23 posts tagged "Marni"
“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.
I will never forget reading an old Kristina O’Neill interview on Into the Gloss in which she posited that “one of the most unchic things is coming to work with your hair wet. There’s something messy and unkempt about it.” As a wash-and-go girl who’d roll up to early appointments fresh out of the shower with still-damp locks, her words caused me to start bathing at night instead. But Miuccia Prada reassured me that my look was all right when she sent models with sopping mops down her Fall ’13 runway (similar styles turned up at Marni, Balmain, and Giambattista Valli). Backstage before the show, hairstylist Guido Palau said, “The ultimate ease is wet, just-out-of-the-shower hair. I mean, how chic is that!” During a blistering heat wave like the one New Yorkers have been weathering this week, rocking saturated strands is the cooling equivalent of having an amusement park fan—you know, the ones that mist—on your head. And wet tresses don’t appear to be going soggy anytime soon. Edie Campbell sported a slick ‘do in the latest Giles lookbook, while Kate King was snapped with beachy waves for the July issue of Harper’s Bazaar Latin America.
Photos: GoRunway.com; Courtesy of Giles and Harper’s Bazaar Latin America
Tom Pecheux loves Marni, a point that is made ever clearer by the fact that, when you ask him about the makeup backstage here, his first priority is to tell you about the clothes. “It’s an insane, insane, insane beautiful collection,” he gushed about Consuelo Castiglioni’s Fall lineup, which, in a slight departure, was devoid of her signature bounty of prints and embroidery, and instead featured a masculine, monochromatic palette of luxurious fabrics. There was a single color that caught Pecheux’s eye, though: a deep, piercing raspberry fur that served as the inspiration for one of the best bordeaux lips we’ve seen yet this season.
“I wanted it to be a little blurry,” the makeup artist explained of the wash of MAC Lipmix in Crimson and its Lipstick in Hang-up that he painted onto pouts and topped with its Pigment in Basic Red to impart a dry finish. “Destroy the line,” he instructed his team while dipping Q-tips into MAC’s Invisible Set Powder and tracing them around the lip line for a diffused effect that called to mind old Sarah Moon photos. The powder was also integral to mattifying models’ skin, which was kept deliberately pale to make the mouth pop—and to contrast with the combination of MAC Lipmixes in Mid-Tone Nude and Orange that Pecheux layered across lids and underneath the lower lash line before topping them with its Gloss Texture for shine.
Acknowledging that Castiglioni’s woman was much “tougher” than usual for Fall, Paul Hanlon was compelled to add a masculine edge to hair via an extra-low side part that was coated with Tigi Catwalk Curlesque Strong Mousse and diffused through hairnets to achieve a “viny” texture that resembled ropes. “It’s a little bit twisted,” he admitted, making a purposefully bent mark in the back of strands to create the illusion of a scarf that had been tied around them causing a ridged imprint. The point was to move away from more whimsical notions and embrace something decidedly “deconstructed” instead, Hanlon explained. Mission accomplished.