33 posts tagged "Fendi"
A few short weeks ago, the New York summer couldn’t come soon enough; now, it seems to have arrived all at once. As the struggle to install last year’s air-conditioning unit in time for this weekend’s 90-degree weather begins, a bigger battle has already been waged against the 100 percent humidity that has currently befallen us. But you needn’t look any further than Fendi’s Cruise collection for a quick fix. Consider the humble hair wrap, which Juliana Schurig models not one, not two, but three different ways for Silvia Venturini Fendi and Karl Lagerfeld’s latest collection, and which keeps hairline fuzz comfortably—and stylishly—at bay.
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 mulberry mouth that dominated the Fall 2012 shows is having a bit of a resurgence this season, although it’s popping up in a few unexpected variations. “Kiki de Montparnasse. That was the reference for the lip,” Peter Philips said of the burnt-purple pouts he masterminded backstage at Fendi, explaining that the vampy jazz-age Parisian artist and muse served as a good starting point for the conceptualization of “a retro element that at the same time looked punky.”
Keeping skin matte with Chanel Pro Lumière Professional Finish Makeup and a dusting of its Poudre Universelle Libre, Philips concentrated his attention on an equally powdery pout, which he coated with its Rouge Allure Velvet in La Provocante. “The brows are strong because there is nothing on the lids,” he continued, brushing up arches and grooming them with Chanel Crayon Sourcils Sculpting Eyebrow Pencils before lacquering nails with a complementary shade of Le Vernis de Chanel in Vendetta, a rich blackened aubergine.
Sam McKnight was going for a similar edge. “Punk’s an idea that has been floating around,” the hairstylist confirmed of one of the season’s reigning themes, which led him to prep strands with Pantene Pro-V Deep Moisture Soufflé before weaving a ridged, Mohawk-inspired braid. “Karl [Lagerfeld] loves a graphic shape,” McKnight continued of the creative process that evolved to include spray-painted fox-fur headpieces pinned to the top of models’ coifs to add an embellished element to the silhouette. Finishing the look with a mist of Oribe Superfine Hair Spray, McKnight left the length of his plaits varied—on purpose. “I love all the bobs,” he effused of the bevy of short haircuts models like Daria Strokous, Kel Markey, and Karlie Kloss brought to the casting. “I feel it’s a little old-fashioned to have everyone have the same hair for a show, anyway.”
Peter Philips likes to think outside the box. The makeup artist known for his way around a perfect complexion and a gorgeous rose-petal pink or red lip is just as often referenced for mixing makeup mediums—an embroidered eyelash here, a precious gemstone brow there. Blame it on his art school education. At Fendi, it was the latter inclination that, er, stuck. “The idea was to use colors from the collection, and the best way to do that is to use the actual collection,” Philips said as he glued pre-cut fabric strips onto models’ lower eyelids.
“It was a bathing suit,” Philips explained of the neoprene swatches in peach, teal, royal blue, neon orange, tan, and yellow that he placed beneath the lash line in a three-part system: “There is black on the bottom, pointed outward,” he elaborated, followed by a color strip in the middle, and a shorter, brighter piece on the inner corner. “After rehearsal, I noticed the blue really worked,” Philips said of why most models ended up with the same royal blue center. Otherwise, faces were left bare to appear “more young and playful” and less “theatrical”—a directive that came right from Karl Lagerfeld, who dropped by to pay his respects. (“I didn’t want to interrupt you; I just wanted to say hello,” the designer said to Philips in passing). Never one to miss a nail opportunity, Philips added to the season’s neutral polish palette with a nude-salmon varnish, the result of Chanel Le Vernis Nail Lacquer in Ming, a warm, shimmering pink, mixed with white and a few drops of its Mimosa, a sunny yellow.
The same pastel colors could be spotted in a range of embellished headbands that Lagerfeld made for the show to accessorize Sam McKnight’s “sharp, aerodynamic” updos. “It’s not soaking-wet,” McKnight explained of what he ultimately deemed a “malleable, sea-wet” texture, the result of strands that had been prepped with Frederic Fekkai Marine Summer Hair Beach Waves and divided into four sections. Creating a flat bun in the back to remove excess weight, McKnight folded hair over from one side followed by the other, which was twisted and pinned down. Having left the top section free, McKnight ultimately rolled that backward, attaching it to the finished coif. “There’s about 40 pins in each girl,” he estimated, “so we’re not advising them to go to the airport anytime soon.” Zing!
“Karl likes an eye,” Peter Philips admitted backstage at Fendi this morning—a partiality that Lagerfeld has certainly made clear over the last three seasons at the Italian house. And while following Spring’s gold and silver foil eye shadow was certainly no small task, Philips made quick work of it for Fall, painting lids with a “feathered” white brushstroke of MAC Lipmix. “There are white details in the collection,” the makeup artist explained, referencing the antelope furs specifically while scrawling a thin black line across the upper lash line with Chanel’s Stylo Yeux Waterproof Eyeliner. A few slicks of mascara on top lashes only provided a hint of additional embellishment.
“I need pins! It’s a big-time pin situation over here,” Lily Donaldson chirped from Philips’ chair, beckoning Sam McKnight to come over and fix her double halo of hair twists. “It’s a dark, Nordic look,” the hairdresser remarked of the style, pointing out that his sleek, embellished coifs were meant to be “almost Victorian, not fairy-tale.” Prepping models’ strands with Sebastian Forte Strong Hold Gel, McKnight created precise middle parts, separating out two low pigtails, which he divided into sections and “twisted like a rope.” “There’s a childlike quality to it,” he surmised, fastening small elastics on each twist’s ends before ultimately removing them for an “undone” effect. It was labor-intensive, to say the least. “We started at 6 a.m.,” McKnight divulged of the call time for the 11:30 a.m. show.