76 posts tagged "Dolce & Gabbana"
“It’s not about doing fantastical hair anymore—it’s about simple parts and color,” said Guido Palau about the trend for Spring 2014 at an industry event last night. But there was one exception to the rule, he explained: Dolce & Gabbana. It was there that romance and Romanesque updos reigned supreme—adorning them with everything from almond tree blossoms to antique coins. The final look, he described, is “all the things a girl wants to be at some point.” When the models finally hit the runway to music by Nino Rota from various Frederico Fellini films, and blush-colored petals gently cascaded down from the ceiling in the background, it was, in a word, enchanting.
For all the behind-the-scenes beauty details, read this month’s Backstage Confidential.
When Dolce & Gabbana’s holiday collection of corresponding lipsticks and nail polishes crossed my desk, I of course expected opulence (gold tubes and jeweled caps—done and done). What I didn’t count on, however, were emerald, amethyst, ruby, and gold bullets that were reminiscent of the mosaics that spurred the lavish pieces in the designers’ Fall 2013 collection. After tearing off their tops like an adrenaline-fueled kid on Christmas morning, I slicked on each shade thinking that the finishes would be sheer and barely detectable like so many black lip glosses that came before them. Wrong again. Two coats provided rich, opaque hues that are normally only offered by brands that cater to backstage pros and the theatrical set. The mastermind behind these treasures for the modern, party-hopping woman is none other than Pat McGrath, who designed the lacquers and lipsticks to be worn like jewelry. Let’s just say a luminous green mouth and mani are guaranteed to make just as much of a statement as one of the house’s Byzantine-inspired crowns.
Dolce & Gabbana Sicilian Jewels collection will be available November 15; lipstick, $35 each, nail lacquer, $24 each.
For Pat McGrath’s “Sophia Loren […] in a Greek theater”-inspired beauty, spotted at Dolce & Gabbana’s Spring ’14 show, less was more. The one place the face painter didn’t skimp? Lashes, which were coated generously in the house’s Passioneyes Duo mascara (available at saks.com). The resulting fringe managed to be at once lush and natural, thanks to a formula that includes beeswax and tapioca polymers, which add curl and volume without sacrificing touchability. A curved wand fans and lengthens lashes to proportions befitting D&G’s quintessential bombshell. McGrath opted to use Terra, an appropriately rich chocolate shade, but I’m most taken with Nero, a jet-black that’s big on impact—even when you’re feeling low on effort.
It seems that Domenico Dolce and Stefano Gabbana’s love affair with Sicily and Sophia Loren will never end (and Spring 2014 is no exception), but what an exquisite relationship it has been on the runway. “Even though it’s soft, romantic, and cherubic, it’s still Sophia Loren—but this time she’s in a Greek theater and it’s sunny and hot,” Pat McGrath said of the muse, alluding to yet another reference for this season’s show, Federico Fellini’s 1969 film, Fellini Satyricon. To lend an instant glow to skin, McGrath applied Dolce & Gabbana Make Up Perfect Luminous Liquid Foundation in a shade slightly warmer than each model’s skin tone. For a Fellini-esque flush, three shades of Luminous Cheek Colour (Rosebud, Apricot, and Peach) were swirled together and dusted on the cheeks, chin, hairline, and brows. To pick up on the plethora of precious metals in the collection—including a finale entirely composed of shorts, dresses, and separates made of metallic lace—a blend of yellow- and rose-gold hues from the Smooth Eye Colour Quad in Golds and Desert was applied to lids, with a slightly deeper beige blended into the crease and rimmed along the lower lash lines. To highlight cheekbones, McGrath used the gilded side of the Smooth Eye Colour Duo in Fortune, then wet a small brush and dabbed the pigment on the inner corners of the eyes to catch the light. Since it wouldn’t be a Loren look without at least a hint of a cat eye, a tiny wing was made on the outer corners with a chocolate brown pencil and topped with Intense Liquid Eyeliner in Baroque Bronze, while a nude pencil was run along the lower water lines for pop. Lashes were coated with PassionEyes Mascara in Terra and a brow pencil (a forthcoming launch from the label) was used to fill in and flesh out arches. Classic Cream Lipstick, in Bellissima and Traviata (out for Spring 2014), was mixed on the back of McGrath’s hand and pressed into lips for a subtle, stained effect.
The hair—a softly braided chignon pressed flat against the head—harked back to the styles often worn in ancient Rome, said backstage fixture Guido Palau. To prep strands for these un-stuffy updos, he misted Redken Guts 10 for texture and Powder Refresh 01 to take away any shine. The top half was curled using a half-inch barrel, the sides gently twisted back and secured near the middle of the head. Next, the length was gathered into a singular braid, coiled, and pinned into place. And when in Rome (or at least keying a show inspired by it), one should do as the Romans do, which for Palau meant tucking the exquisite embellishments crafted by the house—such as coin-encrusted headbands, jeweled combs, and feminine flora—throughout. To finish, he tugged pieces around the front to loosen up the look and create a soft halo of fuzz around the face. The look, he elaborated, contained “all the things a girl wants to be at some point” (think Italian goddess meets femme fatale meets modern-day jet-setter). And indeed it did, at least for this girl.