29 posts tagged "Kérastase"
All season long makeup artists and hairstylists have been riffing on “real girl” beauty backstage—leaving strands and complexions purposely au naturel so that the consumer can more easily imagine herself wearing the clothes. But at the end of the day, as Tom Pecheux put it at Balmain, supermodels are still supermodels—and the rest of us are just “real.” But the unlikely lineup of forty step dancers from Washington, D.C., and New York City-based crews (Momentum, Soul Steps, Zetas, Washington Divas) at Rick Owens was an exuberant celebration of authenticity. “The whole point was to make them look and feel pretty,” said Owens. “If a girl didn’t feel comfortable with something, we didn’t do it—we wanted them to feel powerful.”
To emphasize their dynamic movements, hair pro Luigi Murenu designed four different styles. The first being a fluffy texture that he aptly dubbed “dandelion heads,” created by straightening strands, “biting” them with a crimping iron, and brushing out the kinks with a Mason Pearson to get a “cotton candy-like” finish that flew with each aggressive stomp. The other three included a slicked-back chignon (which he formed using Kérastase Vinyle Nutri-Sculpt and hair spray, sometimes fitting the dancer with a “nunlike” veil), stick-straight hair with center parts, and low, sleek ponytails.
“What they’re doing is so ‘wow’ that it’s about them and the clothes—it’s not really about this bit,” face painter Lucia Pieroni said of the “fresh” makeup. “There’s no particular thing on everybody,” she added. Pieroni used a light layer of foundation and concealer, filled in arches where needed, and moisturized lips with a clear balm—tailoring the look to each dancer. The end result, although stripped down, relayed an important message: When individuality is this spectacular, why attempt to conform?
Duran Duran, Madonna, and Daria Werbowy were all name-checked by hairstylist Luigi Murenu backstage at Emilio Pucci. So what exactly do an eighties English rock band, the Queen of Pop, and a supermodel have in common? At one point or another, they’ve all sported the pushed-over look he re-created for the catwalk here. Not only does a swoop over one eye provide instant “cool girl” status, Murenu elaborated, but it also builds volume without having to fire up a blow-dryer. For additional lift, he spritzed Kérastase Lift Vertige on roots and worked Mousse Bouffante through dry strands for texture. He used a one-inch curling iron to add a slight bend, wrapping sections from the ear down around the barrel. Hair spray was misted all over to set, while Vinyle Nutri-Sculpt cream coaxed out layers and created a piece-y finish.
“We have a definite image for the Pucci girl that we’ve been developing over the past four or five seasons,” said face painter Lisa Butler. “The makeup is very secondary to this whole process.” She went on to explain that the house’s creative director, Peter Dundas, doesn’t love foundation or color on the face, but Butler managed to use plenty of both in a nearly undetectable way. To inject drama and dimension minus eye liner, lashes, or lipstick, she added depth to the skin by mixing a foundation that matched each model’s skin tone with the deepest bitter chocolate shade MAC carries in its Face and Body line. It’s a technique she’s often employed on shoots but hasn’t brought to the runway until now. “When you see girls [in photos] and they look grubby and mean, this is why—it makes them [appear] more moody,” Butler explained—an effect an orange-brown bronzer couldn’t possibly produce. A blend of Cultivating Chic and March Mist shadows (beige and gray shades from the MAC Spring ’14 Trend Forecast Eye Palette) was applied to the lids, up through the brows, and along the lower lash lines with a fluffy brush. The same combo (with a higher ratio of beige to gray) was dusted under the cheekbones to act as a contour. Butler squiggled brow pencil on the corners of arches and took the edge off with a bit of blending to make them appear “fluffier,” then used the same pencil to lightly dot freckles over the bridge of the nose and under the eyes. In the Mode (a taupe hue) was applied to take down redness in the lips, and New Groove (a wine) was pushed into the inner rim of the mouth (both colors in the Spring ’14 Trend Forecast Lip Palette). The finished product was a “groomed but not done” tough girl—an aesthetic that lent itself perfectly to the slick leather, athletic mesh, and heavyweight-champion-worthy boxing belts seen on the runway.
Sex appeal is always expected backstage at Gucci, but this season, creative director Frida Giannini requested that face painter Pat McGrath and hair guru Luigi Murenu take a more athletic approach. “She wanted something sporty but still made up,” McGrath explained. In lieu of harsh pencils, a shimmery, golden-brown shadow was gently wrapped around the eyes—with the outer corners intensified in a sideways “V” shape for definition. To incorporate the copper shade that was threaded throughout the collection, McGrath added the same hue to the center of lids, working the pigment from the lash line up toward the crease. The top lashes were curled and coated with black-brown mascara, arches were filled in, and lips were left natural, with the exception of a clear balm for moisture. To add warmth, the makeup artist opted for a foundation—instead of often heavy and cake-y bronzers—one to two shades darker than each model’s complexion, blending it from apple to temple. A combo of cream and powder highlighters placed on cheekbones and brow bones lent a dewy effect to skin, and a touch of Elizabeth Arden Eight Hour Cream was applied to lids right before the models hit the runway for extra sheen.
Murenu created a style that played on the theme but was still “glam and exceptional.” To give hair oomph, he applied Kérastase Lift Vertige to roots and Mousse Bouffant throughout before blow-drying—using either a round brush or his fingers to add volume from forehead to crown. Once strands were dry, he wrapped small sections from the mid-length down around a curling iron to form loose waves. Murenu scraped the hair off the face with Elixir Ultime for Colour Treated Hair and worked it through to the ends for texture and shine that didn’t appear wet, greasy, or limp. “In my mind, I imagined Lauren Hutton going for a jog in the seventies,” he said. A few spritzes of Gloss Appeal were misted over top to finish. I might be more inclined to exercise if, at the end of it, I walked away looking as fabulous as a Gucci girl.
Makeup artist Diane Kendal revealed that the designer was revisiting the classics for Spring 2014 (with delicate pearls and jewels sprinkled throughout the collection), so she kept the look simple, with the exception of exaggerated, seventies-inspired lashes. “We did the mascara like that to give [the models] a little something, without making too much of a statement,” said the face painter. To achieve the thick and spidery fringe, the top lashes were curled and coated with at least three coats of NARS Larger Than Life Lengthening Mascara. For an ethereal glow, Kendal used a light-coverage foundation to even skin tone and NARS Matte Multiple in Cappadoce (launching this spring) underneath the cheekbones, for a subtle contour, as well as on the inner corners of the eyes. Another all-in-one stick, this time in Anguilla, was used on the apples of the cheeks, for a fresh finish, and the lips were topped off with the same formula in Laos to add a hint of natural color and shine.
The hair, created by Odile Gilbert, was less pristine and precious—and inspired by Look Eight from the show (where a pearl-strap bag was wrapped around the model’s neck). After making a messy side part, she applied Kérastase Mousse Bouffante throughout and blow-dried hair, using her hands in lieu of a brush—twisting pieces as she went along. Laque Dentelle hair spray was misted all over before large sections were wrapped around a curling iron that was held vertically—this technique produces less volume, Gilbert explained. To lend texture and a matte finish, Powder Bluff (a dry shampoo) was spritzed throughout. An elastic string was then wrapped twice over the hair and around the neck to create a slight bend—and the cord was snipped just before models hit the runway. “We wanted the hair to enhance the shape of the neck and frame the shoulders,” she said. If you can’t get your hands on one of Panichgul’s extra-long bead-strap bags, opt for this backstage beauty trick to create the face-framing effect instead—your wallet will thank you later.
The look created for the half-French, half-American designer by makeup artist Tom Pecheux and hairstylist Odile Gilbert was based around one word: purity.
Pecheux kept the focus on the classic matte red lip—a combo of MAC Red Lipmix topped with Pigment in Basic Red. The lids were kept simple, applying a Pure White Paint Stick with his fingertips from the lash line to brow bone, and on the outer corners of the eye as a highlight. He set this with powder shadow in Gesso to eliminate shine, using a large, soft brush. “If you use something very hard, [the color] is going to be very opaque and you will look like a panda,” Pecheux said, which is definitely not on trend this season (or ever).
The hair was equally as easy, with Gilbert making an imperfect middle part, blow-drying strands with Kérastase Mousse Bouffante, and sealing split ends with Fibre Architecte. Hair was then scraped back into a low ponytail and secured with a white elastic. She used a curling iron to add “movement” to the tail and polished everything off with Laque Dentelle hair spray.
An updated and forgiving French manicure—painted with Essie Vanity Fairest and Allure—was the finishing touch. “When you use sheer colors, you don’t have to worry about the line being perfect,” said manicurist Michelle Saunders. And good thing, because who really has the time (or skills) for that?