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17 posts tagged "Dries Van Noten"

All That Glitters Is Beauty Gold



This year provided a plethora of New Year’s Eve-worthy looks, and the man that pulls off glitter better than any other on the runway is Peter Philips. Always the master of invention, he created ear cuffs composed entirely out of crystals at Dries Van Noten for Fall, only to follow it up the next season with tinsel-coated lashes (accompanied by gold-slicked side parts by Sam McKnight). And at Chanel, he rimmed upper eyes with a flash of silver glitter that could be seen from every seat in the house. In our esteemed opinion, Philips gets top honors for the most dazzling displays of 2013. Now if only we had a sparkly statue to commemorate the occasion…

To see more brilliant looks, read “2013: The Best of Backstage.”

Photos: Sonny Vandevelde /; Photo: Michele Morosi / InDigital | GoRunway

Golden Girls, Backstage at Dries Van Noten


driesvannotenPeter Philips is known as the master of makeup invention, and when it came to the eyelashes at Dries Van Noten, he certainly spun standard string into beauty gold. After evening out complexions with foundation and powdering the skin, he dusted Chanel Soft Touch Eyeshadow in Ivory (a pearl tone with a hint of shimmer) to provide lids with “a bit of depth.” Then he added sparkle to lashes via metallic thread. “You can never find a gold mascara that does this, and [false] lashes look too drag queen-y,” Philips explained. After snipping the delicate cord into small pieces with a pair of manicuring scissors and dotting models’ natural fringe with eyelash glue, he placed the tinsel-like fibers individually with a pair of tweezers. To frame the face and make the eyebrows uniform, Philips traced slightly outside arches using the Crayon Sourcils Sculpting Eyebrow Pencil in a shade slightly darker than each girl’s hair color; taking away the curve and replacing it with an elongated and angular shape. Lips were toned down with a touch of base just before showtime.

Sharp side parts inspired by Tamara de Lempicka (an art deco painter with Polish roots) and Loulou de la Falaise (Yves Saint Laurent’s muse) were gilded with a mix of hair wax and gold leaf. Hairstylist Sam McKnight washed hair with Pantene Pro-V Aqua Light Shampoo so that it was free of product or shine that would detract from the graphic stripe. He used a steel tail comb to divide the hair from left to right, then worked Sebastian Mousse Forte through the top section and brushed strands behind the ears with a Mason Pearson. A net was pressed over the crown, hit with a blow-dryer, and set with hairspray. The length was left “raw” and misted with water to revive any natural texture. The end result was a look that would make King Midas proud.

Photo: Sonny Vandevelde /

Cuff Love


Call it an offshoot of the overarching punk trend that swept the Fall shows, but a lot of designers showcased a single earring on the runway rather than a set. From the tiny gold cuffs at Chloé and the sprawling sapphire-dotted branches at Thakoon to the giant nails at Versace and the Delfina Delettrez-designed magic-eye drops at Kenzo, it was often one and done when it came to ear accessories. In an interesting turn of events, hair looks were frequently choreographed around this styling decision, leaving front sections slicked back or tucked behind these “bejeweled ears,” as Peter Philips referred to them backstage at Dries Van Noten. Now, it appears as though the movement is continuing down under. As Camilla and Marc kicked off Sydney fashion week today, Marc Jacobs muse Ruby Jean Wilson sported a rhinestone-studded spiked cuff on the catwalk, leading a pack of longer-haired models with their shoulder-grazing strands pulled away from their left ears—a festive way to keep unruly locks out of your face, if anything. Thoughts on the utilitarian style?

Photo: Luca Cannonieri /; Lisa Maree Williams/Getty Images

Throwback Thursday: The Ears Have It


Throwback Thursday is a new feature on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.

The Model: Nadja Auermann

The Moment: Ear painting

The Motivation: Following a few seasons of 3-D makeup on the runway that has seen everything from sequins, rhinestones, paper cutouts, lace, and tulle double as eyeliner, mascara, and brow pencils, we’ve been semi-conditioned to think outside the box when it comes to defining the medium of makeup. But Peter Philips further expanded on the traditional idea of “face painting” by bedazzling nine models’ ears backstage at Dries Van Noten for Fall. You could say an emphasis on ear embellishment started last season, when side-slicked hair turned up at Rodarte to show off Game of Thrones-inspired dragon cuffs—although Stéphane Marais might beg to differ. The famed makeup artist gave model Nadja Auermann the silver treatment two decades ago for a 1994 issue of Harper’s Bazaar. What’s that they say about fashion—and beauty—being cyclical?

Photo: Mario Sorrenti for Harper’s Bazaar, 1994; Courtesy of

Fred, Ginger, And A “Bejeweled Ear,” Backstage At Dries Van Noten


“There’s a Fred-and-Ginger theme,” Peter Philips revealed backstage at Dries Van Noten, explaining the designer’s nod to the thirties-era dance duo. Uninformed, and you’d have been hard-pressed to pick up on it. “We wanted to avoid [the makeup] becoming too ballroom,” Philips explained while beefing up brows with Chanel Crayon Sourcils Sculpting Eyebrow Pencils and contouring lids with the dark brown and nude colors from its Les 4 Ombres Eyeshadow Quad in Prelude—which is why he chose to complement the gem-encrusted necklaces, brooches, and earrings models wore on the runway with something unexpected. Instead of opting for more retro-glamour elements—a red lip or a heavy lash, for example—Philips gave nine girls “a bejeweled ear,” using special-effects adhesive and a treasure trove of different-shaped crystals. “We tried it on the face, but we’ve already seen that. Topolino did it in the eighties,” he said of the gleaming mosaic embellishments, referencing the legendary Italian face painter who made metal facial studs and mixing mediums something of a signature. Keeping skin purposely matte to “enhance the sparkle” of those creative crystal cuffs, Philips treated complexions to Chanel’s Perfection Lumière Long-Wear Flawless Fluid Makeup before dusting on an allover application of its Poudre Universelle Libre.

“It’s basically women wearing men’s clothes, and the end is more Hollywood,” Paul Hanlon elaborated of Van Noten’s collection. “But with Dries, it always needs a contemporary feel,” he continued, dampening hair with Bumble and Bumble Styling Lotion and fashioning a side-slung part that segued into a marcel wave across models’ foreheads. True to form, Hanlon insisted on pulling the waves apart just before the show to ensure a messy “as though she had [the style] a week ago” feel. Perfection often lies in the imperfections when this hairstylist is concerned.

Photo: Michele Morosi/