9 posts tagged "Armani Prive"
Backstage before Armani Privé, makeup artist Linda Cantello explained how she worked the show’s black and white theme into the maquillage. “We were really going for a modern-couture look, so a red lip didn’t really work and neither did classic eyeliner.” Instead, she paled models’ complexions by adding a few drops of Maestro Zero (on counters in November) to their normal foundation shade and accented lids and cheekbones with a highlighter from the Orient Excess collection (out for the holidays). Next, the pro reached for the house’s new star product, Eye & Brow Maestro in Jet, and smudged the pigment around the eyes and past the outer corners before straightening the brows with the same formula in a tone closer to each catwalker’s hair color. The final flourish was Black Ecstasy, a mascara with a wet finish that is set to launch this September. “She’s a woman of mystery, but couture makeup is becoming much more simple and accessible,” she explained. “It’s real, but it’s more.”
Working with L’Oréal Professionnel Tecni Art Hot Style Constructor, hair guru Peter Gray crafted an “almost DIY,” not-too-perfect twist high at the back of the head. The finished look was soft, with sweeping fringe and a hint of a bouffant as a nod to the sixties. “Whatever we were going to do, Mr. Armani wanted it to feel young and fresh,” he noted. “The actual style was a process of iteration, tweaking until we got it right—a bit like a tailor would fit a piece of clothing.”
Beauty editors got a first look at the house’s expanding cosmetic offerings, including new eyeshadow colors and textures, a liquid bronzer and blush (both available in April), Cheek Fabric (a pigment-rich powder blush out in March), and the brand’s newest star: Eye&Brow Maestro—a multiuse product in eight different colors hitting shelves in September. Based on L’Oréal (the brand’s holding company) hair color science, Eye&Brow Maestro is a satin-finish polymer and pearl-based sliding gel formula that is waterproof and offers round-the-clock wear. And because it is the result of collaboration between hairdressers and makeup artists, it also works on the lids as a liner or eyeshadow.
Makeup artist Linda Cantello employed a few of the new products for the runway look she dubbed “a nod to India in Paris,” based on dramatic contouring (which she did using a well-blended eye pencil and Cheek Fabric in a taupe hue); a straight, strong brow (created with the forthcoming Eye&Brow pencil in a shade darker than each girl’s natural hair color); and intense eyes. “I used only two shadows [a custom blend of Eyes to Kill Solo eyeshadows in #11 and #7, arriving in May], but they are so reflective they look like four,” she noted. Along with mascara on top lashes only, the finishing touch was what Cantello called “manicure minuit” (midnight manicure). Nail Lacquer in Bleu d’Armani served as the base, and a top coat called Navy Glass (also due in September)—specially formulated to reprise the impression of stained glass by amping up color with each successive coat—boosted shine. Crystal-encrusted scarves wrapped tightly around models’ heads completed the exotic and glamorous “nomade” persona.
You would never know by Cate Blanchett‘s flawless facade, but that Grace Kelly-esque hair was not always the plan. Inspired by the vintage photo above, mane master Robert Vetica had proposed the idea to the Blue Jasmine star, but they ultimately decided to leave it down with a slight bend at the end since her look at the Los Angeles Film Critics Association Awards the previous day received such rave reviews. After prepping strands with Vidal Sassoon Pro Series Boost & Lift Foaming Air Mousse, blowing it out, and wrapping sections around a curling iron, Vetica pinned it up just so Blanchett could slip into her Armani Privé dress without mussing up the finished product. And then—if you’re a celebrity hairstylist—disaster struck: Blanchett loved the silhouette of the tucked hair so much that she wanted to keep it. With only 15 minutes to spare, Vetica told the team to “get those earrings on” and get her in his chair so that he could make the set a permanent style. “There is a sense of calm,” he said of the last-minute switch, “but inside you’re ready to scream.” Vetica would have employed a different technique if he had been starting from scratch, but he had no choice but to pin everything to the nape of her neck with a handful of bobbies. “There was nothing for the hair to grab onto,” he explained. In other words, that classic roll was hanging onto a hope and a prayer. “Oh, honey, I’m still nervous—I don’t even want to watch TV,” he said during the show. For extra support, the pro “coated that sucker” in Pro Series Flexible Hold Hairspray before finally sending her off.
Maquillage, on the other hand, was far less dramatic. “We spent the week trying different things out, so by today I had an idea of what I wanted to do…I took all the best bits and put them together,” said face painter Jeanine Lobell. “I’ve been working with Cate for 15 years, so you wouldn’t think I would need to rehearse…She doesn’t even sit in front of a mirror when I do her makeup,” Lobell quipped. The pro began by applying Blanchett’s go-to “Jason mask,” otherwise known as the SK-II Facial Treatment Mask, for a boost of hydration. In order to “balance something heavy on the bottom with something on the face,” Lobell focused on the mouth, cheeks, and arches to “hold the dress.” Pink, beige, and gold shadows were dusted across Blanchett’s lids for “texture and depth,” while a combo of Nars Highlighting Blush in Satellite of Love and translucent power were layered on her apples until the perfect flush was achieved. To add dimension to the lips, the pro used Giorgio Armani Rouge Ecstasy Lipstick in 502 like a liner, feathering it in toward the middle, then coated the center with 509, a nude rose. “If I had to give the [end result] a catchphrase, it would be ‘romantic but modern.’ We mixed periods in a way in that it was a strong brow with a super-lashy open eye—kind of Mia Farrow.”
In the end, all of the pieces of the Golden Globes puzzle came together in time for Blanchett to secure yet another statue. “She’s so awesome in this movie, that we wanted to blow it out for her,” Lobell said of the joint effort. Mission accomplished.
In lieu of the “diaphanous” green shadow employed at Giorgio Armani’s Spring 2014 show in Milan, makeup artist Linda Cantello opted for a more subtle hue for his “One Night Only” celebration, held last evening at SuperPier in New York City. She dotted a forthcoming taupe formula in between the lashes to avoid any harsh lines, then applied a hint of the same color through the crease. But if designer’s most recent Privé collection was any indication, beige in the world of Armani is anything but boring. “Everyone is doing the nineties nude [this season], but this is a naughty nude,” explained the face painter of the sexy champagne tone. To keep the eyes looking soft, she skipped mascara. The skin was perfected using the brand’s CC cream (launching in March), which cancels any redness but lends a transparent—not cakey—finish. “He hates blush,” revealed Cantello, so obviously cheeks were kept bare per the boss’ orders. The lips, however, were dabbed with a custom-blended berry-pink lipstick that looked “lived in.” “We come with thousands of products and huge suitcases, but never have the right shade,” she said. Hence the reason the backstage team travels with a mobile beauty lab (essentially all the pigments and colors used by chemists to create the house’s cosmetics in a stationary location). “Of all the designers I’ve worked with, he pays the most attention to detail,” Cantello revealed, saying that Mr. Armani notices everything—including the tiny amount of gloss that wasn’t matted down before his second show this past season. But as his breathtaking couture illustrated last night, perfection, in addition to longevity, is all in the details.