53 posts tagged "Eugene Souleiman"
Makeup artist Tom Pecheux “believes in green” this season. And it all started with a velvet chair (shown here) posted by fellow face painter Gucci Westman. He used various iterations of the shade at multiple shows already—including Peter Som, Altuzarra, and Derek Lam. At Som it was an olive green (MAC’s Cream Colour Base in Au Nature). “This eyeshadow is so disgusting, but I love it,” he said. The same went for the lipstick in Siss, a yellow-based nude: “I call it like a bird poo color, but if you look at the two [products] together, how chic is that?” He rimmed the eyes with a peacock green liner pencil before blurring it with gloss to lend a lived-in look to the makeup (similar to the sixties-inspired hair created by Eugene Souleiman, which Pecheux described as a “perfect hairdo” that a girl has slept on for a week). At Altuzarra, he sprinkled glitter with green undertones on models’ lids, and for Lam he created a green-gray hue that was “organic” but “intense.” Pecheux proclaimed green the new black in a message to Westman on Instagram, but now he’s making his flippant comment a serious statement for Fall 2014.
Hairstylist Eugene Souleiman said he didn’t look to the actual collection for inspiration, but instead thought more about the Stella McCartney woman. “There are a lot of florals in this show, and the prints are quite textural and light, so I didn’t want to do anything that bore a resemblance to [those elements],” he explained. The solution: A boy-meets-girl ponytail on fresh strands. “I’m a huge advocate of swamp hair, but the reaction to that this season is something much cleaner,” he said. Using zero product, he added a bit of volume with a round brush and blow-dryer, then made a deep side part, “like an old man’s hairstyle, when he’s trying to comb over a piece of hair to hide something,” Souleiman quipped. The length was tied back at the nape of the neck with a string of black elastic—a method the pro prefers over a band because it keeps the tail “tight and controlled.” Any loose bits that fell out were left alone, as they lent a notion of fragility to the strict style. The end result was a “masculine shape,” described Souleiman, with a soft, free-flowing texture that kept things feminine.
As for the makeup, Pat McGrath said it was “rebellious,” imploring graphic liner to lend some edge. The look was based on a photo McCartney saw of Guinevere Van Seenus in Craig McDean’s new book (Amber, Guinevere, and Kate Photographed by Craig McDean: 1993-2005), for which the face painter had created a winged eye. To make it runway-worthy, McGrath ran a “brown-gray” pencil along the upper lash lines and flicked it out onto the outer corners and pulled it down toward the tear duct—forming sharp points on the diagonal. The lower lashes were also rimmed in the chestnut hue. For intensity, a hand-mixed, liquid version of the liner shade was run over the top. “She’s a stronger, tougher girl this season,” added McGrath. But with the beautifully painted ceilings of the Opera Garnier floating overhead and Sir Paul McCartney sweetly playing the harmonica for his granddaughter backstage, I felt worlds away from the slightly badass image the designer had in mind.
“I’m so bored of nice—just over it in a big way,” said the mane man backstage at Rochas, Eugene Souleiman. “[Hairstylists] need to loosen up and live a little.” And loosen up he did, bringing what he referred to as a “couture” sensibility to ready-to-wear hair. The “over-brushed” updos were based off a look he created for Spring 2012 (which featured a fifties egg shape), but this season Souleiman “wanted to make the head and feet do the same thing.” In other words, the Helena Bonham Carter-like styles were designed to flutter like the feather-duster flats and heels. In order to not torture the models’ strands too much, he pinned a teased bun form to the backs of their heads to act as an anchor, then misted all over with Wella Ocean Spritz to lend a “chemically processed” matte finish. Next, he randomly curled pieces with a half-inch curling iron, made tiny braids, and flat-ironed bits before brushing through them and creating a French-twist-like roll in the back (which he would later pull apart). The remaining sections were wrapped around the sides and front, forming a gentle halo of fuzz. Souleiman said of the end result: “It’s chaotic, but it’s beautiful.”
As for makeup artist Lucia Pieroni, she played off the iridescent fabrics and the catwalk music, which began with what sounded like drops of water hitting a hard surface. “It’s like when the Little Mermaid stays out of the sea for too long—she can’t live above ground, so she goes a bit hollow-eyed,” Pieroni said of the dusky tones that were wrapped around eyes. For a dewy base, she prepped skin with Clé de Peau Beauté The Serum, and then applied the deep purple, taupe-y plum, and pink shades from the forthcoming Eye Color Quad in 212 on the lids and lower lash lines, diffusing the pigment with a small blush brush. Cheek Color in 1 (an earthy hue) was dusted lightly along the sides of the face, and lips were slicked with Enriched Lip Luminizer in 226 (launching next Spring). For a “wet” finish, she dabbed Egyptian Magic on cheekbones, lids, and brows to catch the light, similar to the strands of multifaceted, opalescent beads draped twice around models’ necks.
The last time I saw this many bluntly cut, synthetic ponytails I was watching Madonna take the stage for her Confessions Tour, wearing an equestrian-style top hat with a black horse tail attached. But instead of stallions serving as the reference for the hair at Missoni, mane master Eugene Souleiman was shown a Richard Avedon photo that featured a model sporting a braided updo that looked “fake,” he explained. To bring this idea to the runway, he attached a glossy, back-grazing extension to a ring (made by the house), rather than incorporating the faux, “plastic” strands into the actual style. “I wanted it to look like an accessory rather than hair,” he added. He reiterated the point by contrasting the pieces with each model’s natural color.
After making a side part in front, Souleiman misted the models’ real hair with Wella Ocean Spritz to create a raw texture and scraped it back into a ponytail, which was secured with a string of black elastic. The length was then threaded through the ring, folded close to the pony’s base, and wrapped once again with elastic—leaving the handcrafted accoutrement hanging from a newly formed loop.
The makeup by face painter Lucia Pieroni played off the four-elements (earth, wind, water, and fire) theme of the collection. The skin was left dewy to provide a “liquid” finish, while cheeks were gently contoured with a MAC Paint Pot in Groundwork (here lies the earth). Also inspired by Japanese girls, Pieroni traced a graphic band of Black Track Gel Eye Liner along the upper lash line, into the inner corners, and wrapped the formula underneath the eye—ending it just before the pupil. To clean up the shape, pointed cotton buds were employed by the pro. A shimmery silver eyeliner was washed across the lids and brow bones, lending a subtle hit of sparkle and Tokyo pop to the architectural look.
Although there were plenty of supermodels of the moment on the premises (Karlie Kloss, Joan Smalls, and Hilary Rhoda to name just three), the hair and makeup was inspired by originals like Marisa Berenson and Lauren Hutton. “I haven’t updated [their look] that much, I’ve got to be honest,” said face painter Charlotte Tilbury. She mixed two MAC Face and Body Foundation shades to warm up the skin, applied a burnt amber blush across the cheeks, and used a large, fluffy brush to dust Mineralize Skinfinish Natural powder on the temples and points of the face where the sun would naturally hit. The lids were lined with Eye Kohl in Teddy, and a bronze-gold cream shadow was washed around the eyes. To get spiky, seventies fringe, Tilbury curled it “up, up, up,” and then coated each individual lash on top and bottom with a combo of two mascaras—Opulash to build volume, and Haute & Naughty over top to set. The lip color was a blend of beigy pink lipstick and russet-colored gloss.
In contrast to the grungy and raw textures we’ve seen this week, the sleek and straight strands created by Eugene Souleiman were refreshingly minimalist and clean. Since he wanted the hair to “fly,” it was free of styling products—with the exception of hair spray on the pinned-back piece in front. After blowing hair dry with a round brush to stretch and smooth the cuticle, Souleiman ran a flatiron from roots to ends. He used the pointed tip of a rattail comb to devise a section from forehead to crown that was the exact width of the metal barrette and then proceeded to divide it into thinner layers, each doused in hair spray and flattened against the head using a small bristle brush and blow-dryer with a concentrated nozzle. Finally, the simple yet graphic accessory was snapped into place. The end result was easy, sexy, and glamorous.