58 posts tagged "Christian Dior"
Designers often cite artists as inspiration, but few hire their own to be a member of an in-house council. Such is the case with Dior and fashion illustrator Jamie Lee Reardin, who was recently brought on as a U.S. Beauty Ambassador. The Toronto-born, Los Angeles-based Reardin spent much of her childhood drawing Cruella De Vil while her sister “watched Beetlejuice on repeat,” forming her signature aesthetic: sinewy figures with impossibly long necks and nipped-in waists. But Disney movies aside, she notes the runway, catwalkers like Cara Delevingne and Sasha Pivovarova, and photographer Tim Walker as major influences. “There’s always a touch of darkness in his work that tugs at my heartstrings,” she said of Walker. Another muse is Marchesa Luisa Casati, an Italian socialite who inspired Dior’s Spring Couture collection for 1998. “She yearned to be a living work of art,” Reardin explained. But it was her sketches of industry insiders like Lauren Santo Domingo and Carine Roitfeld that got her noticed by the storied French house. Going forward, Reardin will collaborate with the label on various launches and events, working in multiple mediums including pencil, ink, pastels, watercolor, and even flower petals. Above, an exclusive piece she crafted for Style.com. No doubt the tailored silhouettes and bold colors of yesterday’s collection provided her with plenty of creative fodder.
The always ingenious Pat McGrath dazzled with liquid latex yesterday at Dior, painting models’ lids with shades of brilliant blue and khaki green, then topping them with pigment in glitter. “When we were testing, we were doing it in layers with a hair dryer—mind you, we didn’t have to do it [backstage] because the room was so warm,” she noted. Judging by the trio of images on Hanne Gabbe Odiele’s Instagram, the eye-catching look took far less time to peel off than it did to put on.
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.