33 posts tagged "Fendi"
Flashback Friday is a feature on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Model: Christy Turlington
The Moment: Bejeweled Lids
The Motivation: At first glance this may not appear to be a beauty shot, but look a little closer and you’ll be sure to spot Christy Turlington’s sparkling lash lines. Much has been placed on lids in the past: neon stickers at Atelier Versace; gold string at Dries Van Noten; neoprene at Fendi; lace, pearls, and jumbo glitter at Chanel. And Fall 2014 was no different. Makeup maestro Pat McGrath created incredibly beautiful “mothlike” lashes and brows at Alexander McQueen with hand-cut feathers, and used liquid latex instead of standard shadow at Dior. And seeing as eyes are the windows to the soul, why not add some extreme embellishment to attract even more attention?
Tattoos have quickly become more commonplace backstage—models are not the blank canvases of seasons past. Yesterday at Prada, I saw a makeup artist hard at work with a concealer palette in hand, doing her best to camouflage a feather inked on a model’s neck. And of course, Cara Delevingne’s many tats made an appearance at Fendi (albeit all were covered up, either by white gloves or a face-framing fur hat). One spot I haven’t seen get much attention, however, are the cuticles. Sure, Delevingne has a lion permanently drawn onto her forefinger, but the area surrounding her nail still remains pristine. Leave it to London-based Ciaté—the company that brought velvet, caviar, and chalkboard manicures to the masses—to change all that with its latest launch: Cuticle Tattoos. These temporary transfers featuring bows, blooms, stars, and diamonds are designed to be positioned on the skin just outside the nail bed. It seems beauty brands have moved beyond nail art and are seeking (slightly) higher ground.
“It’s about purity of line,” hairstylist Sam McKnight explained of the sharp and minimal look he crafted at Fendi. “Karl sent me an illustration with a very small head.” To keep strands compact, McKnight employed a lot of Sebastian hairspray and made two side partings on either side of the face, dividing the hair into two small sections near the crown. Next, he folded the sections over one another, tying each off into a ponytail with a piece of elastic. “It’s like a basket weave or origami,” he noted of his technique. Then the sides were scraped back to cover the elastic and gathered into a low pony, which was later wrapped with a piece of the tail to hide the band. While the style appeared seamless, it required “pins and grips” (which were pulled out after the hair was set into place) and at least two pros per model to create.
Playing off the linear elements in the hair, face painter Peter Philips opted for cinematic highlighting and shading over a “proper makeup statement.” Seeing as the collection was filled with stark contrasts—tough fabrics and delicate orchids; fluffy furs and shiny, sleek jackets—he wanted to keep the look strong but simple, so as not to clash with or overtake the clothes. A full-coverage foundation was used to perfect complexions before it was powdered to a semi-matte finish. Then he applied a pure white Mehron CreamBlend Stick on the cheekbones. Philips said he tested out a pearly illuminator but found the result “too pretty,” and these girls needed to be “tough.” A taupe, matte pigment was run along the hollows of the cheeks, and eyes were given a graphic feel with a blend of two brown Make Up For Ever shadows (#17 and #165) just on the outer corners. Not wanting a cat-eye effect, Philips concentrated the color on “the spot between the socket and the eyeball,” angling it downward, “like old photos of Marlene Dietrich or seventies Guy Bourdin makeup.” Lips were topped off with transparent gloss. “It doesn’t look natural, but 50 percent of the makeup will blend in with the light on the catwalk,” he explained. And Philips was right. With drones buzzing overhead, the intense, almost-theatrical contours disappeared—all that remained were models’ perfectly chiseled features as Cara Delevingne kicked off the show, a Lagerfeld-like Fendi bug daintily dangling between her thumb and forefinger.
The moment: Chic Hardware
The motivation: As we shift toward a beauty landscape that celebrates individualism, edgy looks like androgynous hairstyles, wild lipstick shades, and designer grills hardly raise an eyebrow anymore. But the statement at the Christian Dior Fall 2001 runway show was delightfully shocking, even by today’s standards. Models wore multiple studs and hoops through their lips, septums, and other unexpected spots on their faces. The bold accessories were paired with colorful hairpieces and graphic makeup. Designers continue to experiment with punk rock jewelry, like the ear cuffs at Fendi and the knuckle rings at Chanel Couture—and they’re even letting models keep in their own adornments while they work. One chic example: Katlin Aas’ cluster of earrings in the Helmut Lang Pre-Fall lookbook. Her piercings were a nice contrast to the classic colors and silhouettes in the line. With fashion month in full swing, we can’t wait to see what rebellious touches will be in demand come fall.
One lip look we can’t stop thinking about is the rich “blueberry” mouth that made an appearance at Ann Yee this week. One would think that the purple-blue pouts created by MAC senior makeup artist Fatima Thomas would look slightly hypothermic, but the final result was anything but. A similar shade was used at Fendi for Fall 2013, but here’s proof that it works just as brilliantly without the fox fur mohawk.