198 posts tagged "Guido Palau"
Just when we thought the sixties were going to be NYFW’s lasting backstage impression, Marc Jacobs showed up to offer a different point of view (per usual). That’d be the seventies. The decade has been around for a few seasons but had yet to see its full look—the big hair, the glam eye, the deep lip—realized in one blowout beauty moment. “Marc wanted the girls to look as though they wreaked of perfume,” hairstylist Guido Palau said of the decadent “seventies-cum-thirties” coifs he served up, prepping tresses with Redken’s Thickening Lotion and rough-drying before churning out three different variations of tight waves and brushed-out curls—or “Grace Coddington frizz,” as he described the soft mass of pinned-back texture. Side parts à la Jerry Hall and color bursts from faux flowers finished things off. Makeup maestro François Nars added Anjelica Huston and Pat Cleveland to the list of inspirational muses, modernizing a glossy, metallic green eye and strong rosy cheek with transparent skin. Starting with a base of his Pure Radiant Tinted Moisturizer topped off with his best-selling blush in Orgasm, Nars’ main objective was luxe lids, which he built by layering the green shade in his forthcoming Nouveau Monde Eyeshadow Duo with the dark emerald Night Porter single Eyeshadow, before lining lashes and the inner corners of the eyes with his Soft Touch Eye Pencil in Celebrate, a neon green. A slick of Vaseline across the verdant pigments provided that disco-dancing glisten you may have noticed twinkling on the catwalk, and a deep wine-stained lip, courtesy of NARS’ new Pure Matte Lipstick in Volga (one of our personal faves), pulled everything together. As for those bleached brows, which have finally hit our shores after a few seasons of dominance in Europe, Jacobs enlisted model-favorite colorist Laurie Foley to lighten arches on site using Wella’s Blondor Lightening Powder. And to hammer home the no-cutting-corners, full-on look that he was going for, the designer chose CND’s deep bordeaux-tinged Bloodline lacquer for models’ toes only. That’s how you wear a strappy cork wedge in 2011, in case you were wondering.
One look at the glorified comb-overs Guido Palau fashioned backstage at Alexander Wang in February (and then again at Bottega Veneta in Milan), and it’s clear that he’s more than willing to push the envelope when it comes to coiffing. But still we weren’t prepared for what was waiting backstage at Pier 94 yesterday. That would be clay—fuller’s earth mixed with white pigment, to be exact. Channeling Jean-Michel Basquiat and what he called “the new-age traveler,” Palau created what amounted to avant-garde chignons that resembled messy knots, rather than actual buns, with excess hair hanging out at each end à la Basquiat’s own haphazard, spiky strands. Taking into account the delicate fabrics and white palette of Wang’s collection, Palau decided to block out any semblance of natural hair color—hence the chalky white streaks. Once his updos were done, he coated sections of models’ hair with the ivory paste, topping them off with Redken Forceful 23 hairspray for hold and hitting them with heat from the blow-dryer to “bake it all in.” Makeup artist Diane Kendal was also harking back to the 1980s downtown art scene, building a more-than-minimal “very cool” makeup look that included face moisturizer and bleached brows—and that’s it. Kendal was mixing up her own lightening concoction with Wellite—a powder hair dye—and she assured us that she’d dye models’ arches back post-show—except of course if they wanted to make like Lara Stone and keep the all forehead look alive.
If there’s one thing you can say about the Rag & Bone girl, it’s that she’s consistent. Her cool, downtown, sexy “sense of realism,” as makeup artist Gucci Westman puts it, doesn’t change from season to season. “This year, she’s going on a journey,” Westman said of David Neville and Marcus Wainwright’s female archetype. “To meet Peter Lindbergh in the eighties with Linda Evangelista as a role model,” to be exact. Said jaunt translated into windswept cheeks, which Westman created using Revlon’s Cream Blush in Berry Flirtatious, disheveled dewy skin, and a lived-in eye that the face painter built using the gray and brown pigments from her Multi Use Palette for Revlon in Suede Rhapsody. Lashes were given definition with a touch of liquid liner in between individual hairs in lieu of mascara, while brows were treated to a glossy finish courtesy of Elizabeth Arden’s Eight Hour Cream and a touch of Brilliant Diamant hairspray, which Westman borrowed from hairstylist Guido Palau. As for the hair, it was a little too real for us. Palau saturated strands with Redken’s Anti-Snap leave-in treatment, its Glass smoothing serum, and spritzes of water before pushing them back in a plain, American Apparel black headband and twisting them up. “It’s meant to look like you’ve just gotten out of the shower and you were traveling,” Palau said, taking pieces out around the hairline and matting them down onto the face. We would never travel in such a state, but, then, we’ve never been asked to pose for Peter Lindbergh. If he asked, like Linda, we’d probably oblige.
It’s no secret that bigger is better when it comes to fall hair. The collective message that stylists like Guido Palau at Prada, Eugene Souleiman at Rochas, and Odile Gilbert at Lagerfeld sent down the runways was volume—a memo that was not lost on the beauty and fashion set, as evidenced by the hoards of glossies that have devoted many a page of late to hulking masses of hair. Christy Turlington set things off with a Giles-esque set in this month’s issue of Vogue Italia, which was promptly followed by Laetitia Casta’s tribute to Amy Winehouse’s famous half-up, half-down bouffant on the cover of next month’s Russian Vogue. Our favorite incarnation yet comes from the pages of the August issue of Vogue U.S., which features a sixties-styled Karlie Kloss sporting a spot-on replica of the sexed-up, teased-out tresses from Rochas, where Michelangelo Antonioni’s Mod masterpiece Blow-up, provided the inspiration. All three are convincing arguments for investing in some high-quality mousse and a strong hair spray—and offer just a small taste of what is likely to come from those much anticipated September books. Ready your teasing comb.
The topknot is gaining steam on the red carpet. Let’s look at the facts: Last week, it was Keri Russell’s wispy updo that caught our attention, and last night, actress Gemma Arterton showcased a sleeker version of the humidity- and rain-friendly style at the world premiere of Clash of the Titans in London. We were obviously drawn to this image because of our own current weather aversions (where are you, sun? Where are you?!) and because it’s a really easy way to look chic for a night out—even if the elements aren’t on your side. It’s very similar to Guido Palau’s handiwork at Marc Jacobs’ Spring show, in fact, and requires a simple slathering of smoothing serum like Redken’s Glass 01, brushing your hair upward, gathering it in a ponytail, and tightly twisting. Et voilà. The style works in 70-degree sun, too, so practice now so you can give it a happier debut when things clear up in New York this weekend. Would you rock it?