16 posts tagged "Christopher Kane"
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.
When makeup artist Lucia Pieroni asked Christopher Kane for his Fall hair and makeup directive, he replied rather uncharacteristically. “There isn’t one,” the designer reportedly told the face painter. “This isn’t about a big ‘look.’ Rather, it’s about individuality,” Pieroni elaborated backstage. “We’re enhancing each girl, so that when they walk down that catwalk, they just look like better versions of themselves.”
Perfecting the skin with NARSskin Optimal Brightening Concentrate and its Luminous Moisture Cream, Pieroni did promote some uniformity via the flawless base that she created, using different shades of NARS Sheer Glow Foundation dotted with its Radiant Creamy Concealer. Cheeks were contoured with its forthcoming Single Eyeshadow in Yamal, a chocolatey brown, while cheekbones got a pearlescent glow courtesy of its Multiple in Copacabana. Depending on the model, Pieroni then drew a very fine stroke of NARS Larger Than Life Long-Wear Eyeliner in Via dei Martelli close to the upper lash line to create definition.
In an interesting turn of events when it came to models’ manes, Kane brought in the big guns for his first show as part of the PPR family, in the form of Redken creative consultant Guido Palau—who, it should be noted, is typically a scarce sight in London. Prestige aside, Palau kept with the same light-handed approach, having models wash their hair with Redken Clear Moisture Shampoo before they arrived for their early morning call times. Then, dampening strands and rough-drying them with his trusty BaByliss Volare 1 dryer, Palau fashioned deconstructed center parts. “I’m not even using a brush,” he boasted, letting his fingers encourage a natural wave to “bring a touch of ease to the fashion.”
There were the direct Frankenstein mentions in Christopher Kane’s Spring collection (see the screenprinted T-shirt in look 30), and then there were the slightly more subtle nods toward Mary Shelley’s nineteenth-century creation. “This could almost be Frankenstein’s daughter,” makeup artist Lucia Pieroni explained of the harsh, black-rimmed eyes she set against an otherwise perfect complexion. “But a little more dainty.”
Prepping skin with a generous layer of NARS Optimal Brightening Concentrate, Pieroni spot-treated with its forthcoming Radiant Creamy Concealer. “There’s a subtle iridescence coming through,” she explained, clutching NARS’ Illuminators in Orgasm and Copacabana, which remained in Pieroni’s hand during her entire backstage tenure as she swiped the creamy, luminescent pigments onto models’ T-zones and high on their cheekbones. Following a dusting of NARS Light Reflecting Setting Powder that imparted a ghostly, almost spooky edge, the face painter made brows strong and straight with a once-over of its Eyeshadow Duo in Pandora. Then, on top of a sweep of NARS Eyeshadow in Pearl Beach, a shimmering sheer mauve, Pieroni etched its Eyeliner in Black Moon along the waterline, smudging it out onto the edges. “The prettiness is balanced by using black along the [lashes],” she explained, adding a touch of NARS Larger Than Life Long-Wear Eyeliner in Via Veneto for opacity and drawing its Velvet Matte Lip Pencil in Belle de Jour, a warm nude, onto mouths to ensure the focus remained firmly on eyes.
Applying a thick layer of TIGI Session Series Wet Look Gel across the top of the head and pulling hair straight back into a long ponytail, Anthony Turner declared a similar intention to avoid the pretty and embrace the tough. “The Christopher Kane girl’s hair is not gentle or feminine anymore; she’s fighting against the ladylike collection and she’s a bit of a rebel,” he said. Removing flyaways with TIGI Curlesque Defining Serum and flat-ironing the lengths for a sublimely straight finish, we’d say his mission was sufficiently accomplished.
Christopher Kane is one of our favorite designers, so it goes without saying that any collaboration news involving the London-based phenom is immediately compelling—even more so if it’s based in beauty. That hasn’t happened all that much yet; despite teaming up with Diptyque last season to fragrance his Fall collection with its Feuille de Lavande aroma, the house that Kane continues to build remains notably free of a signature scent—or a limited-edition makeup palette, for that matter. But Kane hasn’t been shy about his strong opinions on hair. “It’s my way or the highway,” he joked backstage at his Fall show when asked how he goes about choosing a runway look for locks. “I don’t want some big beehive or loads of roses sticking out.” It should come as no surprise, then, that the designer’s first beauty collab is made for manes. Kane has designed a limited-edition headband for TIGI, the brand that he trusts every season to give him strands that are “laid-back, cool, and modern.” Boasting a double dose of black mock leather to add “toughness and strictness” to any hairstyle, according to Kane, the accessory will be available at TIGI salons across the country beginning in September, offered as a gift with the purchase of two TIGI Catwalk products. Visit www.tigiprofessional.com to find a location near you.
Blush always manages to rear its pretty pink head this time of year, making it a staple on the Spring runways in September. This season, it came in all different colors (hot pinks, antique roses, and apricots) and placements (centralized on the apples of the cheeks, set below them, and even brushed up around the temples), but it was Lucia Pieroni’s handiwork at Christopher Kane’s Spring show that has managed to secure its very own place in our permanent memory. “Dear diary” is how the makeup artist described the über-pretty look backstage that included just-bitten lips, softly filled-in brows, and a velvety flush created using a combination of three different Chantecaille blushes in Joy, Emotion, and Laughter. The layering effort resulted in a finish that provided a pop of color and a sheer luminosity at the same time—which gave the good folks at Chantecaille an idea. What if we combined all three shades into our refillable blush stick to make it easier to apply in a single sweep? And thus was born the new Poudre de Perle cheek color in Akoya Pearl. Make no mistake about it: This blush is pink. But when applied with a light hand, it imparts a perfect windswept effect with a hint of shimmer that highlights your face, as though you’ve taken a brisk walk on a sunny spring day—something we’re always up for simulating during long hours at the office.