46 posts tagged "Estee Lauder"
“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.”
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: