109 posts tagged "NARS Cosmetics"
When determining the status of the look at Christopher Kane, things were far from complicated. “Christopher’s collection is very designed, very beautiful, and he likes to have a juxtaposition in the hair and makeup,” hairstylist Guido Palau explained. After strands were washed with Redken Cleansing Cream Shampoo and an off-center parting was made, he opted to work with each model’s natural texture. Fingers were Palau’s only tools, as he rough-dried everything with a few drops of Diamond Oil to cancel any frizz and finished with a spritz of Powder Refresh for volume. “A [polished] blow dry would only take away from the beauty of the collection,” he said.
Makeup artist Lucia Pieroni also elected to use her fingers over an arsenal of brushes. Models’ skin was massaged with NARS Optimal Brightening Concentrate to prep it for Radiant Cream Compact Foundation. Next, Pieroni strategically placed highlights on the cupid’s bow, cheekbones, temples, and eyelids with Illuminator in Copacabana for fairer skin tones, or Orgasm for darker complexions. Additional glow came courtesy of The Multiple in Copacabana (applied to the same areas), and lashes were left mascara-free but curled.
Barely-there nails completed the understated look with just a sweep of Leighton Denny Nail Colour in Starkers, followed by a clear and glossy topcoat. The total package was certainly a study in simplicity, but it undoubtedly allowed the pastels, prints, and graphic cutouts in the collection to take center stage.
If you looked at the models at Marc Jacobs and thought, “Did they plop a bowl on their heads and take a pair of scissors to their hair?” you were on the right track. To achieve the uniformity the designer requested, hairstylist Guido Palau fitted models with blond wigs dyed by Victoria Hunter at Whittemore House Salon in New York City, then went at them with scissors and razors. The references for the choppy style: surfers, Los Angeles, and kids who cut their own hair. To add texture, he dressed strands with Redken Forceful 23 Super Strength Finishing Spray.
François Nars also set out to make the girls appear more “interesting” than pretty, “characters” over classic beauties. “I’m bored to death with the healthy look,” he explained, using only NARS Pure Radiant Tinted Moisturizer on the face. The eyes are where he added the edge, rimming the upper and lower waterlines with either the Eyeliner Pencil in Kalisté (a darkened teal) or Larger Than Life Eyeliner in Blue Dahlia (a cobalt shade launching for the holiday season)—adding a small “slash” of color to the inner and outer corners to finish. The final touch was “tons” of black mascara.
And while manicurist Marian Newman insisted that the squared-off tips coated in a specially created color (Bark!—available for summer 2014) of Enamored Hi-Shine Lacquer from Marc Jacobs Beauty were not French in style, the tiny jet-black crystals lined along the free edge certainly said otherwise. “The whole point [of this manicure] is that it’s all a little bit wrong—it’s Spring/Summer and we’re using a grungy brown.” I suppose I never expected to see a look that was in step with the rest of the week; after all, this is a man who sets the trends.
Mountains of mousse, teased hair, and side swoops are back—at least at Rodarte. Odile Gilbert said there was an “eighties intention” behind the look—which was evident by the inflated “bangs” that peaked over the brow and framed the face—as well as Debbie Harry of Blondie, who often sported a deep side part and a swoosh across the top. Gilbert created the look by dousing hair with John Frieda Frizz-Ease Curl Reviver Styling Mousse and blow-drying with a round brush to build body. She used a curling iron to set the flip, and added a slight wave to the length. For additional lift, a Mason Pearson bristle brush was used to back-comb the front section. The hair was then swung over the right shoulder, and a coiled cornrow was hidden near the nape of the neck, acting as a pincushion for the hand-painted extension that was added over the top. While we’ve seen printed looks from Gilbert in the past—like the cheetah-spotted bouffant she created at Jean Paul Gaultier Couture for Fall 2013—for this show she developed a pattern that she described as tweed meets zebra, meant to reflect fabrics used in the collection. After the extension that often contrasted the models’ hair color was secured, the length was conspicuously pinned to one side and shellacked (just as it was in the decade in which the style originated) with loads of Frizz-Ease Moisture Barrier Firm-Hold Hair Spray.
The nails were a different animal altogether (literally): with tortoiseshell patterns painted with a cosmetic sponge by manicurist Tracylee Percival. She first stamped two coats of Sally Hansen Complete Salon Manicure in Clay, a burnt orange, and accented it with patches of Cinnamon, a darker brown, for depth. (Both lacquers were made for yet another collaboration with the Mulleavy sisters, available in March.)
The inspiration for face painter James Kaliardos was a “wild L.A. girl—the real Los Angeles, not the red-carpet kind,” which he brought to life by applying NARS Larger Than Life Eyeliner in Via Veneto in an exaggerated V shape (for models with lids that touched the lash line, he implored Black Valley Eye Paint and an angled brush). Lashes were coated with Larger Than Life Lengthening Mascara, and arches were brushed up with Oural Brow Gel to give them an untamed and “animal-like” quality. To lift the eye and make it more graphic, Kaliardos applied a dot of Radiant Creamy Concealer underneath the eye that was paler than each model’s skin, which he said reminded him of either a leopard or Veruschka. The Matte Multiples in Altai and Anguilla (out spring 2014) were blended onto cheeks for color and contour. And the pinky-nude lip color was a combination of two Satin Lip Pencils in Biscayne Park and Floralies. Between the hair, manicures, and makeup, it was like a high-fashion zoo backstage.
When Paul Hanlon talks about hair, it’s never just a step-by-step—he takes you on an entire journey. It’s almost like listening to your grammar school librarian read a book aloud—except the semicircle is filled with editors aggressively shoving mini-recorders and iPhones in the storyteller’s face. And at 3.1 Phillip Lim, the tale went something like this (imagine this being told in a cool British accent): “I wanted it to look a little bit shipwrecked, a little bit Robinson Crusoe—like a girl that has been washed ashore. She wouldn’t have a comb, she wouldn’t have a brush, she wouldn’t have a hair band. And the back has this slightly dreadlock-y, crustaceous [feeling].” See what I’m saying? The visual narrative makes the style so much more than just a wet-looking, vine-y knot. And for the record, the hair was not physically drenched in water, as these are obviously very expensive clothes, joked Hanlon.
To get this “savage” and “elemental” texture, he applied Schwarzkopf Osis Twin Curl (a two-phase cream and gel formula) from the middle of the head down, and soaked strands from roots to ends in Grip mousse (about three-quarters of a can, to be exact). A diffuser was used to rough-dry, but not in the same way one would scrunch hair in the eighties—”more of an ambient air dry,” Hanlon explained. The front section was swept across the forehead and the length divided into two pieces and tied in a knot (or two, for longer hair), just as you would your shoelaces, and pinned discreetly into place. Elastic hair spray was used to flatten different areas against the sides of the head (as if the models had fallen asleep out of exhaustion once they finally reached land), and right before show time, Hanlon misted Flatline and Sparkler all over for serious sheen. “I like the idea of when [the girls] walk out, people don’t really see how their hair has been done—it’s more of a question of where have they come from,” he added.
The makeup was less gritty and more refined. Face painter Francelle Daly called it a “monochromatic techno look.” So what does that entail exactly? NARS Pure Radiant Tinted Moisturizer was mixed with a few drops of Copacabana Illuminator for extra glimmer. The Luxor Multiple was applied with fingers on the high planes of the face (i.e., cheekbones, forehead, chin, bow of the lips, and down the bridge of the nose) and set with a blue-tinged powder from the Iceland Duo Eyeshadow palette—lending an opalescent finish. In addition to mascara on top and bottom and brushed-up brows, the “cyber glow” was completed with a touch of Années Folles Larger Than Life Lipgloss (a lilac shade launching for Spring 2014) pressed onto the models’ pouts. I like to think of this total package as club kid meets castaway.
Makeup artist Diane Kendal revealed that the designer was revisiting the classics for Spring 2014 (with delicate pearls and jewels sprinkled throughout the collection), so she kept the look simple, with the exception of exaggerated, seventies-inspired lashes. “We did the mascara like that to give [the models] a little something, without making too much of a statement,” said the face painter. To achieve the thick and spidery fringe, the top lashes were curled and coated with at least three coats of NARS Larger Than Life Lengthening Mascara. For an ethereal glow, Kendal used a light-coverage foundation to even skin tone and NARS Matte Multiple in Cappadoce (launching this spring) underneath the cheekbones, for a subtle contour, as well as on the inner corners of the eyes. Another all-in-one stick, this time in Anguilla, was used on the apples of the cheeks, for a fresh finish, and the lips were topped off with the same formula in Laos to add a hint of natural color and shine.
The hair, created by Odile Gilbert, was less pristine and precious—and inspired by Look Eight from the show (where a pearl-strap bag was wrapped around the model’s neck). After making a messy side part, she applied Kérastase Mousse Bouffante throughout and blow-dried hair, using her hands in lieu of a brush—twisting pieces as she went along. Laque Dentelle hair spray was misted all over before large sections were wrapped around a curling iron that was held vertically—this technique produces less volume, Gilbert explained. To lend texture and a matte finish, Powder Bluff (a dry shampoo) was spritzed throughout. An elastic string was then wrapped twice over the hair and around the neck to create a slight bend—and the cord was snipped just before models hit the runway. “We wanted the hair to enhance the shape of the neck and frame the shoulders,” she said. If you can’t get your hands on one of Panichgul’s extra-long bead-strap bags, opt for this backstage beauty trick to create the face-framing effect instead—your wallet will thank you later.