22 posts tagged "Anthony Turner"
Messages against overfishing were abundant at Kenzo—with No Fish No Nothing scrawled across the doors of the La Cité du Cinéma and a sweatshirt in the collection. The idea was also reflected in the iridescent fabrics (with a sheen similar to that of scales), sunglasses with fish-eye-like baubles that wrapped around ears, an “aquatic sound system” in middle of the catwalk that jolted with every beat, and a floor-to-ceiling waterfall that served as the backdrop for the runway.
To reflect the marine movement, makeup artist Aaron de Mey mimicked the “crest of a wave” by drawing a graphic band of MAC Acrylic Paint in White across the tops of lashes with an angled brush, abruptly ending the line at the outer corners. “It looks like zinc on the lids—[providing] the reverse effect of classic sixties eyeliner,” he said. In addition to oceanic inspiration, de Mey cited Black Flag (a punk band hailing from Hermosa Beach, California): “I experimented with black, but it was too heavy and literal—punk is a feeling of being opposite to everyone else, and the blunt shape makes it feel more aggressive.” The rest of the face was kept bare, applying concealer only where necessary and dabbing a heavy cream on the tops of cheekbones, chin, and down the bridge of the nose to lend a dewy finish.
To give strands an underwater—yet androgynous—feel, hairstylist Anthony Turner blew them dry using mousse and his fingers for texture, then made a boyish side part and slicked the top section back behind one ear with a wet-look gel. “It’s almost how a boy would grease the side of his hair,” he explained. And in lieu of schools of fish, a gang of tough L.A. girls (similar to the idea at Prada, but with a far more West Coast vibe) served as the pro’s muse. Turner left the length dry, but used a curling iron to create ridges and marks—his interpretation of how women in the street “badly tong” their hair. He topped everything off with a liberal amount of L’Oréal Professionnel Infinium hair spray for added shine and control.
Press-on tips designed by Naomi Yasuda were based with MAC Nail Lacquer in Nocturnelle (an ebony hue) and streaked with Vestral White using a skinny liner brush. The abstract art not only picked up on the patterns at the beginning of the show, but popped against the cobalt, fuchsia, acid yellow, and sea foam green colors splashed across dresses, blazers, midriff-baring tops, minis, and floppy beach hats. If taking a stand looks like this, I’m ready to join the cause.
The makeup at Anthony Vaccarello, created by Tom Pecheux, was strangely familiar, harking back to Derek Lam’s show a few weeks ago. The French designer asked for something graphic that played up the outer corners of the eyes, which immediately set off alarm bells in the face painter’s head. “I can’t repeat myself, but I still have to respect what he’s looking for,” Pecheux explained. While the shape was small and rectangular on the runway in New York, the first day of Paris fashion week called for something a bit more dramatic—hence, the larger triangle that floated away from the eye. Pecheux cut a stencil into a plastic sheet protector with an X-Acto knife for each member of his team to insure uniformity. “If you freehand, it’s much more romantic. But this is a fashion cosmetic factory; we have to move fast,” he added.
Pecheux prepped models’ complexions with Estée Lauder Idealist Pore Minimizing Skin Refinisher, then mixed a drop of Advanced Night Repair (which helps “Velcro” foundation to the skin) with Double Wear Light Stay-in-Place Makeup. Pure Color Blush in Sensuous Rose was used to contour the cheeks and worked slightly onto the apple to finish. A pinky-nude hue—Pure Color Envy Lipstick in Insatiable Ivory (launching March 2014)—was slicked onto lips with a brush. The handcrafted stencil was then placed against the face so the tip of the triangle hit the highest point of the crease, lifting the eye upward. Using a stiff eyebrow brush, he filled it in with a black shadow from the Pure Color Eye Shadow Duo in Moons, then layered over top with a brighter shade of cobalt (Pure Color Gelée Powder Eye Shadow in Fire Sapphire)—the end result being a midnight blue that picked up on the touches of navy in the collection. Next, he arched the pigment over the crease and ended it just past the inner corner of the eye. Pecheux filled in brows with a pencil that was a touch darker than each model’s hair color, focusing on the inner corners to bring balance to the face.
Inspired by Vaccarello’s introduction of denim into the line, hairstylist Anthony Turner wanted to create a style that was a bit more “street.” And what better reference point than a street-style snapshot of the designer’s close friend Anja Rubik? “We looked at a picture where she was pushing her hands through her hair” he recalled. “So I thought, Why don’t we try to interpret that?” For hold, Turner worked mousse through strands and blew them dry with a few drops of L’Oréal Professionel Mythic Oil and a Mason Pearson brush for smoothness. To get a “poker-straight” finish, he ran a flat iron over top. For a bit of lift in front, True Grip Texturizing Powder was sprinkled in at the roots and back-combed about two inches from the forehead using a rattail comb. He misted all over with Infinium hair spray to polish off the look. “I wanted to maintain the confidence and sexiness that is the Anthony Vaccarello woman but introduce a sportier element,” Turner elaborated. Mission accomplished.
An androgynous and distinctly tough girl debuted at Erdem today in place of the feminine, and often plaited, muse we’re so used to seeing. “Let’s put it this way: If there were boys in the show, they would be wearing exactly the same makeup—it’s a bit like Mick Jagger or Keith Richards,” explained face painter James Kaliardos. Using NARS Pure Radiant Tinted Moisturizer, he evened out models’ skin before applying a touch of Optimal Brightening Concentrate over top to lend a moist finish. On cheeks, the Matte Multiple in Altai (launching for Spring 2014) was dotted into the hollows and blended to lend a sunken, almost bony impression. A touch of Radiant Creamy Concealer was applied to lids, while the matte charcoal shade from the Paris Duo was buffed into the inner corners of the eyes. For extra definition, Larger Than Life Long-Wear Eyeliner in Via Veneto was rimmed along the upper and inner waterlines, and a grayish cream shadow was worked through arches to add strength to brows.
The undone updos created by hair pro Anthony Turner also played up the masculine theme—with both a severe side part and “comb-over” in front. To achieve the look, Turner applied L’Oréal Professionnel Tecni Art Full Volume Mousse 5 to give hair guts and Tecni Art Fresh Dust (a dry shampoo) for a fluffy texture. Strands were pulled over the forehead and secured with a bobby pin, and the remaining length was pinned up in the back (the finished product resembled a messy French twist)—leaving just a few loose strands cascading around the face.
Nails were pale and ghostly, with manicurist Anatole Rainey creating a four-tiered ombré effect using Essie Allure. Let’s just say we’ll be stealing a few of these beauty moves inspired by Jagger come spring.
The quintessential grounds of Regent’s University and the in-bloom rose gardens of Regent’s Park spoke of a very serene location for this season’s Topshop Unique show space. Backstage, however, told another story entirely.
It’s 2:15 and only five of the expected twenty-nine models have arrived so far. It’s only forty-five minutes until showtime. It’s bedlam.
Once the models did (finally) arrive, it was straight into the tanning tent, where skincare expert Nichola Joss was armed with St. Tropez Instant Tan Wash Off Face & Body Spray in Medium/Dark. “I’m going for a statement tan,” Joss said. “She’s a global girl and we want her to look like she has been [sunning] all summer.”
The world-traveler theme was echoed in the makeup, as well, where face painter Hannah Murray used a new Topshop matte bronzer (out for spring) to bronze and contour the girls’ faces. “We want her to look like she has just woken up on a beach somewhere—maybe Ibiza—after partying all night,” Murray explained. “Her makeup, applied the night before, is sultry and even a little decayed.” A brown gloss was painted over lids and a metallic silver pencil (also out for spring) was sketched into the inner corners of the eyes to play with textures. Mascara was kept just to the roots of lashes so the ends looked slightly lighter and sun-exposed, and a touch a plummy blush was dusted over the apples of the cheeks.
For hairstylist Anthony Turner, his inspiration was Daria Werbowy. “This season the Topshop girl is sexy, almost Amazonian-like, and definitely not as grungy and rock ‘n’ roll as she has been previous seasons,” he explained. “There’s more oomph and va-va-voom about her.” The oomph came courtesy of L’Oréal Professionnel Tecni Art Volume Lift Mousse and a one-and-a-half-inch curling iron. Hair was waved in random sections before a small amount of conditioner was scrunched in at the roots for a slightly wet look. And there you have the va-va-voom.
“There isn’t a muse this season,” makeup artist Val Garland disclosed backstage, but that didn’t mean inspiration was lacking at Mary Katrantzou. “It’s just a super fabulous finish, and it’s very Mary,” she continued. MAC’s forthcoming lip stains were used to create a diffused red lip that struck the perfect balance of blue and yellow tones. “There is so much going on in the collection—so many patterns, embellishments, and materials—that it was important to keep the makeup quite simple: fresh skin and a matte mouth,” she added. Complexions were flawlessly reflective with a light layer of MAC Mineralize Foundation, and lashes were left completely bare. “This season there is either loads of mascara or nothing at all. There’s no middle ground,” Garland said.
When it came to hair, however, change was in the air. “We’ve never done hair down before at Mary,” said hairstylist Anthony Turner, “so we thought it was time for a change.” Hair was “down, but not down,” which is stylist talk for strands that were worn loose but pinned underneath the many high, choir-boy-esque collars in the collection. Turner pulled and fluffed the hair so that only the ends were tucked underneath the necklines of dresses, tops, and jackets. For instances where there were no collars, he misted L’Oréal Professionnel Tecni Art Pli (a heat-activated setting spray) all over before tying a ribbon around the hair and neck and locking in the shape with a blow-dryer (the ribbon was later cut before the models hit the runway). The result was a distinctive kink that gave the impression that the hair had been trapped under a coat.
And there was something new on fingertips, too. Manicurist Marian Newman left the shape and length natural but painted one or two coats of MAC Matte Topcoat over the entire nail. “By leaving out the color and mattifying the [natural surface], it almost gives the impression of skin,” she explained—keeping the focus entirely on the designer’s vibrant patterns and unique silhouettes.