60 posts tagged "Frederic Fekkai"
Isabel Marant is a favorite stop on our Paris tour, as much for the clothes as for the hair and makeup. With a casting like the one the reigning queen of Parisian cool typically commands—which this season garnered perennial French favorites like Aymeline Valade and Julia Frauche, as well as an international coterie of catwalkers cut from the same cloth, like Nadja Bender, Kasia Struss, and Caroline Brasch Nielsen—very little is needed to ensure that models are runway-ready. But it’s that deliberate, light-handed approach that is so impressive. For Fall, the face-painting reins were handed over to Estée Lauder creative makeup director Tom Pecheux, who knows a thing or two about channeling that special brand of effortless, French chic. “I’ve known [Marant] for a long time; I do a lot of her campaigns, and it’s a really good connection between Isabel and me—and me and Estée Lauder,” he explained, shouting out the beauty giant that picked up sponsorship duties here for the first time.
To ensure that skin looked flawless “but not too made-up,” Pecheux focused most of his energy on a pre-makeup facial treatment. “The massage takes 25 minutes, the makeup takes five minutes,” he joked, creating small, circular motions with a mixture of Lauder’s Advanced Night Repair Synchronized Recovery Complex and Idealist Pore Minimizing Skin Refinisher, as well as an emollient layer of its Revitalizing Supreme Global Anti-Aging Creme on top. If needed, Pecheux applied a minimal coverage of its Double Wear Light Stay-in-Place Makeup before giving everyone a subtle dusting of its Lucidity Translucent Loose Powder in Transparent for a “matte satin” finish. Working on a “friendly, not aggressive” contour, Pecheux used a mixture of Lauder’s Pure Color Blush in Sensuous Rose and Blushing Nude to sculpt the face with peachy hues, instead of sharper taupes and browns, before “flattening” eyes with a swipe of the light beige shade in its Pure Color EyeShadow Duo in Vanilla Pods. To lift lids back up again, he scrawled a barely perceptible stroke of shimmering gray shadow from its forthcoming Pure Color Instant Intense EyeShadow Trio in Smoked Chrome right onto the lash line to catch the light as models walked. “We’re doing everything but mascara,” he laughed, curling lashes and slicking on a nude lip while beefing up arches with Lauder’s Artist’s Brow Pencil/Double Groomer. “In France, you think of the eyebrows,” Pecheux elaborated of the face-framing touch. “It’s [our] version of the British rose [complexion].”
Paul Hanlon became another newly christened member of team Marant after shooting with the photographer David Sims on the set of Marant’s Spring ad campaign in Saint-Tropez. “I’m a big fan of her,” Hanlon said with genuine enthusiasm. “Every girl who sits in my chair says she wants to wear the clothes, which is a refreshing environment to be in.” Trying to work a bit of consistency back into the fold, Hanlon gave everyone extensions, not to lengthen but to thicken the hair, before applying Frédéric Fekkai Full Volume Mousse to add a subtle texture. “[Marant] wanted the hair to look more conditioned than it has,” Hanlon said, layering in its Silky Straight Ironless Smooth Finish Serum. “Like a young Carla Bruni or Jane Birkin—not so rock ‘n’ roll,” he explained of the barely perceptible shift in focus. Fashioning loosely centered parts, Hanlon proceeded to run lengths through a curling iron, just once, to create a very soft wave that he spritzed with a bit of water and shook out to “lighten the richness.” The Isabel Marant girl isn’t interested in a just-out-of-the-salon set, after all.
The Proenza Schouler woman has such a signature low-key beauty look that we often wonder if Jack McCollough and Lazaro Hernandez even have to instruct hairstylist Paul Hanlon and makeup artist Diane Kendal what to do at this point. Following a few twists and turns at the preshow test for Fall, however, it turns out there was, in fact, a specific directive: “They asked me to do the hair I did for them two seasons ago,” Hanlon revealed backstage.
For those of you who need a refresher course, that was the season Hanlon coined the term “skinny hair,” for which he washed every girl’s locks on site, to start with the most natural texture possible, before removing excess volume and weighing strands down with product. “They’re architectural couture clothes for Fall, but there’s a reality to them, so we don’t want the hair to look too groomed,” he explained, coating strands with Frédéric Fekkai Coiff Perfecteur Anti-Frizz Silkening Crème to create a “lank” effect before applying its Defense Pre-Style Thermal/UV Protectant to add moisture. Then, fashioning side parts that he tucked behind models’ ears, Hanlon applied a liberal amount of its COIFF Oceanique Tousled Wave Spray to add a “roughness, like if the girls had been wearing a beanie.”
Kendal wasn’t so much told to re-create her work from past shows, but she’s become so adept at channeling the design duo’s downtown cool aesthetic that it’s almost second nature at this point. “This season is a riff on classicism, so it’s a bit of a more feminine approach for them,” Kendal pointed out, “but they still wanted their girls to be their girls.” Cue the perfected complexions with MAC’s Studio Fix Powder for a velvety base, the boyish brows that were brushed up with its Clear Brow Finisher Wax, and a fine stroke of black cream shadow drawn against the upper lash line in lieu of mascara. There was one new development here, in the form of MAC’s Red Statement Lipstick from its forthcoming Fall Trend palette, which Kendal applied to cheeks as a transparent blush. “But it’s very sheer, so you can’t really see it,” she assured us.
There’s always a bit of a downtown, cool undertone to the beauty look at 3.1 Phillip Lim, which is why it was surprising to hear NARS’ Francelle Daly describe the makeup as “uptown sophisticated.” “She’s a girl with an edge, though,” Daly added. “Like she has a rock ‘n’ roll boyfriend—or is in a band.” Phew.
The sophisticated bit was a reference to the flawless skin Daly achieved by combining NARS’ forthcoming Radiant Cream Compact Foundation with its Light Reflecting Loose Setting Powder. Cheeks received a slight flush courtesy of its Highlighting Blush in Miss Liberty, a light peach, and its Multiple in Copacabana, a shimmering champagne, while lids were given a camo tone with NARS’ new-for-fall Single Eyeshadow in Yamal. Then came that pout, which offered an interesting update to Fall’s favorite mulberry mouth while “complementing and finalizing” the look, according to Daly. Lining and filling in lips with NARS’ Lip Liner Pencil in Kenya, a cinnamon color, Daly layered that with its Eye Liner in Mambo, a dark cocoa, for an ultra-rich chocolate-cherry hue. “There’s an expensive taste to it,” she said.
Paul Hanlon did his part by honing in on a specific texture that he described as “a little Kate Moss”—a favorite inspiration for Hanlon’s special brand of deconstructed chic. Prepping hair with Frédéric Fekkai Full Blown Volume Styling Whip to give it a bit of grip, Hanlon administered a relatively done-up blow-out to start. “We’re making it beautiful, then we’re destroying it,” he explained, “because if you start with a destroyed texture, it can look poor.” Then, spritzing with Fekkai’s Luscious Curls Wave Activating Spray, Hanlon ran sections of hair through a curling iron to give it movement, side-parting strands and “clumping” them together in the back with bobby pins, “as though it had been caught in a scarf.” Another pin was also slipped above the ear on one side in a haphazard way so that it appeared as though “the girls literally walked off the street and into the show.”
Everything that comes out of the house of Chanel starts with Karl Lagerfeld—his sketches, his ideas, even where he walks. “The inspiration was actually the floor in Karl’s new studio, which is a metallic parquet,” Peter Philips explained of the beauty look for the Spring show. “The one key word [Karl] used was shine,” the Chanel creative director of makeup continued, pointing out that the direction got him thinking about skin textures and color consistency, which led him where these conversations often do: to Chanel’s incomparable Illusion d’Ombre Long-Wear Luminous Eyeshadow.
The soufflé-like cream pigment that can be worn sheer or built up for more opacity debuted in a brand-new color today, a forthcoming platinum hue that Philips blended all the way up to brows, which were elongated a bit for proportion with its Crayon Sourcils Sculpting Eyebrow Pencils. “I actually applied the mascara first,” Philips pointed out of Chanel’s Inimitable Intense wand in Noir, which went on in one swipe after skin was prepped with its Vitalumiere Satin Smoothing Fluid Makeup, left to dry, and then reapplied three times for added drama. “It’s kind of heavy-handed but in this kind of big venue, we need to do something that can be seen,” Philips elaborated, duly tracing lids with a thick etching of its Stylo Yeux Waterproof Long-Lasting Eyeliner in Ebene while lining the inner rims with its Le Crayon Kohl in Graphite, a dark gray. The shine theme was revisited on lips, which Philips treated to a quick slick of Chanel Rouge Allure Luminous Satin Lipcolor in Gracile, a soft pink, and then promptly lacquered with its Lèvres Scintillantes Glossimer in Plaisir, a sheer peach. “We’re going to oil them up a little bit, too,” Philips added of models’ exposed limbs, which his team greased down right before they hit the runway for an extra glisten.
In what was perhaps the greatest testament to Spring’s dominating neutral nail trend, Philips eschewed more statement colors, which are often customary here, in favor of the most classic polish protocol there is: the French manicure. “We’re using Ballerina and Eastern Light,” he explained, big-upping the full-coverage white varnish that will launch as part of his as-yet-unreleased Hong Kong mini collection.
Hairstylist Sam McKnight also takes much of his direction from Lagerfeld—as well as the designer’s go-to accessories maven, Maison Michel creative director Laetitia Crahay. “Laetitia always brings a box [to fittings],” McKnight explained of the CC-logo pearl baubles that he strung up with elastic and tied into models’ low-slung, middle-parted knots. “It started out that all the girls would be wearing these Perspex hats, but they’ve gone less,” the hair hero continued of the oversized toppers that only a few models, Stella Tennant and Kasia Struss among them, ended up carrying, not wearing, on the extra long catwalk in the Grand Palais. As a result, McKnight was charged with creating an easy style, “kind of like the girls did it themselves,” that he prepped with Frédéric Fekkai COIFF Lifting and Texturizing Spray for “a little bite” before fashioning a messy DIY bun. “Even if the story is soft, Karl always likes to add something graphic,” he pointed out of the subtle touch of hair jewelry—”and everyone loves a Chanel pearl.” Truth.
“The first idea Dries [Van Noten] showed me was a Kurt Cobain/Courtney Love image, so I thought about a lip,” Peter Philips said backstage at the designer’s Spring show. Not the burnt brick red that Love made famous during her early days in Hole—there were no remnants of red at all, in fact. “Not after Milan,” Philips joked, referencing the crimson color used at Prada that is still no doubt burned into most fashion insiders’ brains. Instead, he went with an eye-catching dusty magenta mouth. “It’s a bit more street,” Philips said of the color.
Giving skin a pale, satin finish, the face painter brushed lids with a green-gray wash of eye shadow “for definition,” before lining the inner rims with Chanel Le Crayon Khôl Intense Eye Pencil in Clair to open them up. Tracing the outline of pouts with its Le Crayon Levres Precision Lip Definer in #55 Fuchsia, Philips proceeded to apply the corresponding shade of Rouge Allure Velvet luminous matte lip color in #37 L’Exubérante. “The clothes are part couture and part grunge,” hairdresser Paul Hanlon elaborated. “So Peter’s doing the couture part; I’m doing the grunge part.”
Hanlon has made reimagining nineties styles something of a career calling card at this point, and his expertise was in full effect today as he referenced grunge-era heroines like Emma Balfour and the glossy pages of The Face in which she lived. Spritzing strands with a cocktail of Frédéric Fekkai Coif Oceanique Tousled Wave Spray and TIGI Bed Head Superstar Queen for a Day Thickening Spray to give manes a “stringy” quality, he glued on different colored extensions so it appeared blonde models had sections of bleach amid their golden locks. Then, raking TIGI Bed Head After-Party Smoothing Cream through lengths to create an even more lived-in feel, he proceeded to brush roots with a range of MAC Eyeshadows in shades of carbon blacks, dark browns, and grays. “A lot of people are on the nineties tip at the moment,” Hanlon admitted, “so it’s nice to find an identity.” It’s not the first time we’ve seen him break out this technique, although witnessing that kind of ingenuity never truly gets old—especially when the perfect song is playing in the background: Hanlon typically prefers to work to bass-pumping club beats, but queuing up College featuring Electric Youth’s “A Real Hero” from the Drive soundtrack added a certain cinematic specialness to the beauty moment.