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23 posts tagged "Anthony Turner"

EXCLUSIVE: Alexander Wang Spills the Secrets Behind Balenciaga’s Fall Campaign and Gisele Bündchen’s Cropped Cut

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Alexander Wang’s goal at Balenciaga is not to adapt but to “break the mold.” And for his third runway season at the storied house, the young designer did just that—adding knitwear with new hybrid treatments to the mix and experimenting with asymmetrical shapes that play on the brand’s classic codes. In the latest Fall 2014 campaign, shot by Steven Klein, Wang continues to push boundaries and rock the status quo by depicting Gisele Bündchen—a model made a legend thanks to her feminine curves and beachy waves—with a masculine cropped cut. The 360-degree view we’re given of her shorn and slicked-back strands in a series of cracked mirrors makes each image all the more intriguing. Similar to an audience questioning how a magician pulls a rabbit out of thin air, the viewer is left wondering how Wang stripped the super of her hallmark attributes to pull this one off. Here, the artistic director does the unthinkable and reveals his secrets exclusively to Style.com.

How does this campaign represent your vision for Balenciaga?

Compared to the first two campaigns that I did with the brand, we really wanted this one to break the mold a little bit. The first one was an homage and more austere, and we never really showed the face. And for the last one, with Daria [Werbowy], it became this idea of transformation. I like this idea of taking iconic supermodels and showing them in a new light and a different way. Specifically with Gisele, she’s known for her hair, so we said, “Let’s show Gisele like she’s never been shown before and this idea of mystery and vanity.” She’s in this black, mirrored room and she’s breaking out of it. In the first season, we had the marble veins [on the runway and in the collection], and then it became the ivy, and then this season the cracked glass—so it was a continuing thread that tied them together as well.

Does the cracked glass represent breaking the mold of what Balenciaga once was as a house?

I mean, in a sense. Yes, I guess vaguely. I think there’s something so beautiful when there’s an organic touch to it. I love this idea of veins in the marble or things that [are] graphic [but still] organic. That element is very interesting to me because there is a rawness to it.

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Where did your inspiration stem from for these visuals?

We worked with Gisele on the show, she closed the show, and we really wanted her. Gisele has been around and shown in so many different ways. So we said, “OK, we want to show Gisele in a way that people have never seen her before.” That was the first goal for us to achieve, and that’s very hard for someone that has done almost everything and has worked with so many different brands and people! It really started with this idea of transforming Gisele and capturing what we felt was different about her being part of the Balenciaga brand. We love showing her really uncompromised and that ultimate extreme beauty breaking out of a mirror. It’s almost beauty so powerful [it can't be contained]. And also to empower women to cut their hair and feel confident and feel beautiful and feel desired.

We’ve seen Gisele recently and her waves are still very much intact. Was there a bit of Photoshop magic at play within this campaign?

I mean, yes, of course. There was a whole team involved. We had a specialist [Jane Choi] come in who actually works on movie sets doing prosthetics. We spent two days making a prosthetic bald cap on a Gisele body double. And then we had to get another body double who we had to give the exact same haircut. So for every picture we took with Gisele, we had to take another picture with the body double. Then we fused those two together. It was the first time I’ve ever worked in that way, and [master retoucher] Pascal Dangin, he’s just incredible. He’s a true artist and a painter. When he was showing me the mock-ups, I was blown away by what he was able to achieve before we even got to the shoot.

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How hard was it to achieve the finished result, as you see the hair from so many different angles?

The funny thing was that Gisele had to come in three hours before call time just to put the bald cap on. We had to wrap the hair very, very flat to her head, put the bald cap on, and then paint the bald cap to the exact same skin color as Gisele. It was basically like putting her into what you usually see on sets like X-Men. Every time we shot the picture it was kind of crazy because it was always just shooting her with the bald cap on and then having to visualize a bald Gisele. Then we’d go in and shoot the body double and that whole process. In the end, seeing it all come together was really magical.

Since we’re seeing Gisele in an entirely new way, who is the Balenciaga girl and how has she evolved since you arrived at the house?

I feel that for me right now the most important thing is to show this idea of empowerment, and people always talk about confidence and strength. It was a bit more understated, and this collection was [one] where I was really breaking through a lot of barriers and connotations, and I wanted the campaign and visuals to represent that. It’s kind of like a continuing dialogue. I never like to put exactly into words who the girl is because the collections speak for themselves. Also, there is something that is celebrated about individuality, and I like that any woman can come to Balenciaga and make it her own.

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What do you think Cristóbal Balenciaga would say about seeing a woman with a shaved head in one of his campaigns?

I don’t know! He was always one to look at women in a different way. I think that’s something that I share in terms of an outlook. If he were living today in our world and our society, and wanting to do something that was different and open up some eyes…hopefully I did him proud.

In terms of Balenciaga, what’s next? What are your plans for expansion?

We have the fragrance [B. Balenciaga, pronounced Bee-dot] that’s coming out this fall. That’s going to be big for me because I’ve never done a fragrance before. And we have a couple of new launches, so it’s a little too early to say, but you’ll just have to stay tuned!

Stay tuned we will.

Want to replicate the Balenciaga buzz without losing all of your length? Anthony Turner, the hair pro who created the slick style that was placed over Bündchen’s bald cap in post, says: “Try pulling your hair back with a low masculine-inspired side part and strong hairline to give the impression of a shorter cut.”

Photos: Courtesy of Balenciaga

Twin Peaks Meets Blue Velvet, Backstage at Kenzo

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kenzo“We’re taking a classic look and twisting it—a bit like a David Lynch film,” explained mane master Anthony Turner. Inspired by the collaboration between the designers (Carol Lim and Humberto Leon) and the famed director on the sculptural set and music for today’s show, the backstage pro crafted a “Twin Peaks ponytail.” After making a strong center part and securing the hair at the back of the head, he wrapped the band with extensions and “hacked off” the ends with scissors or “men’s clippers,” forming a blunt, severe line. To cancel any flyaways, L’Oréal Professionnel Mythic Oil was smoothed on top.

Another Lynch film, Blue Velvet, obviously served as a reference for face painter Aaron de Mey. He used MAC Chromaline in Marine Ultra on the upper rims, a shade he described as “Yves Klein blue.” His reason for selecting such a vibrant hue: “The [runway] is dark and tough, so this gives it an elevation and illumination.” As for the “fifties” wing shape, it was reminiscent of Sherilyn Fenn’s signature cat-eye in the aforementioned nineties series, de Mey explained. The finishing touch that channeled the cinematic theme were models’ flocked navy nails, whose fuzzy texture and color recalled—what else?—Isabella Rossellini’s crushed velvet robe.

Photo: Indigitalimages.com

Sam Rollinson’s Trial Run

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sam-rollinsonHair was piling up on the floor backstage at Anthony Vaccarello when I came upon mane master Anthony Turner’s station. He was carving his way around the head of Brit beauty Sam Rollinson. “He said, ‘Listen, I really, really, really need Sam in the show, but I prefer her hair how it was,’” Turner said of his conversation with the designer. “The only way to get around that was a wig.” Over her twenties bob sat an updated version of her previous “hard-lined, seventies bowl,” but this time it was more “aggressive” and “rock ‘n’ roll.” Choppy, “chewed-up” layers were snipped in the same vein as short-haired catwalkers like Edie Campbell (who inspired the Joan Jett-esque shags at Marc Jacobs a few seasons ago). “I was thinking if I had got the chance to cut Sam’s hair for real, how would I do it. Now I have the chance to do just that,” explained Turner. “It’s very deconstructed, a bit all over the place—almost as if she’s done it herself,” he said of the final result. As for Rollinson, she’s ready to sport this style for longer than ten minutes (the approximate length of a runway show). “I really like it, it’s really cool,” she said of her new crop. Turner’s last piece of advice to the model who is planning to grow her hair out: “Let me cut it for you next time.”

Photo: Sonny Vandevelde; Indigitalimages.com

Gettin’ Flossy, Backstage at Anthony Vaccarello

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anthony-vaccarelloInspiration comes from everywhere, and in the case of makeup artist Tom Pecheux, we mean everywhere. Before the face painter left for Milan, he had concocted an entirely different look with the designer. Upon returning to Paris, they both decided it wasn’t right. So what brilliant tool does one turn to when in need of something fresh? Floss. (Yes, really.) “That same morning before going to the fitting I had an appointment with the dentist, and I was sitting in the dentist’s chair, and I was like, ‘Ah, yes—floss,’” Pecheux said. (It wouldn’t have been my first thought while awaiting the drill, but hey, that’s what makes the man such a genius.) After prepping lids with powder and using a black pencil in between the lashes, he coated a strand of floss wound tightly between his fingers with Estée Lauder Pure Color Envy Sculpting Lipstick in Envious, then pressed it above the top lashes and below the bottom set. With model Liu Wen acting as his “sexy assistant” by holding the Double Wear Zero-Smudge Liquid Eyeliner while he ran the string over the tip, Pecheux framed the graphic red lines with skinny black bands, adding a final onyx slash in the “banana” (i.e., crease). Aside from a trip to the dentist’s office, illustrators like René Gruau and Tony Viramontes inspired the eighties-meets-rock-and-roll maquillage; the color palette came by way of the collection (particularly the shiny, crimson ruffle on Look 26). While this isn’t the first time Pecheux reached for floss in a fashion context (having used it for an editorial in V magazine), improvements in oral care did pose a new challenge: “Fifteen years ago dental floss was dry, and now it has wax on it, so it’s very slippery,” he noted.

The hair by Anthony Turner was equally as edgy, but in lieu of clean lines, the pro employed a “bit of bend” to give strands movement. After prepping with L’Oréal Professionnel Tecni Art Pli Thermo-Fixing Spray, he pressed sections in with his fingers while blow-drying. “It shouldn’t feel too sad—it’s not about grungy, lank, nothing hair,” he explained. A masculine side part was made, Wild Stylers Next Day Hair (“a dry shampoo without the dustiness”) was misted all over, and the length was tucked behind the ears and into the “polar necks” that completed the majority of the ensembles—a gesture we’ve seen multiple times throughout the season. “She means business, I reckon, this woman. She doesn’t even think about her hair,” said Turner. I reckon I’d agree.

Photo: Sonny Vandevelde; Indigitalimages.com

Fashion’s House of Horrors, Backstage at Erdem

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erdemAn abandoned, almost derelict, old hotel; a plush red-carpeted catwalk; dark and intense lighting: The setting for Erdem’s Fall 2014 show was as dramatic as the ornate clothes that were soon to make their way down the catwalk.

Makeup artist Val Garland summed up the look in terms of a movie title: Village of the Damned. She perfected complexions using NARS Pure Radiant Tinted Moisturizer and Radiant Creamy Concealer, purposefully leaving the area around the eyes bereft of base so that the skin took on its own natural shading and contours—a choice inspired by the work of photographer Sarah Moon. Lids were slicked with clear gloss before Larger Than Life Long-Wear Eyeliner in Via Veneto was used to rim the upper and lower waterlines. To keep focus entirely on the eyes, brows were toned down with a touch of foundation. Staying true to the face painter’s previous assertion that she has “not touched a mascara wand in London this season,” lashes were left bare, and lips were patted with stick concealer to cancel the natural pinky tones.

Manicurist Jenni Draper carried the theme onto nails with a few coats of Essie nail lacquer in Allure. “We wanted something ghostly but not too white,” she said. “A shade with a lot of white would just be too high fashion, and that’s not what this woman is about.”

In addition to Moon, hairstylist Anthony Turner cited Jane Eyre as a reference point. With the literary heroine in mind, he crafted a wispy and ethereal knot at the nape of the neck, using L’Oréal Professionnel Tecni Art Pli for texture. With just his fingertips, he teased strands of hair to fall over the face like a veil. “This gives the impression of something more ethereal and romantic,” he explained. “Val left the skin quite glossy, so the idea is that the hair will stick to the face, lending her a mysterious quality.”

Photo: Indigital