221 posts tagged "Guido Palau"
There are certain things we’ve come to expect backstage at Rag & Bone. Minimal, downtown makeup and undone hair just go with Marcus Wainwright and David Neville’s easy, borrowed-from-the-boys pieces; put simply, the Rag & Bone girl has not jumped on board the statement lip bandwagon and it’s unlikely that she ever will. But she does love a smouldering eye, which makeup artist Gucci Westman is always on hand to provide. “We’re doing Urban Eskimo,” Westman said of the beauty look for Fall, which focused on a windblown ruddy complexion courtesy of smudges of Revlon’s Cream Blush in Berry Flirtations and greasy, black rimmed lids (that’s the urban bit, in case there was any confusion). Lining the inner rim of models’ eyes with Revlon’s Luxurious Color Eyeliner in Black Velvet, Westman blended its Illuminance Cream Shadow in Wild Orchid, a deep aubergine, with its Matte Eyeshadow in Rich Sable, which she brushed across lids and underneath the lower lash line for a finish that was “floaty and endless.” Lips were left mostly bare, save for a touch of color that Westman pressed into the center of models’ mouths with the rich burgundy pigment from her forthcoming Multi-Use Palette in Bordeaux in the Snow. “We just liked the ease of everything,” Westman said of the finished product—a sentiment that was echoed in hairstylist Guido Palau’s loose braids. “It’s just washed, soft, airy, clean hair,” he said of models’ tresses, which were washed on site with Redken’s Extreme shampoo and deliberately kept free of product before getting dried with a paddle brush. Palau then fashion middle parts and created free-form braids—two to three of them on either side of the face and centered down the back—”enough so you know something’s in there when they walk,” he said of the textural element. Purposely pulled-out wisps kept the whole thing from coming off too juvenile. “When you leave out the loose bits you get a sexy feeling that’s not schoolgirl,” Palau confirmed. The strongest statement came via dark slate nails painted with two coats of Revlon’s Steel Her Heart, courtesy of manicurist Jin Soon Choi. That’s where the Rag & Bone girl gets a little crazy with her beauty routine. How…on trend.
Even after a month of backstage coverage, it’s often hard to tell which beauty trends will have legs off the runway. Neon pouts à la Fendi and Jil Sander seem poised for a Spring takeover, as do Sophy Robson’s adventures in nail art at shows like Giles, Loewe, and Topshop Unique. Call us unimaginative, but we never would’ve guessed that Guido Palau’s middle-parted “inverted roll,” which he introduced at YSL back in October and revisited in a new, braided incarnation at Valentino Couture last week, would become the frontrunner for hairstyle of the season. The look—which starts with a center part and involves coating strands with a gel, like Redken’s Hardwear 16 Super Strong gel mixed with its Glass 01 serum, before a meticulous rolling and tucking process ensues—has also popped up in the pages of Numéro #120 and the March edition of Vogue Nippon, courtesy of Bumble and Bumble’s Laurent Philippon and hairstylist Franco Gobbi, respectively. The overall goal when attempting what Palau calls an “Edwardian meets seventies” updo is forming a tight ridge close to the head for a minimal silhouette. A slashing of dark lipstick—while optional—also seems to add a certain strength. What do you think? Will you be giving this one a go at the New York shows next week?
The concept of blocked-out eyebrows certainly isn’t new. Kristen McMenamy’s all-forehead, all-the-time editorials in the pages of nearly every international issue of Vogue in the nineties inspired a generation of girls to get creative with a Bic. When Pat McGrath brought them back in full force for Prada and Balenciaga’s Fall 2009 shows, it was hip to be bleached once again. Despite how we feel about the no-brow look on Lara Stone (that woman can do no wrong), we were never particularly fond of it otherwise. But as more and more packets of hair-lightening powder appeared backstage over the last few seasons, we’ve come around. That being said, sometimes they work, and sometimes they don’t. McGrath was up to her old tricks this week at Valentino Couture, where she reunited with hairstylist Guido Palau to create hair and makeup not unlike the styles they churned out at YSL in October: a very sleek, small-headed silhouette with a middle part and invisible arches. But this time around, it received mixed reviews around the office. “Something’s missing,” one editor noted. “God gave us eyebrows for a reason!” So, we put it to you, dear readers. Take a gander at our retrospective of bleached brows past and let us know if and when you think they work, and when they look just plain creepy.
For those who work in the biz, the name Redken is synonymous with innovation. Season after season, its creative consultant, Guido Palau, uses the comprehensive line of styling agents, shampoos, and conditioners to design some of the most gorgeous—and often gravity-defying—hair looks at fashion week. But up until now, Palau has been working without one of the coiffing world’s most beloved tools: salt spray. The professional product line aims to change that, though, with its latest release, Nature’s Rescue, a four-piece paraben-, sulfate-, and silicone-free range that acts as the brand’s most green-leaning offering yet. Included in the lineup are a detox shampoo that functions as a daily clarifier, a cooling deep conditioner, and the Radiant Sea Spray—which is fitting for a collection inspired by the ocean and enriched with plant and marine extracts. The other standout is the Refining Sea Polish, an exfoliator for your hair that is designed to remove build up and add shine by buffing the hair shaft with pumice extracts. Applied to damp tresses in the shower, the idea is to work the product through the lengths by gently rubbing it between palms. It’s formulated for all hair types, too, so even color-treated locks can get in on the deep-cleaning action.
Tron: Legacy, a follow-up to the 1982 original opening today, should satisfy sci-fi fans who always wondered what happened to software programmer Kevin Flynn (Jeff Bridges) after he got sucked into the Grid, the alternate universe of his computer. On screen, it’s 20 years later, and Flynn’s son Sam (Garrett Hedlund) is on the hunt for him, aided by the latex-clad Quorra, a computer-generated superheroine played by Olivia Wilde. Her character’s persona and asymmetrical warrior ‘do are inspired by the sword-swinging Joan of Arc, but the quirky hairstyle also pays homage to Charlize Theron’s character in Aeon Flux. While most of what’s seen in Tron is CG special effects, we were intrigued by the real-life possibilities of the “Quorra” cut. For a little guidance, we turned to Guido Paulau, who’s transformed many models into forceful vixens on the runway.
I noticed that the Tron bob bears some similarities to the faux versions you created for the Spring/Summer Miu Miu runway show. What’s the trick to pulling off the look, if you’re not brave enough to chop off all of your hair?
At Miu Miu, we first blew out the hair straight with a little body on the ends. Then we pulled the hair back gently, tied an elastic around the ends, and flipped them under, creating the allusion of a short bob. The Miu Miu style and the sexy bob Olivia Wilde has in the film are examples of how you can make a classic look very modern. The broken-up ends give it great texture, and being asymmetric on one side also lends an extra edge.
With one side longer than the other, it could look like a tragic mistake with the scissors if not done right. How can you avoid disaster?
I think it has a lot to do with face shape and balance, so trust your stylist to tell you if the cut will look good on you, or ask for the asymmetry to be subtler. If you can master those two things, then the fact that the cut is longer on one side won’t matter. If the style looks good, it looks good.
Point taken. So how would you style the bob so it looks all slick and futuristic?
I would style it with a pliable paste, like Redken Rough Paste 12, and work it into strands to separate the ends and show off the texture and angles of the cut.
Any plans to see the movie this weekend?