4 posts tagged "James Pecis"
“She’s more intellectual than previous seasons,” hairstylist James Pecis said of the Chloé girl. “This is a woman that’s done and has healthy, expensive hair.” Now, those are three words (“done,” “healthy,” “expensive”) we haven’t heard all season—with organic and slightly grungy textures reigning supreme for Spring 2014. To achieve the sleek and luxurious look, Pecis washed the majority of models’ strands with Bumble and Bumble Seaweed Shampoo and Conditioner in the two tiny sinks backstage (a step necessary for getting the lightness and bounce he desired on the runway). For fullness, he misted TIGI Bed Head Superstar Queen for a Day Thickening Spray from roots to ends and blew hair dry using a paddle brush for smoothness. Extensions were added for extra body before a flat iron was run through thin sections. A precise center part was made with the pointed tip of a rattail comb and set with L’Oréal Elnett hair spray. “It’s the little touches that are going to give the look strength—like a hard, clean line in the middle of the head,” he explained.
In contrast to the hair, however, the makeup by Diane Kendal was par for the course: barely there, but beautiful. She prepped skin with a moisturizer and applied a light-coverage foundation. The top and lower lash lines were rimmed with MAC Powerpoint Eye Pencil in Duck before a cotton swab dipped in moisturizer was used to wipe it off, leaving a shadowy sepia tone behind. The hollows of the cheeks were subtly defined with MAC Pro Sculpting Cream in Copper Beech and the apples topped with Cream Colour Base in Bronze. Kendal added a touch of the sculpting cream in Accentuate (a pale beige) to the tops of cheekbones and just above the brows to catch the light. Similar to the technique used to achieve the foggy leftovers around the eyes, she worked moisturizer over the entire face to produce a “residue” that rendered complexions luminous.
When we arrived backstage at Meadham Kirchhoff, 15 lingerie-clad girls had assembled by the runway entrance, their hair dyed an array of candy-coated colors. But this wasn’t just another embodiment of Spring’s hair color trend—which became abundantly clear when we made our way over to hair artist James Pecis. “They’re Courtney wigs,” Pecis said of the show’s opening act, for which he snipped a series of blonde wigs into Courtney Love circa-1991 shags, dip-dyeing them shades of pastel blue, cotton candy pink, and canary yellow, then coating them with John Frieda Thickening Spray and throwing them in a bag for a month to get a real, negligent kind of matted-down texture. (“How’s that for a styling tip?” Pecis joked.) For his second act, in which he hand-set 25 additional flaxen wigs, curling them with medium-barrel irons and styling them with John Frieda Hairspray, Pecis was inspired by a number of other iconic blondes. “Each wig came with its own specific photo reference,” he explained, showing us a Madonna card, followed by tags for Marilyn Monroe, Mae West, Veronica Lake, and even Farrah Fawcett, which he gave “the Meadham twist” by splattering strands with acrylic paint in the same confectionery palette. “There’s not a stitch of black in the collection,” he continued—or in the makeup, for that matter, for which face painter Florrie White was channeling Pop Art. “It’s Marilyn, but it’s Warhol’s Marilyn,” she said of the inspiration behind the über-bright pigments she drew onto models’ faces way outside the lines. “Imperfection is perfection for this,” she said. “We made the Courtney girls put on their lipstick with their eyes closed!” As for her own application techniques, which leaned heavily on MAC Paintsticks and Chromacakes, the designers gave the right-handed White one piece of advice: “They told me to apply all the makeup with my other hand!”
To match the effortless cool of Anne Valérie Hash’s love-inspired Spring collection in Paris yesterday, makeup artist Alex Box played up the “cosmetic” angle of the collection, complementing the sensibility and muted natural tones of the fabrics with similar shades of makeup. “It’s just stripped-back color, very sheer, cool, and effortless,” she said, which meant warm washes of mauve and rose through the cheeks and eyes so that each model “catches the light as she turns, and she kind of echoes the movement of the clothes.” It was a simple, pretty departure for the creative director of Illamasqua, the British-based makeup brand that prides itself on shock-and-awe makeup and equally outrageous ad visuals. A slight hint of Box’s flare for the extraordinary came via a flash of MAC Super Slick Liquid Eyeliner in Silver worn close to the lash line, sans mascara. “Usually, the less mascara, the more contemporary the look,” she said.
There was something dually extraordinary happening at the hair station as well. “We are introducing a new product in February, Bumble and Bumble Special Sauce,” master stylist James Pecis revealed. “It’s a mixture of our favorite staple products: Styling Creme, Surf Spray, and Grooming Creme,” he explained, prepping models’ tresses with the concoction to achieve a heavy texture to “toughen up” strands and offset the light, feminine clothes. Pecis then wove loosely deconstructed, messy braids along the sides for “a beachy look with a natural wave to it.”
Roksanda Ilincic had a touch of disco fever at her show in London yesterday, and backstage you could feel the boogie-oogie-oogie vibe, too, albeit in a post-aughts adaptation. Focused on creating something chic and modern, yet equally glam, makeup artist Lucia Pica used MAC Glitter in Reflects Gold and Beige on the inner corner of models’ eyes, extending the shimmery mix across the eyelids and onto the temples before spinning a fresh, wet look by smudging Vaseline along the bottom lash line. On the lips, she layered MAC’s Russian Red, Spice It Up!, and Cocochina—that perfect shade of chocolate berry that Charlotte Tilbury debuted at DKNY—for a dark, lacquered killer pout. The look truly came to life with hairstylist James Pecis’ ingeniously constructed fluffy, frizzy, flyaways—think Grace Coddington meets the towering Afros at Louis Vuitton’s Spring show. Wrapping sections of hair around pieces of wire in a figure eight shape, Pecis clamped them with hot irons then brushed each segment out, revealing soft, weightless, fuzzy manes that were meant to “move for the upbeat catwalk music.” And shake their groove things they did.