2172 posts tagged "Makeup"
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.
“I think it’s the best collection he’s done in a while,” Linda Cantello candidly remarked backstage at Armani Privé—and she’s on good authority to say so; as Giorgio Armani Beauty’s international makeup artist, the famed face painter has seen a fair bit of the designer’s work firsthand. For his Fall Couture presentation, Mr. Armani focused on a neutral palette, which Cantello adopted into makeup form with a few twists and turns along the way.
Working off the show’s Death in Venice-meets-Old Hollywood theme, Cantello honed in on a look that was part Tadzio from Visconti’s classic film and part Carole Lombard, while also offering up an impressive study in subtlety. “He’s very into nude,” she elaborated of Mr. Armani’s preference for toned-down hues, which prompted her to accentuate a matte base of the brand’s forthcoming Maestro To Go foundation—which puts Cantello’s original weightless complexion corrector into the convenience of a compact—and a dusting of its Luminous Silk Powder, with muted eye and lip contours. After treating pouts to a custom-mixed bois de rose stain, which will be called Tadzio when it is released as a new shade of Rouge d’Armani lipstick come January, Cantello set to creating an eye gloss using its light bronze Fluidsheer #2 and a highly reflective luminescent pigment that she layered on top of a diffused brown pencil. “It’s harder to look for something in the exact color that I need than to just make it myself,” she laughed.
If Cantello’s interpretation of screenstar glamour was an exercise in restraint, Orlando Pita’s was indulgent. “It’s a little twenties, thirties, Great Gatsby,” the coiffing star suggested of his Armani debut, pointing out that the hair was “more couture” than the designer has done in a while. “Now that John Galliano and Alexander McQueen are gone from the business, a new guard has created a kind of couture that relates to the street,” Pita said with a wistful air. “It was always about fantasy; that’s gone for now,” he continued. But it lived again for a few short hours here, courtesy of Pita’s soft sets, which were side-parted and fashioned into ridged faux-bobs offering some of the most stunning silhouettes of the week—particularly as models got some fresh air on the Place du Trocadéro, the Eiffel Tower providing a properly grand background behind them.
The beauty direction for Ulyana Sergeenko‘s third Couture outing was heavily rooted in the notion of a fairy tale, a Russian one specifically, as it has been in seasons past. But for Fall, Sergeenko brought in a new team of backstage experts to bring the idea to life—literally. “She wanted the girls to look like Sleeping Beauty, like they’d just woken up out of a coffin,” Charlotte Tilbury explained of the “dreamy” skin that was kept purposefully pale and “dusty,” with a whisper of a rose-kissed flush courtesy of a blend of MAC Lipsticks in Ruby Woo and Sin. To make the eyes look as big as possible, the makeup artist turned her attention to a concentrated contouring effort, blending MAC Cream Colour Base in Groundwork, a creamy beige, through the socket and etching a thin black line along the upper lashes, which had been beefed up with additional individual strands for a “doll-like” quality. As an added effect, just before the show began, Tilbury painted a few dots of clear gloss below the inner corners of lids to give the illusion of teardrops, which caught the light as models walked the runway.
But that was only part of the makeup story. The other big news was a sneak preview of Tilbury’s own line, which launches in Europe this fall and was enjoying a test run during Couture week. She kept relatively mum about the specifics, showing off lab samples of an extra-emollient priming cream, a finely milled powder, and an “amazing” mascara, although the flame-haired face painter did give us one juicy detail: “It’s called Nude Kate,” she said of the lipstick she used on mouths, a pink-y beige color she developed for her friend and longtime client Kate Moss.
Orlando Pita was keeping things similarly interesting, busying himself with styling—and snipping. “I’m doing an Ulyana wig,” the hairstylist effused of the light brown hairpiece that he was actively cropping into a piece-y pixie cut for Jac to wear with the show’s closing look. “Otherwise, it’s a fishtail braid,” he explained of the show’s main hair design, which featured a center part and not one, but two different fishtail braids loosely plaited, one on top of the other, and then joined at the neck in a messy, free-form chignon. “I didn’t come here just to do a messy bun,” Pita joked of the elaborate, texturized style that was essentially meant to resemble couture bedhead—”how [Sleeping Beauty]‘s hair would be had her head been on a pillow.” It also happened to offer the perfect base for the alternating cloche-like hats and dangling forehead jewels that completed the elaborate fantasy.
Few fashion-show teams work the way Karl Lagerfeld, Sam McKnight, and Peter Philips do; like the designs in Lagerfeld’s Chanel Couture collections, the accompanying hair and makeup looks also come directly from his sketches. “Literally he [draws] with makeup,” Philips said of Lagerfeld’s proclivity to pick up lip pencils and powders instead of pens and crayons, which is where the precise idea for the beautifully faded Chanel Joues Contraste Blush in Plum Attraction that Philips applied along the temples, and on the very tops of models’ cheekbones, came from. “[Karl] also made a really strong eyebrow,” according to Philips, so the makeup artist followed suit crafting a “smoky brow,” rather than a smoky eye, diffusing the darker brown shades from Chanel’s forthcoming Les 4 Ombres eye shadow quad in Mystere through arches to keep them thick and sculpted. “It looks a bit futuristic with the set and the theme of the show,” Philips continued, describing the impressive build-out inside the Grand Palais as a “destroyed movie theater with elements of sci-fi.” A thin stroke of Chanel’s Le Crayon Khol in Noir along the outer corner of the upper lash line and a light dusting of the pale gold shade from the same eye palette across lids ensured that even guests in the makeshift auditorium’s cheap seats could catch a glimpse of Philips’ handiwork.
What may have been less obvious from the old-timey wooden chairs that were carefully assembled in the show space was the lack of a noticeable nail color on models’ fingertips, a detail that has become something of a Philips signature over the years. In its place was a newfangled approach to nail art in the form of rings that clipped around the actual nail bed and along each knuckle on models’ fingers.
Sam McKnight was working with his own bit of bling—or “back bands” as he referred to the crystal-encrusted demi-lunes that sat above long ponytails treated with Oribe’s Dry Texturizing Hairspray for a hint of definition after all the kinks had been worked out with ghd’s Eclipse straightener. “It’s a Grace Jones flat-top,” McKnight said of the front half of the dual-sectioned updo, which in some cases was accessorized with a square silhouetted hat, and boasted hints of 1950s rockabilly and eighteenth-century masculine quiffs, “with a huge element of Karl in there as well,” McKnight insisted. Using just models’ natural hair—no extensions—and “quite a lot” of Pantene Touchable Hairspray, the coiffeur admitted that he had chosen the labor-intensive path. ”Wigs are easy; this is very difficult.”
Once you worked your way around the fifty-plus gowns and frocks that lined the halls at the Mona Bismarck last night for the MAC-sponsored Paris opening of André Leon Talley’s SCAD Little Black Dress exhibition, the gallery spilled into a final space that was the stuff beauty dreams are made of. In a wood-paneled room that looked out onto the venue’s lush grounds hung towering face charts featuring seven MAC-designed makeup looks—with their corresponding product breakdowns—created to complement seven of the show’s standout pieces. “MAC lives fashion 365 days year,” Estée Lauder Group President John Demsey explained of the special addition to the show, emphasizing that more and more, the brand’s sartorial ambitions are branching out beyond its connections to the Fall and Spring ready-to-wear and couture collections to include collaborative capsule ranges with tastemakers and scholastic pursuits that center around style. “MAC has always been referred to as the brand in black, so the little black dress and the little black lipstick sort of went hand in hand,” he elaborated. And let’s not forget its little black eye shadows, eyeliners, and mascaras; where would fashion be without MAC’s fan-favorite shadow pots in Smoulder and Carbon; its eye kohl in Feline; and its cream Fluidline in Blacktrack?
While “[wearing] black is a blank canvas” for makeup, according to Gordon Espinet—the brand’s vice president of makeup artistry, who conceived the individual looks on display—there are certain things to keep in mind when face-painting for an all-black ensemble. “Makeup has no rules; it’s highly personable,” he asserts. “But I tend to go with this: The more embellishment there is on the clothing, the less embellishment should be on the face.” Words to live by.