8 posts tagged "Alber Elbaz"
The mantra of Spring 2014 continued at Lanvin: “Designer’s aren’t so concerned about the normal constraints—they just want it to feel easy and not too thought about,” said mane master Guido Palau. In contrast to the metallic fabrics, precise micro pleats, and oversize necklaces, the hair was kept minimal yet again—with a soft, “slightly broken” low ponytail that loosely swooped across the forehead. “It should feel as if you haven’t tried…which we haven’t,” he added. Strands were blasted with Redken Guts 10 for texture, and Quick Tease 15 (a volumizing spray) was used at the roots so that the finished product would appear more “bed-head-y” than flat.
The same logic applied to the makeup, explained Pat McGrath, who noted Alber Elbaz wanted to mimic how model Jamie Bochert showed up to the fitting. The girls were simply “enhanced” with brown mascara worked into the roots of lashes, a wash of taupe shadow around the eyes, a light touch of highlighter in key places (like the lids, inner corners, Cupid’s bow, and chin), and rose blush dusted across the cheeks. Due to the unusually warm temperatures in Paris this week, McGrath did her best to “mute” the naturally flushed faces of the girls. But despite the steamy backstage conditions, the summery weather seems to have inspired a wave of laid-back looks.
There was a push for idiosyncrasy over consistency in Alber Elbaz’s Fall Lanvin offering, which meant one uniform makeup look simply would not have worked here. “It’s strong but individual,” Pat McGrath explained of the—count them—four different faces she sent out onto the runway. “There’s a brow, a lip, a very graphic eye, and a smoky eye,” she pointed out, explaining that Elbaz chose the lips based on specific show looks and then McGrath just “mixed [things] up” after that. That deep, matte, fuchsia-laced sanguine mouth was the standout, though, if anything because it marked yet another appearance of the season’s statement lip, which has been overwhelmingly matte. “It just has been that way. People want that sophistication. And with the skin…” McGrath continued, referencing the similarly powdered complexions that have made dewy finishes look downright outdated. “Fashion’s about extremes,” she surmised.
Varied as it may have been, there was a collective sense of ladylike proportion to Elbaz’s clothes, which he deliberately threw off with chunky necklaces, menswear-inspired flat shoes—and a messy low ponytail “drenched” in shine, according to Guido Palau. “The clothes are quite ornate, so he didn’t want it to look too bourgeois,” Palau elaborated of why he kept strands purposefully easy, as though models had pulled them back themselves and, in the case of Kati Nescher and Suvi Koponen—the show’s opener and closer, respectively—topped them with a festive headpiece. Every girl got a hefty dose of Redken Shine Flash 02 Glistening Mist to create a damp texture before Palau applied a slick of its forthcoming Diamond Oil Shatterproof Shine serum. But he didn’t bother with extensions to achieve one consistent length. “The girls with the short hair are staying short,” he said, motioning to Catherine McNeil, Karlie Kloss, and Saskia de Brauw.
There wasn’t all that much to say about the fairly straightforward beauty look backstage at Lanvin, a moment that was condensed into a black/brown glossy smear of pigment on lower lash lines that Pat McGrath described as “cool, fresh and gorgeous.” That is, until Kristen McMenamy walked in. The nineties supe was hard to miss—her toned, yogified arms bare, her long silver mane nearly grazing her hip bones. A personal friend of designer Alber Elbaz, McMenamy planned to walk the Beaux Arts runway at his request, despite feeling a little rusty. “You’re a supermodel, you’re a supermodel,” she said aloud, repeating the confidence-boosting mantra before the show began. And then there were those strands, a white-gray hue with highlights, courtesy of London colorist-to-the-stars Josh Wood, which sparked a gray trend after McMenamy appeared at Marc Jacobs’ Spring 2011 Louis Vuitton show with her silver locks twisted into an updo (and her torso painted with black and white zebra-striped body paint). “I put oil in [it] everyday, put it in a long braid, and that is my look,” the incredibly personable catwalking queen told us, shouting out palm oil as her recent emulsifier of choice. Then, mid-sentence, she spotted her Polaroid on the casting board and gasped. “They got me blinking!” she screeched, grabbing our pen and drawing an impromptu pair of sunglasses over her eyes. Believe us when we tell you, dear readers, that had it been socially acceptable to rip that picture off the chart to save as a piece of S/S 2013 ephemera, we would have done it without, er, blinking an eye. Thank God for the iPhone.
Dark lipstick made a pretty huge impact on the Fall runways. From Gucci to Givenchy, red was decidedly dead and in its place, pouts were painted shades of burgundy, brown and mulberry. If Alber Elbaz has anything to say about it, the color scheme will be a season-spanning phenomenon. “The clothes are so luxurious, he wanted the lip to be rich as well,” makeup artist Jeannia Robinette said backstage at Elbaz’ Lanvin resort presentation yesterday.
Starting with a clean base that was prepped with moisturizer and touched up with concealer and foundation when needed, Robinette blended Chanel Rouge Coco Lip Colour in Perlé, a honey rose, with MAC Lipstick in Cyber, a deep wine, to create a velvety stain. “I’m not using liner,” she emphasized, explaining that her intention was to make mouths look lived-in and “not so done.” “It’s what women should look like, it’s powerful,” Robinette surmised, brushing brows up with MAC Brow Fix and coating lashes with a few swipes of Diorshow Black Out Mascara. Nails were given an additional dose of strength with Chanel Vernis in Pirate, a ruby red lacquer, courtesy of manicurist Roseann Singleton.
Hairstylist Fred Van de Bunt added a similar bit of confidence to the look with a high and tight chignon. It was a stylistic choice that he made for aesthetic—and convenience—reasons. “There are 26 models,” he explained—and a lot of visors. As a general rule, Van de Bunt isn’t big into product. “You can work with heat just as well,” he insisted, brushing sections of hair backward with an Elnett-spritzed Mason Pearson brush and blowing it dry as he went for a smooth, sleek finish. “This way, the girls don’t get too much hairspray dust.” Who says chivalry is dead?
“It feels amazing,” Pat McGrath said when she was asked how she felt to be part of team Lanvin on the eve of Alber Elbaz’ tenth anniversary with the brand, thus summing up the general emotion of everyone who was backstage for the momentous occasion. To properly complement the designer’s collection of rich colors and feminine silhouettes without overpowering it, McGrath added a single graphic detail to the face in the form of a thick, black winged eye. “It’s all about illustration,” she explained, “like a pen-and-ink sketch,” which inspired her to draw on a meticulously pointed flick that extended up through the crease of models’ eyes and out toward the temple. Using a small angled brush dipped in a black cream eye shadow, McGrath drew another “smudged” stroke very close to the lower lash line to further define the eye against a clean, natural base that boasted highlights down the bridge of the nose and on the cupid’s bow of the lips. “It’s almost like an insignia,” she said of the stark liner, a stamped-on badge of honor for every girl that can say she walked this runway.
Guido Palau took a similarly subdued approach when conceiving the show’s hair look, opting for simplicity over elaborate structure. Shampooing all 43 girls with either Redken’s All-Soft Gentle Cleansing Shampoo or its Extreme Shampoo and taking the weight out of the back of the head by braiding an under section and pinning it to the scalp, Palau coated lengths with Redken Extreme Anti-Snap Protective Treatment to help ensure smooth strands as he employed a light blow-dry—”just to clean the hairline up.” As a finishing touch, he tucked the front pieces behind models’ ears for a slight bend. “The ease of it is the beauty,” he surmised.