15 posts tagged "Christopher Kane"
Outside of the clothes, brows were the stars of the show at Christopher Kane. Makeup artist Lucia Pieroni brushed arches up and filled them in with NARS Brow Perfector, the finished product resembling a young Brooke Shields. “These brows should look naturally full, not painted on,” Pieroni explained. She created a “shaft of light” down the center of faces with Illuminator in Copacabana and a forthcoming Dual-Intensity Eyeshadow in Andromeda. Highlights were placed over cheekbones, the bridge and tip of the nose, Cupid’s bow, and chin. A touch of Pure Matte Lipstick in Bangkok was pressed onto models’ mouths like a stain, and lashes—in what has become a defining feature for Fall 2014—were left bare.
Kane simply wanted “the girls to look like how they look,” said mane master Guido Palau. “Younger designers don’t tend to reference iconic women—they get off on how the model looks naturally. Little moments rather than big moments,” he noted. To craft these “little moments,” Palau used Redken’s Shine Flash for texture and sheen, keeping the length fairly straight and flat. To finish, he made a sharp center part and nonchalantly tucked the hair behind the ears. In the end, these subtle nuances brought the larger picture to life.
Throwback Thursday is a column on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Moment: Lived-in Locks
The Motivation: Remember the days when your mother told you to brush your hair before leaving the house, and a perfectly coiffed ‘do was the look du jour? Well, those days are long gone. Never has there been a time more obsessed with looking undone (Alexander Wang, Proenza Schouler, Christopher Kane, Burberry, Versace, Roberto Cavalli, and Bottega Veneta—cases in point). Our inspiration? The above shot from a 1989 issue of French Glamour. The French have always been masters at achieving the I-just-rolled-out-of-bed-and-look-like-this hair, and if the carefree strands we’ve seen on the New York, London, and Milan catwalks are anything to go by, we’re bound to see the style in its natural habitat: Paris.
When determining the status of the look at Christopher Kane, things were far from complicated. “Christopher’s collection is very designed, very beautiful, and he likes to have a juxtaposition in the hair and makeup,” hairstylist Guido Palau explained. After strands were washed with Redken Cleansing Cream Shampoo and an off-center parting was made, he opted to work with each model’s natural texture. Fingers were Palau’s only tools, as he rough-dried everything with a few drops of Diamond Oil to cancel any frizz and finished with a spritz of Powder Refresh for volume. “A [polished] blow dry would only take away from the beauty of the collection,” he said.
Makeup artist Lucia Pieroni also elected to use her fingers over an arsenal of brushes. Models’ skin was massaged with NARS Optimal Brightening Concentrate to prep it for Radiant Cream Compact Foundation. Next, Pieroni strategically placed highlights on the cupid’s bow, cheekbones, temples, and eyelids with Illuminator in Copacabana for fairer skin tones, or Orgasm for darker complexions. Additional glow came courtesy of The Multiple in Copacabana (applied to the same areas), and lashes were left mascara-free but curled.
Barely-there nails completed the understated look with just a sweep of Leighton Denny Nail Colour in Starkers, followed by a clear and glossy topcoat. The total package was certainly a study in simplicity, but it undoubtedly allowed the pastels, prints, and graphic cutouts in the collection to take center stage.
After a full month of shows and three intense weeks of production, the fourth issue of Style.com/Print is here! And as our biannual glossy starts populating newsstands across the globe, it will become increasingly difficult to escape the lasting image of Ellinore Erichsen’s deep, kohl-rimmed cover glance, which is thanks to the magnificent handiwork of one Lucia Pica. “Ellinore was supposed to be more of a rebel—a cool goth-y girl in the school,” the makeup artist explains of the direction for the story, which took us inside Christopher Kane’s high school in Scotland to get a real glimpse of the environment from where his genius came. Here, photographer Alasdair McLellan’s go-to face painter explains the ins and outs of the on-set creative process, how to get Marta Dyks’ killer spider lashes, and what makes a rule breaker where makeup is concerned.
What was it like working with Alasdair and Christopher on this story, and how did you come up with the idea for the makeup look?
“Normally, you talk about the story and interpret it. For this, it was all about Christopher’s background. We went to his school and a music hall, so we wanted to represent two girls. One of them, Ellinore, was more of a rebel—a cool goth-y girl in the school—and that needed to translate throughout the story, so I kept the smoky eye, and then when we moved locations and switched outfits, I gave her more of a goth look, with a dark matte mouth. Marta was more of the wide-eyed, natural-beauty kind of girl in the group. Working with Alasdair for so long, I know the things he’s attracted to, and I really relate to his aesthetic. We always have to be open to changes, though; it works or it doesn’t. Funny enough, we did this makeup, and we weren’t sure if we had done too much, so we took it off and tried a few different things, but then we went back to it!”
I can see why. Ellinore’s smoky eye is beautiful. How did you get just the right amount of smolder without going overboard?
“I really wanted it not to feel too glamorous. But when I say, ‘organic,’ or ‘homemade,’ I don’t mean not well done—just more lived-in and less technical. So I used a black Givenchy Magic Kajal Eye Pencil, and I blended it around the eye and mixed it with MAC Eyeshadow in Smolder. Then I added a little Vaseline to make it balmy. Another good feature to give it that gothic tint was the thin brow. I used MAC’s Eyebrows in Velvetone. Then we put loads of mascara, like when rebellious teenage girls put a mountain of mascara on and it looks amazing and you’re like, ‘How did they do that?’ “
Edie Campbell has had a few memorable runway turns—many of them opening ones—at some of the season’s biggest shows thus far. But if you had to do a double take when you saw her at Marc Jacobs, or at Burberry and Christopher Kane, you were likely not alone. “The same Edie Campbell with the heavy, Anita Pallenberg fringe and the long flaxen layers who starred in Spring campaigns for Burberry and Saint Laurent?” you may have been asking yourself of the girl with the black mullet-y shag. They’re one and the same, it turns out, thanks to the transformative cut and color Guido Palau gave her before the shows started, which has proved pivotal to the season since. Palau shouted out Edie as one of his reference points for the wigs every girl wore at Jacobs’ acclaimed presentation in New York, while Campbell herself continues to score big bookings, at least partially, because of the crop. “It’s a bit different, but it feels more me than the long hair,” the Brit It girl said of the style while backstage at Jil Sander yesterday, admitting that she doesn’t really even think about it as that drastic of a change anymore. “The novelty wears off,” Campbell said. Telling us that she plans on sticking with her short-hair persona for a while, there is one thing she’ll have to start considering: grow-out. “I haven’t really thought about roots at all!” Campbell revealed, explaining that she hasn’t gotten a color touch-up since her initial dye job a few months back.
Jil Sander was Campbell’s one stop in Milan, but she’ll be in Paris, she assured us. Where, exactly, she couldn’t say—”I don’t want to count all of my eggs before they hatch, but there ought to be some good ones,” she joked. For now, though, the full-time art-history student is back in London before heading to Seville to do some research—then to Paris. “It cuts out how much time I spend in the makeup chair,” she says of life as a matriculated model.