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April 21 2014

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6 posts tagged "Jonathan Saunders"

Mannequin Maquillage, Backstage at Jonathan Saunders

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jonathan-saundersToday at the Tate Britain, priceless oil paintings that are more accustomed to looking down on tourists witnessed the frenetic activity that goes into pulling together Jonathan Saunders’ Fall 2014 show.

Plasticized waves, designed to mimic those belonging to a mannequin, were born at the hands of hairstylist Luke Hersheson. He worked L’Oréal Professionnel Tecni Art Gloss Control (a shine spray) and Liss Control (a gel) through strands with a fine-tooth comb, lending a shiny, artificial finish that looked painted on. In contrast, the length was simply flat ironed and tied neatly into a low ponytail at the nape of the neck.

Keeping with the mannequin theme, makeup artist Lucia Pieroni emphasized the high points of the face using MAC Pigment in Vanilla, making the skin appear almost waxy. A blend of Pigment in Orange and Paint Stick in White was buffed around the eyes, over the lid, and underneath the lower lashes. To bring a hint of life to the face, “a blood-red color” was pushed into the center of the lips.

Photo: Sonny Vandevelde; Indigitalimages.com

Marilyn Monroe Meets Courtney Love, Backstage At Jonathan Saunders

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“A pinup who is not quite a pinup” is how makeup artist Lucia Pieroni described Jonathan Saunders’ woman for Fall while backstage at the designer’s show. “She’s a bit grunge, a bit nineties, and there is a touch of the Marilyn Monroe and Courtney Love about her,” Pieroni continued as she conducted mini facial massages on site with Clé de Peau Beauté Gentle Protective Emulsion. Citing the artist Allen Jones, Pieroni started in on “smudgy brown eyes” that she built by rimming waterlines with MAC Eye Pencil in Coffee before blending that out for a “worn-in” feel. Concentrating her mascara wand on the base of the lashes rather than pulling it through to the tips, Pieroni was quick to point out that this was not intended to be a “lashy look.”

Instead, the high-octane glamour came from the hair. In a rare departure from the signature lank “skinny hair,” which left an indelible impression on the New York shows, Paul Hanlon was hard at work on a style that was, dare we say, rather ladylike in its construction. Smoothing and polishing the cuticle, Hanlon fashioned deep side parts before using a medium-barrel curling iron to create a forties-era bend throughout lengths.

Photo: Gorunway.com

Horsing Around, Backstage At Jonathan Saunders

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Just hours before he showed his Fall collection yesterday, Jonathan Saunders called his coiffing collaborator, Paul Hanlon, and asked him to change the hair for the show. “The look we’d created at the fitting was covering the clothes a little,” Hanlon later explained backstage. “So we had to rethink the whole thing, really simplify it and create a style free of references that wouldn’t distract from the clothes.” Suffice it to say, mission accomplished.

Continuing to spread the gospel of no-volume “skinny hair,” a mission he started in New York at shows like Altuzarra and Proenza Schouler, Hanlon opted for a sleek version of the house favorite ponytail. “We love a ponytail at Jonathan Saunders,” he said with a smile. “I’ve done quite a few [here].” But this one was a far cry from last season’s side-parted, sixties style, as it boasted much more strict severity. “Jonathan was inspired by the Japanese in part, their attention to detail,” Hanlon explained. “That sense of discipline and order is present in the [hair]—it’s as tight as the models could stand it,” he joked. Priming strands with Frédéric Fekkai Coiff Strong Hold Volume Mousse “for a bit of grip,” Hanlon worked in its Sheer Hold Hairspray section by section to get a next-level smooth, sleek finish before gathering lengths into a slick ponytail that he wrapped with black twine. “I was thinking of the way horses’ tails are bound for dressage,” he said of the accessory. “By binding the top of the ponytail, you can make it protrude an inch or so from the head, creating a stronger shape in the profile.”

Makeup artist Lucia Pieroni kept faces clean, verging on stark, with the sole focal point being a slash of matte red across the lips, courtesy of MAC Pro Chromagraphic Pencil in Basic Red. When it came to skin, she wanted to “keep it real,” combining a flawless yet light coverage of MAC Face and Body Foundation with a dusting of its Medium Deep Mineralize Powder over the higher planes of the face—”for warmth rather than contouring,” Pieroni explained. A solitary swipe of clear MAC Lipglass adorned eyelids to catch the light, while its Eyeshadows in Typographic and Copperplate gently defined the brows without masking their natural texture.

Photo: GoRunway.com

Ponytails And Pill Popping, Backstage At Jonathan Saunders

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“A little bit fifties, a little bit Miami,” is how makeup artist Lucia Pieroni started to describe the beauty look backstage at Jonathan Saunders before digging a little deeper. “It’s like a housewife who’s probably had too much Valium, so she’s quite fabulous but also deranged.” That’s more like it. Pieroni created a suitably retro face and perfected black cat-eye accordingly. “Her OCD is in the eye liner,” she pointed out, applying it thick and at an angle, using a brush dipped into MAC Fluidline gel liner in Blacktrack. The South Beach bit came via a dewy tan that Pieroni achieved by dusting MAC Mineral Powder in Mineral Deep onto cheekbones, across the forehead and down the bridge of the nose before blending its new-for-Spring Metallix Infusion Eyeshadow in Fusion Glow around the temples and underneath lids.

Hairstylist Paul Hanlon was after a similarly fifties feel, which he pulled off by fashioning sleek, deep side parts that had been prepped with Frédéric Fekkai Coiff Strong Hold Volume Mousse, and gathering lengths into a ponytail. “It’s austere and uptight, but a bit disrupted,” Hanlon said, pulling out wispy pieces around the hairline, which had been slicked down with Fekkai’s Coiff Sheer Hold Hairspray. “I like the idea of what a girl would do if her hair got blown in her face by the wind,” he continued, slipping a bobby pin in at the temple to hold back an imaginary fringe. Before models took to the runway, Hanlon hit the hair with heat from a blow dryer to simulate another haphazard gust.

Photo: GoRunway.com

A Homecoming Queen Is Crowned Backstage At Jonathan Saunders

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The first thing we noticed when Jonathan Sunders 1940′s prom queens sashayed onto the runway yesterday was a striking red lip. The second thing we noticed? The same vibrant crimson color on the soles of an impressive parade of Louboutins—three of which we have already started planning outfits around. The matte scarlet pout will likely be significantly easier to obtain come spring, so we got the low-down from makeup artist Lucia Pieroni, who lined models’ mouths with MAC’s Lip Pencil in Cherry before dabbing on a very precise application of its Lipstick in Ruby Woo. That serenely smooth skin that can only belong to a 16-year-old prom queen (or model, as the case may be) came courtesy of MAC’s Mineralize Skinfinish in Medium Deep with a slight contouring of its Pigment in Vanilla for a waxy, flawless finish. Paul Hanlon added to this picture of chaste perfection with a bouncy ponytail that retained a bit of a masculine, greaser edge from a subtle pompadour-esque ridge that he slicked back from girls’ foreheads with pomade. A number of words come to mind to describe the look—lovely, charming, delightful—one of which is not seventies, a refreshing change of pace from a week of London shows.

Photo: Marcus Tondo / GoRunway.com