60 posts tagged "Karl Lagerfeld"
Paris’ Grand Palais is appropriately named. The turn-of-the-20th-century venue is massive, and so are the Chanel shows that take place there every season. The fact that the audience here is perched in stadium-style seating presents an interesting challenge for Peter Philips. “We wanted something that is beautiful close by, but that you can read from a distance,” he explained of the process by which he and Karl Lagerfeld brainstormed a makeup look for Fall. Noticing the metallic threads that were woven into many of the designer’s tweeds, and the twinkling lights demarcating cities in the giant globe that sat at the center of his runway, the idea of using glitter “just came up,” according to Philips, who turned to 3-D eye makeup that utilized “jumbo” silver sparkles as a fairly festive solution to the problem.
It worked. Even from the cheap seats, you could see models’ lids flickering as they circled the world according to Chanel with pieces of sequins affixed close to their lash lines in an elongated shape, and in the lashes themselves. “We actually applied extra glue in the lashes so they get more faceted and catch in the light,” Philips revealed. Keeping skin semi-matte with Chanel Perfection Lumière Long-Wear Flawless Fluid Makeup, dusted with its Poudre Universelle Libre to contrast with the shiny texture on the lids, Philips added a warm flush with Chanel’s forthcoming cream blush, one of six new hues that will launch with corresponding Rouge Coco Shine lip colors this fall—including the transparent, deep berry-rose Instinct that Philips slicked onto mouths today. Nails were painted a similar color with the as-yet-unreleased Le Vernis de Chanel in Elixir. As a finishing touch, Philips drew a long line of its Le Crayon Khôl eye liner in Noir underneath the lower lashes to further ensure models didn’t disappear in the vast space. “It’s a combination between a technical solution and an aesthetic solution,” he said of the graphic element.
Sam McKnight’s “done, but undone” center-parted strands were a reaction to two additional graphic elements. “There are these chokers,” he said, referencing the wealth of necklaces that were placed over the back of models’ hair, creating an indentation. Prepped with Frédéric Fekkai Full Volume Mousse for a slight bit of texture and Magic Move for piecey-ness—”the white one, which is the creamiest one,” McKnight said of the popular sculpting cream—lengths were tucked into overcoats, blazers, and dresses, so all that remained was the illusion of a short-hair silhouette, a shape that was made even more distinct via a series of colored hats shaped like bobbed wigs with blunt bangs. Lagerfeld has always had a soft spot for the kind of short cuts that are making the runway rounds this season, often surrounding himself with cropped, house muses like Saskia de Brauw and Stella Tennant—the latter of whom showed up backstage just in time to get an impromptu trim from McKnight. Talk about a job perk.
Peter Philips has been making a case for the statement eye a lot recently. The Chanel creative director of makeup added “a touch of edginess” to Karl Lagerfeld’s tartan-rich Métiers d’Art pre-fall collection in December, while a “kind of heavy-handed,” black-rimmed silver lid colored the designer’s Spring show. At the house’s couture presentation this afternoon, it was much of the same.
“We created the eye applications specially for this show,” Philips said of the pieces of leaf-shaped tulle that Maison Lemarié cut using the same strips of fragile fabric Lagerfeld employed in a series of delicate hair pieces. “The makeup is almost an extension of the head accessories,” Philips continued, pointing out that each feathered clip-in that Sam McKnight affixed to models’ messy updos covered one eye, revealing only half of the face, the entirety of which still needed to be primped to perfection.
Creating a flawless base with Chanel Vitalumière Aqua Ultra-Light Skin Perfecting Makeup SPF 15, Philips swept on a touch of its Joues Contraste Powder Blush in Frivole, an extremely flattering peach hue, before building a standard smoky eye around the appliqués with its Stylo Eyeshadow in Black Stream and Stylo Yeux Waterproof Long-Lasting Eyeliner in Noir Intense. Natural eyelashes were treated to multiple swipes of Le Volume de Chanel Mascara in Noir to add further intensity. “In close up, you feel the fragility of the textures and materials, and from a distance, the look feels much darker,” Philips points out of the particular paradox he was striving for with the makeup—and the nails. Fingers were treated to two coats of Le Vernis Nail Colour in Emprise, a pale coral, while toes were varnished with its Black Satin for contrast. No detail was overlooked, as per usual.
Just two weeks after his Spring 2013 Chanel show, Karl Lagerfeld is at the helm of yet another debut: a makeup collaboration with legendary Japanese cosmetics company Shu Uemura. After it was revealed that Lagerfeld had been using the brand’s richly hued eye shadows, and them alone, to color his sketches, the two boldfaced names have linked up in the name of beauty. The resulting 17-piece line, which includes lip colors, false eyelashes (one of which is made from fabric), a slew of nail polishes sold with corresponding nail stickers, plus a new take on the classic Shu lash curler, is a fusion of Japanese playfulness and Parisian chic. At the center of it all is Mon Shu Girl, the manga-esque character Lagerfeld sweetly sketched to symbolize the line’s irreverent “Eastern, perfect, mysterious, modern” aesthetic. She graces all of the packaging and can be seen zipping about the globe on a tube of red lipstick in a promotional video (also created by Lagerfeld). Mon Shu is nothing short of an original, although she’s certainly not the first woman to inspire Lagerfeld. Here, we gathered a collection of style icons, actresses, models, and one very special feline, who, in their prime, have all played muse to the the man behind the makeup. Click for a slideshow.
The Karl Lagerfeld for Shu Uemura collection will be available from October 22 at www.shuuemura-usa.com.
Karl Lagerfeld’s beauty direction for his Chanel runway shows is as specific as it gets. If the designer wants a red lip, he adds one to a sketch from the collection, which he gives to the house’s creative director of makeup, Peter Philips, to use as inspiration. For Spring, it wasn’t so much a sketch as a surface that gave the famed face painter the idea for the heavy metallic eyes that he painted onto models’ lids at the Grand Palais. Apparently, Lagerfeld just laid down a platinum parquet floor at his brand-new office in Paris, which not only compelled Philips to opt for an almost molten metallic makeup effect, but to create a new shade of his incredibly popular Illusion d’Ombre Long-Wear Luminous Eyeshadow to match the shiny texture. Here, Philips gives Style.com an exclusive sneak peak at the forthcoming silvery pigment that can be worn sheer or built up for opacity, and an unlikely new nail lacquer that makes its statement through simplicity. Click above to watch.
Peter Philips likes to think outside the box. The makeup artist known for his way around a perfect complexion and a gorgeous rose-petal pink or red lip is just as often referenced for mixing makeup mediums—an embroidered eyelash here, a precious gemstone brow there. Blame it on his art school education. At Fendi, it was the latter inclination that, er, stuck. “The idea was to use colors from the collection, and the best way to do that is to use the actual collection,” Philips said as he glued pre-cut fabric strips onto models’ lower eyelids.
“It was a bathing suit,” Philips explained of the neoprene swatches in peach, teal, royal blue, neon orange, tan, and yellow that he placed beneath the lash line in a three-part system: “There is black on the bottom, pointed outward,” he elaborated, followed by a color strip in the middle, and a shorter, brighter piece on the inner corner. “After rehearsal, I noticed the blue really worked,” Philips said of why most models ended up with the same royal blue center. Otherwise, faces were left bare to appear “more young and playful” and less “theatrical”—a directive that came right from Karl Lagerfeld, who dropped by to pay his respects. (“I didn’t want to interrupt you; I just wanted to say hello,” the designer said to Philips in passing). Never one to miss a nail opportunity, Philips added to the season’s neutral polish palette with a nude-salmon varnish, the result of Chanel Le Vernis Nail Lacquer in Ming, a warm, shimmering pink, mixed with white and a few drops of its Mimosa, a sunny yellow.
The same pastel colors could be spotted in a range of embellished headbands that Lagerfeld made for the show to accessorize Sam McKnight’s “sharp, aerodynamic” updos. “It’s not soaking-wet,” McKnight explained of what he ultimately deemed a “malleable, sea-wet” texture, the result of strands that had been prepped with Frederic Fekkai Marine Summer Hair Beach Waves and divided into four sections. Creating a flat bun in the back to remove excess weight, McKnight folded hair over from one side followed by the other, which was twisted and pinned down. Having left the top section free, McKnight ultimately rolled that backward, attaching it to the finished coif. “There’s about 40 pins in each girl,” he estimated, “so we’re not advising them to go to the airport anytime soon.” Zing!