5 posts tagged "Atelier Versace"
Couture clients tend to know who they are, and Donatella Versace knows that her client lives in sync with her own taste for sleek, lustrous, perfect hair. Reflecting that spirit, hair guru Guido Palau brushed models’ strands (plus a good deal of extensions) stick-straight. Using Redken Satinwear 02 Blow-Dry Lotion and the lock-taming Redken Iron Silk 07 Ultra-Straightening Spray, he swept models’ hair cleanly back from a center part with a Mason Pearson brush—and for the handful of girls sporting hoods, Palau pulled everything back into a tight, silky bun at the nape of the neck. He knocked out any flyaways with Redken All Soft Argan-6 Oil as he went along. “This is super-simple, classic Versace hair,” he noted.
“It’s very Donatella with a little hint of Grace Jones,” commented makeup artist Pat McGrath as she gave models a final look before the show. Accentuating the lush lashes and blend of bronze, gold, and brown shadows on the lids was a shot of electric blue on the inside corner of models’ eyes. She said of the total package: “It’s very rich, very beautiful, very Versace.”
Following her breakthrough Fall ’13 season, Sasha Luss has quickly become one of the most in-demand fresh faces in the industry. The 21-year-old Russian model’s white-hot career got an additional boost at the Haute Couture shows last week, where she officially debuted a platinum dye job on the runways of Armani Privé (which she bookended), Dior (Simons chose her as the opener), Valentino, Atelier Versace, Giambattista Valli, Bouchra Jarrar, and Elie Saab. Luss was rocking her natural honey-hued tresses just weeks before, during the Resort presentations, turning up on the Chanel and Calvin Klein Collection catwalks. Rumor on the street is her icy-blonde makeover was for a Steven Meisel shoot. Considering her recent Numéro cover and a confirmed spot in the new Tommy Hilfiger ads, we wouldn’t be surprised to see this rising star go on to nab a Vogue Italia cover and additional campaigns.
Throwback Thursday is a new feature on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Model: Benedetta Barzini
The Moment: Lace eye appliqués
The Motivation: Decorative, 3-D eye adornment has been getting a lot of traction of late, what with Pat McGrath’s stick-on metallic green triangles at Atelier Versace and Peter Philips’ gorgeous tulle lashes at Chanel Haute Couture making the rounds on the blogosphere earlier this month. Using mediums other than plain old pigment and powders to embellish lids and brows is a long-standing beauty tradition, however: Diana Vreeland’s creative team ordered up this well-placed swathe of black lace for a 1964 Vogue editorial starring model Benedetta Barzini, which was applied above a jaunty cat-eye drawn on both the upper and lower lash lines, and on top of a swipe of matte white eye shadow—a good trick to ensure the precise latticework is that much more evident. Not convinced you’ve got the steady hand for this kind of task? A little trial and error with makeup artist Phyllis Cohen’s Face Lace decals should do you one better.
“It’s just very much Donatella,” Pat McGrath said of the smoky eye backstage at Donatella Versace’s Spring show in Milan, where the makeup artist had set to sculpting the designer’s go-to “sexy, cool” look, just as she has for many a season past. Versace’s desires for her haute couture show this weekend weren’t much different, as sooty, black-rimmed lids reigned once again in Paris. Although seeing as how it was a special occasion—the house’s longtime muse Kristen McMenamy opened the show while fellow supe Stella Tennant closed it—McGrath added a hint of color to the predictable onyx abyss via flashes of lime green on the inner and outer corners of the eyes. Upon further inspection, we noticed something even more interesting about the offbeat pop of green: Those outer flicks are actually stencils. “We’ve been doing it for fifteen years,” McGrath told us of the tried-and-true technique backstage at Viktor & Rolf circa Spring 2012 (above, right). “It’s something we came up with as a way to get an eye liner on quickly,” she explained of the easy-on system. The hours spent cutting out those perfectly pointed strips, however, is slightly less of a speedy process, we imagine.