9 posts tagged "Erdem"
The classic sixties cat-eye had a major second coming for Spring after it turned up on runways on both sides of the Atlantic. From Ruffian and Jonathan Saunders to Dolce & Gabbana and Kanye West, perfect black flicks in varying lengths and widths were the makeup accessory last season. As Charlotte Tilbury pointed out backstage at Donna Karan’s Fall show, “it’s all about eyes” again this season. But while winged liner shapes enjoyed a colorful update in New York, appearing in shades of red at 3.1 Phillip Lim, chartreuse at VPL, burnt orange at Narciso Rodriguez, and blue at Anna Sui, they’ve gone graphic in London. Andrew Gallimore debuted “floating” flicks backstage at Erdem, while diffused edges that squared off the outer corner of eyes was the look of choice at Aquascutum. Yesterday, makeup artist Val Garland started her obsidian line at the nose bridge, etching an abstract stroke towards the socket that stops before coming to a geometric point at Mary Katrantzou. The clever thing about all three techniques is that when the models’ eyes were open, the black pigment passed for a relatively normal uptick—making the visual trickery that much more impressive to the informed observer. Consider yourself in the know.
Makeup artist Andrew Gallimore plotted the face at Erdem amid a flurry of buzzwords: robotic, androgynous, futuristic, intelligent, architectural. But it wasn’t until Mr. Moralioglu talked about creating a “trick of the eye” that Gallimore’s look fell into place. “He said it, and I thought of this floating flick in the socket. It’s not on the lashline, it’s not a 1950′s line—it’s got a robotic, modern feel to it. And it’s minimal—when there’s so much going on with the clothes, this is just a touch of something different,” he said, drawing a sideways triangle using MAC Fluidline in Blacktrack onto a perfected canvas of MAC Strobe Cream, Studio Sculpt Foundation, and its Prep + Prime Transparent Finishing Powder. A slick of MAC Lip Conditioner SPF15 kept mouths moisturized but discreet.
More glossy polish came courtesy of St. Tropez’ resident skin-finishing expert, Nichola Joss, who used the shades of amethyst that shot through the collection as an excuse to break out a bottle of St. Tropez Violet Skin Illuminator, which added an almost unearthly, incandescent hue to the exposed limbs in the show. Even the nails weren’t quite of this world. Erdem was very specific about the shade he was after—an androgynous but vibrant blue courtesy of Nail Girls Electric Blue 12, a custom color that will be available for purchase come August.
As for the hair, Marc Trinder used Moralioglu’s hodgepodge of references to arrive at the “bow-tail”—a “super-luxe, polished ponytail with a tiny, girly bow,” he elaborated backstage. Damp hair was prepped with Charles Worthington Sensitive Ultra Soothing Detangler Spray, worked into a center part, and then glossed up using its Hair Elixir. After smoothing the mid-lengths with hands that had been coated with Charles Worthington Front Row Heat Defence Spray, strands were flat-ironed and gathered at the nape of the neck. A fine black ribbon softened the sleek lines, with a drop more of the Hair Elixir to banish flyaways.
We can pinpoint the first time we stopped clicking through our Style.com slideshow, gasped, and made an “I need that” mental note about an Erdem Moralioglu collection. It was the designer’s Spring 2009 show, replete with all of its lacy loveliness and Edwardian collars, that made us fast—and resilient—fans (looks 12 and 18 at yesterday’s Spring show elicited the same reaction, albeit in person). Spring ’09 was an a-ha moment for Charles Worthington, too, apparently, as that was the British hair hero’s first show with the designer—a collaboration that’s now in its fifth season. Worthington promptly enlisted Moralioglu to help create his well-loved Frontrow collection, which launched in the U.K. two years ago and which we were introduced to for the first time backstage yesterday. It includes standouts like the Refresh & Revive Dry Shampoo, Rough & Tousled Salt Spray, and the Soft & Smooth Dry Conditioner, a unique product that can revamp any day-old style. Most impressive, though, is a clever packaging gimmick that’s sure to impress Americans when the line hits the U.S. next year: Each bottle contains a peel-back label that reveals an Erdem-designed print underneath. It’s not one of his off-the-shoulder, pleated dresses, of course, but it’s still pretty neat.
Astute audience members at Erdem Moralioglu‘s show of cool blue floral prints may have noticed a subtle detail as Anais Pouliot and co. walked the box-shaped runway with shoulders, décolletage, and necks bared: Their skin also curiously glowed with the icy tint. “It’s a pastel tan,” St. Tropez’ Nichola Joss said, coining the term for a new skin finish she’s been introducing here at the London collections. Models are sprayed with St. Tropez’ Wash-Off tanner in mobile booths for a faint sun-kissed effect but mostly for “polish and dimension,” which creates a base for a handful of the brand’s new Illuminators. “I’m using a silver and a blue,” Joss said, buffing and layering the two hues into limbs with a specialized mitt for a uniform finish.
Coiffing legend Charles Worthington placed his own label on the beauty look. “It’s South of France chic,” he said, interpreting the designer’s In the Mood for Love inspiration with an “architectural and glamorous” ponytail. Spritzing hair with Charles Worthington Front Row Volumizing Spray at the root, Worthington’s lead stylist, Marc Trinder, slathered lengths with its Heat Protector Spray before gathering them into a high ponytail, securing with an elastic and “tonging” the style (wrapping it around a curling iron, for those of you who don’t speak session stylist) to give it a little “bounce and swish” as the girls walked. The top was left deliberately soft and fluffy, an homage to an old picture of Chloë Sevigny that Moralioglu had shared with Worthington.
As for those red lips, makeup artist Andrew Gallimore applied MAC’s forthcoming Lipstick in Scarlet Ibis and matted it down with its Prep + Prime Translucent powder before patting on a layer of MAC Pigment in Red to provide a “velvet, rose petal” effect. Brows were brushed up with MAC Brow Set in Mink for fullness while lashes were coated in mascara for a fluttery finish. To complement Joss’ dose of luminosity, Gallimore added his own bit of shine in the form of Lucas’ Papaw ointment, which he dabbed onto lips and on top of cheekbones.