23 posts tagged "Keira Knightley"
Beauty Vending Machines: Coming To A Subway Station Near You?; Fragrance Bottles For Babies; And More…-------
Prestige skincare in the convenience of a vending machine? Believe it. BeautyMART, the newly launched project of two British beauty-industry vets, puts primping staples a simple press of the button away. MTA officials, are you listening? [Daily Mail]
They’re certainly not the first magazine to do a makeup-free story, but W‘s new issue may do it best. The glossy got Kristen Stewart, Nicole Kidman, Marion Cotillard, Naomi Watts, Jessica Chastain, and Keira Knightley to go maquillage-free—and guess what? Even with under-eye circles and skin imperfections, they’re all still pretty much drop-dead gorgeous. [Hollywood Life]
It was revealed yesterday via an Instagram from Stefano Gabbana that Dolce & Gabbana is working on a fragrance for babies—a startling revelation that is made that much crazier put into the context of the growing baby-perfume industry. The ultimate luxury is dousing your infant in fine fragrance, it seems. [Fashionista]
Speaking of surprising new scent categories, Stella McCartney would like to bottle the olfactory qualities of a barnyard. The designer, who clearly loves the smell of lily of the valley, which is the top note of her L.I.L.Y scent and its new Absolute, lists her other favorite aromas as the scent of her children’s breath and horses. “My friend and I always joke that one day we’ll launch a horse fragrance—obviously, we’d be the only ones who would buy it,” says McCartney. We’re not so sure about that; brand loyalty can be a funny thing. [InStyle U.K.]
Keira Knightley knows how to wear makeup, which shouldn’t be all that surprising considering she is a Chanel face. That said, we never cease to be amazed when the British-born actress does it up for the red carpet—her recent global premiere rounds for Anna Karenina included. At the film’s debut in L.A. last night, Knightley paired a strapless Erdem gown with a pink lip and an expert, ultra-long cat-eye with lots of lashes—on both the top and bottom. But it was her hair that was most awe-inspiring, featuring two, texturized twists that curved behind each ear before meeting in a messy, free-form chignon at the nape of her neck. Now that’s how you prep for a picture, don’t you agree?
Much talk has already swirled around the latest film adaptation of Leo Tolstoy’s Anna Karenina—the casting of Keira Knightley as the troubled heroine, the feather and fur-trimmed costumes, the lavish strings of Chanel jewels worn on screen. It’s all very fitting for a story that involves much gossip and eyebrow-raising among the Russian high society in the 19th century, which is when the epic story is set. The film stays true to the original novel, depicting the title character (Knightley) as the virtuous wife of a high-ranking government official (Jude Law). A fated train ride throws her life in turmoil, as she locks eyes with the dashing cavalry officer Vronsky (Aaron Taylor-Johnson), and is drawn into a disastrous affair that plays out before the watchful gazes of Anna’s friends (Downton Abbey‘s Michelle Dockery) and foes (British model-of-the-moment Cara Delevingne). With all that drama in the background, it’s no wonder hair and makeup designer Ivana Primorac chose to keep faces relatively simple—with just a touch of shading on the skin, eyes, and lips—complemented by strands that appear loose and unfettered at times. The subtle nuances of social order can be decoded in every flick of an eyelash and turn of a curl, however. Here, Primorac talks with Style.com ahead of the film’s U.S. premiere next month about brows that are built one hair at a time, the perils of frozen skin, and how to recognize a rival by the tone of her blush.
You’ve worked on many period films in the past, but how did you research this particular film?
“It’s set in 1874, when photography was just developing, so we had a lot of visual references to go by. We looked at photographs by Karl Bulla, Alexander Drankov, and Vladimir Shukhov, and paintings by Franz Xaver Winterhalter—he was an artist who painted hair and faces in a particularly realistic way. We also looked at the photographs from the Maly Theatre in Moscow and the Bolshoi Theatre to help inspire us since the whole film is actually set in an old Russian theater.”
What was your inspiration for the makeup?
“Russian women didn’t wear much makeup then, so we wanted to go for a natural look. Still, Keira has a lot of makeup on, even though she doesn’t look ‘made up.’ I focused on making her skin slightly darker and more olive-toned since there was an Asian and Mongolian influence in Russia, by applying Chanel’s Le Blanc primer and Chanel Vitalumière foundations. On her eyes, I used Chanel’s Le Crayon Kohl pencil in Ambre, which really lends itself to a period film because it has this reddish pigment that looks like skin just a bit darker on camera. I shaded the kohl from the inner corners, near the tear duct, to the outer corners to give her eyes an almond shape that focuses her whole face. And for the brows, we actually placed real hairs under Keira’s arch and toward the tip to get a full, dramatic look.”
I heard that director Joe Wright, he of Brad Pitt’s Chanel No.5 commercial fame, wanted Keira’s curls to be unlike any other female character’s in the film. How so?
“Her character was supposed to have naturally curly hair, and there had to be a certain wildness to it. It’s not a very set curl, but one that’s untamed. Vronsky is the only other character whose hair also has this wildness to it, which you notice when they end up making love and their heads are together on the pillow.”
You could blame it on the summer solstice, but we’re pretty sure Dolce & Gabbana’s bedazzled floral crowns from Fall are behind the recent spike in coronet adornment. Kirsten Dunst sported one in Cannes, Keira Knightley recently followed suit at the premiere of her new movie Seeking a Friend for the End of the World, and this weekend saw a slew of imitators. Dorothea Barth Jorgensen wore a leafy green incarnation at the model fest that was GrandLife and INGA’s Midsommarfest in New York, Vivienne Westwood crowned a handful of male models at her menswear presentation in Milan, and Margherita Missoni gave her bridesmaids—including one Tatiana Santo Domingo—rings of daisies to place on their heads as they walked down the aisle at her wedding to Eugenio Amos in Brunello, Italy. And so we put it to you, dear readers: Who wore it best?
Keira Knightley may have taken a brief hiatus from big-ticket films—which is par for the course for someone with a successful trilogy of blockbusters under her belt (three of the seemingly endless Pirates of the Caribbean franchise) not to mention a number of indies (2010′s Never Let Me Go with Carey Mulligan was the last time Knightley made the red-carpet rounds)—but she hasn’t lost her knack for wowing on the premiere circuit. The British actress and Chanel fragrance face had the great honor of being one of the first to wear look 54 from Valentino’s much lauded Fall collection while supporting Seeking a Friend for the End of the World last night in L.A., and although Chanel celebrity makeup artist Kate Lee didn’t borrow Pat McGrath’s lilac and gray pastel contours off the runway, she gave Knightley a beauty look that still abided by the codes of the house that Maria Grazia and Pier Paolo have built, in that it was painfully pretty. Wearing a red floral branch headband and pinned-up ringlets, Lee used Chanel’s forthcoming Illusion d’Ombre in Abstraction—the pink eye shadow that Peter Philips debuted at Chanel’s resort show in Versailles earlier this month—and By Terry Rose de Rose cheek tint for a gorgeous sheer flush to ensure that Knightley was positively nymphlike. Welcome back, Keira; we’ve missed you. You too?