63 posts tagged "Lucia Pieroni"
In honor of National Cat Day, Uber (a car service mobile app) partnered with Cheezburger.com (a Web site that specializes in online laughs) to put together a one-day promotion that entails fuzzy kittens arriving at your doorstep for fifteen minutes. In addition to a delightful snuggle, you’ll receive cupcakes from Ace of Cakes for $20 (with all proceeds being donated to local animal shelters). Does it really get any better? I seriously doubt it. But if you can’t get your arms wrapped around one of these covetable creatures that are currently being chauffeured around New York, Seattle, and San Francisco, you can get in on the celebration with this cat-eye look created exclusively for Style.com by makeup creative director of Clé de Peau Beauté, Lucia Pieroni. Here, the step-by-step straight from the face painter herself:
1. Apply Clé de Peau Beauté Intensifying Cream Eyeliner in Deep Black (101) across your top lashes, creating a thin line.
2. Starting at the inner corner, trace along your lashes once again until parallel with your pupil, then drag your brush straight across to form a sharp, upward feline flick.
3. Next, join the outer corner with the bottom line—extending it and filling in any white space.
4. Blend the line with a small, fluffy brush to soften any hard edges. (Note: This also helps make the shape bigger and more dramatic.)
5. Coat the lashes with lots of black mascara and add Clé de Peau Beauté Eye Liner Pencil in Black (201) onto the water line for definition.
6. Complete the look with a glossy nude lipstick. Or, if you dare, opt for a super-pigmented, bloodstained finish by blending Extra Rich Lipstick in Matilda (310) with Red Abundance (311).
All season long makeup artists and hairstylists have been riffing on “real girl” beauty backstage—leaving strands and complexions purposely au naturel so that the consumer can more easily imagine herself wearing the clothes. But at the end of the day, as Tom Pecheux put it at Balmain, supermodels are still supermodels—and the rest of us are just “real.” But the unlikely lineup of forty step dancers from Washington, D.C., and New York City-based crews (Momentum, Soul Steps, Zetas, Washington Divas) at Rick Owens was an exuberant celebration of authenticity. “The whole point was to make them look and feel pretty,” said Owens. “If a girl didn’t feel comfortable with something, we didn’t do it—we wanted them to feel powerful.”
To emphasize their dynamic movements, hair pro Luigi Murenu designed four different styles. The first being a fluffy texture that he aptly dubbed “dandelion heads,” created by straightening strands, “biting” them with a crimping iron, and brushing out the kinks with a Mason Pearson to get a “cotton candy-like” finish that flew with each aggressive stomp. The other three included a slicked-back chignon (which he formed using Kérastase Vinyle Nutri-Sculpt and hair spray, sometimes fitting the dancer with a “nunlike” veil), stick-straight hair with center parts, and low, sleek ponytails.
“What they’re doing is so ‘wow’ that it’s about them and the clothes—it’s not really about this bit,” face painter Lucia Pieroni said of the “fresh” makeup. “There’s no particular thing on everybody,” she added. Pieroni used a light layer of foundation and concealer, filled in arches where needed, and moisturized lips with a clear balm—tailoring the look to each dancer. The end result, although stripped down, relayed an important message: When individuality is this spectacular, why attempt to conform?
“I’m so bored of nice—just over it in a big way,” said the mane man backstage at Rochas, Eugene Souleiman. “[Hairstylists] need to loosen up and live a little.” And loosen up he did, bringing what he referred to as a “couture” sensibility to ready-to-wear hair. The “over-brushed” updos were based off a look he created for Spring 2012 (which featured a fifties egg shape), but this season Souleiman “wanted to make the head and feet do the same thing.” In other words, the Helena Bonham Carter-like styles were designed to flutter like the feather-duster flats and heels. In order to not torture the models’ strands too much, he pinned a teased bun form to the backs of their heads to act as an anchor, then misted all over with Wella Ocean Spritz to lend a “chemically processed” matte finish. Next, he randomly curled pieces with a half-inch curling iron, made tiny braids, and flat-ironed bits before brushing through them and creating a French-twist-like roll in the back (which he would later pull apart). The remaining sections were wrapped around the sides and front, forming a gentle halo of fuzz. Souleiman said of the end result: “It’s chaotic, but it’s beautiful.”
As for makeup artist Lucia Pieroni, she played off the iridescent fabrics and the catwalk music, which began with what sounded like drops of water hitting a hard surface. “It’s like when the Little Mermaid stays out of the sea for too long—she can’t live above ground, so she goes a bit hollow-eyed,” Pieroni said of the dusky tones that were wrapped around eyes. For a dewy base, she prepped skin with Clé de Peau Beauté The Serum, and then applied the deep purple, taupe-y plum, and pink shades from the forthcoming Eye Color Quad in 212 on the lids and lower lash lines, diffusing the pigment with a small blush brush. Cheek Color in 1 (an earthy hue) was dusted lightly along the sides of the face, and lips were slicked with Enriched Lip Luminizer in 226 (launching next Spring). For a “wet” finish, she dabbed Egyptian Magic on cheekbones, lids, and brows to catch the light, similar to the strands of multifaceted, opalescent beads draped twice around models’ necks.
The last time I saw this many bluntly cut, synthetic ponytails I was watching Madonna take the stage for her Confessions Tour, wearing an equestrian-style top hat with a black horse tail attached. But instead of stallions serving as the reference for the hair at Missoni, mane master Eugene Souleiman was shown a Richard Avedon photo that featured a model sporting a braided updo that looked “fake,” he explained. To bring this idea to the runway, he attached a glossy, back-grazing extension to a ring (made by the house), rather than incorporating the faux, “plastic” strands into the actual style. “I wanted it to look like an accessory rather than hair,” he added. He reiterated the point by contrasting the pieces with each model’s natural color.
After making a side part in front, Souleiman misted the models’ real hair with Wella Ocean Spritz to create a raw texture and scraped it back into a ponytail, which was secured with a string of black elastic. The length was then threaded through the ring, folded close to the pony’s base, and wrapped once again with elastic—leaving the handcrafted accoutrement hanging from a newly formed loop.
The makeup by face painter Lucia Pieroni played off the four-elements (earth, wind, water, and fire) theme of the collection. The skin was left dewy to provide a “liquid” finish, while cheeks were gently contoured with a MAC Paint Pot in Groundwork (here lies the earth). Also inspired by Japanese girls, Pieroni traced a graphic band of Black Track Gel Eye Liner along the upper lash line, into the inner corners, and wrapped the formula underneath the eye—ending it just before the pupil. To clean up the shape, pointed cotton buds were employed by the pro. A shimmery silver eyeliner was washed across the lids and brow bones, lending a subtle hit of sparkle and Tokyo pop to the architectural look.
It was a tale of two stories at Giles today, where the designer returned to Ave Maria Lane in London for another season. The gothic surroundings were at odds with the inspiration cited by hairstylist Sacha Mascolo-Tarbuck, who told us that Braveheart served as the thinking behind the matte finish and mussed-up plaits. Label M Resurrection Dust (a volumizing powder) was worked from roots to ends to provide a gritty and pliable texture. Miracle Fibre (a lightweight paste) was then smoothed over the sides to keep the lift intact on top, and the intricate braid—which took two hairdressers to craft—was nonchalantly draped over one shoulder.
“It’s not really makeup—it’s [very] light,” said face painter Lucia Pieroni when asked to describe the look. For the maquillage that was present, Pieroni took her cue from nineties supermodels and the Glen Luchford photographs that appeared on a handful of dresses in the collection. This translated into flawless complexions accented with just a touch of pink cream blush and a light patting of MAC Mixing Medium Shine over the tops of cheekbones. A rosebud shade applied to lips completed the glossy, glamazon look.
The real bling in the show manifested itself on models’ nails. Manicurist Marian Newman meticulously glued around 150 Swarovski crystals onto each girl’s tips. Looks like the nail art and sneaker craze (Adidas trainers were worn in lieu of fancier footwear) hasn’t yet been kicked—at least not on this runway.