We are playing with two-dimensional shapes on each of the models' faces.
This is an abstraction of beauty.
Anywhere you see a spot, it’s representative of beauty.
Maybe it’s blushing cheeks or a kiss on the lips, McGrath adds.
The texture is quite historical and romantic, he tells me.
It’s meant to look like a disrupted curl, not a ringlet.
From there, each model’s hair is piled atop their head in a style evocative of the 1800s.
It’s not meant to look perfect or uniform in any way.
The perfection comes from the imperfection.
We’re all playing with dimension here, McGrath adds.
It’s a fun interplay.
