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April 21 2014

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38 posts tagged "Luigi Murenu"

Out of This World Hair and Makeup, Backstage at Givenchy

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givenchy

“We really wanted the girls to look absolutely beautiful, but different,” explained Pat McGrath of the look at Givenchy. The “beautiful” half of the equation was achieved via skin highlighted to a “shimmery perfection,” pinky-peach blush dusted on cheeks, beige shadow washed around the eyes, and white liner run along the inner rims. The “otherworldly and surreal” element came courtesy of bleached brows and square-cut, crimson “face tapes” layered with a “plastic coating” on both temples. A string was secured underneath, pulled taut, and tied at the back of the head—gently tugging models’ faces upward. It was definitely not meant to mimic a facelift, however, McGrath noted when asked. After all, these are teenage girls (at least in the case of Kendall Jenner) we’re talking about. The tape—meant to be seen as a fashion accessory—was very much a “statement of today.” The conjoined pigtail braids by Luigi Murenu were as graphic and interesting as the maquillage and certainly otherworldly in that there is no way on earth you’re going to be able to DIY this double plait.

Photo: Sonny Vandevelde; Indigitalimages.com

The Three-Step Braid Makes a Second Appearance, Backstage at Viktor & Rolf

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viktorandrolfThe “one, two, three” braid—it’s a plait hair pro Luigi Murenu has been making a case for this season. We saw a similar look at Emilio Pucci, but here he lost the elastic in favor of a more disheveled, “last moment feeling.” To achieve the dry texture, he worked Kérastase Mousse Bouffante through strands before blowing them dry and employing a curling iron for texture. Then he divided the length into three sections and wove them loosely together near the nape, finishing with a generous amount of hairspray to ensure plenty of hold. Forgoing the band was a feat in and of itself, and the finished product perfectly complemented the designers’ more accessible offerings.

Pat McGrath kept the makeup equally as attainable. Aside from beautiful skin, a slight flush, and “rich” brows, only a gray-brown shadow was washed around the eyes. “It looks like the street in there,” she said of the show space located in the Jardin des Tuileries. “The girls should just look like they are simply walking down the street.”

Photo: Indigitalimages.com

A Mixed Bag, Backstage at Rick Owens

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rick-owensSpring provided us with grit-faced step dancers, but this season I was met with a motley crew of models—ranging from real women employed by the designer to current catwalkers (like Hanne Gaby Odiele and Alana Zimmer) to models beyond the ripe old age of 21 (such as Kirsten Owen and Hannelore Knuts). It was yet another powerful message this week that age does not define beauty, or for that matter, fashion.

Makeup artist Lucia Pieroni skipped harsh edges and black shades, opting for varying tones of brown that were customized to suit each woman. The real challenge was making everyone feel comfortable within the context of very little makeup, she explained. Luigi Murenu revived hairstyle hits from seasons past: the “dandelion heads” of Fall 2013 and the “dew rags” hailing from Spring 2009, not to mention a few shaved heads thrown in for good measure. “We have to look at the faces in the mirror and work with it—we’re taking a compassionate approach,” he noted.

Photo: Sonny Vandevelde; Indigitalimages.com

Fringe Benefits, Backstage at Rochas

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rochasTo say that makeup artist Lucia Pieroni was lashing out backstage at Rochas was an understatement: She was piling on the faux fringe, three lashes per eye. A full set was placed on the top, the ends trimmed off and then stuck back on in the center above the iris. Another false lash was layered on top of that for thickness. Pieroni didn’t skimp along the bottom, either: A set was cut in half and overlapped in the middle. “It’s supposed to be a little messy,” she noted. While the fringe was certainly full, there wasn’t any black liner or shadow used to “hide a multitude of sins,” just a shimmery champagne shadow across the lid and a taupe for shading (both from the forthcoming Clé de Peau Beauté Eye Color Quad in 303). Cheeks were dusted with a bronze-hued blush for “freshness,” and lips were polished off with a flesh tone.

While Pieroni employed a few artificial elements to achieve the “sixties, dolly” look, hair pro Luigi Murenu kept things rather pared-down and simple. “It’s about purity and tact,” he explained of the “sensitive” waves. After applying L’Oréal Professionnel mousse through strands and blowing them dry, he wrapped the mid-lengths around a curling iron. The ends were straightened with a flat iron and the top was kept smooth; the look was polished off with Kérastase Elixir Ultime the Imperial. “As much as women want natural hair, they want quality,” Murenu said. Yes, we want to have our cake and eat it too.

Photo: Sonny Vandevelde; Indigitalimages.com

Golden Girls Go Boho, Backstage at Emilio Pucci

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pucci

“Peter doesn’t like makeup.” It’s a tale we’ve heard before of the artistic director. This season, however, he wanted to “do something fun,” noted makeup artist Yadim. Pulling inspiration from the brocade (Look 43) and beaded pieces in the collection, he crafted a “modern-day Veruschka,” using a gold powder that he wet before gilding the forehead of ten select girls. “That’s where that desert warrior woman comes in,” he said of the metallic treatment. The majority of models were kept rather natural in comparison: MAC Cream Colour Base in Pearl was tapped onto the high planes of the face, a taupe shade was used to gently contour, and a beige shadow was washed across the lids and blended up into the brows before a shimmery brown lipstick was layered on top for shine. To provide definition, a black pencil was drawn along the water line, but not smudged. “This is very precise and strict,” the pro emphasized. Lashes were left bare and cheeks were flushed with Ladyblush, a cream formula, to help the girls “look alive.”

Dundas may have proposed a pony, but for mane master Luigi Murenu your standard tail simply wouldn’t do. To lend a “rock ‘n’ roll” vibe that still felt romantic, he worked Kérastase Mousse Bouffante through strands before blow-drying, then wrapped hair loosely around a one-inch curling iron, leaving the ends out. After the texture was in place, he divided the length into three sections and made a short, low plait. “One, two, and done,” he said, crossing the pieces over one another before tying it off with a band. “There are a lot of collars [in the collection], and this can be tucked inside,” he explained, pointing to the barely-there braid. With Eva Herzigova waiting for him at his station, he succinctly summed up the “strong identity” of the Emilio Pucci woman for Fall 2014: “She’s got a chic bohemian feeling, but she’s no hippie.” That much we know for sure.

Photo: Sonny Vandevelde; Indigitalimages.com