54 posts tagged "Diane Kendal"
Blue eye makeup was a big hit on the Spring runways and it has already had a few standout showings for Fall too—with good reason, according to Diane Kendal. “Midnight blue gives off a winter feel,” the makeup artist explained backstage at Thakoon, where she was layering NARS Single Eyeshadow in Outremer, a deep indigo, with its new-for-Fall Eye Paint in Ubangi, a similar shade of cobalt that was given a shimmering blue accent with its Duo Eyeshadow in Marie Galante. “The collection has fur stoles, but it’s inspired by summer clothes,” Kendal said, referencing the dragonflies and dandelion prints that adorned the designer’s pieces. “We wanted to reflect that with the makeup.” To wit, she implemented a warm-weather beauty staple that has long gotten the youth vote: glitter. “I’m using three of them,” Kendal effused, applying a liquid set to hold the deep bronze flecks that were diffused toward the outer corner of the eye, while gold sparkles were dusted across the center of lids, and a pink shade was tapered inward. Nails were flecked with clear silver sparkles, courtesy of a single coat of Priti NYC’s Bristol Fairy. To finish the face, Kendal chose to skip lip color—as well as lash lacquer. “Sometimes when you put on mascara it can look old,” she surmised.
Odile Gilbert instituted her own fun and flirty element into an otherwise simple series of chignons via a graphic, micro fringe glued halfway across the hairline. “It’s like you have a little hat on the side of the head,” she said, coating roots with Kérastase Paris Resistance Ciment Thermique to create a sleek finish, as she tightly pulled hair back away from the face, revealing a gem-encrusted ear cuff worn by ten of the shows more elite catwalkers, including Aline Weber, Bo Don, and Xiao Wen.
Fall 2013 marks a season of firsts for Alexander Wang. In addition to showing his debut collection for the house of Balenciaga in Paris next month, he also moved his namesake show to a brand-new financial district venue in New York. It may be a new year, but backstage, it was pretty much the same Wang. “It’s still his girl,” Diane Kendal contended. “There’s no real color in the face.” In its place was NARS Single Eyeshadow in Lhasa, a steely gray, that Kendal dragged through the crease of the lid, using its forthcoming greasy Eye Paint in Transversal, a dark slate, to beef up brows and diffuse the shadow into a soft wash for a “hooded effect.”
While a dearth of catwalking superstar surprises generated a bit of backstage buzz among a crowd used to seeing the likes of Gisele Buündchen, Shalom Harlow, Carmen Kass, and Liberty Ross take to Wang’s runway, the Ukrainian stunner who opened his show last season still appeared to be very much on his mind. “It’s based on Irina’s hair color,” Guido Palau said of Irina Kravchenko’s henna-treated “cognac” strands that he implemented on every girl with a custom-dyed ponytail extension, courtesy of the Whittemore House’s Larry Raspanti. “Alex really wanted a pop of color,” Palau explained as he pulled lengths into a sleek updo, coating the top section of hair with Redken Hardwear 16 Super Strong Sculpting Hair Gel as he went. “It’s quite futuristic,” he continued of the two-tone style, which served to unify the models into a roving tribe of Irinas. “The fakeness of it clones them a bit,” Palau added of the color’s effect. Then, right before models hit the runway, he coated razor-cut ends with Redken’s forthcoming Diamond Oil Shatterproof Shine Intense for a multidimensional glossiness, which was evident even underneath the medieval-hoods-come-hats that models like Julia Nobis, Jamie Bochert, and Juliana Schurig wore down the runway.
As makeup artist Diane Kendal worked feverishly to perfect the forty-plus girls who walked in Jason Wu’s Fall show, the compliments were coming from all corners of the room. “It’s a beautiful blue,” model Hanne Gaby Odiele remarked of Kendal’s eye color of choice as Wu himself and his stylist Kate Young came over to admire her handiwork. “It’s amazing,” Wu beamed. “It’s the perfect shade.” Color matching was the easy part for Kendal, as Wu had given her a piece of fabric from his dark cobalt finale dress to work from; the application, however, took some finessing.
“I applied it in the crease and then blended it,” Kendal explained of the inky blue pigment she swept across a blonde-again Jessica Stam’s eyes, a preview of the first piece of Wu’s debut cosmetics collection for Lancôme, due out this Fall. Using its Le Crayon Khol in Purple Dusk close to the lash line for definition, Kendal added a shimmering lilac pigment to the center of lids to create a multidimensional effect before dragging the mixture underneath and out toward the temple. Lashes were treated to multiple strokes of Lancôme’s Hypnose Drama mascara in Excessive Black, while skin was kept clean and slightly defined with a subtle peachy-bronze contour.
Not to be outdone, Odile Gilbert devised a similarly statement hair look. “I want the designer to be like, ‘Wow,’ ” she said of the “chic and elegant” updo that had no less than eight interwoven sections, she estimated. Prepping hair with Kérastase Resistance Ciment Thermique Heat-Activated Reconstructor Milk and its shine-inducing Elixir Ultime Moringa Immortel, Gilbert crafted precise center parts to add a dose of sophistication before dividing a large front panel from ear to ear and parceling out long plackets of hair. “I go like this,” she said while acting out the crisscrossing motion by which she layered strands over each other before gathering them into a tucked-under chignon that served as a veritable pincushion to secure the style. Two long silver barrettes, slid into place on an angle, increased the “wow” factor.
“There’s a slight sixties silhouette, but she didn’t want the makeup to look sixties,” Diane Kendal said of Claire Waight Keller’s Spring collection for Chloé. So Kendal borrowed the idea of a retro cat-eye and tweaked it for the here and now with a rectangular shape and an unusual hue: copper.
“[Waight Keller] wanted to use color on the face and this is just the color I liked,” the makeup artist said of the Smoked Paprika cream eye shadow from MAC’s Fall Trend Palette that she slicked across lids, squaring it off toward the inner and outer corners of the eye and topping it with MAC Pigment in Copper Sparkle. Skipping the mascara, as has become her signature for Spring, Kendal drew a fine black cream line onto the upper lash line, resisting her usual urge to brush on contours and settling instead for a hint of MAC Blush in Something Special.
“Sort of Twiggy” is how Guido Palau described the deep side parts that were prepped with Redken Wax Blast 10 High-Impact Finishing Spray and its Powder Refresh dry shampoo for a flat, matte texture. “It’s got the ease of a half-up, half-down,” Palau said of lengths that were pulled into a loose elastic for a style what was neither a knot nor a bun, he insisted, just an effortless, swept-up look. “This season, it’s been more about nuance, rather than big statements.”
The Roberto Cavalli girl likes her black eyeliner; always has, always will. But she lightened up just a touch for Spring. “It’s more fresh and modern this season,” makeup artist Diane Kendal said, skipping heavier shadows and pigments and sticking with MAC Eye Kohl in Smoulder, which she used to rim lids, blending as she went.
Kendal, one of the season’s biggest “contours, not color” proponents, flexed her MAC Sculpting Cream muscle again here, using the Coffee Walnut shade, a medium brown, to carve out cheekbones and eye sockets before adding a few swipes of its Haute and Naughty Mascara to “help keep the eyes open” amid the blur of black. As Kendal took lips down a nudge with concealer, MAC’s resident nail art junkie, Keri Blair, mixed up two custom polish colors for the show. “I wanted to do a clean neutral nail that nods to the salmon pinks and dusty corals in the collection,” Blair said of the sheer stains she made by mixing MAC Nail Lacquers in Snob, a bubble gum pink, and Fiestaware, a warm melon, with its high-shine, clear Overlacquer and its matte topcoat to pick up the glossiness of Cavalli’s clutches and the flat finish of the bounty of leather in the lineup.
Guido Palau looked right to the collection when devising a hair look as well. “The clothes are saying it all, so the girls can be a little downplayed,” he explained of middle-parted, straight strands that were dampened with water, dried with a little bit of Redken Guts 10 Volume Spray Foam mousse, and then treated to a few spritzes of its Wax Blast 10 High Impact Finishing Spray for a “satin” texture. “When the girls came in [for the casting], we saw how naturally gorgeous they looked,” Palau revealed of the inspiration behind the simplicity. Sometimes, it’s that easy.