63 posts tagged "Lucia Pieroni"
When determining the status of the look at Christopher Kane, things were far from complicated. “Christopher’s collection is very designed, very beautiful, and he likes to have a juxtaposition in the hair and makeup,” hairstylist Guido Palau explained. After strands were washed with Redken Cleansing Cream Shampoo and an off-center parting was made, he opted to work with each model’s natural texture. Fingers were Palau’s only tools, as he rough-dried everything with a few drops of Diamond Oil to cancel any frizz and finished with a spritz of Powder Refresh for volume. “A [polished] blow dry would only take away from the beauty of the collection,” he said.
Makeup artist Lucia Pieroni also elected to use her fingers over an arsenal of brushes. Models’ skin was massaged with NARS Optimal Brightening Concentrate to prep it for Radiant Cream Compact Foundation. Next, Pieroni strategically placed highlights on the cupid’s bow, cheekbones, temples, and eyelids with Illuminator in Copacabana for fairer skin tones, or Orgasm for darker complexions. Additional glow came courtesy of The Multiple in Copacabana (applied to the same areas), and lashes were left mascara-free but curled.
Barely-there nails completed the understated look with just a sweep of Leighton Denny Nail Colour in Starkers, followed by a clear and glossy topcoat. The total package was certainly a study in simplicity, but it undoubtedly allowed the pastels, prints, and graphic cutouts in the collection to take center stage.
The hair at Haider Ackermann sort of stopped you in your tracks backstage. Pieces of platinum strands were floating in the air as Eugene Souleiman trimmed hand-dyed, white-gold wigs that were left black at the root to resemble natural grow-out. “It’s an unnatural blond, a fifties blond,” he said of the specific bleached-to-oblivion color he had been working on for the past three days, in preparation for this show. The idea came from the Marilyn Monroe soundtrack playing as models took to the catwalk, but clearly the bombshell’s familiar set would not have worked here. “That’s what Haider is about: challenging your perception of what you think is beautiful,” Souleiman explained of why he tweaked the retro color with “techniques of now.” Using a boatload of Wella Professionals Ocean Spritz Beach Texture Spray, Souleiman applied a dusty, matte texture through the lengths, which he fashioned into a thick bun in the back while adding spiky extensions to top and leaving natural hair visible underneath. “We actually colored the roots with felt tip pens,” he explained of the dark base that was meant to stand out in stark contrast to the army of “sexy, assertive, bad attitude” flaxen-haired beauties. “It’s sort of like an alternative Daphne Guinness,” Souleiman suggested, referencing the heiress’ signature skunk streak style.
Lucia Pieroni was on support staff essentially, working on a makeup look that played to the hair. Using black eyeshadow to blend the hairline into the skin, which had been prepped with MAC Face and Body Foundation, Pieroni went heavy on MAC’s illuminating Strobe Cream and its neutral Cream Color Base in Groundwork that she layered across lids, underneath the lash line, and on the tops of cheeks for a “hallowed” look. “[Haider] actually showed me a picture of James Dean,” Pieroni said, name-dropping another 1950s icon and dotting the face with MAC’s Mixing Medium in Shine to create a glossy finish. “Feral” arches that were brushed, built up with its Brow Quad, and topped and with mascara “to make them more werewolf-y,” brought a certain strength to the face.
There’s something inexplicably thrilling about a Rick Owens show—and we’re not referring to the production heroics of last season’s foam-waterfall backdrop that cascaded onto the runway, specifically, although that’s certainly part of the allure. (This season, Owens used wind machines and fog to sufficiently set the mood.) It’s more of the highly considered way the designer approaches his craft and his sense of showmanship, which affects every single aspect of his work. “The architectural style of Rick goes from the clothes to the hair,” Owens’ longtime coiffing collaborator, Luigi Murenu, said backstage, elaborating on the “homage to lightness” he was creating with a trio of brand-new BaByliss crimping irons. “It’s instant magic,” he continued of the style that relied on clean, product-free hair and brushed-out ridges, which allowed Murenu to get a texture similar to the incredibly graphic wigs he carved out for Spring, with a whole new level of movement, particularly when the wind machines intermingled with strands at the beginning of the runway. “Kate Bush would be in heaven,” he effused.
Lucia Pieroni did her part by swirling a synthetic brush with coordinating swipes of MAC Full Coverage Foundation in W10 and White and blending it all over models’ faces to essentially block out their features and create a certain sense of transparency. Using an opaque powder to get a “matte whiteness” in the middle of the face and around the eyes—”sort of like goggles,” she explained—Pieroni rubbed MAC’s Cream Colour Base in Pure White with the fleshy Painterly between her fingers and applied the neutral mixture to lashes and brows to eliminate them as well. “We want it to be see-through,” she explained of her endgame, while taking down lips with its Pro Longwear Paint Pot in Camel Coat, a tawny shade of grayish taupe. “They’re basically ethereal beings underneath all this hair.”
“Someone like Lee Miller” is who Lucia Pieroni was channeling backstage at Rochas, where it was all about that kind of “incredibly rich, well-kept woman that doesn’t even need to bother,” according to the makeup artist. The resulting beauty look was a slight departure from the hyper-feminized makeup that designer Marco Zanini typically orders up here, which reliably includes a standout lip. “We tried a lip,” Pieroni admitted, while using Clé de Peau Luminizing Face Enhancers in No. 11, a cool silver, and No. 12, a warm gold, to sculpt the skin, “but it made it too pretty, too lady—too retro,” she conceded. As an alternative, Pieroni deliberately eschewed mascara, eye liner, and blush in favor of a neutral-tinted lid that was stained with Clé de Peau’s Satin Eye Color in No. 208, a dark taupe-y brown, and a “forties brow,” courtesy of its eyebrow pencils. “The arch is much wider,” Pieroni explained of the decade’s specific brow shape, which registers slightly differently than the grooming techniques popular in the fifties or even eighties. “It makes them look a bit straight,” she elaborated.
Eugene Souleiman was less willing to pin the hair to a specific era when talking about what appeared, at first glance, to be a style reminiscent of forties-inspired waves. “It’d be Guy Bourdin-y in 1973 if it were done really well,” he maintained, careful to emphasize that he was not trying to produce yet another iteration of the big, soft, seventies-cum-forties ringlets we’ve seen so much of already this season. Instead, Souleiman maintained that he and Zanini wanted to pay tribute to Nicoletta Santoro, the Italian fashion editor and stylist who has played muse to Zanini before—and who happens to have “incredibly curly hair that she tries to tame but can’t,” according to the coiffeur. Creating an extra-deep side part, “almost like a comb-over,” Souleiman flat-ironed strands about a third of the way through the lengths before switching textures entirely. “It’s like a bob, with a bad perm,” he elaborated of the tightly wound loops that were wrapped around an iron through the ends and then “stretched out” to produce a looser wave with some deliberate frizz. “It’s not supposed to be particularly attractive,” he insisted, “because everything else is.”
“The girl this season is more than a little Carrie,” Paul Hanlon revealed backstage at Giles, where the hairstylist was doing his best to conjure “something of the teenage horror genre.” Cue the long, witchy extensions that were also more than a little inspired by show opener, and longtime devotee of long hair, Kristen McMenamy.
Hanlon gave all forty-five models (except, of course, McMenamy) twenty-four-inch extensions, which he misted with water and divided into two impossibly long plaits to set a loose wave. Taking out the braids right before showtime and giving a few girls—Cara Delevingne and Janice Alida among them—oversize beanies, as has been par for the course this season, Hanlon was left with thin, limp, crimped strands. “This is not so much a hairstyle as it is an effect,” he explained.
The macabre feeling was echoed in the makeup, too. “This girl is Goth,” Lucia Pieroni deadpanned, revealing that Tim Burton was a big inspiration for the pale, luminescent complexions she built using copious amounts of MAC Strobe Cream. Hollowing out eyes with MAC Paint Pots in Constructivist, a burnished brown, and Stormy Pink, a pale lavender, Pieroni concentrated the pigment to the inner corner of the lid to create depth before blending it underneath the lower lash liner to give off the appearance of “a sunken shadow.” Leaving lashes bare and taking lips down with a touch of concealer and lip balm, Pieroni was content to dub her handiwork “beautiful Burton.”