31 posts tagged "Luigi Murenu"
“It’s all about the hair,” Lucia Pieroni said, stating the obvious backstage at Rick Owens, where heavy, frizzed-out, middle-parted wigs had been assembled on Styrofoam heads with coordinating models’ names pinned to the foreheads—which made Pieroni’s job easy for a change. After three seasons of precise matte red lips, the makeup artist shifted her focus to what she called “blank radiance”: a good base of MAC Face and Body Foundation blended with its Face and Body White for a more pallid finish, “a strong handsome brow,” and a hint of MAC Pro Longwear Lipstick in Perpetual Flame finger-pressed just in the center of mouths, so models didn’t look “dead and ghostly.” Some of the wigs, Pieroni pointed out, “are not so forgiving.”
They were really something to behold, though. “We’ve been working on them since 7:30 in the morning,” Luigi Murenu said shortly before Owens’ 5 p.m. show got under way. He had his work cut out for him: There were 20-plus models, each with a different wig that Murenu custom-fit himself. “We always want to do head shapes,” the Italian hair hero explained of his creative process with Owens that, lest you’ve forgotten, included web-like, knitted masks last season that were pulled tight over hair wraps. “[Owens] has a very strong vision,” Murenu continued, referencing the architectural nature of each wig that was shaped with a razor, treated with lots of L’Oréal Elnett Hairspray, and flattened on the top with the stylist’s own two palms. “The shapes looks like angels and nuns,” he elaborated referencing Gustav Klimt sculptures and work by Klimt protégé Egon Schiele. Murenu made his job that much harder by insisting on sleek, flattened chignons to anchor each hairpiece, rather than wig caps; ah, the plight of a perfectionist.
The Asian influence in Peter Dundas’ Spring collection for Emilio Pucci was evident long before models got into their first looks, following a casual round of Champagne drinking and conversation. “It’s Indochine in a modern way,” Luigi Murenu said of the ivory hair pins carved with elaborate dragon motifs that he slipped through long, center-parted half-up, half-downs. “We have to keep it quite Pucci, though,” he added, pointing out that the reference couldn’t be too literal as to abide by the house’s DNA, which necessitates a girl that “has an easy approach to hair but is stylish.”
Prepping elongated strands with Phyto Professional Intense Mousse, Murenu created a painstakingly straight texture with a slick of John Frieda Frizz Ease before cutting short wispy pieces around the face for “modernity and coolness.” As the coiffing star finished his last girl, Dundas made a surprise guest appearance in his chair to get a touch-up before the show. Setting him up with a makeshift barbershop gown, Murenu treated the designer’s signature curls to a few scrunches of Kérastase Nutritive Oleo-Relax Serum.
Lisa Butler kept her nods to Dundas’ Eastern influences duly light-handed. “It’s a concept, not really a reference,” the face painter said of the makeup’s “Zen simplicity.” Rimming lids with MAC Eye Kohl in Smoulder before deliberately removing the black pigment to leave behind just a trace of sultriness, Butler placed a “blob” of its Chromaline gel eyeliner in White above the center of the upper lash line and blended it for “dimension.” Before models hit the runway, Butler added a slick of gloss to lids and a dusting of powder through the T-zone so girls looked a “bit more done.”
Like hemlines on a dress, you can often gauge the feeling of a season by the way Pat McGrath grooms an eyebrow. A bleaching proponent who is just as adept at sculpting full, bushy arches, McGrath is one of the industry’s best arbiters on beauty. So it goes without saying that we arrive backstage at Gucci every season—McGrath’s first big stop on what will be a whirlwind European tour—with high expectations. And they were met today, not because of what she did to brows, but what she didn’t do. “There were enough brows in New York,” the face painter said at Frida Giannini’s Spring show, leaving brows alone and referencing the minimalist, nineties beauty movement that reigned in Manhattan and required clean skin and beefed-up brows. “Let’s move on,” McGrath suggested, building a “strong eye” in contrast. “This is Milan. We’re not going to bore you with no makeup anymore.”
Applying a healthy dose of highlighter to cheekbones for a luxurious, luminous complexion, McGrath layered dark brown eye shadows and pencils across lids and underneath the lower lash line, focusing on an “almond, smoked-out” shape that anchored not one but two sets of false eyelashes. “It’s very Marisa Berenson but a little more natural,” said the woman known for applying upwards of ten lash sets to one model. The reference worked just fine for Luigi Murenu, who added seventies model and muse Maria Schiano to the inspirational mood board.
“It has a kind of sixties/seventies feeling to it—an Eastern, orientalist sophistication,” the coiffeur said of the Kiehl’s Clean Hold Styling Gel-slicked hair that he gathered into a low-slung knot at the nape of models’ necks. To give a sense of “structure and architecture” to the look, Murenu coated color-matched extensions with the same product and flat-ironed them so they resembled wooden panels, which he cut straight across and pinned into the base of the buns using John Frieda Frizz Ease Serum to smooth away errant strands. “Before they go out, they’re going to look like statues,” he surmised of the resulting stark uniformity.
“There’s a darkness to it,” Luigi Murenu said of the beauty look backstage at Givenchy, stating the obvious about the drastically middle-parted hair that was a story of extreme contrasts. “It’s either long or short, blond or black,” Murenu continued, tucking the lengths into high collars, containing them with long satin scarves or cutting them off entirely, trimming a few girls, and dyeing them lighter or darker accordingly—as he did with Saskia de Brauw, the season’s latest severe brunette. ”I like that it changes all the time,” the Dutch model said of her shaggy boy cut that was light brown with blond highlights just a matter of hours before the show (and a dark blond for the Spring issue of Love magazine) before getting a mocha glaze to match fellow catwalkers like Stella Tennant and Jamie Bochert.
Pat McGrath continued to promote her take on the season’s “dark glamour,” crafting yet another unexpectedly deep lip, this time in a gray-brown shade that was echoed on models’ lids. “It’s all about this beautiful dark brown eye,” she said, heavily rimming the upper and lower lash lines with a dusty brown pencil and then softening it with a similar color of cream shadow. “It should feel like skin,” she explained of the wash of pigment that was meticulously blended through the crease and up to the brow bone, adding a few strokes of brown mascara and a topcoat of clear gloss before models hit the runway. The lip, a custom mix created specifically for Riccardo Tisci, was kept deliberately matte to “bring a real strength to the face.” “It’s the new goth,” Murenu surmised of the collective dark, romantic numbers that he and McGrath have been putting up all over Paris. “It’s modern and it’s chic”—and it sure beats the old goth.
Rick Owens loves a red lip. “Somehow it transforms a woman into being beautiful,” the designer’s trusted makeup artist Lucia Pieroni says of the magic bullet of MAC Lipstick in Lady Danger that she has become accustomed to layering on top of a precise tracing effort of its Lip Pencil in Redd at Owens’ shows—a combination that has become a ritual here for the last three seasons. “It offsets the scary,” the face painter joked, referencing Owens’ woman for Fall, who wore a half- or full-face knit mask that sat on top of Luigi Murenu’s impossibly sleek twisted chignons and Pieroni’s impeccably perfect skin. There was one difference backstage from seasons past, though: Pieroni left brows unbleached at the only presentation that typically compels her to defy the “full, boyish brow” mantra that has become her calling card. “Normally we would get rid of them, but they’re under something that is quite hard, so we need to make sure [the girls] look gorgeous,” she said of models’ arches. But rather than etch big, lush brows as an alternative, Pieroni only lightly traced them back on so as not to overpower the masks, using eyebrow pencils that were one shade darker than the model’s natural color to remind the flock of editors and buyers that had assembled at the Palais Omnisport de Paris-Bercy that “there’s a beautiful woman under there.”