44 posts tagged "Estee Lauder"
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.”
Similar to Lam’s clothing for the season, the hair was all about “structured ease,” said Orlando Pita. While some girls wore theirs down with a turban tied over top, and others sported a ponytail, all had a slightly off-center part and a natural, wavy texture. To get it, he misted Phytolaque Soie light hold hairspray all over to act as a setting lotion and used the extra-large T3 BodyWaver to add movement—wrapping sections of hair under and over the barrel to form “S” patterns. For a second-day finish, he glossed over the surface of strands—as opposed to finger-combing, which creates flyaways—with Fiber Paste. Manicurist Jin Soon also kept things simple by layering two shades of her namesake polish in Nostalgia and Tulle for a non-muddy, universal nude.
Makeup artist Tom Pecheux’s response to the direction (one word: minimal) given by the designer was surprisingly not at all bare or boring. “I’ll give you three looks, how about that?” he quipped. The first one focused on rich textures—like creamy skin, a shimmery antique-gold cream shadow (part of a range developed by Lam, Pecheux, and Estée Lauder launching in January), and a moist nude lip. “I wanted to create a cuddle for the eye,” Pecheux says of the soft metallic shade. Since there was no blush, mascara, or brows, he added a subtle glow to the face by putting two drops of Advanced Night Repair Synchronized Recovery Complex II in the palm of his hand and embracing the cheeks—leaving behind a dewy finish that catches the light.
The slightly edgier second concept built upon the first—with midnight blue eyeliner (part of the same forthcoming line) drawn in tilted rectangular shapes (inspired by the navy-checked fabric in the collection) on the outer corners of the eyes with a square lip brush. “It’s almost like you put on [a band of] liner and took two-thirds of it off—leaving only the essential part that lifts the eye,” he explained. Pecheux envisions a woman who is off to after-work cocktails or an exhibition adding this graphic element on top of her everyday shadow.
The most dramatic of the three looks accompanied the final four evening gowns in the show. This time, Pecheux sexed things up by applying the same navy liner to the inner rim and blending it onto the lower lashes—finishing with mascara for definition. “This [reflects] the lives of women today,” he says of his layered approach. “They don’t have time to take a shower, [remove] their makeup and redo it, or go back to their hairdresser for a blow-dry,” Finally, a face painter that gets me.
There is no shortage of collaborations in the beauty world (Jason Wu and Alber Elbaz recently partnered with Lancôme, Amy Smilovic of Tibi teamed up with Jin Soon, and the list could go on…), but it’s usually the compacts and colors inside them that benefit from these designer makeovers—not necessarily the women and men selling them behind the counter. Leave it to Estée Lauder, the classic cosmetic house, to switch up the game. The seemingly uptown brand turned to downtown designers Carol Lim and Humberto Leon, of Opening Ceremony, to create a custom-made Beauty Advisor wardrobe. Going back to the label’s heritage—Estée believed that the women pushing her products acted not only as salespeople but also served as beauty muses themselves—the design duo customized every aspect of their outfits, down to the buttons and specially made jacquard-print fabric (inspired by the iconic rope-weave pattern found on vintage packaging). Seeing as the original Mrs. Lauder was the first in the industry to tie her counter employees’ looks to specific seasons and launches, the new uniforms will also have modifiable elements—like a detachable belt that can be embellished with new colors and fabrics, depending on what comes down the pipeline. The pieces—including a peplum blouse, slim pant, pleated skirt, and blazer—have a retro silhouette but a thoroughly modern look, explained Lim and Leon. Leave it to Lauder to chicly part the sea of all-black ensembles that have become standard on the beauty-department floor.
Check out these exclusive behind-the-scenes shots and see how the looks came to life:
This month’s Beauty Essentials subject needs little introduction; the impact her breakthrough Spring 2011 show season had on the fashion world has earned her instant name recognition—not to mention an Estée Lauder contract. But Arizona Muse didn’t always aspire to conquer the catwalk. “I wanted to be an architect when I was little,” she reveals. You can imagine her excitement, then, when she received the location details of the Craig McDean-lensed ad campaign for Lauder’s new fragrance, Modern Muse. “[It's] closed Thursdays, and we shot on that day. It was amazing to be in that space with just our crew,” she recalls of her experience in Frank Lloyd Wright’s iconic Solomon R. Guggenheim Museum atrium, which serves as the backdrop of the exclusive behind-the-scenes image pictured here. Muse’s interest in “majestic buildings, like cathedrals,” isn’t just fleeting whimsy, either; it runs in her blood: “I have an architect in my family. My great-great-great-great-grandfather designed the Natural History Museum in London, which I’m quite proud of.”
Beauty Nostalgia is a weekly column on Beauty Counter in which we ask influencers, tastemakers, and some of our favorite industry experts to wax poetic on the sticks, salves, and sprays that helped shape who they are today.
The Pro: Marie Robinson, hair colorist and founder of Marie Robinson Salon
The Product: “My grandmother rarely wore makeup but when she did, everything was from Estée Lauder. She felt it was a luxurious brand that provided her with a sense of Hollywood glamour. There was a bright, rose pink lipstick of hers that I would sneak [off] to wear when I went to high school. I remember that she would apply this lipstick, very little blush, and no eye makeup. Minimalism was Grandma’s beauty motto—she would always say, ‘Play up an eye, lip, or cheek, but never more than one or it’s not chic.’ Years ago, I was shopping at the MAC counter in Bloomingdale’s and found a similar color called Moxie. It was a special-edition lipstick that reminded me of my grandmother’s go-to Estée Lauder shade. A swipe of bright pink across my lips has since become a part of my identity. I recently moved and lost the last bit of the original MAC Moxie lipstick that I had bought in bulk before it was discontinued. I wanted to have it custom-blended and duplicated. Since then, I’ve found other tubes I love—such as ones from NARS, Tom Ford, and Rimmel London (Kate Moss created a fantastic pink)—but I still hope to get Moxie-ied again.”