54 posts tagged "Diane Kendal"
Makeup artist Diane Kendal revealed that the designer was revisiting the classics for Spring 2014 (with delicate pearls and jewels sprinkled throughout the collection), so she kept the look simple, with the exception of exaggerated, seventies-inspired lashes. “We did the mascara like that to give [the models] a little something, without making too much of a statement,” said the face painter. To achieve the thick and spidery fringe, the top lashes were curled and coated with at least three coats of NARS Larger Than Life Lengthening Mascara. For an ethereal glow, Kendal used a light-coverage foundation to even skin tone and NARS Matte Multiple in Cappadoce (launching this spring) underneath the cheekbones, for a subtle contour, as well as on the inner corners of the eyes. Another all-in-one stick, this time in Anguilla, was used on the apples of the cheeks, for a fresh finish, and the lips were topped off with the same formula in Laos to add a hint of natural color and shine.
The hair, created by Odile Gilbert, was less pristine and precious—and inspired by Look Eight from the show (where a pearl-strap bag was wrapped around the model’s neck). After making a messy side part, she applied Kérastase Mousse Bouffante throughout and blow-dried hair, using her hands in lieu of a brush—twisting pieces as she went along. Laque Dentelle hair spray was misted all over before large sections were wrapped around a curling iron that was held vertically—this technique produces less volume, Gilbert explained. To lend texture and a matte finish, Powder Bluff (a dry shampoo) was spritzed throughout. An elastic string was then wrapped twice over the hair and around the neck to create a slight bend—and the cord was snipped just before models hit the runway. “We wanted the hair to enhance the shape of the neck and frame the shoulders,” she said. If you can’t get your hands on one of Panichgul’s extra-long bead-strap bags, opt for this backstage beauty trick to create the face-framing effect instead—your wallet will thank you later.
The designer put his stamp on pretty much everything that walked down the runway—emblazoning his logo on the backs of dresses and even leather gloves. But when it came to the makeup (or lack thereof) Wang didn’t aim to make a statement. Instead, he let the girls’ “raw” beauty shine through, explained face painter Diane Kendal. As far as products and tools are concerned, all of them fit into one Instagram frame. NARS Skin Aqua Gel Oil-Free Moisturizer gave skin a slight texture, a clear balm was dabbed on lips, concealer was only used to camouflage blemishes or redness, and brows were brushed up but not filled in. “The collection is very sexy. He used [men's] shirt fabric [throughout] and trouser material for skirts. We wanted to keep that masculine element in the face,” she said.
The hair required slightly more work, with the nineties grunge period being referenced yet again and an early Claudia Schiffer as the inspiration. “It’s not sexy beach hair,” explained Guido Palau, but more of an easy, natural look. He used two products from Redken: Quick Tease 15 to bulk up roots and Powder Refresh 01 to lend a matte finish to strands. A large curling iron added movement—Palau instructed his team to wrap the hair around the barrel, but not use the clamp, to create loose waves before a final finger-comb.
The chalky beige shade on the nails, a combo of Essie Sand Tropez and Matte About You top coat, brought back memories of the infamous clay-coated hair from Spring 2011. Lucky for the hairstylists at the following show, things were kept a bit cleaner all around this season.
Last time I spoke with Wu, the designer told me to expect a look—and true to his word, he delivered. Seeing as the collection was a bit of a departure from his more structured silhouettes (boasting more fluid, feminine shapes with corset detailing to provide an element of control), the makeup also took a slightly different turn. Instead of the vampy shadow seen at past seasons, face painter Diane Kendal, who helped create Wu’s namesake line for Lancôme, opted for a softer, half-moon-shaped cat eye, accented with warm rose gold glitter. “It [looks] like glamorous sand,” Wu explained at the hair and makeup test. And while Kendal tried a version with black and silver hues during the fitting, the of-the-moment metallic was ultimately decided upon because it felt more like summer and provided that feeling of “sunshine,” she says.
Kendal based the skin and eyelids (giving the glitter something to grip onto) with Lancôme Teint Visionnaire Skin Correcting Duo, then warmed up the cheeks with a light dusting of Blush Subtil in Cedar Rose. To create the spotlight-stealing eyes, the makeup artist sketched Le Crayon Kôhl in Black Coffee along the “banana” and slightly down toward the outer corner before diffusing the line with a fluffy brush. Over top, Kendal added a shimmery camel shadow from the Color Design Eye Brightening All-in-One 5 Pan Shadow & Liner Palette in Bronze Amour—leaving the middle of the lid bare. Jason Wu for Lancôme Artliner in Noir was applied thinly along the upper lash line for definition, and Hypnôse Star Mascara was added for extra drama. Using a damp brush, fine glitter was applied to the center and up to the crease as the finishing touch.
The long and lush tails were no surprise, as the designer was not shy about his affinity for the utilitarian classic. “There are many iterations of T-shirt, tank, and slipdresses within the collection that feel like normal things that you glamourize through lace or beading,” Wu said. “The ponytail is the hair [equivalent] of that.” After working Kérastase Fibre Architect (a reconstructing serum that helps soften split ends) and a liberal misting of Gloss Appeal (a shine spray launching in October) through strands, hairstylist Odile Gilbert flat-ironed sections for a sleek finish before using the end of a rattail comb to create a crisp center part. The length was pulled into a low pony, which was then wrapped with blunt-cut extensions that hit just above the bra line, framing the lace-up detailing on the backs of multiple pieces. Any flyaways were smoothed back from the forehead with Short Mania (a pomade also out in October) and shellacked with La Laque Couture hair spray. To carry through the metal theme and cap off the look, Gilbert snapped in a gold or rose gold clip from Colette, an accessory stylist Kate Young discovered while in Paris. Models with cropped cuts, like Karen Elson—who last sported this length in the Chanel campaigns of the nineties—and Karlie Kloss, were given slick, pushed-behind-the-ears styles. “Everyone feels a little bit more secure with their hair down,” Gilbert said. “But when you make your hair look like this, you have nothing to hide—you feel very strong about yourself.”
The typically glossy-haired and polished Miranda Kerr shows that she can get down and dirty—at least for Mango’s Fall punk-inspired campaign. Her bed-head-y waves, created by hair legend Christiaan, are reminiscent of the “skinny” strands we saw this past season at Proenza Schouler. And the barely there makeup—lived-in and slightly greasy shadow, smudgy liner, natural lipstick, with a focus on strong brows—also made us think of face painter Diane Kendal’s approach at the same Fall show. Kerr recently revealed to Marie Claire UK that she felt just as sexy working this pared-down look as she does a bedazzled bra and a blow-out: “I loved that Inez and Vinoodh [the Dutch photographers who snapped these incredible images] kept the look of the campaign very raw and natural, and I think it complements the collection very well.” Bottom line: We love when an Angel goes grunge.
The Proenza Schouler woman has such a signature low-key beauty look that we often wonder if Jack McCollough and Lazaro Hernandez even have to instruct hairstylist Paul Hanlon and makeup artist Diane Kendal what to do at this point. Following a few twists and turns at the preshow test for Fall, however, it turns out there was, in fact, a specific directive: “They asked me to do the hair I did for them two seasons ago,” Hanlon revealed backstage.
For those of you who need a refresher course, that was the season Hanlon coined the term “skinny hair,” for which he washed every girl’s locks on site, to start with the most natural texture possible, before removing excess volume and weighing strands down with product. “They’re architectural couture clothes for Fall, but there’s a reality to them, so we don’t want the hair to look too groomed,” he explained, coating strands with Frédéric Fekkai Coiff Perfecteur Anti-Frizz Silkening Crème to create a “lank” effect before applying its Defense Pre-Style Thermal/UV Protectant to add moisture. Then, fashioning side parts that he tucked behind models’ ears, Hanlon applied a liberal amount of its COIFF Oceanique Tousled Wave Spray to add a “roughness, like if the girls had been wearing a beanie.”
Kendal wasn’t so much told to re-create her work from past shows, but she’s become so adept at channeling the design duo’s downtown cool aesthetic that it’s almost second nature at this point. “This season is a riff on classicism, so it’s a bit of a more feminine approach for them,” Kendal pointed out, “but they still wanted their girls to be their girls.” Cue the perfected complexions with MAC’s Studio Fix Powder for a velvety base, the boyish brows that were brushed up with its Clear Brow Finisher Wax, and a fine stroke of black cream shadow drawn against the upper lash line in lieu of mascara. There was one new development here, in the form of MAC’s Red Statement Lipstick from its forthcoming Fall Trend palette, which Kendal applied to cheeks as a transparent blush. “But it’s very sheer, so you can’t really see it,” she assured us.