27 posts tagged "Lancôme"
At this point, the maquillage at Jason Wu’s show has practically become the apogee of beauty at NFYW. From last season’s gilded gaze to Fall 2013’s indigo eyes, Wu’s faces, courtesy of Lancôme these past few seasons, have consistently been ones to not only collectively admire, but to also aspire to. Now the beauty brand is making those aspirations obtainable via a new interactive digital beauty program that allows you to virtually try on Wu’s runway-worthy looks for size in real time.
The French beauty behemoth has aligned with FaceCake to introduce Swivel Close-Up, a cosmetics try-on technology that allows the public to experiment with both the beautiful androgynous look from Friday’s show, along with classic products from the brand. The hi-tech contraption is being unveiled exclusively at DreamDry’s flagship in Flatiron to celebrate the one-year anniversary of the popular blow-out salon.
Users are able to test out everything from eyeshadows to blushes to lipsticks and glosses using a touch screen, shop the products selected, and share their virtual makeover pictures on social media. Pro tip: It’s best to try out the system while wearing a natural face of makeup, otherwise it’s hard for selected shades to digitally appear over your fire-engine-red lip or of-the-moment green shadow.
Swivel Close-Up is currently slated to remain at DreamDry (35 West 21st Street, New York City) through the end of the month and is open to the pubic.
The 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.
Unlike many makeup artists, Genevieve Herr prefers to start with skin and finish with eyes. This is the process she’s adhered to in the twelve-plus years she’s worked with Julia Roberts. Despite the fact that she was crafting a bold (and often messy) smoky eye for the Golden Globes this evening, Herr didn’t deviate from the tried-and-true system. “I wanted the [makeup] to match the structure of the dress,” she explained in an exclusive interview. To avoid any fallout and craft the perfect, “catlike, Sophia Loren” shape, she applied Lancôme Liner Design Gel Eyeliner in Black Fishnets all over the lids—steering clear of the inner corners to keep the eyes looking bright and open. To set, she topped the liner with Color Design Eye Shadow in It List and The New Black. “The key is to shake the brush [after dabbing it into the pigment], blow on it, and then apply to the eye,” she explained. The same trio of products was used on the lower lash lines and blended with a cotton swab. A couple coats of Hypnôse Doll Lashes Mascara and a few false lashes on the outer corners acted as the finishing touch. And since a beige mouth with a smoky eye has “been done before,” Herr opted for a “raw” shade close to Robert’s natural lip tone (Rouge in Love lipstick in Lasting Kiss). “It’s much more modern if you add a little color,” she said. As for verging into bolder territories, don’t hold your breath. “We have never done red lips…[Julia] has big lips, so there’s no need to define them with [vibrant] lipstick.” You’ll have to re-watch Pretty Woman to see that makeup move (paired with white opera gloves) in all its nineties glory.
It was only a matter of time before Lily Collins landed a beauty contract: those brows, that complexion—this girl was born to front a brand. Lancôme announced that it signed the starlet as the face of its French Ballerine collection (out January 2014) back in October, which is fitting since her grandmother was dancing en pointe professionally in the forties. In this behind-the-scenes shot from the set of her first campaign, lensed by Mario Testino, Collins looks reminiscent of danseur turned drama queen Audrey Hepburn. And with products inspired by the pink satin ribbons sewn onto toe shoes (like these pastel-colored Rouge in Love lipsticks), looking the part of prima ballerina is possible for any woman who ever dreamed of wearing a tutu.
The clock is ticking and the weeklong countdown to Christmas has officially begun. If you’re still on the hunt for a gift guaranteed to impress the woman that has everything (like, say, Rihanna, whose designer cache required a closet expansion), look no further than Lancôme’s La Vie Est Belle Féerie de Noël. The beauty brand teamed up with Reuge (a Swiss music-box maker) and Baccarat (a French crystal company) to create a unique combination of sound, scent, and sparkle.
Taking more than 120 hours to complete, each music box features the iconic La Vie Est Belle fragrance housed inside two glass bell jars—a miniature Baccarat chandelier (composed of 133 crystal drops and forty-eight tubes) dangling above it. The luxe scene is set to “Beautiful Days” by Venus, the same tune that plays in the eau’s ad campaign. With only fifteen in existence—and at $35,000 each—this sophisticated sound machine is certainly a chart topper in more ways than one. Plus it’s guaranteed to never be out of tune. Beat that, Beyoncé.