September 2 2014

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6 posts tagged "Luke Hersheson"

Mannequin Maquillage, Backstage at Jonathan Saunders


jonathan-saundersToday at the Tate Britain, priceless oil paintings that are more accustomed to looking down on tourists witnessed the frenetic activity that goes into pulling together Jonathan Saunders’ Fall 2014 show.

Plasticized waves, designed to mimic those belonging to a mannequin, were born at the hands of hairstylist Luke Hersheson. He worked L’Oréal Professionnel Tecni Art Gloss Control (a shine spray) and Liss Control (a gel) through strands with a fine-tooth comb, lending a shiny, artificial finish that looked painted on. In contrast, the length was simply flat ironed and tied neatly into a low ponytail at the nape of the neck.

Keeping with the mannequin theme, makeup artist Lucia Pieroni emphasized the high points of the face using MAC Pigment in Vanilla, making the skin appear almost waxy. A blend of Pigment in Orange and Paint Stick in White was buffed around the eyes, over the lid, and underneath the lower lashes. To bring a hint of life to the face, “a blood-red color” was pushed into the center of the lips.

Photo: Sonny Vandevelde;

“A Touch of Wednesday Addams,” Backstage at Erdem


The Erdem girl has always been on something of an emotional journey. Two seasons ago, she was looking for love; last season, she had found it and lost it. This season, however, she gave up on the prospect of love altogether—and took a turn toward the dark side instead. “There’s a touch of Wednesday Addams about her,” makeup artist Hannah Murray confirmed backstage of the “spooky” beauty look. “The collection is quite dark, so the girl we’re creating is a little ghostly.”

Crafting “moonlit,” luminescent skin, using NARS Multiple in Luxor for a dramatic highlight, Murray blended its forthcoming Single Eye Shadow in Namibia, a dove-gray matte pigment, from the lash line right up to the brows to give a halo effect around the eyes. But the real focus was a set of magnificently groomed arches, which Murray crafted using NARS’ as-yet-unreleased Brow Perfector. “The brows are really important to this look, but they need to look real and not drawn on,” Murray explained, sketching individual hairs, rather than taking long sweeps with the pencil, to make the line look as natural as possible.

Rather than duplicate Wednesday Addams’ signature center part, hairstylist Luke Hersheson carved out severe side parts and poker-straight polished hair. “The positioning of the parting is critical with this look—it needs to be on the left-hand side and begin two-thirds of the way down the brows,” he pointed out, using L’Oréal Professionnel Tecni Art Pli and Liss Control to give strands a super-glossy mirror-like finish.

Photo: Stuart Wilson/Getty Images

One—Make That Two—For The Boys


As previously noted, skirting the masculine/feminine divide was the lasting beauty impression at the Fall shows, with big, bushy brows and even makeshift sideburns turning up from New York to Paris. The trend was realized most visibly (and readily) through ubiquitous quiffs—free-flowing top sections of hair that were spiked up and combed back over slicked-back sides, and twisted-up back sections at shows like Rochas and Dolce & Gabbana. Runway only? Not hardly. Magazines are rushing to embrace the look, too, and this month alone we’ve spotted the backstage style made popular by Wella global creative director Eugene Souleiman, Redken creative consultant Guido Palau, and coiffing star Luke Hersheson on Laura Blokhina in Elle Denmark and on Kim Noorda in Vogue Taiwan. While Blokhina’s hair is already quite short, which made creating variance between voluminous and flat planes a relatively simple endeavor, hairstylist Marie Thomsen had her work cut out for her with Noorda’s mid-back-grazing strands. When working with longer locks, it’s essential to create a sharp part to separate the sides from the top and press generous amounts of styling wax, like Redken’s Structure Wax 17, into hair before fastening your twist in the back. Think of it like sporting 2009′s side-shave without the permanence of actually applying razor to scalp. What do you think of these gender-bending styles?

Photo: Ceen Wahren for Vogue Taiwan, May 2011; Sigurd Grunberger for Elle Denmark, May 2011

Face Confetti And The Fresh Prince, Backstage At Louise Gray


We thought it’d be hard to top the cornflower blue eyes and raffia hair Louise Gray sent down her Spring runway, but her beauty crack team was clearly up for the challenge at the designer’s Fall show this weekend. Four words: color-clashing face freckles. “They have the best pigment needed for this intense dot of color,” makeup artist James O’Reilly said of MAC’s multicolored Chromaline pigment pots, which he used to draw precise polka dots in red, yellow, white, blue and green. For an added, albeit in no way congruous, bit of flair, hairstylist Luke Hersheson fashioned box-cut fades—”It’s Kid ‘n Play, House Party, Will Smith in the Fresh Prince of Bel-Air,” Hersheson said of the flat-topped ‘dos he prepped with L’Oréal Professionnel Tecni.Art Fix Design hairspray.

The style was heavy on the masculine undertones—which has become something of a signature for Hersheson this season. At Preen, he gave models a high-and-tight, faux barbershop crop, while at Richard Nicoll, it was all about slicked-back strands with thick comb marks and dry frizzy ends (Hersheson actually used balloons to create static for fluffiness as models lined up for the catwalk). Take note: A well-stocked supply of strong-hold gel will serve you well come September.

Photo: Yannis Vlamos /

The Joan Jett Shag: Who Cut It Best For Spring?


While we’re on the topic of repeat runway appearances, please allow us to direct your attention to the Joan Jett shag, the iconic late-seventies/early-eighties style that has enjoyed not one but two moments of homage at the Spring shows thus far. Marios Schwab enlisted the wig-shearing services of hair stylist Luke Hersheson for his show in London, and Jean Paul Gaultier brought out the big guns in Paris this weekend, asking Guido Palau to re-create the rocker’s spiky-on-top, long-in-the-back style. “We’ve changed the way we look at wigs,” said Palau, who took to trimming mohawk tips into a bevy of colored hair pieces backstage on Saturday. “There was a time when wearing a wig was very taboo, and now it’s a fun way to mix up your look. The key to wearing a wig is bringing it into a salon and having your stylist cut/trim the wig to fit your face—it’s not one size fits all.”

How best to direct your stylist in the way of Jett tributes, should you want to trim a wig or your own hair in a similar style? Why not ask Sally Hershberger, who created the cut in the first place? “Anyone can do a shag,” Hershberger says. “If you want to take the look in a more severe direction, you should ask your stylist for a shorter style that has lots of layers of all lengths to achieve a choppy, more rock star look. A more subtle version would be something a little less drastic—longer, softer layers.” The right no-residue products are also key. “Until my SHAGG line, there was never a range of products designed to enhance and define layers,” Hershberger says, extolling the virtues of her SHAGG Spray for prepping tresses and her SHAGG Rocks Liquid Gel to create separation after rough-drying. As to which backstage coiffeur came closest to reappropriating her original creation, Hershberger’s vote goes to Hersheson. “Joan has worn her hair both ways. But the second look [from Marios Schwab] is closer to the classic, more traditional shag, which is more wearable. It still has a lot of texture but it doesn’t have as much rock ‘n’ roll.”

Photo: From left, Luca Cannonieri /; Michael Ochs Archives / Getty Images; Yannis Vlamos /