28 posts tagged "Butter London"
After last season’s East London-fueled nail art explosion (think Gareth Pugh, Henry Holland, PPQ, and J. Maskrey), we had a hunch that Spring would prove equally exciting in the lacquer department. Having seen two shows already today, it appears as though the trend will indeed continue on. At Vena Cava, Butter London’s Nonie Crème broke out the press-on nails. “Because they’re not actually on your hand, you can play with the polish a bit more,” said Crème. She did so by using two coats of her greige Yummy Mummy and one coat of Black Jack on the moon portion of each nail. (Pro tip: Use fake nails that are pre-glued rather than those that require manual adhesive applications, and removal is easy with a few quick drops of baby oil!) Over at Ruffian, where Brian Wolk and Claude Morais have made the moon manicure their trademark for the last few years, CND’s Amanda Fontanarrosa brought in pre-prepped nails that boasted a custom-blended “flawless” ivory base with black moons and tips. The pièce de résistance? Each model’s ring finger got a hand design in the form of the Ruffian logo. Ladies, to your nail pens!
The matte nail trend that started at Alexander Wang’s Fall 2009 show and then ballooned into full line extensions and no-shine topcoats at the consumer level over the past year is apparently here to stay—at Wang and elsewhere. Butter London’s Nonie Creme christened the two coats of mauve Yummy Mummy followed by a mattifying layer of Nail Foundation the “Alexander Wang nail” at Pier 94 last night, noting that no matter what she mixes up for the designer pre-show, he always comes back to the no-shine nude that’s worked so well for him in the past. And it didn’t stop there. This morning at Catherine Malandrino, CND’s Jan Arnold employed a mechanical mattifying technique to nails, pressing a fiber-free pad over her Dark Ruby lacquer to create a lusterless texture reminiscent of the leather in Malandrino’s collection. Perhaps the most exciting evolution of the trend came at DKNY this afternoon, however, where Mike Potter and his Knock Out Cosmetics’ varnishes made their runway debut. Potter, who has come up with the best range of matte-finish shades on the market, in our humble opinion, painted models’ fingers in varying shades of Plaster, a tan “Band-aid” color; Concrete, a taupe-y gray; Pool, an aqua that was turned into an azure at Karan’s request; and Sher, a sherbet melon that will hit shelves next month. “Using bright colors with matte finishes gives you that saturation without all of the flashiness,” Potter said backstage. If this idea intrigues those of you who have steered clear of the matte bandwagon for the past year, it looks like you’ll have another season to contemplate getting on board.
We just came from backstage at Vena Cava, where nails were painted a curious shade of cloudy, sparkly eggplant. “Fabulously awkward” is how Butter London’s Nonie Creme described the custom color she whipped up by mixing a handful of dark polishes with a white pigment for depth. “It started out as a traditional vamp nail, but it just felt so over,” she said of the popular berry shade that always comes back into fashion when Fall rolls around. How to avoid being just another girl with a deep burgundy nail is a problem we too have contemplated when we venture into darker varnishes come September. Creme’s advice: texture. “Take all of your traditional dark lacquers and add a coat of a Jelly polish
on top to switch things up a little bit.” Her tip: Try a classic black with a layer of sheer sparkly orange for a great alternative to that stash of Bordeaux. More on the presentation’s full look in a bit.
Now that the bleak misery of January is over, I’ve officially commenced daydreaming about a sun-soaked beach vacation. Finances permitting, I try to make a break for warmer climes around this time every year, and right now visions of Puerto Rico, where I spent four glorious days last March, are making it difficult to focus on the tasks at hand. If my piña colada-fueled pipe dream is going to become a reality in 2010, it probably won’t happen until April, unfortunately, when my schedule frees up. So in the meantime, I’m trying to surround myself with things that remind me of 80-degree weather, laceless Keds, and leaving my house without five layers on. Right there at the top of this list are Butter London’s new Jelly polishes. The result of creative director Nonie Creme’s attempt to blend this season’s nude and intense color trends, the line boasts three gelatinous shades—Twee, a sheer raspberry; Stroppy, a pale grape; and Chuffed, a cool cantaloupe—that can be worn as a slick stain or layered for increased opacity. With every coat, I can’t help but feel as though I’m coaxing spring right out of hiding.
When we made our way to the second floor of Milk Studios for Vena Cava, our first backstage encounter at the revamped venue, we were greeted by an unexpected sight. Models were walking between the hair and makeup stations sporting deep violet pouts, a hue that tends to be included in the fall color palette more so than spring. “Makeup doesn’t have to be seasonal,” makeup artist Lloyd Simmonds explained of the custom color he created using four different shades of MAC Pro Lipmix in White, Burgundy, Red, and Blue. Unwilling to make the call that darker lip shades will persist into next year (“this is my first show!” he quipped), Simmonds did mention that his motivation to stray from the pastel lilacs more suitable to the season had little to do with a desire to break the mold and was actually a direct correlation with the collection itself. “It comes from the clothes,” he said of the color, which he kept matte for a touch of sophistication, a word hairstylist Ted Gibson also used to describe his coifs. Gibson called his messy chignons “sophisticated chic. Not too put-together, put still put-together,” a dichotomy he achieved by twisting the models’ ponytails before pinning them into buns and pulling pieces out in the back for texture. The nails were a similar mix of business casual, a turquoise/cobalt shade Butter London’s Nonie Creme whipped up especially for the occasion. “We’re calling it Corporate Blue,” she said of the bright lacquer, a reference to the background color of a Staples ad the designers sent her way for a point of reference. It’s all about finding inspiration in the everyday, no?