84 posts tagged "Orlando Pita"
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.
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.”