18 posts tagged "Kérastase"
Last season, model Hanne Gaby Odiele did something bold; she let a camera crew follow her around the Fall shows in New York, chronicling the trials and tribulations she endured backstage in the name of high hair art. Walking 20 shows in seven days—including turns at Rag & Bone and Prabal Gurung—Hanne was captured on film as she was exposed to 450-degree irons, 127 inches of hair extensions (which were glued onto and then ripped off of her scalp), and at least 25 blow-outs before the vignette resolves itself with the Belgian stunner making a visit to the experts at Kérastase Paris, who restore her parched, damaged locks with an in-salon treatment before giving her a regimen for follow-up maintenance at home. The short film just premiered online—and looks strikingly similar to the wear-and-tear we witnessed firsthand as we followed Hanne from New York to Paris. Here, somewhere between Ungaro, Chloé, and McQueen, the catwalker found time to chat with Style.com about the season that was and the routine she still sticks to pretty seriously to keep her flaxen locks long and lovely.
How many times a day would you say you get your hair done during fashion week?
A lot—about three to four times a day. It can be anything from a simple base and ponytail, or an intense crazy punk hairstyle (think: wax!).
Or an excess of mousse. We’ve spotted a lot of “wet looks” at the shows this season. How do you get all of that product out of your hair at the end of a long day?
Usually I wash my hair with the Resistance line from Kérastase. When it’s extra dry I use Kérastase’s Chronologiste. I always travel with its Fibre Architecte (a great reparative serum) and the Bain de Force Shampoo.
What else to you make sure comes with you when you’re hopping between New York, London, Milan, and Paris?
A universal adapter, a good cleanser and makeup remover (preferably Bioderma for the latter), and a good book.
What about makeup? Do you have a specific routine for removing five shows’ worth of foundation, eye shadow, and liner so your skin doesn’t get wrecked?
I do think that cleaning your skin after every show helps, and also drinking liters of water. I’m blessed with good genes, though, and almost never break out. But I do take fish oil supplements, which help with skin, hair—and the brain too!
You’ve been all over the globe for the Spring shows and have had your hair done by some of the best in the business. Do you have a favorite hair look from the bunch?
The hair at 3.1 Phillip Lim was great, partly because of [stylist] Odile Gilbert and also because I could wear my hair like that outside of fashion week. The hair from Narciso Rodriguez was amazing. We all had a beautiful do, but the colors that Eugene [Souleiman] added after the fact truly made the look complete. I came out of it with blue hair! That said, I loved it because it really suited the collection. And the hair from Jil Sander this season! It looked really complicated, but it also made me really happy when I looked in the mirror. It reminded me of Zira from Planet of the Apes. Also, the hair from Rochas was incredible. I doubt that I would be able to do either of those myself, though.
What’s the best beauty tip you’ve ever received backstage from the pros?
Put a spoon in the fridge at night so when you wake up for an early call time, you can put it under your eyes to prevent puffiness! Also, I was told to sleep with hair masks in and rinse them out in the morning for maximum effect.
If it wasn’t clear from the sunflower-print opening looks that Laura and Kate Mulleavy sent out onto the runway, Vincent van Gogh and his most famous works partially inspired their Spring Rodarte collection and its complementary beauty look. “It’s Starry Night,” makeup artist James Kaliardos said backstage, referencing the Dutch post-impressionist master’s oil-on-canvas depiction of the view outside his sanitarium room window. “Bigger! Smokier!” Kaliardos told his army of face painters, who encased eyes in midnight blue accordingly, thanks to a precise layering effort of NARS’ new Soft Touch Shadow Pencil in Dark Rite, a shimmering navy, and its Eye Shadows in Night Flight, a deep ink, and Tropic, a glittery aqua. Cheeks were treated to a blended application of NARS Cream Blush in Penny Lane, a muted mauve that was also patted onto lips and topped with its Lip Gloss in Nano, a sheer purple, for a lavender-tinged nude effect.
The famous painting’s swirling stars and dark backdrop inspired nail guru Deborah Lippmann as well, who custom-mixed large pieces of silver and graphite sequins into her sparkling navy lacquer Lady Sings the Blues. “You’ve gotta amp it up for the girls,” Lippmann said, referring to the Mulleavys, who are particular about every single detail that goes into their shows, right down to the toes. “They didn’t want them to match the nail,” Lippmann mentioned, slicking on pedicures with two coats of her universal neutral varnish Fashion.
Odile Gilbert diverted from the art-history reference to add a retro forties element to the equation in the form of “sweet sixteen” hair that worked well with the designers’ series of fantasy, almost promlike dresses. “It’s sort of teenager-y,” Gilbert said, scrunching in Kérastase Volumactive Conditioning Mousse and its Double Force Hairspray for a tiny bit of texture. It wasn’t all youth and whimsy, though—the front row’s mean age not withstanding. Gilbert side-parted strands and then created a twisted wave that she secured with a hair comb. “That’s the part that’s sophisticated,” she said.
When we arrived backstage at the Plaza Hotel for Thakoon’s Spring presentation, we caught Odile Gilbert blue-handed. The hairstylist was elbow deep in emulsified, colored clay powder. “You can eat it,” Gilbert said of the substance she brought with her from Paris, where the French frequently mix it with water to fight indigestion. But yesterday, it was being used as a reference to India’s Holi festival, when revelers throw pink powder in the air and all over one another to celebrate the triumph of good over evil. “Thakoon really wanted a touch of color in the hair, so we thought today was a very good day to have a Holi day,” Gilbert joked, applying the watered-down mixture in shades of pink as well as blue, green, terra-cotta, and lilac to two different styles, a double French braid and a faux bob. (Slightly apprehensive models were promised a good washing and reparative treatment following the presentation with Kérastase’s Nutritive Bain Satin line).
The Holi festival wasn’t the only idea on Thakoon’s mood board. “I got the cowboys,” makeup artist Diane Kendal said of the designer’s other cultural reference point. To get the sunworn look of Wild West frontiersmen, Kendal set to work sketching strong brows and tinting lids using a collection of beige and brown NARS Eyeshadows in Bengali, Bali, and Blondie. But Marlboro man, this was not. “The girls still are supposed to look really pretty,” Kendal said. And they did thanks to a warm flush that the face painter brushed onto cheekbones using NARS Blush in Zen, a warm toasted almond, and its new spring shade, Gaiety, a rosy pink.
A lot of designers are just starting to get on the skincare tip, inviting complexion-saving experts backstage to join their hair and makeup teams, but Tom Pecheux has always been a firm believer in a thoroughly cleansed, toned, and moisturized base. The Estée Lauder creative makeup director brings a selection of the beauty giant’s face salves with him wherever he goes. “You can see the difference,” he said yesterday morning at The Row, where he was layering the brand’s Idealist Even Skintone Illuminator and Idealist Pore Minimizing Skin Refinisher with its DayWear Plus Multi Protection Anti-Oxidant Crème for a dewy, refined canvas. Proper skin prep was particularly important for the bare-faced beauty directive Mary-Kate and Ashley Olsen gave to Pecheux, referencing angels. “It reminds me of a Peter Lindbergh woman—slightly fresh, but a little moody,” Pecheux said of the luminous skin he created using a new Estée Lauder transparent liquid foundation and its new-for-Spring limited-edition Gelée Bronzer, which he brushed on in vertical swipes, rather than horizontally for contour, to “catch the volume of the cheekbone.”
“There’s a gentle power to it,” Pecheux surmised. “The only thing you can see is a strong eyebrow,” which he embellished with Lauder’s Sumptuous Extreme Bold Volume Mascara in either black or brown. Lids remained bare, but lashes were treated to a signature Pecheux trick, in which he applies black mascara at the roots to top lashes only and reserves brown pigment for the bottom. “All black is too dense,” he pointed out, before moisturizing lips with Homeoplasmine and topping them with Estée Lauder’s Pure Color Long Lasting Lipstick in Beige, a creamy nude.
Hairstylist Odile Gilbert received the same divine inspiration from the Olsens, which led her to a textural updo. “It’s a small head, a bit like an old statue of angels̶not Victoria’s Secret angels,” Gilbert clarified. Prepping strands with Kérastase Volumactiv Conditioning Mousse and its Mousse Substantive for guts and density, Gilbert sprayed on copious amounts of its Double Force Hairspray for a matte effect. Then, taking random sections, she twisted and braided the lengths, pinning them up onto themselves to create a concentrated mass of coils. “Everything is round—like the head and the earth,” she philosophized.
When makeup artist Diane Kendal caught wind of Jason Wu’s Spring collaboration with legendary graffiti artist-turned-painter and designer KAWS, her path was clear. “It’s pop-art inspired,”Kendal said of the makeup, which centered around a super-saturated matte red lip. After skincare guru Sunday Riley administered mini facials on site using her Ceramic Slip cleanser and a combination of her Good Genes and Skin Adrenaline serums, Kendal spot-treated complexions with MAC Studio Finish Concealer, dotting its Gloss Texture along cheekbones to create contour with shine. Then came those mouths, which Kendal lined with MAC Lip Pencil in Redd before painting on a precise coating of its new-for-Spring lipstick in Scarlet Ibis. That extra vivid, powder-y quality came from a finger-pressing of MAC Pigment in Neon Orange—”it intensifies [the color].” Kendal eschewed mascara and instead brushed MAC’s Fluidline in Blacktrack onto the lash line to “define the eye without making it look made up.” “Mascara can look too normal,” Kendal advised. “This is a fresh, more modern approach.” Nails were a retro throwback, adhering to that common fifties practice of matching lips to tips with two coats of OPI’s Monsooner or Later, a bright crimson.
Coiffing star Odile Gilbert took a similar decade-spanning approach with hair, sculpting it into a Grace Kelly-like smooth quiff in front and a more “boyish,” messy updo in back. Prepping strands with Kérastase Double Force Controle Ultime hair spray, Gilbert created a ridge above the hairline before pinning up sections haphazardly in the back. “It’s grungy, but haute couture—the feathers make it a sophisticated kind of punk,” she said, weaving thin black quills through models’ tresses. As for colored feathers’ ubiquitous presence of late, Gilbert was quick to point out that the play for plumage all started at couture—with some of her own handiwork at Jean Paul Gautier and Alexis Mabille, no less.”It’s not something new,” she said. “It existed in the seventies. Everything in fashion recycles. This is just a new generation seeing it differently.”