30 posts tagged "Alexander McQueen"
As one of this season’s new brunettes, Patricia van der Vliet has been through the hair-dye ringer. Just days before the shows started, the natural blonde went a shade of rich coffee for the New York shows, only do be dyed even darker—and cut shorter—by Guido Palau at the end of the week. Last night at Alexander McQueen, Palau gave her yet another new persona: platinum blond Hitchcock heroine turned manga cartoon character. “It’s so fun to see yourself transform,” van der Vliet told us backstage. A willing participant, the Dutch stunner is actually all for the constant makeovers. “It makes my job so much more interesting; being the pretty blonde gets boring.” While van der Vliet admits that the icy flaxen wig she got to wear at McQueen was amongst her favorite Fall looks—”I was trying to be Storm from the X-Men for Halloween and this is what I should’ve done,” she joked—she’s partial to the twenties-era flapper cut and color that she got back in February. “It’s so much easier, and I so enjoy being the tough girl,” she says of the style that admittedly brings out her blue eyes and bone structure more than her former golden glory. “I’m definitely going to keep it for—now,” the catwalker has decided. “But I’ll have to see what happens when Spring/Summer comes around.” It’s all up to the fashion gods, of course, but our money’s on a red resurgence. Until September…
Guido Palau’s hair color statement of late has leaned overwhelmingly towards the dark arts; after taking Kasia Struss rich chestnut brown last season, he broke out a deep espresso hue last month at Calvin Klein, notably dyeing the flaxen-haired Patricia van der Vliet a shade of near black. But the man who brought icy blond back in a major way for Spring 2010 still has a little bit of a platinum streak left in him. “I was thinking of Village of the Damned,” Palau said backstage at Alexander McQueen, where he referenced the 1960′s sci-fi horror flick as well as Hitchcock’s Vertigo when discussing the white-gold bobs he gave all 34 models.
“Sarah [Burton] lets me play around with the whole area,” Palau said of everything above the neck, which he set to “depersonalizing” this season so as not to conflict with Burton’s personality-filled collection. “It’s very manga-feeling,” the coiffing star continued of the uniform wigs he razor-cut and then heavily spritzed with Redken Forceful 23 Super Strength Finishing Spray to mold strands away from the hairline. To further the futuristic effect he was after, the Redken creative consultant affixed a reflective visor that he designed in collaboration with Burton to each style, explaining that he had been looking through Japanese cartoons—”all the Speed Racers”—and wanted to re-create that “helmet” shape with the hair. “I tried couture hair because ideally you want the hair to be done,” he said, but ultimately the weird and wonderful won out over the demure and dainty. “The head has to be dynamic [here],” he affirmed.
With much of the face under cover, Peter Philips’ job was pretty easy. “It’s just foundation,” he said bluntly, brushing on a full-coverage application of Chanel Mat Lumière Fluid Makeup or its Pro Lumière Professional Finish Makeup, leaving both the brows and lips visible rather than blocking them out. “You don’t see the face, but you feel the face,” he continued, mentioning that the goal was to make the girls look statuesque so nothing could distract from the clothes. “There’s not a gimmick; it’s purity,” he explained—a mantra that guided manicurist Marian Newman as well. To make tips look “über-done,” Newman layered a soft white lacquer on top of a beige sheer, the second French manicure sighting of the season—and a telltale sign that after the great nail art boom of 2011, the politics of polish have come full circle.
Nude nails made a comeback at the Fall shows and continued to dominate more outlandish, allout nail art experiments for Spring—with a few notable exceptions, that is. Missoni and McQueen got minxed and Sophy Robson etched individual hieroglyphics onto tips backstage at Topshop Unique, while Jin Soon christened the “slim silhouette” backstage at Prabal Gurung. But as the battle between neutral and next-level manicures raged on, we noticed another trend rearing its pretty polished head: matching lips and tips. Before Mary Quant started picking nail lacquers according to clothes rather than lipsticks in the 1960s (the British designer revolutionized more than just hem lines), it was all about corresponding pout and polish colors. Both Jason Wu and Donna Karan reprised the tradition with classic crimsons and deep burgundies at their shows in September—and makeup artist Maud Laceppe and manicurist Michina Koide have modernized it in the new issue of Numéro with an electric blue mouth and fingers lacquered in the same powdery shade. We’ve personally moved on from the-crazier-the-better varnishing acts, but we’re always plenty happy to give credit to creativity where credit is due. Would you do blue?
If the lace masks at Sarah Burton’s show for Alexander McQueen looked familiar, it’s because anyone who made it to the wildly successful exhibition celebrating the house’s late namesake designer at the Met this summer has seen something like them before. “The idea came from the masks we created for the McQueen exhibit,” confirmed Guido Palau, who dreamt up another series of similar headgear with Burton for Spring. “People expect a little fantasy from this show,” Palau pointed out, which he delivered by weaving tight, half-inch-thick rings of braids all around models’ heads. “It’s like a wig wrap, but I wanted it to look more embellished,” he explained—which happened to be the complete opposite of Peter Philips’ M.O. “It’s almost like a sculpture,” the famed face painter said of the full-body muting technique he employed, applying a continuous wash of Chanel Pro Lumiere foundation on faces, limbs—anywhere skin was showing. “It’s all the same color; we wanted to make sure everything was covered,” he said, taking the season’s monochrome makeup trend to the next level. While Philips finger-pressed foundation into lips as well, there was one area of the face that he enhanced: the brows. “We tried bleaching them, but it looked too alien,” he said, opting instead to flatten arches, coating them in the same latex-based glue he used only a few hours earlier at Chanel. “It puts some life back inside those masks.”
The real embellishment was left to Minx co-founders Dawn Lynch-Goodwin and Janice Jordan. Back in London, manicurist Marian Newman told us that Burton had given the women four words to use for inspiration when conceiving a series of different nail overlays for her to choose from for the show; today came the big reveal. “Water, mother-of-pearl, shell, and sea foam,” she said, applying the six winning designs to models’ tips. Using three different bases of pink, beige, and ivory, Jordan and Lynch-Goodwin layered different combinations of Minx in holographic gold and silver on top to create “organic, random” layered patterns. “It took over 1,000 man hours,” Jordan proclaimed. If the crowd at Centquatre wanted fantasy, they no doubt left satisfied.
After making a huge splash in New York during Fashion’s Night Out with the introduction of its highly successful collaboration with Marc by Marc Jacobs, Minx—like the rest of the fashion pack—has moved its creative team to Europe for a select list of shows. We had the pleasure of catching up with founders Janice Jordan and Dawn Lynch-Goodwin and their go-to manicurist, Marian Newman, backstage at David Koma this week, where they were busy Minxing (it’s an adjective now; get into it) models with a selection of 20 different pastel nail overlays topped with a clear tip that had been emblazoned with a white, dévoré tribal pattern. “That’s the unifying part,” Newman said of the acrylic crystalline print. It won’t be their last experimentation with exotic prints for Spring, either. “We’re doing Missoni for the first time this season—it’s a whole new design direction for them,” Newman said, alluding to the fact that Jordan and Lynch-Goodwin have been hard at work on a series of Minx that pays homage to the Italian house’s rich history with prints for its presentation on Sunday. “It’ll be their interpretation of those prints, of course,” Newman continued of the process that goes into creating a series of nail designs for each show once inspiration ideas come in from designers. “For McQueen, they gave me four words for references, and Dawn and Janice are reinterpreting those words with nails. We’re really excited about that show.” Us too.