48 posts tagged "Christian Dior"
After over a year of waiting, The New York Times is reporting that a new creative director has been named at Christian Dior—and his name is Raf Simons. The ousted Jil Sander designer, whose Fall show, his last for the house, ranks as one of the season’s best (it got the number two spot on Style.com/Print‘s top ten collections list), seems unfazed by the responsibilities that taking over such a large brand will entail, emphasizing that his approach is collaborative. “I’m not an isolated person. The more I connect to people, the more I have the feeling that things work.” Which got us to thinking: Who will be the person Simons connects with in the makeup department when his team takes over the Musée Rodin in October?
Legendary maquillage force Pat McGrath has been behind the fantastical face painting at every Dior show—both ready-to-wear and couture—since the early Galliano years and has been responsible for the whimsical seasons (think cupid’s bow lips, redrawn brows, and fine-art-inspired eye makeup) as well as the more pared-down tributes to classic beauty, as we saw for Fall. But over the past two decades, Simons has been loyal to friend, countryman, and collaborator Peter Philips. The Belgian-born makeup artist has worked on Simons’ own label’s campaigns as well as those for Jil Sander, and has been behind the stellar beauty looks that have prevailed there for the past few seasons: The rose petal pink lip that will long be remembered from Simons’ swan song at Jil Sander was Philips’ doing, as was that jade green cat-eye circa Fall 2011.
Philips’ role as creative director of makeup for Chanel might make it difficult for him to participate in a Dior show, but jury’s out whether Simons can make it happen anyway. He’s already managed to snag what has been the most elusive job in the fashion industry; who knows what else he’s capable of.
Backstage at Christian Dior, nary a stick-on paillette or faux fringe could be spotted between the hair and makeup stations. No elaborate headpieces, crazy lipsticks, or redrawn, drag show-worthy eyebrows, either. Instead, Pat McGrath used a neutral color palette to create a clean, pretty face. Were we at the right show? “It’s just simple beauty,” she explained, uttering the S-word here for the first time in recent memory. “They really wanted the girls to be minimal,” McGrath continued of the direction that Bill Gaytten gave his design team for Fall. “And they wanted that to be the inspiration for the makeup as well.”
This meant a swipe of gold shimmer on the top of cheekbones and across the eyelids, which had been stained with a wash of brown to carve out definition on the runway without the heavy smoke of a black or navy shadow. “We’re using lots of mascara,” McGrath pointed out, exaggerating top and bottom lashes while lining the inner rims of eyes with a beige pencil to open them up a bit. Lips were kept natural with a finger-patting of clear balm—a move that epitomized the bare-bones beauty that reigned here today.
“Dior created a New Look in 1947, and we’re creating a new look for 2012,” Orlando Pita surmised, fashioning deep side parts that he spritzed with his T3 Control Heat-Seeking Hair Spray and gathered into a long, low-lying ponytail. “I don’t like the wet-gel, stuck-onto-the-skin look,” he explained, referencing some other side-parted, finger-combed ponytails that have seen time on the runway this week. Instead, Pita’s side-sweeps were perfectly kempt, striking that balance between tough androgyny and ultra-femininity.
There was one wacky element, though, in the form of a texturized gold and khaki manicure created with Dior Beauty’s forthcoming crackle polish. You may remember crackle polishes as last summer’s nail trend du jour (before magnetic lacquers but after nail art pens). The specially formulated varnishes apply smooth and then slowly break apart, leaving behind a shattered appearance. What does Dior’s offering bring to the table? Well, seeing as how it’s Dior, the effect looks less like broken polish and more like…snakeskin. True luxury brands leave no detail overlooked.
Normandy it was not, but the fresh-cut rose, dahlia, and tulip centerpieces that dotted the tables set up at the Chateau Marmont yesterday for Dior’s sneak peak at its new Spring beauty offerings were a close second to Christian Dior’s childhood garden in the French coastal town. Between chitchat and nibbling on pretty pastel macarons, partygoers like Nicole Richie, Samantha Traina, and Molly Sims, the host of the new show Project Accessory, couldn’t get enough of the soon-to-launch floral-themed palette. “I love Dior. I feel French just saying it,” said Sims. “My mother has been using Dior perfume for 30 years. When I smell it, I think of her.”
Of everything in the new collection, which includes three new shades of Ultra-Shine Lip Glosses, the buzz was loudest about the green and purple nail polishes, Waterlily and Forget-Me-Not, respectively, that makeup artist Pat McGrath previewed backstage at the show in Paris earlier this month. The lacquers actually smell like roses once they’ve dried. “The scented polishes are really exciting,” Parenthood‘s Erika Christensen effused. The new collection hits stores in February 2012.
If the design inspirations at the Dior Couture show yesterday seemed all over the place—architect Frank Gehry, French interior design star Jean-Michel Frank, the Memphis design group of the 1980′s—the backstage team of Pat McGrath on makeup and Guido Palau on hair took it to another level. “We’re contrasting the sculptural lines of Art Deco,” Pita said, adding to the mix of muses, before he and McGrath both referenced Le Palace, Paris’ after-hours hot spot during the last days of disco. How does this manifest itself into a consistent beauty look that spans the entirety of 37 looks? It doesn’t, really. But it does leave room for at least three distinct caricatures—and a touch of fairy dust for good measure. The dancing queens had the voluminous, teased-up blow-outs made famous by eighties-era glamazons, and the jewel-toned smoky eyes and lacquered red lips to match. The architectural references were complemented by tall, towering coifs that were tilted slightly askew, topped off with geometric hats and accessorized with color-blocking, 3-D eye makeup. And for McGrath and Palau’s nod to one of the City of Light’s famous clubs, hair was pinned into a makeshift bob with wavy tendrils adhered to models faces’ “like she’s dancing and sweating,” Palau offered, with elaborately bejeweled lids. A hodgepodge, to be sure, but like the clothes themselves, the sheer artistry and craftsmanship behind the conceptualization of each look is undeniable.
As a juror at this year’s Cannes Film Festival, Uma Thurman has to see every movie in official selection contention—and look good doing it. Last night’s premiere of Lars von Trier’s Melancholia was no exception. Going with sculpted brows and perfect skin, the actress threw a curveball in the form of her Rouge Dior Lipcolor in Red Première #752. A crimson pout isn’t typically in her repertoire—although it definitely should be. Don’t you think?