honest, chic beauty to suit the idealized Calvin Klein woman. No tricks, gimmicks, or drama.”
(L) Kirsty Hume, Calvin Klein Fall 1995. (R) Emma Balfour, Calvin Klein Spring 1996.
(L) Guinevere van Seenus, Calvin Klein Fall 1996. (R) Amy Wesson, Calvin Klein Spring 1997.
(L) Esther de Jong, Calvin Klein, Fall 1997. (R) Danita Angell, Calvin Klein Spring 1998.
(L) Kiara Kabukuru, Calvin Klein Fall 1998. (R) Angela Lindvall, Calvin Klein Fall 1999.