15 posts tagged "Christopher Kane"
Let it be known: Christopher Kane doesn’t wait for hairdressers to create a look for his shows. “It’s my way or the highway when it comes to hair,” he joked backstage at his Fall presentation yesterday. “I don’t want some big beehive or loads of roses sticking out,” Kane continued. “It’s got to be a laid-back, cool, and modern [style] that lets the clothes do the talking.” Enter hairstylist Anthony Turner, who was charged with the task of delivering on Kane’s directive—and continuing Paul Hanlon’s “skinny hair” trend in the process.
Looking for “great texture rather than volume,” Anthony slathered strands with a mixture of water and TIGI Catwalk Root Boost, allowing it to dry naturally into coarse bends with a gentle center parting. Its Dry Shampoo added a matte finish. “She’s grungy but not oily,” Turner insisted of Kane’s woman this season. To ensure that the weight had been sufficiently removed from model’s lengths, Anthony braided under sections of hair, pinning them to the scalp to thin things out before tucking front pieces behind the ears for a casual-cool finish. “She’s a really youthful, nonchalant girl, listening to Nirvana,” he concluded. “She doesn’t care too much.”
Lucia Pieroni’s take on this polished grunge girl was all about skin. “It’s moisturizer, serum, tinted moisturizer, and illuminator,” the makeup artist explained, debuting a host of NARS Fall launches for the brand’s first LFW appearance. Starting with a mixture of its NARSskin Aqua Gel Oil-Free Luminous Moisturizer and its Optimum Brightening Concentrate, she continued building a luminous veil of coverage with its newly launched Pure Radiant Tinted Moisturizer SPF30. Highlighted, slightly contoured cheeks and brow bones were the work of an oldie but goodie from François Nars’ coffers, his Multiple in Copacabana. “I wanted a strong but natural brow,” Pieroni explained, putting the focal point of an otherwise pared-down look in models’ arches using NARS Eyshadows in Bali, Blondie, and Bengali. “It’s straight, long, and extended,” she said of the brow shape, which was brushed on to look intentionally bigger and darker without being dense or drawn in. To accent the boyish beauty look, Pieroni added a slick of NARS lipstick in Cruising across mouths, a pretty pink-blue nude.
After spreading its backstage beauty wings last month, sponsoring its first-ever Couture show at Bouchra Jarrar in Paris, NARS Cosmetics made a convincing case for taking its face-painting show on the road. While François Nars’ beloved brand is a fixture at New York fashion week, frequently turning up at Marc Jacobs, Rodarte, 3.1 Phillip Lim, and Thakoon, it has yet to become a global fashion force to be reckoned with in cities across the pond. But that’s about to change. Style.com has just learned that Nars will be spear-heading makeup and nail duties at Christopher Kane’s Fall show in London, supplying makeup artist Lucia Pieroni and nail artist Sophy Robson with a veritable rainbow of pigments and polishes with which to create runway magic. Word on the street is that this is just the beginning of a an expansion that, if you ask us, is a long time coming. Stay tuned.
When we met up with hairstylist Anthony Turner backstage at Christopher Kane this morning, he voiced what everyone was thinking. “It’s really pretty this year,” Turner said of the overall feel of the collection—beauty included. Focusing on “something softer” to coincide with buzz words from Kane that included “naive” and “homemade,” Turner crafted side-parted, low-slung buns that he pinned just above the nape of models’ necks. “But what you see isn’t always what you get with Christopher Kane,” Turner was quick to point out, alluding to the fact that there was more to his “cute little knots” than met the eye. “I’m going to pull them apart,” he explained, coating his hands with TIGI Catwalk Session Series Work It Hairspray and jostling hairs out of place at the root so they floated as models walked. “It’s ghostlike,” he said.
Picking up on Kane’s fascination with “stickers and sparkly things” for Spring, Lucia Pieroni kept the makeup simple and duly sweet. “It’s a little bit ‘dear diary,’ ” she said of the rosy pouts and similarly pink cheeks that she painted on using Chantecaille Lip Sheer in Comet and its Blush in Joy, Emotion, and Laughter. Devising a “velvety” complexion courtesy of Chantecaille’s Future Skin foundation, which she applied on top of its Vital Essence serum, Pieroni brushed brows up and dusted lids with its Eyeshadow in Valerian, a shimmering light brown pigment that is part of the brand’s recently released New Classic Palette. And as it was not really a venue for her more outrageous stylistic leanings, nail guru Sophy Robson did something slightly out of character to complete the look: She christened “modern, clean” tips using Leighton Denny’s Trio Buffer—and not a stitch of custom-blended polish, Swarovski crystals, nail tattoos, or any other artful add-ons.
The fact that ponytails have transcended their former station as the preferred hairstyle of “girl-next-door” types and female basketball players alone is not news; the easy updo has, for the past few seasons, gotten plenty of action off the court and on the runway and red carpet (Hailee Steinfeld’s well-played pony and white Prabal gown at the Golden Globes immediately comes to mind). But the coif is having a special moment for Fall, turning up in all four fashion capitals with regularity and variation—which is great news for those of you who are probably, definitely never going to work all of those equally abundant teased, voluminous French twists into your repertoire come September.
It all started at Alexander Wang, where Guido Palau fashioned a very low, loose ponytail in which more hair was purposely left out of the elastic than was contained by it. Palau then debuted the “dominatrix ponytail” at Marc Jacobs, as he called it, using Redken’s Blown Away 09 Blow-Dry Gel and a flat iron to get the severe “perversion of convention” he was after. A similar look appeared in London at Nicole Farhi before graphic center parts and fishtail braids joined the party at Christopher Kane. Shortly after, things got high, tight, and conical at Kinder Aggugini—a style that was repeated almost to a T by Eugene Souleiman at Issey Miyake yesterday, albeit with the addition of white triangular shapes extending beyond the hairline. Texture became a key element for both the thick, frizzy tails at Issa and the matte wavy styles at House of Holland before things moved to Milan, where the standout pony arrived early on at Gucci, thanks to Luigi Murenu’s seventies-era glossy-in-front, crimped-in-back tails, which he embellished with feathers for Frida Giannini’s second ode to disco.
Here in Paris, we’re seeing much of the same—low and loose at Balmain, high and lacquered at Mugler, soft and contained by a gold band at Dries, and braided for ease and simplicity at Lanvin. “The great thing about the ponytail is that it’s without reference,” Guido Palau surmised of the coiffing establishments partiality for the style when we caught up with him at backstage at Alber Elbaz’ show. “We’ve basically been using the emotional attachment of the ponytail but adding a character to it. Now, you wear a ponytail with an evening dress and it’s not wrong—it’s almost de rigueur. It’s full hair looks that seem wrong.” Word on the street from a very reliable source is that the pony will strike again tomorrow at Celine. Get psyched.
For Christopher Kane’s “Princess Margaret on acid” collection, the clothes were heavy on the neons, in chartreuse, electric emerald, and hot pink; the beauty look, not so much. “I’m never into big hairdos, I like simple but beautiful looks. I feel the same about the makeup for the shows. So it’s not overly styled to soften up the severe colors in the clothes,” Kane said backstage yesterday of the soft, brushed-back coifs by Paul Hanlon and elegant, youthful makeup by Lucia Pieroni. This meant tresses with a bit of volume at the root, which Hanlon prepped using TIGI Catwalk Root Boost spray before slicking back the sides into the lengths of the hair and ultimately tucking them into Kane’s cropped jackets and cardigans. Pieroni kept things simple, too, applying MAC’s Blush Ombre in Ripe Peach onto the apples of models’ cheeks and directing her attention to brows, which she filled in with MAC Pro Brow Powder. A slim black line on the upper lash line and a stain of Clé de Peau’s Lipstick in T3, a mauve shade, finished what was by all accounts a very pretty, subdued look—and all the better for it. There’s nothing worse than having heavy makeup smeared all over your face when a serious trip—royal or otherwise—finally kicks in.