38 posts tagged "Estee Lauder"
Aerin Lauder, granddaughter of the legendary Estée and founder of her own eponymous lifestyle brand (Aerin), has added author to her long list of titles. Her newly launched book, Beauty at Home, allows you to explore her Manhattan apartment, Madison Avenue office with a view, and Hamptons retreat. Aside from sneaking a peak at her closet and reading about her tea parties at the Plaza Hotel (she’s somewhat like a real, live Eloise), you get a better sense of her aesthetic and how she brings that to her line of cosmetics, candles, fragrances, furnishings, and accessories. Whether it’s the mix of modern with the contemporary, a love of bold prints and textures, or her willingness to experiment with color—you see all of these themes reflected in her workspace and homes. And since a lady never reveals all of her secrets, I had a few more questions about what was hiding in her drawers and how she keeps her bevy of beauty products stylishly contained:
Is your dressing table organized like your grandmother’s? [One drawer for lipsticks, another for eyeliners, etc.]
No, I wish I was that organized! I like to edit my products. I keep one of my shagreen trays full of beauty products and objects.
Are there specific products that you keep in all places—your apartment, office, and country home?
Do you keep any beauty products in your nightstand?
Is there a certain piece of decor that your grandmother referenced for a particular cosmetic or collection?
Estée’s favorite color combination was blue and white—she used it everywhere, from her home to her product packaging. This constantly influences me. The Ikat Jasmine Aerin fragrance box (shown above) is the perfect example.
You love keepsakes, but don’t feel the same way about clutter. How do you keep your bathroom/vanity neat when you’re consistently testing products?
I love using pretty decorative accessories, such as nesting bowls, to store products.
Does your theory on paint extend to cosmetics? ["If you don’t like a paint color, you can always change it. The important thing is to give it a try. If you don't, you'll never know."] Is there a shade you’d never wear?
I don’t see myself in a dark brown lipstick. Some people can pull it off really well, but it’s just not my color.
What was the best tip you learned from your grandmother regarding home decor?
Estée taught me to see gold as the perfect neutral; as a result, I use a lot of gold throughout my collections—it makes everything feel more luxurious.
What about her theories on beauty?
Estée always said, “Everything and everyone can be beautiful if you just take the time.”
Naturally, grandmother knows best.
Last week, we called out nail lacquers that are in line with the cosmos and the high fashion times (like the gold Zodiacs wrapped around models’ necks and wrists, embossed on leather totes, and dangling from fringed clutches—all seen at Valentino). But if you can’t wait for these Spring 2014 treasures to arrive in store, you can pick up one of Estée Lauder’s twelve holiday compacts. Done in matte gold and featuring the brand’s Lucidity Translucent Pressed Powder inside, these refillable, astrology-inspired collectibles make powdering your nose in public a far more glamorous gesture. Plus, they’re engravable, so you can write a message among the stars for yourself or a friend.
“It took longer to take my makeup off than it did to put it on,” Karlie Kloss said backstage at Balmain. Minimal was an understatement, as makeup artist Tom Pecheux applied concealer only where needed, curled the lashes, and dusted powder across the tops of foreheads to take down shine. He focused mainly on skin care—massaging a combination of Estée Lauder DayWear Advanced Multi-Protection Anti-Oxidant Moisturizer and Revitalizing Supreme Crème into complexions, topping them off with Idealist Pore Minimizing Skin Refinisher for a dewy finish. “We transformed the makeup room into a spa,” he said. Pecheux picked up his soft touch from several pros around the globe, including Tracie Martyn, Terri Lawton, and Loudna at Joël Ciocco in Paris. “There are three pressure points [we are hitting]: under the eyes, inner corners, and beginning of the brow bone,” the face painter explained. He added that without the pampering the makeup-less models would “give him shit.” However, I didn’t hear any complaints—as most girls seemed to be in a blissful state as they sat back and enjoyed a little TLC.
The hair was equally as easy and organic. Sam McKnight misted strands with water to coax out natural texture and applied Magic Move Light (a non-greasy pomade shipped in from Japan via a former assistant) to create a piece-y effect.” The clothes are so high-octane that the Balmain woman is confident enough not to need any artifice,” he said. For girls with frizzier textures, he held sections taut with his hands and blew them straight, using a blow-dryer. Models lucky enough to have a thick head of hair had the under layers braided and tucked away to eliminate the bulk. As for the total package, Pecheux summed it up quite succinctly: “The rawness of a supermodel is different than the rawness of a regular woman.” Well, that’s certainly the understatement of the season.
The makeup at Anthony Vaccarello, created by Tom Pecheux, was strangely familiar, harking back to Derek Lam’s show a few weeks ago. The French designer asked for something graphic that played up the outer corners of the eyes, which immediately set off alarm bells in the face painter’s head. “I can’t repeat myself, but I still have to respect what he’s looking for,” Pecheux explained. While the shape was small and rectangular on the runway in New York, the first day of Paris fashion week called for something a bit more dramatic—hence, the larger triangle that floated away from the eye. Pecheux cut a stencil into a plastic sheet protector with an X-Acto knife for each member of his team to insure uniformity. “If you freehand, it’s much more romantic. But this is a fashion cosmetic factory; we have to move fast,” he added.
Pecheux prepped models’ complexions with Estée Lauder Idealist Pore Minimizing Skin Refinisher, then mixed a drop of Advanced Night Repair (which helps “Velcro” foundation to the skin) with Double Wear Light Stay-in-Place Makeup. Pure Color Blush in Sensuous Rose was used to contour the cheeks and worked slightly onto the apple to finish. A pinky-nude hue—Pure Color Envy Lipstick in Insatiable Ivory (launching March 2014)—was slicked onto lips with a brush. The handcrafted stencil was then placed against the face so the tip of the triangle hit the highest point of the crease, lifting the eye upward. Using a stiff eyebrow brush, he filled it in with a black shadow from the Pure Color Eye Shadow Duo in Moons, then layered over top with a brighter shade of cobalt (Pure Color Gelée Powder Eye Shadow in Fire Sapphire)—the end result being a midnight blue that picked up on the touches of navy in the collection. Next, he arched the pigment over the crease and ended it just past the inner corner of the eye. Pecheux filled in brows with a pencil that was a touch darker than each model’s hair color, focusing on the inner corners to bring balance to the face.
Inspired by Vaccarello’s introduction of denim into the line, hairstylist Anthony Turner wanted to create a style that was a bit more “street.” And what better reference point than a street-style snapshot of the designer’s close friend Anja Rubik? “We looked at a picture where she was pushing her hands through her hair” he recalled. “So I thought, Why don’t we try to interpret that?” For hold, Turner worked mousse through strands and blew them dry with a few drops of L’Oréal Professionel Mythic Oil and a Mason Pearson brush for smoothness. To get a “poker-straight” finish, he ran a flat iron over top. For a bit of lift in front, True Grip Texturizing Powder was sprinkled in at the roots and back-combed about two inches from the forehead using a rattail comb. He misted all over with Infinium hair spray to polish off the look. “I wanted to maintain the confidence and sexiness that is the Anthony Vaccarello woman but introduce a sportier element,” Turner elaborated. Mission accomplished.
When it comes to Ralph Lauren, you’re not going to find anything earth-shattering backstage—there will be never be a trendy lip color or daring eyeshadow, which some may find repetitive, or to put it bluntly, boring. I, however, appreciate a man who knows what he likes and sticks to the classics. And on the last morning of fashion week, who needs surprises? (After all, we’ve got Marc Jacobs for that.) But this season, instead of the low ponytail we know and love, there was a slight departure: Guido Palau switched things up with a more casual blowout. (Baby steps, ladies and gentlemen, baby steps.) He prepped damp strands with Redken Satinwear 02 from roots to tips, made a slightly off center part, then blew hair straight using a round brush. For a glossy finish, he applied a drop or two of Diamond Oil Shatterproof Shine through the ends.
Makeup artist Tom Pecheux added some sixties flavor to the face—citing Twiggy and Jane Birkin as muses. “We decided to play a little bit with that [theme], but in the Ralph world,” he said. And while Palau had his blowouts, Pecheux was able to use black mascara on both top and bottom—for the first time ever. But before he got to the exciting part, he perfected models’ complexions with a light layer of foundation and powdered the T-zone. Next, he sheered out MAC Mineralize SkinFinish Natural in Medium Deep (a bronzer) with translucent powder and swept it gently along the hollows of the cheeks, adding a touch of MAC Pleasure Model Extra Dimension Blush (the same shade used at Proenza Schouler, available for spring/summer 2014) just below the apples so as to not make the models look too “girlish.” After brushing brows up and curling the lashes, he took the 205 Mascara Fan Brush from MAC and coated the bottom lashes with Estée Lauder Sumptuous Extreme Lash Multiplying Volume Mascara in Extreme Black. As for opposing set, the wand that comes inside the tube did the job. Next, Pecheux rimmed the inner eye with an alabaster-colored liner pencil and drew a rough band across the upper lash line before diffusing the pigment up over the lid with a small, synthetic brush. “I used a white pencil [instead of powder] because I wanted to avoid flakes on the lashes,” he added. To make sure the fourth row could clearly see the fringe, he applied a second layer of mascara to the top lashes—this time using the fan brush to work the formula into the roots. The lips were dabbed with a simple balm. Sure, there was nothing truly revolutionary here, but I give Ralph Lauren points for taking some “risks.”