20 posts tagged "Marni"
Flashback Friday is a column on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Model: Arizona Muse
The Moment: Tropical Punch
The Motivation: When I came across this photo of Arizona Muse by Patrick Demarchelier for British Vogue‘s February 2012 issue, I immediately longed for summer, or at the very least, a vacation in a warm, palm tree-laden destination. But aside from daydreams about jet-setting to an island that’s far sunnier than Manhattan at the present time, I noticed that Muse sported multiple Spring 2014 trends: pastel-blue shadow (seen at Miu Miu), along with bold lips (on display for the first time at Rag & Bone). And instead of being swirled on her apples, the blush was dusted low on her cheeks (a technique face painter Tom Pecheux employed at Marni). While I’m not one to wear color in more than one place, Muse certainly makes a case for breaking the makeup rules.
Juxtaposed against the sporty elements (like visors and fanny packs) in Marni’s Spring 2014 collection were graphic, Japanese-inspired blooms. It’s only natural that the house’s latest fragrance, Marni Rose, would follow suit—boasting both rose absolute and Bulgarian rose at its core. The eau, similar to Consuelo Castiglioni’s aesthetic, is classic but modern, bold yet refined. Containing top notes like Nanah mint and bitter almond along with a base of cedar, patchouli, and musk, this blend is anything but powdery or cloying. Instead, it’s decidedly refreshing. And while I’m not usually a fan of feminine florals, one spritz sold me…along with the Style.com staffers within close proximity of my desk.
“The makeup [this season] looks as if you did it yourself—almost like the makeup artist wasn’t there. The artistry is definitely [present], but you have to get up really close to see it. It’s sometimes a problem for us backstage because we keep asking ourselves as we’re going around to check the girls, ‘Is she done? Oh wait, yes, she is.’”
Many of the looks we’ve seen thus far for Spring 2014 have been so effortless (such as Marni, shown here), you almost think the models are wearing nothing on their faces at all. Under their flawless façades, however, are a lot of technique and strategic face painting. After all, it’s fashion month—everyone needs a little makeup magic to conceal the late nights and early call times.
In contrast to seasons past, the boxy Marni silhouette was drawn closer to the body for Spring, and an athletic theme emerged, with graphic visors and gem-encrusted fanny packs cheekily worn on models’ backsides. Tom Pecheux put his own “twist” on the makeup, citing the Austrian visual artist Markus Schinwald—who is known for his manipulation of classic beauty (he often adds slightly disconcerting elements, like masks or bandages, on top of nineteenth-century paintings)—as his inspiration. The brows were enveloped in a “cloud” of MAC Sparkle Shadow in Night Light (a glittery gray) that both exaggerated their shape and played off the shade created by the wide-brimmed hats. Extra Dimension Blush in Pleasure Model was placed low on the cheeks near the jawline, “almost where a man’s beard would be,” elaborated Pecheux. (There’s that “twist” again.) The rest of the face, however, was kept quite pure, with a light dusting of Eye Shadow in Gesso washed over the lid and placed on the high points of the cheekbones. A touch of the same pinky-nude blush was swept gently along the lash lines for additional contrast. Mouths were topped off with a shade that’s been popping up in key artists’ kits all season long: Velvetease Lip Pencil in Mattely in Love.
And while there was sporty headgear, tennis was not what hairstylist Paul Hanlon had in mind; he was drawn to the “geishalike” platform sandals and architectural lines of the clothing. “I kept everything above the visor very clean and considered,” he explained—so as to not detract from the opulent embellishments and patterns in the collection. At the top, a center part was made and strands were shellacked close to the scalp. Hanlon employed a fine-tooth comb and layers of L’Oréal Paris Elnett Satin hair spray to get the glassy effect, dousing the crown and sides before and after fitting models with a stocking cap and locking the look in place with heat from a blow-dryer. From the ears down, the texture was more “organic.” TIGI Bed Head Superstar Queen for a Day Thickening Spray was misted all over to build body, while a small hidden pony—made with the underlayers near the nape of the neck—also added dimension; it was looped through a Topsy Tail (yes, you read that right) to keep it close to the head. Hanlon wrapped sections around the barrel of a curling iron to achieve an “airy” finish, and the extra-long strings that hung down from the visors were gently tied over the hair, catching a few pieces in the back. “I wanted it to look almost like a mistake, so everything wasn’t so precise,” he said. If a blush beard meeting modern minimalism looks this good, I say game on.
Throwback Thursday is a column on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Model: Christy Turlington Burns
The Moment: Wet Hair
The Motivation: We admit we’re huge Christy Turlington Burns fans, but right now it seems the whole fashion world is, too. From Harper’s Bazaar‘s U.S. June/July cover to a new Calvin Klein underwear ad (where she reprises her role from the late eighties), this original super is proving that the nineties really are back. Not only does the above Nick Knight-lensed shot provide one more example of how gorgeous this top model is, but it highlights another trend: wet hair. We spotted damp strands (considered one of hairstylist Guido Palau’s trademark looks) on the Fall runways at Prada, Marni, and Giambattista Valli. A dip in the pool (or in the case of today’s NYC weather, getting caught in the rain) never looked so chic.