August 23 2014

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45 posts tagged "Alexander Wang"

Laurie Foley’s On the Move



Hair colorist Laurie Foley (a go-to for models and designers such as Marc Jacobs and Alexander Wang—both of whom called on her to bleach brows for their runway shows) is in a very different place than she was two months ago. Literally. She’s chatting with me from an old farmhouse in upstate New York that sits on four acres of land, where roosters act as alarm clocks. The woman that is never without a hat has also found a new professional home at both Ion Studio and Salon Santa Cruz in New York City after running her own space for over a decade. As for her shuttered namesake atelier, she’s just taking the concept mobile. “I’ve been the core of L’Atelier de Laurie, and L’Atlier de Laurie is where Laurie is,” she said. “This is what an atelier is—it could be the back room at the backstage of a show, that’s where the crafts are being done, the work and the art is being performed—it could be anywhere.”

The offer to join forces with Ion Studio has been on the table for a while, as she’s run in the same backstage and editorial circles as the owners—Leonardo Manetti, Marco Santini, and Pasquale Ferrante—for years. Only now, though, was the timing finally right. “I’m ready to focus on my work, re-learn, get re-inspired, and have a blast again without other things getting in the way,” she said. “I feel pretty damn valiant,” her favorite word to describe her collaboration with “the boys” at Ion. “Everybody is so busy competing, why not [come] together and make everyone better?” she added. In just the three days she’s been on the salon floor (with her dog in tow), Foley said she’s most excited about being on a team again and passing her knowledge onto the next generation. “I arrived in New York via San Francisco and then went to Paris and Milan doing shows—not coloring, but styling—I did that for twelve and a half years…I liked that we were all working towards the same goal, that’s what I loved so much about backstage.” In her search for the “overall picture,” Foley is happier and more “jazzed” about hair color than ever— describing her mood as “giddy.” “People aren’t going to believe you when you [write] Laurie Foley is giddy. They’re going to say, ‘Are you serious? That old grouch?’” she quipped. But believe it—Foley says she’s proved that she can survive on her own and now, well, “it’s time to have fun.”

To book appointments with Laurie Foley directly: (212) 358-8900. Or find her at Salon Santa Cruz (254 Fifth Avenue, 212-684-2386; on Mondays, Tuesdays, and Wednesdays, and Ion Studio (41 Wooster Street, 212-343-9060; on Thursdays, Fridays, and Saturdays

Take a Powder


Bumble-Pret-a-PowderIf the Spring 2014 runways are any indication, tousled strands aren’t going anywhere anytime soon.

From matte, textured hair at Alexander Wang to dreamily imperfect updos at Dolce & Gabbana and Rochas, undone is the word on everyone’s lips this season. And Bumble and Bumble’s Prêt-à-Powder is just the ticket for achieving it.

The New York brand was one of the forerunners in the dry shampoo craze—launching its cult-classic colored Hair Powders in 1999. Now the original aerosols have been given new life in the form of this finely milled, translucent powder that vanishes into any hue. Formulated using clay and oat flour, Prêt-à-Powder absorbs oils, plumps strands, and even revives Monday’s blow-out with aplomb. Unlike so many hair powders that leave behind a white residue, the featherweight formula adds body and a nonshiny finish (hello, Bardot!) without leaving a trace of tangible buildup. Sprinkle liberally, brush it out, and apply even more for sex kitten hair with just a touch of grit.

Photo: Courtesy of Bumble & Bumble

Throwback Thursday: State of Hair


French Glamour - cropThrowback Thursday is a column on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.

The Moment: Lived-in Locks

The Motivation: Remember the days when your mother told you to brush your hair before leaving the house, and a perfectly coiffed ‘do was the look du jour? Well, those days are long gone. Never has there been a time more obsessed with looking undone (Alexander Wang, Proenza Schouler, Christopher Kane, Burberry, Versace, Roberto Cavalli, and Bottega Veneta—cases in point). Our inspiration? The above shot from a 1989 issue of French Glamour. The French have always been masters at achieving the I-just-rolled-out-of-bed-and-look-like-this hair, and if the carefree strands we’ve seen on the New York, London, and Milan catwalks are anything to go by, we’re bound to see the style in its natural habitat: Paris.

Photo: Jean-Pierre Prunier for French Glamour, 1989; courtesy of

Keeping Things Real at Alexander Wang


alexander-wangThe designer put his stamp on pretty much everything that walked down the runway—emblazoning his logo on the backs of dresses and even leather gloves. But when it came to the makeup (or lack thereof) Wang didn’t aim to make a statement. Instead, he let the girls’ “raw” beauty shine through, explained face painter Diane Kendal. As far as products and tools are concerned, all of them fit into one Instagram frame. NARS Skin Aqua Gel Oil-Free Moisturizer gave skin a slight texture, a clear balm was dabbed on lips, concealer was only used to camouflage blemishes or redness, and brows were brushed up but not filled in. “The collection is very sexy. He used [men's] shirt fabric [throughout] and trouser material for skirts. We wanted to keep that masculine element in the face,” she said.

The hair required slightly more work, with the nineties grunge period being referenced yet again and an early Claudia Schiffer as the inspiration. “It’s not sexy beach hair,” explained Guido Palau, but more of an easy, natural look. He used two products from Redken: Quick Tease 15 to bulk up roots and Powder Refresh 01 to lend a matte finish to strands. A large curling iron added movement—Palau instructed his team to wrap the hair around the barrel, but not use the clamp, to create loose waves before a final finger-comb.

The chalky beige shade on the nails, a combo of Essie Sand Tropez and Matte About You top coat, brought back memories of the infamous clay-coated hair from Spring 2011. Lucky for the hairstylists at the following show, things were kept a bit cleaner all around this season.

Photo: Ivan Lattuada/Indigitialimages

Black Headbands, Two Ways


Many of the big questions surrounding the Fall shows were answered this morning when Alexander Wang presented his first collection as the newly named creative director of the house of Balenciaga. How’d he fair? Pretty well, where this site is concerned. Our own Nicole Phelps called the debut a “sure-footed start” for the man who replaced the inimitable Nicolas Ghesquière. But what about the man who replaced the inimitable Guido Palau? After years of helming the hair here, Palau was curiously missing from the backstage fray, replaced by strands superstar, Julien d’Ys. An editorial mainstay who is on constant rotation in American Vogue and whose backstage engagements are typically limited to Comme des Garçons shows, d’Ys was called up by Wang for his Paris premiere to deliver a sleek hair wrap accessorized with a gauzy black swathe of fabric. It was a coiffing coup of sorts, made that much more interesting by the fact that Palau created nearly the same look at Nina Ricci a mere matter of hours later, albeit with a softer finish and a Peter Copping-designed black knit band. What does it all mean? Not all that much, save for the fact that Wang and Palau are likely on a similar wavelength, which shouldn’t come as too much of a surprise considering the Redken creative consultant has been charged with hairstyling duties backstage at Wang’s New York show essentially since he started out six years ago. It merely adds up to a funny bit of coincidence that has mounted some extra intrigue, as if this show needed any more.