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August 23 2014

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7 posts tagged "Lloyd Simmonds"

Four Hair Looks Are Better Than One, Backstage at Jean Paul Gaultier Couture

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Jean-Paul-Gaultie-Couture-BeautyWhile reporting backstage at a certain Couture show this week, the question of how to ensure that a given hairstyle doesn’t overshadow a collection’s clothes was put to one of the seminal hairdressers working today. “I want my hair to be noticed, but I don’t want it to take over,” he replied. “This is a Couture show, not a hair show.” The distinction may seem clear enough, although the lines are frequently blurred when the Couture show in question belongs to Jean Peal Gaultier.

“He loves hair,” Gaultier’s longtime partner in coif, Odile Gilbert, revealed of the designer who often gives Gilbert the green light to create some of the most elaborate hair art on the runway. “What I love about Jean Paul, because I’ve worked with a lot of designers, is that he always wants a certain sense of humor in the hair,” she said. Gilbert perfected four different looks simultaneously: a towering chignon with haute couture curlers bedazzled with “strass,” as she referred to the stone-encrusted details on a handmade set of rollers; a “Chantilly chignon,” a tiered cake-inspired, segmented, cone shape that was anchored by a rigged-up wiring system Gilbert designed herself; a donut-shaped topknot that sat just above the forehead and was accessorized with a small hat; and the “cheetah paw print,” Gilbert’s favorite of the bunch, which was spray-painted onto sleek French twists with stencils. “I did it before for John, for his first Couture collection at Dior, but in a totally different way,” she admitted of the jungle cat improvisation, referencing her tenure working with John Galliano with a sense of nostalgia—the second time the disgraced designer has come up backstage in two days. “For me, Jean Paul is like Galliano; he has a vision.”

Luckily for Lloyd Simmonds, Gaultier’s vision for the makeup was much less complex. How many different faces was Simmonds enlisted to paint in complement to those hairstyles? “One!” he confirmed with delight, a riff on Fellini’s women and their flair for black liner. Using rich brown shadows to pull the eye out as far as possible before starting in with a series of pencils, Simmonds rimmed the inside of lids with white kohl to make them pop against the outline of inky onyx pigment that he traced around both the upper and lower lash lines. “He said he wanted the makeup to be very ‘Couture,’” Simmonds explained of Gaultier’s directive, which registered as a call to push things toward the elaborate. “Instead of one shade of brown shadow, there are six shades of brown shadow; you just spend more time,” he explained, getting at the reason for Couture at its core: to elevate craft, be it fashion—or beauty.

Photo: Pascal Le Segretain/Getty Images

Wigging Out, Backstage At Jean Paul Gaultier

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If you had a slight feeling of déjà vu upon seeing the spiky black wigs marching down Jean Paul Gaultier’s runway in additional shades of auburn, chestnut, and platinum blond, your mind was playing tricks on you. “It’s like a toupee or a bang,” Guido Palau said of the “patchwork” effect he was hoping to achieve with the deliberately cheap-looking hairpieces here, which were not to be confused with the similarly choppy, high-end crops he hand-dyed and -cut for Marc Jacobs last month. “A lot of people want to see short hair this season and most girls don’t want to cut it,” Palau explained of his recent reliance on wigs, which offer a temporary solution to the predicament. “It’s supposed to look like a girl’s hair that is colored and grown out,” he elaborated of the faux trims here that were meant to deliberately contrast with models’ natural strands where they met as a flat panel in the back. There was a slight nod to the eighties-era androgynous stunner Leslie Winer, although Palau was content to speak to the style’s “punky, boyish, concert-y” quality, which he fashioned using Redken Control Addict 28 High Control Hairspray.

“The brows really help balance it out,” he said of the way Lloyd Simmonds’ “masculine, yet feminine” makeup look complemented his coifs. “There’s a really dark frame to the face, so we needed a dark frame to the girl’s personality. You get a personality with a brow,” Simmonds explained, using a matte black eye shadow to fill in arches while keeping the skin fresh and glowing with YSL’s La Teint Touche Éclat Illuminating Foundation, and a little pressed powder to reduce the risk of shine. A light dusting of blush in shades of light rose and warm gold—”whatever looks good with [the girls'] skin tone”—finished the face.

Photo: Luca Cannonieri / Gorunway.com

Kohl-Rimmed Lids, Beehives, And Braids, Backstage At JPG Couture

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“Indian goddesses,” came the call backstage at Jean Paul Gaultier’s couture show yesterday, which caused hairstylist Odile Gilbert to spring into action accordingly. French-braiding models’ hair up the back of the head, Gilbert worked lengths into a high beehive before bringing them back down in a single long, swinging braid. “We texturized hair a little, but other than that it’s just hair spray,” she said humbly.

“The original gypsies were actually from India,” makeup artist Lloyd Simmonds chimed in, doing his part to expand upon the theme with heavily pigmented black pencils to create the kind of elongated, kohl-rimmed eyes found on Hindu sculptures. “I found a vinyl finish that’s super shiny,” he continued of the Rubotan Line Liquid, a Japanese discovery, and L’Oréal’s Super Liner Black Lacquer, which gave lids a greasy finish. “I love the way that looks right now,” Simmonds divulged of the texture. Using crystals as faux nose rings, beauty marks, and, on occasion, full-on face adornment, Simmonds finished with a few rows of faux lashes, using sparkly silver powder on the inner corners of the eye to open them up a bit.

Stick-on face jewelry aside, complexions were comparatively understated for a Gaultier show, a dearth of vibrant color that was made up for on—wait for it—models’ feet, which were turned electric shades of saffron, fuchsia, blue, gold, and silver with sponged-on Kryolan Aquacolors and finished with matching pedicures. Hey, it sure beats wearing stockings.

Photo: Luca Cannonieri / Gorunway.com

YSL Paints It Black

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Of his many, many contributions to the annals of fashion history, one of Yves Saint Laurent’s single biggest gifts to womenswear has to be Le Smoking. A tuxedo cut for the feminine figure without sacrificing the toughness of the masculine original, it was an achievement in liberation, effectively giving women the official go-ahead to wear pants in the evening. Stefano Pilati is plenty aware of the design’s importance—and its versatility. The house’s current creative director looked to the classic suit as the inspiration for YSL’s holiday makeup range. There are some colorful additions to the cosmetics dreamt up by Pilati and YSL international makeup artist Lloyd Simmonds, of course—four new shades of its Rouge Pur Couture lipstick and three new Golden Glosses scattered with white gold flecks. But it’s the black and white pieces that stand out most, the Manicure Couture Duo Terriblement Noir in No. 6, specifically. We’re not usually black nail polish wearers, but this is black nail polish, YSL-style, and features obsidian lacquers in a matte and high-shine finish with this recommendation from Simmonds: Apply two coats of the matte followed by a thick French tip of the glossy. It’s supposed to recall the textural contrast of a satin lapel against a cotton or wool jacket, but it really doesn’t need any contextual grounding to register as undeniably chic.


YSL Beauté Manicure Couture Duo Terriblement Noir in No. 6, $30, available November 2011 at www.yslbeautyus.com.

Photo: Courtesy of YSL Beaute

Liberté, Egalité, Fraternité, Beauté

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Everyone may be buzzing about Paris Vogue‘s September cover girl, Charlotte Casiraghi, but we’re caught up with an entirely different editorial from the French glossy’s big fashion issue. In an exciting turn of events, editor Emmanuelle Alt enlisted not one but three of the business’ biggest face painters to present their own interpretation of French beauty on Isabeli Fontana’s gorgeous visage. Estée Lauder creative makeup director Tom Pecheux went with his standard nude lip, smoky eye combination—a similar look to the limited-edition Pure Color Night collection that he launched for the beauty brand last year as a tribute to French women. “It’s very sensual, very cool, and very sexual,” he said. Lloyd Simmonds, Yves Saint Laurent’s newly named international makeup artist, chose a high-shine red lip and smoked-out lavender eye with gold accents on the inner corners, pointing out that French women should dare to experiment with bold color more. As for Aaron de Mey, the Lancôme artistic director of makeup spotlighted the dynamic effect of asymmetry in makeup by dusting one lid with a rich emerald pigment and the other with shimmering sapphire, in order to illustrate French women’s unique ability to bush boundaries. Which interpretation do you like best?

Photo: Patrick Demarchelier for Paris Vogue, September 2011