Val Garland For M.a.c By Gareth Pugh And Ruth Hogben

Model Annabelle Horsey shooting for showstudio. Make up by Val Garland. Gareth Pugh for M.A.C. Director - Ruth Hogben, Stylist - Katy Shillingford, Makeup - Val Garland for M.A.C, Hair - Martin Cullen, Nails - Marian Newman, Sound - Matthew Stone.

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'She's very beautiful. But she looks like she might kill you,' says Gareth Pugh of model Alla Kostromichova, the lovely if admittedly somewhat intimidating face of his soon-to-launch, limited-edition line of make-up and accessories, designed in collaboration with Mac.

And that just about sums up not only the designer's aesthetic more broadly, but also this latest venture. On a table in front of us, all packaged in fiercely heavyweight, high-shine geometric black, is a duo-chromatic nail polish that flashes from emerald to amethyst; a powder designed to suit all skin colours and render the complexion entirely – almost a touch morbidly?

– matt; and lip gloss that is relatively discreet when worn alone but high-impact when layered over dark and distressed shades of lipstick. Then there are probably the most enormous false eyelashes the world has ever seen – they're called Flight Lashes, presumably because should they catch the breeze their wearer might inadvertently take to the skies in them, which would be good. 'I got the biggest ones Mac does and chopped them up, basically,' Pugh laughs. 'When you put them on top and bottom they work really well. They look like horse blinkers.' Speaking more generally, he says of the origins of the collection in question: 'Mac asked me to send them things that I like – colours and textures. I went through my studio and I never throw anything away so I've got all this stuff.'

It almost goes without saying that said 'stuff' is more than averagely interesting. 'There's a butterfly ring, which is how we came up with the iridescent thing. There was a hematite rock that I'd picked up in Evolution in New York. I can't resist that place. It's full of dead things and crystals. I sent Mac the feathered head-dresses from my spring/summer 2010 show – light grey feathers, that's how we came up with that colour.

It's all come from the same place so it works as a collection, I think. It tells a story.' And that story brings together what Pugh describes as 'two opposing elements that can be merged and mixed.

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