11 posts tagged "3.1 Phillip Lim"
When Paul Hanlon talks about hair, it’s never just a step-by-step—he takes you on an entire journey. It’s almost like listening to your grammar school librarian read a book aloud—except the semicircle is filled with editors aggressively shoving mini-recorders and iPhones in the storyteller’s face. And at 3.1 Phillip Lim, the tale went something like this (imagine this being told in a cool British accent): “I wanted it to look a little bit shipwrecked, a little bit Robinson Crusoe—like a girl that has been washed ashore. She wouldn’t have a comb, she wouldn’t have a brush, she wouldn’t have a hair band. And the back has this slightly dreadlock-y, crustaceous [feeling].” See what I’m saying? The visual narrative makes the style so much more than just a wet-looking, vine-y knot. And for the record, the hair was not physically drenched in water, as these are obviously very expensive clothes, joked Hanlon.
To get this “savage” and “elemental” texture, he applied Schwarzkopf Osis Twin Curl (a two-phase cream and gel formula) from the middle of the head down, and soaked strands from roots to ends in Grip mousse (about three-quarters of a can, to be exact). A diffuser was used to rough-dry, but not in the same way one would scrunch hair in the eighties—”more of an ambient air dry,” Hanlon explained. The front section was swept across the forehead and the length divided into two pieces and tied in a knot (or two, for longer hair), just as you would your shoelaces, and pinned discreetly into place. Elastic hair spray was used to flatten different areas against the sides of the head (as if the models had fallen asleep out of exhaustion once they finally reached land), and right before show time, Hanlon misted Flatline and Sparkler all over for serious sheen. “I like the idea of when [the girls] walk out, people don’t really see how their hair has been done—it’s more of a question of where have they come from,” he added.
The makeup was less gritty and more refined. Face painter Francelle Daly called it a “monochromatic techno look.” So what does that entail exactly? NARS Pure Radiant Tinted Moisturizer was mixed with a few drops of Copacabana Illuminator for extra glimmer. The Luxor Multiple was applied with fingers on the high planes of the face (i.e., cheekbones, forehead, chin, bow of the lips, and down the bridge of the nose) and set with a blue-tinged powder from the Iceland Duo Eyeshadow palette—lending an opalescent finish. In addition to mascara on top and bottom and brushed-up brows, the “cyber glow” was completed with a touch of Années Folles Larger Than Life Lipgloss (a lilac shade launching for Spring 2014) pressed onto the models’ pouts. I like to think of this total package as club kid meets castaway.
There’s always a bit of a downtown, cool undertone to the beauty look at 3.1 Phillip Lim, which is why it was surprising to hear NARS’ Francelle Daly describe the makeup as “uptown sophisticated.” “She’s a girl with an edge, though,” Daly added. “Like she has a rock ‘n’ roll boyfriend—or is in a band.” Phew.
The sophisticated bit was a reference to the flawless skin Daly achieved by combining NARS’ forthcoming Radiant Cream Compact Foundation with its Light Reflecting Loose Setting Powder. Cheeks received a slight flush courtesy of its Highlighting Blush in Miss Liberty, a light peach, and its Multiple in Copacabana, a shimmering champagne, while lids were given a camo tone with NARS’ new-for-fall Single Eyeshadow in Yamal. Then came that pout, which offered an interesting update to Fall’s favorite mulberry mouth while “complementing and finalizing” the look, according to Daly. Lining and filling in lips with NARS’ Lip Liner Pencil in Kenya, a cinnamon color, Daly layered that with its Eye Liner in Mambo, a dark cocoa, for an ultra-rich chocolate-cherry hue. “There’s an expensive taste to it,” she said.
Paul Hanlon did his part by honing in on a specific texture that he described as “a little Kate Moss”—a favorite inspiration for Hanlon’s special brand of deconstructed chic. Prepping hair with Frédéric Fekkai Full Blown Volume Styling Whip to give it a bit of grip, Hanlon administered a relatively done-up blow-out to start. “We’re making it beautiful, then we’re destroying it,” he explained, “because if you start with a destroyed texture, it can look poor.” Then, spritzing with Fekkai’s Luscious Curls Wave Activating Spray, Hanlon ran sections of hair through a curling iron to give it movement, side-parting strands and “clumping” them together in the back with bobby pins, “as though it had been caught in a scarf.” Another pin was also slipped above the ear on one side in a haphazard way so that it appeared as though “the girls literally walked off the street and into the show.”
When NARS national makeup artist Francelle Daly and Phillip Lim started talking about the beauty look for the designer’s Spring show a few days before it happened, they were keeping it light. “We were looking through the clothes, listening to Nirvana,” she recalls of the test shoot. “Then I remembered myself as the music girl, going to Lollapalooza,” Daly continued, which is when the lightbulb went off: clumpy mascara.
“It’s modern grunge—without the grunge,” she explained of the “sophisticated” face-painting effort that began with a base of NARSkin Luminous Moisture Cream topped with its Pure Radiant Tinted Moisturizer and a spot treatment of the new-for-spring Radiant Creamy Concealers where needed. Contouring cheeks ever so slightly with its Bronzing Powder in Casino, Daly brushed brows up and started in on those eyes. Working NARS Eye Liner Pencil in Black Moon into the lash line, she turned to her trusty tube of Larger Than Life Lengthening Mascara and pretty much went for it. “I hand-clumped them myself,” she effused of the chunky effect of curling the lashes, applying one to two coats of glossy pigment, letting that dry, and then adding eight to ten more swipes.
Paul Hanlon followed suit with a matted-down side part and an exaggerated, volumized, almost retro rock ‘n’ roll quiff on one side that was rendered positively contemporary thanks to copious amounts of TIGI Queen for A Day Thickening Spray that he heated into sections as he blow-dried to create a frothy texture. “Make it really flat on the sides or else it looks like a bit of a joke,” he instructed his team on how to keep it current, poring over the minutiae of every last hair.
Lim ordered up a nail moment, too, courtesy of Essie celebrity manicurist Michelle Saunders. “This is the half-and-half nail,” Saunders exclaimed of dual-colored tips painted on one side with Chinchilly, a mauve gray, and Brooch the Subject, a cappuccino, on the other. It was a far cry from the chipped black polish of true rock chic, but that was kind of the point.
Many designers, Phillip Lim among them, believe that every single detail is integral to a successful collection; you can’t have the right dress and jacket without the right beauty look to go with it. Lim’s Spring starting point was kites. Hairstylist Odile Gilbert’s? “The wind.” Coating locks with Kérastase’s new Fibre Architecte serum to create texture, Gilbert applied heat and tied the lengths into a knot, leaving four distinct strands out to be pinned to the side as though they has been blown back.
NARS national makeup artist Francelle Daly crafted clean skin and a metallic eye for a girl who was “edgy—a rebel.” Despite the bananalike shape Daly drew along the eyelid crease using a wet application of NARS Eyeshadow in Night Life, a silver, and the slate gray side of its Paris duo, it was not meant to be retro. “It’s not a sixties reference,” Daly insisted of that era’s preferred liner shape. “It’s geometry mixed with light and air,” she said, swiping a little bit of NARS Multiple in Copacabana along cheekbones and pressing a few fingertips of its new-for-spring Blush in Gaiety onto lips that had been taken down with concealer as she went. For a final touch, Daly painted mascara onto both the upper and lower lash lines, using NARS No. 2 brush dipped into its Larger Than Life Volumizing Mascara. “It’s great for catching the short hairs,” she
With lipstick making a cameo at Band of Outsiders’ Pitti presentation and Ulta just announcing that it is devoting an entirely separate space in its stores to men’s grooming this summer, guy-centric primping is gaining ground. That was nowhere more apparent than at Phillip Lim’s menswear show in Paris this weekend. There, tucked inside skater-punk, dip-dyed jean pockets were fingertips adorned in Minx—Silver Lightening Minx, it would appear. Fashion’s favorite nail overlays made a big showing at the women’s Fall shows, turning up backstage at Alexander McQueen and Gareth Pugh, most notably. But it’s exciting to see them crossing gender lines, as the versatile accessory could—and should—be as useful to a man’s wardrobe as a woman’s. Just ask Lim himself. The designer was sporting a few silver tips at the show, too.
Update: Lim actually requested MinxLusion, a new hologram, prism-type of finish that he had the nail stylist team distress around the edges so that it looked like the models had been dragging their fingertips on the pavement—while skateboarding, obviously. Hot!