11 posts tagged "Marian Newman"
It was a tale of two stories at Giles today, where the designer returned to Ave Maria Lane in London for another season. The gothic surroundings were at odds with the inspiration cited by hairstylist Sacha Mascolo-Tarbuck, who told us that Braveheart served as the thinking behind the matte finish and mussed-up plaits. Label M Resurrection Dust (a volumizing powder) was worked from roots to ends to provide a gritty and pliable texture. Miracle Fibre (a lightweight paste) was then smoothed over the sides to keep the lift intact on top, and the intricate braid—which took two hairdressers to craft—was nonchalantly draped over one shoulder.
“It’s not really makeup—it’s [very] light,” said face painter Lucia Pieroni when asked to describe the look. For the maquillage that was present, Pieroni took her cue from nineties supermodels and the Glen Luchford photographs that appeared on a handful of dresses in the collection. This translated into flawless complexions accented with just a touch of pink cream blush and a light patting of MAC Mixing Medium Shine over the tops of cheekbones. A rosebud shade applied to lips completed the glossy, glamazon look.
The real bling in the show manifested itself on models’ nails. Manicurist Marian Newman meticulously glued around 150 Swarovski crystals onto each girl’s tips. Looks like the nail art and sneaker craze (Adidas trainers were worn in lieu of fancier footwear) hasn’t yet been kicked—at least not on this runway.
“There isn’t a muse this season,” makeup artist Val Garland disclosed backstage, but that didn’t mean inspiration was lacking at Mary Katrantzou. “It’s just a super fabulous finish, and it’s very Mary,” she continued. MAC’s forthcoming lip stains were used to create a diffused red lip that struck the perfect balance of blue and yellow tones. “There is so much going on in the collection—so many patterns, embellishments, and materials—that it was important to keep the makeup quite simple: fresh skin and a matte mouth,” she added. Complexions were flawlessly reflective with a light layer of MAC Mineralize Foundation, and lashes were left completely bare. “This season there is either loads of mascara or nothing at all. There’s no middle ground,” Garland said.
When it came to hair, however, change was in the air. “We’ve never done hair down before at Mary,” said hairstylist Anthony Turner, “so we thought it was time for a change.” Hair was “down, but not down,” which is stylist talk for strands that were worn loose but pinned underneath the many high, choir-boy-esque collars in the collection. Turner pulled and fluffed the hair so that only the ends were tucked underneath the necklines of dresses, tops, and jackets. For instances where there were no collars, he misted L’Oréal Professionnel Tecni Art Pli (a heat-activated setting spray) all over before tying a ribbon around the hair and neck and locking in the shape with a blow-dryer (the ribbon was later cut before the models hit the runway). The result was a distinctive kink that gave the impression that the hair had been trapped under a coat.
And there was something new on fingertips, too. Manicurist Marian Newman left the shape and length natural but painted one or two coats of MAC Matte Topcoat over the entire nail. “By leaving out the color and mattifying the [natural surface], it almost gives the impression of skin,” she explained—keeping the focus entirely on the designer’s vibrant patterns and unique silhouettes.
Marian Newman is no stranger to the high-stakes game of finger-painting. The nail artist, who has created pro tips everywhere from Donna Karan and Giles to Missoni and McQueen, has been setting backstage trends for the better part of two decades, including our favorite Spring manicure moment: In a season filled with nude lacquers, Newman’s ombré-red “blood and tears” manicure backstage at Gareth Pugh in October nearly took our breath away. “Staying chic but not trying too hard is more what I’m into these days,” Newman explained of her stance on nail culture backstage at Louise Goldin’s Fall presentation today, where she went with a “monochrome French” manicure using MAC Nail Lacquer in Coffee Break, a light mocha. The secret to “adding a little something” to a plain old two-coat polish job without venturing too far into avante-garde territory? A play on texture, not color or design, according to Newman, who created a “soft, powdery” matte finish on the taupe-y varnish before adding a “hard edge” with a thin slick of MAC Overlaquer, a glossy topcoat, along the top of the nail. Do try this one at home.
There was a lot going on backstage at Gareth Pugh‘s Spring show. After walking through the incense and smoke-filled venue, we arrived to find makeup artist Alex Box cooing over her nine-week-old baby. “He likes the attention,” she said of Marlo Ray, who was getting plenty of it from models like Nadja Bender, who came over to marvel at Box’s beautiful little boy. “It’s the best thing I’ve ever done. I feel I’ve been melted and someone’s poured me back into me,” the proud mother effused. No wonder there was a noted change in the beauty look here.
“I thought I’d do something for people to wear for a change,” the woman responsible for Pugh’s Spring 2010 gray-tinged, “goddesses from the grave” faces and Spring 2012′s plastic-film eyebrow moment deadpanned. The molten red “structural, but felt” lids courtesy of a blend of MAC Eyeshadows in Coppering, Cranberry, All That Glitters, Honey Lust, and Basic Red that was given definition with a line of its Lip Pencil in Cherry along the inner rims may not count as “wearable” for some people, nor will the drip of special-effect liquid tears Box added right before girls went out onto the runway for an “emotional” element likely find its way into many people’s daily routines. But this might be as close as we’re going to get with Pugh and Box—the latter of whom’s red lip, a combination of MAC Lip Pencil in Auburn and its Lipmix in Red, ranks right up there with some of the most impressive mouths we’ve seen this season.
But that’s not all we have to report. In a season that’s been filled with nude nails and less successful nail art moments, Marian Newman managed to turn out one of the coolest polish protocols we’ve seen. You asked for it on Instagram, so without further adieu, the method behind Newman’s “blood and tears” manicure madness: Start with a thick “blob” of MAC Nail Lacquer in Rogue Marie at the cuticle line and paint a quarter of the way up the base of the nail. Then add its crimson varnish in Shirelle toward the top, blending the two colors with upward brushstrokes for an ombré effect. Top with a glossy coat of MAC’s Overlacquer and congratulate yourself on pulling off our favorite nail moment yet.
The report from the nail front in the fashion trenches this week is much like it’s been for the past few seasons: While a few designers are staying the artful, design-heavy course, creating a ton of blog fodder in the process (which, we imagine, is part of the point), most are requesting nude lacquers—or no lacquer, just a glossy topcoat, as was the case at The Row yesterday—to hopefully further fashion from its embrace of all things over-the-top for tips. But not all nudes are created equal, of course, and according to manicurist extraordinaire Marianne Newman, most of them are subpar. “Most nudes streak,” she points out, as anyone who has ever asked for a mannequin manicure is aware. But Newman, who has brought her pro polishing skills everywhere from Giles and Missoni to Loewe and McQueen, has a secret to getting an ultra-smooth, ridge-free finish. “Put on your first coat of polish,” like, say, MAC Nail Lacquer in Quiet Time, which Newman chose backstage at Donna Karan, “apply a matte topcoat—any brand will work—let it dry, and apply your second coat,” like MAC’s Cream Delicate. “It works just like priming a canvas.”