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228 posts tagged "Guido Palau"

Are Rainbow Bright Hair Colors Taking a Backseat to Hybrid Hues?

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olaThe 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.

Runway to Real Life: The Valentino Ponytail

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valentino-ponytailStyle.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.

Conic Cornrows and Owl Eyes, Backstage at Alexander McQueen

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mcqueenLashes and cornrows—two of the trends we’ve seen time and again this season—were taken to breathtaking extremes backstage. One could say that pushing things to the max was a signature of the late Alexander McQueen: “This was something Alexander really liked—it feels like a classic code of the house,” said Guido Palau. The never-ending plait dreamed up by the mane master and executed by a team of braiders was no doubt “severe,” but the long, flowing extensions that caught the wind on the runway gave the “silhouette a certain softness.”

“It’s futurism mixed with nature,” Pat McGrath said of the two gasp-inducing looks she devised for the show. “We decided to do the owl world in a punk eye makeup way.” Black spiky feathers hand cut and designed by the face painter were painstakingly glued one by one onto the brows and top lashes. “When would I ever make it easy?” she quipped of the dramatic maquillage that took nearly four and a half hours to complete. Her second creation (worn by the majority of the models) played with shading and light in lieu of plumes—using brick red, silver, and gold metallic pigments to lend a “futuristic” feeling to the face. The end result not only incited a frenzy of flashes from photographers (particularly around the catwalkers with those phenomenal “mothlike” eyes), but also perfectly captured the “McQueen world of innocence, romance, and darkness” with a sensitivity and boldness that won’t soon be forgotten.

Photo: Sonny Vandevelde; Indigitalimages.com

Pony Up, Backstage at Valentino

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valentino-pony“We wanted to do something that wasn’t classic or as normal as a braid or pony, so I added another dimension to the Valentino woman,” said Guido Palau of the superlong tails (26 inches, to be exact) that cascaded down models’ spines. The “dimension” came by way of “little balls or bubbles” that were tied off with black elastic—”a very sort of seventies, late sixties kind of idea,” he noted. The strict center part, slight height at the crown, and hair pulled over the ears—all quintessential beauty signatures of the house—remained.

Face painter Pat McGrath played with light and shading again this season (using a pale powder on the outside of the cheeks and a pearly highlighter above the Cupid’s bow), but added a touch of “eccentricity” with a gray-blue liner on the top and bottom lash lines. Judging by the end result, a dash of whimsy was the perfect way to up the ante on the label’s no-fail hair and makeup recipe.

Photo: Indigitalimages.com

Working Girls, Backstage at Christian Dior

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DiorGone was the “precious” beauty of seasons past, and in her place was the urban, working woman (the Dior version, at least), summarized Guido Palau. Channeling the theme, the hair was all business. First, it was blown smooth with Redken Satin Wear 02, then the area from forehead to crown was shellacked with Forceful 23 hairspray in order to mold the strands tight to the head. “It’s a sculptural look, but the hair will move on the runway,” he said.

“This is a woman of today; she’s in the real world,” noted makeup guru Pat McGrath of the “street and slightly masculine” muse. The striking eyes were crafted using theatrical latex paint in cerulean blue and earthy khaki green—a material artists rarely employ because it requires impeccable timing to layer products over top. After “playing from 9 p.m. to midnight” at the test the day before, McGrath had the process down to a science: The graphic shape (“not a wing—we’re moving away from that,” she noted) was sketched on with a pencil, filled in with the paint, then a pigment in a similar tone was gently pressed into it. “Gradually, the latex swallows the pigment so you get this ultra-glassy feel—like a mirror,” she explained. In addition to colored mascara that matched the shade swathed across lids, the finishing touch was a sprinkling of glitter that reflected greenish gold or blue tinged with lavender. (For formulas that are less temperamental, we like Dior’s forthcoming 5 Couleurs shadow palette in Carré Bleu or Jardin. Or add a hint of office-friendly sheen with the Skinflash Radiance Booster Pen on the high points of the face.)

Between McGrath’s sparkly eyes and the slashes of vivid color seen on the catwalk, I don’t think the Dior customer could ever come down with a case of the Monday blues.

Photo: Sonny Vandevelde; Indigitalimages.com