April 24 2014

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5 posts tagged "Franco Gobbi"

Linda Cantello Does Her “Thing,” Backstage At Giorgio Armani


“There’s a lot of lip going around,” Giorgio Armani international makeup artist Linda Cantello said backstage at the designer’s Fall show. She’s certainly not wrong. The crimson and berry pouts that gained momentum in New York and London have really hit their stride in Milan, turning up everywhere from Fendi and Antonio Marras to Prada, Bottega Veneta, and Marni. “The collection is very ‘garçonne,’ so he didn’t want too much makeup,” Cantello explained of Mr. Armani’s boyish tailoring with a slight 1930s air. “But I’ve still got to get my thing in there.”

Cantello’s “thing” included a beautiful play on shaded contouring, as though all that remained on models’ faces were the aftereffects of stronger pigments that were once there. “I wanted a cold color,” she elaborated of the custom lip concoction she whipped up for the occasion—literally; Cantello had a small Pyrex dish filled with a deep pigment she had hand-mixed to achieve the exact right clear, vampy purple hue with a brown base. Blending together a few shades of Armani’s forthcoming Rouge Ecstasy lipstick line, which she turned even more sheer with the addition of some gloss, Cantello pressed the color onto models’ mouths so it subtly stained them a lighter shade of its Nail Lacquer in Night Viper, which varnished tips and will launch as part of the brands full polish line-up come October. “Imagine if they came out with super-dark, Clara Bow lips—it would be awful!” she pointed out of the importance of the transparency. Restraint ruled on lids too, which were sculpted through the crease with elongated swipes of the gray and taupe-y brown shadows from Armani’s Eyes to Kill palettes in #1 and #4. “It’s like character makeup,” Cantello said of the effect, which worked well with the heavy black fringe hairstylist Franco Gobbi affixed to sleek topknots and arranged beneath a series of hats, not to mention models’ perfected skin that had been primed with Armani’s standout Maestro Fusion Makeup and mattified with its Luminous Silk Powder in No. 2.

No mascara and well-groomed “statement brows” completed the look, which was, in a way, very similar to what we’ve been seeing in Milan. Reconceived by Cantello, however, it got a whole lot more mileage.

Photo: Luca Cannonieri /

Couture Cuts And Cat-Eyes, Backstage At Armani Privé


Aside from that showstopping, crystal-encrusted lip moment backstage at Dior, there has been a collective focus due north of models’ mouths at the couture shows this week, as designers are requesting luxe lids with regularity. And historically, no one loves a well-defined eye quite like Giorgio Armani, who actually came up with the flicked banana liner at his presentation yesterday on his own. “Mr. Armani always has his idea of how things should be, and then we work on it together,” explains the Italian house’s international makeup artist, Linda Cantello. “It’s a very contemporary couture look—sort of a mash-up of the eighties, the nineties, and a little of the fifties,” she continued of the beauty story here, which revolved around a palette of white, red, and black.

Such a stark approach requires perfect skin, according to Cantello, who started her base by massaging Armani’s brand-new Crema Nera Extrema, a lavish salve that uses extracts from the hardy South African survival plant Reviscentalis to quench and plump parched complexions, into the face. Following that up with a layer of Giorgio Armani Maestro foundation, Cantello etched on a graphic eye through the crease, which she paired with garnet lips—the result of a mix of the brand’s new matte Lip Maestro and the juicy, high-shine Flash Lacquer gloss, due out in April. “The one thing I hate is penciled-in lips,” Cantello pointed out of the rigid effect of precisely lining lips, relishing instead the myriad options now available to her, like glosses and balms in matte and shiny finishes. “In a show context, everything is perfect—but out there in the real world, you need to look at the woman and not the makeup.”

“Perfect,” it turns out, is a good way to describe hairstylist Franco Gobbi’s “urban tribal girl” coifs, which relied on laminated strands that were tucked and twisted into quasi-short cuts that dispensed all notions of volume in favor of a sleek, graphic texture with segmented, wet bangs created from flipped-over lengths. “She travels the world, east to west, and wherever she goes, she picks up little elements along the way,” he explained of Mr. Armani’s couture woman, who favored an “ethnic Mexican wrap” hairstyle that was prepped with Moroccanoil Oil Treatment to add glisten before being set with Sebastian Shaper Fierce Hairspray and tucked beneath a bevy of caps. Just because the season’s cuts are short, Gobbi notes, it doesn’t mean hair shouldn’t have texture. “Wet or dry, it [adds] a really chic touch.”

From Dawn To Dusk, Backstage At Armani Privé


After a Fall and Resort show season that had makeup minds firmly focused due north of the nose, the eyes continue to have it for Couture. Blue-gray smoky varieties dominated at Chanel, and they turned up again yesterday at Armani Privé, where the brand’s creative director of makeup, Linda Cantello, eschewed more common, black varieties of the classic, sultry shadow technique and went with slate and pewter instead. As Peter Philips did for Karl Lagerfeld, Cantello delivered a completely updated shape to the standard style for Giorgio Armani, calling it “a wash” of color. Extending brows all the way toward the hairline in a single, dégradé stroke, Cantello concentrated her pigment on the inner corners of the eye, sweeping her brush only halfway through the crease, breaking, and then continuing the color toward the outer corner in a thicker, more transparent block that tapered out toward the temple. Models’ lips received a dusting of powder with a similar palette so they appeared pale, matte, and muted to go along with the designer’s theme, which took its inspiration from the light at dawn and dusk. The striking yet still minimal face-painting effort created a certain futuristic consistency that still managed to hark back to more classic eras—a point that was certainly helped along by Franco Gobbi’s sleek, 1930′s “ocean waves,” which boasted sculpted ridges along the hairline and a bun in the back to allow room for the army of black Philip Treacy headpieces that marched down the runway.

Photo: Luca Cannonieri /

Pearls Of Girls, Backstage At Giorgio Armani


“Mother-of-pearl,” that delicate, iridescent, reflective color most notably found inside seashells, may not be easily translatable into fabrics, but Giorgio Armani made short work of that task for Spring. Its glimmering effect is readily available in the cosmetics world, however, which was not lost on Giorgio Armani Beauty international makeup artist Linda Cantello, who not only applied the shade onto a clean, powdered base backstage but had a specific cream shadow created for the occasion. The latest installment of Giorgio Armani Beauty Eyes to Kill Intense Eye Shadow will debut next year (and will in fact be called Mother of Pearl, for its shimmering, pastel-tinged quality), but Cantello had early access to the pigment, which she swiped across eyelids and out past temples. On top, she traced its forthcoming shadow in Ecaille, a blackened green, along the upper lash line with an angled brush, scrawling it onto the crease as well in a 1930′s-era half-moon shape to create the illusion of a double-extended flick when models opened their eyes.

As for those textured updos, hairstylist Franco Gobbi was going for low-maintenance but super-elegant. Prepping hair with Bumble and Bumble Holding Spray, Gobbi created soft side parts and, finger-combing hair backward away from the hairline, he twisted small sections into tight coils that he pinned randomly.

Photo: Luca Cannonieri /

“The YSL”: More (And More) Of Spring’s Standout Updo


Even after a month of backstage coverage, it’s often hard to tell which beauty trends will have legs off the runway. Neon pouts à la Fendi and Jil Sander seem poised for a Spring takeover, as do Sophy Robson’s adventures in nail art at shows like Giles, Loewe, and Topshop Unique. Call us unimaginative, but we never would’ve guessed that Guido Palau’s middle-parted “inverted roll,” which he introduced at YSL back in October and revisited in a new, braided incarnation at Valentino Couture last week, would become the frontrunner for hairstyle of the season. The look—which starts with a center part and involves coating strands with a gel, like Redken’s Hardwear 16 Super Strong gel mixed with its Glass 01 serum, before a meticulous rolling and tucking process ensues—has also popped up in the pages of Numéro #120 and the March edition of Vogue Nippon, courtesy of Bumble and Bumble’s Laurent Philippon and hairstylist Franco Gobbi, respectively. The overall goal when attempting what Palau calls an “Edwardian meets seventies” updo is forming a tight ridge close to the head for a minimal silhouette. A slashing of dark lipstick—while optional—also seems to add a certain strength. What do you think? Will you be giving this one a go at the New York shows next week?

Photo: Clockwise from to left, Sean & Seng for Numéro #120; Luca Cannonieri /; Camilla Akrans for Vogue Nippon, March 2011