August 21 2014

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3 posts tagged "Malandrino"

The Power of Purple


The color purple is reprised pretty much every Fall. There’s something about its rich, jeweled tones that speak to the cooler temperatures and work well in complement to the tweeds, plaids, and—if the shows this season are any indication—the onslaught of fur that will hit stores come September. But smudging on a lid-ful of aubergine pigment is just one way to incorporate the regal shade into your makeup arsenal. Subtle hints of the color can have just as much impact, as evidenced by a few tricks we picked up from the face-painting establishment this week. Below, a purple primer, should you want to start practicing for autumn now.

Walk the Line

Backstage at Narciso Rodriguez, Dick Page incorporated the shade in eyeliner form, dipping into Shiseido’s forthcoming Shimmering Cream Eye Color in Purple Dawn with an angled brush, scrawling a thin line close to models’ lash lines, and blending it with a similarly creamy pigment in black. The pro tip? Shiseido’s Benefiance Full Correction Lip Treatment, which Page smudged over both lines to intermingle the colors and leave a “greasy” finish.

Top Gear

At Malandrino, makeup artist Gato added hints of shimmering lilac and mauve to his “seventies Parisian girl” smoky eye for a bit of “freshness mixed with sophistication.” Using Maybelline Eye Studio Silk Eyeshadow Quads in Pink Persuasion and Purple Drama, Gato diffused the darker colors of the palettes across lids for a sultry effect, “just touching” a mix of the two purple pans from each compact on the top as a finishing touch to relay the idea of effortless, Saint-Germain-des-Prés cool.

Inside Information

The lasting impression of the makeup at Altuzarra was definitely the super-graphic, silvery brown eye. But the reason models’ eyes popped so much had less to do with the metallic triangle Tom Pecheux drew on the inner corners and more to do with a little thing called MAC Pro Chromagraphic Pencil in Rich Purple. “It looks amazing with green, blue, and hazel eyes,” Pecheux said of the raisin color he dragged along the inner rims of models’ eyes, eschewing the black or white pencils you typically see in similar situations.

Photo: Luca Cannonieri / at Narciso Rodriguez; Courtesy of

Body Of Evidence: It’s All About The Face Tattoo


Of all of the burgeoning trends we’ve seen backstage this month, pops of bright hair dye and body art were two of the more surprising ones. While New York’s hot pink, teal, and purple streaks didn’t seem to have legs across the Atlantic, hand-drawn tattoos did manage to make the trip. To properly accessorize his collection of street-chic denim ensembles, Jean Paul Gaultier had his models covered in temporary tattoos. Most girls had their names written in Gothic typeface down their necks, around their arms, or, in Iris Strubegger’s case, across her face, while others opted for descriptive words written in Old English (Kim Noorda went with an inner-forearm piece that just read “Fragile”). Alongside Rodarte’s full-sleeved tribal art and the calf and ankle adornments that appeared at Malandrino, you might want to start thinking ink for Spring 2010. For some good ideas, might we suggest a flip through No Regrets: The Best, Worst, & Most +$%*ing Ridiculous Tattoos Ever. And just in case you were wondering, a caricature of Oprah wearing a warm-up jacket and bench pressing is already taken.

Photo: Luca Cannonieri /

An Homage To Man Ray at Malandrino


For those of you with beauty-centric memories, images from yesterday’s Malandrino show may have called to mind those from last season at McQueen, where netted face masks also accessorized the hair and makeup scheme. But whereas Art Deco inspired Peter Philips and Paul Hammond in Paris, it was 1930′s Surrealism that did it for hairstylist Odile Gilbert and makeup artist Tom Pecheux in New York. Man Ray, to be exact, Gilbert told us, referencing the avant-garde artist whom she channeled to create a look she described as “modern without being too pretentious.” Sculpting three chignon-cum-hat clusters at the top of the models’ heads using hair extensions that were hand-painted by Wella colorist Eva Scrivo, Gilbert wrapped each unique formation with black mesh, pulling it over a few of the girls’ faces when she felt it appropriate. “It’s what we call trompe l’oeil in French,” Pecheux added about the visual deception, which he elaborated on by blanking out lips with MAC Pro Lip Erase and drawing three different lines onto the eyes—one in a half-moon shape on the lid to create a fake crease; another across the top lash line; and a third under the bottom lash line, a few centimeters below where you’d expect it to be. High concept, yes. But the execution was right on.

Photo: Marcio Madeira