53 posts tagged "Eugene Souleiman"
Throwback Thursday offers the perfect opportunity to pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Model: Carmen Kass
The Moment: Heidi braids
The Motivation: It’s hard to believe, but Narciso Rodriguez’s cult-favorite For Her fragrance is celebrating its tenth anniversary this year. Even harder to believe, though, is the fact that this Inez & Vinoodh ad image for the musk-laced scent has gone unchanged since its debut in 2003, even as new iterations of the iconic eau have come and gone. Why, you ask? For the same reason Rodriguez chose to use this preexisting shot from his 1998 fashion campaign, rather than an entirely new image, in the first place: It’s damn near perfect. You could easily argue that Kass, her hair the color of corn silk and twisted into a Eugene Souleiman-designed wispy, plaited coronet, has never looked better, embodying the visual interpretation of femininity and grace that Rodriguez, with the help of the noses Francis Kurkdjian and Christine Nagel, hoped to bottle. The word timeless is certainly overused, but it’s never rung more true than it does right here.
For those of you wondering if the Spring sentiment that sent models to the salon in droves in search of bobs and bowl cuts would return for Fall, the answer appears to be yes. As the shows officially come to an end today, with yet another wig moment at Louis Vuitton, we can confirm that designers are still very much feeling compelling crops. So can Guido Palau. “A lot of people want to see short hair this season,” Palau said backstage at Jean Paul Gaultier, where he was busy trimming “patchwork,” clipped-on-top mullets—a request that he, personally, has been fulfilling with frequency.
It all started at Dior Couture, where the Redken creative consultant gave every girl a convincing pixie cut. Then Palau honed his wig-shaping skills at Marc Jacobs, fashioning an army of Edie Campbells, the Brit It girl he gave a black dye job and a Joan Jett shag for an editorial months earlier. But it didn’t stop there. Sam McKnight picked up the torch at Clements Ribeiro in London, fashioning veritable faux-hawks, a style he reproduced at Fendi in Milan with tight braids accessorized with fox-fur hair pieces a few days later. Next up was Eugene Souleiman’s Rei Kawakubo tribute at Yohji Yamamoto, for which he replicated the Comme des Garçons designer’s architectural black bob, and the stunning pin curls Luigi Murenu designed for Riccardo Tisci’s breathtaking Givenchy collection. Then Karl Lagerfeld got in on the act at Chanel, ordering up colored, similarly graphic hats that sat on top of McKnight’s “done but not done” center-parted strands, thus creating a deceptively short silhouette on top of a long one. This morning, Palau brought it full circle, giving every one of Jacobs’ Louis Vuitton models—Kate Moss included—a “fifties, sort of French Left Bank” bob that was heavy on the mousse for an out-all-night effect.
The season’s overarching punk undertones may have had something to do with the wealth of conceptual cuts that made it onto the runway; nothing captures the subculture’s DIY attitude quite like lopping off excessive length. Suffice it to say, if you’ve ever considered parting ways with your long locks, now would be a great time to do it.
The hair at Haider Ackermann sort of stopped you in your tracks backstage. Pieces of platinum strands were floating in the air as Eugene Souleiman trimmed hand-dyed, white-gold wigs that were left black at the root to resemble natural grow-out. “It’s an unnatural blond, a fifties blond,” he said of the specific bleached-to-oblivion color he had been working on for the past three days, in preparation for this show. The idea came from the Marilyn Monroe soundtrack playing as models took to the catwalk, but clearly the bombshell’s familiar set would not have worked here. “That’s what Haider is about: challenging your perception of what you think is beautiful,” Souleiman explained of why he tweaked the retro color with “techniques of now.” Using a boatload of Wella Professionals Ocean Spritz Beach Texture Spray, Souleiman applied a dusty, matte texture through the lengths, which he fashioned into a thick bun in the back while adding spiky extensions to top and leaving natural hair visible underneath. “We actually colored the roots with felt tip pens,” he explained of the dark base that was meant to stand out in stark contrast to the army of “sexy, assertive, bad attitude” flaxen-haired beauties. “It’s sort of like an alternative Daphne Guinness,” Souleiman suggested, referencing the heiress’ signature skunk streak style.
Lucia Pieroni was on support staff essentially, working on a makeup look that played to the hair. Using black eyeshadow to blend the hairline into the skin, which had been prepped with MAC Face and Body Foundation, Pieroni went heavy on MAC’s illuminating Strobe Cream and its neutral Cream Color Base in Groundwork that she layered across lids, underneath the lash line, and on the tops of cheeks for a “hallowed” look. “[Haider] actually showed me a picture of James Dean,” Pieroni said, name-dropping another 1950s icon and dotting the face with MAC’s Mixing Medium in Shine to create a glossy finish. “Feral” arches that were brushed, built up with its Brow Quad, and topped and with mascara “to make them more werewolf-y,” brought a certain strength to the face.
“Someone like Lee Miller” is who Lucia Pieroni was channeling backstage at Rochas, where it was all about that kind of “incredibly rich, well-kept woman that doesn’t even need to bother,” according to the makeup artist. The resulting beauty look was a slight departure from the hyper-feminized makeup that designer Marco Zanini typically orders up here, which reliably includes a standout lip. “We tried a lip,” Pieroni admitted, while using Clé de Peau Luminizing Face Enhancers in No. 11, a cool silver, and No. 12, a warm gold, to sculpt the skin, “but it made it too pretty, too lady—too retro,” she conceded. As an alternative, Pieroni deliberately eschewed mascara, eye liner, and blush in favor of a neutral-tinted lid that was stained with Clé de Peau’s Satin Eye Color in No. 208, a dark taupe-y brown, and a “forties brow,” courtesy of its eyebrow pencils. “The arch is much wider,” Pieroni explained of the decade’s specific brow shape, which registers slightly differently than the grooming techniques popular in the fifties or even eighties. “It makes them look a bit straight,” she elaborated.
Eugene Souleiman was less willing to pin the hair to a specific era when talking about what appeared, at first glance, to be a style reminiscent of forties-inspired waves. “It’d be Guy Bourdin-y in 1973 if it were done really well,” he maintained, careful to emphasize that he was not trying to produce yet another iteration of the big, soft, seventies-cum-forties ringlets we’ve seen so much of already this season. Instead, Souleiman maintained that he and Zanini wanted to pay tribute to Nicoletta Santoro, the Italian fashion editor and stylist who has played muse to Zanini before—and who happens to have “incredibly curly hair that she tries to tame but can’t,” according to the coiffeur. Creating an extra-deep side part, “almost like a comb-over,” Souleiman flat-ironed strands about a third of the way through the lengths before switching textures entirely. “It’s like a bob, with a bad perm,” he elaborated of the tightly wound loops that were wrapped around an iron through the ends and then “stretched out” to produce a looser wave with some deliberate frizz. “It’s not supposed to be particularly attractive,” he insisted, “because everything else is.”
It was a tale of two looks at Mary Katrantzou for Fall—a sort of split personality that crept its way out of the collection and into the hair and makeup. The contrast of the formidable structure of certain garments and the occasional inclusion of flowing fabrics translated into a sharp, geometric, blunt fringe with a soft and supple ponytail that boasted plenty of movement. “I wanted a strong impact from the front, for when the girls walk down the catwalk, and then to have that juxtaposition with the loose, clean, and light ponytail at the back,” explained Wella Professionals’ global creative director, Eugene Souleiman. Relying on yards and yards of hair extensions, which, aided by a trusted assistant, he meticulously glued into models’ heads, Souleiman used scissors to do a little hand-sculpting himself. “It’s not for the work-shy,” the hairdresser said of the lengthy and intricate process.
Makeup artist Val Garland created something altogether softer but equally dramatic. “A pure, ghostly apparition” was the main part of Garland’s brief, which she achieved by using a forthcoming product from MAC: Super Gloss in Mother of Pearl. Keeping complexions relatively fair, Garland layered the white and highly reflective cream over lids to achieve an almost glow-in-the-dark effect before lining the inner rims of eyes with MAC Eye Kohl in Fascinating, a pure white.