Ever wanted to take a look behind-the-scenes in a London Fashion Week show? Well, you are in luck, because we got the opportunity to.

Backstage at a Fashion Week show is manic, stressful and intense, and busy with models, runners, designers, producers, makeup and hair artists all playing around.

Then through all that chaos, a beautiful show emerges.

We took a peek at what goes on prior to the models hit the runway at Osman Yousefzada's show, and got to determine makeup artist David Gillers work his magic.

He tells Metro.co.uk his inspiration for the show's look was the 2000s, which is using a comeback, and shimmer that's 'a little trashy, with sexy vibes'.

When designing the design, he went back to noughties culture and studied movies, red carpets events, the silver eyeshadow of Christina Aguilera and Paris Hilton, then from there began to mood board his ideas in the lead in the show.

He adds it's about 'a modern woman who does not have time to blend her eyeshadows – it is a slap and go'.

And his top tip for contemporary women from the catwalk is to 'slap on the foundation just like you are able to, and anything else will appear amazing if your is made of done.'

'When I actually do makeup, It's my job to ensure the skin looks great, i quickly know it guarantees whatever I put on top will look good,' he adds.

When it came to applying mascara, David moved the wand backwards and forwards horizontally across the lashes, instead of vertically.

He says playstation 3 'clump the lashes more – when they stick, they give a bit more volume and they also look spikier.'

Famous drag queen Tayce was his model here, loading up on layers of mascara without resorting to falsies.

If you're inspired with a look you see at LFW, David says you should not be put off by it – even when it seems too bold.

'Take the facts of the looks. If you see a look that you love, actually look at it and see what's the thing you like about this most,' he states, then extract that part of it and tone your look down.

He then quoted Coco Chanel, advising that 'before you exit the home, remove one thing', and that way you know it's a statement look instead of an unwearable one.

These are his top picks for flawless makeup – and the products he utilized on models for the catwalk:

Pat McGrath Mothership VII: Divine Rose eyeshadow palette

Get it for lb115 from Selfridges.

A luxury buy, only one that David says he's no regrets over.

'There's nothing better than the Mothership palettes if you prefer a standout eye look, it's just because her products have this beautiful texture to them,' he says.

Plus, Pat is known for her 'special shades' during these palettes, which are largely unrivalled in the beauty scene.

MAC Lipglass

Get it for lb16.50 from Boots.

The shade David used was limited edition and no longer available, but he loves this formula for any high shine gloss.

It's just a little thick in texture, but it provides the glass-like finish the name promises and will be offering some hydration.

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Charlotte Tilbury Airbrush Flawless Finish

Get it for lb35 from Cult Beauty.

We weren't surprised to determine this in David's kit, given how well-loved this powder is.

But the trouble with powder is it can mattify and take off the glow other products have given, though powder is really a key method to 'set' makeup, extending its wear time.

David says to work with this, start by doing all of your highlighter first and 'feather it out'.

Then bring your powder and 'feather it in to the highlight', overlapping slightly so the shine is softened merely a discuss the edges.

This provides the best transition he says, advising that 'you should never be scared of mixing textures'.

Fenty Diamond Bomb All-Over Diamond Veil

Get it for lb31 from Boots.

Who said glitter was an excessive amount of?

This fine reflective putty-like highlighter may be used on cheekbones and eyes to have an eye-catching look that connects these parts of the face.

David patted it in with fingers for the best finish.

Nars Blush

Get it for lb26 from Cult Beauty.

Sweep this higher on cheeks than usual for any blush draping effect, which visually lifts the bone structure.

David says although this technique is gaining more popularity recently, it actually goes back towards the 1980s.