83 posts tagged "Orlando Pita"
This season, the designer created clothes for a “woman who was confident to dress in women’s clothes,” but the makeup, as describe by face painter Val Garland, was “healthy, wealthy, and handsome.” Brushed-up brows, perfected complexions, and lips topped with a clear mattifying formula from MAC comprised the look. “Just before they go out, we are going to give them a little massage on their cheeks so we get nice, natural color—but it’s not a blush,” she noted. The sheen on the high points of the face came courtesy of moisturizer, rather than a shimmery pigment, applied with a fan brush. “I’m a bit over the frosty sheen of highlighter, I think it’s dying a death,” Garland said. And similar to the London shows, she made a point of not picking up mascara. “It can look commercial when what you want to get across is something more directional,” she explained. But for those of us in the live real world and not on the runway, she suggests hanging onto our go-to tubes. “You can’t live without it—none of us can.” As much as I despise scrubbing off the black rings that form post-shower, I have to agree.
Hair pro Orlando Pita crafted a clean, natural ponytail—adding shine and canceling any flyaways with L’Oréal Professionnel Mythic Oil. “This makes it shiny, touchable, and soft—all the things the girls’ [strands] aren’t during the season,” he said. The tails were bent slightly with a curling iron for movement. Asked if the hair would be tucked into the collars and high-necked pieces in the collection (a trend that’s held strong since New York), Pita said that would be a game-time decision left up to Valli. The “haphazard” feeling this finishing touch lends, however, is something the mane master fully supports: “It’s as if you just got up and threw on a T-shirt—except [the T-shirt] is actually a Giambattista Valli dress—and headed out the door.” That sounds like my kind of morning.
The goings-on at Tom Ford are usually shrouded in mystery. You’re more likely to get the lowdown on the inner workings of Area 51 than you are trying to sneak a peek behind one of the fashion world’s most exclusive shows. Until now, that is.
Let’s start off by saying that the makeup stations were the stuff beauty dreams are made of (think: vanities overflowing with Tom Ford-branded brushes and compacts). Face painter Charlotte Tilbury created a smoky eye that paid homage to Carine Roitfeld on a stellar cast that included Georgia May Jagger, Karen Elson, Liberty Ross, and Joan Smalls. She worked the designer’s Eye Defining Pencil around the upper and lower lash lines, then proceeded to blend it out with Noir Absolute for Eyes (a cream formula). “This isn’t a feline flick; it needs to look slept in—Tom and I had a long discussion about the right amount of smudge,” Tilbury explained. “It had to be on the right side of rock chick and adapted to each girl’s eye shape.” A touch of mascara at the roots and a brush through the brows finished off the top half of the face. Perfected skin played backdrop to these sultry eyes, with just a hint of highlighter from the Shade & Illuminate palette tapped onto cheekbones.
A spritz of volumizer was applied to roots before hair was blow-dried by Orlando Pita, then parted just off center. Where strands were all one length, the pro cut in soft layers—forgoing a traditional coating of hair spray. “I’m not using any finishing products…it should look really natural and not too precise; all I’ll do before the girls walk out is tuck some of their hair into the clothing,” Pita explained. We imagine the French fashion doyenne would skip the shellac and do the same.
A West Coast girl who comes to the city was Orlando Pita’s jumping-off point. “She still has these chunky pieces from surfing,” he noted. A combination of Pita’s own dry shampoo and Schwarzkopf Osis Dust was applied throughout strands for texture before he crafted a “kind of cornrow” and pinned it up in the back. He pulled out pieces in front to mimic wind-blown hair—you know, the aftermath of driving the scenic roads of Big Sur in a convertible, an activity that Michael Kors told me he enjoys every time he visits California.
“If you don’t impose a line or shape on the face, you maintain integrity of the natural features, and that’s always what is most beautiful to me,” said Dick Page of the sun-kissed look. Similar to last season, he employed the designer’s Sporty Bronze Powder in Glow, dusting it along the contours of the cheeks and buffing it into the skin with translucent powder. “It’s not Shake ‘n Bake, but warm,” he explained of models’ tanned faces. Brows were defined and a chocolate hue was smudged around the eye before it was topped with a clear balm (like Aquaphor) for shine. “The old-fashioned theater [trick] was to put a red dot in the [inner] corners to make the eyes look more alive and whiter,” he said. “A contemporary thing to do is put a flash of color and grease [around the tear duct] to pick up the light.” Top lashes were emphasized with black mascara, while the lips were dabbed with lipstick in Dame “dosed with a bit of brown.” The inspiration for the color came from a somewhat unusual place: Baptiste Radufe. “Michael thinks everyone should have his natural lip color,” he said. After coming face-to-face with the male model backstage, I can confidently say that his pout was in fact the perfect shade of mauve-y plum. Some boys have all the luck.
A Spring 2014 trend was revived at Oscar de la Renta: wigs—short and choppy. Matching the hint of masculinity in the clothes (think pinstripes and leather), hair pro Orlando Pita tailored the faux strands to fit each model’s face—roughing them up with his own brand of dry shampoo. “We need to move on from the long hair thing, and I’d like to present an alternative to women,” he said. “You see [the look] on somebody like Jennifer Lawrence on the red carpet and it starts to look cool—it becomes a haircut and an evening dress instead of a hairdo and an evening dress.”
Gucci Westman cited Peter Lindbergh photos of Linda Evangelista as the inspiration for the “mousy gray-brown day eye,” which she crafted with four colors of Revlon ShadowLinks: Cocoa, Chocolate, Greige, and Charcoal. The roots of the top and bottom lashes were rimmed with a charcoal pencil, and the inner and outer corners of the upper waterline were given the same treatment to make it appear as if “they’d been crying,” she said. Cheeks were gently contoured, and lips were slicked with gloss in Super Natural. “Everything disappears except for the eye,” Westman noted.
The ballerina at Diane von Furstenberg was not your typical perfectly coiffed bun head. Instead, “a dancer in rehearsal, not performance,” inspired the undone chignons crafted by Orlando Pita. After pulling the hair into a ponytail at the center of the head, the mane master spritzed a teasing brush with BioSilk Firm Hold Finishing Spray before dragging it vertically from forehead to elastic, making it appear as if the models had raked their strands back using just their fingers. After he coiled and pinned the tail in place, he strategically undid it for a soft, imperfect finish.
Makeup artist James Kaliardos noted the Ballet Russes and refugees leaving the mother country “to embark on a creative life.” He employed techniques normally used by dancers onstage, such as contouring the sides of the face with various tones of concealer and brightening the eyes by rimming the lower waterline with MAC Cosmetics’ forthcoming Technokohl liner in Nude. Wanting a “glossy taupe” shade for the lids, Kaliardos mixed Grey Matter, a cream shade from the Fall 2014 Trend Palette, and Dusty Mauve, a hue from the season’s lip palette. He topped it off with Gloss Crème Brilliance for additional sheen and coated the top lashes with Haute & Naughty mascara. “You know when you see those girls from ballet school and they just look like ballerinas even though they don’t have makeup on? This is what we’re doing,” Kaliardos explained. With all the lithe models milling about backstage, it was almost as if they were waiting for their curtain call instead of your standard catwalk.