16 posts tagged "Giambattista Valli"
The fine china reference that guided Giambattista Valli’s Fall couture presentation offered Val Garland a chance to interpret the designer’s inspiration fairly literally. “It’s all about porcelain figurines—patterns on porcelain and crockery—so I wanted the skin to feel very alabaster, to make [the models] look like they’ve got ‘super skin,” the makeup artist said, inadvertently coining the perfect descriptor for the impossibly flawless, paled-out complexions that were heavy on the highlights and not much else. “You’ve got to use a serum first,” she advised of the kind of beautifully bare effect she was after while reaching for Josie Maran’s Argan Oil, which provided a base for a good helping of MAC Mineralize Foundation. Then came the gleam, which was built with a mixture of MAC Cream Colour Base in Shell, Luna, and Pearl,and brushed across the cheekbones, down the bridge of the nose, and on top of the Cupid’s bow of lips. “It’s not too innocent,” Garland stressed, eschewing mascara and focusing her attention on a heavy, architectural brow instead, which extended toward the temples to give the face structure and ensure models did not “look like aliens.”
Also helping that cause were Orlando Pita’s blunt-cut half-up, half-downs that recalled a classic school girl-style, albeit with much more precision. “He sees everything,” Pita said of Valli, matching the horizontal parts he used to divide two distinct sections of hair with the line of Garland’s brows. Sticking with the porcelain theme, Pita implemented the ceramic material’s signature shine glazed via direct spritzes of Osis Session Finish Extreme Hold Hairspray, which smoothed out the top of the look and gave it a sheen. Then, for his crowning achievement, Pita placed a series of gold and pewter coronets above the forehead on eight, select girls—Maud Welzen (above), among them.
There was a single hair product on heavy rotation last night on the CFDA red carpet that assisted in a number of sleek updos: To fend off the frizz-inducing weather, hairstylists seemed to be grabbing for hair spray en masse. But it was being used akin to gel, so rather than simply setting strands with a spritz of the perennial style-fixer, models and muses such as Joan Smalls, Erin Wasson, and Rooney Mara sported loads of the stuff, smoothed back from the hairline or along center and deep side parts, respectively, for a lacquered effect. It offers assurance from the muggy temperatures that have been plaguing New York of late and also happens to look dead sexy. Here’s an additional tip for getting an ultrasmooth finish that we picked up from Orlando Pita backstage at Giambattista Valli this season: After applying a generous amount of hair spray, like Phyto’s Workable Holding Spray, use the back, flat side of your comb to create a groove-free slick. The summer humidity won’t stand a chance.
As we reported earlier today on Style.com, Stella McCartney has been awarded with the prestigious Officer of the Order of the British Empire (OBE) title. To receive the honor, which has already been bestowed on designers like Stephen Jones, Sarah Burton, and Dame Vivienne Westwood, McCartney wore a beautiful, crisp navy suit—and a gorgeous veiled headpiece that left a similarly hued cast over her forehead. Veils have made the fashion rounds a lot of late, and we’re hard-pressed to assume that McCartney hasn’t taken notice. Both Raf Simons at Dior and Giambattista Valli sent them down their Fall 2012 Couture runways—and more recently, we spotted the cute, clip-in accessory at Louis Vuitton’s Pre-Fall collection. But we’re partial to Stella’s Wallis Simpson-inspired hair-turned-face accessory for its vintage appeal, the bejeweled barrette she affixed to it, and the way it perfectly complements her tailored ensemble—a good illustration of the style sensibility that earned her the esteemed distinction in the first place. They don’t just give those awards away, you know.
Fashion month is a great place for beauty brands to put prototypes in the hands of their artists, to get the kind of professional feedback needed to make any tweaks before products go to market. So far, we’ve seen a few new launches we’re anticipating with more than a little enthusiasm, including Redken’s Diamond Oil Shatterproof Shine, which Guido Palau has frequently relied on to get Fall’s popular shiny, wet finish; Estée Lauder’s dark burgundy Pure Color Vivid Shine Lipstick in Hot Lava that Tom Pecheux debuted at Anthony Vaccarello; and the six new cream blushes—with matching lipsticks!—that Chanel plans on launching this summer (more on that in a bit). But we might be most excited about the MAC Pro Eye Gloss in Black Sea and Mother of Pearl that Val Garland used backstage at Giambattista Valli.
We first spotted the darker color of the buildable, glitter-flecked shine at Roberto Cavalli, where Lucia Pieroni was using it to add a “sexy, punky” feeling to the show’s requisite black smoky eye. Garland came up with a similarly innovative way to employ the multifunctional polish with an impressive glisten. “It’s a bit of nothing, but it’s also everything,” she said of the “cellophane simplicity” she managed to achieve by dipping an acrylic artist’s brush into the flat pot of product and swiping a squared-off strip from the outside of models’ eyes toward their temples and along the cupid’s bow of their lips. “We were actually going to do a red lip here, but it made the collection look ordinary,” she revealed, opting for something extraordinarily subtle instead. “It’s got a good stick on it, so it doesn’t move,” Garland continued of the gloss—which is a good thing to remember if you make a mad dash to procure one when it launches next year: It works best with the kind of “lacquered, no-hair-out-of-place” hair Orlando Pita fashioned for Valli’s presentation.
Certain makeup artists play favorites with products, pulling out the same palette or pencil at pretty much every turn they make on the backstage circuit. Val Garland’s go-to this season is MAC Cream Colour Base in Shell. “You can see how much I like it,” she joked, displaying the nearly empty pot of shimmering pink-gold pigment at Giambattista Valli, where she was layering the creamy skin enhancer just about everywhere once she had created a base with MAC Matchmaster Foundation—on top of cheekbones, down the bridge of the nose, and from the the brow ridge around to the temples. Its high-shine, reflective finish (rather than a classic sculpting powder) carved out definition as she went. “So many of us are looking for that Botox beauty,” she explained of the technique’s effect, “and this is a way to get that kind of skin. It just makes you feel like you have the perfect bone structure.”
Orlando Pita used shine to achieve texture as well, adding yet another wet look to the multitude of similar styles that have popped up on the runway over the past month. “The girls have just been to the beach, dipped their hands in the water, and brushed their hair back,” Pita said, citing a similar inspiration to the one that motivated him at Vera Wang in New York. Prepping strands with L’Oréal Professionnel Techni.Art Volume Lift Root Lift Spray Mousse, Pita layered its Fix Max Sculpting Gel with its Mythic Oil, raking the mixture from the hairline through the mid-lengths but leaving the ends matte and dry. “It was very important to [Giambattista] to have the dual texture,” Pita said. As for specific styling tips, Pita is a fan of winging it. “It doesn’t really matter in what order I apply the products, as long as it comes out looking the way I want it in the end.”