51 posts tagged "Paris Fashion Week"
Lengths tucked into high collars, tonal hair and makeup, cornrows, and waist-grazing ponies—check, check, check, and check. The trends that dominated the runways in New York, London, Milan, and Paris made an appearance in Japan, proof that it really is a small world (at least when it comes to beauty). At Matohu and Beautiful People, turtlenecks and scarves served as the means to hide models’ long hair, much like they did at Prabal Gurung, Burberry Prorsum, and Anthony Vaccarello. The extreme tails spotted at Valentino and Chanel sashayed down the catwalks at Ujoy and Atsushi Nakashima. And from the front, the tops of models’ heads at Nakashima’s show were coated with gray paint (similar to the black powder Guido Palau employed at Alexander Wang) and lids dusted with a slate-colored shadow—both meant to coordinate with the clothes and produce a matchy-matchy effect (previously seen at Marc Jacobs). Even those Snoop Dogg-inspired braids devised by Duffy at Adam Selman made their way around the globe, arriving on the runway at Lamarck. One thing that did make an appearance in the buzzy city that didn’t get much attention in the other fashion capitals? Lips. If you dismiss Rihanna’s many wardrobe and lipstick changes, there was a lack of loud mouths for Fall 2014. Not the case today at KBF (below). This traffic-cone-colored pout is one beauty move we’ll be borrowing from the East.
Lashes and cornrows—two of the trends we’ve seen time and again this season—were taken to breathtaking extremes backstage. One could say that pushing things to the max was a signature of the late Alexander McQueen: “This was something Alexander really liked—it feels like a classic code of the house,” said Guido Palau. The never-ending plait dreamed up by the mane master and executed by a team of braiders was no doubt “severe,” but the long, flowing extensions that caught the wind on the runway gave the “silhouette a certain softness.”
“It’s futurism mixed with nature,” Pat McGrath said of the two gasp-inducing looks she devised for the show. “We decided to do the owl world in a punk eye makeup way.” Black spiky feathers hand cut and designed by the face painter were painstakingly glued one by one onto the brows and top lashes. “When would I ever make it easy?” she quipped of the dramatic maquillage that took nearly four and a half hours to complete. Her second creation (worn by the majority of the models) played with shading and light in lieu of plumes—using brick red, silver, and gold metallic pigments to lend a “futuristic” feeling to the face. The end result not only incited a frenzy of flashes from photographers (particularly around the catwalkers with those phenomenal “mothlike” eyes), but also perfectly captured the “McQueen world of innocence, romance, and darkness” with a sensitivity and boldness that won’t soon be forgotten.
“We wanted to do something that wasn’t classic or as normal as a braid or pony, so I added another dimension to the Valentino woman,” said Guido Palau of the superlong tails (26 inches, to be exact) that cascaded down models’ spines. The “dimension” came by way of “little balls or bubbles” that were tied off with black elastic—”a very sort of seventies, late sixties kind of idea,” he noted. The strict center part, slight height at the crown, and hair pulled over the ears—all quintessential beauty signatures of the house—remained.
Face painter Pat McGrath played with light and shading again this season (using a pale powder on the outside of the cheeks and a pearly highlighter above the Cupid’s bow), but added a touch of “eccentricity” with a gray-blue liner on the top and bottom lash lines. Judging by the end result, a dash of whimsy was the perfect way to up the ante on the label’s no-fail hair and makeup recipe.
From double-C branded ketchup to white rubber dish gloves adorned with black camellia flowers, the aisles of the Chanel supermarché were abundant with color. The angular wings sketched onto the outer corners of the eyes reflected not only the range of shades in the collection (including pink, orange, green, and marine blue), but the bottles of fizzy, neon-hued “Tweed Bubble” soda lined up on shelves and ultra-ripe produce piled in the center of the set. The silver shadow base, however, played off the leather-and-chain-link shopping baskets that only this particular French grocery would have on hand.
The ponytails crafted by Sam McKnight were “blown up in proportion” and “exaggerated” courtesy of tweed rags, lace, and pearls that were braided and woven into crimped extensions. (Before being wrapped around the base of the pony, the faux strands were prepped with a combo of Fudge Salt Spray and Oribe Dry Texturizing Spray.) The motley mix of textures in back (somewhat reminiscent of dreadlocks) contrasted with the sharp and smooth center parts at the front. If filling my fridge and pantry was always such a feast for the eyes, I might be tempted to skip Fresh Direct and stock up in person.
Cuticle tattoos recently hit the mass market and the general public has fully embraced the midi ring concept (Chanel clipped glittery stacks around models’ fingers for Fall 2013 Couture). Backstage early this morning before Chanel’s supermarché-themed show, however, catwalker Ming Xi gave her Instagram followers a pound—the front of her fist stamped with Kawaii-style characters, designs, and thought bubbles. While this wasn’t part of the final look—instead, many of the girls sported fingerless gloves or had their hands shoved into jacket pockets—it appears nail art is still moving on up off the runway.