September 2 2014

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39 posts tagged "Luigi Murenu"

Golden Girls Go Boho, Backstage at Emilio 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;

Getting Into the Swing of Things, Backstage at Gucci


gucciThe Gucci woman always has sex appeal, but in lieu of the bombshell beauty we’ve come to expect, a swinging sixties character took her place this season. To channel the era and icons like Marianne Faithfull and Britt Ekland, Pat McGrath used a taupe-y gray shadow to emphasize the crease and employed a combination of black pencil and liquid liner along the upper and lower lashes—extending the shape straight past the outer corners but not winging it up, she explained. After rimming the waterline with a beige pencil to open up the eyes, a full strip of falsies was placed on both top and bottom to complete the lush look and play off the shag furs and psychedelic pastel tones in the collection.

Mane master Luigi Murenu mentioned Faithfull as a jumping-off point for the “disheveled but beautiful” hair, but also noted a more contemporary reference: “a more coiffed Kate Moss.” He made a side part and swept the hair across models’ foreheads before bending the length around a curling iron for texture. The ends were flat-ironed to lend “strength and modernity” to the style. For “personality” and to keep strands in control on the catwalk, he gently twisted back a small section on either side of the face and joined them at the middle of the head, discreetly pinning everything into place before misting all over with hairspray. “Last season there was a lot more structure,” he said, but whimsy (a word not usually associated with the Italian house) was in full force today.

Photo: Sonny Vandevelde;

A Night at the Ballet, Backstage at Viktor & Rolf


Viktor & Rolf - Spring Summer 2014 Runway - Paris Haute Couture Fashion WeekThe professional ballerinas from the Dutch National Ballet who presented Viktor & Rolf’s Couture show moved softly, en pointe—more than gliding, it felt like they were floating. That idea of movement translated into couture week’s most conceptual beauty moment: Mane master Luigi Murenu captured the emotion by veiling dancers’ faces behind crimped, highly textured hair. “They look almost like clouds, like a surrealist work by [Argentine painter] Leonor Fini,” Murenu said backstage before the show. To set the style, the pro reached for Kérastase Laque Couture hairspray. “It’s medium hold, but it fixes hair well enough that you can still keep brushing it,” he explained.

Although mostly obscured by their strands, the dancers’ complexions were highly sculpted in foundation shades that echoed the pale hues of their outfits, punctuated by this season’s major statement: the winged eye. “There’s a slight reference to dance, but it’s really all about the face, about paling out the skin to match the clothes,” said Pat McGrath. “We’re playing with highlights and creating an illusion—even though you won’t really be able to see it [onstage].”

After the show, Viktor Horsting and Rolf Snoeren served pink champagne and chocolates in honor of a surprise reveal of the campaign for their forthcoming fragrance, BonBon.

Photo: Getty

True Grit, Backstage at Rick Owens


rickowensAll 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?

Photo: Alessandro Garofalo /

Just Do It: A Sporty Swoosh at Emilio Pucci


pucci-hair-ss-14Duran 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.

Photo: Sonny Vandevelde /