63 posts tagged "Orlando Pita"
Pink Lips that “Close the Deal,” Backstage at DVF
Being a designer backstage on the day of your own show comes with a few perks—including on-site touch-ups with some of fashion’s best hair and makeup people. “Can you do what you did before,” Diane von Furstenberg beseeched James Kaliardos as he was applying the show’s look to a model in his chair. Von Furstenberg was looking to re-up on her ruddy smoky eye—and to dole out a few words of wisdom in the process. “The idea with the color,” she said, motioning to the MAC Chromagraphic Pencil in Process Magenta that Kaliardos was blending with its Lip Conditioner for a semimatte finish, “is whatever you’re doing, close the deal.”
“It’s a look that makes you win in life,” Kaliardos continued of the seventies glam-rock makeup, which featured diffused red lids, courtesy of MAC Cream Eyeshadow in Rusted Red from its forthcoming Fall trend palette that he blended with its Cream Eyeshadow in Oyster, a shimmering champagne, to add a highlight to the inner corners of eyes. Sculpting skin with warm shades of MAC Face and Body Foundation, Kaliardos filled in brows with its Eye Shadow in Omega before swiping on a few coats of its Haute & Naughty Mascara to enhance the drama. Toes were painted with a combination of Essie’s fuchsia Plumberry and Miami Nice to match models’ mouths.
Orlando Pita added to the “life is a party” inspiration—von Furstenberg’s party, specifically—with seventies-style sets that he side parted and treated to a few spritzes of his T3 Elevate Heat-Seeking Iron Volumizer hair spray and a one-and-a-half-inch curling iron to implement a slightly disheveled wave. “Diane is about inspiring women,” he said, prompting him to skip hair extensions to avoid total uniformity, catering instead to models’ individual lengths.
Bohemian Beauty Rhapsody, Backstage At Derek Lam
“The buzzwords were bohemian, minimalism, structural architecture,” Orlando Pita said backstage at Derek Lam, rattling off a list of inspirational terms the designer had provided him with as a beauty directive for Fall. To Pita, that immediately meant texture. “We’re braiding hair and setting a wave,” he explained, adding extensions to ensure a uniform thickness at the bottom while prepping three-inch-wide sections with Phyto Workable Holding Spray before weaving them into plaits and pressing them with T3′s SinglePass Flat Iron. Nodding to the freewheeling feeling of the late seventies, Pita center-parted strands to “make the face more symmetrical” and ran his fingers through the crimped plackets. Then, taking two pins, he secured front sections behind models’ ears to give the shape a sense of uniformity.
Estée Lauder global Creative Makeup Director Tom Pecheux was speaking to Lam’s aptitude for giving incredibly rich fabrics a sense of casual comfort, which he also related to a bohemian sensibility—one that is rooted specifically in California. “You know when you ask people on the West Coast why they live on the West Coast and they say ‘quality of life’? It’s that kind of feeling,” he explained of the “very minimal” makeup that still managed to have a few complex twists and turns.
Following a massage with Estée Lauder Idealist Even Skintone Illuminator and its DayWear Advanced Multi-Protection Anti-Oxidant Creme, Pecheux created a base with Lauder’s Double Wear Light Stay-in-Place Makeup. “There’s no brow, no mascara, no contours, no highlighting,” he was quick to point out, turning his attention instead to a “stripe of eye shadow” in varying shades of lavender, rose, silver, and gray from Est—e Lauder’s forthcoming Pure Color Instant Intense EyeShadow Trios in Smoked Chrome, Steel Lilacs, and Sterling Plums, concentrating the sheer, shimmering pigment in the center of lids to catch the light on the runway. Lips were slicked with a blend of Lauder’s as-yet-unreleased Pure Color Vivid Shine Lipstick in Burnished Bronze, a sheer caramel, and its Pure Color High Intensity Lip Lacquer in Electric Wine, a deep garnet, before Pecheux pressed them with his fingertips to create a stain. As a finishing touch, he took another finger-dab of its Pure Color Stay-On Shadow Paint in Sinister, a dark black, which he patted onto the center of mouths to simulate “voluptuousness.”
How to Get the Face of an Angel, the 2012 Edition
There is something predictable about the hair and makeup look at the Victoria’s Secret fashion show each year, which is to say there’s a formula to getting bombshell beautiful. But face-painter Tom Pecheux and coiffing star Orlando Pita, professionals as they are, always manage to bring a certain nuance to the crowded, pink-tinged backstage area at the Lexington Avenue Armory in New York, a space that was noticeably less “bronzed” this season. “In general, we are killing that extra too much bronzer,” Pecheux explained as he put the finishing touches on Doutzen Kroes’ complexion. “Healthy is good, over-tan is not good,” he surmised of the satin skin finish he was building with rosy, rather than ruddy, accents. “It’s important for VS to communicate that.”
Starting with a base VS Makeup Tinted Moisturizer and its PRO Flawless FX Translucent Powder, Pecheux sculpted cheeks with its Luminous Mineral Blush duo in Pleasure, which he also applied to lids on the “Pink girls,” the younger models making their first appearance on the VS runway, like Style.com/Print cover star Cara Delevingne and Valentino muse Maud Welzen. “They look very dolly, very fresh—youth, is the word,” Pecheux elaborated of the individual lashes, and multiple coats of VS Makeup Extra-Lengthening Mascara that he employed. In contrast, “The main VS girls”—Alessandra, Adriana, Lily, Miranda—got seductive eyes replete with an interesting liner technique for which Pecheux rimmed the lash line with VS Beauty Rush Precision Eye Pencil in Pitch Black, applying a stroke of the same liner in Foxy, a rich brown, on top that he swiped outward. “When you blend them, the black really gets in between the lashes and you get a little density, while the brown elongates,” he pointed out. Pecheux then dusted a Taupe pigment through the crease and a shimmering champagne highlight along the brow bone using VS Makeup Eye Shadow Quad in Eye Contact, while lips received a layering of its Makeup Beauty Rush Glossy Tint Lip Sheens in Better Than Bare and Manic Pink, creating a berry stain. “It’s no more a [nude] French Kiss, it’s the VS kiss,” Pecheux joked of the noticeably pinker pouts.
Orlando Pita did his part to add to that quintessential VS “feeling of sexiness” by giving every model extensions that hit just below the breast. “Last season we had different lengths on every girl and the wave was a little bit more of a glamour wave. This time it’s more messy. It’s a little heavier, and everybody has extensions—even Karlie,” Pita said, referring to the runway superstar who sent the blogosphere abuzz yesterday when she turned up backstage with a freshly cut bob. Using Victoria’s Secret So Sexy Style Body & Hold Volumizing Mousse to create texture, Pita added a bend to strands with an inch-and-a-quarter curling iron that he spritzed with its So Sexy Style Hold & Finish Hairspray.
The biggest backstage news came from Yuna Park, the nail guru of Oscar de la Renta fame who just signed on with VS to front its brand-new nail line. “They came up with 21 colors, but for today there’s two different colors I’m using,” Park said, displaying Bitten, a pink-nude that she painted onto the established Angels’ tips, and Peep Show, a sheer pink shimmer that she reserved for the younger girls. Keep an eye out for them on shelves when they launch in late January.
To Text And Talk While Getting A Trim, That Is The Question
Beauty Etiquetter is a new column on Beauty Counter in which we address your beauty protocol predicaments with candid advice from industry experts and those in-the-know. To submit a question, e-mail celia _ellenberg@condenast.com.
The Quandary: “I’d rather not make small talk with my hairstylist during a cut. Is it considered rude to check and send e-mails while in the chair?”
The Experts in Residence: Hairstylists Garren, of Garren New York salon, and Orlando Pita, of Orlo Salon.
“In general, it’s preferred that the client does not text or e-mail, to make sure the stylist is able to be as precise as possible,” explains Garren. “However, if you must do so, keeping the head at an eye-level position by holding the device in front of you will work best”—a point on which the two coiffeurs agree. “As long as the client is holding their head in the position I need them to, she can absolutely work on her BlackBerry, iPad, etc.,” Pita weighs in. His bottom line: “If it doesn’t get in the way of my work, it’s perfectly fine.”
A Sixties/Nineties Mash-up, Backstage At Michael Kors
There are two decades being mined at the New York shows this week, and Michael Kors managed to get both of them into one beauty look. “It’s sixties/nineties,” Orlando Pita said, referencing the super-sleek, deep side parts that he was giving models, creating an indentation in the back with a long elastic that was clipped behind the ears. The straightness, which he achieved with a blow-dryer and a few spritzes of his T3 Control Heat-Seeking Hair Spray, hammered home the homage. “The first time women straightened their hair was in the sixties, but they used actual irons,” Pita said in an impromptu session of hair history 101. “In the nineties, they finally created a straightening iron.” Karlie Kloss, Jac, and Frida Gustavsson got updos to accommodate the evening dresses they wore to close the show.
Dick Page was on a similar tip, although the Shiseido artistic director wasn’t quite ready to call his colored, banana liner applications retro. “[Kors] just wanted to do an eye thing. [This is] a floating line,” he declared of the single stroke of its Luminizing Satin Eye Color Trio in Jungle, a punchy green, that he gave brunettes, and the Punky Blues palette that he saved for blondes, both of which changed shades underneath a series of plastic pastel sunglasses. A wash of white pigment along the upper lash line and a few swipes of Shiseido’s Perfect Mascara Full Definition in Black helped open the eyes while its Luminizing Satin Face Color in Highbeam White brought light to cheekbones, jawlines, and foreheads. Lips were painted and then blotted down to a barely perceptible nude with Shiseido’s Perfect Rouge in Vision, a dusty rose—not that it mattered; after Kloss passed her new Perfect 10 cookies around to Page, Lindsey Wixson, and Magdalena Frackowiak (and this reporter), there wasn’t much visible lipstick left to speak of.