45 posts tagged "Alexander Wang"
Nothing says “American sportswear” quite like the image of the girl-next-door models that dominated the 1970s and early eighties —Brooke Shields, more specifically whose long locks and big bushy brows defined the era. To properly simulate the Blue Lagoon star backstage at Alexander Wang yesterday, Redken’s Guido Palau added long extensions to models’ hair for drama, prepping them with Redken Thickening Lotion to provide a texturized, matte effect. Then he crafted thick, low-slung braids that he brought over to one side (commence long hair envy), which he complemented with make-shift bangs that were pulled over the right eye for asymmetry. “The more disheveled you can get it, the sexier and cooler it is,” Palau said of the All-American but still “rocker and not perfect” look. Makeup artist Diane Kendall stuck to a similar theme, mimicking Shields’ wholesome appeal by keeping models’ faces clean, save for a few upward strokes of a MAC Eye Pencil to acheive fuller, spiky arches. Interestingly enough, the whole thing worked just as well on the model in that pair of lace-up leather shorts as it did for the girl in those high-waisted Calvins.
During fashion week, the line between friends and publicists, hair stylists, and makeup artists gets blurred since you see very little of the former and a whole lot of the latter. Abiding by this line of reasoning, I count Odile Gilbert as a compatriot for two months out of the year. Known as “the high priestess of hair,” she’s worked her magic backstage at Alexander Wang, Rodarte, Chanel, Christian Lacroix, and Jean Paul Gaultier, among others, and in addition to a slew of commercial work, she was also responsible for Kirsten Dunst’s hair confections during the production of Sofia Coppola’s Marie Antoinette. But while I may have the pleasure of talking tresses with Gilbert semiannually, I didn’t realize that my pal was so green-leaning until Leonor Greyl’s summer press dossier crossed my desk. Turns out, Gilbert’s been a fan of the all-natural French brand for as long as she can remember and counts its high-quality technical performance and nature-oriented products—as well as the fact that “they smell fantastic”—among the reasons that she chose to style Greyl’s summer campaign starring Italian model Marpessa. Included in her prescription for keeping hair protected and at bay this season, Gilbert recommends Greyl’s collection of oils, masks, and styling creams, specifically the Éclat Naturel, which she swears by for wavy and frizzy textures. “It makes hair ultra-shiny without affecting volume,” she says. Note to self: Discuss natural beauty with Gilbert the next time we “hang out.”
With designer collaborations becoming de rigueur over the past few years, we are of the mind that beauty has gotten the short end of the proverbial stick. Outside of Lancôme’s Pout-à-Porter lipstick series, instances of hot designers partnering with beauty brands have been few and far between. But two new projects set to debut this summer are about to right the wrongs of the past. WWD announced today that Alexander Wang has co-developed a 12-piece collection for Shiseido’s Maquillage makeup line, including lip gloss, lipstick, and eye shadows, while jewelry designer Judith Ripka has teamed up with Essie to produce three new lacquer shades due out in August. The hook with the polishes is that precious gems will be hidden inside three single bottles of the new colors, Put a Ripka Ring on It (soft pink), Heart My JR Jewels (deep burgundy), and Queen of Hearts (true red). Sadly, Wang’s foray into cosmetics will only be available in Asia come July, and covert packaging will make it impossible to cheat your way into finding one of Essie’s Wonka-style golden tickets, but both endeavors strike us as excellent stepping stones for more collabs to come.
When we saw an orange-hued hairline peeking out of the scarf-cum-hood (scood, if you will) Vlada Roslyakova wore at Alexander Wang this past weekend, we thought our eyes were deceiving us. But after a few backstage encounters yesterday, first at Preen and then at DKNY, we were able to confirm our suspicions: Yes, the Russian model has gone red and apparently just felt the need to switch it up. “I wanted a change,” she said when we weaseled our way through three hairstylists drying, brushing, and curling Roslyakova’s new tresses, which are at the very strawberry end on the strawberry blond continuum. “Laurie did it,” the formerly flaxen beauty told us, which we can only assume was a shout-out to colorist extraordinaire Laurie Foley, whose L’Atelier de Laurie on East 4th Street is a favorite of Gwyneth Paltrow and Agyness Deyn. With Coco Rocha also playing with fire as of late, we’re gonna go ahead and guess that it’s only a matter of time before Jessica Stam returns to her roots, so to speak.
Alexander Wang may not have staged a rowdy after-party this year—much to the chagrin of downtown scenesters and their wannabe hangers-on—but there was plenty of throwing down backstage at Roseland Ballroom last night, where in one of the more odd sponsorships we’ve seen, Hooters and its scantily clad girls were doling out chicken wings and iceberg-lettuce salads. We managed to avoid the fried-food temptations, and met up with makeup artist and Shiseido artistic director Dick Page, who was holding court in the corner. “Lip pencils have too much red in them,” Page explained as he dabbed a gray/brown eyeliner from his new Fall collection on models’ lips, filling them in with a Perfect Rouge Lipstick in Spiced Cream, a deep nude shade that launched this month. “I wanted the makeup to be a bit aggressive,” he said, adding that his inspiration was Wang’s monochrome collection of blacks, whites, and grays. To achieve this, Page applied foundation in a shade or two darker than models’ natural skin color to their cheek contours for severity and coated eyelids with the same brown liner he used on lips, mixed with a Hydro-Powder Cream Eye Shadow in Whitelights. Hairstylist Odile Gilbert perpetuated this direction with a sleek pseudo-pompadour that she described as “very masculine from the front,” which incorporated a corset-style hair band crisscrossed in the back to hold sides taut, while allowing unfinished waves proper mobility for sashaying down the runway to hard rock.