56 posts tagged "Christian Dior"
As we reported earlier today on Style.com, Stella McCartney has been awarded with the prestigious Officer of the Order of the British Empire (OBE) title. To receive the honor, which has already been bestowed on designers like Stephen Jones, Sarah Burton, and Dame Vivienne Westwood, McCartney wore a beautiful, crisp navy suit—and a gorgeous veiled headpiece that left a similarly hued cast over her forehead. Veils have made the fashion rounds a lot of late, and we’re hard-pressed to assume that McCartney hasn’t taken notice. Both Raf Simons at Dior and Giambattista Valli sent them down their Fall 2012 Couture runways—and more recently, we spotted the cute, clip-in accessory at Louis Vuitton’s Pre-Fall collection. But we’re partial to Stella’s Wallis Simpson-inspired hair-turned-face accessory for its vintage appeal, the bejeweled barrette she affixed to it, and the way it perfectly complements her tailored ensemble—a good illustration of the style sensibility that earned her the esteemed distinction in the first place. They don’t just give those awards away, you know.
Ulyana Sergeenko answered the question of how she would be dealing with the grow-out from the platinum-blonde dye job she debuted in January with a simple Instagram this afternoon—and then another courtesy of her fellow fashion comrade Elena Perminova. The answer: She wouldn’t. The Russian street-style-star-turned-designer is back to brunette after cutting off her flaxen strands entirely and embracing one of Guido Palau’s midcentury Dior Couture pixie cuts instead. And you know what? It looks great on her. The gamine look isn’t all that easy to pull off, but Sergeenko is managing it just fine, as far as we’re concerned. Add another one to the season’s short-hair handbook. Thoughts on her drastic trim?
The idea floating around backstage at Christian Dior was the notion of “the ultimate Dior woman, seen through a futuristic eye,” according to Pat McGrath—or, more specifically, Raf Simons’ eye. “He wanted to play with the mouths and make them smaller,” McGrath explained of the designer’s request for “faded lips,” which she obliged with a deep fuchsia stain that was blurred around the edges with a finger-pressing of foundation for a “blooming rose” effect. “There’s a nod to the fifties,” she continued of the collection, which also happened to boast Simons’ particular brand of forward thinking that requires a dose of the here, the now, and the what’s to come. How best to translate that into makeup terms? With a classic cat-eye in an unexpected color and shape, shown here in liquid silver, which was not only drawn across the upper lashes into a flick, but also beneath the lower lash line, and in a small stroke on the inside corner toward the crease as well. “It pronounced the eyes more and gave them a new elegance,” McGrath said of the technique.
Guido Palau was hoping to bring an infusion of newness into the hair as well, which had its roots in fifties couture. “Raf wanted more of an uptown woman who was caught in the rain, but we didn’t want it to feel old,” Palau explained, giving the structured, wig-wrap-turned-twist silhouette a very Fall 2013 wet texture with Redken Control Addict 28 High Control Hairspray and its forthcoming Diamond Oil Shatterproof Shine serum. “I still wanted it to feel elegant,” he noted of the saturated style. Done, and done.
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.