56 posts tagged "Christian Dior"
Gone was the “precious” beauty of seasons past, and in her place was the urban, working woman (the Dior version, at least), summarized Guido Palau. Channeling the theme, the hair was all business. First, it was blown smooth with Redken Satin Wear 02, then the area from forehead to crown was shellacked with Forceful 23 hairspray in order to mold the strands tight to the head. “It’s a sculptural look, but the hair will move on the runway,” he said.
“This is a woman of today; she’s in the real world,” noted makeup guru Pat McGrath of the “street and slightly masculine” muse. The striking eyes were crafted using theatrical latex paint in cerulean blue and earthy khaki green—a material artists rarely employ because it requires impeccable timing to layer products over top. After “playing from 9 p.m. to midnight” at the test the day before, McGrath had the process down to a science: The graphic shape (“not a wing—we’re moving away from that,” she noted) was sketched on with a pencil, filled in with the paint, then a pigment in a similar tone was gently pressed into it. “Gradually, the latex swallows the pigment so you get this ultra-glassy feel—like a mirror,” she explained. In addition to colored mascara that matched the shade swathed across lids, the finishing touch was a sprinkling of glitter that reflected greenish gold or blue tinged with lavender. (For formulas that are less temperamental, we like Dior’s forthcoming 5 Couleurs shadow palette in Carré Bleu or Jardin. Or add a hint of office-friendly sheen with the Skinflash Radiance Booster Pen on the high points of the face.)
Between McGrath’s sparkly eyes and the slashes of vivid color seen on the catwalk, I don’t think the Dior customer could ever come down with a case of the Monday blues.
The moment: Chic Hardware
The motivation: As we shift toward a beauty landscape that celebrates individualism, edgy looks like androgynous hairstyles, wild lipstick shades, and designer grills hardly raise an eyebrow anymore. But the statement at the Christian Dior Fall 2001 runway show was delightfully shocking, even by today’s standards. Models wore multiple studs and hoops through their lips, septums, and other unexpected spots on their faces. The bold accessories were paired with colorful hairpieces and graphic makeup. Designers continue to experiment with punk rock jewelry, like the ear cuffs at Fendi and the knuckle rings at Chanel Couture—and they’re even letting models keep in their own adornments while they work. One chic example: Katlin Aas’ cluster of earrings in the Helmut Lang Pre-Fall lookbook. Her piercings were a nice contrast to the classic colors and silhouettes in the line. With fashion month in full swing, we can’t wait to see what rebellious touches will be in demand come fall.
Backstage before the Dior show, hair maestro Guido Palau noted that Raf Simons’ forward-thinking Spring 2014 couture show required him to keep things rather pared down. “Raf really wanted a nod to being now,” he explained. “There is no reference to another era, so he wanted something modern and nonreferential. It’s not what you would imagine from couture hair, in that it is not elaborate.” With that in mind, Palau devised “simple hair with a messy side part,” which he created using Redken Shine Flash 02 Glistening Mist to amp up luster and, in turn, reduce volume. “It’s very real,” he concluded.
As for fingertips, manicurist Elsa Deslandes was the first to get her hands on the new Diorlisse Abricot #800 (Snow Pink) lacquer. “When you put it on, it’s like a collagen injection for the nails. One coat makes them appear perfectly curved, soft, and smooth,” she said. Deslandes topped the pale polish with a single, high-shine layer of transparent Gel Coat. “It’s really thick, so it magnifies the shine and it works on any other color. It’s the comeback of the shiny nail!” she said, laughing.
In creating the makeup statement with Simons, face painter Pat McGrath said that they very quickly determined that the strongest look was one that “conveyed perfect grooming without being overdone. It’s very much about raw glamour with very natural skin and a bare, simple face with a strong, fiery red lip.” McGrath prepped models’ faces with primer (like the house’s Pore Minimizer) and perfected complexions with foundation and touches of highlighter (try Diorskin Nude foundation and Skinflash Radiance Booster Pen), before turning her attention to the lips—opting either for a flesh-hued balm (such as Addict Lip Glow) to enhance models’ mouths or a mix of two crimson lipsticks before sealing the color with balm (to re-create the look, use Rouge Dior in #999 and #844 Trafalgar). To complement the lip story, McGrath readied the eyes with a primer and then swept a rusty-bronze eye shadow (a cornerstone shade in the forthcoming 5-Color Transat Edition Sundeck palette) over the top. “Burnishing the lids brings out that natural eye color we all love,” she explained. A stroke of a plumping serum on the lashes (like Diorshow Maximizer), followed by a coat of brown mascara, and they were done. “It’s a super-clean, graphic face—everyone is enhanced and the color really pops; it’s like an illustration,” observed Stella Tennant backstage. As one of the “nude lip” models, she noted she’d considered going back to McGrath and “begging for a mouth.” But then she decided to stay put. “Pat knows best,” she said. Seeing as the Queen recently recognized her beauty skills, we’d have to agree.
The “doobie” (no, not that kind of doobie) Rihanna wore to last night’s American Music Awards wave was strangely familiar. Initially, I racked my brain for past runway shows (finding it somewhat reminiscent of the look at Christian Dior’s Fall 2009 show), but it wasn’t until a friend schooled me in the hairstyle’s humble origins that I realized where I’d seen it before: the subway. Often crafted at Dominican hair salons, this technique prolongs a roller set and keeps bounce intact until the long pins are pulled out. And I’ve noticed many a woman on the train unintentionally rocking this sculptural look home from the hairdresser long before RiRi wore it on the red carpet. But if issue five of Style.com/Print is any indication, turning to the street for inspiration is never a bad idea.
There was no shortage of the precious metal backstage this past season—everything from deep side parts to lashes were given the gilt trip at Dries Van Noten, while gold glitter was liberally sprinkled onto lids at Jason Wu. And Dior’s latest advertorial efforts (the fourth Dior Magazine) offers a brilliant display of the metallic hue, on model Karlina Caune, to celebrate the label’s Golden Winter makeup collection. Jean Cocteau is even said to have told the designer that his surname, when broken down in French (dieu and or), translated to “God of Gold.” If the last page of this issue’s beauty feature (seen here) and the auriferous eyes at the house’s Spring 2014 runway show are any indication, crowning Christian with this particular title was right on track.