5 posts tagged "Nichola Joss"
The quintessential grounds of Regent’s University and the in-bloom rose gardens of Regent’s Park spoke of a very serene location for this season’s Topshop Unique show space. Backstage, however, told another story entirely.
It’s 2:15 and only five of the expected twenty-nine models have arrived so far. It’s only forty-five minutes until showtime. It’s bedlam.
Once the models did (finally) arrive, it was straight into the tanning tent, where skincare expert Nichola Joss was armed with St. Tropez Instant Tan Wash Off Face & Body Spray in Medium/Dark. “I’m going for a statement tan,” Joss said. “She’s a global girl and we want her to look like she has been [sunning] all summer.”
The world-traveler theme was echoed in the makeup, as well, where face painter Hannah Murray used a new Topshop matte bronzer (out for spring) to bronze and contour the girls’ faces. “We want her to look like she has just woken up on a beach somewhere—maybe Ibiza—after partying all night,” Murray explained. “Her makeup, applied the night before, is sultry and even a little decayed.” A brown gloss was painted over lids and a metallic silver pencil (also out for spring) was sketched into the inner corners of the eyes to play with textures. Mascara was kept just to the roots of lashes so the ends looked slightly lighter and sun-exposed, and a touch a plummy blush was dusted over the apples of the cheeks.
For hairstylist Anthony Turner, his inspiration was Daria Werbowy. “This season the Topshop girl is sexy, almost Amazonian-like, and definitely not as grungy and rock ‘n’ roll as she has been previous seasons,” he explained. “There’s more oomph and va-va-voom about her.” The oomph came courtesy of L’Oréal Professionnel Tecni Art Volume Lift Mousse and a one-and-a-half-inch curling iron. Hair was waved in random sections before a small amount of conditioner was scrunched in at the roots for a slightly wet look. And there you have the va-va-voom.
Mark another one for Kate Moss. The super-est of them all—who has hawked everything from Chanel and Saint Laurent to Topshop, Rimmel makeup, and her own fragrance line—has just inked a deal with St. Tropez to become the new face (and body) of the British skin-finishing company. Moss, a longtime client of St. Tropez global tanning expert Nichola Joss, has been using the line of self-tanners and bronzing products as an alternative to year-round sun exposure “since they started,” and is quick to point out that she always feels “more confident” with its special brand of faux glow. The Skin Cancer Foundation couldn’t have asked for a better start to its Thursday.
Since opening its doors as a respite for ballet dancers in 1977, London’s Sanctuary Spa in Covent Garden has become an iconic destination for ladies seeking luxury pampering. Its at-home line of skin-boosting creams and salves has also proved particularly popular with anyone looking to prolong the in-room treatment experience, which, last we checked, is just about everyone—including celebrity facialist and Sanctuary’s skincare expert, Nichola Joss. Joss, who started her career at Sanctuary when she was just 19, has helped popularize its Therapist’s Secret Facial Oil, which she uses during her hard-to-come-by appointments with A-listers such as Kate Moss, Gisele Bündchen, and Scarlett Johansson. Known for her slightly painful but highly effective massage techniques, Joss actually goes inside clients’ mouths to manually exercise muscles, releasing tension—and visible lines and wrinkles in the process. Her go-to elixir, as well as the brand’s entire Youth Boosting range, including its “facial in a box” five-step kit, just launched on QVC this past week, the first time Sanctuary has brought its offerings stateside, which means getting one step closer to Kate Moss’ complexion is now even easier—especially with these massage tips that come courtesy of Joss, free of charge:
To keep the definition along your jawline toned, Joss recommends making massage a nightly ritual, when you are less rushed and more inclined to focus on personal primping. Once you’ve applied your night treatment, like Sanctuary’s Night Concentrate, bend your second and third fingers and, placing your chin in between them, work your way outward, toward your ears, applying pressure with your knuckles as you go.
Using the same finger placement, use your second and third knuckles to push up and underneath your cheekbones, applying a considerable amount of pressure to work underneath the bone and effectively lift the skin up.
Apply the tips of your index, third, and fourth fingers above the brow line and, applying pressure, push upward to the hairline repetitively.
“I’m glad to be getting back to my roots,” Eugene Souleiman joked—no pun intended—backstage at Mary Katrantzou, where the hair hero and Wella Professionals global artistic director made his grand return to London fashion week after a five-year hiatus. He picked a good show for his comeback, too; Katrantzou’s whimsical prints pack plenty of power in the way of beauty inspiration.
“[They're] very conceptual,” Souleiman admitted of the designer’s Spring fabrics, which included colorful, graphic adaptations of exotic stamps and banknotes, which caused the coiffeur to stay the “couture and sharp” course with the hair in complement. “The detail of the clothes needed something minimal to go with it,” he elaborated of the four-section updo that was based loosely on the aerodynamic shape of a “cycling helmet.” Prepping strands with Wella Create Character Texturizing Spray, Souleiman built a tight bun with the bulk of models’ lengths to anchor a panel of hair from the right side, followed by a panel of hair on the left side that he wrapped and secured on top of the chignon. A front section of hair was then combed backward and set with Wella Finish Shimmer Delight Shine Spray to “elongate and extend the shape of the head in a slightly alien way.” An additional otherworldly element came from Josh Wood, the London-based colorist who dyed a few girls, including Australian stunner Chrystal Copland, a platinum shade akin to “crisp linen” using Wella’s new Illumine range.
Makeup artist Val Garland’s contributions centered around a “ballpoint blue eye that referenced the inky colors of an English pound” (editor’s note: Blue is the new black when it comes to eyeliner for Spring). The precise shade of matte midnight pigment was a mix of two MAC Lipmixes in Blue and Red, which Garland drew onto the upper lash line in a thick, elongated, almond shape to adhere to Katrantzou’s mandate that the girls look “modern and linear.” Garland ditched mascara altogether and gave lips a clear moisturized finish with a swipe of MAC Lip Conditioner. Her intention was to keep skin looking “polished,” which was just fine with St. Tropez skin finishing expert Nichola Joss, who was giving models a “velvet tan” by buffing St. Tropez Instant Glow Wash Off Mousse mixed with its Body Butter into skin with a mitt, to which she added a light layer of St. Tropez Rose Skin Illuminator for a pastel sheen.
Self-tanner has had a bad rap since the earliest incarnations of dihydroxyacetone (DHA)-rich lotions first hit stores in the early sixties. A half-century later, and those orange-tinged, fake-baked connotations still stand. But not with Nichola Joss’ clientele. St. Tropez’ resident skin finishing expert has perfected the craft of sunless tanning and become sought after by A-listers like Hugh Jackman and Charlize Theron and supermodels like Kate Moss and Elle Macpherson in the process. “It’s cold and gray here, and we don’t want to look gray while we’re looking at gray,” the Scottish-born blonde jokes of her vast experience, which benefits from a childhood spent enduring long U.K. winters, not to mention a biology and cosmetology degree. We’re most familiar with Joss’ backstage résumé, though. “I did tanning at Julien Macdonald’s show 12 years ago when no one was doing it. I had to mix something and it wouldn’t wash off; it was really difficult,” the self-proclaimed “beauty therapist” recalls. A decade later and Joss has made a habit of giving limbs a natural warmth at shows like Erdem, Roksanda Ilincic, House of Holland, and David Koma—in a custom-built booth that lets her spray down models on site, no less. “You’ve got to really love it and you’ve got to understand how the body works and how your muscles work,” she says of the secret to creating the perfect faux glow. Here, as short-shorts season looms ever closer, Joss talks self-tanner innovation and imparts some of her application wisdom, free of charge.
What would you say is the most common mistake people make when they try to apply self-tanner at home?
It’s about being aware. With a very dark tan, you look one-dimensional, and the reason that happens is because you are applying [the lotion] all over your body—but you don’t tan naturally all over your body. So, when you apply all over your body, it flattens you, it makes you one-dimensional. It is really about understanding skin. I’m constantly thinking about how we can develop something new or fresh.
Are you part of the product development team at St. Tropez as well?
That’s why I was so keen to be involved! It is really hard to shut me up once I start talking about product. I was constantly saying to them, “Listen, it would be great if we do this” or “What about thinking about a wash-off product?” five years ago. I am passionate about skin and skincare, so I am really lucky to be able to influence it slightly.
So you’re the brains behind the new One Night Only wash-off product. Can you speak to that a little bit?
It’s an amazing product for me because it means I can tan [my clients], then they can go to their event, and then they can wash it off if they’re going to be in movies or for something that doesn’t warrant it. For backstage, editorial, and advertising campaigns, I can’t do without it. I used to have to mix stage products before. It is exactly the same color as the self-tan mousse except you have no commitment with it. You can play with it and make a mess and then wash it off. There are two different levels, a dark and a medium.