15 posts tagged "Linda Cantello"
“The look is usually more graphic,” explained makeup artist Linda Cantello, but for today’s show she described the finished product as “Armani, but faded.” To complement the charcoal and black collection (fittingly dubbed “fade to grey”) peppered with varying shades of green, Cantello washed a custom-blended, slate cream shadow with hints of purple over lids (a liner in a similar tone will be available come August). The top lashes were coated with mascara, and arches were emphasized with Giorgio Armani Beauty’s Eye&Brow Maestro (a multipurpose formula developed in conjunction with hairstylists, hitting shelves in September) in a shade “stronger” than each girl’s natural hair color. The skin was made paler with a pure-white Maestro foundation (the first formula to feature a matte pearl pigment, launching with the holiday collection), which goes on sheer and lends a porcelain finish to the skin. Although she tried a nude (“too washed out”) and a red (“too clashy with the lime green [in the clothes]“), the face painter wound up applying Rouge Ecstasy Lipstick in 602 (a berry hue). “The lip is meant to look like it’s been put on and taken off,” she explained.
Strands were equally as soft and feminine. A triple-barrel curling iron was clamped down in sections by Roberta Bellazzi to form mermaid-like waves. The only element that contrasted the gentle hair and makeup was a graphic side or center parting, which rendered each model an individual.
Beauty editors got a first look at the house’s expanding cosmetic offerings, including new eyeshadow colors and textures, a liquid bronzer and blush (both available in April), Cheek Fabric (a pigment-rich powder blush out in March), and the brand’s newest star: Eye&Brow Maestro—a multiuse product in eight different colors hitting shelves in September. Based on L’Oréal (the brand’s holding company) hair color science, Eye&Brow Maestro is a satin-finish polymer and pearl-based sliding gel formula that is waterproof and offers round-the-clock wear. And because it is the result of collaboration between hairdressers and makeup artists, it also works on the lids as a liner or eyeshadow.
Makeup artist Linda Cantello employed a few of the new products for the runway look she dubbed “a nod to India in Paris,” based on dramatic contouring (which she did using a well-blended eye pencil and Cheek Fabric in a taupe hue); a straight, strong brow (created with the forthcoming Eye&Brow pencil in a shade darker than each girl’s natural hair color); and intense eyes. “I used only two shadows [a custom blend of Eyes to Kill Solo eyeshadows in #11 and #7, arriving in May], but they are so reflective they look like four,” she noted. Along with mascara on top lashes only, the finishing touch was what Cantello called “manicure minuit” (midnight manicure). Nail Lacquer in Bleu d’Armani served as the base, and a top coat called Navy Glass (also due in September)—specially formulated to reprise the impression of stained glass by amping up color with each successive coat—boosted shine. Crystal-encrusted scarves wrapped tightly around models’ heads completed the exotic and glamorous “nomade” persona.
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.