198 posts tagged "Guido Palau"
I have firmly committed to the lipstick camp, mainly for one reason: I refuse to pull my hair off my mouth every time the wind blows. Sure, that shine is tempting, and I highly recommend gloss to girls who can deal—I just don’t happen to be one of them. But that factor I can’t stand was exactly the point today at Miu Miu. “Pat [McGrath]‘s doing a very heavy gloss, and then I took the hair and stuck it to the lips,” said hair pro Guido Palau. “It lends a little bit of sexiness and [provides] a naive sexuality.” Let’s just say I won’t be taking this look from runway to reality.
As far as getting that natural texture we’ve seen all season long, however, that’s something I can get into. Palau prepped damp strands with Redken Extreme Anti-Snap Leave-In Treatment, then dried them with a round brush to add a bit of bend. Next, he scrunched sections with his hands as he dried, using a curling iron to add additional movement where needed. A messy center part was made before tucking hair behind ears. The final touch: gluing a few pieces to models’ pouts via the gooey but gorgeous cosmetic. Pretty slick.
Alexander McQueen’s woman is never a wallflower and always a warrior, hair pro Guido Palau explained, fitting all forty models with metal helmets (designed by both Sarah Burton and himself). And similar to the many wigs we saw for Spring 2014, the armor was meant to provide “instant character” and “unify,” rather than reference a certain period—citing everything from Tron to twenties bobs as an inspiration for the final shape. Since the “head jewelry” was one-size-fits-all, Palau slicked back strands using Redken Hardwear 16 Super Strong Gel and pinned sponges in various places to prevent anything from wobbling on the runway.
With Jean-Michel Basquiat serving as one of the references, face painter Peter Philips perhaps looked to the artist’s early days, when he dabbled in graffiti on the Lower East Side of New York City, and blasted hairlines with Fardel water-based black pro paint using an air-brush system. “I wanted to create a shadow that would connect the face to the helmet and make the models more anonymous,” he said, also noting the Maasai people and how he aimed to create a tribelike effect. And while Philips said he’d normally describe the house muse as a “nonexistent girl,” this season she retained a sense of reality, as the skin was kept natural in lieu of porcelain doll- or alien-like complexions. “They’re warriors, but not space warriors,” he said of the finished product, bringing the fantastical McQueen woman slightly (and I reiterate, slightly) back down to earth.
“We’re using theatrical contours in a very minimal way,” face painter Pat McGrath said of the makeup at Valentino, calling upon references like Maria Callas in Pier Paolo Pasolini’s 1969 silver-screen adaptation of Medea. “It’s about building and structuring the face with light.” Similar to a trick often used onstage, McGrath swathed the top half of the face in a pale foundation, then used a highlighter on the inner corners of the eyes, cheekbones, Cupid’s bow, and chin. She ran a nude pencil along the waterlines to cancel any redness, washed lids with a light dusting of contour powder, and dabbed concealer lightly onto lips. A milder version of the metallic brows seen at Christian Dior also showed up here, with arches being coated in a shimmery gold cream.
Hairstylist Guido Palau took a more austere approach to the Valentino woman. “She’s still very beautiful, but more severe than usual,” he explained. He began by blowing strands smooth with Redken Satinwear 02 and making a crisp line down the center from forehead to crown. Next, he teased the area where the parting ended to build volume. Two panels of hair were set aside on either side of the face before placing the ornate leather headband provided by the house on each model’s head. Then the length was gathered into a low, clean ponytail and the two front pieces were pulled back over the ears, wrapped around the elastic, doused in hair spray, and set with heat. Not a single bobby pin was used (or at least visible), making for an impeccable and seamless finish.
“Opera was [once] the pop music of the day, so we were trying to make that modern,” elaborated McGrath. As a classic aria echoed through the Jardin des Tuileries, it was possible to imagine this look making an appearance not only at Lincoln Center, but also on the red carpet—worn by the likes of front-row fixture Ciara.
Unless you’re Phoebe Philo, a model, makeup artist Dick Page, or hair guru extraordinaire Guido Palau, getting backstage at Céline is not happening. Consider it the fashion equivalent of Area 51: We’re not entirely sure what goes on until the look makes its debut on the runway. Lucky for me, however, Palau served as my beauty mole—spilling the secrets behind the “easy, messy knots” here first:
“I applied Redken Satinwear 02 and blow-dried that hair so it had a beautiful, luxe quality. Then, [strands were] pulled to the back of the head [and secured with an elastic] before I twisted them round to form a knot that wasn’t too uptight—allowing a few pieces to stick out. Quick Dry 18 was misted all over to tame any wild flyaways for a finish that was floaty, soft, and pure Céline. To make it less armylike, I gave three of the girls [including Marine Deleeuw] a slight finger wave in front.”
In contrast to the futuristic-looking golden arches, gilded lids, and flashes of color rimmed along the upper lash lines (more to come on the maquillage later), the hair created by Guido Palau was “classic Dior.” “Raf [Simons] didn’t want to reference a particular era,” the hairstylist explained—so, when in doubt, a simple chignon was made modern with a “boyish” side part and a slick comb-over. Palau used Redken Hardwear 16 (a strong-hold gel) for hold and shape, twisted strands into a low knot, and secured in place near the nape of the neck. Shine Flash 02 was misted all over to mimic the metallic finish created with makeup only inches below.