66 posts tagged "Odile Gilbert"
“Alexis thinks the most beautiful part of the girl is big eyes, but with only a tiny bit of mascara,” makeup artist Carole Colombani noted as she brushed a last touch of pink contouring powder on a model’s cheekbones backstage at Alexis Mabille. She used MAC Pigment in Pure White to create a discreet highlight on the inside of the eyes and Clear Lipglass to lend the ultimate sheen to nude lips. Hair maestro Odile Gilbert, on the other hand, had a few dozen flurries of white paper butterflies to contend with—she dubbed the finished look “Butterfly Kisses.” “Pin it back, add a ponytail, and let the butterflies go,” she said, laughing. The sole product used: “Hair spray. Lots.”
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.
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.
The look created for the half-French, half-American designer by makeup artist Tom Pecheux and hairstylist Odile Gilbert was based around one word: purity.
Pecheux kept the focus on the classic matte red lip—a combo of MAC Red Lipmix topped with Pigment in Basic Red. The lids were kept simple, applying a Pure White Paint Stick with his fingertips from the lash line to brow bone, and on the outer corners of the eye as a highlight. He set this with powder shadow in Gesso to eliminate shine, using a large, soft brush. “If you use something very hard, [the color] is going to be very opaque and you will look like a panda,” Pecheux said, which is definitely not on trend this season (or ever).
The hair was equally as easy, with Gilbert making an imperfect middle part, blow-drying strands with Kérastase Mousse Bouffante, and sealing split ends with Fibre Architecte. Hair was then scraped back into a low ponytail and secured with a white elastic. She used a curling iron to add “movement” to the tail and polished everything off with Laque Dentelle hair spray.
An updated and forgiving French manicure—painted with Essie Vanity Fairest and Allure—was the finishing touch. “When you use sheer colors, you don’t have to worry about the line being perfect,” said manicurist Michelle Saunders. And good thing, because who really has the time (or skills) for that?
Last time I spoke with Wu, the designer told me to expect a look—and true to his word, he delivered. Seeing as the collection was a bit of a departure from his more structured silhouettes (boasting more fluid, feminine shapes with corset detailing to provide an element of control), the makeup also took a slightly different turn. Instead of the vampy shadow seen at past seasons, face painter Diane Kendal, who helped create Wu’s namesake line for Lancôme, opted for a softer, half-moon-shaped cat eye, accented with warm rose gold glitter. “It [looks] like glamorous sand,” Wu explained at the hair and makeup test. And while Kendal tried a version with black and silver hues during the fitting, the of-the-moment metallic was ultimately decided upon because it felt more like summer and provided that feeling of “sunshine,” she says.
Kendal based the skin and eyelids (giving the glitter something to grip onto) with Lancôme Teint Visionnaire Skin Correcting Duo, then warmed up the cheeks with a light dusting of Blush Subtil in Cedar Rose. To create the spotlight-stealing eyes, the makeup artist sketched Le Crayon Kôhl in Black Coffee along the “banana” and slightly down toward the outer corner before diffusing the line with a fluffy brush. Over top, Kendal added a shimmery camel shadow from the Color Design Eye Brightening All-in-One 5 Pan Shadow & Liner Palette in Bronze Amour—leaving the middle of the lid bare. Jason Wu for Lancôme Artliner in Noir was applied thinly along the upper lash line for definition, and Hypnôse Star Mascara was added for extra drama. Using a damp brush, fine glitter was applied to the center and up to the crease as the finishing touch.
The long and lush tails were no surprise, as the designer was not shy about his affinity for the utilitarian classic. “There are many iterations of T-shirt, tank, and slipdresses within the collection that feel like normal things that you glamourize through lace or beading,” Wu said. “The ponytail is the hair [equivalent] of that.” After working Kérastase Fibre Architect (a reconstructing serum that helps soften split ends) and a liberal misting of Gloss Appeal (a shine spray launching in October) through strands, hairstylist Odile Gilbert flat-ironed sections for a sleek finish before using the end of a rattail comb to create a crisp center part. The length was pulled into a low pony, which was then wrapped with blunt-cut extensions that hit just above the bra line, framing the lace-up detailing on the backs of multiple pieces. Any flyaways were smoothed back from the forehead with Short Mania (a pomade also out in October) and shellacked with La Laque Couture hair spray. To carry through the metal theme and cap off the look, Gilbert snapped in a gold or rose gold clip from Colette, an accessory stylist Kate Young discovered while in Paris. Models with cropped cuts, like Karen Elson—who last sported this length in the Chanel campaigns of the nineties—and Karlie Kloss, were given slick, pushed-behind-the-ears styles. “Everyone feels a little bit more secure with their hair down,” Gilbert said. “But when you make your hair look like this, you have nothing to hide—you feel very strong about yourself.”