6 posts tagged "Atelier Versace"
“Donatella said she wanted to do something different,” explained face painter Pat McGrath. “She wanted couture-modern, but also something graphic, aerodynamic, and fun.” McGrath realized this vision via a thick, two-toned wing in peacock teal. To provide dimension, she applied a lighter shade to the center of the lid and swept a darker hue up toward the temple. A delicate veil of shimmer powder, faux fringe, and “tons of mascara on top lashes only” completed the eyes. The rest of the face remained neutral: Groomed brows, light contouring on perfect skin, and a pale lip balanced out the dramatic shadow. Ditto for nails, which were “natural pale” but ultra-shiny.
The hair was high-gloss, too. “This chignon is very un-Donatella,” conceded hair guru Guido Palau. To lend topknots edge and structure, the pro employed Redken Hardwear gel to shape models’ strands. He then moved the classic style closer to punk territory by using Forceful 23 hairspray and ironing the bottom few inches into a geisha-style flourish. Stella Tennant stood out and received a customized look sans extensions. “Along with the makeup, it’s very rock ‘n’ roll,” noted Palau. “This is a strong woman.”
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.