27 posts tagged "Balmain"
I will never forget reading an old Kristina O’Neill interview on Into the Gloss in which she posited that “one of the most unchic things is coming to work with your hair wet. There’s something messy and unkempt about it.” As a wash-and-go girl who’d roll up to early appointments fresh out of the shower with still-damp locks, her words caused me to start bathing at night instead. But Miuccia Prada reassured me that my look was all right when she sent models with sopping mops down her Fall ’13 runway (similar styles turned up at Marni, Balmain, and Giambattista Valli). Backstage before the show, hairstylist Guido Palau said, “The ultimate ease is wet, just-out-of-the-shower hair. I mean, how chic is that!” During a blistering heat wave like the one New Yorkers have been weathering this week, rocking saturated strands is the cooling equivalent of having an amusement park fan—you know, the ones that mist—on your head. And wet tresses don’t appear to be going soggy anytime soon. Edie Campbell sported a slick ‘do in the latest Giles lookbook, while Kate King was snapped with beachy waves for the July issue of Harper’s Bazaar Latin America.
Photos: GoRunway.com; Courtesy of Giles and Harper’s Bazaar Latin America
The Balmain woman is a creature of habit. She likes a strong shoulder, a good bit of embellishment, and very little fuss when it comes to her hair and makeup. “I think it’s even more minimal than usual,” Tom Pecheux said backstage, pointing out that he did everything he usually does for Olivier Rousteing’s Fall outing, minus the highlights. “We’re making it more matte,” he explained of models’ complexions, which were brushed with Kett Sett Loose Powder and MAC Prep + Prime Transparent Finishing Powder, a technique that took a page out of this season’s makeup manual. “Mattifying [the skin] makes it a bit tougher,” Pecheux offered of the finish that has dominated the runway over the past few weeks. It worked particularly well here, in contrast with the ornate dresses and “very strong” earrings the girls wore. Curled lashes, light contours, and well-groomed brows finished off the face.
“We’re going more tough this season,” Sam McKnight elaborated, speaking to the hair look. “It’s not as soft and clean.” Instead, McKnight made things a little “dirty” by smoothing handfuls of Magic Move, a malleable styling paste, on the sides of the head and all the way through the ends, which he reactivated with water just before models hit the catwalk. “There’s never a huge concept here,” he pointed out, content to christen his handiwork “dirty, rock ’n’ roll chic.”
In case you’ve somehow missed the barrage of bulletins from Paris—via Twitter, text, Instagram, Tumblr, and good old-fashioned phone calls—Cher (CHER!) is at the Fall collections.The legendary singer—and, lest you’ve forgotten, Academy Award-winning actress—made Gareth Pugh her first stop of the week yesterday and answered the burning question of whether or not that would be her only stop by showing up, arm in arm with Fergie, at Balmain this afternoon. At 66, the style icon still looks amazing and, it should be pointed out, is still very much on message. The red eye shadow Cher had slicked across her lids in the front row of Olivier Rousteing’s show happens to be the very same color many a face painter has gravitated towards for Fall. “There’s a sort of seventies feeling to it,” makeup artist James Kaliardos said of the cranberry tint that has turned up at Diane von Furstenberg, Gucci, and Anthony Vaccarello—and has long been a favorite makeup trick of the music legend, who is apparently still setting trends all these years later. Yet another reason to add the color to your eye-makeup arsenal, stat.
MAC has established itself as a leader in the culture-crossing collaboration game. The makeup giant has turned Superwoman, Hello Kitty, Barbie, and Disney’s most venomous villains into cult-favorite lipsticks, blushes, and nail lacquers, inspiring other cosmetics companies to follow suit. Its latest coup is another comic-book classic: Archie. It’s not the fifties-favorite, freckle-faced redhead that inspired its new lineup of face paints and accessories, though; instead, Archie’s perpetual love interests, Betty and Veronica, play muse. As to be expected, there’s plenty of kitsch in the collection, which can be experienced through the cartoon faces and miniature hearts that adorn its uncharacteristically white packaging. But there are a few real makeup gems in here, too, namely the Eye Shadow X 4 palettes that made some high-profile cameos backstage at the Spring shows, albeit in covert packaging. Tom Pecheux used a mix of the warm tan Caramel Sundae, light pink Cheryl Chic, pale yellow Dreammaker, and cool-toned brown Showstopper, from the collection’s Caramel Sundae quad, backstage at Balmain, and the deep navy Ron Ron Run pigment from the Spoiled Rich quad added opacity to the navy stroke he famously scrawled onto models’ upper lash lines backstage at Joseph Altuzarra. There was nothing kitsch about that.
MAC Archie’s Girls, available through February 7 at www.maccosmetics.com.
Balmain is often associated with words like embellishment, sharp lines, and a certain rock ‘n’ roll sex appeal that it evokes thanks in large part to the stellar lineup of hard-to-get models the French house regularly enlists for its runway shows each season. What it’s less known for are hairpieces, but artificial strands have been a lucrative part of the company’s business since the sixties. “When Balmain started as an haute couture house, they started with wigs,” says Linda Dekkers-de Oude, Balmain Hair’s business development manager. “We went from wigs to extensions and from extensions to ready-to-wear [hairpieces]—things that are easy to blend,” adds Richard Guliker, the brand’s aRt&D director and the son of Dick Guliker, a hair pioneer who inked the original beauty deal with Pierre Balmain 38 years ago.
“It’s very big in Europe,” Guliker insists of the house’s lesser-known hair arm, although he’s hoping to expand its stateside presence by joining forces with Michael Angelo’s Wonderland beauty parlor in New York. “Linda was nice enough to let me dive into the archive and curate a collection that made sense for Wonderland,” says Angelo, who just started carrying the brand’s new Clip-In Fringe at his model-favorite Meatpacking District salon, as well as a selection of clip-in colored and highlighted add-ons. “What I did with their archive is think about what do people constantly beg me for: I want bangs but I don’t want to cut my hair; I want a pink streak but my mother’s going to kill me; or I want volume,” Angelo continues, explaining the new Clip-In Couture service he has dreamed up as a result of the partnership. “It’s like a couture appointment. You come in and we talk about what you want it to be, then I’ll call Balmain, say these are the shades we need, these are the number of pieces we need, they ship it to me and then you’ll come back 48 hours later, we’ll put the hair on the head, place it, show you where to place it, and cut and color it if we need to.”
“It’s not about adding piles of [fake] length,” Angelo is quick to point out about the Balmain Hair difference, which boasts incredibly natural textures and tones rather than an immediately recognizable synthetic look. “It’s like the perfect makeup application, that ‘is she or isn’t she’ [quality],” he elaborates—a quality that has also impressed backstage regular Sam McKnight, who often employs the subtle strands to catwalkers’ hair at Olivier Rousteing’s (and Christophe Decarnin’s before him) seasonal collections, according to Guliker. The fake-hair stigma, both men assert, is long overdue for an overhaul, and the creation of a professional service to help educate consumers on the art of going faux just may be its best chance for redemption yet.
Wonderland Beauty Parlor, 418 W. 13th St., New York, NY 10014; (212) 524-2800.