6 posts tagged "John Freida"
Beholding the backstage scene at Gucci was something of a serious flashback—and we’re not just talking about the overt references to Surrealist artist Man Ray and Blondie front woman Debbie Harry. There was Pat McGrath, brow bleach in hand, calling to mind her blocked-out arches phase circa Fall 2009, when an all-forehead, all-the-time mandate swept the beauty establishment. While the makeup guru has since joined her face-painting cohorts in ushering the return of full, boyish brows, she wanted a “tougher, stronger look” for Frida Giannini’s 1920′s-skewed presentation—the better to showcase a series of “Art Deco, punk” raccoon eyes. Creating a flawless complexion, McGrath focused her energy on lids, lining the entire eye with Max Factor Kohl Pencil in Black to hold additional pigments like its Smoky Eye Effect Eyeshadow in Onyx Smoke, which was topped with a black shimmer shadow and multiple swipes of its Xperience Volume Mascara.
Like Paul Hanlon at Acne, hairstylist Luigi Murenu was captivated by that phase of life when Debby Harry had bleached-blond hair with black undertones. Conveniently, for Murenu, the new wave rocker’s skunk streaks corresponded well to Man Ray’s avant-garde black-and-white photography. Prepping strands with the John Frieda Luxurious Volume line, Murenu slicked hair back into two ponytails, tucking them underneath themselves and securing them with electrical tape at the base—a way more striking look than a boring old elastic. Then, he used a colored cream makeup to paint black streaks along sleek slide sections, reverting to a gold pigment to create a similar contrast on brunettes. The hair team at Alberta Ferretti was no doubt thrilled when models arrived for the next show.
Lady Gaga opens up about her beauty routine, which includes a loyalty to Ivory soap—but not every night. The pop star admits that she regularly goes to bed with makeup on. We imagine those facial horns she’s been sporting lately are a bitch to maneuver against the pillow. [People StyleWatch]
Here’s a new acronym to add to the old beauty lexicon: GHOSTS (Gray-Haired Over-Stressed Twenty-Somethings). It’s a word professionals are now using to describe the uncharacteristically large number of women that have started going gray before they hit 30. [Daily Mail]
After lots of teasers and more than one “accidental” leak, the full-length version of Keira Knightley’s new Coco Mademoiselle commercial is officially out. [Make Epic Media]
Mother, actress, fashion designer, and now haircare spokeswoman. Katie Holmes stars in a new short film for John Frieda’s Precision Foam Colour, which is set to make its full-length Facebook debut tomorrow. [InStyle]
The desire to nip and tick is in fact gender neutral. According to a new report from the American Society of Plastic Surgeons, the number of cosmetic procedures among men in the United States increased by 2 percent last year. [US News & World Report]
If we had to call it right here, right now, spider lashes would be the trend we are most excited about for Fall. We loved them at Alberta Ferretti and ogled them at Lanvin, but it was Charlotte Tilbury’s mastery with the mascara wand at Chloé that really sealed the deal. “It’s a hybrid between Anita Pallenberg and Charlotte Rampling,” the flame-haired face painter said of the look for Hannah MacGibbon’s Fall show, for which Tilbury set out to intermingle Pallenberg’s rock chick vibe with Rampling’s “chicer side of hippie.” That meant a “lived-in” brown eye, courtesy of MAC Cream Colour Base in Dark Brown, which was smoothed across lids while its Eye Pencil in Teddy, a medium brown, was smudged underneath the lower lash line. Then came MAC’s Fibre Rich Lash Mascara in black, which Tilbury heaped onto both the upper and lower lash lines for a “cloggy” effect. (For those of you wondering how to properly sport lower-lash mascara without the risk of pigment residue slowly winding up on your skin, Tilbury recommends dabbing translucent powder underneath the lash line. Now you know.) Finishing touches came in the form of an orange/caramel lip coated with MAC Lipstick in Freckletone and that music festivalgoer staple, freckles. “We’re just putting them where the sun would hit you,” Tilbury said of the small spots she stenciled along the tops of cheekbones and across the nose bridge using MAC Lip Pencil in Hodge Podge.
Luigi Murenu’s middle-parted waves were also reminiscent of the Coachella set. Prepped with John Frieda Luxurious Volume Thickening Blow Dry Lotion and curled with a 2″-iron through the mid-lengths for bend, it smacked of the easy summer hair we’ve been dreaming about since winter set in a long five months ago.
“She’s been through a lot,” hairstylist Luigi Murenu quipped of the Viktor & Rolf woman for Fall. “The rain, the dust. They’re heroines—modern Joans of Arc!” While most people would take that reference and conjure images of the French patron saint’s heavy fringe, Murenu went in a different direction completely, opting to channel his embattled protagonist as she was dismounting from her horse in all of her windswept sweaty glory. Coating strands in John Frieda Luxurious Volume Thickening Mousse for a wet, piece-y texture, Murenu fashioned deep side parts and braided sections on both sides of the hairline to the back of the head, before joining both plaits into a ponytail and braiding through the ends.
If you’re thinking that Pat McGrath’s completely red faces were meant to illustrate Murenu’s galloping warriors’ subsequent sunburnt skin, don’t. It was much simpler than that. “They’re stepping out of a red camera gel light,” McGrath explained of the jarring and yet somehow totally gorgeous makeup look. “I’m taking that to a place that’s really literal”—and how. What provided the gorgeous bit here was the fact that McGrath accentuated models’ natural assets instead of blocking them out—the wash of scarlet pigment that was brushed over the entire complexion was removed from brows, which were brushed up and sculpted; lids were carved out using a sheer dusting of smoky shadows; and a thin scrawl of black liquid liner was applied before a row of extra lashes, which were curled for extra impact and a nice dose of drama. Equally impressive was how McGrath got Constance and co. back to bare post-show by calling in the big guns. “We used five different theatrical makeup removers,” she told us when we ran into her later in the day.
Full disclosure: All the seventies/Studio 54 references for Spring have become a bit repetitive for us of late. But when that era-specific beauty is re-created with the kind of precision that we saw backstage at Gucci yesterday, it becomes new and exciting again; Jerry Hall and her cohorts could not ask for a more beautiful retrospective than the sleek, polished look makeup artist Pat McGrath and coif master Luigi Murenu churned out for the occasion. Coating models’ hair with John Frieda Frizz Ease Serum, Murenu created deep side parts and secured models’ tresses in ponytails with a leather band (that happened to match the handbags in the show), before braiding and twisting his plaits onto themselves for a coiled chignon. But the real punch came from a smokin’ hot, glossy red mouth that McGrath painted onto pouts with a brush dipped into a mixture of not one, not two, but three different scarlet pigments for the “orangey-red” color she felt was deserving of the navel-baring jumpsuits Frida Giannini sent down the runway. As to avoid making the girls look too “retro,” McGrath focused her attention on dewy skin, using CoverGirl’s as-yet-unreleased NatureLuxe Silk foundation (which she debuted backstage at Anna Sui) and a glossy eye, courtesy of a slick of Elizabeth Arden’s Eight Hour Cream on top of metallic brown eye shadow. Finishing touches came in the form of CoverGirl’s LashBlast Fusion mascara and MAC Lacquer in Shirelle, a cherry red varnish applied to fingers and pedicured toes, which peeped out of crushed velvet and gold python strappy stilettos. In a word, swoon.