August 23 2014

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32 posts tagged "Alexander McQueen"

The Latest From Minx


Minx came up big at Alexander McQueen’s Spring show in Paris last week, and the leader in funky nail transfers isn’t done show-stopping yet. Here, a first look at some of the designs the brand will debut on November 1, when forty (yes, forty) new Minx looks will be available for your nail overlaying pleasure. The first twenty just went up on the brand’s website (which will be getting a complete overhaul, also set to premiere on the first of next month) and so far, we’ve got our eyes on the “Minxlusion” tips, which include holographic snakeskin, squares, and digitized rose patterns that are particularly eye-catching. Which is your favorite?

Photo: Courtesy of Minx

The McQueen Mani We Want But Can’t Have


The hair and makeup were only part of the fairly sizable beauty story backstage at Alexander McQueen’s show yesterday. In what is perhaps the most exciting nail art news we’ve had to share since the fashion tribes departed from manicurist Sophy Robson’s London stomping grounds, Minx showed up big in Paris. The popular nail brand’s founders, Janice Jordan and Dawn Lynch-Goodwin, were reportedly given fabric swatches from Sarah Burton’s design team (see look 26), and the duo promptly devised the manicure at left, in which layers of a translucent copper pattern were placed atop their best-selling Golden Lightning foil. U.K. nail stylist Marian Newman lead the nail tech team that applied the overlays at the show, and while we asked (oh, yes—we asked), they are sadly limited-edition for the runway only. Just another reason to envy the likes of Karlie Kloss and Lindsey Wixson.

Photo: Luca Cannonieri /

Hair Weaving At Its Finest, Backstage At McQueen


Yesterday was a busy one for Peter Philips. In addition to choreographing the sensational smoky-eye display at Chanel, the makeup artist headed up face-painting duties at Alexander McQueen as well, a show that couldn’t have been more different, beauty-wise. “Light, luminous, gothic” is how Philips described the clean, glowing skin that Sarah Burton wanted to complement her “Earth Mother” debut collection for the house. “We decided to keep the girl really pure, very serene, almost a bit more fragile—and a bit more girly,” Philips said backstage—a departure, to be sure, from the more outrageous feats he has put together here in the past (three words: amphibious facial prosthetics). To achieve this effect, Philips used Chanel’s Pro Lumiere Semi-Matte Foundation, adding a sheen to eyelids with its Ombre Essentielle eye shadow in Ivory and a highlight to cheeks with the brand’s Poudre Lumiere Perlée for a hint of shimmer.

Philips’ deliberate decision to eschew mascara, shading, and color in general is a continuation of a general theme at this show, in which he typically casts a neutral color palette to make room for big hair and big scenery. The latter may have been more subdued for Spring 2011, but Guido Palau’s coifs were as intricate as ever, albeit a touch softer. “There were many permutations,” Palau said of the basket-weaving technique he ultimately employed backstage. “But in the end it was highly technical yet very simple.” Working off a pagan theme, Palau divided models’ hair into three sections before adding extensions over and under natural strands for a woven effect, ending each panel in a skinny braid. Back panels were folded flat against the head and pinned in place before the entire head was sprayed with Redken’s Forceful 23 hair spray—and lots of it. At last count, 60 bottles had been used to hold things in place.

Photo: Luca Cannonieri /

At Threeasfour, Memories Of McQueen


It wasn’t necessarily an intentional homage, but the similarity was undeniable. At last night’s Threeasfour show, hairstylist Ashley Javier’s matted-down finger waves and side-swept updos encased by a fishnet stocking cap screamed Alexander McQueen circa Spring 2009. Javier explained that he chose the graphic style to incorporate the curvature and snakelike patterns of the collection into the hair, and his tribute was more of an evolution of the technique that McQueen dreamed up with coif master Paul Hanlon and makeup artist Peter Philips in Paris two years ago than a direct rip-off. Javier crimped models’ entire heads to create volume and texture and then brushed all the hair over to one side, coating it with Kérastase Double Force hair spray and gathering it into what he described as a “neck rest” rather than a bun. The netting kept the S shapes from the back twist and the front tendrils that he would later pull out—as well as Andrea Helgadottir’s Egyptian-inspired eye—visible to make the connection from the face to the clothes. It worked well on the runway at Milk yesterday, and it was a moving reminder of the genius from whence it came.

Photo: Greg Kessler, Right: Astrid Stawiarz / Getty Images

Dita Von Teese’s Lunar Eclipse


We often give Dita Von Teese love on this blog for her perfectly curled-under raven locks, her powdered ivory skin, and the crimson-lip-plus-black-cat-eye combo that she’s made her everyday look. But her devotion to her fingertips also deserves some props; the burlesque queen is rarely spotted without a moon manicure, a 1940′s-era look that had a modern-day revival at the Fall shows (click here for our step-by-step guide to re-creating the style at home). This weekend, Von Teese sported a burgundy adaptation at a book signing in L.A., along with her Alexander McQueen Union Jack clutch. Thoughts on the paint job?

Photo: Jean Baptiste Lacroix/WireImage