58 posts tagged "Dick Page"
The look at Victoria’s Secret hasn’t changed much in the eighteen years since Angels in lacy underwear and million-dollar bras captured the world’s attention in more than 185 countries, but it’s the subtleties, hair pro Orlando Pita explained, that make all the difference. “In the past we’ve done a dry, sandy, beachy texture, but this year it’s shiny and glossy,” he said. While this may appear like a minor change to the naked eye, it makes a major impact on high-def cameras.
For face painter Dick Page, he aimed to make the girls look a bit more “scruffy,” which caught the attention of one of the executive producers of the fashion show. (Scruffy and sexy might not normally go hand in hand, but when it comes to Page, you have to trust that the finished product will be spot-on.) During the huddle with both beauty gurus, last year’s look was discussed: Lipstick should give way to a more balm-y, just bitten mouth; the shadow should be a bit more smudgy (and therein lies the scruff); and absolutely no glitter should be used.
To get the glistening waves, Pita prepped the strands with Victoria’s Secret So Sexy Body & Hold Volumizing Mousse and blew them dry with a round, vented ceramic brush from ghd to build body. Next, he glued in multiple levels of extensions—opting for a tone that played up the lightest shade seen in each model’s roots. “Dark hair, especially, can look really dense on television; this [trick] gives it depth and makes it look more natural,” he said. The ends were razored to approximately each girl’s natural length, and strands were misted liberally with So Sexy Style Hold & Finish Hairspray. Using his signature technique (where the middle of the hair is wrapped under and over the barrel of a curling iron, in this case a 1.5 inch version—leaving the ends out), Pita created loose curls before finger combing and finishing with more hair spray. To get the look at home, however, he suggests using an easier-to-wield flatiron, like the forthcoming tri-zone styler from ghd. As for the part, there was great debate as to whether it should be in the middle or slightly off center, but the final decision was to follow the way each model’s hair naturally fell—keeping their individuality intact. (If you’re wondering, Karlie Kloss will be maintaining her signature bob.)
“I’ve been given a very strict directive, but I’m going to fuck with it like I do,” Page said of the makeup. After the recent death of Lou Reed and listening to The Velvet Underground & Nico, the master of maquillage came up with the “scruffy Angel” concept. To achieve it, he used a black-brown liner pencil on the inner rim and ran it imperfectly along the top lashes before smudging the pigment up and over the lid. To intensify the outer corners, Page dusted the dark chocolate shade from the VS Makeup Eye Shadow Quad in Eye Contact in a “V” shape, then applied the shimmery gold color over the inner half of the eye to catch the light. Instead of traditional blush, he warmed up Color Drama Lipstick in Taken on the inside of his forearm and used a cosmetic wedge to apply it to cheeks (a similar method was employed at Narcisco Rodriguez this past season). “I want them to look like they’ve had a really good shag, or anything else unorthodox that would make you pink in the face…like excitable shopping,” Page quipped. The skin was then layered with a sheer foundation using a brush—allowing the color to come through much like a natural flush. “I want to have final control over the complexion,” he said of his approach. Color Drama Lipstick in True (for models walking in the Pink portion of the show) or Flawless (worn by the rest of the girls) was pressed onto lips, then top lashes were coated with Volume Lift Mascara in black, and brows were lightly defined with a pencil as a finishing touch.
The only things left to complete this slightly undone Angel: wings and sass. “This show is probably the closest you get to real modeling, where the girls are truly animating the clothes,” said Page. Or in this case, the lack thereof.
We already received word from hairstylist Guido Palau regarding the messy knots at Céline, but now face painter and Shiseido artistic director Dick Page sent us a full report on the graphic makeup:
“The Céline look was inspired by the energy of the clothes and the bold [hues] and slashes of black in the collection. Phoebe [Philo] sent me some inspiration images, and when we met to try out looks, we really went to town. There were thick, grease-painted brows; finger-paint swipes of color across the [lids]; and a few “surrealist illustrated eyes,” with curved, asymmetrical eyebrows and liner drawn on with Shiseido’s Automatic Fine Eyeliner. Clean skin, no mascara, liner, or lip color—just a freehand approach [to create] impulsive facial graffiti.”
The models at Michael Kors may have appeared bronzed and glowing (as they so often do), but makeup artist Dick Page was thinking in black and white, wanting to “just see tone and structure in the face.” While there were forties elements to the collection this season, Page didn’t proceed with a red lip, which would push the look strongly in the wrong direction, he explained. Instead, he evened the skin with a light layer of base and added warmth back in with Michael Kors Sporty Bronze Powder in Glow dusted along the hairline from temple to temple in a “horseshoe” shape. Page accented cheeks with Sexy Bronze Powder in Flush, a slightly rosier shade. To camouflage any darkness around the eyes, he encircled them with MAC Eye Shadow in Brule on fair-skinned models, and a brown-gold hue for deeper complexions. “It cancels shadows almost like concealer, but [the pigment] is so [sheer] you don’t read it as makeup,” he explained. After coating lashes with brown mascara, Page created a stain via layering: first applying a lip balm, painting on Glam Lip Lacquer in Dame (a berry hue) with a brush, blotting, putting on another coat of balm, adding one more coat of color, blotting, and sheering it out with a final slick of balm. (Phew!) To diffuse the edges of the lipstick, he rimmed the mouth with the same shadow used on the eyes. “The girl looks very healthy, alive, and animated because Michael really likes that kind of energy—so [we did] that in the most precise and discreet way possible,” concluded Page.
As for the tousled updos created by hair pro Orlando Pita, where models were meant to look as if they’d just had “a romp,” he began by randomly curling sections with a one-inch curling iron to add a bend to the hair. For the undone, chunky texture, he worked Schwarzkopf Osis+ Dust It (a mattifying powder) into strands with his fingers, then twisted them into a loose chignon—being sure to leave loads of pieces out around the face, as the designer requested “bits flying,” and set with hairspray. When asked how he skirts the balance between romantically rumpled and plain old disheveled, Pita said, “You have to go over-messy for the runway or a photograph; the film and light polish everything up.” I think it’s safe to say I won’t have any trouble nailing that part.
The king of minimalism didn’t stray far from his roots this season when it came to hair and makeup (although the designer did display a new hem length on the runway). But behind the barely there maquillage was a study in both physiology and proportion, explained makeup pro Dick Page. “Rather than projecting the idea of painting the face, I thought about how everything is mobile and three-dimensional…it’s almost like when you do a life drawing in art class and have to think about structure.” For brows and lashes, he mixed three parts gel to one part brown mascara to achieve the optimal shade and texture. On lids, he blended Shiseido Shimmering Cream Eye Color in Shoyu with a bit of moisturizer for a transparent finish, and applied the same shadow formula in Yuba to the inner corners to subtly catch the light. Page also concocted a custom shade of blush, with fairer girls receiving a ratio of two parts Lacquer Rouge in Metalrose (a reddish pink) to one part Hellebore (a plum), and used the same tones for darker complexions, only with the equation reversed. To apply, he pinched a cosmetic sponge to create a domed shape (seen above) that is optimal for working the product into the skin. A blend of foundation and Lacquer Rouge in Camel was tapped on to the lips for a muted effect.
Hairstylist Paul Hanlon kept things classic with what he described as an “old salon blow-dry.” He started by spritzing Moroccanoil Heat Styling Protection from midlength down, and added Volumizing Mousse all the way through. Then Hanlon blew strands dry in large sections using big, round brushes. For a hint of sexiness and as an ode to the forties (a reference given to him by Rodriguez), he added a deep side part, hair-sprayed the top to cancel any flyaways, and used a drop or two of Treatment Light on the ends for separation. Simple, yet impactful—just like the collection.
“If you think you look like shit, put on blush. Don’t sweat the concealer. There is this mythology that if you’re not dark under the eyes, you’ll look well—you won’t, that’s just not how it works. You want to look like you’ve been shagged, or you’ve had a run, or something good is going on in your life, [all of] which concealer doesn’t do. It just erases whatever mystery thing is bothering you.”
Above we pay homage to the makeup guru’s advice with an image of Catherine Deneuve from Belle de Jour, a woman who got her kicks (and pretty glow) by means other than the rosy cosmetic.