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August 28 2014

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24 posts tagged "Bottega Veneta"

Kinga Rajzak Models Fall’s Dark Makeup in Vogue Japan

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We’ve been talking about the rise of neo-gothic beauty since the Fall shows, and the new September glossies are officially galvanizing the trend. In the latest issue of Vogue Japan, Kinga Rajzak appears in an editorial called “The Scarlet Focus” that highlights deep, black cherry-painted lips à la Gucci or Bottega Veneta and sepia-toned lids reminiscent of those at Burberry Prorsum and Givenchy. Petros Petrohilos was the makeup artist behind raven-haired Rajzak’s transformation for the spread. While starlets including Kate Bosworth and Lana Del Rey have already taken the dark look from the runways to the red carpets, we still find it fresh and wearable. We’ll have plenty more to say on this subject when our Fall Beauty Guide launches at the end of August.

Photos: Vogue Japan

Purple Haze

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Matte lips have dominated the Fall runways this season, and more often than not they have been painted classic shades of red. Backstage at Victoria Beckham and Marc By Marc Jacobs in New York, lips were a perfect crimson hue, while a precise slick of scarlet ruled at PPQ in London and Rick Owens this week in Paris. But another pout color is starting to stake its claim on the season, and it’s gaining ground with each passing day: behold, the dark mulberry mouth. We got the our first glimpse of it in Milan, where Pat McGrath coined the “dark romance” effect at Gucci before creating “shading and contrast” at Bottega Veneta with paled-out skin and another burnt-cherry lip that she lined with a black eye liner and then filled in with a blackened-red pigment. Lucia Pieroni picked up on the idea at Rochas, where she crafted a dark wine-stained, “stamped-on” lip to complement the rich color palette of Marco Zanini’s collection. Then today at Viktor & Rolf, McGrath captured the enchanted show’s “witchy elegance” with a burgundy pout that she described as “gothic glamour.” This last incarnation had the addition of a high-gloss shine, which the makeup artist applied just before models hit the run way to avoid any, er, sticky situations.


The color is striking on a host of different complexions, but the real secret to pulling it off lays with a good lip liner. “[They're] brilliant!” Pieroni effused at Rochas of the colored pencils that can retain even the wiliest of lipstick bullets. Pro tip: For a true matte finish, apply your liner around the perimeter of the mouth and in the center before adding your lipstick. Blot with a tissue, dab with finger-patting of translucent powder, then apply the liner to the surface of the mouth again to thoroughly remove all traces of shine.

Photo: GoRunway.com

Tomas Maier Talks Bottega Veneta, The Fragrance

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When word broke this summer that Bottega Veneta would be launching its first signature scent, fans of the brand rejoiced. Known for a certain polished chic sensibility and some seriously choice leather goods, the brand has been curiously quiet as its peers have entered the challenging world of designer fragrance, one by one. But creative director Tomas Maier was purposely biding his time, waiting for the perfect time to branch out into beauty. “If there’s no image of a woman, there’s no need for a fragrance,” Maier told Style.com in a recent interview. Having spent the last ten years honing the Bottega archetype—”she’s a woman who knows what she wants, is very confident, and is not about trends”—that need is now very real. The resulting floral chypre eau is steeped in Bottega culture; it is meant to smell like leather—old leather-bound books, stored in a house with wooden floors in the Veneto countryside, to be exact—and boasts masculine notes like oak moss, benzoin, and Indian patchouli that are softened by more feminine hints of jasmine sambac and plum. The unexpected aroma is at once spicy and sweet, masculine and feminine, statement-making and delicate. Just don’t expect a flashy celebrity campaign cameo anytime soon. “We don’t work like that,” Meier says. Here, on the eve of his Spring presentation, Maier talks creating scents that “lose time,” why he can’t stand “ghastly” bottle design, and what’s next for Bottega’s burgeoning beauty business.

So, where did this idea of the house in the Veneto countryside come from? Is it a real place?

It’s an original image—an idea, an input—because I didn’t want to lean on existing fragrances. So I imagined this old house, in the Veneto countryside—that’s where [Bottega] is from—and you have the big rooms; the wood floors; and you have the library walls filled with books, leather-bound books, old leather. It’s very open to the countryside, and outside there’s fresh-cut grass, hay, anything from the farm. I gave the idea to the creators, and eight different noses came back to me with their interpretation. From those eight noses, I picked the interpretation that seemed like what a Bottega Veneta scent should be about. You have to reach the perfect balance, and that’s what takes a long time.

Did you have a lot of experience going into this process, or was creating a signature scent a big learning experience for you?

I know a bit about fragrance&I like fragrance; I like that idea of recalling a memory through a scent, recalling a person, recalling a situation or physical place. I have many fragrances in my stores—fragrances that are not very obvious, and are not very distributed. For example, I’ve been working with Serge Lutens for a very long time because I love his fragrances. I think he’s very talented, and with this little fragrance company we carry from Santa Monica that is all oil-based. I also like some men’s aftershaves from little Italian barbershops—things like that, things that you have to travel to get. And that’s what I like to bring to the table in my stores because that’s why people come to me. But did I learn a lot? Yes. Do I know how to make a perfume? No, absolutely not, because that is a world on its own. It’s a magic world I will never know.

Continue Reading “Tomas Maier Talks Bottega Veneta, The Fragrance” »

Nine On Film; The Dye Job That Just Won’t Quit; And More…

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A Bruce Weber-directed commercial starring Inès de la Fressange’s daughter, Nine D’Urso, hit the Web today for Bottega Veneta’s first-ever scent. In a word, stunning. [The Cut]

In other fragrance video news, David Beckham has given the world a behind-the-scenes glimpse of the campaign shoot for his new scent Homme, and if it smells as good as he looks, then we are down. In the TV spot, a shirtless Beckham runs around and then poses in a “razor-sharp” suit. [GQ]

Kristen Stewart’s next big role, post-Bella Swan? Snow White. The actress is set to take on the part of the Disney princess and has already been spotted sporting the character’s alabaster skin and curled raven locks, thanks to her personal on-set stylist, Bonnie Clevering. [Hollywood Life]

If you thought dip-dyed hair was so last year, guess again. “Cascading tips,” as super-stylist Sally Hershberger calls the look, “feels fresh now.” Ladies, to your tubs of Manic Panic. [NYT]

Scent Stars Of The Silver Screen

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Jessica Chastain might not be a household name yet, but the flame-haired actress is about to be huge. The Tree of Life star has—count them—five big films on the docket for the rest of the year, including Tate Taylor’s mega-hyped The Help and Wilde Salome, on which Al Pacino served as both star and director. Chastain’s first big red-carpet cameo came this May in Cannes—alongside Brad Pitt and Sean Penn, no less. We had the pleasure of meeting her there at Calvin Klein Euphoria and Calvin Klein Collection’s soirée for the International Filmmakers Project. And we caught up with her again last night at Bottega Veneta’s New York fragrance launch. Turns out, Chastain is as big a fan of fragrance as film. “I change perfumes for every part I play,” she revealed, explaining that she has a tight-knit relationship with Le Labo’s Fabrice Penot. “I’ll call him up and say, ‘this is what the character is like,’ and he’ll make me up a perfume.” For Terence Malick’s Tree of Life, she wore Le Labo’s Orange Blossom; for August’s espionage thriller, The Debt, it was Le Labo’s Vetiver. The made-to-order fragrance company’s Patchouli provided Chastain’s scent inspiration for her role in the upcoming contemporary apocalyptic tale, Take Shelter, but she switched allegiances for The Help: “I wore Chanel No. 5 for [that one],” she admits of the movie set in the 1960′s South. Coco wins again.

Photo: Billy Farrell/BFAnyc.com