4 posts tagged "Carole Colombani"
Hairstyles that are created to complement a collection’s clothes often turn out better than those that introduce an entirely new theme or idea; hairstyles that are created with a collection’s clothes often turn out even better. “It’s Boldini, but modern and more abstract,” Odile Gilbert said backstage at Alexis Mabille referencing the Italian painter whose flowing brushstrokes guided much of Mabille’s Couture designs—including those that made their way on top of models’ heads. “They’re flowers,” Gilbert explained of the pieces of hand-painted tulle that she took from select dresses and shellacked onto a Mexican-style head-wrapping technique that required copious amounts of professional-grade gel. “It’s a lot of work,” she admitted, combing product through panels of hair to create a sleek base for the fabric appliqués-turned-hair-accessories.
To keep it all from skewing too romantic—and to add a “touch of the futuristic” to the equation—makeup artist Carole Colombani dusted a mix of MAC Blush in Prism and its Sculpting Powder in Sculpt high onto the cheekbones and along the temples, cutting the light pink color with a sheer wash of its matte white Eye Shadows in Gesso and Blanc Type that extended from the outer corners of models’ lids. Then, mixing MAC Pigment in Silver with its Mixing Medium to create a molten-pewter effect, Colombani traced just the inner corners of the upper lash line with the metallic hue that was revisited on nails in the form of Essie’s No Place Like Chrome polish, which was dotted with alabaster moons. And lest you forget this was a Haute Couture beauty look, not your average ready-to-wear affair, false lashes upped the glamour quotient while lips were individualized per girl, using a blend of MAC Lipmixes in Fuchsia, Midtone Nude, and White.
Beauty marks are funny things: Either you have them or you don’t—or you draw them on when the mood suits you. Fifty years after her death, whether Marilyn Monroe’s famous mole, located on her left cheek, was in fact real or used for dramatic effect is still being debated. Either way, the black blemish was a striking part of her look—and “faking it” remains an essential face-painting tool for makeup artists who have been ushering in a drawn-on spot revival of late. After Spring’s embrace of 3-D eyeliner, the idea of fabricating well-positioned beauty marks persisted into Fall (the blue circular under-eye stickers at Anna Sui immediately come to mind), a notion that reared its pretty, penciled-in head during Resort, too, courtesy of Peter Philips’ custom-made velvet CC stickers at Chanel. Today in Paris, it turned up at Couture as Carole Colombani adhered individual black Swarovski crystals onto models’ faces, adding a particularly extravagant detail to Alexis Mabille’s ode to old-school glamour, which included a slick of MAC Lipstick in Ruby Woo. While it wasn’t a direct Marilyn tribute, the fact that the dots traveled from cheek to temple and back again throughout the show is certainly curious…
The super-high, teased-out pompadour is a favorite with hair stylists looking to create androgynous glamour. It can also be hyper-feminized, as evidenced by its two early cameos this week—first at Ruffian, where Bumble and Bumble’s Neil Moodie was doing socialite-style “morning-after” hair, and then last night at Suno, where Odile Gilbert was channeling Avedon muse, China Machado. “Teasing, mousse, more teasing,” Gilbert said of her incarnation of the sixties style. Prepping hair with Kérastase Ciment Thermique leave-in heat-activated reconstructing milk and its Résistance Mousse Volumactive, Gilbert blew hair dry and coated it with Kérastase Elixir Ultime for shine. She then back-combed the top section, which would ultimately get tucked into a tight French twist pinned in back. Makeup artist Carole Colombani added Meryl Streep in Out of Africa to designers Max Osterweis and Erin Beatty’s inspirational beauty directives. “Baby skin” is how the face painter described her complexion objective, which she achieved by adding a rosy glow to models’ cheeks with a mix of MAC’s forthcoming lipsticks in Creative Energy, a sheer peach, and Raise a Glass, a sheer pink. To fashion-ize the whole experience a bit, Colombani incorporated a graphic element in the form of an elongated line drawn along the upper lash line with MAC’s new-for-Fall Pro Longwear Eye Shadow in Makeup Your Mind, a slate gray, which she extended outward toward the temple and mixed with water as a makeshift mascara for lower lashes. MAC Eye Kohl in Teddy, a dark brown, drawn along the inner rims of eyes and a few coats of its Haute & Naughty Mascara added definition.
The men’s shows are over and Couture has officially begun—never a dull moment on the fashion calendar! We’d like to draw your attention to a particularly lovely hair moment that happened this morning backstage at Alexis Mabille. There, just as she did at Hermès in October, hairstylist Odile Gilbert constructed a gorgeous long, flowing braid, secured with a clear elastic and interwoven with white embroidered flowers. We know what you’re thinking: This style has the potential of slipping dangerously into bridal territory. Think again: The small silhouette keeps the base of the plait close to the head, making the overall effect more sleek than sweet. Eyelids dusted in a neutral sandy brown shade, slightly sculpted cheeks, and a natural pink lip courtesy of makeup artist Carole Colombani add a note of playfulness. The result is downright pretty. What do you think of the look?