14 posts tagged "Missoni"
Makeup artist Lucia Pieroni described the woman at Missoni as “a cool girl who’s been out all night, she’s got her boyfriend’s coat on, and is waiting for the bus around six in the morning.” In the case of today’s show, that coat would involve chevron stripes and vibrant tangerine trim.
The focus was primarily on the eyes—particularly the lashes, where “tons and tons and tons of mascara” was used from the iris to the outer corners on top and bottom to create a spidery, “haywire” effect. For an even more imperfect finish, lashes were pinched together to make them “a bit crooked.” (Some models with sparser fringe received a set of falsies for thickness, just on the outer half of the eyes.) To intensify the clumpy effect, MAC Fluidline in Blacktrack was applied from the middle outward on the upper and lower lash lines in a soft square shape, then blended with a matte, ebony-colored shadow.
“It feels like she’s done her hair herself, but not in front of a mirror,” Eugene Souleiman said of the “imbalanced” topknots. (The Missoni girl likely crafted this while she was waiting for the bus to pull up.) The style was simple enough to create: Loosely secure a ponytail with elastic to create “bagginess,” then pin in place. Since multiple models were dashing from Dolce & Gabbana via car and moped (no time to wait for public transportation), “necessity became the mother of invention,” Souleiman explained. “I love it because it’s a five-minute hairdo.”
The last time I saw this many bluntly cut, synthetic ponytails I was watching Madonna take the stage for her Confessions Tour, wearing an equestrian-style top hat with a black horse tail attached. But instead of stallions serving as the reference for the hair at Missoni, mane master Eugene Souleiman was shown a Richard Avedon photo that featured a model sporting a braided updo that looked “fake,” he explained. To bring this idea to the runway, he attached a glossy, back-grazing extension to a ring (made by the house), rather than incorporating the faux, “plastic” strands into the actual style. “I wanted it to look like an accessory rather than hair,” he added. He reiterated the point by contrasting the pieces with each model’s natural color.
After making a side part in front, Souleiman misted the models’ real hair with Wella Ocean Spritz to create a raw texture and scraped it back into a ponytail, which was secured with a string of black elastic. The length was then threaded through the ring, folded close to the pony’s base, and wrapped once again with elastic—leaving the handcrafted accoutrement hanging from a newly formed loop.
The makeup by face painter Lucia Pieroni played off the four-elements (earth, wind, water, and fire) theme of the collection. The skin was left dewy to provide a “liquid” finish, while cheeks were gently contoured with a MAC Paint Pot in Groundwork (here lies the earth). Also inspired by Japanese girls, Pieroni traced a graphic band of Black Track Gel Eye Liner along the upper lash line, into the inner corners, and wrapped the formula underneath the eye—ending it just before the pupil. To clean up the shape, pointed cotton buds were employed by the pro. A shimmery silver eyeliner was washed across the lids and brow bones, lending a subtle hit of sparkle and Tokyo pop to the architectural look.
Hair accessories of almost every ilk imaginable graced the Spring runways, as scarves, hats, pearl baubles, headbands, barrettes, bows, and even scrunchies made their way into show notes from Marc by Marc Jacobs and Ashish to Pucci, Fendi, Louis Vuitton, and Balenciaga. The one headdress that seems to have been forgotten last season? The turban. But not to worry; the chic wrap that was born in ancient societies (and then immortalized by Kate Moss at the Met gala in 2009) is having a moment now. Daria Werbowy watchers will recall when the supe’s latest round of Céline ads came out earlier this month featuring the Canadian-born beauty in a knotted headband-turban hybrid, and today, on the Copenhagen catwalk at Jesper Hovring, a white satin iteration crept up that was offset by a deep wine-stained mouth. Wear them with an updo, or with a sleek blow-out, à la Missoni Resort, and add them to your accessories arsenal stat.
Lucia Pieroni is hands-down one of our favorite backstage beauty stars. Whether she’s sculpting contours and adding a signature slick of brown eye grease or upping the ante with a gorgeous, stamped-on lip, as was her habit for Spring 2013, there’s a certain level of classic artistry that goes into the Clé de Peau creative director of makeup’s work—which is to say, Pieroni doesn’t deal in the unflattering. Case in point: Even bleached brows couldn’t keep her red, matte mouths and luminous highlighting effort at Rick Owens’ Spring 2012 presentation from landing on the right end of hauntingly beautiful; we were actually so floored by the mulberry pout she dreamed up at Missoni for Fall 2011 that we made the lip pencil/lipstick cocktail our own personal go-to. Pieroni has that ability to make fashion fantasy a realistic, attainable one, which shouldn’t come as too big of a surprise considering she’s a pretty down-to-earth chick. The trained aromatherapist and yoga enthusiast with the wild curls dabbles in homespun beauty remedies, and isn’t afraid to bring homeopathic ones into the trenches. “It’s quite spiritual—in a positive way,” she said in Paris of the mood-lifting powers of a small bottle of calming mist that served as one of the many secret weapons she carried around in her kit this season. You’ve gotta love that. Click here to learn more about the British-born face-painting expert’s beautiful life.
“They are all hating me right now,” Lucia Pieroni joked of the models backstage at Missoni, where she had doled out “dry mouths and sticky eyelids” for the house’s Spring show. That, of course, was an incredibly simplistic description of the makeup artistry that was afoot here, which was attributed to “cosmic couture Japanese manga girls” and just so happened to feature one of the best lips we’ve seen all season.
“It’s a strong, fluoro pink,” Pieroni said of the four-part mouth that included a blend of MAC Lipmix in Magenta, Orange, and White, which the face painter topped with its loose Pigment in Red Electric. “When you mix it, it kind of gets orange, like tequila sunrise,” she explained. The color amounted to a retina-burning melon, which popped against glowing skin that had been lightly contoured through cheeks with MAC Mineralize Skinfinish Natural face powder in Medium Deep and highlighted with a layering of its luminizing Cream Colour Base in Luna and Pearl. “I wanted there to be something cartoony about it,” Pieroni continued, grooming brows and emphasizing a matte finish on mouths that had been brushed rather than lined. “It starts in the middle and sort of bleeds out,” she stressed of pouts’ “felt tip” quality.
Working off a collection that was very much for “a modern-day girl,” according to Eugene Souleiman, the Wella global artistic director brought the past and the present into the fold with a dichotomous ‘do. “It’s modern-day hippie and slightly space age,” he said of center-parted strands that he “squashed” with Wella Professionals Ocean Spritz Beach Texture Spray. “Normally, when you create a flat hairstyle, you use a gel,” Souleiman explained, pointing out that he was purposely using “the wrong product to get the right result.” The saline spray helped give the coiffeur the “sculptural” look he was that boasted a slight masculinity after he slicked down front sections to resemble long sideburns. “It’s very graphic,” he surmised of the hair—which, as far as he’s concerned, is a textile not unlike clothing. “It’s a fabric you can play with.”