2171 posts tagged "Makeup"
In New York City, where nail shops and hair salons are almost as ubiquitous as Starbucks, it was only a matter of time before someone stepped in to fill the obvious void in beauty services: makeup. That’s all about to change on Wednesday, when Rouge, a new makeup lounge in Soho, officially opens for business.
The space is the brainchild of makeup artist Rebecca Perkins and actress Stephanie March, who became close friends after they met on the set of Law & Order: SVU. (Perkins was the makeup department head and March played ADA Alex Cabot). The idea for Rouge came when Perkins realized that many of the women she knew would jump at the chance to have a makeup pro on speed dial, just like her celebrity clients. “Women would often tell me how much they wish they had their own makeup artist. High-end salons offer makeup, but the price is prohibitive. Also, the makeup artists aren’t always there. You have to make an appointment, and you don’t know anything about their experience and training,” Perkins says. Department stores aren’t ideal, either. The high-pressure sales techniques, hectic environment, and lack of privacy are all turnoffs. Rouge is the opposite of that. The intimate space has six stations outfitted with glamorous mirrors surrounded with the kind of big, bright bulbs you might find in a dressing room at a theater. The comfy, leather chairs, as March happily demonstrated, recline all the way back so that customers can lie down while they’re getting dolled up.
Although Rouge offers quick services such as individual lash application and eyebrow waxing, makeup is the focus. The menu of services includes three different options, ranging in cost from $50 for the natural “You…Only Better” look to $75 for the full-on glam “Total Polish” face. Products are for sale upon request (from brands such as Face Stockholm, Julie Hewett, and Yaby), but you won’t find tester units or shelves stocked with goods prominently displayed here. Clients are even allowed to bring in their own makeup if there is a particular shade of, say, foundation or lipstick they want to incorporate into their look. Not that you need to. I was impressed with the diverse range of colors Perkins pulled out to paint my face, and her work got rave reviews from the friends I met for dinner after my appointment (trust me, they wouldn’t lie).
Before I visited Rouge, I wondered if a makeup lounge would only feed the increasing pressure women feel to look perfect all the time because of celebrity obsession and social media, but I left with a different outlook. Sure, some might use the service as a crutch, but I imagine that the majority of the clientele will think of it as just another way to look their best before an important meeting or special occasion. After all, as March puts it: “Women have been rouging for years.” They’re just here to help.
130 Thompson Street, (212) 388-1717; www.rougeny.com for appointments.
Last night, I sat down with Jason Wu to chat about his new 15-piece collection for Lancôme. There were rumors of a collaboration backstage at his Fall 2013 show, but now the designer finally divulges all the deets:
Out of all the beauty brands to choose from, why partner with Lancôme?
Lancôme makes some of the most luxurious and beautiful products in the world. I’ve made it no secret that I’m a beauty junkie and I love makeup. It’s always been such an important part of my shows, and I felt like this was a really natural progression for me.
The eye-shadow palettes are completely customized and the shades were chosen by you and are exclusive to your collection. Where did your inspiration for the colors come from?
My inspiration came from, literally, my career. I’ve always loved to use color in many different ways—sometimes subtle, sometimes really bold. I took a collection of my favorite colors and put them into makeup in a way that was wearable, sophisticated, and a statement all at the same time.
There’s a bit of a beauty backstory to the final look from your Fall 2013 show. Let’s talk about that.
We were still in development with the makeup during the last show, and the purple [now available in the Violet Streak palette] was one of the first colors [I chose]. It actually inspired the colors for my [Fall] collection, because we were thinking about using it on every girl’s eyelids. And I said: “Why don’t we put a purple dress at the end?” It just felt so right. Actually, incorporating the makeup colors into the palette of the collection was really interesting to me.
Why did you choose navy mascara over black?
Who doesn’t want navy mascara? Navy is a color that looks good on everyone, and I use it all the time [for my runway collections]. To me, it’s the chicer cousin to black. It just felt like something women would want and all the girls I work with will want. It’s a really interesting twist on a classic.
I noticed there are a lot of variations of red in the line—three crimson-colored lipsticks and three nail polishes.
For my first collection—my first of many collections—with Lancôme, I decided that I wanted to do the three basic reds that every woman should have in her arsenal: a bright red, a medium red, and a burgundy. [Red] is something that’s so glamorous, I had to make it for my collection.
When should you ideally wear each shade? Is it seasonal? Or is it more of a day-to-night concept?
Bright red is really good for spring/summer because…it’s just chic. And burgundy is a great wine color, so why wouldn’t you want it for fall/winter?
What about the shade in the middle?
There’s always a place for red lips! For that mood, and that mood, and every mood in between [points his finger three separate times] there’s a red. Wouldn’t you agree?
Definitely. Are you for wearing a bold lip and eye together?
I like to play up one feature, but I think it’s always about the balance. When you accentuate the lip, it’s about a more subtle eye. And when it’s a major eye, it’s about a subtle lip. I think balance is quite modern.
Which piece in the line are you most proud of?
That’s a hard one, but the navy mascara. I think it’s so special and Lancôme doesn’t [carry it in its existing range], so they dug it out of their archives to make it available for this collection.
I heard you designed two gorgeous lace makeup bags to hold all of your new cosmetics.
Oh, my God, it’s going to be so chic. We had a transparent lace raincoat in the Fall collection, and I thought it would be the perfect beauty bag, so it became one.
Will customers receive one when they buy your products?
Yes, and we vow for it to be the chicest gift-with-purchase you’ll ever see!
Who was your muse for the line?
Martha Hunt. She opened my show for Fall. She’s the only girl I asked to come with me tonight for this event. I felt like the second I met her she [became] one of my muses. She just wears makeup so incredibly well. In fact, she did the hair and makeup test for this collection and looked good in everything. I felt so comfortable with [Hunt] that we finalized the collection on her.
From all of your shows, do you have a favorite beauty look?
Yes, Spring 2013: the dual-toned red lip with a defined brow on Carolyn Murphy. Best thing ever. It’s so glamorous you can’t stand it. Who could resist that?
Where do you find the time between designing for your own label and acting as artistic director for Hugo Boss womenswear to create an entire range of makeup?
I try to sleep as little as possible. That’s the secret. I just really love what I do. I’m really passionate about it. I need to do things. I need to create all the time. That’s what keeps me going.
But there must be some caffeine in the mix. What’s your Starbucks order?
Iced black coffee. Nothing else. Very simple.
You always have a true look at your shows—it’s never a bare face. Do you know what you’re doing for Spring 2014?
I absolutely do and it involves this collection, but I’m not going to tell you what it is! But it’s going to be a statement. Expect another look.
I can’t wait.
Jason Wu for Lancôme launches in September exclusively at Nordstrom and Bergdorf Goodman.
“It’s very Valentino,” Guido Palau said matter-of-factly when describing the beauty look Maria Grazia Chiuri and Pierpaolo Piccioli ordered up for their Fall Couture show—a look, it should be noted, that maintains a certain degree of consistency from season to season. Rather than reinvent the wheel, Palau is typically tasked with coming up with “a new way to do something similar,” which more often than not involves a braid. Today, those plaits came via a thin, interwoven headband pinned across the head and behind the ears over a precise middle part that cascaded into two tight twists that were joined at the back of the neck using just a few spritzes of Redken Forceful 23 Super Strength Finishing Spray for a light hold. “It’s very important to get a beautiful head shape for the profile,” Palau expressed to his team as he walked the aisles backstage at the Hôtel Salomon de Rothschild.
When done just right, leaving the forehead “big” and the silhouette round, the hair provided the perfect window into the velvety matte, rose-kissed “Renaissance” skin that Pat McGrath has made her signature here. “We’re perfecting a very natural beauty,” she explained, pointing out that the shimmering beige tones that she swept across lids, the single swipe of brown mascara just at the root of lashes “for framing,” and the creamy blush that she applied to both cheeks and lips was an attempt at re-creating the fresh young complexion of Maartje Verhoef, the Dutch stunner who did the makeup test and who left a lasting impression on McGrath. (Models’ high-gloss, black-cherry manicures just happened to work well with the collection.) When asked if there was a different sensibility infused into her Couture versus ready-to-wear work for the Italian design duo, the makeup artist replied, “Not really. It’s actually less makeup than we would do for ready-to-wear”—and no less beautiful for it.
While reporting backstage at a certain Couture show this week, the question of how to ensure that a given hairstyle doesn’t overshadow a collection’s clothes was put to one of the seminal hairdressers working today. “I want my hair to be noticed, but I don’t want it to take over,” he replied. “This is a Couture show, not a hair show.” The distinction may seem clear enough, although the lines are frequently blurred when the Couture show in question belongs to Jean Peal Gaultier.
“He loves hair,” Gaultier’s longtime partner in coif, Odile Gilbert, revealed of the designer who often gives Gilbert the green light to create some of the most elaborate hair art on the runway. “What I love about Jean Paul, because I’ve worked with a lot of designers, is that he always wants a certain sense of humor in the hair,” she said. Gilbert perfected four different looks simultaneously: a towering chignon with haute couture curlers bedazzled with “strass,” as she referred to the stone-encrusted details on a handmade set of rollers; a “Chantilly chignon,” a tiered cake-inspired, segmented, cone shape that was anchored by a rigged-up wiring system Gilbert designed herself; a donut-shaped topknot that sat just above the forehead and was accessorized with a small hat; and the “cheetah paw print,” Gilbert’s favorite of the bunch, which was spray-painted onto sleek French twists with stencils. “I did it before for John, for his first Couture collection at Dior, but in a totally different way,” she admitted of the jungle cat improvisation, referencing her tenure working with John Galliano with a sense of nostalgia—the second time the disgraced designer has come up backstage in two days. “For me, Jean Paul is like Galliano; he has a vision.”
Luckily for Lloyd Simmonds, Gaultier’s vision for the makeup was much less complex. How many different faces was Simmonds enlisted to paint in complement to those hairstyles? “One!” he confirmed with delight, a riff on Fellini’s women and their flair for black liner. Using rich brown shadows to pull the eye out as far as possible before starting in with a series of pencils, Simmonds rimmed the inside of lids with white kohl to make them pop against the outline of inky onyx pigment that he traced around both the upper and lower lash lines. “He said he wanted the makeup to be very ‘Couture,’” Simmonds explained of Gaultier’s directive, which registered as a call to push things toward the elaborate. “Instead of one shade of brown shadow, there are six shades of brown shadow; you just spend more time,” he explained, getting at the reason for Couture at its core: to elevate craft, be it fashion—or beauty.
It’s only been a year since Raf Simons took the reins at the house of Dior—which has amounted to two ready-to-wear shows, two Couture shows, one Resort presentation, and one Pre-Fall outing so far. Yet in that short amount of time, he and his trusted backstage team of Pat McGrath and Guido Palau have collaborated on a rather impressive beauty highlight reel. Neon lashes, chrome liquid liners, Swarovski crystal-studded lips, and sleek strands that defy the traditional conception of runway hair have helped make Simons’ shows a must-see part of the Paris calendar.
“What people don’t know is that when we do shows, we really have to find the right woman,” McGrath said, speaking to the new Dior archetype that can pull off the dazzling metallic mouths she created using a special theatrical glue and three different highly reflective pigments for Simon’s Fall Couture show, his third for the brand. “She’s steeped in Diorness, but also very futuristic,” Palau interjected of the character they had collectively helped build while describing the Redken Hardwear 16 Super Strong Gel-slicked, low-lying wrapped knots he shellacked straight back for the presentation. “[Raf] doesn’t want to re-create the couture era. He’s very forward thinking,” Palau continued. If this is what progress looks like, we’re all in.