August 28 2014

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20 posts tagged "Jil Sander"

Seamless Continuity, Backstage at Jil Sander


jilsanderThree words both Pat McGrath and Guido Palau used to describe the hair and makeup at Jil Sander: “Very, very natural.” Both artists let each model’s character take center stage instead of creating an entirely new persona. McGrath lightly contoured lids with a taupe shadow, brows were groomed, and lips were layered with balm. “Simply beautiful,” she said of the finished face.

Palau staked his claim on the two sinks backstage, using them to wash each girl’s hair with Redken Hair Cleansing Cream Shampoo. Strands were left to air-dry before they were spritzed with Pillow Proof Two Day Extender, a dry shampoo, for additional texture. Despite the designer departing her eponymous label for the third time, the house’s signature look holds strong.

Photo: Sonny Vandevelde;

A Study in Restraint, Backstage at Jil Sander


Jil Sander“There’s no period—it’s totally now and totally her,” hairstylist Guido Palau said of the look at Jil Sander. Hair was blown out with Redken Satinwear 02 for smoothness, and a deep side part was made with fingers (in lieu of a comb, which forms a hard line). After glossing over the surface with All Soft Argan-6 Oil, he pulled the length back into a low, loose ponytail and secured it with a black elastic. “A chignon would be too lady; [the pony] keeps it young yet pulled together,” he explained. After the models were dressed, Palau loosened a few pieces in front to form a “mesh” over the side of the face, introducing an element of fragility and ease to an otherwise stark style.

The minimal makeup created by Pat McGrath entailed only the basics: foundation, pinky-peach blusher, brown mascara on the top lashes, a blend of taupe-colored cream and powder shadows washed around the eyes, and lip balm. The only true “pronouncement” was the brows. “We’re not forcing a shape or a character—just enhancing,” she said of defining models’ arches. A touch of highlighter was added to the lids and inner corners of the eyes for a subtle and sophisticated glow.

Photo: Sonny Vandevelde /

Talking Fall’s Favorite Haircut—And A Little Art History—With Edie Campbell


Edie Campbell has had a few memorable runway turns—many of them opening ones—at some of the season’s biggest shows thus far. But if you had to do a double take when you saw her at Marc Jacobs, or at Burberry and Christopher Kane, you were likely not alone. “The same Edie Campbell with the heavy, Anita Pallenberg fringe and the long flaxen layers who starred in Spring campaigns for Burberry and Saint Laurent?” you may have been asking yourself of the girl with the black mullet-y shag. They’re one and the same, it turns out, thanks to the transformative cut and color Guido Palau gave her before the shows started, which has proved pivotal to the season since. Palau shouted out Edie as one of his reference points for the wigs every girl wore at Jacobs’ acclaimed presentation in New York, while Campbell herself continues to score big bookings, at least partially, because of the crop. “It’s a bit different, but it feels more me than the long hair,” the Brit It girl said of the style while backstage at Jil Sander yesterday, admitting that she doesn’t really even think about it as that drastic of a change anymore. “The novelty wears off,” Campbell said. Telling us that she plans on sticking with her short-hair persona for a while, there is one thing she’ll have to start considering: grow-out. “I haven’t really thought about roots at all!” Campbell revealed, explaining that she hasn’t gotten a color touch-up since her initial dye job a few months back.

Jil Sander was Campbell’s one stop in Milan, but she’ll be in Paris, she assured us. Where, exactly, she couldn’t say—”I don’t want to count all of my eggs before they hatch, but there ought to be some good ones,” she joked. For now, though, the full-time art-history student is back in London before heading to Seville to do some research—then to Paris. “It cuts out how much time I spend in the makeup chair,” she says of life as a matriculated model.

Photo:; Courtesy of Saint Laurent Paris

Beauty Gone Graphic, Backstage At Jil Sander


Jil Sander is a modern-thinking designer,” Guido Palau pointed out backstage at Sander’s Fall show—just her second womenswear collection since returning to her namesake brand last year. As a result, it’s almost unheard of to find an inspiration board, littered with referential images of icons of yesteryear, backstage at one of the arch-minimalist’s presentations, which often leaves Palau with the more open-ended task of interpreting Sander’s “pure, simple aesthetic” into a corresponding hair look.

This season, he went with a graphic ponytail, adding color-matched extensions to models’ manes to create a uniform length that swept the mid-back. Layering generous amounts of Redken Hardwear 16 Super Strong Gel in panels from the hairline to the nape of the neck, Palau gathered lengths with an elastic that he wrapped with a flattened section of hair. “You don’t want it to dry,” he explained of the technique that ensured strands were saturated to create a sleek, wet texture.

Pat McGrath used the opportunity to play with contours and shadow, keeping skin fresh and beautiful while creating an innovative eye shape in the process. “It’s literally in the socket and pulled out,” the makeup maestro explained of the warm gray cream pigment she brushed across the crease in a crescent shape that came to a soft point and then rejoined the outer corner of the eye. “Every girl is tailored,” McGrath elaborated, explaining that lids were primed if necessary to ensure that the neutral stroke of shadow showed up, although she erred on the side of caution to prevent an overly light, sixties effect. Taking down lips with a touch of concealer, McGrath curled lashes and left them bare while adding strength to the brows to effectively frame the face.

Photo: Michelle Morosi/

Redhead Alert


Following two seasons of platinum blonde loyalty and a Fall outing that made shades of deep brunette the runway hair hue du jour, the Spring 2013 shows are at a little bit of a color impasse. Castings have been relatively equal opportunity, with a lot of designers—Alexander Wang and Roberto Cavalli to name a few—requesting deliberately dark and light-haired models for the corresponding black and white sections of their presentations; Marc Jacobs, who ushered in the graphic trend with his Edie Sedgwick sixties salute, went as far as to have Laurie Foley take models black or white-gold, accordingly. Which is why it’s been hard to miss Irina Kravchenko. The Ukrainian newcomer who, despite opening Wang’s show, had a slow start in New York is killing it in Europe—not least because she remains one of the only redheads in this season’s catwalking crew. After staring at her from afar at Prada, Bottega Veneta, Jil Sander, Marni, and Roberto Cavalli this week, we finally managed to get the scoop on those gorgeous ginger-auburn locks—despite some initial trouble understanding one another (beauty is an international language, don’t you know). “It’s blonde naturally,” Kravchenko revealed after we maniacally pointed and gestured to her hair (then ours). The word “salon” helped solicit the revelation that she has no need for one, as she does her dyeing herself with—get this—”chenna.” Henna? “Chenna—from grass,” Kravchenko reiterated. That’s right; those rich, show-stopping strands are the result of an at-home application of the plant that has long been used to dye fabrics, skin, nails—and hair. The style set’s superstar colorists are no doubt chomping at the bit to get their hands on this one.

Photo: Luca Cannonieri /