6 posts tagged "James Pecis"
“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.
“She spends more time on her art than her hair,” backstage pro James Pecis said of the Dada-collecting intellectual who inspired the look. The forties influence seen in the clothes was reflected by way of a single marcel wave—created by bending a section at eye level around the barrel of a curling iron. L’Oréal Professionnel Tecni Art Super Dust was used throughout for “traction” (the under-layers were stitched down using a large upholstery needle and elastic string), and mousse was pressed in at the crown to cancel any flyaways. The finished look was “forties grunge,” Pecis explained.
In contrast to the roughed-up strands, the brows were shiny and pristine. Makeup artist Nina Haverkamp painted a transparent Kryolan gel onto arches before topping it with clear lip gloss. Cheekbones were lightly coated with Rosebud Salve, and lids were washed with a shimmery taupe to mimic the color that often appears due to lack of sleep. Trust me, I don’t need eyeshadow to re-create that.
“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.”