12 posts tagged "Anthony Turner"
Black cat-eyes—thin flicks of dark pencil drawn across the upper lash line—are a pretty standard maneuver for makeup artists hoping to incite a feeling of classic glamour. But what if you want to accentuate the lids while steering clear of that feeling entirely? “It’s all about the under eye,” according to Aaron de Mey, who used an elongated uptick of MAC Eye Kohl in Smoulder underneath the lower lash line, inside the water line, and in the root of the lashes to get the reverse effect at Kenzo—or a “punky” vibe, as he put it.
“It’s very futuristic maharaja,” de Mey said of the look, citing references ranging from Stanley Kubrick to India as he topped his hand-scrawled stroke with MAC Eyeshadow in Carbon to intensify the darkness of the pigment and its Fluidline in Blacktrack, which was used on the outer corners only to define the straight shape. “It looks strong, direct, and purposeful,” he continued of the graphic element that contrasted with Humberto Leon and Carol Lim’s incredibly rich, colorful collection—as well as skin that de Mey described as “icy” as he used a blend of its Cream Colour Base in Pearl and its Iridescent Powder in Silver Dusk to create dimension on the high planes of the face. Slicking MAC Gloss Texture across lids for a high-shine finish, de Mey concentrated a small dose of it on the center of mouths as well, which had been made slightly smaller with a finger-pressing of foundation around the edges. “It’s like the girls were sucking on ice,” he explained of the technique—which wasn’t too hard to imagine, considering the subarctic chill backstage at La Samaritaine.
“There’s a lot going on,” Anthony Turner confirmed of the bounty of prints and patterns in the clothes, not to mention the large enameled Delfina Delettrez Fendi-designed earrings that dangled from models’ ears. “We wanted to make sure we brought the girls back into the young Kenzo world,” he elaborated of the “cool, downtown, nonchalant” hair he fashioned by coating strands with Moroccanoil Curl Defining Mousse, drying them with his fingers, and then carving out messy side parts. “I was inspired by skater boys—you know, how they put too much product in their hair,” he continued, slathering lengths with its Intense Curl Cream before tucking them behind the ears and simulating a soft, piece-y frizz around the hairline and the crown, so the style felt more organic. “I live in New York,” Turner declared. “I know what this looks like.”
Hairstylist Anthony Turner gave himself a challenge for Anthony Vaccarello’s Fall show: “How can you make something elegant, cool?” he asked rhetorically backstage while prepping strands with L’Oréal Professionnel Tecni Art Snow Mousse. “[Showing] the neck gives you elegance,” he explained, gathering lengths into a mid-center ponytail that he roughed up with concentrated spritzes of its Texture Expert Fresh Dust Dry Shampoo before twisting them into a messy knot. As for the cool factor, that came from Turner’s technique that included pulling out soft wispy bits around the hairline that were set with its Elnett Hairspray. “I always want the hair to feel very organic,” Turner explained of the style’s ease. “It keeps it young, and spontaneous; anything too considered can feel old.”
And these girls were meant to look anything but old. “It’s a little bit more strict this season,” Estée Lauder creative makeup director Tom Pecheux said of Vaccarello’s typically sexed-up collections, which featured a black and white palette that weighed heavy on metallic embellishments this time around. To add an “austere but sensual” touch, Pecheux devised yet another variation on Fall’s favorite burgundy lip. “The dark lip is good for that” he said of the deep color’s contrasting effect while coating pouts with Lauder’s Double Wear Stay-in-Place Lip Pencil in Wine, which he topped with a blend of its Pure Color Long Lasting Lipstick in Plum Couture and its forthcoming Pure Color Vivid Shine Lipstick in Hot Lava. Its Lucidity Translucent Loose Powder in Transparent ensured mouths had a matte finish, which carried over to complexions as well. After initially hoping to leave the face just like that, Pecheux realized that models needed a molten eye to soften the hardness of the lip so they didn’t look like such “tough cookies.” Cue a double-time application of the Pure Color Long Lasting Lipstick in Plum Couture, which Pecheux painted across lids and underneath the lower lash line before blotting with the taupe-y shade from its Pure Color EyeShadow Duo in Vanilla Pods.
Skipping mascara and any semblance of contouring or blush, Pecheux did design a nail look here for the first time. To continue the “vino” color of lips and lids on tips, manicurist Christina Conrad used Lauder’s Pure Color Nail Lacquer in Bitter Sweet and Fallen Angel, which she accented with silver moons courtesy of its as-yet-unreleased varnish in Smoked Chrome.
Audiences of the front-row (and digital) variety may have gathered en masse at the Tate Modern to see Topshop Unique’s Fall offerings, but spring was in the air backstage, thanks in large part to the uncharacteristically warm and sunny February London day. The euphoric feeling found its way to Hannah Murray’s makeup palette in the form of bright sky-blue eyes—a similar aqua to the one illustrated on lids in the popular Lichtenstein exhibit simultaneously on view at the museum.
“It’s called Solstice,” the Topshop makeup consultant said of the shadow, a shade from a new, as-yet-unreleased eye quad that she swept generously onto eyes, from lash line to brow bone. “An almond shape on the eyes can be both tough and ravishing at the same time. I’m calling it The Almond Panda,” Murray joked, using Topshop’s waterproof kohl liner in black along upper lids to keep the robin’s-egg color from looking “too ethereal.” Following this with multiple lashings of its mascara in black, Murray built a creamy and clean base with designated highlights and a slight flush, courtesy of Topshop’s Lip Cream in Smart.
L’Oréal Professionnel’s Anthony Turner took his cues for the hair from fashion’s favorite beauty icon. “The Topshop Unique girl is rebellious, unkempt, and very British. No one sums that up better than Kate Moss,” he explained, creating messy center parts with his fingertips before raking in L’Oréal Professionnel Tecni Art Pli and Full Volume Extra Mousse to get a soft, fluffy texture. “She’s a touch Kate Bush in the seventies, too,” Turner conceded as he employed his trusty Mason Pearson brush to add a cloud-like finish to the look.
Backstage at Kenzo, the evidence of Carol Lim and Humberto Leon’s already impactful influence on the house they took over two seasons ago was visible everywhere. We’d say, and this is a conservative estimate, that 30 percent of the production crew, hair and makeup artists, publicists, and catwalkers assembled there were wearing one of the design duo’s gotta-have-it logo sweatshirts or sweaters from Fall, with or without tiger head. They had an equally exciting lineup hung on racks for Spring, which had a bright, fun beauty look to match. “They wanted the girls to really have a progression,” said makeup artist Yadim, who explained that the models were meant to seem as though they had walked into the jungle and then got consumed by it.
This necessitated not one but six different eye liner looks. “It’s slightly rave, modern and graphic,” Yadim continued of the thick etching of MAC Chromaline in taupe, black, forest green, yellow, orange, and bright green that he traced around models’ lids, drawing it to a point in the inner corner of the eye and leaving a small gap in the otherwise fluid shape in the center of lower lash lines “for a surprise.” Marian Newman painted nails with a corresponding four-polish palette of MAC Nail Lacquers in a bright mandarin, a glossy taupe, a deep nude, and a rich emerald, for an added touch of color, although the eyes were still the focus. To make them stand out even more, Yadim kept upper and lower lashes heavy and clumpy with MAC Haute & Naughty mascara while taking down lips, beefing up brows, and giving cheeks a slight contour with MAC Blush in Taupe. “I’m also using lots of highlighter,” he emphasized of the concentrated brushstrokes of its Cream Colour Base in Pearl that he swept across cheekbones, along the brow ridge, down the bridge of the nose, and onto the Cupid’s bow of mouths, pulling Sui He over to illustrate how her skin glowed with a luminescent dewiness (and it did).
“She’s had a bit of a fumble in the jungle,” Anthony Turner elaborated of the idea, dousing hair with TIGI Catwalk Session Series Salt Spray as a rousing rendition of “Happy Birthday” broke out for Magda Laguinge. Letting strands air-dry to create a piece-y texture, the hairstylist explained that the thesis here hasn’t changed; his objective is still to “bring New York to Paris” with a cool, young feel that has an air of effortlessness to it—and a little something extra. “I’m going to rough them up a bit before they hit the runway,” Turner promised.
“What is amazing with Anthony [Vaccarello] is that in two seasons, he created his woman,” Estée Lauder creative director of makeup Tom Pecheux said backstage at the designer’s Spring show. And for most admirers of Vaccarello’s work, that woman is Anja Rubik in the pelvic bone-baring white-gown-heard-round-the-world from the Met ball this year. There was some of that here (see Rubik’s show-closing black gown), but as Pecheux rightly pointed out, while some designers are “showing a dream that is unreachable,” Vaccarello’s clothes are much more wearable this season—some of them, at least. So too was the makeup. Gone was the molten, burgundy-tinged black smoky eye from Fall; in its place, something much more natural. “It’s more like the girl hanging out by the pool, not coming out of the club,” Pecheux suggested—or, rather, the reflection of the light off a pool, an optical phenomenon that inspired his color palette of washed-out blues and iridescent grays that created “La Parisienne,” the kind of face-painting effort that is barely perceptible yet striking.
Fittingly, French-born Estée Lauder face Constance Jablonski was in Pecheux’s chair as he administered a massage using his trusty tub of Estée Lauder Revitalizing Supreme Global Anti-Aging Crème and its Idealist Pore Minimizing Skin Refinisher that he topped with a finger-patted application of Lauder’s Double Wear Light Stay-in-Place Makeup and Double Wear Stay-in-Place Flawless Wear Concealer to create a base. Brushing its Pure Color Blush in Blushing Nude upward underneath cheekbones, “so the color fades into the cheek” and contours while providing a flush, Pecheux toiled over eyes, which he lined with a forthcoming aqua shade of Estée Lauder Pure Color Intense Kajal Eyeliner, which was blended out for just a trace of blue and topped with its as-yet-unreleased Pure Color Stay-On Shadow Paint in Sinister and Steel. A dab of its Pure Color Gloss in Opulent Opal added a light-reflecting effect meant to mimic the middle section of Vaccarello’s collection, which included “materials that looked like liquid,” according to Pecheux. Swiping glossy brown pigment on the inside lashes and a richer black color on the outer corners with Lauder’s Sumptuous Two Tone Mascara, Pecheux brushed up brows and created what he likes to call “the French kiss,” a nude mouth slicked with its Pure Color Long Lasting Lipstick in Vanilla Truffle, a honey-hued neutral, and accented with the slightly darker Barely Nude only in the center of pouts.
Anthony Turner sculpted “very French hair” in complement. “It’s confident in a very understated way,” he elaborated of strands that were spritzed with L’Oréal Professionnel Tecni.Art Volume Architect, finger-combed in back and dried with a large round brush in the front to get a little volume. “It’s cool but not grungy,” he continued of the sweeping side parts that he let fall over Cara Delevingne and Arizona Muse’s right eyes. “We’ve always done vampy hair here so it’s nice to do something that’s wearable,” Turner surmised of the coifs—which was a true enough sentiment. Delevingne’s hair, we could easily sport; the dress she wore in look 17, however, maybe a little less so.