5 posts tagged "Constance Jablonski"
The Fall shows weren’t short on surprise appearances from big-name models (Malgosia! Isabeli! Kristen McMenamy! Kirsten Owen!) Still, there was one boldfaced catwalker who went notably missing from the runway: That’d be French stunner and Estée Lauder face Constance Jablonski, who was otherwise occupied with shoots for the beauty giant—including this one. Lauder has produced a day-in-the-life video with the unlikely superstar, who shot to international fashion fame after her brother sent pictures of her to an agency in the North of France “for the fun of it.” Click to watch Jablonski take the streets of New York, and read on below to find out what makes her tick—including a newfound obsession with acting. Could the silver screen be next for Constance? We’ll be watching.
Favorite Fall Shows: “I really loved Proenza Schouler, Givenchy, Haider Ackermann, and Louis Vuitton.”
New York or Paris? “I will never be able to choose. New York for the unique mix of people, the energy, the opportunity, and the dream! Paris for the most beautiful city, the romance, my French roots, and the little terraces in spring, where you can hang out all evening.”
What are you listening to right now? “I listen to so many different kinds of music. Right now, I’m addicted to Florence and the Machine, Depeche Mode, and Damien Rice.”
What are you reading right now? “I’m actually reading the book by Harold Guskin, How to Stop Acting. I want to learn about the acting world.”
You’re trapped on a desert island, and the only beauty product you can have with you is…: “[It's] a real struggle to choose! I would have to take my [Estée Lauder] Bronze Goddess Sun Indulgence Lotion for Face SPF 30.”
Snack-attack indulgence: “Cashew nuts.”
Favorite designers: “There are too many! Olivier Theyskens, Hedi Slimane, Stella McCartney, and Olivier Rousteing at Balmain.”
If you weren’t a model, you’d be…: “I would probably be a plastic surgeon.”
The one piece of clothing you can’t live without is…:“My Perfecto leather jacket. It’s a timeless piece that works both day and night, and can be casual or chic.”
The best perk about my job is… “The great thing about being a model is that you can ask all of the amazing hairdressers to give you a haircut on set or backstage at a shoot. I actually remember my last haircut; Odile Gilbert did it in Paris.”
Where do you go when you need to unwind? “Marrakech. A Moroccan bath can be so relaxing.”
“What is amazing with Anthony [Vaccarello] is that in two seasons, he created his woman,” Estée Lauder creative director of makeup Tom Pecheux said backstage at the designer’s Spring show. And for most admirers of Vaccarello’s work, that woman is Anja Rubik in the pelvic bone-baring white-gown-heard-round-the-world from the Met ball this year. There was some of that here (see Rubik’s show-closing black gown), but as Pecheux rightly pointed out, while some designers are “showing a dream that is unreachable,” Vaccarello’s clothes are much more wearable this season—some of them, at least. So too was the makeup. Gone was the molten, burgundy-tinged black smoky eye from Fall; in its place, something much more natural. “It’s more like the girl hanging out by the pool, not coming out of the club,” Pecheux suggested—or, rather, the reflection of the light off a pool, an optical phenomenon that inspired his color palette of washed-out blues and iridescent grays that created “La Parisienne,” the kind of face-painting effort that is barely perceptible yet striking.
Fittingly, French-born Estée Lauder face Constance Jablonski was in Pecheux’s chair as he administered a massage using his trusty tub of Estée Lauder Revitalizing Supreme Global Anti-Aging Crème and its Idealist Pore Minimizing Skin Refinisher that he topped with a finger-patted application of Lauder’s Double Wear Light Stay-in-Place Makeup and Double Wear Stay-in-Place Flawless Wear Concealer to create a base. Brushing its Pure Color Blush in Blushing Nude upward underneath cheekbones, “so the color fades into the cheek” and contours while providing a flush, Pecheux toiled over eyes, which he lined with a forthcoming aqua shade of Estée Lauder Pure Color Intense Kajal Eyeliner, which was blended out for just a trace of blue and topped with its as-yet-unreleased Pure Color Stay-On Shadow Paint in Sinister and Steel. A dab of its Pure Color Gloss in Opulent Opal added a light-reflecting effect meant to mimic the middle section of Vaccarello’s collection, which included “materials that looked like liquid,” according to Pecheux. Swiping glossy brown pigment on the inside lashes and a richer black color on the outer corners with Lauder’s Sumptuous Two Tone Mascara, Pecheux brushed up brows and created what he likes to call “the French kiss,” a nude mouth slicked with its Pure Color Long Lasting Lipstick in Vanilla Truffle, a honey-hued neutral, and accented with the slightly darker Barely Nude only in the center of pouts.
Anthony Turner sculpted “very French hair” in complement. “It’s confident in a very understated way,” he elaborated of strands that were spritzed with L’Oréal Professionnel Tecni.Art Volume Architect, finger-combed in back and dried with a large round brush in the front to get a little volume. “It’s cool but not grungy,” he continued of the sweeping side parts that he let fall over Cara Delevingne and Arizona Muse’s right eyes. “We’ve always done vampy hair here so it’s nice to do something that’s wearable,” Turner surmised of the coifs—which was a true enough sentiment. Delevingne’s hair, we could easily sport; the dress she wore in look 17, however, maybe a little less so.
In today’s world of big screen-to-beauty counter collaborations, it’s a wonder how AMC’s Mad Men has gone four seasons without a makeup range spin-off. The drama’s costume designer, Janie Bryant, teamed up with Nailtini to launch a four-piece collection of lacquers in 2010, but for a show that owns retro glamor (you could argue that the Spring runways’ obsession with cat-eyes stemmed directly from January Jones’ and Christina Hendricks’ on-set winged liner), it seems like a crime that someone hasn’t capitalized on the opportunity to create something at the retail level inspired by the sixties-era drama; even Twilight has a full beauty line, after all. But perhaps the show’s creator, Matthew Weiner, was just waiting for the right partner, which he has found in Estée Lauder.
“Quite frankly, we’re crazy for the show,” says Jane Hertzmark Hudis, global brand president of Estée Lauder. “We’ve always felt like there’s a connection between Mad Men and the Estée Lauder brand and Estée herself; the sixties were our heyday as well,” Hertzmark Hudis explains, pointing out that the storied New York beauty brand was interested in collaborating with Weiner because they could do it in “an authentic way. We were there in the sixties—it’s not creating something inspired by the sixties; we have stuff from the sixties!” Stuff, like, say the gilded compact with turquoise detail that holds the new limited-edition Estée Lauder Mad Men Collection Crème Rouge in Evening Rose, a delectably blendable cream blush with a medium pink finish. Or the fluted gold mini bullet of Estée Lauder Mad Men Collection Signature Lipstick in Cherry, which comes packaged in a gold pouch. Both products will launch next month in time for the debut of the show’s fifth season, and another limited-edition collection for season six is already in the works. “The product and the packaging were inspired by a concept that we call ‘handbag elegance’—beautiful things you take out of your purse,” says Hertzmark Hudis.
There will be more beautiful things to look at when the Craig McDean-lensed ad campaign for the collection, which stars Constance Jablonski, hits Estée Lauder and Bloomingdale’s Web sites next month, where the products will be sold exclusively. Jablonski sports a hair set that super-stylist Orlando Pita transformed into a side-parted faux bob, as well as matte velvet skin, a warm flush, and a bold crimson lip courtesy of Estée Lauder creative director of makeup Tom Pecheux. “The sixties basically had everything in the way of femininity,” Pecheux says of the decade in which Mad Men takes place, which prompted him to fill in Jablonski’s brows, dust her lids with a cream-colored eye shadow from Lauder’s Blue Dahlia palette, line her upper lash lines, and apply the new Crème Rouge a bit lower, underneath the apples of her cheeks. “It’s the perfect balance between a forties contour and a healthy glow,” he explains of the placement. As for the bold, cherry red mouth, Pecheux has one proviso before breaking out the demure, miniature tube: “Moisturize your lips at night,” he advises, to ensure a smooth, perfect pout every time.
What makes an icon? “Confidence,” according to Constance Jablonski. “She’s the full package,” Joan Smalls chimed in when we encountered both models last night at the launch of an Estée Lauder campaign that aims to answer that question. “I’ve always loved simplicity; it’s timeless,” global creative director Aerin Lauder Zinterhofer explained of the new visual direction for the brand, which was lensed by Craig McDean and draws inspiration from Lauder’s seventies and eighties archives, putting current spokesmodels Hilary Rhoda, Liu Wen, Jablonski, and Smalls in white ensembles. When asked about her own personal icons, Lauder named a few: “Kate Moss has great style. And Gisele—I’m always intrigued when I see pictures of her.” Lauder’s grandmother, Estée, is of course at the top of her list. The brand founder’s indelible quote, “Every woman can be beautiful,” was blown up and plastered alongside each and every ad image.
The task of painting the faces of Lauder’s icons-in-the-making went to the brand’s creative director of makeup, Tom Pecheux. “You have to pay attention not just to the face, but to the character,” Pecheux said of crafting iconic makeup. “Liu Wen is so playful; that’s why I gave her that eyeliner,” he explained, pointing out the elongated black flick Wen wears in her portrait. “Constance for me, she has that innocence,” Pecheux continued, which translated to a lot of mascara and brown eye shadow mixed with black, “so it’s not so dramatic” in print. As for Rhoda, Pecheux saw beyond her signature sporty glamour and instead chose to focus on a delicate, romantic femininity. “I can see her fragility,” he said explaining his use of rosy pigments and powders. The pictures officially hit Estée Lauder counters beginning in July, but we’ve got a preview right here. Thoughts on the new campaign?
When translated into beauty terms, the Costume Institute’s “American Woman” exhibition immediately registers as a single name: Estée Lauder. The company’s Queens-born founder built her eponymous brand from humble New York beginnings into a global empire that has undeniably fashioned our national identity. “It’s really an American company with an international face,” stylist Mary Alice Stephenson offered as she watched Lauder’s Global Makeup Stylist, Rick DiCecca, use Lauder’s Signature Eyeshadow Quad in Black Smoke to build a shimmering smoky eye on Chinese model and brand spokesperson Liu Wen at the Surrey Hotel only a few hours before red-carpet festivities got underway this evening. Lauder’s other new face, French beauty Constance Jablonski, sat alongside Wen, waiting for her turn in Dicecca’s chair. To bring it all back to the U.S. of A., Stephenson made a point to dress the Met Gala newbies in designs from local talents—a hand-stitched, beaded Naeem Khan number for Wen and a feathered sleeveless Jason Wu shift for Jablonski.
And what of Hilary Rhoda—perhaps Lauder’s most recognizable face and the woman designer Prabal Gurung calls “the only true American model working right now?” Tweeting, of course, in the suite’s adjacent room, where makeup artist Kaoru Okubo was crafting a seriously dark eye and nude lip to compliment Gurung’s structural black and red double-faced satin dress. Rhoda is tall and athletically built, with strong brows and tan skin—you immediately understand Gurung’s assessment when in her presence. Having been to a few Met balls in her day, she took liberties with her glam squad. “I know my face,” Rhoda said, reaching for Lauder’s Sumptuous Waterproof Bold Volume Lifting Mascara and its Double Wear Eyeliner in Onyx to apply additional pigment over Okubo’s base of Pure Color Eyeshadow in Black Crystal. She also opted for Lauder’s Bronze Goddess Soft Matte Bronzer. A high-and-tight slicked-back chignon that hairstylist Rudi Lewis created using a glycerin-dipped comb completed Rhoda’s tough, edgy beauty look. “American fashion allows you to see the woman first, before the clothes,” Rhoda said as she headed toward the car that would take her to the museum. We’re guessing there was nary an onlooker who could keep their eyes off the 23-year-old from Maryland as she walked up those 26 steps.