21 posts tagged "Gareth Pugh"
For Fall 2014, a glowy complexion was very much in, but the strategically placed shine that works brilliantly on the runway can also accentuate a slick T-zone. For those with combination or oily skin, one of the most effective ways to wear highlighter is to juxtapose it with a non-shimmery base. Or if you’re unconventional face painter Alex Box, you do the reverse: “I used a very light veil of matte white pigment over very luxurious, polished, newborn skin at Gareth Pugh—the matte pigment next to something so dewy only heightened the matte texture,” she explained. For those of us who dress (and do our makeup) in a slightly less conceptual manner, there’s Illamasqua’s Matte Veil, a new shine-controlling gel formula laced with humectants (like butyelene glycol and sodium hyaluronate) that help retain moisture. Patting this all over, or just onto areas prone to oil slicks, complements the shimmery pigments that help make the high planes of the face pop. As the saying goes, opposites really do attract.
Available April 3, $40; bloomingdales.com
Alex Box, creative director of Illamasqua and go-to makeup guru for designers like Gareth Pugh, believes in taking things that are feared (and often viewed as ugly) in nature and making them beautiful. She’s done it with snails—a silver one can be found creeping along the side of the brand’s fragrance, appropriately dubbed Freak—and now she’s doing the same for bats. Do they look like rats with leathery wings? Absolutely. But these creatures of the night have something intrinsically glamorous about them (obviously Giles Deacon saw their potential for Spring 2014). Box was so inspired that she created a set of false lashes that mimic the mammal in flight. Now, just in time for Halloween, they are available in tandem with a matte black glitter polish called Swarm. Treat your tips to the top coat, then batter up.
Illamasqua Bat Lash Duo, $22; www.sephora.com.
When Joseph Quartana and Kaya Sorhaindo’s Six Scents initiative launched in 2008, it brought a new dimension to the age-old designer-fragrance concept. Rather than simply putting their names on a bottle, a select handful of rag-trade regulars were offered the opportunity to collaborate with Symrise noses on limited-edition, personalized perfume projects, part of the proceeds of which were donated to charity. Boldfaced fashion names such as Gareth Pugh, Mary Katrantzou, Jeremy Scott, and Bernhard Willhelm have all participated in the venture, which relies on a very thorough question-and-answer period that is meant to unlock each designer’s scent memory. “It was almost like going to a shrink for the day,” Katrantzou told us, back in 2010, about the questionnaire Quartana had sent to her. “[There were questions like] if you were an object, what object you would be? What kind of smells do you remember from your childhood? What was your first kiss like? What words best describe you as a teenager? By the end of it, I knew myself much better than when I started it.”
It’s this idea—the unlocking of scent memory—that compelled director Michelle Peerali to get in on the action. “I have an insane sense of smell, and I have to admit that memories that have been the most profound usually have a certain scent associated with them. This was the seedling that inspired things to bloom,” Peerali recalls of how Quartana came to commission Notes of Memory, her new short film. “The brand is very into the ‘experience of scent,’ and my film was very fitting with this idea, as we witness each person sharing their own personal experiences of scent through scent memories they share with us.” Peerali’s subjects are varied, a deliberate gesture that came from a comprehensive search. “I casted through agencies, I casted through asking a person who worked at a local Trader Joe’s that I found interesting, and last but not least was very lucky to have received interest from such an icon in the fashion and celluloid world: Julie Newmar.” The result is a somewhat raw rendering of how our minds process things inter-sensorially, like how the smell of an old boyfriend’s cologne can stay with you far longer than the boyfriend himself. “I wanted to make the viewers experience this piece as if the subjects were speaking to them and only them, [to connect] to these stories and possibly explore their own scent memories after viewing.” Click above to watch—and commence olfactory recall at will.
In case you’ve somehow missed the barrage of bulletins from Paris—via Twitter, text, Instagram, Tumblr, and good old-fashioned phone calls—Cher (CHER!) is at the Fall collections.The legendary singer—and, lest you’ve forgotten, Academy Award-winning actress—made Gareth Pugh her first stop of the week yesterday and answered the burning question of whether or not that would be her only stop by showing up, arm in arm with Fergie, at Balmain this afternoon. At 66, the style icon still looks amazing and, it should be pointed out, is still very much on message. The red eye shadow Cher had slicked across her lids in the front row of Olivier Rousteing’s show happens to be the very same color many a face painter has gravitated towards for Fall. “There’s a sort of seventies feeling to it,” makeup artist James Kaliardos said of the cranberry tint that has turned up at Diane von Furstenberg, Gucci, and Anthony Vaccarello—and has long been a favorite makeup trick of the music legend, who is apparently still setting trends all these years later. Yet another reason to add the color to your eye-makeup arsenal, stat.
There was a lot going on backstage at Gareth Pugh‘s Spring show. After walking through the incense and smoke-filled venue, we arrived to find makeup artist Alex Box cooing over her nine-week-old baby. “He likes the attention,” she said of Marlo Ray, who was getting plenty of it from models like Nadja Bender, who came over to marvel at Box’s beautiful little boy. “It’s the best thing I’ve ever done. I feel I’ve been melted and someone’s poured me back into me,” the proud mother effused. No wonder there was a noted change in the beauty look here.
“I thought I’d do something for people to wear for a change,” the woman responsible for Pugh’s Spring 2010 gray-tinged, “goddesses from the grave” faces and Spring 2012′s plastic-film eyebrow moment deadpanned. The molten red “structural, but felt” lids courtesy of a blend of MAC Eyeshadows in Coppering, Cranberry, All That Glitters, Honey Lust, and Basic Red that was given definition with a line of its Lip Pencil in Cherry along the inner rims may not count as “wearable” for some people, nor will the drip of special-effect liquid tears Box added right before girls went out onto the runway for an “emotional” element likely find its way into many people’s daily routines. But this might be as close as we’re going to get with Pugh and Box—the latter of whom’s red lip, a combination of MAC Lip Pencil in Auburn and its Lipmix in Red, ranks right up there with some of the most impressive mouths we’ve seen this season.
But that’s not all we have to report. In a season that’s been filled with nude nails and less successful nail art moments, Marian Newman managed to turn out one of the coolest polish protocols we’ve seen. You asked for it on Instagram, so without further adieu, the method behind Newman’s “blood and tears” manicure madness: Start with a thick “blob” of MAC Nail Lacquer in Rogue Marie at the cuticle line and paint a quarter of the way up the base of the nail. Then add its crimson varnish in Shirelle toward the top, blending the two colors with upward brushstrokes for an ombré effect. Top with a glossy coat of MAC’s Overlacquer and congratulate yourself on pulling off our favorite nail moment yet.