4 posts tagged "Guinevere Van Seenus"
Hairstylist Eugene Souleiman said he didn’t look to the actual collection for inspiration, but instead thought more about the Stella McCartney woman. “There are a lot of florals in this show, and the prints are quite textural and light, so I didn’t want to do anything that bore a resemblance to [those elements],” he explained. The solution: A boy-meets-girl ponytail on fresh strands. “I’m a huge advocate of swamp hair, but the reaction to that this season is something much cleaner,” he said. Using zero product, he added a bit of volume with a round brush and blow-dryer, then made a deep side part, “like an old man’s hairstyle, when he’s trying to comb over a piece of hair to hide something,” Souleiman quipped. The length was tied back at the nape of the neck with a string of black elastic—a method the pro prefers over a band because it keeps the tail “tight and controlled.” Any loose bits that fell out were left alone, as they lent a notion of fragility to the strict style. The end result was a “masculine shape,” described Souleiman, with a soft, free-flowing texture that kept things feminine.
As for the makeup, Pat McGrath said it was “rebellious,” imploring graphic liner to lend some edge. The look was based on a photo McCartney saw of Guinevere Van Seenus in Craig McDean’s new book (Amber, Guinevere, and Kate Photographed by Craig McDean: 1993-2005), for which the face painter had created a winged eye. To make it runway-worthy, McGrath ran a “brown-gray” pencil along the upper lash lines and flicked it out onto the outer corners and pulled it down toward the tear duct—forming sharp points on the diagonal. The lower lashes were also rimmed in the chestnut hue. For intensity, a hand-mixed, liquid version of the liner shade was run over the top. “She’s a stronger, tougher girl this season,” added McGrath. But with the beautifully painted ceilings of the Opera Garnier floating overhead and Sir Paul McCartney sweetly playing the harmonica for his granddaughter backstage, I felt worlds away from the slightly badass image the designer had in mind.
Throwback Thursday is a column on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Model: Guinevere Van Seenus
The Moment: Heavy Metal Eyes
The Motivation: Perhaps it’s our obsession with all things sparkly, but metallics (silver in particular) have never seemed more appropriate. And thanks to makeup artist Pat McGrath’s handiwork at Dior’s Fall 2013 show, platinum liner has become one of our favorite beauty looks to date. For some otherworldly inspiration, however, we’re looking to this shot of Van Seenus. Her foiled lids, combined with a futuristic widow’s-peak haircut and ombré lips, make a case for going a little overboard with a trend.
After putting on a veritable makeup clinic here for Fall that included a lesson on tricolored eyes with splashes of orange, purple, and black, Pat McGrath shifted her attention due south of models’ lids for Miuccia Prada’s Spring show. “It’s a bold, bold, bold red lip,” she said of the matte crimson color she traced around mouths. “It’s all about a passionate woman [this season] and you can’t get more passionate than red.”
Building a flawless complexion with a slight highlight on the high planes of the face, McGrath groomed brows, adding a brown pigment through the eye socket and tracing the upper lash line with a stroke of shimmering white shadow. Then she focused on pouts, which were rimmed with CoverGirl LipPerfection Lipliner in Hot and filled in with its LipPerfection Lipcolor in the same shade. “It’s all about oversized,” she elaborated, keeping the color slightly outside of the lip line and drawing a white, “illustrationlike” curve along the cupid’s bow. “[It] makes them appear bigger,” a well-educated Jessica Stam pointed out of the animated element’s effect on her own lips, showing off some impressive know-how gleaned, no doubt, from years of enrollment at McGrath’s backstage beauty school. Lashes were simply curled and left sans mascara, while toes got two coats of CoverGirl’s Outlast Stay Brilliant Nail Gloss in Ever Red-dy and Reliably Red, which peeked out of the rare pair of flat or platform sandals that came down the runway without a set of socks (only Miuccia Prada can make sandals and socks look cool).
Guido Palau injected a touch of “tomboyishness” with a series of classic French twists that he deliberately made more “broken.” Busying his team with the task of blow-drying models’ hair straight with Redken Thickening Lotion 06 Body Builder to create a base level of texture, Palau himself took on the task of twisting individual updos on individual models like Guinevere Van Seenus, whose strands he gathered straight back, spritzed with Redken Quick Tease 15 Backcombing Finishing Spray, and then pinned up, letting the ends hang over her forehead like makeshift bangs. “Designers always want fringe, but they don’t want to use fake fringes,” he explained of the deceptive technique. “[They] want a girl with character,” he elaborated of Miuccia Prada specifically, pointing out that no matter the sartorial order—”there was a Japanese stroke,” Palau acquiesced of today’s collection—”it’s always Prada.”
In addition to some serious staying power, there’s something else to admire about nineties model Guinevere Van Seenus: her chameleonlike ability to rock a series of different hair colors and look gorgeous every time. That’s thanks in large part to colorist Laurie Foley, who has taken the light brown-haired Van Seenus from golden (think: that iconic Jil Sander campaign circa ’96) to almost black (with bleached eyebrows) and back over the course of her decade-spanning career. The model’s latest transformation debuted this week at Rodarte; Van Seenus turned up sporting a “medium-deep blond with lots of shimmery translucent pieces,” according to Foley, who used a mild color remover followed by alternating applications of Wella’s Color Touch Relights and its Koleston Perfect dye mixed with a low ammonia and peroxide developer to take the model’s tresses back to a lighter shade “very close to her natural color.”
So, why the change? “We had been making her a rich chocolate brown, and although it was really beautiful, it sometimes contrasted a little much with her peaches-and-cream skin, so it photographed a little dark,” says Foley. Seeing as how celebrity colorist Marie Robinson recently told us that we’ll be seeing a return to “more natural colors and less extreme ombrés” for spring, Van Seenus seems ahead of the trends, as usual.