18 posts tagged "John Frieda"
Once showgoers got over the shock-and-awe of Viktor & Rolf’s relatively shock-and-awe-free collection, they likely shifted their focus from the unusually wearable clothes to the equally wearable—and downright beautiful—hair and makeup. “It’s pretty, non?” Luigi Murenu asked, looking over a gorgeous interwoven coronet. “It’s innocence and youth for once,” he joked—a remark that he, of all people, is more than qualified to make. As the design duo’s longtime coiffing collaborator, Murenu has been a part of his fair share of backstage heroics here that have included braids in the past, an apparent soft spot for monsieurs Snoren and Horsting, but braids that are almost always paired with something extreme (Fall 2011′s allover red faces immediately come to mind). This season, Pat McGrath’s “fresh, young, and finished” blush-colored lids and contours made the soft, texturized plaits Murenu treated with Kérastase Nutritive Mousse Nutri-Sculpt seem that much more accessible—and instantly covetable. Full disclosure: We tried to replicate Murenu’s center-parted, crisscrossing inverted French braids (also called Dutch braids, which is appropriate for the Amsterdam-based fashion house) this morning with little success. But, as they say, “If at first you don’t succeed, try try again”—and watch as many YouTube tutorials as you can find online.
Using fake fringe on the runway can often go terribly wrong, mostly because the hair accessory usually looks, well, fake. But not when the task is left in the extremely capable hands of Luigi Murenu. Citing sixties-boho poster children like Marianne Faithfull and Jane Birkin backstage at Pucci, Murenu insisted that the heavy hairpieces he was individually beveling to frame each model’s face were “very now.” How so? The slight wave and artificial highlights he added gave the style an incredibly natural, lived-in, modern feel.
Prepping strands with Roux Fanci-Full Color Styling Mousse, which adds a temporary tint of auburn, flaxen, or chocolate to create raw contrast and texture, Murenu alternated between spritzes of John Frieda Refresh Dry Shampoo and L’Oréal Elnett hairspray to build a well-worn pieceyness through models’ lengths. Then came the bangs, which were precut and then shaped to fit individual foreheads. Coating his hands with Kérastase Elixir Ultime, Murenu slipped side sections behind the ears, leaving front pieces to hang down.
“We wanted to start again with her,” makeup artist Lisa Butler said of the Pucci girl we’re used to seeing here, who frequently relies on gloss and shine to make an impact. Not this season. Instead, Butler focused on incredibly mattified skin that was dusted entirely with MAC Mineralize Skinfinish Powder before turning her attention to eyes, which were rimmed with its Kohl Power Liner in Feline on the upper lash line, treated to a row of MAC 4 Lashes, and then lacquered with mascara. “It’s all black—there’s no visible flesh left,” Butler emphasized of where the lash line met the fringe, although she took care to subtly contrast lids with MAC Pro Longwear Paint Pot in Stormy Pink, a sheer violet, which she topped with its Lipstick in Plum Dandy, a frosted lavender, “to bring it all back to life.” Lining the lower lash line with a neutral pencil to open things up a bit, Butler employed an old makeup-artist trick on lips, which she sculpted with short strokes of tawny-colored MAC Lip Pencils in Oat and Cork—drawing a quarter-inch line under the center of the lower lip, up the middle, on the Cupid’s bow, and just at the corners of the mouth. “Don’t join [the lines],” she stressed blending the etchings with the same Paint Pot to create a “more modern” beige lip before using both pencils to draw on a few spotty freckles. “It’s like they’re in Hoxton and you’ve dressed them in mad Oxfam clothing—we’re hoping they look like that,” Butler elaborated, adding Venus in Furs, the Leopold von Sacher-Masoch novella and the Velvet Underground song, to her pool of references. Never have a nude pout and heavy lash been so loaded (and, incidentally, lauded).
Wearing makeup to the beach is a questionable move, although if you grew up in a NorCal surf town, like Rodarte’s Laura and Kate Mulleavy, it was probably also hard to avoid. “It’s the idea of mascara that has been applied on the beach,” James Kaliardos said of the makeup look he created for the sister duo’s Fall Santa Cruz-themed collection. “It’s a bit messy,” he continued, “as if it fell onto [models'] faces.”
Dusting lids with NARS Single Eye Shadow in Bengali, a matte dark brown shade that Kaliardos swept underneath the lower lash line as well, he worked its forthcoming Eye Paint in Mesopotamia, a similar shade, through the crease to provide a little slip. Then, taking NARS’ as-yet-unreleased Larger Than Life Long-Wear Eyeliner in Via De’Martelli, a dark chocolate, he dotted on a chunky, “speckled” bit of pigment for a haphazard effect. NARS Larger Than Life Volumizing Mascara added additional dimension to lashes while its Velvet Matte Lip Pencil in Belle de Jour gave pouts a subdued nude finish.
Odile Gilbert was going for a “rocker princess” look, which she achieved by building a “cool, undone” texture into models’ manes. Prepping hair with John Frieda Frizz-Ease Curl Reviver Styling Mousse, Gilbert took strands through a two-inch curling iron to create a loose bend. Brushing out the waves for a more natural appearance, she created interwoven plaits on either side of the head, which were joined together in a rosette that segued into a single braid in the back. Using Frizz-Ease Hair Serum Thermal Protection Formula on the ends to create piecey separation, Gilbert crowned select models with barbed-wire headbands, including Nadja Bender, Irina Kravchenko, Kate King, and Tilda Lindstam.
They say the Screen Actors Guild Awards often help clarify the Oscar picture, as Hollywood’s best and brightest are judged by a panel of their peers. If that’s the case, then February 24 should be a big night for Daniel Day-Lewis, Jennifer Lawrence, Argo, and strapless floor-length gowns. On the beauty front, the show also seemed to indicate an uptick in side-parted glam waves, neutral lips, and sultry smoky eyes, although there were a few surprises to speak of. Below, we’ve outlined our favorite hair and makeup moments from last night’s festivities and made things a little interesting with some friendly competition. Who do you think won best in beauty?
Statement Lips: January Jones vs. Claire Danes
And the Actor goes to…Claire Danes
January Jones gets points for the Bowie-caliber pompadour that she paired with her precisely lined crimson mouth, but Claire Danes wins this category with a completely out-of-the-box plum-stained pout that bordered on chocolate brown courtesy of a layering effort of Laura Mercier Lip Pencils in Coffee Bean and Deep Wine. Fall’s embrace of the mulberry mouth may be losing steam, but don’t be surprised if Danes’ take on the color inspires a whole new crop of followers.
A Cut Above: Freida Pinto vs. Marion Cotillard
And the Actor goes to…Marion Cotillard
Short cuts have been the big story on the runway and red carpet of late, and the SAGs had a few moments of shear genius to speak of, right on cue. Freida Pinto showed off the beautiful cowl-neck of her lilac Roland Mouret gown with a rolled-under bob that we actually had to do a double take to determine if it was faux or real. There was no such confusion with Marion Cotillard’s freshly chopped locks, however. Worn with a deep side part and featuring slightly asymmetrical front panels, Cotillard’s cut wasn’t just the best short story of the night, it was one of its finest beauty moments, period.
It’s hard to believe, but back in the eighties, the wealth of frizz fighters that readily line the shelves at your local drugstore simply didn’t exist. There was the rogue fluid or balm designed to smooth out strays and fight humidity, sure; but there was nothing that did so all that convincingly and without weighing hair down. That all changed when John Frieda introduced his revolutionary Frizz-Ease Serum in 1988. This year marks the twenty-fifth anniversary of that original formula, a blend of silicones and silk proteins that gave many a fuzzy-haired girl reprieve—this one included. I’ll never forget when I first discovered the clear polishing gloss. I was coming to terms with a very thick, hyper-voluminous head of waves, which my thirty-something self can handle but my 13-year-old self certainly could not. In a move to manage my increasingly unmanageable mane, I did what any middle schooler at the time would: I switched out the crimping plates in my hot iron, replaced them with smoothing panels, and ironed my hair to oblivion. It was a quick fix that caused about a year’s worth of residual damage. The more lasting solution, of course, came by way of a little transparent pump bottle with purple writing that my older sister brought home on the recommendation of a friend—and still occupies an important position in my hair-product arsenal.