20 posts tagged "Aaron De Mey"
Alongside the plethora of colors used at many shows for Spring 2014 (Chanel, Céline, and Prada, to name just three), there were several designers that opted for a clean slate. (And no, I’m not talking about the bevy of “raw” hair and makeup looks that were also popular this season.) Instead, I’m referring to graphic bands of white drawn across models’ lids by Aaron de Mey at Kenzo, the alabaster pencil Tom Pecheux used instead of shadow (in order to “avoid flakes on the lashes”) to create a modern mod look at Ralph Lauren, and the combo of cream and powder he dusted on eyes at Altuzarra. Using the right tool to apply is also key to pulling off this color: For a subtle wash of white (as seen at Altuzarra), use a large, soft brush to blend, explained Pecheux. “If you use something very hard, [the color] is going to be very opaque and you will look like a panda,” he added. And while those rings might look adorable on cuddly bears, they definitely don’t have the same effect on people.
To see all of Spring’s top backstage trends, read our Beauty Moments feature.
Messages against overfishing were abundant at Kenzo—with No Fish No Nothing scrawled across the doors of the La Cité du Cinéma and a sweatshirt in the collection. The idea was also reflected in the iridescent fabrics (with a sheen similar to that of scales), sunglasses with fish-eye-like baubles that wrapped around ears, an “aquatic sound system” in middle of the catwalk that jolted with every beat, and a floor-to-ceiling waterfall that served as the backdrop for the runway.
To reflect the marine movement, makeup artist Aaron de Mey mimicked the “crest of a wave” by drawing a graphic band of MAC Acrylic Paint in White across the tops of lashes with an angled brush, abruptly ending the line at the outer corners. “It looks like zinc on the lids—[providing] the reverse effect of classic sixties eyeliner,” he said. In addition to oceanic inspiration, de Mey cited Black Flag (a punk band hailing from Hermosa Beach, California): “I experimented with black, but it was too heavy and literal—punk is a feeling of being opposite to everyone else, and the blunt shape makes it feel more aggressive.” The rest of the face was kept bare, applying concealer only where necessary and dabbing a heavy cream on the tops of cheekbones, chin, and down the bridge of the nose to lend a dewy finish.
To give strands an underwater—yet androgynous—feel, hairstylist Anthony Turner blew them dry using mousse and his fingers for texture, then made a boyish side part and slicked the top section back behind one ear with a wet-look gel. “It’s almost how a boy would grease the side of his hair,” he explained. And in lieu of schools of fish, a gang of tough L.A. girls (similar to the idea at Prada, but with a far more West Coast vibe) served as the pro’s muse. Turner left the length dry, but used a curling iron to create ridges and marks—his interpretation of how women in the street “badly tong” their hair. He topped everything off with a liberal amount of L’Oréal Professionnel Infinium hair spray for added shine and control.
Press-on tips designed by Naomi Yasuda were based with MAC Nail Lacquer in Nocturnelle (an ebony hue) and streaked with Vestral White using a skinny liner brush. The abstract art not only picked up on the patterns at the beginning of the show, but popped against the cobalt, fuchsia, acid yellow, and sea foam green colors splashed across dresses, blazers, midriff-baring tops, minis, and floppy beach hats. If taking a stand looks like this, I’m ready to join the cause.
Black cat-eyes—thin flicks of dark pencil drawn across the upper lash line—are a pretty standard maneuver for makeup artists hoping to incite a feeling of classic glamour. But what if you want to accentuate the lids while steering clear of that feeling entirely? “It’s all about the under eye,” according to Aaron de Mey, who used an elongated uptick of MAC Eye Kohl in Smoulder underneath the lower lash line, inside the water line, and in the root of the lashes to get the reverse effect at Kenzo—or a “punky” vibe, as he put it.
“It’s very futuristic maharaja,” de Mey said of the look, citing references ranging from Stanley Kubrick to India as he topped his hand-scrawled stroke with MAC Eyeshadow in Carbon to intensify the darkness of the pigment and its Fluidline in Blacktrack, which was used on the outer corners only to define the straight shape. “It looks strong, direct, and purposeful,” he continued of the graphic element that contrasted with Humberto Leon and Carol Lim’s incredibly rich, colorful collection—as well as skin that de Mey described as “icy” as he used a blend of its Cream Colour Base in Pearl and its Iridescent Powder in Silver Dusk to create dimension on the high planes of the face. Slicking MAC Gloss Texture across lids for a high-shine finish, de Mey concentrated a small dose of it on the center of mouths as well, which had been made slightly smaller with a finger-pressing of foundation around the edges. “It’s like the girls were sucking on ice,” he explained of the technique—which wasn’t too hard to imagine, considering the subarctic chill backstage at La Samaritaine.
“There’s a lot going on,” Anthony Turner confirmed of the bounty of prints and patterns in the clothes, not to mention the large enameled Delfina Delettrez Fendi-designed earrings that dangled from models’ ears. “We wanted to make sure we brought the girls back into the young Kenzo world,” he elaborated of the “cool, downtown, nonchalant” hair he fashioned by coating strands with Moroccanoil Curl Defining Mousse, drying them with his fingers, and then carving out messy side parts. “I was inspired by skater boys—you know, how they put too much product in their hair,” he continued, slathering lengths with its Intense Curl Cream before tucking them behind the ears and simulating a soft, piece-y frizz around the hairline and the crown, so the style felt more organic. “I live in New York,” Turner declared. “I know what this looks like.”
When we arrived backstage at L’Wren Scott this morning, there was a large black-and-white picture of Theda Bara taped up to the wall. “She was one of the first sex symbols,” Lancôme artistic director Aaron De Mey said of the silen- film star. “She’s the person the word ‘vamp’ was coined for—and the woman Scott assigned the title of beauty muse for her Fall show. Working off a sepia image of Bara that boasted a blue tone, De Mey chose to build the screen legend’s classic, round eyes with midnight blue instead of black shadow. “We’re using it as a neutral,” he said of the steely shade of Lancôme’s Le Stylo Waterproof Long Lasting Eye Liner in Minuit, which he drew close to the lash line and up through the crease and then dusted with its Color Design Sensational Effects Eye Shadow in Garment, an equally deep navy, around the edges. To give it a “lived-in” feel, De Mey dotted a clear gloss on the center of the lid. “It’s really all about the eye,” he concluded, beefing up brunettes’ brows with Lancôme’s Le Crayon Poudre in Sable and bleaching blonde models’ arches accordingly.
“It’s one of L’Wren’s favorite colors,” De Mey continued of the prominent blue-black eye pigment—which manicurist Yuna Park capitalized on as well. “It’s custom-made for her show,” Park said of the almost-black, navy polish that was inspired by one of the dresses in Scott’s collection and painted onto both fingers and toes. (Park also hinted that the designer might produce the lacquer if there’s “enough of a demand”).
To finish off the gothic tribute to the twenties, hairstylist Serge Normant created side parts that he treated with a hefty dose of his Meta Lush Volumizer and Meta Luxe Hairspray before back-combing, ironing in a soft Marcel wave and pinning the lengths underneath themselves. Fall’s faux bob strikes again.
“It’s a forties-era woman who’s traveled to the French Riviera and has been kissed by the sun,” Lancôme artistic director of makeup Aaron De Mey said of the L’Wren Scott face for Spring. “She’s pretty but she’s not too cosmetic or perfect—she’s a rock ‘n’ roll duchess,” he added. De Mey achieved this ideal by dipping heavily into tawny, earthen tones—mixing shades of Lancôme Teint Miracle Foundation two shades darker than the models’ own skin tones with face moisturizer and sweeping its Star Bronzer in Solaire across the high points of the face to catch the light. On eyes, De Mey drew Lancôme Le Crayon Khol in Black Coffee into the roots of lashes and directly onto the crease, blending it up toward the brows for an I’ve-been-out-all-night smudged effect. He cut the intensity of the liner with dazzling shadows from Lancôme’s 5 Pan Palette in Golden Frenzy, placing metallic pigment into the inner corners and smudging clear gloss (Lancôme Juicy Tubes in Pure) over the lids for a luminous, “deconstructed” effect. A coat of Color Design lipstick in Bronze Show on medium skin and L’Absolu Nu in Satin Toffee on darker complexions provided a rich, chocolate-rosy lip.
Coiffing star Serge Normant played to the deconstructed theme, too, spinning strands into a French twist that looked like it had been hit with a strong gust of wind. “This woman is just getting off the boat,” Normant said (read: yacht). “Her hair is disheveled but it still has an air of sophistication.” He struck that balance by pinning the back portion of hair into the twist but leaving the front out to create finger waves around the face that he misted with his Serge Normant Meta Revive Dry Shampoo, teased, and then brushed for a gauzy texture. “I want to look at the models and still feel the wind blowing through the hair,” he said.