60 posts tagged "Karl Lagerfeld"
While there were plenty of sleek chignons (Dior) and glossy blow-outs (Giambattista Valli, as well as Naomi Campbell’s Atelier Versace cameo) at the recent Couture shows, rockabilly pompadours made a bigger punch. Backstage before Karl Lagerfeld’s spectacle at the Grand Palais, hairstylist Sam McKnight explained that he used “quite a lot” of hair spray to mold the models’ “Grace Jones flattops,” which were echoed, albeit in a softer way, later that day at Bouchra Jarrar. We noticed similarly teased and slicked-back looks—seen on models Katlin Aas and Anne Verhallen—in the Fall ’13 Miu Miu campaign released earlier this week.
Photos: Getty Images / GoRunway.com / Courtesy of Miu Miu
Few fashion-show teams work the way Karl Lagerfeld, Sam McKnight, and Peter Philips do; like the designs in Lagerfeld’s Chanel Couture collections, the accompanying hair and makeup looks also come directly from his sketches. “Literally he [draws] with makeup,” Philips said of Lagerfeld’s proclivity to pick up lip pencils and powders instead of pens and crayons, which is where the precise idea for the beautifully faded Chanel Joues Contraste Blush in Plum Attraction that Philips applied along the temples, and on the very tops of models’ cheekbones, came from. “[Karl] also made a really strong eyebrow,” according to Philips, so the makeup artist followed suit crafting a “smoky brow,” rather than a smoky eye, diffusing the darker brown shades from Chanel’s forthcoming Les 4 Ombres eye shadow quad in Mystere through arches to keep them thick and sculpted. “It looks a bit futuristic with the set and the theme of the show,” Philips continued, describing the impressive build-out inside the Grand Palais as a “destroyed movie theater with elements of sci-fi.” A thin stroke of Chanel’s Le Crayon Khol in Noir along the outer corner of the upper lash line and a light dusting of the pale gold shade from the same eye palette across lids ensured that even guests in the makeshift auditorium’s cheap seats could catch a glimpse of Philips’ handiwork.
What may have been less obvious from the old-timey wooden chairs that were carefully assembled in the show space was the lack of a noticeable nail color on models’ fingertips, a detail that has become something of a Philips signature over the years. In its place was a newfangled approach to nail art in the form of rings that clipped around the actual nail bed and along each knuckle on models’ fingers.
Sam McKnight was working with his own bit of bling—or “back bands” as he referred to the crystal-encrusted demi-lunes that sat above long ponytails treated with Oribe’s Dry Texturizing Hairspray for a hint of definition after all the kinks had been worked out with ghd’s Eclipse straightener. “It’s a Grace Jones flat-top,” McKnight said of the front half of the dual-sectioned updo, which in some cases was accessorized with a square silhouetted hat, and boasted hints of 1950s rockabilly and eighteenth-century masculine quiffs, “with a huge element of Karl in there as well,” McKnight insisted. Using just models’ natural hair—no extensions—and “quite a lot” of Pantene Touchable Hairspray, the coiffeur admitted that he had chosen the labor-intensive path. ”Wigs are easy; this is very difficult.”
The fragrance flacon as minaudière is not a new idea. For the eighty-fifth anniversary of its iconic Arpège perfume, Lanvin debuted a handbag version of the classic orb-shaped bottle at its boutiques in February, and Viktor & Rolf followed suit a month later, showing black and white clutches shaped like its faceted Flowerbomb on its Fall runway in Paris. But as famous flacons go, there is perhaps none more celebrated than Chanel’s No. 5, which is currently enjoying a full-fledged museum exhibition in its honor at the Palais de Tokyo—and, as of yesterday, its own minaudière. “That’s fun, no? Why not? It’s a beautiful shape [that] the world knows. It’s considered the most famous perfume bottle in the world,” Karl Lagerfeld told our man on the ground in Singapore when asked about the haute accessory that debuted on the Chanel Cruise runway and could see a Fall release date. “After all, it’s a square—you can make a handbag out of it.” So true.
Peter Philips has said it before, and he all but screamed it on Chanel’s Cruise runway in Singapore yesterday: Karl Lagerfeld loves an eye. In fact, backstage-beauty watchers will have to look all the way back to the house’s Fall 2010 Couture show to find evidence of the last time Lagerfeld ordered up a statement lip—which might be why Philips is in his comfort zone when it comes to lids; no matter how many times he reimagines them, they never fail to impress.
For Resort, the makeup artist’s handiwork was even more noteworthy than usual, considering the hot and humid conditions of the Southeast Asian summer—and because rather than expand the definition of the word makeup with pieces of tulle, lace, jumbo glitter, and rhinestones, as has become his signature, Philips used plain old pens and pencils, to no less impactful an effect. “We combined an exaggerated graphic black eyeliner on the eyelid, with an electric-blue kohl underliner,” he explained drawing a thick black flick through the crease of the eye with Chanel’s Stylo Yeux Waterproof Long-Lasting Eyeliner in Noir Intense before using the same crayon in True Blue to create an equally elongated stroke beneath the lower lash line. “I also used lots of black mascara on the top lashes and applied a gently enhanced eyebrow,” the face painter continued, swiping on multiple coats of its Inimitable Waterproof Mascara in Noir. Skin was kept luminous with a touch of Chanel Joues Contraste Blush in Frivole, a warm peach, its Éclat Lumière Highlighter Face Pen, and some expert contouring courtesy of Chanel Les Beiges, an inventive array of sculpting powders that debuts next month. To not distract the attention from the eyes, which were dusted by Sam McKnight’s side-swept faux fringes—the ends of precisely pinned French twists that had been carefully arranged over the forehead—mouths were kept bare, albeit moisturized. “We kept the lips natural, only using [Rouge Coco Baume] lip balm,” Philips elaborated. He did allow for a little distraction on the nails, though, which peeked out of a series of fingerless gloves to reveal two glimmering coats of the cult-favorite Le Vernis de Chanel in Black Satin.
For those of you wondering if the Spring sentiment that sent models to the salon in droves in search of bobs and bowl cuts would return for Fall, the answer appears to be yes. As the shows officially come to an end today, with yet another wig moment at Louis Vuitton, we can confirm that designers are still very much feeling compelling crops. So can Guido Palau. “A lot of people want to see short hair this season,” Palau said backstage at Jean Paul Gaultier, where he was busy trimming “patchwork,” clipped-on-top mullets—a request that he, personally, has been fulfilling with frequency.
It all started at Dior Couture, where the Redken creative consultant gave every girl a convincing pixie cut. Then Palau honed his wig-shaping skills at Marc Jacobs, fashioning an army of Edie Campbells, the Brit It girl he gave a black dye job and a Joan Jett shag for an editorial months earlier. But it didn’t stop there. Sam McKnight picked up the torch at Clements Ribeiro in London, fashioning veritable faux-hawks, a style he reproduced at Fendi in Milan with tight braids accessorized with fox-fur hair pieces a few days later. Next up was Eugene Souleiman’s Rei Kawakubo tribute at Yohji Yamamoto, for which he replicated the Comme des Garçons designer’s architectural black bob, and the stunning pin curls Luigi Murenu designed for Riccardo Tisci’s breathtaking Givenchy collection. Then Karl Lagerfeld got in on the act at Chanel, ordering up colored, similarly graphic hats that sat on top of McKnight’s “done but not done” center-parted strands, thus creating a deceptively short silhouette on top of a long one. This morning, Palau brought it full circle, giving every one of Jacobs’ Louis Vuitton models—Kate Moss included—a “fifties, sort of French Left Bank” bob that was heavy on the mousse for an out-all-night effect.
The season’s overarching punk undertones may have had something to do with the wealth of conceptual cuts that made it onto the runway; nothing captures the subculture’s DIY attitude quite like lopping off excessive length. Suffice it to say, if you’ve ever considered parting ways with your long locks, now would be a great time to do it.