9 posts tagged "Frida Giannini"
Fun fact: Frida Giannini, Gucci’s creative director, owns approximately 8,000 vinyl records. If you look at the house’s heritage and relationship to the music world, her extensive personal collection shouldn’t come as much of a surprise: Everyone from Rod Stewart and Eric Clapton to Beyoncé and Bruno Mars have donned the Italian label. The Fall 2014 collection that came down the runway today, however, was certainly more dolly bird than dark and dramatic rock goddess. There was plenty of leather involved, but it came in the form of swingy minidresses and flat Chelsea boots. Never fear, the brand hasn’t entirely abandoned its guitar-smashing spirit in favor of the London look: Launching this month is Gucci Guilty Stud, a limited-edition flacon emblazoned with—what else?—gold and silver studs (four hundred per bottle, to be precise). Inside, the oriental floral eau (Pour Femme) and spicy blend laced with patchouli, lavender, and lemon (Pour Homme) remain unchanged; it’s simply the exterior that’s received an edgy update. If you decide to swap out your black bomber jacket for a tailored, pastel peacoat (like the one worn by Kasia Struss in look nine), consider contrasting that piece of candy-colored perfection with a fragrance that boasts a bit more bite.
Gucci Guilty Stud Pour Femme, $80, Pour Homme, $88; sephora.com
Sex appeal is always expected backstage at Gucci, but this season, creative director Frida Giannini requested that face painter Pat McGrath and hair guru Luigi Murenu take a more athletic approach. “She wanted something sporty but still made up,” McGrath explained. In lieu of harsh pencils, a shimmery, golden-brown shadow was gently wrapped around the eyes—with the outer corners intensified in a sideways “V” shape for definition. To incorporate the copper shade that was threaded throughout the collection, McGrath added the same hue to the center of lids, working the pigment from the lash line up toward the crease. The top lashes were curled and coated with black-brown mascara, arches were filled in, and lips were left natural, with the exception of a clear balm for moisture. To add warmth, the makeup artist opted for a foundation—instead of often heavy and cake-y bronzers—one to two shades darker than each model’s complexion, blending it from apple to temple. A combo of cream and powder highlighters placed on cheekbones and brow bones lent a dewy effect to skin, and a touch of Elizabeth Arden Eight Hour Cream was applied to lids right before the models hit the runway for extra sheen.
Murenu created a style that played on the theme but was still “glam and exceptional.” To give hair oomph, he applied Kérastase Lift Vertige to roots and Mousse Bouffant throughout before blow-drying—using either a round brush or his fingers to add volume from forehead to crown. Once strands were dry, he wrapped small sections from the mid-length down around a curling iron to form loose waves. Murenu scraped the hair off the face with Elixir Ultime for Colour Treated Hair and worked it through to the ends for texture and shine that didn’t appear wet, greasy, or limp. “In my mind, I imagined Lauren Hutton going for a jog in the seventies,” he said. A few spritzes of Gloss Appeal were misted over top to finish. I might be more inclined to exercise if, at the end of it, I walked away looking as fabulous as a Gucci girl.
Inspired by Gucci’s Made to Measure service (which entails hand-selecting the fabric and silhouette—and even having your name embroidered on the label—of your custom-made suit, tux, or dress shirt), Frida Giannini conceived a new cologne by the same name. For far less than one of the Italian brand’s impeccably tailored garments, a dapper gentleman can spritz on that same aura of luxury and sophistication with Gucci Made to Measure Eau de Toilette. And like any scent, it adapts uniquely to its wearer. Top notes of French lavender and anis seed are meant to represent the first encounter with a suit—from the softness of the silk lining down to the shiny cuff links, while the spicy heart of cinnamon, nutmeg, and plum reflect the feeling of sumptuous cashmere or substantial wool fabric on skin. A rich base of patchouli, cistus labdanum (the resin of a Spanish shrub), and leather offers a bold and refined finish, lending structure to the blend. As for the weighty flacon, Giannini wanted it to be iconic and reflective of the fashion house (similar to what No. 5 is to Chanel), adding details like the horse-bit gold cap and emblazoning it with the signature of founder Guccio Gucci. And it doesn’t hurt that James Franco—who produced The Director, a film that documents Giannini’s life over 18 months—serves as the face of the fragrance. We’d say the handsome actor fits this campaign (in which he drives around in one of Jay Leno’s vintage Lambos) like a glove.
Available now exclusively at Macy’s.
Like hemlines on a dress, you can often gauge the feeling of a season by the way Pat McGrath grooms an eyebrow. A bleaching proponent who is just as adept at sculpting full, bushy arches, McGrath is one of the industry’s best arbiters on beauty. So it goes without saying that we arrive backstage at Gucci every season—McGrath’s first big stop on what will be a whirlwind European tour—with high expectations. And they were met today, not because of what she did to brows, but what she didn’t do. “There were enough brows in New York,” the face painter said at Frida Giannini’s Spring show, leaving brows alone and referencing the minimalist, nineties beauty movement that reigned in Manhattan and required clean skin and beefed-up brows. “Let’s move on,” McGrath suggested, building a “strong eye” in contrast. “This is Milan. We’re not going to bore you with no makeup anymore.”
Applying a healthy dose of highlighter to cheekbones for a luxurious, luminous complexion, McGrath layered dark brown eye shadows and pencils across lids and underneath the lower lash line, focusing on an “almond, smoked-out” shape that anchored not one but two sets of false eyelashes. “It’s very Marisa Berenson but a little more natural,” said the woman known for applying upwards of ten lash sets to one model. The reference worked just fine for Luigi Murenu, who added seventies model and muse Maria Schiano to the inspirational mood board.
“It has a kind of sixties/seventies feeling to it—an Eastern, orientalist sophistication,” the coiffeur said of the Kiehl’s Clean Hold Styling Gel-slicked hair that he gathered into a low-slung knot at the nape of models’ necks. To give a sense of “structure and architecture” to the look, Murenu coated color-matched extensions with the same product and flat-ironed them so they resembled wooden panels, which he cut straight across and pinned into the base of the buns using John Frieda Frizz Ease Serum to smooth away errant strands. “Before they go out, they’re going to look like statues,” he surmised of the resulting stark uniformity.
Gucci creative director Frida Giannini is not your average fashion designer when it comes to adding beauty extensions to the Italian house’s lineup of luxury goods—which is to say she is very, very involved in the entire process. “She knows what she wants,” Sumit Bhasin, global director of research, development, and innovation at P&G Prestige, told me over the weekend in Venice, where he and the rest of Giannini’s partners in perfume had decamped to officially launch Gucci’s latest fragrance, Premiere, against the backdrop of the sinking city’s film festival. “It’s an exploration with Frida,” he continued, explaining that what Giannini was specifically exploring with the brand’s latest flacon was the world of white flowers and “glitz, but [nothing] over-the-top.”
The lily of the valley-heavy scent with subtle notes of sparkling bergamot, smoky leather, and woods subsequently came into being based on two explicit Giannini directives: that it be devoid of anything too saccharine, gourmand, and cloying (“Frida hates sweet notes”) and that it somehow translate as the spritzable equivalent of her couture collection of the same name, which launched at Cannes two years ago on the backs of Salma Hayek and Jennifer Connelly. “Gucci Premiere is about [dressing] the world’s most famous women for one special night,” Giannini reiterated at a dinner to fête the fragrance—its Nicolas Winding Refn-directed commercial and its famous face, Blake Lively—later that evening. “I was looking for a woman who could bring that glamour to life,” she continued of Lively, before the Savages star made a grand, live-broadcast entrance via water taxi. I caught up with Lively on a 48-hour Italian jaunt to talk the end of Gossip Girl, finding beauty inspiration on Pinterest, and why, when it comes to dressing for her own big premieres, she relies on Style.com (she said it; not us).
Following successful partnerships and friendships with brands like Chanel and Christian Louboutin, how did your collaboration with Gucci come about?
I actually met Frida [Giannini] at a couple of different Gucci charity events, then they approached me to work with them. It’s just so inspiring to see; she has so much on her plate—menswear, Premiere couture—she’s doing so much yet she still makes it a priority to be involved in charity every year, and when I saw that I just thought it was super cool. Frida is the best version of a woman. She’s got this strong, grounded, empowered masculine side and she also has that delicate, feminine, glamorous lush side. There are a lot of fashion houses that I’m aware of and that I admire for different reasons, but there’s very few that I would really want to work with and feel like I’m still myself. A lot of [brands], I feel like if I stepped into their world it wouldn’t be as me.
This perfume is about red-carpet moments, of which you’ve certainly had your fair share. How do you prep for your own premieres?
Honestly, I go on Style.com—it’s the truth! I don’t use a stylist so the way I find my looks is by going on Style.com and looking at the shows. My mom always made clothes and she’s great with design—clothes, home. So I grew up with that and having that understanding, going to flea markets with her and finding vintage pieces of furniture. It’s hunting for that special piece. I’m good at knowing what’s going to look good on my body and what colors are going to look good. It all started with Gossip Girl, really—doing all of those fittings for all of those episodes; we have nine looks an episode and 27 episodes a year! You learn how to do it quick.