66 posts tagged "Odile Gilbert"
While reporting backstage at a certain Couture show this week, the question of how to ensure that a given hairstyle doesn’t overshadow a collection’s clothes was put to one of the seminal hairdressers working today. “I want my hair to be noticed, but I don’t want it to take over,” he replied. “This is a Couture show, not a hair show.” The distinction may seem clear enough, although the lines are frequently blurred when the Couture show in question belongs to Jean Peal Gaultier.
“He loves hair,” Gaultier’s longtime partner in coif, Odile Gilbert, revealed of the designer who often gives Gilbert the green light to create some of the most elaborate hair art on the runway. “What I love about Jean Paul, because I’ve worked with a lot of designers, is that he always wants a certain sense of humor in the hair,” she said. Gilbert perfected four different looks simultaneously: a towering chignon with haute couture curlers bedazzled with “strass,” as she referred to the stone-encrusted details on a handmade set of rollers; a “Chantilly chignon,” a tiered cake-inspired, segmented, cone shape that was anchored by a rigged-up wiring system Gilbert designed herself; a donut-shaped topknot that sat just above the forehead and was accessorized with a small hat; and the “cheetah paw print,” Gilbert’s favorite of the bunch, which was spray-painted onto sleek French twists with stencils. “I did it before for John, for his first Couture collection at Dior, but in a totally different way,” she admitted of the jungle cat improvisation, referencing her tenure working with John Galliano with a sense of nostalgia—the second time the disgraced designer has come up backstage in two days. “For me, Jean Paul is like Galliano; he has a vision.”
Luckily for Lloyd Simmonds, Gaultier’s vision for the makeup was much less complex. How many different faces was Simmonds enlisted to paint in complement to those hairstyles? “One!” he confirmed with delight, a riff on Fellini’s women and their flair for black liner. Using rich brown shadows to pull the eye out as far as possible before starting in with a series of pencils, Simmonds rimmed the inside of lids with white kohl to make them pop against the outline of inky onyx pigment that he traced around both the upper and lower lash lines. “He said he wanted the makeup to be very ‘Couture,’” Simmonds explained of Gaultier’s directive, which registered as a call to push things toward the elaborate. “Instead of one shade of brown shadow, there are six shades of brown shadow; you just spend more time,” he explained, getting at the reason for Couture at its core: to elevate craft, be it fashion—or beauty.
Hairstyles that are created to complement a collection’s clothes often turn out better than those that introduce an entirely new theme or idea; hairstyles that are created with a collection’s clothes often turn out even better. “It’s Boldini, but modern and more abstract,” Odile Gilbert said backstage at Alexis Mabille referencing the Italian painter whose flowing brushstrokes guided much of Mabille’s Couture designs—including those that made their way on top of models’ heads. “They’re flowers,” Gilbert explained of the pieces of hand-painted tulle that she took from select dresses and shellacked onto a Mexican-style head-wrapping technique that required copious amounts of professional-grade gel. “It’s a lot of work,” she admitted, combing product through panels of hair to create a sleek base for the fabric appliqués-turned-hair-accessories.
To keep it all from skewing too romantic—and to add a “touch of the futuristic” to the equation—makeup artist Carole Colombani dusted a mix of MAC Blush in Prism and its Sculpting Powder in Sculpt high onto the cheekbones and along the temples, cutting the light pink color with a sheer wash of its matte white Eye Shadows in Gesso and Blanc Type that extended from the outer corners of models’ lids. Then, mixing MAC Pigment in Silver with its Mixing Medium to create a molten-pewter effect, Colombani traced just the inner corners of the upper lash line with the metallic hue that was revisited on nails in the form of Essie’s No Place Like Chrome polish, which was dotted with alabaster moons. And lest you forget this was a Haute Couture beauty look, not your average ready-to-wear affair, false lashes upped the glamour quotient while lips were individualized per girl, using a blend of MAC Lipmixes in Fuchsia, Midtone Nude, and White.
Wearing makeup to the beach is a questionable move, although if you grew up in a NorCal surf town, like Rodarte’s Laura and Kate Mulleavy, it was probably also hard to avoid. “It’s the idea of mascara that has been applied on the beach,” James Kaliardos said of the makeup look he created for the sister duo’s Fall Santa Cruz-themed collection. “It’s a bit messy,” he continued, “as if it fell onto [models'] faces.”
Dusting lids with NARS Single Eye Shadow in Bengali, a matte dark brown shade that Kaliardos swept underneath the lower lash line as well, he worked its forthcoming Eye Paint in Mesopotamia, a similar shade, through the crease to provide a little slip. Then, taking NARS’ as-yet-unreleased Larger Than Life Long-Wear Eyeliner in Via De’Martelli, a dark chocolate, he dotted on a chunky, “speckled” bit of pigment for a haphazard effect. NARS Larger Than Life Volumizing Mascara added additional dimension to lashes while its Velvet Matte Lip Pencil in Belle de Jour gave pouts a subdued nude finish.
Odile Gilbert was going for a “rocker princess” look, which she achieved by building a “cool, undone” texture into models’ manes. Prepping hair with John Frieda Frizz-Ease Curl Reviver Styling Mousse, Gilbert took strands through a two-inch curling iron to create a loose bend. Brushing out the waves for a more natural appearance, she created interwoven plaits on either side of the head, which were joined together in a rosette that segued into a single braid in the back. Using Frizz-Ease Hair Serum Thermal Protection Formula on the ends to create piecey separation, Gilbert crowned select models with barbed-wire headbands, including Nadja Bender, Irina Kravchenko, Kate King, and Tilda Lindstam.
Last season, the beauty look at Olivier Theyskens’ Theory show was very much a reflection of him at the time. The designer had just sheared off his shoulder-length hair in favor of a chin-grazing crop, and hairstylist Odile Gilbert subsequently gave models the same cut via pastel-colored wigs. For Fall, Theyskens’ beauty team, which includes James Kaliardos on makeup and Jin Soon Choi on nails, was thinking more about Theyskens—and his woman—in the future.
“I’m a big futurist,” Kaliardos said backstage. “I like to think of a time when we can go to bed and get injected with vitamins and wake up feeling better—and looking like we have perfect skin,” he continued of the kind of makeup he was striving to achieve. Starting with a base of MAC Mineralize Charged Water Moisture Gel to fully hydrate the complexion, Kaliardos mixed its Prep + Prime Beauty Balm with its Face and Body Foundation in White for an ethereal glow. Contouring cheeks with is Sculpting Cream in Coffee Walnut—”So the girls look like they have overhead light on them at all times,” he joked—Kaliardos employed pink and peach pigments from MAC’s Concealer Palette to create a “plump-y, fleshy-y” effect. Lips were taken down with MAC Lip Erase before Kaliardos applied a few dabs of its Lipstick in Au Natural. Nails got a similarly clean, perfected treatment with one coat of Choi’s new eponymous lacquer in Tulle, a sheer cream, finished with two layers of glossy top coat.
Odile Gilbert was thinking similarly futuristic thoughts when she prepped strands with Kérastase Resistance Ciment Thermique Heat-Activated Reconstructor Milk and constructed severe center parts that segued into a “veil” of precisely straight flatironed locks. “We’re creating headbands with their own hair,” she said of front sections that had been tucked behind the ears and gathered into a ponytail at the nape of the neck before being covered with lengths. “It’s a future young girl on Earth,” she emphasized; “not Star Wars.“