12 posts tagged "Altuzarra"
Alongside the plethora of colors used at many shows for Spring 2014 (Chanel, Céline, and Prada, to name just three), there were several designers that opted for a clean slate. (And no, I’m not talking about the bevy of “raw” hair and makeup looks that were also popular this season.) Instead, I’m referring to graphic bands of white drawn across models’ lids by Aaron de Mey at Kenzo, the alabaster pencil Tom Pecheux used instead of shadow (in order to “avoid flakes on the lashes”) to create a modern mod look at Ralph Lauren, and the combo of cream and powder he dusted on eyes at Altuzarra. Using the right tool to apply is also key to pulling off this color: For a subtle wash of white (as seen at Altuzarra), use a large, soft brush to blend, explained Pecheux. “If you use something very hard, [the color] is going to be very opaque and you will look like a panda,” he added. And while those rings might look adorable on cuddly bears, they definitely don’t have the same effect on people.
To see all of Spring’s top backstage trends, read our Beauty Moments feature.
The look created for the half-French, half-American designer by makeup artist Tom Pecheux and hairstylist Odile Gilbert was based around one word: purity.
Pecheux kept the focus on the classic matte red lip—a combo of MAC Red Lipmix topped with Pigment in Basic Red. The lids were kept simple, applying a Pure White Paint Stick with his fingertips from the lash line to brow bone, and on the outer corners of the eye as a highlight. He set this with powder shadow in Gesso to eliminate shine, using a large, soft brush. “If you use something very hard, [the color] is going to be very opaque and you will look like a panda,” Pecheux said, which is definitely not on trend this season (or ever).
The hair was equally as easy, with Gilbert making an imperfect middle part, blow-drying strands with Kérastase Mousse Bouffante, and sealing split ends with Fibre Architecte. Hair was then scraped back into a low ponytail and secured with a white elastic. She used a curling iron to add “movement” to the tail and polished everything off with Laque Dentelle hair spray.
An updated and forgiving French manicure—painted with Essie Vanity Fairest and Allure—was the finishing touch. “When you use sheer colors, you don’t have to worry about the line being perfect,” said manicurist Michelle Saunders. And good thing, because who really has the time (or skills) for that?
Once you worked your way around the fifty-plus gowns and frocks that lined the halls at the Mona Bismarck last night for the MAC-sponsored Paris opening of André Leon Talley’s SCAD Little Black Dress exhibition, the gallery spilled into a final space that was the stuff beauty dreams are made of. In a wood-paneled room that looked out onto the venue’s lush grounds hung towering face charts featuring seven MAC-designed makeup looks—with their corresponding product breakdowns—created to complement seven of the show’s standout pieces. “MAC lives fashion 365 days year,” Estée Lauder Group President John Demsey explained of the special addition to the show, emphasizing that more and more, the brand’s sartorial ambitions are branching out beyond its connections to the Fall and Spring ready-to-wear and couture collections to include collaborative capsule ranges with tastemakers and scholastic pursuits that center around style. “MAC has always been referred to as the brand in black, so the little black dress and the little black lipstick sort of went hand in hand,” he elaborated. And let’s not forget its little black eye shadows, eyeliners, and mascaras; where would fashion be without MAC’s fan-favorite shadow pots in Smoulder and Carbon; its eye kohl in Feline; and its cream Fluidline in Blacktrack?
While “[wearing] black is a blank canvas” for makeup, according to Gordon Espinet—the brand’s vice president of makeup artistry, who conceived the individual looks on display—there are certain things to keep in mind when face-painting for an all-black ensemble. “Makeup has no rules; it’s highly personable,” he asserts. “But I tend to go with this: The more embellishment there is on the clothing, the less embellishment should be on the face.” Words to live by.
Last Spring, blue made a strong case for eye makeup color of the season, as liners and shadows in shades that ranged from aqua and turquoise to cobalt and navy turned up on the runways in full force. And it’s proved a hard habit to kick for Fall, too, as makeup artists like Diane Kendal and Hannah Murray have turned to midnight and robin’s-egg iterations of the hue at shows like Jason Wu and Topshop Unique, respectively. But there’s another color that’s staking a claim to the season, and it’s a rather unexpected one at that. “There’s a sort of seventies feeling to it,” James Kaliardos said of MAC’s forthcoming Rusted Red cream eye shadow that he blended onto lids backstage at Diane von Furstenberg, which followed a similar move by Charlotte Tilbury at Prabal Gurung, where she used the ruddy color to create a fresh, young, stained effect on eyes. In their more saturated outings, cranberry lids have showed up at Cynthia Rowley, courtesy of Romy Soleimani and her trusty compact of Stila Eyeshadow in Pigalle; at Altuzarra, where Tom Pecheux swiped MAC’s metallic raspberry eye shadow in Loves Lure underneath models’ lower lash lines for a “spooky” feel; and just yesterday at Gucci, where Pat McGrath borrowed a deep claret from Frida Giannini’s collection and turned it into a greasy, bold eye, replete with bleached brows for a molten finish. We have a feeling it won’t be the last we’ll be seeing of the color in Europe.
“He respects women,” Tom Pecheux gushed when talking about Joseph Altuzarra. “His clothes are fashion, but wearable fashion,” the makeup artist continued, showering Altuzarra with accolade after accolade while describing his collection, a favorite stop for Pecheux in New York. “It’s very tailored mixed with a little craziness, it’s a little [Thierry] Mugler-ish, it’s very…Carine Roitfeld,” he finally relented. “You said it!” an excited Daria Strokous exclaimed as Pecheux applied MAC Mineralize Moisture Foundation and its Prep and Prime Translucent Loose Finishing Powder to pale out her skin following a moisturizing massage. How so? “You know how [Carine] wears those pencil skirts? I was shooting with her once and underneath was the sexiest slip, but no one sees it. It’s that kind of woman,” Strokous elaborated.
For Fall, Altuzarra’s woman was spiked with a touch of “spookiness,” according to Pecheux, which caused the face painter to play with a black smoky eye—another Roitfeld signature—while making sure it was not aggressive. Using the creamy onyx Oil Slick Black from MAC’s Fall Forecast Eye Palette, Pecheux diffused the pigment across models’ lids with his fingers so there were no hard edges, dragging it halfway underneath the lower lash line as well. To that, he added a metallic raspberry stroke of its Eye Shadow in Loves Lure, also only halfway to the inner corner, which had a bruised quality to it but was meant to create the illusion of madness, Pecheux explained. “It’s a little Belle de Jour fantasy,” he surmised, taking down lips with MAC’s Paint Pot in Tailor Grey.
Paul Hanlon added Patti Smith and Kate Moss to the inspiration list when describing his texturized, lived-in locks. “It’s a bit rock ‘n’ roll, like it’s a few days old,” he explained taking all the volume out of models’ strands with a cocktail of OSiS Schwarzkopf Grip Extreme Hold Mousse and its Buff Light Styling Cream, twisting as he blow-dried to further flatten the hair shaft. Then, section by section, he worked in OSiS Schwarzkopf Magic Anti-Frizz Shine Serum all the way to the roots for a “greasy’ effect that was enhanced by its BC Hairtherapy Oil Potion Finishing Treatment through the ends for separation. “It’s stringy,” Hanlon said imparting a bend to the mid-lengths with a low-lying elastic that he removed before the show started. “It’s the opposite of beautiful, rich, quality hair.”