26 posts tagged "Donna Karan"
If you noticed a mind-easing aroma emanating from the runway yesterday at Donna Karan, it wasn’t just your subconscious trying to lull you into a more relaxed headspace as day four of fashion week kicked into high gear. “I put it on so everyone can feel good,” said Karan’s long-time aromatherapist Ruth Pontvianne—”I’m the world’s healer but I’ve worked with Donna for 15 years,” Pontvianne interjected—as she layered essential oils onto the calves and inner forearms of models like Lindsey Wixson and Constance Jablonski before the show. (It should be noted that we happened upon Pontvianne and a handful of catwalk superstars in the ladies’ room—where all great conversations occur). “I love Young Living,” Wixson exclaimed, examining Pontvianne’s bottles of Highest Potential, a blend of jasmine to enhance self-confidence and ylang-ylang to soothe, as well as Thieves, a cleansing cloves and rosemary tincture that helps boost the immune system. The door swung open and Karan herself entered the tiny space, with plenty of praise for Pontvianne’s special brand of integrative therapy. “Ruth started it when she was caring for my husband,” Karan explained, alluding to her own well-being journey, which ultimately led her to found the Urban Zen Foundation. As Pontvianne and her oils followed the flurry of models to their racks, we asked if she had a website, to which she shook her head and smiled. “I am a jungle woman; you find me in the trees,” she replied. Occasionally, though, she appears as a beacon of calm in the chaos of fashion week.
The report from the nail front in the fashion trenches this week is much like it’s been for the past few seasons: While a few designers are staying the artful, design-heavy course, creating a ton of blog fodder in the process (which, we imagine, is part of the point), most are requesting nude lacquers—or no lacquer, just a glossy topcoat, as was the case at The Row yesterday—to hopefully further fashion from its embrace of all things over-the-top for tips. But not all nudes are created equal, of course, and according to manicurist extraordinaire Marianne Newman, most of them are subpar. “Most nudes streak,” she points out, as anyone who has ever asked for a mannequin manicure is aware. But Newman, who has brought her pro polishing skills everywhere from Giles and Missoni to Loewe and McQueen, has a secret to getting an ultra-smooth, ridge-free finish. “Put on your first coat of polish,” like, say, MAC Nail Lacquer in Quiet Time, which Newman chose backstage at Donna Karan, “apply a matte topcoat—any brand will work—let it dry, and apply your second coat,” like MAC’s Cream Delicate. “It works just like priming a canvas.”
One look at the makeup backstage at Donna Karan transported us to another show entirely, as an immediate déjà vu of Pat McGrath’s hot pink eyeliner and eyelashes at Dior Couture set in. “It gives you intensity of color and graphicness of form,” Charlotte Tilbury said of the technique, which she repurposed as a juxtaposition to all the muted reds, golds, blues, and greens in Karan’s collection. “It’s sunrise, sunset,” the face painter elaborated of the clothes’ dégradé pastel palette, which was meant to reference the light progression over a day’s time (not the Fiddler on the Roof refrain, lest you be confused).
Starting with a blank canvas of MAC Face and Body Foundation mattified with powder in the T-zone, Tilbury drew a blocked-off wing using its Eyeliner in Magenta, dipping a brush into a MAC Chromacake in the same color to paint top and bottom lashes a shade of hot fuchsia. Nails were given two coats of a custom-mixed nude varnish composed of MAC Nail Lacquer in Quiet Time and Cream Delicate, while brows were bleached to keep eyes the focal point of the look (much to models’ dismay).
Eugene Souleiman subsequently pulled hair up to accommodate a series of frosted Perspex headpieces designed by Stephen Jones, although the Wella Professionals global artistic director added his own “romantic, dark-tragedy twist” to the equation. Using the brand’s Ocean Spritz Beach Texture Spray to give strands a shine-free, naturally gritty quality, Souleiman folded a ponytail onto itself to make a flat panel in the back of the head, building “spiky, sharp shards” in the front by setting floating wisps around the hairline with hair spray. “It’s a little bit off,” he decided.
In the male-dominated world of fashion, where successful female designers are seriously outnumbered, Donna Karan has managed to build a decade-spanning empire fueled by girl power. “I believe women are complex and full of emotion and feelings,” Karan says of the principles that guide her, whether she’s designing a collection for her stalwart fan base—or a fragrance. Her latest scent is a tribute to these longtime admirers. Simply called Woman, it was created through an exercise in sisterhood: Celebrated female perfumer Anne Flipo blended the orange flower, Haitian vetiver, and sandalwood eau; renowned Iraqi-British architect Zaha Hadid lent her skills to a new version of Karan’s iconic Cashmere Mist flacon, originally designed in 1994 by her late husband, the sculptor Stephan Weiss; and a trio of well-loved, multigenerational catwalkers, including Karolina Kurkova, Liya Kebede, and Christy Turlington-Burns, star in the Inez & Vinoodh-lensed ad campaign. Needless to say, it arrives on shelves this month with a roar, not a whisper.
Hats on the runway present an interesting dilemma for hairdressers: how do you do something that’s simple enough to sit well underneath a headpiece, but still complex so that it makes an impact on its own? At Donna Karan, Eugene Souleiman solved that problem with “a detail that was quite graphic and quite ornate:” behold, the side twist. “It’s masculine and refined,” the Wella professionals global creative director said of the roll, which he prepped with a mixture of Wella Perfect Setting Blow Dry Lotion and its Ocean Spritz Beach Texture Spray for a soft, matte finish.
Referencing Karan’s “tailored, handsome collection,” Charlotte Tilbury wanted to incorporate the designer’s palette of black, gray and red into the makeup but in an unexpected way. “We didn’t want to go too retro with a red lip so we thought, ‘how do you give it and eccentric, modern twist?” The answer? A red eye. Keeping skin dewy by applying MAC Cream Color Base in Pearl on cheekbones, down the bridge of the nose and along the cupid’s bow of the mouth, Tilbury carved out a slight contour with its Pure Sculpting Cream in Pure Sculpture before beefing up brows with its Eye Shadows in Linger and Fling. Then came the “cherry, chocolate-y” lids, which the facepainter created using a mix of MAC Lipsticks in Partyline, a deep burgundy, and Diva, a purplish crimson. “It’s all about the eyes this season,” Tilbury declared.