13 posts tagged "Marian Newman"
Over fashion week you hear a fair amount of obscure references, but if there were an award for most random reference of the week, it would most certainly go to Vivienne Westwood Red Label. The inspiration behind the look this season was a mash-up of Marilyn Monroe’s classic beauty (the red lips and rosy cheeks) and Indiana Jones’ sense of adventure (the windblown-esque set). Makeup pro Val Garland employed her “one-stop shop,” in which the same products were used on both lips and cheeks. She mixed together MAC Lipmix in Red and Orange and stippled the blend onto cheeks with a duo-fiber brush, concentrating the pigment outside the apples. The same color cocktail was painted around the outer edges of the mouth, then smudged in toward the center and out past the natural lip line; this was meant to be a messed-up Marilyn, after all.
Toni&Guy’s Mark Hampton brought Indy and Marilyn to life with two styles: a classic fifties curl created with a medium-sized barrel iron, and a second style revolving around a more disheveled updo. In keeping with this dual personality, manicurist Marian Newman used two different polish shades from MAC: an off-black hue called Starry Skies (out Fall 2014) and Screaming Bright, a sheer gold. To continue the theme, Newman left the nail shape very natural and the edges slightly chipped. These girls are meant to have been on some sort of adventure—climbed a mountain, maybe—so their manicure should be short of perfect.
Spring’s bombed-out beach and choppy, bowl-style wigs gave way to a more “tonal” look that was as hauntingly beautiful as the night sky and cumulus clouds that floated above the Marc Jacobs runway. Instead of evoking kids who cut their own hair, these faux strands (inspired by Jessica Lange, whose voice carried through the air, and Polly Allen Mellen) were precise, blunt, and graphic—a job that could only be tasked to a master such as Guido Palau. “It’s so perfect that it looks futuristic; there’s no era reference when you look at the girls,” he explained. The five hair colors developed by Victoria Hunter at Whittemore House Salon were “pulled back” and “off”—almost like an “old lady” would layer watercolor-like hues over gray—creating an odd, mink-y brown, blond, or silvery white tinged with pink or purple, Palau said. “It’s like an illustration come to life,” he added. “Everything matches.”
Mimicking the colors and textures of the fabrics in the collection, François Nars focused his efforts on the eyes. A light gray shadow was dusted over the lid and accented by “touches of chocolate” outlining the crease and, lightly, the lower lash line. Brows were bleached and then dyed the same shade as the wig. “You used to see that on Vogue covers in the sixties; hairdressers would match the brows to the hair color,” he noted. Nars Lip Gloss in Striptease, a nude laced with silver, was dabbed onto the lips with his fingertip to catch the light.
Manicurist Marian Newman extended the color palette all the way down to models’ fingers, painting nails with five custom-blended lacquers from the designer’s eponymous cosmetics collection that ranged from pale porcelain to purple-y mushroom (available for Fall 2014). The total package was, as Palau described, “a bit eerie and unsettling,” but completely calculated and immaculate—obviously the work of a man who strives for perfection.
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.