10 posts tagged "Lisa Butler"
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.
Using fake fringe on the runway can often go terribly wrong, mostly because the hair accessory usually looks, well, fake. But not when the task is left in the extremely capable hands of Luigi Murenu. Citing sixties-boho poster children like Marianne Faithfull and Jane Birkin backstage at Pucci, Murenu insisted that the heavy hairpieces he was individually beveling to frame each model’s face were “very now.” How so? The slight wave and artificial highlights he added gave the style an incredibly natural, lived-in, modern feel.
Prepping strands with Roux Fanci-Full Color Styling Mousse, which adds a temporary tint of auburn, flaxen, or chocolate to create raw contrast and texture, Murenu alternated between spritzes of John Frieda Refresh Dry Shampoo and L’Oréal Elnett hairspray to build a well-worn pieceyness through models’ lengths. Then came the bangs, which were precut and then shaped to fit individual foreheads. Coating his hands with Kérastase Elixir Ultime, Murenu slipped side sections behind the ears, leaving front pieces to hang down.
“We wanted to start again with her,” makeup artist Lisa Butler said of the Pucci girl we’re used to seeing here, who frequently relies on gloss and shine to make an impact. Not this season. Instead, Butler focused on incredibly mattified skin that was dusted entirely with MAC Mineralize Skinfinish Powder before turning her attention to eyes, which were rimmed with its Kohl Power Liner in Feline on the upper lash line, treated to a row of MAC 4 Lashes, and then lacquered with mascara. “It’s all black—there’s no visible flesh left,” Butler emphasized of where the lash line met the fringe, although she took care to subtly contrast lids with MAC Pro Longwear Paint Pot in Stormy Pink, a sheer violet, which she topped with its Lipstick in Plum Dandy, a frosted lavender, “to bring it all back to life.” Lining the lower lash line with a neutral pencil to open things up a bit, Butler employed an old makeup-artist trick on lips, which she sculpted with short strokes of tawny-colored MAC Lip Pencils in Oat and Cork—drawing a quarter-inch line under the center of the lower lip, up the middle, on the Cupid’s bow, and just at the corners of the mouth. “Don’t join [the lines],” she stressed blending the etchings with the same Paint Pot to create a “more modern” beige lip before using both pencils to draw on a few spotty freckles. “It’s like they’re in Hoxton and you’ve dressed them in mad Oxfam clothing—we’re hoping they look like that,” Butler elaborated, adding Venus in Furs, the Leopold von Sacher-Masoch novella and the Velvet Underground song, to her pool of references. Never have a nude pout and heavy lash been so loaded (and, incidentally, lauded).
The Asian influence in Peter Dundas’ Spring collection for Emilio Pucci was evident long before models got into their first looks, following a casual round of Champagne drinking and conversation. “It’s Indochine in a modern way,” Luigi Murenu said of the ivory hair pins carved with elaborate dragon motifs that he slipped through long, center-parted half-up, half-downs. “We have to keep it quite Pucci, though,” he added, pointing out that the reference couldn’t be too literal as to abide by the house’s DNA, which necessitates a girl that “has an easy approach to hair but is stylish.”
Prepping elongated strands with Phyto Professional Intense Mousse, Murenu created a painstakingly straight texture with a slick of John Frieda Frizz Ease before cutting short wispy pieces around the face for “modernity and coolness.” As the coiffing star finished his last girl, Dundas made a surprise guest appearance in his chair to get a touch-up before the show. Setting him up with a makeshift barbershop gown, Murenu treated the designer’s signature curls to a few scrunches of Kérastase Nutritive Oleo-Relax Serum.
Lisa Butler kept her nods to Dundas’ Eastern influences duly light-handed. “It’s a concept, not really a reference,” the face painter said of the makeup’s “Zen simplicity.” Rimming lids with MAC Eye Kohl in Smoulder before deliberately removing the black pigment to leave behind just a trace of sultriness, Butler placed a “blob” of its Chromaline gel eyeliner in White above the center of the upper lash line and blended it for “dimension.” Before models hit the runway, Butler added a slick of gloss to lids and a dusting of powder through the T-zone so girls looked a “bit more done.”
Referencing old Helmut Newton photos, Luigi Murenu honed in on a “slightly Germanic but more modern” feeling backstage at Pucci, where he devised what will likely be one of the most readily copied hair looks of the season. “It’s less coiffed and more tousled,” the super-stylist emphasized of the long, slightly wavy locks that he coated with Phyto Professional Intense Volume Mousse and middle-parted before pinning a series of color-matched braided extensions a few inches back from models’ hairlines to resemble a coronet. “It can’t be perfect; then it will look too retro,” Murenu continued, jostling flyaways loose around the face and ensuring that the hair that hung down in the back was languid and slightly texturized.
Lisa Butler was also trying to avoid the dreaded R-word. Taking her cues from Peter Dundas’ collection, which she described as “quite structured,” the makeup artist decided to do “something different” in the form of a smoky lip and a nude eye. “Finally!” she exclaimed, reversing the makeup look at a show that frequently relies on sultry lids and bare mouths. Drawing on a “fat” brow, Butler applied very little base, which she topped with “pink-y, outside-y, baby cheeks,” alternating between MAC Cream Color Base in Coral and its Blushcreme in Brit Wit, depending on each model’s skin tone. “We’re trying to approach each girl differently,” Butler said, using mascara here and black liner pushed into lashes there. The one unifying factor was a custom-blended black lip balm that she created by mixing a hint of MAC Lipmix in Black with its Lip Conditioner. “It’s like these eighties Shiseido lipsticks that were very weak in pigment but gave a little bit of darkness,” she explained of the effect, which read as a barely perceptible soft, black-currant wash on on the runway. “Don’t start wearing black lipstick, though; it’s very unflattering,” Butler warned of taking the idea and running with it—in the wrong direction. Her washed-out incarnation, however, is certainly worth a whirl.
Last season, we broke the news that skincare guru Sunday Riley had teamed up with makeup artist Diane Kendal on a new makeup line that debuted backstage at Maiyet and Vanessa Bruno in Paris. After a stellar performance for Spring, it’s perhaps unsurprising that we’ve got some more news to break for Fall: Style.com just learned that Riley has landed a few impressive makeup sponsorships in New York, where her full line of complexion perfectors will be used backstage at Helmut Lang, Victoria Beckham, and The Row. These last two shows are particularly of note, as they have previously been showcases for big-name brands like Lancôme and Estée Lauder. But now it’s Riley’s foundations, eye shadows, lipsticks, and the like that will be in the very capable hands of Kendal as well as makeup artists Lisa Butler and Tom Pecheux, when the shows commence next week. In a word, pumped!