2074 posts tagged "Hair"
From double-C branded ketchup to white rubber dish gloves adorned with black camellia flowers, the aisles of the Chanel supermarché were abundant with color. The angular wings sketched onto the outer corners of the eyes reflected not only the range of shades in the collection (including pink, orange, green, and marine blue), but the bottles of fizzy, neon-hued “Tweed Bubble” soda lined up on shelves and ultra-ripe produce piled in the center of the set. The silver shadow base, however, played off the leather-and-chain-link shopping baskets that only this particular French grocery would have on hand.
The ponytails crafted by Sam McKnight were “blown up in proportion” and “exaggerated” courtesy of tweed rags, lace, and pearls that were braided and woven into crimped extensions. (Before being wrapped around the base of the pony, the faux strands were prepped with a combo of Fudge Salt Spray and Oribe Dry Texturizing Spray.) The motley mix of textures in back (somewhat reminiscent of dreadlocks) contrasted with the sharp and smooth center parts at the front. If filling my fridge and pantry was always such a feast for the eyes, I might be tempted to skip Fresh Direct and stock up in person.
This season, the designer created clothes for a “woman who was confident to dress in women’s clothes,” but the makeup, as describe by face painter Val Garland, was “healthy, wealthy, and handsome.” Brushed-up brows, perfected complexions, and lips topped with a clear mattifying formula from MAC comprised the look. “Just before they go out, we are going to give them a little massage on their cheeks so we get nice, natural color—but it’s not a blush,” she noted. The sheen on the high points of the face came courtesy of moisturizer, rather than a shimmery pigment, applied with a fan brush. “I’m a bit over the frosty sheen of highlighter, I think it’s dying a death,” Garland said. And similar to the London shows, she made a point of not picking up mascara. “It can look commercial when what you want to get across is something more directional,” she explained. But for those of us in the live real world and not on the runway, she suggests hanging onto our go-to tubes. “You can’t live without it—none of us can.” As much as I despise scrubbing off the black rings that form post-shower, I have to agree.
Hair pro Orlando Pita crafted a clean, natural ponytail—adding shine and canceling any flyaways with L’Oréal Professionnel Mythic Oil. “This makes it shiny, touchable, and soft—all the things the girls’ [strands] aren’t during the season,” he said. The tails were bent slightly with a curling iron for movement. Asked if the hair would be tucked into the collars and high-necked pieces in the collection (a trend that’s held strong since New York), Pita said that would be a game-time decision left up to Valli. The “haphazard” feeling this finishing touch lends, however, is something the mane master fully supports: “It’s as if you just got up and threw on a T-shirt—except [the T-shirt] is actually a Giambattista Valli dress—and headed out the door.” That sounds like my kind of morning.
“We really wanted the girls to look absolutely beautiful, but different,” explained Pat McGrath of the look at Givenchy. The “beautiful” half of the equation was achieved via skin highlighted to a “shimmery perfection,” pinky-peach blush dusted on cheeks, beige shadow washed around the eyes, and white liner run along the inner rims. The “otherworldly and surreal” element came courtesy of bleached brows and square-cut, crimson “face tapes” layered with a “plastic coating” on both temples. A string was secured underneath, pulled taut, and tied at the back of the head—gently tugging models’ faces upward. It was definitely not meant to mimic a facelift, however, McGrath noted when asked. After all, these are teenage girls (at least in the case of Kendall Jenner) we’re talking about. The tape—meant to be seen as a fashion accessory—was very much a “statement of today.” The conjoined pigtail braids by Luigi Murenu were as graphic and interesting as the maquillage and certainly otherworldly in that there is no way on earth you’re going to be able to DIY this double plait.
“I want to give them a look that isn’t a look—that’s Stella’s thing,” said Eugene Souleiman. “It’s like the hair real girls do before they go out and they’re in a rush.” (For the record, my hair has never looked like this when I’m running late.) After Souleiman made a center part, strands were misted with water to revive each girl’s unique and natural texture. The length was then scraped back into a low pony at the nape, the elastic pulled down for a more voluminous, billowy look. Some of the tails were then tucked into the pieces in the collection with high necks or underneath the collar of a jacket. “I don’t want them to look like models, because I think Stella designs beautiful clothes that real people buy,” Souleiman explained of the low-key, wearable style.
Pat McGrath received the same brief but was sure to account for the early morning call time. “It’s about no makeup, but just a little added freshness,” she said. After all, everyone—even those who are genetically blessed—needs a touch of foundation, a wash of taupe around the eyes, brown mascara, and a hint of blush before 9 a.m.
“If someone looks like they put too much effort in, it’s almost not cool,” said hairstylist James Pecis—that’s especially true if you’re the Chloé woman. “Soft,” “fresh,” and “easy” are just a few of the key words both he and makeup artist Diane Kendal used to describe the brand’s DNA and its aesthetic. For Pecis, that meant forming a side part just above the inner corner of the eye, pulling the right side back and tying it at the nape with a piece of elastic to give the impression of an asymmetrical cut. Texture was created via L’Oréal Professionnel Tecni Art Volume Lift Spray-Mousse, which was applied from roots to ends and blown dry. Sections were then wound loosely around a curling iron for a bit of bend and finished off with Wild Stylers Next Day Hair, a formula that works similarly to a dry shampoo. While the end result appeared quite simple, there was an underlying precision. “All of the parts are made on the right and the hair [swooped over] to the left,” Pecis explained. “It’s very specific, because when the models turn the first corner on the runway, the wind catches in their hair. We have to make sure it opens it up so the cameras can get each girl’s picture.”
This season Kendal reached for a hue well outside the beige family. “Clare [Waight Keller] was saying she really wanted to incorporate violet,” the face painter noted of her discussion with the creative director. Of course, this was no in-your-face purple eye, but an iridescent lilac shade created with a mushroom-colored “greasepaint” and MAC Eye Shadow in Beautiful Iris. For a smoky effect, Kendal used a taupe sculpting cream in the “banana” of the lid and underneath the lower lashes, pulling it out into a subtle feline shape. Next, a gray-blue shimmer pencil was run across the waterline for a brightening effect. Similar to the airy chiffon dresses or cozy, oversize coats (one of which was worn by none other than Sasha Pivovarova) in the collection, the pastel palette employed on the eyes was fiercely feminine.