18 posts tagged "Giorgio Armani"
“Mother-of-pearl,” that delicate, iridescent, reflective color most notably found inside seashells, may not be easily translatable into fabrics, but Giorgio Armani made short work of that task for Spring. Its glimmering effect is readily available in the cosmetics world, however, which was not lost on Giorgio Armani Beauty international makeup artist Linda Cantello, who not only applied the shade onto a clean, powdered base backstage but had a specific cream shadow created for the occasion. The latest installment of Giorgio Armani Beauty Eyes to Kill Intense Eye Shadow will debut next year (and will in fact be called Mother of Pearl, for its shimmering, pastel-tinged quality), but Cantello had early access to the pigment, which she swiped across eyelids and out past temples. On top, she traced its forthcoming shadow in Ecaille, a blackened green, along the upper lash line with an angled brush, scrawling it onto the crease as well in a 1930′s-era half-moon shape to create the illusion of a double-extended flick when models opened their eyes.
As for those textured updos, hairstylist Franco Gobbi was going for low-maintenance but super-elegant. Prepping hair with Bumble and Bumble Holding Spray, Gobbi created soft side parts and, finger-combing hair backward away from the hairline, he twisted small sections into tight coils that he pinned randomly.
Attention, New York-based Sephora fans: The beauty emporium will officially begin its same-day delivery service tomorrow. A simple call to 1-877-Sephora for an emergency order of your favorite mascara or foundation will bring a product escort right to your door—in a branded MINI cooper no less! [Sephora]
Courtney Cox’s latest role? Home editor of xoJane.com. In the former Friends star’s first column, she extols the virtues of Clairol Natural Instincts Brass Free for Brunettes hair dye for “dark-haired girls who don’t like red hues” and Edward Bess makeup. [xoJane.com]
Giorgio Armani is immortalizing his Saharan nights, all-blue Spring collection with a new fragrance, fittingly called La Femme Bleue. If you thought those navy turbans were hard to come by, get a load of this: Only 1,000 bottles of the black iris and dark chocolate eau have been produced, ringing in at a whopping $600 a pop. [T]
In a season full of brunettes and the occasional platinum blonde, thanks to another go-around of the hard-to-maintain hair color at Balenciaga, the age of the redhead seems to have subsided. But that brief moment circa the Fall 2009 shows when Vlada and Coco went ginger, making the fashion pack take pause and in many cases take up the auburn cause, red was all the rage—and we liked it. There is a lone model who walks among us, though, who is still letting her flame-hair flag fly, ushering in the color’s second coming and, with every toss of her red locks, daring her fellow catwalkers to come and join her.
We are talking about Julia Johansen, the Finnish beauty who has been dazzling on the runway in what she has termed her first “proper” show season. “I did couture,” Johansen told us backstage at Vivienne Westwood yesterday referencing cameos at Chanel and Armani Privé. And of course, there was her opening turn at Mulberry for Spring, where Emma Hill sent an army of Julias down the runway, wearing wigs cut and dyed to match Johansen’s signature style. “Having a fringe and shorter haircut can be a problem,” Johansen lamented, pointing out that long, middle parts are what casting agents are typically looking for these days. But that hasn’t seemed to stop them from putting her in a bevy of shows over the past month, including L’Wren Scott, Temperley London, Antonio Berardi, and Giorgio Armani, which is thanks in large part to her carrot-bright strands. Having experimented with a range of shades since becoming a “real ginger” last year, the freckle-faced natural brunette has embraced a vivid brassy, orange incarnation of late that is really working for her. “It has been quite copper, but it fades quickly,” Johansen admits, mentioning that she relies on the colorists at London’s Percy & Reed for monthly touch-ups. As for everyday styling, Johansen is a fan of all things Bumble and Bumble—”everyone loves them”—and has no intentions of diverting from the russet track anytime soon. When we asked her if she planned on staying the fiery course, she was resolute in her response: “definitely.”
It all started at the Couture shows in January. Peter Philips scrawled a deliberately short, thick, almost awkward line across models’ top lash lines at Chanel to “take the makeup look away from retro,” and a new era of unexpected liner applications had officially begun. Since then, the concept has been all over the Fall shows. At Marc Jacobs’ dominatrix extravaganza in New York, François Nars called his similar flicks “droopy,” comparing the downward sloping line he drew onto upper lash lines with his new for fall Larger Than Life Longwear Eyeliner in Via Venetto to “a grandmother who’s a bit eccentric that puts on her eyeliner wrong.”
Flash forward to Milan, and a whole range of unique adaptations of the sixties makeup essential were employed to keep the plethora of references to that era from becoming too literal. At D&G, Pat McGrath added white to the equation, coating the inner rim of the lower lash line with Dolce & Gabbana The Makeup Crayon Intense Eyeliner in #13 White to add a modern, graphic touch to the thick black stroke on lids. A few hours later at Moschino, Tom Pecheux turned to MAC Technakohl liner in Graphblack to draw an oval shape that swept underneath the lower lash line and almost extended to the brow bone to resemble cat-eye sunglasses. “It looks like every girl is wearing them on the catwalk whether she is or not,” he quipped, topping the outline with a dusting of MAC Single Matte eye shadow in Carbon for opacity. On Sunday, it was Lucia Pieroni’s turn at Missoni, and she focused her attention on crafting an elongated black smudge along lower lash lines only using the same MAC Technakohl liner at Missoni to help hammer home the idea of “cool girls who are slightly masculine.”
As far as our favorite incarnation goes, it’s a tie. Yesterday at Giorgio Armani, the house’s resident face painter, Linda Cantello, etched two parallel lines extended toward the temple from the outer corners of models’ eyes for a look that was inspired by “the boudoir,” while Peter Philips brought things full circle at Jil Sander. Rather than extrapolate on the trend with a new shape, he chose to introduce a new color: a shimmering, blue-reen jade. And on to Paris, we go…
Giorgio Armani’s “night sky over the Sahara” inspiration for Spring—equipped with Tuareg head wraps—conjured images of desert wanderers. But seeing as how this is an Armani wanderer we’re talking about, there were no dusty, sandstorm-blown faces to be found backstage. Makeup artist Linda Cantello went for something “groomed and beautiful,” which elaborated on the midnight blue theme that ran through the designer’s collection and culminated with sapphire lids. “It’s a new way to create a smoky eye,” Cantello said of the Giorgio Armani Maestro Eye Shadow in #21 (“Armani Blue,” as she called the shade). She brushed it on top of a black rim of Armani’s Smooth Silk Eye Pencil in two bold strokes, dragging the pigment underneath the lower lash line and up toward the brow bone from the inner corners. That slight sun-kissed glow came courtesy of Giorgio Armani Sheer Bronzer, which Cantello layered on top of its much-loved Face Fabric Foundation—a favorite among makeup artists, models, mere mortals, and Saharan voyagers, it would seem.