The Best Beauty Moments From New Zealand Fashion Week: Kahuria 2025

Beauty editor Ashleigh Cometti charts the most memorable makeup looks and hair trends happening now.

New Zealand Fashion Week: Kahuria 2025 made its return after a two-year hiatus on August 25, with a vision to highlight how our tiny pair of islands at the bottom of the world remain a thriving incubator for design that deserves to be seen on a global scale.

From seasoned Fashion Week veterans to breakout designers keen to connect with the next generation of fashion-forward New Zealanders, the event brought a renewed sense of identity and purpose that usurped that of previous years.

As poignant as the designs were throughout the 42 event schedule, which comprised panel discussions, intimate presentations, and runway shows, the beauty looks that helped hone designers’ visions fostered a sense of time and place or pushed the limits of possibility.

For editorial hairstylist and Shark Beauty hair director Sara Allsop, runway beauty looks act as a form of storytelling.

“At New Zealand Fashion Week, hair looks are always deeply rooted in the designers’ creative concepts and the story behind each collection,” she says.

“Our role backstage is to translate that vision into a cohesive hair look that not only elevates the aesthetic but also works seamlessly with the flow and pace of the show.”

While many presentations adopted an avant-garde bent (we’re looking at you, Taylor), Sara says group showcases or larger shows require a level of ease and consistency to ensure the hair look can endure dress changes.

“For shows with multiple outfit changes or group showcases featuring several designers, it’s essential to create a hair look that’s both versatile and durable. When garments are coming on and off quickly, the hairstyle needs to hold its shape, stay polished and complement a variety of aesthetics without needing constant touch-ups,” she says.

Like many Fashion Week circuit regulars, Sara swears by a toolkit of hero products and backstage essentials to create hair looks with relative ease – including the Tigi Bed Head Queen For A Day, $17, for volume and grip, L’Oreal Paris Elnett Hairspray, $15, for flexible yet strong hold, and the Shark FlexStyle Air Styling & Drying System, $499, for salon-quality results under time pressure.

Below, the standout beauty moments that stole the show at this year’s New Zealand Fashion Week: Kahuria.

Opening statements at Into The Archives

Award-winning makeup artist Kiekie Stanners directed the beauty look, which juxtaposed a fresh-faced, radiant finish makeup style with a grungier take. Darker shadows layered on the upper and lower lash line with spidery lashes made for a bold statement even under the floodlights outside Shed 10.

For hair, Diane Gorgievski for Redken worked with models’ natural hair texture for a look that was decidedly undone – leaving strands loose and wild, trailing down backs or tucked into the collars of oversized coats.

Unfussy and allowing for plenty of movement as models stepped on to the paved runway, the slight sheen on hair suggested a spritz of shine spray over ends.

Elsewhere on the runway, hair took on a rock’n’roll sensibility with twin pin curls sweeping up from temples to meet in a centre part, paired with the same loose, textured ends. This style felt all the more impactful when paired with the aforementioned smoked-out makeup.

Under the watchful gaze of key makeup artist Liz Hyun using Aleph Beauty, the look at Claudia Li’s Tuesday morning show, A Different Place and Time, felt decidedly modern.

“Cheeks swept in sheer, buildable colour for that just-pinched flush,” says Liz of the healthy glow spotted on the runway, describing the makeup as “modern, wearable, and effortlessly elevated”.

Skin was prepped using Aleph Beauty’s multi-functional moisturiser: The One Reset/Restore Moisture Cream, followed by a light layer of concealer/foundation only where needed to conceal and correct using the brand’s new blend/blur brush.

Blush shades were customised to suit each model’s skin tone, with hues spanning Grounded, Reve, Crush and Terra. For a monochrome finish, Liz used the same shade on models’ lips to lightly shade the centre, with a layer of the Lucid Lip Gloss/Balm on top to finish.

For eyes, a sweep of Radiance Balm in either Moon or Sun combined with the Lucid Lip Gloss/Balm for added dewiness, with a lick of Lift/Lengthen mascara to complete the look.

Hairstylist and L’Oréal Professionel artist Kelly Manu channelled Parisian chic with an effortless and undone approach to hair, working with each model’s face shape to find a soft side parting that looked natural.

“The look embraces an element of frizz, adding to the lived-in, cool-girl edge. There are a couple of variations: one with a lived-in, natural ringlet texture, and another with a straighter, relaxed wave, both with soft pieces left out around the face to create a sense of movement, almost as if the hair is floating down the runway,” she says.

Key products included a handful of industry favourites, such as the L’Oréal Professionel TECNI.ART Beach Waves, $44, for enhancing natural movement and the L’Oréal Professionel TECNI.ART Morning After Dust, $44, for added texture. Customised wigs, fringes and wefts were supplied by sponsor Hairtalk.

Refined radiance at Juliette Hogan

Fashion Week stalwart Josie Wignall directed makeup at Juliette Hogan, designing a look that celebrated healthy-looking skin using products by New Zealand skincare label Raaie as much as it did a glowing makeup base.

The brief was simple: “dewy skin, soft tones and a subtle light play for a fresh-faced runway statement”, Josie says.

“Raaie plays a key role in achieving this look by prepping the face first with Tranquility Water Activating Mist – a whisper of fine mist activates instant hydration and glow, Morning Dew Vitamin C Serum adds brightness, and Cocoon Ceramide Cream melts into the skin – the ultimate pre-foundation prep.”

Backstage at Juliette Hogan featured some of the biggest names in makeup – including Liz Hyun, Sarika Patel and Kath Gould – assisting Josie to prep models for the runway.

For an eye-opening pop of brightness on the inner corner of each model’s eye, a daub of the lightest shade in the Wakemake Glow Contouring Highlighter Palette, approx $57, a K-beauty makeup favourite.

For hair, Lauren Gunn and the team from Karangahape Rd salon Colleen used Kevin Murphy products to create the minimalist, glossy hair look – a low-slung ponytail that felt polished but not overdone.

A long-time collaborator with Juliette Hogan at NZFW, Lauren says: “Whenever I’m designing a look for a Juliette Hogan show, my focus is on creating hair that feels super healthy, with a pared-back polish.”

Kevin Murphy’s Young Again Dry Conditioning Spray, $63, was the hero, used to hydrate strands and deliver a high-shine finish to hair.

Lauren started by separating hair into a deep side part, spraying each section of hair with Kevin Murphy Session Spray Flex at the roots and Young Again Dry Conditioner through mid-lengths before using a hair straightener to smooth strands.

Another spritz of Session Spray Flex ensured the parting held, followed by a little Young Again Serum to the ends of hair for a glassy finish.

She gathered hair into a low ponytail with a mini hair elastic to secure, and painted a little brow gel matched to each model’s hair colour to help disguise the band. The ultimate minimalist finish.

Gravity-defying drama at Taylor

At Vicki Taylor’s avant-garde Shadow Play art installation, hair was directed by Danny Pato, Ryland Wood and the team at D&M Hair.

Danny worked closely with Taylor to develop a hair look to suit her theatrical display, which featured six sets with their own lighting, staging and fashion concepts.

The award-winning hairstylist says he used each of these to create “unique, architectural, sculptural looks unique to each space, each strong enough to cast a shadow”.

And that he did, with towering braids and hairpieces that defied convention.

“We worked with extreme braiding – some long, extending below the waist, and some defying gravity – adding sculptured hairpieces and integrating them with the models’ own hair to create different looks that reflected each garment,” Danny says.

“We used a lot of wire and sponges to create these extreme shapes.”

Makeup was directed by Aleph Beauty founder Emma Peters and Yelena Bebich, who sought to celebrate edgier moments with diffused, smoked-out eyes that blended into radiant skin.

If you looked closely, some models donned subtle embellishments such as water droplets all over their skin, a fine detail that left a great impression.

A masterclass in texture at Harris Tapper

Colleen’s Lauren Gunn used a suite of Davines products to channel a hair look that was summarised in a blog post as “less polished perfection and more bratty Victorian rich girl who’s been out all night”.

This dry, frizzy texture was a nod to the 1930s boudoir references that underpinned the brand’s latest collection, pulled together loosely into a small knot at the nape of the neck.

“It looks undone, but there are a lot of technical steps to get that undone look right,” says Lauren. “Product choice becomes really important when you want something to look good yet not contrived.”

Lauren worked with two key products from Davines to create this lived-in look – the More Inside No Gas Spray, $63, and Dry Wax Finishing Spray, $61.

After separating hair into a centre part, Lauren took a messy section from each side and secured them with a clip, while blow drying the remaining hair smooth and flat.

Next, a spritz of the More Inside No Gas Spray, before coiling hair into a bun and applying heat with the hairdryer for natural-looking movement before releasing.

Lauren tied the ends of the lower section with an elastic band into a looped half-knot, before releasing the top section and spritzing with the Dry Wax Finishing Spray and tucking behind ears.

Kiekie Stanners directed the makeup look, which borrowed inspiration from 1950s couture with a powdered complexion offset by heavy, oil-slicked eyes that captured the moody atmosphere and hauntingly beautiful energy of the show perfectly.

1960s volume at Kathryn Wilson

To match the contagious energy and excitement evident at Kathryn Wilson’s elevated runway show, Danny Pato sought to channel a hair look that felt feminine, joyful and playful.

“To complement her new collection and her colour block organza trench coats, we channelled 1960s icons like Barbarella and Bardot,” he says.

“Hair was sky high and bouncy, with pumped-up ponytails and face-framing curtain fringes secured with braided headbands.”

The makeup look felt equally impactful, bold blush peeked out from underneath fringes and glossy pink lips perfectly framed models’ ultra-wide smiles.

As for limbs? Ultra-bronzed, of course.

Last night’s makeup at Kahui Collective

Freelance makeup artist Gabrielle Houghton created not one but two looks at the Kahui Collective show, directing makeup for Mitchell Vincent Collection (mvcgram), Czarina, Kaistor Street and Katherine Anne.

The first look appeared as if models had stepped into sunlight after a night at the club, with a graphic eye look paired with naturally flushed cheeks seen at Mitchell Vincent Collection and Czarina.

Gabrielle worked with products by Nude by Nature, including the Contour Eye Pencil in 01 Black and Natural Illusion Eye Palette in Classic Nude on eyes, paired with the Hydra Stick Lip and Cheek Tint in Nude Berry, which was applied softly to cheeks and pressed into lips for a rosy appearance.

For Kaistor Street and Katherine Anne, the brief was makeup that celebrated the strength, resilience and fierceness of Mana Wāhine, while still appearing soft and tender.

Gabrielle used the Nude by Nature Contour Eye Pencil in O2 Brown as an eyeshadow base and along the top and bottom waterline for a depth of colour, plus a sweep of the Natural Illusion Eye Palette in Classic Nude. Lift and Curl Serum Mascara was applied generously to top and bottom lashes to complete the eye look.

Lips were drenched in the Moisture Shine Lipstick in 02 Nude for barely there colour, nourishment and softness, layered with a brown lip liner and diffused edge.

Electric energy at Karen Walker x adidas

It’s been 15 years since Karen Walker last made an appearance at New Zealand Fashion Week and the hair and makeup look from her Thursday night runway show certainly won’t be forgotten in a hurry.

Makeup artist Kiekie Stanners directed the look, working closely with the designer to reflect the vivacity and playful spirit of the show.

“We wanted to create a bold, energetic makeup look to reflect the aerodynamic feel of the show,” Kiekie says.

“Electric cobalt blue, neon yellow and hot pink winged liner framed the eyes in bold lines, extending straight out to create a graphic, streamlined feature.”

For hair, Shark Beauty director Sara Allsop designed a look that she says felt “lived-in and confident, with styles that celebrate natural texture, movement and individuality”.

Sara worked with Karen to dream up two hair looks, helping to enhance models’ features and adopt a certain level of personality as they shot down the runway.

The first look boasted plenty of voluminous texture with front soft buns, and the other a textured double knotted ponytail – an agile style perfect for hobby horsing.

To create the textured double knotted ponytails, Sara used volumising product and the Shark FlexStyle with the Paddle Brush attachment to blow dry product into hair, taking care to smooth and straighten hair without creating too much volume at the roots.

Next, Sara created a deep side part in line with the outer end of models’ eyebrows and used the FrizzFix Finishing attachment to add sleekness at the roots.

Sara combed hair back into two low offset ponytails and secured with a clear plastic hair tie, gently pulling the hair back through the elastic again to form a half knot with ends left free.

To finish, she wrapped one of the longer ends around the base of the knot and secured with one or two bobby pins in a contrasting colour to models’ hair.

Wet look hair at Zambesi

Shark Beauty hair director was the maestro behind the hair look at Zambesi, which appeared as if models had just surfaced from the ocean.

The relaxed, wet-look finish boasted plenty of movement and texture, helping echo that of Zambesi’s Instrumental collection.

“The idea was to keep things natural and undone, with that salty, just-out-of-the-water texture. Slightly matted and textured, the finish is a balance of moisture, movement and the natural elements,“ Sara says.

“We are embracing imperfection and natural texture, letting the hair tell its own story.”

On damp hair, Sara applied a generous amount of mousse or texturising salt spray through roots and mid-lengths, before using a tail comb to create a clean centre part and securing with flat clips.

Using the Curl-Defining Diffuser attachment on the Shark FlexStyle Air Styling & Drying System, Sara began drying hair at the roots, pressing the hair flat at the roots as she worked for a matte, lived-in texture.

Next, Sara pinched and scrunched hair into the diffuser to help enhance natural waves or curls, allowing for an undone texture that balances flatness at the crown.

After removing clips, Sara applied a small amount of smooth serum to ends only, helping create the illusion of a wet finish.

To finish, Sara tucked hair behind models’ ears, leaving a few strands free at the front for extra movement.

High-fashion finger waves at Knuefermann

A bold finish to a busy week came at Turet Knuefermann’s off-site presentation at The Northern Club, where Danny Pato and the D&M team created a hair look that mirrored the refined elegance of the designer’s latest collection.

Finger waves framed models’ crowns in slick, undulating waves, punctuated with tightly wound braids that sat firmly against the backs of their heads.

“When Turet briefed me on her show’s contemporary jazz club concept at the exclusive Northern Club, along with her elegant, sexy and immaculately tailored collection, I devised a hair concept as a modern, high-fashion reimagining of the 1920s finger waves and pin curls, paired with a sleek reverse braid,” says Danny.

The result is one of the most memorable hair looks of the week, which highlights Danny’s skill and expertise in the field of editorial hairstyling.

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