83 posts tagged "Orlando Pita"
“As you can see it’s kind of a raccoon eye,” makeup artist Tom Pecheux joked. “It’s very big and smoky.” To get the look, he applied a heavy dose of translucent powder to lids before coating them and the lower lash lines with a combination of two shadows—Estée Lauder Pure Color Eyeshadow in Ivy Envy (a forest green) and the “petrol blue” shade from a trio dubbed Camo Chrome—using a big, fluffy brush. The rest of the face was kept bare to keep the focus on the “lake” of color that wrapped around models’ eyes.
Hair pro Orlando Pita channeled the “multi-ethnic, indigenous tribes” that served as the designer’s inspiration via a strong center part. To translate the concept to the modern, urban woman, Pita began by boosting body—blowing it out after applying Phyto Phytovolume Actif Volumizing Spray and creating a wave from the ears down with the T3 BodyWaver iron. Next, he polished the top half using a mix of Glossing Cream and Strong Sculpting Gel. “Combining the two keeps it soft but still gives you the hold you want,” he explained before pulling strands back into a tight, low ponytail and wrapping the base with elastic. For a “bulbous” finish, he laced the tail with a Mason Pearson brush—a happy accident that occurred during the test. “My focus is never for people to try to do it at home—I could care less—but this is something one could attempt,” Pita noted of his creation. “You’re never going to get it to look as good as this, but that’s why we still have jobs.”
“It’s a story of my native land, Kazakhstan, and the main character is a femme fatale who is traveling through all the former Soviet republics on the Orient Express, picking up things along the way. She’s very chic, she’s looking for adventure, and of course she’s looking for love,” said designer Ulyana Sergeenko backstage before her show. “As usual, I can only tell a personal tale.”
Pat McGrath and Orlando Pita spun that backstory into dramatic looks that touched on the past, like thirties-inspired smoky shadow and finger waves—and expounded on a multicultural aesthetic via dramatic, winged eyes and folkloric braids coiled at the nape of the neck. Pita said of the shellacked look: “We’re using lots of strong gel—we ran out of the Kiehl’s already. We’re also using L’Oréal Professionnel Homme Strong Hold Gel to make sure the waves really shine and stay put.”
Makeup artist Val Garland has worked with Giambattista Valli for many years now, so it’s safe to say she knows his girl by heart: “Dewy, expensive, quality skin, with rosy cheeks,” she noted. Even so, the designer proved he is not above throwing the occasional curveball. “This season, he told me he wanted a bit of drama,” Garland said. Enter the strong black line. “Gambattista’s woman is very Parisian—she’s a little bit cocky; she’s very sure of herself. She might wake up and not really care about how she looks because she has so much confidence,” Garland noted backstage before the show. In order to create a counterpoint to the designer’s soft, Monet-inspired clothing, Garland created a modern, graphic eye. “Instead of that couture fifties flick, we’ve made it a lot stronger and blockier,” she said. She worked using not one liner but two, starting with a black cream from MAC followed by a powder formula. “The first one is easy to apply, and the second gives it hold,” she explained. She finished with “lashings and lashings of mascara.” A barely there beige mouth courtesy of Lip Eraser rounded out the face and kept the emphasis on the eyes.
When it came to the tresses, Valli asked hair guru Orlando Pita to keep things straightforward and simple. “Giambattista said he wanted the hair to [appear] as though the girls had just run their fingers through it,” he explained. Pita blew hair dry with Schwarzkopf OSiS+ Volume spray, and brought texture to smooth strands with Dust It powder. Next, he curled a few sections in back before tousling them—ultimately securing the hair with several strategically placed pins and finishing the look with “not too much hair spray.” He said of the end result: “It’s supposed to look luxurious but not madame.”
We gave you the first look from behind the scenes at Victoria’s Secret, and now we’re offering you yet another sneak peek (and not in snippet form as you’ve likely seen posted all over Instagram) before the bedazzled bras and toned bodies make their official television debut on December 10. In order to avoid creating an army of Angels, hair pro Orlando Pita kept each model’s length as is to “show individual style,” but created those signature bed-heady, glossy waves that are core to the VS woman. Makeup artist Dick Page’s mission was simple: “Not get in the way.” He put it quite simply, saying that when you book a room filled with beautiful girls, the best thing to do is not mess with a good thing. And wings aside, one of the things that sets this show apart from a more traditional runway is that there’s life and animation strutting down the catwalk. “A lot of fashion shows are very straight, dour, and serious, and this is kind of a celebration,” added Page. Brush up on your no-pants dance and prepare to party.
The look at Victoria’s Secret hasn’t changed much in the eighteen years since Angels in lacy underwear and million-dollar bras captured the world’s attention in more than 185 countries, but it’s the subtleties, hair pro Orlando Pita explained, that make all the difference. “In the past we’ve done a dry, sandy, beachy texture, but this year it’s shiny and glossy,” he said. While this may appear like a minor change to the naked eye, it makes a major impact on high-def cameras.
For face painter Dick Page, he aimed to make the girls look a bit more “scruffy,” which caught the attention of one of the executive producers of the fashion show. (Scruffy and sexy might not normally go hand in hand, but when it comes to Page, you have to trust that the finished product will be spot-on.) During the huddle with both beauty gurus, last year’s look was discussed: Lipstick should give way to a more balm-y, just bitten mouth; the shadow should be a bit more smudgy (and therein lies the scruff); and absolutely no glitter should be used.
To get the glistening waves, Pita prepped the strands with Victoria’s Secret So Sexy Body & Hold Volumizing Mousse and blew them dry with a round, vented ceramic brush from ghd to build body. Next, he glued in multiple levels of extensions—opting for a tone that played up the lightest shade seen in each model’s roots. “Dark hair, especially, can look really dense on television; this [trick] gives it depth and makes it look more natural,” he said. The ends were razored to approximately each girl’s natural length, and strands were misted liberally with So Sexy Style Hold & Finish Hairspray. Using his signature technique (where the middle of the hair is wrapped under and over the barrel of a curling iron, in this case a 1.5 inch version—leaving the ends out), Pita created loose curls before finger combing and finishing with more hair spray. To get the look at home, however, he suggests using an easier-to-wield flatiron, like the forthcoming tri-zone styler from ghd. As for the part, there was great debate as to whether it should be in the middle or slightly off center, but the final decision was to follow the way each model’s hair naturally fell—keeping their individuality intact. (If you’re wondering, Karlie Kloss will be maintaining her signature bob.)
“I’ve been given a very strict directive, but I’m going to fuck with it like I do,” Page said of the makeup. After the recent death of Lou Reed and listening to The Velvet Underground & Nico, the master of maquillage came up with the “scruffy Angel” concept. To achieve it, he used a black-brown liner pencil on the inner rim and ran it imperfectly along the top lashes before smudging the pigment up and over the lid. To intensify the outer corners, Page dusted the dark chocolate shade from the VS Makeup Eye Shadow Quad in Eye Contact in a “V” shape, then applied the shimmery gold color over the inner half of the eye to catch the light. Instead of traditional blush, he warmed up Color Drama Lipstick in Taken on the inside of his forearm and used a cosmetic wedge to apply it to cheeks (a similar method was employed at Narcisco Rodriguez this past season). “I want them to look like they’ve had a really good shag, or anything else unorthodox that would make you pink in the face…like excitable shopping,” Page quipped. The skin was then layered with a sheer foundation using a brush—allowing the color to come through much like a natural flush. “I want to have final control over the complexion,” he said of his approach. Color Drama Lipstick in True (for models walking in the Pink portion of the show) or Flawless (worn by the rest of the girls) was pressed onto lips, then top lashes were coated with Volume Lift Mascara in black, and brows were lightly defined with a pencil as a finishing touch.
The only things left to complete this slightly undone Angel: wings and sass. “This show is probably the closest you get to real modeling, where the girls are truly animating the clothes,” said Page. Or in this case, the lack thereof.