226 posts tagged "Guido Palau"
“It’s Ophelia,” said makeup pro Pat McGrath of the “serenely beautiful, ethereal girls” at Valentino. The overall effect was centered on pale, highlighted skin and deft contouring. McGrath used light gray shades around the eyes and a white hue on the lids, sweeping brown mascara through lashes as a finishing touch. A tiny bit of concealer to perfect complexions, a dash of lip balm, and it was done. “It’s about sculpting with light and shade,” she noted.
To make hair appear wet, Guido Palau misted Redken Shine Flash all over before crafting waves with a series of clips—ultimately leaving strands down save for a small section twisted around the length like a loose ponytail holder. (We suggest you steal this move straight off the runway and whip it out next time you find yourself missing an elastic or simply want to pull back curls without creating a dent.) “The beauty of the Valentino woman is very well defined: She’s always very serene and feminine,” Palau explained of the finished package.
Peter Philips spent his whole weekend single-handedly cutting seventy pairs of silver adhesive eyeliner that he used on the Dior Couture runway. And just hours before the show began, he received word that the house had worked out a way to produce them. (Look for them on-counter around the holidays.) “The collection explored contradictions, so we wanted to keep it pretty and pure. I just wanted to add one element that was highly contrasting and artificial,” he explained. Metallic liner emerged as the ideal counterpoint to the mirror-and-orchid set. Philips calls it the “empty eye”—meaning no mascara—bolstered by a little white kohl to fade out the lower lashes and a sweep of yellow and white shadows from the forthcoming Candy Choc palette under well-groomed brows. To even out the base, Philips reached for Dior’s new Star Foundation (for drier complexions, he used Capture), followed by a combo of Dior Blush in Rose Corolle and Starlight on the cheekbones (available internationally in October), and polished off pouts with Rouge Dior lipstick in Trompe L’Oeil (a peachy nude). Nails, too, were kept short, neat, and nude, with one coat of gel polish in Muguet followed by a layer of Dior Glow. “She looks like a fragile flower but with historical and futuristic crosscurrents,” he said. “When she moves, she catches the light.”
For hair, the look was natural and unforced. “It’s fresh and modern without reference to any past,” noted Guido Palau backstage. “Raf Simons’ Dior woman has put her clothes on and [needn't] over-bother with her hair.” Palau employed Redken Pillow Proof dry shampoo for texture, added a few extensions, and let the parts fall where they may. “We’re entering a transitional time in beauty where things seem to be much simpler. Women can’t complain anymore that they can’t do it,” he noted, adding with a smile, “which means there are no excuses anymore!”
“Donatella said she wanted to do something different,” explained face painter Pat McGrath. “She wanted couture-modern, but also something graphic, aerodynamic, and fun.” McGrath realized this vision via a thick, two-toned wing in peacock teal. To provide dimension, she applied a lighter shade to the center of the lid and swept a darker hue up toward the temple. A delicate veil of shimmer powder, faux fringe, and “tons of mascara on top lashes only” completed the eyes. The rest of the face remained neutral: Groomed brows, light contouring on perfect skin, and a pale lip balanced out the dramatic shadow. Ditto for nails, which were “natural pale” but ultra-shiny.
The hair was high-gloss, too. “This chignon is very un-Donatella,” conceded hair guru Guido Palau. To lend topknots edge and structure, the pro employed Redken Hardwear gel to shape models’ strands. He then moved the classic style closer to punk territory by using Forceful 23 hairspray and ironing the bottom few inches into a geisha-style flourish. Stella Tennant stood out and received a customized look sans extensions. “Along with the makeup, it’s very rock ‘n’ roll,” noted Palau. “This is a strong woman.”
The second Marc Jacobs sent washed-out dye jobs down his Fall 2014 runway, we at Style.com knew these “pulled-back” and “off” shades, as Guido Palau described them, were going to be the next big thing in hair color. On Saturday, model Ola Rudnicka walked in Nicolas Ghesquière’s Louis Vuitton Cruise collection sporting toned-down lilac strands in lieu of her signature white-blond. Similar to Charlotte Free’s unconventional porange (pronounced in a French accent as “poh-ranje”) seen at Chanel Resort, Rudnicka’s pale purple tresses appear to be a hybrid—one I affectionately dubbed plavender (a blend of grayed-out platinum and lavender). The distinguishing factor between these watercolor-like tints and the saturated, hi-def tones we’ve come to covet is that they appear more experimental than intentional. Talk about a happy accident.
Style.com market director Marina Larroudé knows how to spot the season’s must-have bag, shoe, or jacket…and she also has a keen eye for beauty trends. Before sitting down to dinner at Casa Lever last night, she noticed this extra-long, banded pony at the back of the hostess’s head (a style, she revealed to Larroudé, she relies on when she’s having a bad hair day.) Look familiar? It’s almost an exact replica of the seventies-inspired “bubble” tail Guido Palau crafted backstage at Valentino this season. We like it just as much in real life as we did on the runway.