83 posts tagged "Orlando Pita"
Hairstylists Orlando Pita and Guido Palau are all for a girl going rogue and showing the world (or her agency) who’s boss by breaking out the scissors à la Edie Campbell. Pita elaborated on the subject backstage:
“When I was young, I didn’t want to look like my father, and the girls I knew didn’t want to look like their mothers. Then, all of sudden, everybody started to look the same. There’s a movement happening [now]…Coco Rocha cut off all her hair, and I said to her, ‘Finally, a girl with balls.’ All of these [models] tell me: ‘My agent doesn’t let me cut my hair.’ When you have a businessperson sitting behind a desk deciding creatively what’s happening, that’s when hair trends become stale.”
Palau seconded that notion, saying that this season, conformity wasn’t necessarily the goal (Rick Owens, anyone?). A model that didn’t fit the long, lank hair mold, and instead brought her own sense of style to the runway was what often caught a casting director’s eye.
“What designers were looking for was an individualism. At a lot of shows, you saw girls with their own haircuts—it wasn’t about extensions.”
Don’t have the guts to lose a few inches? Try a wig on for size—another standout look from Spring 2014.
I doubt that Giambattista Valli had Whitney Houston’s eighties hit “So Emotional” in mind when deciding on the look for today’s show, but the “tea-stained” eye makeup by Val Garland certainly brought the lyrics to mind. “She’s woken up from last night and she’s a bit brokenhearted,” explained the face painter of the designer’s muse.
To get the shadowy effect, she blended two colors from the MAC Spring ’14 Trend Forecast Eye Palette (March Mist and Cultivating Chic) to create a mushroom-rose hue and swept it across lids and underneath eyes—diffusing any harsh lines with a brush. A nude pencil was employed along the lower waterlines to cancel any redness the models have acquired at this point during fashion month. For seamless skin minus a heavy base, Garland broke down foundation with Care Blends Essential Oils and applied a bronze shade of Cream Colour Base in the hollows of the cheeks for subtle definition. The same oil was used to sheer out a pearly white highlighter before dabbing it on the tops of cheekbones, the inner corners, and just below the eyes. “There is always a shine detail somewhere at Valli—for Fall it was about a face stretching [sheen], this season it’s about a tear.” Lips, however, were “gloss negative,” with Mixing Medium Matte used to tone down the violet shade lightly patted onto models’ pouts.
Hair wasn’t a weepy affair for Orlando Pita: “She’s still very much a woman with personality and confidence that trusts in her natural beauty,” he said. To reflect this idea of empowerment, Pita made a French twist that was less “madame” and more deconstructed. “I’m always trying to achieve [a style] that appears as if a girl has done it herself,” he explained. To get that DIY feeling, he worked L’Oréal Professional Super or Texture Dust (depending on hair type) through the top section, then misted his hands with Elnett hair spray before scraping strands back with his fingers. Next, he rolled up the length and secured the twist on a diagonal with pins—keeping the sides tight but the crown area slightly loose, for an imperfect finish.
In the end, it seems that the Giambattista Valli girl doesn’t cry for long, or wait around for a man to bring her “forgive me” flowers—especially when she can buy them for herself, strewn across the shoulders of a well-tailored blazer (Look 27) or attention-grabbing mini (Look 29).
The models at Michael Kors may have appeared bronzed and glowing (as they so often do), but makeup artist Dick Page was thinking in black and white, wanting to “just see tone and structure in the face.” While there were forties elements to the collection this season, Page didn’t proceed with a red lip, which would push the look strongly in the wrong direction, he explained. Instead, he evened the skin with a light layer of base and added warmth back in with Michael Kors Sporty Bronze Powder in Glow dusted along the hairline from temple to temple in a “horseshoe” shape. Page accented cheeks with Sexy Bronze Powder in Flush, a slightly rosier shade. To camouflage any darkness around the eyes, he encircled them with MAC Eye Shadow in Brule on fair-skinned models, and a brown-gold hue for deeper complexions. “It cancels shadows almost like concealer, but [the pigment] is so [sheer] you don’t read it as makeup,” he explained. After coating lashes with brown mascara, Page created a stain via layering: first applying a lip balm, painting on Glam Lip Lacquer in Dame (a berry hue) with a brush, blotting, putting on another coat of balm, adding one more coat of color, blotting, and sheering it out with a final slick of balm. (Phew!) To diffuse the edges of the lipstick, he rimmed the mouth with the same shadow used on the eyes. “The girl looks very healthy, alive, and animated because Michael really likes that kind of energy—so [we did] that in the most precise and discreet way possible,” concluded Page.
As for the tousled updos created by hair pro Orlando Pita, where models were meant to look as if they’d just had “a romp,” he began by randomly curling sections with a one-inch curling iron to add a bend to the hair. For the undone, chunky texture, he worked Schwarzkopf Osis+ Dust It (a mattifying powder) into strands with his fingers, then twisted them into a loose chignon—being sure to leave loads of pieces out around the face, as the designer requested “bits flying,” and set with hairspray. When asked how he skirts the balance between romantically rumpled and plain old disheveled, Pita said, “You have to go over-messy for the runway or a photograph; the film and light polish everything up.” I think it’s safe to say I won’t have any trouble nailing that part.
Backstage at DVF there was talk of more than what sits solely on the surface. “Diane is very socially aware, as you can see with the casting, which is very diverse—unlike many designers during fashion week,” said makeup artist James Kaliardos. To reflect each model’s individuality and let her inner beauty shine through, he opted for sheer, creamy textures in warm, neutral colors like copper and sand. After evening out the complexion and using translucent powder on the T-zone to cancel shine from the lights on the runway, Kaliardos “cheated black liner in the [upper] lash bed,” which provided definition and created the illusion of fuller fringe. He then wrapped the eyes with a blend of two cream shadows from the MAC Spring ’14 Trend Forecast Palette—New in Season and Cultivating Chic—to create a subtle and shimmery copper hue, then coated lashes with Haute & Naughty Lash mascara. The tops of cheekbones were patted with Casual Colour in Keep It Loose for a soft glow, and lips were slicked with either a peachy nude or taupe gloss, depending on skin tone. “You can’t compare someone from Africa to someone from Sweden—they’ll always look different, but both are beautiful,” he added.
The hair was kept quite simple, as the designer was inspired by how the models arrived at their fittings with loose, lived-in waves, explained Orlando Pita. He started with a middle part and worked in BioSilk Volumizing Therapy Styling Foam, Texturizing Powder, or Root Lifter (depending on hair type) before blow-drying to create texture. Next he went in with a curling iron and bent the hair under and over the barrel to form his signature “S” patterns (think: Botticelli waves for the modern woman). Strands were lightly glossed over with Silk Therapy to cancel any frizz or flyaways.
And while the look as a whole was certainly scaled back, Diane von Furstenberg definitely made a strong statement about beauty. I think Kaliardos summed it up perfectly: “Each girl is her own woman.”
Similar to Lam’s clothing for the season, the hair was all about “structured ease,” said Orlando Pita. While some girls wore theirs down with a turban tied over top, and others sported a ponytail, all had a slightly off-center part and a natural, wavy texture. To get it, he misted Phytolaque Soie light hold hairspray all over to act as a setting lotion and used the extra-large T3 BodyWaver to add movement—wrapping sections of hair under and over the barrel to form “S” patterns. For a second-day finish, he glossed over the surface of strands—as opposed to finger-combing, which creates flyaways—with Fiber Paste. Manicurist Jin Soon also kept things simple by layering two shades of her namesake polish in Nostalgia and Tulle for a non-muddy, universal nude.
Makeup artist Tom Pecheux’s response to the direction (one word: minimal) given by the designer was surprisingly not at all bare or boring. “I’ll give you three looks, how about that?” he quipped. The first one focused on rich textures—like creamy skin, a shimmery antique-gold cream shadow (part of a range developed by Lam, Pecheux, and Estée Lauder launching in January), and a moist nude lip. “I wanted to create a cuddle for the eye,” Pecheux says of the soft metallic shade. Since there was no blush, mascara, or brows, he added a subtle glow to the face by putting two drops of Advanced Night Repair Synchronized Recovery Complex II in the palm of his hand and embracing the cheeks—leaving behind a dewy finish that catches the light.
The slightly edgier second concept built upon the first—with midnight blue eyeliner (part of the same forthcoming line) drawn in tilted rectangular shapes (inspired by the navy-checked fabric in the collection) on the outer corners of the eyes with a square lip brush. “It’s almost like you put on [a band of] liner and took two-thirds of it off—leaving only the essential part that lifts the eye,” he explained. Pecheux envisions a woman who is off to after-work cocktails or an exhibition adding this graphic element on top of her everyday shadow.
The most dramatic of the three looks accompanied the final four evening gowns in the show. This time, Pecheux sexed things up by applying the same navy liner to the inner rim and blending it onto the lower lashes—finishing with mascara for definition. “This [reflects] the lives of women today,” he says of his layered approach. “They don’t have time to take a shower, [remove] their makeup and redo it, or go back to their hairdresser for a blow-dry,” Finally, a face painter that gets me.