13 posts tagged "Linda Cantello"
In lieu of the “diaphanous” green shadow employed at Giorgio Armani’s Spring 2014 show in Milan, makeup artist Linda Cantello opted for a more subtle hue for his “One Night Only” celebration, held last evening at SuperPier in New York City. She dotted a forthcoming taupe formula in between the lashes to avoid any harsh lines, then applied a hint of the same color through the crease. But if designer’s most recent Privé collection was any indication, beige in the world of Armani is anything but boring. “Everyone is doing the nineties nude [this season], but this is a naughty nude,” explained the face painter of the sexy champagne tone. To keep the eyes looking soft, she skipped mascara. The skin was perfected using the brand’s CC cream (launching in March), which cancels any redness but lends a transparent—not cakey—finish. “He hates blush,” revealed Cantello, so obviously cheeks were kept bare per the boss’ orders. The lips, however, were dabbed with a custom-blended berry-pink lipstick that looked “lived in.” “We come with thousands of products and huge suitcases, but never have the right shade,” she said. Hence the reason the backstage team travels with a mobile beauty lab (essentially all the pigments and colors used by chemists to create the house’s cosmetics in a stationary location). “Of all the designers I’ve worked with, he pays the most attention to detail,” Cantello revealed, saying that Mr. Armani notices everything—including the tiny amount of gloss that wasn’t matted down before his second show this past season. But as his breathtaking couture illustrated last night, perfection, in addition to longevity, is all in the details.
This season, makeup artist Linda Cantello categorized the Armani woman as “delicate” and the “antithesis of the Prada lady,” which, funnily enough, was one of the few other shows to employ a bold use color on the lids for Spring 2014. The face painter’s approach, however, was less about women in revolt and more focused on creating a “passive” femininity on the runway. And while the underlying theme of the collection was Jardin Majorelle, she grappled with the choice between purple and green (not blue, which would have been too obvious a choice) to pick up on the amethyst and anemonelike tones in the clothes. In the end, a gentle wash of emerald won out. “Mr. Armani was very specific that it shouldn’t be too green—he wanted it to have a diaphanous, photo-transparent [quality],” she explained.
After priming skin with a BB cream to eliminate redness or any lingering effects of summer (i.e., a tan), she used Giorgio Armani Beauty Maestro Foundation to create the “pale perfection” requested by the designer. Complexions were then dusted with powder for a matte—but still luminous—finish. The alluring malachite shade wrapped around lids was a combination of sea foam and slightly deeper jade pigments (inspired by a Sarah Moon image from the seventies that was pinned to Cantello’s mirror). For translucency and the “essence of speed,” she mixed the eye shadow with Fluid Sheer in 2, the lightest hue in the range of radiance boosters. The formula was initially applied with a brush along the crease, outer corners, and lower lash lines, but Cantello used her finger to blend it out and down. To cancel dark shadows, a concealer was dotted on the inner corners of the eyes and a light stain was tapped onto lips to make the girls “look more healthy than dead.”
In contrast to the gentle makeup, the hair by Franco Gobbi was a bit more aggressive. There was certainly an eighties reference, illustrated by the side-swept waves (similar to the swoop seen at Emilio Pucci), and the length was pinned up off the neck to resemble an undercut. To finish, strands were misted with hair spray to lock in the fluffy texture. While I’m not entirely sold on this particular swoosh, Cantello’s gauzy shadow makes being green look absolutely gorgeous.
“I think it’s the best collection he’s done in a while,” Linda Cantello candidly remarked backstage at Armani Privé—and she’s on good authority to say so; as Giorgio Armani Beauty’s international makeup artist, the famed face painter has seen a fair bit of the designer’s work firsthand. For his Fall Couture presentation, Mr. Armani focused on a neutral palette, which Cantello adopted into makeup form with a few twists and turns along the way.
Working off the show’s Death in Venice-meets-Old Hollywood theme, Cantello honed in on a look that was part Tadzio from Visconti’s classic film and part Carole Lombard, while also offering up an impressive study in subtlety. “He’s very into nude,” she elaborated of Mr. Armani’s preference for toned-down hues, which prompted her to accentuate a matte base of the brand’s forthcoming Maestro To Go foundation—which puts Cantello’s original weightless complexion corrector into the convenience of a compact—and a dusting of its Luminous Silk Powder, with muted eye and lip contours. After treating pouts to a custom-mixed bois de rose stain, which will be called Tadzio when it is released as a new shade of Rouge d’Armani lipstick come January, Cantello set to creating an eye gloss using its light bronze Fluidsheer #2 and a highly reflective luminescent pigment that she layered on top of a diffused brown pencil. “It’s harder to look for something in the exact color that I need than to just make it myself,” she laughed.
If Cantello’s interpretation of screenstar glamour was an exercise in restraint, Orlando Pita’s was indulgent. “It’s a little twenties, thirties, Great Gatsby,” the coiffing star suggested of his Armani debut, pointing out that the hair was “more couture” than the designer has done in a while. “Now that John Galliano and Alexander McQueen are gone from the business, a new guard has created a kind of couture that relates to the street,” Pita said with a wistful air. “It was always about fantasy; that’s gone for now,” he continued. But it lived again for a few short hours here, courtesy of Pita’s soft sets, which were side-parted and fashioned into ridged faux-bobs offering some of the most stunning silhouettes of the week—particularly as models got some fresh air on the Place du Trocadéro, the Eiffel Tower providing a properly grand background behind them.
“There’s a lot of lip going around,” Giorgio Armani international makeup artist Linda Cantello said backstage at the designer’s Fall show. She’s certainly not wrong. The crimson and berry pouts that gained momentum in New York and London have really hit their stride in Milan, turning up everywhere from Fendi and Antonio Marras to Prada, Bottega Veneta, and Marni. “The collection is very ‘garçonne,’ so he didn’t want too much makeup,” Cantello explained of Mr. Armani’s boyish tailoring with a slight 1930s air. “But I’ve still got to get my thing in there.”
Cantello’s “thing” included a beautiful play on shaded contouring, as though all that remained on models’ faces were the aftereffects of stronger pigments that were once there. “I wanted a cold color,” she elaborated of the custom lip concoction she whipped up for the occasion—literally; Cantello had a small Pyrex dish filled with a deep pigment she had hand-mixed to achieve the exact right clear, vampy purple hue with a brown base. Blending together a few shades of Armani’s forthcoming Rouge Ecstasy lipstick line, which she turned even more sheer with the addition of some gloss, Cantello pressed the color onto models’ mouths so it subtly stained them a lighter shade of its Nail Lacquer in Night Viper, which varnished tips and will launch as part of the brands full polish line-up come October. “Imagine if they came out with super-dark, Clara Bow lips—it would be awful!” she pointed out of the importance of the transparency. Restraint ruled on lids too, which were sculpted through the crease with elongated swipes of the gray and taupe-y brown shadows from Armani’s Eyes to Kill palettes in #1 and #4. “It’s like character makeup,” Cantello said of the effect, which worked well with the heavy black fringe hairstylist Franco Gobbi affixed to sleek topknots and arranged beneath a series of hats, not to mention models’ perfected skin that had been primed with Armani’s standout Maestro Fusion Makeup and mattified with its Luminous Silk Powder in No. 2.
No mascara and well-groomed “statement brows” completed the look, which was, in a way, very similar to what we’ve been seeing in Milan. Reconceived by Cantello, however, it got a whole lot more mileage.
Aside from that showstopping, crystal-encrusted lip moment backstage at Dior, there has been a collective focus due north of models’ mouths at the couture shows this week, as designers are requesting luxe lids with regularity. And historically, no one loves a well-defined eye quite like Giorgio Armani, who actually came up with the flicked banana liner at his presentation yesterday on his own. “Mr. Armani always has his idea of how things should be, and then we work on it together,” explains the Italian house’s international makeup artist, Linda Cantello. “It’s a very contemporary couture look—sort of a mash-up of the eighties, the nineties, and a little of the fifties,” she continued of the beauty story here, which revolved around a palette of white, red, and black.
Such a stark approach requires perfect skin, according to Cantello, who started her base by massaging Armani’s brand-new Crema Nera Extrema, a lavish salve that uses extracts from the hardy South African survival plant Reviscentalis to quench and plump parched complexions, into the face. Following that up with a layer of Giorgio Armani Maestro foundation, Cantello etched on a graphic eye through the crease, which she paired with garnet lips—the result of a mix of the brand’s new matte Lip Maestro and the juicy, high-shine Flash Lacquer gloss, due out in April. “The one thing I hate is penciled-in lips,” Cantello pointed out of the rigid effect of precisely lining lips, relishing instead the myriad options now available to her, like glosses and balms in matte and shiny finishes. “In a show context, everything is perfect—but out there in the real world, you need to look at the woman and not the makeup.”
“Perfect,” it turns out, is a good way to describe hairstylist Franco Gobbi’s “urban tribal girl” coifs, which relied on laminated strands that were tucked and twisted into quasi-short cuts that dispensed all notions of volume in favor of a sleek, graphic texture with segmented, wet bangs created from flipped-over lengths. “She travels the world, east to west, and wherever she goes, she picks up little elements along the way,” he explained of Mr. Armani’s couture woman, who favored an “ethnic Mexican wrap” hairstyle that was prepped with Moroccanoil Oil Treatment to add glisten before being set with Sebastian Shaper Fierce Hairspray and tucked beneath a bevy of caps. Just because the season’s cuts are short, Gobbi notes, it doesn’t mean hair shouldn’t have texture. “Wet or dry, it [adds] a really chic touch.”