11 posts tagged "Dries Van Noten"
The preshow rehearsal backstage at Dries Van Noten went a little longer than usual this afternoon, which meant we had a fair bit of time to kill before speaking with hairstylist Paul Hanlon and makeup artist Peter Philips. So we did what any fashion-obsessive would: We peeked at the models’ racks to get a preview of the show before it started. “There was a big exhibit of Asian clothing at the Victoria & Albert Museum in London, and Dries took pictures and printed those pieces onto other pieces,” Philips confirmed of the Japanese-inspired motifs we spied next to Tilda L.’s and Monika S.’s cards. “You get a print of a jacket on a jacket,” Philips explained, pointing out that he took a single color reference from these fabrics and reimagined it in the makeup.
“It’s about color-blocking,” he said, using three variations of an orange undercurrent from the collection on eyes, including two discontinued shades of Make Up For Ever Eye Shadow in no. 66, a mustard, and no. 78, a rusty mandarin, and Chanel’s Ombre Essentielle Soft Touch Eye Shadow in Tigerlily, a “fresh” tangerine according to Philips. Skin was kept pale to contrast with the bright lids, while lips were lined and filled with Chanel Crayon Lèvres Lip Liner in no. 35 Natural for a muted, matte finish.
As a Smiths’ best-of album played on the sound system, Hanlon was perfecting yet another iteration of Fall’s favorite updo, the ponytail. “Make sure the little bits in the front have spray on them to hold them down,” he directed his team, smoothing the front of a short side part across the forehead and over the ears before securing texturized lengths with a black elastic that would ultimately be removed. “There are no hairbands,” he said explaining that after a hefty portion of hairspray and a hit of heat from the blow-dryer, the fasteners would be cut out to leave behind a slight indentation. “It’s a little detail,” he said, calling the overall look “natural and easy—very real,” the better to balance out Van Noten’s opulent, detailed designs.
While some backstage beauty is meant to make a statement all its own (gold foil eyebrows, anyone?), a lot of it is intended to be a muting tactic—to create a uniform neutrality so the clothes truly take center stage. Such was the case at Dries van Noten, where less was indeed more to put the focus on the designer’s heavy-on-the-prints collection. “Even a slight blush would’ve been a conflict with the clothes,” makeup artist Peter Philips explained. “So we’ve literally done nothing”—well, almost nothing. Switching back and forth between Chanel’s new Perfection Lumiere Long Wear Flawless Fluid Makeup and Vitalumiere Aqua Ultralight Skin Perfecting Makeup, depending on each model’s complexion, Philips was after a finish that was not too matte, and not too shiny—”it has to be pure,” he said—blending the velvety foundations onto lips, too. To further “eliminate any hint of color,” Philips lined the inner rims of eyes with Chanel’s Le Crayon Kohl in Clair, a pale peach, and painted two coats of its Le Vernis Beige Petale onto nails, adding its mattifying topcoat so there was “no distraction” from Dries’ creations. Final touches came by way of a slick of gloss across lids and slightly built-up arches, which were filled in with only ashen tones of Chanel’s Crayon Sourcils eyebrow pencils to prevent any stark, disruptive contrasts.
Hairstylist Paul Hanlon heeded a similar call, although he got the message slightly late in the game. “There was supposed to be really complicated hair but we made a last-minute change,” Hanlon said, prepping strands with TIGI Bedhead Superstar Queen For a Day Thickening Spray. He then simply added extensions, created deep side parts, and pulled the lengths into a low ponytail, which he coated with its After Party Smoothing Cream and wrapped around a curling iron for a bit of bend.
The fact that ponytails have transcended their former station as the preferred hairstyle of “girl-next-door” types and female basketball players alone is not news; the easy updo has, for the past few seasons, gotten plenty of action off the court and on the runway and red carpet (Hailee Steinfeld’s well-played pony and white Prabal gown at the Golden Globes immediately comes to mind). But the coif is having a special moment for Fall, turning up in all four fashion capitals with regularity and variation—which is great news for those of you who are probably, definitely never going to work all of those equally abundant teased, voluminous French twists into your repertoire come September.
It all started at Alexander Wang, where Guido Palau fashioned a very low, loose ponytail in which more hair was purposely left out of the elastic than was contained by it. Palau then debuted the “dominatrix ponytail” at Marc Jacobs, as he called it, using Redken’s Blown Away 09 Blow-Dry Gel and a flat iron to get the severe “perversion of convention” he was after. A similar look appeared in London at Nicole Farhi before graphic center parts and fishtail braids joined the party at Christopher Kane. Shortly after, things got high, tight, and conical at Kinder Aggugini—a style that was repeated almost to a T by Eugene Souleiman at Issey Miyake yesterday, albeit with the addition of white triangular shapes extending beyond the hairline. Texture became a key element for both the thick, frizzy tails at Issa and the matte wavy styles at House of Holland before things moved to Milan, where the standout pony arrived early on at Gucci, thanks to Luigi Murenu’s seventies-era glossy-in-front, crimped-in-back tails, which he embellished with feathers for Frida Giannini’s second ode to disco.
Here in Paris, we’re seeing much of the same—low and loose at Balmain, high and lacquered at Mugler, soft and contained by a gold band at Dries, and braided for ease and simplicity at Lanvin. “The great thing about the ponytail is that it’s without reference,” Guido Palau surmised of the coiffing establishments partiality for the style when we caught up with him at backstage at Alber Elbaz’ show. “We’ve basically been using the emotional attachment of the ponytail but adding a character to it. Now, you wear a ponytail with an evening dress and it’s not wrong—it’s almost de rigueur. It’s full hair looks that seem wrong.” Word on the street from a very reliable source is that the pony will strike again tomorrow at Celine. Get psyched.
It wasn’t hard to grasp the inspiration behind the beauty look at Dries Van Noten yesterday. “There are elements of gold everywhere,” makeup artist Peter Philips pointed out of Van Noten’s gilded brocades and the similarly lavish trims at the Hôtel de Ville. Rather than play to a collection that was heavy in elaborate prints with an equally intricate makeup look, Philips kept it simple, opting instead to offer “a quiet moment” through clean skin and gold pigments. Prepping complexions with a light application of Chanel Pro-Lumière foundation, Philips devoted his attention to lids, which were coated up to the crease with a wet application of Chanel’s Joues Contraste Blush in Gold, created for the house’s much-heralded Paris-Byzance pre-fall show—and should be hitting counters soon. To add dimension and richness, Philips added a smudged-out scrawl of Chanel’s forthcoming Ligne Extreme liquid eyeliner in gold around the upper and lower lash lines. Eschewing mascara, as has become de rigueur this season, Philips finished things off with a velvety matte, rose-nude lip.
Hairstylist Paul Hanlon was also after something “super-easy,” which meant clean hair washed on site with Bumble and Bumble’s Bb Sunday shampoo. Hanlon massaged a small helping of its Bb Prep styling lotion into the scalp, finger-combing it through strands for a slight bit of texture before creating a side part and a low ponytail. “It’s such a nice change not to use too much product in the hair,” Hanlon said. “It’s how a girl would look—not a fantasy world.” There was one fantastical element, though. Two days before the show, Van Noten decided that he wanted to bring the gold rings and bracelets from his show into Hanlon’s coifs, so he designed custom “hair rings” for the occasion. “They’re quite heavy,” Hanlon noted of the gold-plated silver accessories, which were placed over rubber bands at the base of each ‘do—and may see the light of production, if we’re lucky.
As anyone familiar with Chanel’s Fall 2009 smash Jade polish already knows, Peter Philips, the house’s global creative director of makeup, has a way of working with off-kilter colors like green and making them even more desirable than, say, red or pink—hues you may more readily associate with makeup. He did it again at Dries Van Noten yesterday, where a shade of hand-mixed, minty-lime pigment was custom-blended for the show to evoke a sense of incipient spring. It was subtle—barely noticeable from afar, save for a lovely highlight that emanated from the brow bone, underneath which Philips had swiped the homespun shadow. That impact, slight as it was, mostly came from the juxtaposition of the thin celery line and those near perfect complexions, which Philips treated to Chanel’s Pro Lumière Professional Finish Makeup and a dusting of its Poudre Universelle Libre. Lips and nails were left bare to avoid a potentially “retro” effect, but the face painter added another twist to the look by instructing that models’ toes be coated in Chanel’s Holographic, an iridescent chrome varnish that picked up a similar finish in Dries’ shoes and clutches—and continues to elude us. The polish was never released in the States, but we continue to hold out hope that one day, Philips will surprise us with some kind of limited-edition lacquer reissue that we would hoard among our most prized possessions.