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July 22 2014

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31 posts tagged "Kérastase"

Vanessa Seward Lends Her Golden Touch to a Line of Hair Accessories

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When it comes to collaborations, Vanessa Seward is fashion’s golden girl—literally. After years of successful ready-to-wear collections with A.P.C., the former Azzaro designer (who is launching her own label) has teamed up with Kérastase to design a trio of gilded hair accessories. Sold exclusively at Colette in Paris and on colette.fr, the collection includes a delicate chain-link headband, a weighty gold hair cuff (which hugs the base of a ponytail), and a sleek rhinestone-studded barrette. Each piece is minimal, timeless, and not overly feminine—much like Seward’s personal style. For her first foray into beauty, the designer was inspired by Kérastase’s couture styling line and her love of gold bijoux. (She also enlisted the help of jewelry manufacturer Edgard Hamon, whom she worked with during her stints at Chanel and Azzaro.) Prices range from 80€ to 240€ ($137 to $328 USD), but we think it’s a sound investment, considering these pieces would look equally chic with an LBD or a basic white tee.

For other ways to style your strands this summer, check out these beat-the-heat hair ideas.

Check Out These Exclusive Behind-the-Scenes Photos of Kate Moss

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We never tire of the legendary Kate Moss, and apparently, she is never bored by her signature dirty blond strands. “Just with hairstyles I can change my personality. I don’t really need to change the color anymore,” she said. Starring in the newest campaign for Kérastase, coiffed by the brand’s artistic director, Luigi Murenu, and lensed by Norwegian photographer Sølve Sundsbø, the supermodel channels yet another flaxen-haired icon: Brigitte Bardot. With a trio of products being added to the Couture Styling range this summer—Laque Noire (a finishing spray), V.I.P. (a dry shampoo/hairspray hybrid), and Baume Double Je (a defining balm)—all designed to create “un-styled styles,” as described by Murenu, it was only apropos that both bombshells serve as the muses for the collection. “Kate Moss is the Brigitte Bardot of today,” added the pro. “She epitomizes the freedom every woman wants.” If nothing else, at least the rest of us can now achieve her perfectly-imperfect hair.

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Photo: Sam Faulkner

Golden Girls Go Boho, Backstage at Emilio Pucci

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“Peter doesn’t like makeup.” It’s a tale we’ve heard before of the artistic director. This season, however, he wanted to “do something fun,” noted makeup artist Yadim. Pulling inspiration from the brocade (Look 43) and beaded pieces in the collection, he crafted a “modern-day Veruschka,” using a gold powder that he wet before gilding the forehead of ten select girls. “That’s where that desert warrior woman comes in,” he said of the metallic treatment. The majority of models were kept rather natural in comparison: MAC Cream Colour Base in Pearl was tapped onto the high planes of the face, a taupe shade was used to gently contour, and a beige shadow was washed across the lids and blended up into the brows before a shimmery brown lipstick was layered on top for shine. To provide definition, a black pencil was drawn along the water line, but not smudged. “This is very precise and strict,” the pro emphasized. Lashes were left bare and cheeks were flushed with Ladyblush, a cream formula, to help the girls “look alive.”

Dundas may have proposed a pony, but for mane master Luigi Murenu your standard tail simply wouldn’t do. To lend a “rock ‘n’ roll” vibe that still felt romantic, he worked Kérastase Mousse Bouffante through strands before blow-drying, then wrapped hair loosely around a one-inch curling iron, leaving the ends out. After the texture was in place, he divided the length into three sections and made a short, low plait. “One, two, and done,” he said, crossing the pieces over one another before tying it off with a band. “There are a lot of collars [in the collection], and this can be tucked inside,” he explained, pointing to the barely-there braid. With Eva Herzigova waiting for him at his station, he succinctly summed up the “strong identity” of the Emilio Pucci woman for Fall 2014: “She’s got a chic bohemian feeling, but she’s no hippie.” That much we know for sure.

Photo: Sonny Vandevelde; Indigitalimages.com

Seattle Sportif, Backstage at Thakoon

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thakoon-crop“His inspiration this season was a girl from northwest America who loves Patagonia and comes to New York to shop,” said makeup artist Diane Kendal of the designer’s muse. To reflect that same “spontaneous” spirit on the face, Kendal created a reverse cat-eye using NARS Eyeliner Pencil in Mambo—starting from the middle of the lower lash line and kicking it out past the outer corners. She topped it with reddish-brown shadow from the forthcoming Dolomites Duo. “Black is typical,” Kendal said of her shade choice. “This represents that she does what she likes to do.” The rest of the complexion was just as unfussy and fresh—using highlighter on top of cheekbones and across the lids for a subtle sheen.

The hair was less about a Seattle native armed with an American Express card, and more about a girl who hits the gym. “She has beautiful hair, but she’s been sweating,” said Odile Gilbert, who prepped strands with Kérastase Spray à Porter (a volumizing spritz) to lift the roots and blasted the back with dry shampoo for a fluffy, matte texture. After making a deep side part, Lift Vertige gel was generously applied to the front sections for a “wet” effect before they were tucked behind the ears. A few pieces of length were given a similar treatment with Touche Perfection cream. “There are some elements [in the collection] that are part of the sports world,” Gilbert explained of where she found her athletic inspiration. Appropriate, seeing as the Sochi Olympics are in full swing.

Photo: Courtesy of NARS Cosmetics

Alluring Androgyny, Backstage at Jason Wu

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jason-wuThe look at Jason Wu is always glamorous, but the gold glitter sprinkled across lids last season gave way to a more subdued—but strong—brow and a flat “boyish” bun for Fall 2014. “It’s a feminine/masculine look,” said mane master Odile Gilbert.

“This is something new for him—we’ve never done messed-up [hair] before,” explained Gilbert. The sides were kept “tight” (slicked back with Kérastase Touche Perfection), but she allowed for “movement” on top. In back, she pulled the length up into a chignon, but not in the traditional sense—sections were wound and secured to form a tight mass of hair. “There are about fifty hairpins in there,” she added. “The idea is to make it as small as possible…you don’t know where it starts and finishes.”

Makeup artist Diane Kendal “enhanced all the girls’ natural features” with a light coverage foundation, and contoured their faces with the bronze shade in Lancôme’s Blush Subtil Palette in Rose Flush—dusting it underneath the cheekbones and in the banana of the eyes. The pink hue was placed on the apples of the cheeks, while a pearly highlighter was applied to the tops of cheekbones and lightly across the lids. Black liner was worked into the roots of lashes for definition before fringe was subsequently curled. Kendal’s focus remained on the arches, which were filled in with a powder in the same tone as each model’s hair so that they “didn’t overtake the face.” She also slightly elongated the brows to create the “illusion of them being straighter,” she said. A combo of balm and foundation on lips rounded out the boy-meets-girl maquillage.

Photo: Sonny Vandevelde, Indigitalimages.com