August 30 2014

styledotcom In honor of the #USOpen, 19 of the greatest tennis fashion moments:

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3 posts tagged "Giorgio Amani Beauty"

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.”

Armani’s Blushing Fabric Fits Like A Second Skin


A few years ago, I got into contouring. Nothing serious (full disclosure: my makeup knowledge far outweighs my makeup skills), just a newfound interest in creamy, neutral-toned pigments to carve out definition underneath my cheekbones and up to my temples. The trouble is, I’ve found that a lot of cream color bases are too heavy, while lighter powder formulations can be slightly difficult to wield (again, skill level = low). Giorgio Armani Beauty has come up with a pretty genius solution to my dilemma by issuing new shades of its divine Blushing Fabric. The cream-to-powder formula, which has a featherweight texture that blends to a translucent finish unlike anything else I’ve tried, is now available in Scarlotto, a deep rust, and Carmel, a warm beige. Both work extremely well to create dimension and can double as a ruddy flush when placed on the apples of the cheeks—or as an eye wash that closely resembles a naturally shadowed lid. And into my makeup bag they go.

Photo: Courtesy of Giorgio Armani Beauty