48 posts tagged "Christian Dior"
Burgundy, bordeaux, oxblood, mulberry. Whatever you want to call it, the deep wine stain that made waves at Fall shows like Gucci, Bottega Veneta, Rochas, and Viktor & Rolf—and continues to dominate the red carpet (Kristen, Scarlett, Jessica; you know who you are)—is the lip color of the moment. Finding the right berry tone, however, can be just as difficult as, say, finding the perfect red. But as luck would have it, there are plenty of new options on the market for you to experiment with. Here, we’ve selected our five favorite bullets for studying up on the dark arts.
The Long-Lasting Love
NARS Pure Matte Lipstick in Amsterdam
Known for its arsenal of richly pigmented, brightly hued pout perfectors, Nars has a matte-as-can-be slim-line lipstick that does not disappoint. This berry tone has just enough red to work for both light and dark skin tones, and its stay-put finish never needs to be touched up.
The Deep End
Chanel Rouge Allure Velvet in L’Impatiente
The newest shade from Chanel’s much-lauded Rouge Allure Velvet collection is thinly pigmented so it goes on sheer and shine-free but can be layered for opacity. A combination of hydrating agents and antioxidants like green tea and sappon extracts leave lips supple while hydrating shea butter ensures easier wear.
The Leader of the Pack
Paul & Joe Lipstick in #306, Avenue Montaigne
Best known for its adorable packaging, Paul & Joe know a few things about color, too. Not only is this shade one of the most perfect brick red/purple hybrids we’ve ever come across, the France-based brand also offers the option of encasing it in a series of vintage-inspired lipstick cases. Simply choose your shade, and then decide which packaging pattern you prefer, from a 1930s-inspired green and cream option to floral and even kitten motifs.
The Glam Slam
Lancôme L’Absolu Rouge in Berry Noir
With so many advances in lipstick formulas, your bullet should do more than provide a wash of color. Lancôme’s newest formula, L’Absolu Rouge, is infused with Pro-Xylane (a moisture-rich cell booster), vitamin E, and SPF 12, all of which work to moisturize and protect lips with a dark red-plum color that is more glam, less goth.
The On-Set Stunner
Dior Addict Extreme in Black Tie
We were obsessed with the color Dior’s international makeup designer, Yadim swiped on model Kendra Spears for a burgundy-themed shoot in November’s Paris Vogue—and were equally ecstatic when we discovered the exact shade he used. That’d be Dior’s latest Addict Extreme, a thick waxy formula that is heavy on the color, and provides a sexy wet look upon impact.
Raf Simons’ debut ready-to-wear collection for the house of Dior will be remembered as a triumph of a new kind of glamour-infused modernism, a good portion of which came in black, white, and navy. Its flashes of fuchsia, orange, yellow, and a vibrant green were less ubiquitous, although they were plenty present when it came to conceiving the beauty look here. “He brings fabrics,” McGrath says of her pre-show meetings with Simons, which have already amounted to one outstanding face-painting effort that saw the legendary makeup artist play with a similar color palette, reimagined as elongated cat-eyes and pigment-dusted eyelashes at Simons’ Couture show in July. “And then we talk about the girl. His girl loves makeup”—specifically eye makeup that manifest itself as Spring’s “techno-butterflies,” as McGrath tells it, replete with squared-off splashes of bright creams topped with shadows that were dragged across lids and accessorized with Swarovski crystals, lots of them. “There were 55 girls. We started beading at 8:30 in the morning [for a 2:30 show],” she explained of the individual hand designs that were assigned to each model. “Once you’ve done that, you don’t really need anything else,” she continued of why skin and lips were left bare and hair was pulled back into sleek, low-slung ponytails at the hands of Redken creative consultant Guido Palau. The one extra touch McGrath did add was a thin black brushstroke along the upper lash line and a few swipes of black mascara to provide definition to her place-and-paste bedazzling effort. Do try this at home.
Before celebrities fronted everything from handbags to perfumes, expertly crafted hand-drawn images pushed product. And there was perhaps no one as good as René Gruau when it came to meshing art and commerce. The renowned illustrator got his big break working for the fashion bureau of the French newspaper Le Figaro in the 1930s, where he met another star on the rise: Christian Dior. The two men forged a long friendship that saw Gruau sketching some of the prolific couturier’s greatest creations, including his famous 1947 New Look collection that featured his legendary “bar suit.” Now, that image—the cinched-waist jacket, the full skirt, the regal posture—has been put perhaps where it’s always belonged: in a makeup palette. Dior’s new limited-edition Tailleur Bar eye shadow compact features the very same iconic silhouette with a pink background dotted by nude, black, and “Dior gray” tones as well. The palette itself is a piece of art, which makes choosing whether or not to actually put brush to pigment a relatively heart-wrenching decision. But know this: Soft, defined lids will be your reward should you in fact go for it.
The “closed backstage” scenario at a fashion show is a bummer for beauty fiends. While it understandably limits the amount of pre-show stress for models, face painters, hairstylists, and designers—particularly those facing pivotal career moments, like Raf Simons at Christian Dior—it also means you could potentially miss makeup moments like this. As was the case with the clothing he presented, Simons upped the ante with the eyes and lips at his first couture outing for the house, which relies exclusively on the backstage stylings of one Pat McGrath. McGrath is no stranger to extravagant runway makeup, of course; as Dior’s longstanding go-to for all manner of couture confections, upping the ante is what she does best. But yesterday, McGrath managed to strike a balance between theatrical and classic, revisiting a technique she introduced at the Fall shows: colored eyelashes. Rather than revert to the blue gel she created for Stella McCartney in March, McGrath reached for shades of hot pink and neon lime, extending the retina-burning fuchsia and green lines she drew along a few models’ upper lash lines over a slash of silver shadow through their lashes as well. The inner rims of lids were lined in white to give eyes a more open appearance, while lips were painted with matte pops of electric cerise. It’s these details that can sometimes go unnoticed during a large-scale presentation, when visual stimuli abound. But they didn’t escape our eagle eyes. Crisis, averted.
Christian Dior’s perfume legacy began at the same time that he left an indelible mark on the fashion industry. On February 12, 1947, the day the style set gathered at the couturier’s newly erected salon to see the collection that will forever be remembered as the New Look, they were treated to eveningwear, day dresses, and coats with inventive silhouettes and an aromatic atmosphere spiked with the scent of gardenia and patchouli. Dior mandated that over a liter of his first ever fragrance be sprayed in the interior of 30 Avenue Montaigne every week in anticipation of the couture event of the year, yet as show time approached, he still had not settled on a suitable name for it. As the story goes, he was sitting in his studio with his leopard-print-loving muse Mitzah Bricard, pondering different words to describe the floral green chypre, when his younger sister Catherine walked into the room. “Ah, here’s Miss Dior!” Bricard exclaimed. The rest is history.
There are a number of similar anecdotes that color the inception of Parfums Christian Dior, which has given the world beloved flacons like the original Miss Dior, Diorissimo, Eau Sauvage, and Poison over the years. Now these stories, as well as a wealth of archival images and new campaigns, have been gathered into a three-book set that spotlights the house’s remarkable achievements in fashion, fine jewelry, and fragrance, thus immortalizing the impact Monsieur Dior had not just on clothing but on perfume as well—from the evolution of his hourglass-shaped bottles (above) to the ad visuals that would turn them into commercial successes (below).
Dior 3-Book Set, $75, www.assouline.com.