20 posts tagged "John Frieda"
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.
The Asian influence in Peter Dundas’ Spring collection for Emilio Pucci was evident long before models got into their first looks, following a casual round of Champagne drinking and conversation. “It’s Indochine in a modern way,” Luigi Murenu said of the ivory hair pins carved with elaborate dragon motifs that he slipped through long, center-parted half-up, half-downs. “We have to keep it quite Pucci, though,” he added, pointing out that the reference couldn’t be too literal as to abide by the house’s DNA, which necessitates a girl that “has an easy approach to hair but is stylish.”
Prepping elongated strands with Phyto Professional Intense Mousse, Murenu created a painstakingly straight texture with a slick of John Frieda Frizz Ease before cutting short wispy pieces around the face for “modernity and coolness.” As the coiffing star finished his last girl, Dundas made a surprise guest appearance in his chair to get a touch-up before the show. Setting him up with a makeshift barbershop gown, Murenu treated the designer’s signature curls to a few scrunches of Kérastase Nutritive Oleo-Relax Serum.
Lisa Butler kept her nods to Dundas’ Eastern influences duly light-handed. “It’s a concept, not really a reference,” the face painter said of the makeup’s “Zen simplicity.” Rimming lids with MAC Eye Kohl in Smoulder before deliberately removing the black pigment to leave behind just a trace of sultriness, Butler placed a “blob” of its Chromaline gel eyeliner in White above the center of the upper lash line and blended it for “dimension.” Before models hit the runway, Butler added a slick of gloss to lids and a dusting of powder through the T-zone so girls looked a “bit more done.”
“Dark romance” is how Pat McGrath described the beauty look backstage at Gucci, where the makeup artist’s signature bleached brow circa Fall 2009 returned to bring an “ethereal” look to Frida Giannini’s model brigade. “It’s a little Rossetti,” McGrath continued, referencing pre-Raphaelite poet, illustrator, and painter Dante Gabriel Rossetti’s frequently lip-stained portraits.
Accordingly, McGrath summoned the blackened cherry pout she did here two seasons ago, lining mouths with a deep bordeaux lipstick that she dabbed in the center with a bright red pigment topped with a bit of gloss. Blending a highlighted contour onto the top of cheekbones, she elaborated on why blocking out arches was essential to the look. “A red lip with brows tends to go more period. And with the romantic hair…” the face painter exclaimed, referring to hairstylist Luigi Murenu’s long, center-parted waves, which were treated to a dose of John Frieda Luxurious Volume Thickening Mousse and finished with two twisted front sections that were held together in the back with a sparkling hair clip, custom-made by Giannini for the show. “Make it look gorgeous,” Murenu directed his team. (Done and done.)
While we may be dutiful about certain makeup bag and skincare arsenal maintenance—regularly rotating out our mascaras, tossing sunblock the day it exceeds its expiration date, etc.—we’re pretty much hopeless when it comes to our coterie of hair tools. Full disclosure: We’ve been using a banged-up travel-size hairdryer for about two years, and our flat iron, while effective enough, tends to emit a burnt odor that signifies that you’re hair is, well, cooked (ew). So it is with great delight that we welcomed the chance to test-run some new and noteworthy launches from three hair tool pioneers. Needless to say, these hot stylers are more than just full of hot air.
Conair has teamed up with John Frieda to release a straightener, a trio of curling irons, and, our favorite, a blow-dryer. The Full Volume Dryer has the power, variety of heat and speed settings, and lightweight design of models twice its price to dry your hair faster, more safely, and considerably more economically.
T3′s SinglePass Compact Iron is, as the name suggests, a shrunken-down version of the brand’s cult-favorite, full-size flat iron. But unlike most travel accessories, it doesn’t sacrifice efficacy for size. The mini version still boasts T3′s signature tourmaline technology, which means smooth, straight strands are now just easier to come by.
The Curling Iron
Sultra’s new Bombshell three-quarter-inch maintains the same erotic plaything shape as its 1-inch predecessor and uses the brand’s unique Japanese Kyocera ceramic heat system to rapidly impart waves and ringlets to languid locks. It’s a clip-free model, too, which means you wrap sections around the rod, rather than singe them between damage-inducing clamps. Great for texture control—and protecting the integrity of the hair shaft.