64 posts tagged "Diane Kendal"
With holiday fêtes fast approaching, red lipstick is soon to be my weapon of choice. (It’s the one thing I can put on in the back of a cab and look instantly festive.) However, with all of those tiny bites being passed around and bottomless glasses of bubbly, keeping your color intact can be a challenge. Sure, you can fill in your lips with a matching pencil, which in turn dries them out faster than a brisk walk through a blizzard sans balm. Or you can try makeup guru Diane Kendal’s trick to keep pigment in place and crimson from bleeding outside the lines: Using a synthetic brush coated in foundation, lightly work the base around the perimeter of your mouth, then seal it with translucent powder before slicking on your go-to shade. No nineties rim of waxy liner, no chapped lips—just a bold, budge-proof pout.
It is fair to say that both Mary-Kate and Ashley Olsen have mastered the art of the smudged smoky eye. Never forced or too “done”—their shadow always looks perfectly lived-in. And last night at the opening of Club Monaco’s Fifth Avenue flagship in New York City, Ashley’s makeup was no exception. Instead of standard black or gray, a warm camel shade was wrapped around her eyes and run along the inner rims (similar to the sepia tone used at Chloé). Much like the look Diane Kendal created in Paris, she kept her skin bare but luminous, brows brushed up, and lips pared down. The one key difference between the celeb and models on the catwalk: black mascara was used on Ashley’s top and bottom lashes to define and add a subtle hint of drama.
“She’s more intellectual than previous seasons,” hairstylist James Pecis said of the Chloé girl. “This is a woman that’s done and has healthy, expensive hair.” Now, those are three words (“done,” “healthy,” “expensive”) we haven’t heard all season—with organic and slightly grungy textures reigning supreme for Spring 2014. To achieve the sleek and luxurious look, Pecis washed the majority of models’ strands with Bumble and Bumble Seaweed Shampoo and Conditioner in the two tiny sinks backstage (a step necessary for getting the lightness and bounce he desired on the runway). For fullness, he misted TIGI Bed Head Superstar Queen for a Day Thickening Spray from roots to ends and blew hair dry using a paddle brush for smoothness. Extensions were added for extra body before a flat iron was run through thin sections. A precise center part was made with the pointed tip of a rattail comb and set with L’Oréal Elnett hair spray. “It’s the little touches that are going to give the look strength—like a hard, clean line in the middle of the head,” he explained.
In contrast to the hair, however, the makeup by Diane Kendal was par for the course: barely there, but beautiful. She prepped skin with a moisturizer and applied a light-coverage foundation. The top and lower lash lines were rimmed with MAC Powerpoint Eye Pencil in Duck before a cotton swab dipped in moisturizer was used to wipe it off, leaving a shadowy sepia tone behind. The hollows of the cheeks were subtly defined with MAC Pro Sculpting Cream in Copper Beech and the apples topped with Cream Colour Base in Bronze. Kendal added a touch of the sculpting cream in Accentuate (a pale beige) to the tops of cheekbones and just above the brows to catch the light. Similar to the technique used to achieve the foggy leftovers around the eyes, she worked moisturizer over the entire face to produce a “residue” that rendered complexions luminous.
Similar to Donatella Versace last night, yet another designer known for excess—Roberto Cavalli—opted for simplicity when it came to beauty, juxtaposing beaded gowns, metallic fabrics, and snakeskin with pared-down hair and makeup. “Anything that looks like you’ve tried feels old; the not-caring theme is what makes it sexy,” said mane master Guido Palau. (Music to my ears, and to those of you whose styling skills are subpar.) To get the laid-back—but still polished—look the designer desired, Palau used his finger to make a messy center part, then tucked hair behind the ears. To add an element of control, he flattened the top section close to the scalp using Redken Shine Flash 02 and anchored strands in place with Fashion Work 12 (a hair spray). For girls with straighter textures, he wrapped sections around the barrel of a curling iron and raked through waves with his hands for natural bend and movement.
The makeup was equally as “raw,” face painter Diane Kendal said—a term she’s used a lot this season. After applying a light-coverage foundation, she smoothed MAC Pro Sculpting Cream in Copper Beech under the cheekbones to gently contour the face. Casual Colour in Keep It Loose (a warm pinky-peach shade) was tapped on the apples and topped with Extra Dimension Blush in Pleasure Model to intensify the color. Kendal used a brush to run Sculpting Cream in Coffee Walnut in the crease of the eye and layered it with Copper Beech, blending the pigments with her fingertips to eliminate any harsh lines. Black cream liner was worked just along and in between the top lashes for definition. Sparkle Shadow in Tender Moon was then dusted over lids to make them appear wet (minus the gloppy grease so often used to achieve the effect), while lips were slicked with the Velvetease Lip Pencil in Mattely in Love for a non-shiny finish. To lend a “sweaty feel” to the face, Kendal patted Embryolisse Lait-Crème Concentré onto the surface of the skin.
To pick up on the silver thread running throughout the collection, Keri Blair mixed MAC Discothèque and Girl Trouble Nail Lacquers with Overlacquer (a top coat) to dilute the opaque polishes and create a sheer and shimmery “essence.” “It’s like mixing a clear gloss with lipstick,” she said of the process. The theme of Spring 2014 still remains the same (at least thus far): Less truly is more.
The underlying beauty theme at Proenza Schouler: If it ain’t broke, don’t fix it. For hairstylist Paul Hanlon, that meant adding a central—but not perfect—part and keeping the gentle fuzz intact at the top of the head. “What you’d normally control, we’re not,” he said. Since the show was in the morning this season, Hanlon didn’t have to worry about product buildup; instead, he used Fekkai Glossing Conditioner (normally rinsed out) as a leave-in treatment and applied Coiff Controle Ironless Straightening Balm from mid-length through to the ends to weigh down strands. (His inspiration for the lank look came from Dogtown and Z-Boys, a documentary about a posse of seventies skater and surfer boys in California, and photographer Joseph Szabo’s book Teenage.) He then blew hair dry with fingers, as a brush would make it too even, and flat-ironed the underlayers around the ears and nape of the neck to eliminate volume, leaving the texture on the surface untouched.
Makeup artist Diane Kendal took an even more minimal approach, brushing brows up and filling them in only when necessary, and curling the lashes but not adding mascara. MAC Lip Conditioner (a clear balm) was used on both lips and lids for a hint of shine, while Prep + Prime Transparent Finishing Powder was dusted on the T-zone to mattify. The only color on the face was Pleasure Model Extra Dimension Blush (available spring/summer 2014), which Kendal tapped onto the apples of the cheeks with her fingertips. “We’re keeping the girls as they are,” she said. Refreshing.