31 posts tagged "Luigi Murenu"
“These are brilliant pencils,” face painter Charlotte Tilbury said at Chloé yesterday, where she was using MAC’s Brow Pencils in Lingering and Fling to create the crux of her makeup look. “You can do everything with them because they have a waxy texture that blends so well,” she continued, creating a slight, highlighted contour across models’ cheekbones with MAC Mineralized Bronzing Powders. The idea backstage was vintage photos; Tilbury has become something of a master at re-creating a sepia image quality through full arches and shadowed eyes. Here, it was MAC’s Cream Color Base in Deep Brown that provided the antique tone on lids and underneath the lower lash line. Hair stylist Luigi Murenu, meanwhile, had directed his attention to specific old images, those of classical dancers, which meant low-slung, deep side-parted chignons. “The texture is really what gives it softness,” Murenu said of the sleek, almost masculine style that he prepped with John Frieda’s Luxurious Volume Thickening Mousse. “A lot of girls have thin hair, so this helps, but I used it in a tricky way because it has good hold for a ponytail and it keeps the shine.” A multitasking mousse? The secret is out.
At its show this weekend, MaxMara did away with the decadence from a host of seventies revivals that have preceded it this season by embracing something altogether cleaner and leaner for Spring. And so it began backstage with makeup artist Tom Pecheux, who wanted to “erase all the flavors and features of the skin and create a tonal, beige face instead”—a departure in and of itself for a man who gave us lurid orange lids at Derek Lam and canary yellow ones at Peter Som in New York. To achieve the most barely-there of finishes, skin had to have a flawless base, which Pecheux created by massaging MAC’s Care Blend Essential Oils onto models’ faces to ensure a plumped, primed canvas before layering its Studio Sculpt Foundation and Studio Finish Concealer on top. Pecheux’s pared-down approach wasn’t completely devoid of excess, though; the face painter did his overindulging with copious amounts of MAC Invisible Set Powder, which he brushed on and buffed into skin, in a manner he likened to “polishing a car.” MAC’s Sculpt and Shape powder in Bone added a slight tinge of color to the otherwise monochrome palette, “to give a little volume so faces aren’t completely two-dimensional.” As a finishing touch, Pecheux slicked MAC’s Gloss Texture across lips and lids, combing it through lashes and brows as well for a uniform glisten on the catwalk. Hairstylist Luigi Murenu echoed Pecheux’s exercise in minimalism with deep side parts and sleek tresses that boasted “sharp, clean lines and understated luxury,” thanks to a flat iron and a coating of potent shine serum.
Full disclosure: All the seventies/Studio 54 references for Spring have become a bit repetitive for us of late. But when that era-specific beauty is re-created with the kind of precision that we saw backstage at Gucci yesterday, it becomes new and exciting again; Jerry Hall and her cohorts could not ask for a more beautiful retrospective than the sleek, polished look makeup artist Pat McGrath and coif master Luigi Murenu churned out for the occasion. Coating models’ hair with John Frieda Frizz Ease Serum, Murenu created deep side parts and secured models’ tresses in ponytails with a leather band (that happened to match the handbags in the show), before braiding and twisting his plaits onto themselves for a coiled chignon. But the real punch came from a smokin’ hot, glossy red mouth that McGrath painted onto pouts with a brush dipped into a mixture of not one, not two, but three different scarlet pigments for the “orangey-red” color she felt was deserving of the navel-baring jumpsuits Frida Giannini sent down the runway. As to avoid making the girls look too “retro,” McGrath focused her attention on dewy skin, using CoverGirl’s as-yet-unreleased NatureLuxe Silk foundation (which she debuted backstage at Anna Sui) and a glossy eye, courtesy of a slick of Elizabeth Arden’s Eight Hour Cream on top of metallic brown eye shadow. Finishing touches came in the form of CoverGirl’s LashBlast Fusion mascara and MAC Lacquer in Shirelle, a cherry red varnish applied to fingers and pedicured toes, which peeped out of crushed velvet and gold python strappy stilettos. In a word, swoon.
So enamored was I with the backstage beauty look at the Givenchy Couture show yesterday, I went as far as to call my boyfriend over to the computer to have a peek. “Just look at the showmanship,” I said, pointing out the precision with which makeup artist Aaron De Mey and his team placed individual rhinestones onto models’ faces while hairstylist Luigi Murenu painted black gloss onto their hair for stark uniformity. He surveyed the situation with genuine interest and let out a very sincere, “That’s cool. What does it look like all finished?” And so, trying to contain my excitement as we perused the full slideshow, I took him through the 21-piece collection and we marveled at the union of beauty and fashion, together. Sigh…
Daria Werbowy’s face has become synonymous with high-fashion glamour, but the go-to model for fashion houses like Gucci, Chanel, and Prada looks equally comfortable in Isabel Marant plaid and “hipster hair” as she does in couture dresses and sleek updos. The Canadian model’s perfectly separated, I-just-got-out-of-bed loose waves, shown here in Marant’s A/W 2008 ad campaign, reportedly came courtesy of Kérastase stylist Luigi Murenu, although it’s entirely possible that Werbowy did in fact actually wake up looking like this and just sashayed onto the set, ready to go. (We saw her out a few times during that frayed jean skirt-and-motorcycle boots paparazzi moment—sans glam squad prep time—and her hair pretty much looked exactly like it does here). Natural beauty indeed.
Photo: Courtesy of Isabel Marant