20 posts tagged "Marni"
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.
There’s a certain trust that family businesses inspire in consumers, as the idea of a personal, direct relationship with an original creator is always reassuring. So it goes with Marni. Founded almost twenty years ago, the Italian brand still operates under the reign of founder Consuelo Castiglioni, and also happens to employ most of her family—a lot of whom were on hand last night at KaDeWe, Berlin’s prestigious department store, to officially launch Marni’s first signature scent. The champagne and cocktail reception that ushered in the beginning of Fashion Week Berlin summoned the city’s fashion elite: photographer Ellen von Unwerth, Vogue‘s Christiane Arp, and German style icon Nadine Warmuth all gathered around a gigantic replica of the immediately iconic polka-dotted flacon, which served as a larger-than-life centerpiece in the cavernous room. The evening peaked with a special performance by fashion darling and punk protégé Jesse Jo Stark, instantly giving the bergamot, pepper, cardamom, rose, cinnamon bark, and incense perfume an edge of rock ’n’ roll cool. On the eve of the scent’s international release (the fragrance launches stateside in February), Style.com caught up with Carolina Castiglioni (pictured with her mother, Consuelo, above), to discuss the process of perfume creation, which, it turns out, was the product of passion, focused determination, and a move to “bridge the gap” between the Marni faithful and those for whom the brand is strictly aspirational.
So what took you so long? Why launch a scent now?
The reason is because we wanted to find the right partner. We’ve been, for many years, talking about fragrances, but then we had to look for a good partner. And when we met Estée Lauder, we said, “Okay, they are the perfect one for us,” because they are, of course, a leader in the market, but what is important to us is that they trust our brand identity. They gave us the freedom to interpret the Marni aesthetic and to select everything: the bottle, the packaging, the display in shops—everything. And also the scent. We had complete freedom to create the scent.
What was that process like?
My mother doesn’t like sweet fragrances, so more in the direction of incense, wood—something spicy. The idea was to have more of a masculine fragrance, but with a touch of femininity. So we decided to use the black rose, which is, yes, a flower, but not too sweet or girly of a flower. So the first part of the process was to smell all the raw materials, then we selected what was “yes” and what was “no.” Then we went through many, many trials.
Tell me about the bottle. Where did the idea to use the polka dots come from?
We wanted it to embody all of the iconic qualities of the Marni brand. You can see the characteristic dotted pattern, the prêt-à-porter logo, the subtle play with proportions between the container and the cap—it is all mirroring the brand’s signature style.
After announcing last fall that she would launch her first fragrance—with Estée Lauder, no less—Marni creative director Consuelo Castiglioni has finally revealed more details about her house’s debut scent. “It’s for a woman who dresses for herself, who doesn’t follow trends but is sophisticated and also maybe a little eccentric,” the designer explains of the blend of spicy and woody notes tinged by an intense rose heart—all of which should sound familiar to the Marni faithful, who will be equally excited by the perfume’s bottle. Based on a flacon Castiglioni found at a flea market, the glass orb has been polka-dotted and topped with a red cap. “I wanted a bottle that was kind of traditional—that is, one that lasts over time, like the clothes we make,” she tells WWD. “It isn’t seasonal. I think this bottle reflects our concept—you want to keep it.” Ditto the Nick Knight-lensed ad campaign shots starring Raquel Zimmermann. [WWD]
Following two seasons of platinum blonde loyalty and a Fall outing that made shades of deep brunette the runway hair hue du jour, the Spring 2013 shows are at a little bit of a color impasse. Castings have been relatively equal opportunity, with a lot of designers—Alexander Wang and Roberto Cavalli to name a few—requesting deliberately dark and light-haired models for the corresponding black and white sections of their presentations; Marc Jacobs, who ushered in the graphic trend with his Edie Sedgwick sixties salute, went as far as to have Laurie Foley take models black or white-gold, accordingly. Which is why it’s been hard to miss Irina Kravchenko. The Ukrainian newcomer who, despite opening Wang’s show, had a slow start in New York is killing it in Europe—not least because she remains one of the only redheads in this season’s catwalking crew. After staring at her from afar at Prada, Bottega Veneta, Jil Sander, Marni, and Roberto Cavalli this week, we finally managed to get the scoop on those gorgeous ginger-auburn locks—despite some initial trouble understanding one another (beauty is an international language, don’t you know). “It’s blonde naturally,” Kravchenko revealed after we maniacally pointed and gestured to her hair (then ours). The word “salon” helped solicit the revelation that she has no need for one, as she does her dyeing herself with—get this—”chenna.” Henna? “Chenna—from grass,” Kravchenko reiterated. That’s right; those rich, show-stopping strands are the result of an at-home application of the plant that has long been used to dye fabrics, skin, nails—and hair. The style set’s superstar colorists are no doubt chomping at the bit to get their hands on this one.