262 posts tagged "Chanel"
“To get liquid eyeliner right, I always look at the eyes straight on—I never apply makeup to a closed eye. I make two dots, one where I want the line to start and another where I want the line to end, and then I draw a straight line. It’s all about connecting the dots.”
Every face painter has his or her own technique for creating the perfect swoosh with liquid liner—a product that can trip up even the steadiest of hands. I’ve heard of penciling on a stencil before tracing over the top with eyeliner, crafting the shape in three parts, and even using a credit card to nail a sharp edge. Leave it to this master of maquillage, however, to make achieving the often-finicky flick as easy as a kindergarten worksheet. With strong, graphic eyes appearing on multiple couture runways (Chanel and Giambattista Valli) thus far, it seems studying up on the classic look isn’t a bad idea. Consider this your Cliffs Notes.
Makeup artist Peter Philips confessed that this season’s beauty look was built from the ground up—literally. Those hand-embroidered sneakers by Massaro conveyed such a new attitude in themselves that playing with iridescence in terms of makeup became self-evident. “I wanted to do something that stood out with lightness but at the same time was elegant and couture,” he said. Mission accomplished. Philips started with Chanel Perfection Lumière Velvet foundation (launching in March) to create a matte finish, “because all the shine had to come from the eyes,” he noted, and dabbed a touch of powder blush in Espiègle on cheeks and across the chin. Then came a stroke of black Ligne Graphique liquid liner and ample coats of mascara, which tempered the hologram glitter in various sizes that he applied under the otherwise unadorned lower lashes. “The eyeliner makes it chic and iconic, but then you’ve got the sparkle that feels relaxed and fresh yet creates magic,” he noted. To finish it off, Philips reached for Rouge Coco Shine lipstick in Satisfaction (out next month). “It’s a great color, because if models’ lips are naturally too red, it tones them down; if they are too pale, it brings in just the right amount of color,” Philips explained. For a bit of discreet sparkle on nails, he opted for Le Vernis in Frisson, a rosy iridescent lacquer.
Asked about his inspirations, hair guru Sam McKnight reached for his iPhone and fished out a few sketches Karl Lagerfeld sent over a couple weeks back. “He specifically said he wanted something kind of undone and asymmetrical.” McKnight’s solution: extensions that matched each model’s hair color attached to headbands (shown below). The faux strands were flatironed to stand at attention, creating the impression that the girls had just tied up their hair and left the spiky ends out. “You could say the hair had to correspond to the sneakers, too,” he said. “It had to capture an attitude, it had to be a little sporty, but it had to be a look—for couture, it couldn’t be nothing.” Ultimately, he quipped, “what it became is a version of nothing.” Not exactly much ado about nothing—the finished product was as fantastical as the footwear.
“It’s more modern and cool not to use shimmer—especially with HD cameras,” said makeup artist Rachel Goodwin, who prepped Emma Stone for the Globes on Sunday. In lieu of sparkle, the face painter contoured the sides of the star’s face with Chanel Les Beiges powder, dusted her apples with Revlon Powder Blush in Oh Baby! Pink, and topped off her cheekbones with Le Jour de Chanel moisturizer. “It gives [the skin] that lush, hydrated quality, but doesn’t look reflective,” she explained. (If you love a good selfie, keep this tip in the bank). Stone’s smoky eyes acted as the “thread” between the bottom of her Chanel dress and her beauty statement. To achieve a more “casual” vibe, Goodwin applied Revlon’s ColorStay Eyeliner in Charcoal as a wash across Stone’s lids and muted it with a taupe powder shadow—pulling the shape out just slightly at the outer corners. To finish, she ran the same pigment along the lower lash lines. As for Stone’s pre-game plans, since she skipped out on the red carpet before presenting an award to Woody Allen: Watch your colleagues endure the long walk in Louboutins on TV and “gasp over Cate Blanchett’s gorgeousness,” revealed Goodwin. Celebs…they’re just like us.
Lupita Nyong’o may be relatively new to the red-carpet scene, but she looked like classic Hollywood royalty at the 71st Annual Golden Globe Awards—which was makeup artist Nick Barose’s long-standing game plan. Seeing as he got a sneak peek at her Ralph Lauren gown before the holidays, he spent his downtime watching old movies and getting inspired. Earlier in the week, he explained, “I’m thinking it’ll be something regal—a cross between Queen Nefertiti and Audrey Hepburn in Roman Holiday. That was Audrey’s first film that got her nominated for awards, [similar to] Lupita [in her breakout role as Patsey in 12 Years a Slave]. They kind of remind me of each other: poised, elegant, classy, and big, open, animated, youthful eyes.” Add to the mix Vivien Leigh in Caesar and Cleopatra, and you’ve basically built Barose’s mood board.
For “a bit of Egyptian flavor” that didn’t look costumey, the face painter used Chanel Ligne Graphique de Chanel liquid liner in Noir to draw a strong cat-eye shape, then swept a shimmery blue shade along the bottom lashes to define but not “overwhelm.” Lids were topped with Ombre Essentielle Soft Touch Eyeshadow in Complice, and a “1950s movie-star brow” was created with the Crayon Sourcils Sculpting Eyebrow Pencil in Noir Cendré. To complement her dress, he applied a sheer version of a similar color (Rouge Allure Intense Longwear Lip Colour in Pirate) to her mouth and tapped a gold gel pigment (Illusion d’Ombre Long Wear Luminous Eyeshadow in Vision) in the center to highlight. “This was playtime for us,” Barose quipped.
Below, an exclusive sketch from the man behind the maquillage: