August 29 2014

styledotcom Models share their fashion month beauty must-haves: @K_MITT @TheSocietyNYC

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32 posts tagged "Kérastase"

The Secret to a Budge-Proof Summer Bun



Sure, many hairstylists have mastered the art of the chignon on others, but nobody has perfected the DIY quite like the ballet community (a collective often affectionately referred to as bunheads). So it makes sense that Kérastase enlisted one of the world’s premier principal dancers, Diana Vishneva, as the new face (and hair) of its latest product line and in-salon treatment, Discipline (a collection specifically designed for unruly strands). A native of St. Petersburg, Vishneva performs with both the Mariinsky Ballet in Russia and American Ballet Theatre in New York. And even getting a glimpse of her during rehearsals for her starring role in Giselle at the Metropolitan Opera House was nothing short of a moving experience. She glides across the floor with such emotion that even those in the cheap seats can undoubtedly feel her passion for the two-timing Albrecht (played by her longtime partner, Marcelo Gomes). Here, the prima ballerina spills her secrets for a budge-proof bun (and the politics of its placement), how she lets loose, and the key to overcoming stage fright.

What are the steps to creating the perfect chignon?

Brush the hair to make it smooth. Gather the hair into a ponytail, making sure that no stray hairs are left out. The position of the ponytail determines where you will have your bun. Secure the ponytail with an elastic band. Twist the ponytail tightly into a rope, this part is crucial, and wrap it around the base, then fix with hair spray or bobby pins. A hairnet may be also used to cover the bun to make it firmer. Finish with hairspray.

Who taught you how to create a chignon? And how long have you been doing it yourself?

My teachers at ballet school (the Vaganova Academy of Russian Ballet); they insisted on the importance of always keeping your head neat and tidy. When I was a student, we were never allowed to walk about the school with unfastened hair. I started doing the bun on my own when I was 11 years old. Of course, at the beginning, they were pretty awkward, but gradually you learn to do it well and also define your ideal height. Little ballerinas have their buns almost on top of their heads, but as you grow up, the bun tends to move lower. Having a small, neat, beautifully outlined head contributes to your overall proportions—with time, young ballerinas really begin to understand this, and it becomes not only a matter of image but also of professionalism.

How do you keep your bun in place when you’re dancing?

In addition to securing hair with elastics and hairpins, we mostly use hair sprays and gels. I like Laque Couture and Laque Noire from the Kérastase Couture Styling range—they are also useful when you need to smooth down occasional small stray hairs. In some ballets, we have to change our hairdo radically; for instance, you may need your hair loose in the first act and gathered in a bun for the second.

Do you find that always having your hair tightly pulled back leads to a lot of damage?

Since I was a kid, they used to frighten me with stories of ballerinas’ hair getting damaged because they are subject to so much stress. Fortunately, this was not the case for me, even though I tend to be quite tough on my thick and unruly hair. For instance, I use really strong elastics—otherwise they just won’t hold.

How do you care for your hair after a performance?

It’s important to remove and brush out the gel and hair spray with a good shampoo. I really like the Kérastase Elixir Ultime range, which cleanses and makes my hair shiny. I also take a steam bath. It was actually my mother who taught me about the importance of haircare. At times when special haircare products weren’t available [in Russia], she used traditional natural methods like burdock oil or oatmeal.


What does a steam bath entail, exactly?

To me, a good steam bath is the number-one treatment; you can take it with honey, oranges, or milk. Honey [which has antibacterial properties] is probably the best option. You [soak] in the water with honey, then you go to the steam room. Going to the sea is another thing that is necessary for me to recover.

Since dancers’ feet often take a beating, do you have any favorite foot products?

To me, the best remedy is a massage done by a good specialist. Then again, it depends on the country: In Japan or Korea, I would go for acupuncture; in the U.S., they use hot pads to warm up the muscles before massaging. And of course, good creams and oils are a must.

And when you’re not rehearsing or performing, how do you style your hair?

I allow my hair and skin to take a rest: minimal makeup, loose hair—no bun for sure!

Besides hair spray and bobby pins, what other beauty products do you keep in your dance bag?

All my bags are full of beauty products, and as soon as I hear about the one that is “even better,” I go for it. Currently, I find Homeoplasmine particularly helpful; you apply it before going to bed, and in the morning every cell of your face feels alive.

What types of food or snacks do you eat to stay energized?

I need to start my day with a full breakfast; it will keep me going through hours of rehearsals. The energizing foods I eat include oatmeal, eggs, and chocolate.


Do you eat anything in between rehearsals?

During the day I just drink, or maybe have some fruit or an egg, because when you practice [too much food] is too heavy. I eat a lot when I have dinner. A lot! Sometimes my mother says, “Can you stop!”

Aside from ballet, do you take any other types of fitness classes?

Instead of traditional stretching or warm-up exercises, I regularly do a special kind of gymnastics that was originally developed for the dancers of William Forsythe’s company. It’s aimed at balancing your body, and it has a strengthening effect on the muscles. Even though we try to exercise both legs while dancing, the load is never distributed evenly, therefore the bodies of ballet dancers have various “professional deformations.” So what we need is not fitness but balancing gymnastics that aids the dancers and prepares their bodies for work. It could be Pilates, Gyrotonics, this [version] of gymnastics, or yoga.

How long does it take for you to warm up before a show?

About half an hour. Basically, it’s all about stretches. You should be like an elastic band, so your muscles will breathe and work correctly.

How do you mentally prepare for a performance? Do you meditate or envision the choreography?

It depends on the situation; whether it’s my company or I am a guest dancer. There are moments when you have to dance through a trauma, through pain—sometimes you just pass it through your head, and the pain weakens, and you go onstage. And, of course, anxiety before the performance is a standard situation. To overcome it, you start reasoning with yourself, or try certain movements, then the performance starts, and in five to 10 minutes your agitation fades away. Professionalism overpowers fear. As for meditation, this is something that happens during each rehearsal. Your muscles, your exercises, the movement of your hand, the beauty of this movement—everything becomes the subject of meditation. If you are mindful about what you do, it is already a meditation. It’s a constant dialogue with your own body. You never just mechanically repeat the movements you have learned: Every day you rebuild yourself and re-create your role.

What is the most important lesson you’ve learned from ballet?

The ballet and everything related has shaped my personality. The words about sacrificing yourself for art hold true. But to me, sacrificing is not about suffering; it’s sharing, giving the best of myself. Dancing is much more than simply enjoying the work I do; it’s my way of growing and evolving.


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



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, 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



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.


Photo: Sam Faulkner

Golden Girls Go Boho, Backstage at Emilio Pucci



“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;

Seattle Sportif, Backstage at Thakoon


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