31 posts tagged "Luigi Murenu"
There was plenty to lust over at Givenchy. That jacket in look fifteen immediately comes to mind, although we are still thinking about nearly every single aspect of the exceptional forty-eight-piece collection Riccardo Tisci showed for the house—including that hair. “[Riccardo] called me in Milan and said, ‘I want to have a test with you and only you’—it was a test of eight hours,” Luigi Murenu recalls of the process by which he and Tisci, with whom he has worked since the designer started at Givenchy eight years ago, decided on the closely cropped, colorful coifs models wore down the runway. “Usually [the hair] here is very organic. But [Riccardo] wanted to bring the show to another level,” says Murenu. “When I arrived at the studio, the first thing he did was play me all the tracks of Antony and the Johnsons, and he told me, ‘It will be extremely emotional, and I want you to bring something sensitive to the hair.’”
So Murenu obliged Tisci with twenty different ideas that were “masculine but extremely feminine—not androgynous,” and, at Tisci’s request, “looked like there were little roses in the head.” The result was a number of tightly wound pin curls that Murenu and his team saturated with Kiehl’s Clean Hold Styling Gel and applied to every girl, no matter her haircut, completely sans extensions. “We used the length of Saskia [de Brauw] to the length of Isabeli [Fontana]—everybody’s natural hair!” he reveals of the deliberately flat swirls that were meant to have a “Victorian punk” quality, even though there was something seemingly thirties about the almost retro bathing-cap silhouette—those neon faux dye jobs aside. “Originally, it was without color,” Murenu admits of what ultimately became temporary shocks of sky blue, dark blue, orange, fuchsia, red, black, purple, and a light pink that was a real crowd-pleaser. “The girls loved it,” he maintains, pointing out that Natalia Vodianova was quite taken with her bubblegum-tinged locks, which went surprisingly well with Pat McGrath’s glossy red-burgundy-stained eyes and clean skin. She certainly wasn’t the only one: catwalkers like Magdalena Frackowiak and Isabeli Fontana kept their hair totally intact to hit the post-show party circuit. “It was extremely special,” Murenu muses. “We wanted to represent the woman who wants to dream, the people who appreciate the poetry of fashion” (to which we say, thank you).
Once showgoers got over the shock-and-awe of Viktor & Rolf’s relatively shock-and-awe-free collection, they likely shifted their focus from the unusually wearable clothes to the equally wearable—and downright beautiful—hair and makeup. “It’s pretty, non?” Luigi Murenu asked, looking over a gorgeous interwoven coronet. “It’s innocence and youth for once,” he joked—a remark that he, of all people, is more than qualified to make. As the design duo’s longtime coiffing collaborator, Murenu has been a part of his fair share of backstage heroics here that have included braids in the past, an apparent soft spot for monsieurs Snoren and Horsting, but braids that are almost always paired with something extreme (Fall 2011′s allover red faces immediately come to mind). This season, Pat McGrath’s “fresh, young, and finished” blush-colored lids and contours made the soft, texturized plaits Murenu treated with Kérastase Nutritive Mousse Nutri-Sculpt seem that much more accessible—and instantly covetable. Full disclosure: We tried to replicate Murenu’s center-parted, crisscrossing inverted French braids (also called Dutch braids, which is appropriate for the Amsterdam-based fashion house) this morning with little success. But, as they say, “If at first you don’t succeed, try try again”—and watch as many YouTube tutorials as you can find online.
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.”
We were told long ago, by more than one well-respected hairstylist, that ours is not a face that is suited to bangs. Which, to be perfectly honest, is fine by us. That’s the thing with fringe: Either you look good with it, or you don’t. But at Pucci this weekend, all 30-plus girls looked good with it, thanks to a few insider tricks courtesy of Luigi Murenu. Not only did Murenu bevel each hairpiece he clipped onto models’ foreheads to individually blend them, but he tinted and texturized their hair, thus creating a natural color gradation that combined everything together even more. “It’s the same thing I used on Bette [Franke] in the Miu Miu campaign,” he explained of the magic of Roux Fanci-Full Color Styling Mousse, a Sally Beauty staple that you simply rake through strands for a boost of color and a lived-in look. We’ve been fascinated by the idea ever since. It works best on lighter locks—blondes, flaxen brunettes, etc., and probably won’t show up on the raven-haired among us, Murenu elaborated—but it comes in twelve shades and is entirely temporary. “We washed it out right after,” he revealed of the auburn/burnt-copper color he gave Franke on set, and then just as quickly removed. It’s officially on our “to try” list for when we return to the States after the shows.
Using fake fringe on the runway can often go terribly wrong, mostly because the hair accessory usually looks, well, fake. But not when the task is left in the extremely capable hands of Luigi Murenu. Citing sixties-boho poster children like Marianne Faithfull and Jane Birkin backstage at Pucci, Murenu insisted that the heavy hairpieces he was individually beveling to frame each model’s face were “very now.” How so? The slight wave and artificial highlights he added gave the style an incredibly natural, lived-in, modern feel.
Prepping strands with Roux Fanci-Full Color Styling Mousse, which adds a temporary tint of auburn, flaxen, or chocolate to create raw contrast and texture, Murenu alternated between spritzes of John Frieda Refresh Dry Shampoo and L’Oréal Elnett hairspray to build a well-worn pieceyness through models’ lengths. Then came the bangs, which were precut and then shaped to fit individual foreheads. Coating his hands with Kérastase Elixir Ultime, Murenu slipped side sections behind the ears, leaving front pieces to hang down.
“We wanted to start again with her,” makeup artist Lisa Butler said of the Pucci girl we’re used to seeing here, who frequently relies on gloss and shine to make an impact. Not this season. Instead, Butler focused on incredibly mattified skin that was dusted entirely with MAC Mineralize Skinfinish Powder before turning her attention to eyes, which were rimmed with its Kohl Power Liner in Feline on the upper lash line, treated to a row of MAC 4 Lashes, and then lacquered with mascara. “It’s all black—there’s no visible flesh left,” Butler emphasized of where the lash line met the fringe, although she took care to subtly contrast lids with MAC Pro Longwear Paint Pot in Stormy Pink, a sheer violet, which she topped with its Lipstick in Plum Dandy, a frosted lavender, “to bring it all back to life.” Lining the lower lash line with a neutral pencil to open things up a bit, Butler employed an old makeup-artist trick on lips, which she sculpted with short strokes of tawny-colored MAC Lip Pencils in Oat and Cork—drawing a quarter-inch line under the center of the lower lip, up the middle, on the Cupid’s bow, and just at the corners of the mouth. “Don’t join [the lines],” she stressed blending the etchings with the same Paint Pot to create a “more modern” beige lip before using both pencils to draw on a few spotty freckles. “It’s like they’re in Hoxton and you’ve dressed them in mad Oxfam clothing—we’re hoping they look like that,” Butler elaborated, adding Venus in Furs, the Leopold von Sacher-Masoch novella and the Velvet Underground song, to her pool of references. Never have a nude pout and heavy lash been so loaded (and, incidentally, lauded).