76 posts tagged "New York Fashion Week"
Lengths tucked into high collars, tonal hair and makeup, cornrows, and waist-grazing ponies—check, check, check, and check. The trends that dominated the runways in New York, London, Milan, and Paris made an appearance in Japan, proof that it really is a small world (at least when it comes to beauty). At Matohu and Beautiful People, turtlenecks and scarves served as the means to hide models’ long hair, much like they did at Prabal Gurung, Burberry Prorsum, and Anthony Vaccarello. The extreme tails spotted at Valentino and Chanel sashayed down the catwalks at Ujoy and Atsushi Nakashima. And from the front, the tops of models’ heads at Nakashima’s show were coated with gray paint (similar to the black powder Guido Palau employed at Alexander Wang) and lids dusted with a slate-colored shadow—both meant to coordinate with the clothes and produce a matchy-matchy effect (previously seen at Marc Jacobs). Even those Snoop Dogg-inspired braids devised by Duffy at Adam Selman made their way around the globe, arriving on the runway at Lamarck. One thing that did make an appearance in the buzzy city that didn’t get much attention in the other fashion capitals? Lips. If you dismiss Rihanna’s many wardrobe and lipstick changes, there was a lack of loud mouths for Fall 2014. Not the case today at KBF (below). This traffic-cone-colored pout is one beauty move we’ll be borrowing from the East.
Flashback Friday is a feature 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: Chrystèle Saint Louis Augustin
The Moment: Glitter, glitter everywhere
The Motivation: With incredibly dreary weather descending upon New York (hello, Polar Vortex), it was with a very happy heart that we noticed an uplifting trend developing on the NYFW catwalks. Glitter, in all its glory, was popping up everywhere, from Altuzarra’s greenish-gold lids to Rodarte’s shimmering lips. This shot of Saint Louis Augustin from a 1997 issue of British Vogue is just another example of how sparkles (combined with a David Bowie-esque slash) can make a serious beauty statement.
Grace Mahary recently shared her backstage obsession with Style.com: MomentCam, an app that transforms photos into black-and-white caricatures. She may have to play the waiting game in hair and makeup, but you can’t pin down this model’s artistic imagination. Here, she shares her top five portraits from New York fashion week. We look forward to seeing the sketched scenarios Mahary (and her catwalker cohorts) wind up in come Milan and Paris.
“Pilot Katlin Aas smells a gas leak at a fitting.”
“Ashleigh Good playing captain just before Tommy [Hilfiger].”
“Arlenis Sosa cruising away from Hervé Léger with her pirate’s booty.”
“Backstage photographer Greg [Kessler] lighting up everything behind the scenes.”
“Chiharu [Okunugi] taking a casual fifteen-minute break from backstage at Helmut [Lang] to play polo.”
“I love being a part of fashion week. I live off the adrenaline of shows. I wasn’t planning on walking so many shows, but it’s a pretty special year: Donna is celebrating her thirtieth, Diane von Furstenberg just celebrated her fortieth. It’s a season that’s not to be missed, so I couldn’t sit this one out.”
We heard rumblings that Kloss was “too famous” to walk the New York shows. Judging by the ten runways she strutted down for Fall 2014, that rumor was totally bogus (which the model clarified above). I asked Tracy Kloss (her mother) backstage if the super ever gets tired, and she stated quite simply: “No, she’s always had high metabolism and high energy.” And perhaps she has a bit of FOMO—as she doesn’t seem to be slowing down during fashion month anytime soon.
Spring’s bombed-out beach and choppy, bowl-style wigs gave way to a more “tonal” look that was as hauntingly beautiful as the night sky and cumulus clouds that floated above the Marc Jacobs runway. Instead of evoking kids who cut their own hair, these faux strands (inspired by Jessica Lange, whose voice carried through the air, and Polly Allen Mellen) were precise, blunt, and graphic—a job that could only be tasked to a master such as Guido Palau. “It’s so perfect that it looks futuristic; there’s no era reference when you look at the girls,” he explained. The five hair colors developed by Victoria Hunter at Whittemore House Salon were “pulled back” and “off”—almost like an “old lady” would layer watercolor-like hues over gray—creating an odd, mink-y brown, blond, or silvery white tinged with pink or purple, Palau said. “It’s like an illustration come to life,” he added. “Everything matches.”
Mimicking the colors and textures of the fabrics in the collection, François Nars focused his efforts on the eyes. A light gray shadow was dusted over the lid and accented by “touches of chocolate” outlining the crease and, lightly, the lower lash line. Brows were bleached and then dyed the same shade as the wig. “You used to see that on Vogue covers in the sixties; hairdressers would match the brows to the hair color,” he noted. Nars Lip Gloss in Striptease, a nude laced with silver, was dabbed onto the lips with his fingertip to catch the light.
Manicurist Marian Newman extended the color palette all the way down to models’ fingers, painting nails with five custom-blended lacquers from the designer’s eponymous cosmetics collection that ranged from pale porcelain to purple-y mushroom (available for Fall 2014). The total package was, as Palau described, “a bit eerie and unsettling,” but completely calculated and immaculate—obviously the work of a man who strives for perfection.