August 28 2014

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9 posts tagged "Paris Vogue"

True Grit, Backstage at Rick Owens


rickowensAll season long makeup artists and hairstylists have been riffing on “real girl” beauty backstage—leaving strands and complexions purposely au naturel so that the consumer can more easily imagine herself wearing the clothes. But at the end of the day, as Tom Pecheux put it at Balmain, supermodels are still supermodels—and the rest of us are just “real.” But the unlikely lineup of forty step dancers from Washington, D.C., and New York City-based crews (Momentum, Soul Steps, Zetas, Washington Divas) at Rick Owens was an exuberant celebration of authenticity. “The whole point was to make them look and feel pretty,” said Owens. “If a girl didn’t feel comfortable with something, we didn’t do it—we wanted them to feel powerful.”

To emphasize their dynamic movements, hair pro Luigi Murenu designed four different styles. The first being a fluffy texture that he aptly dubbed “dandelion heads,” created by straightening strands, “biting” them with a crimping iron, and brushing out the kinks with a Mason Pearson to get a “cotton candy-like” finish that flew with each aggressive stomp. The other three included a slicked-back chignon (which he formed using Kérastase Vinyle Nutri-Sculpt and hair spray, sometimes fitting the dancer with a “nunlike” veil), stick-straight hair with center parts, and low, sleek ponytails.

“What they’re doing is so ‘wow’ that it’s about them and the clothes—it’s not really about this bit,” face painter Lucia Pieroni said of the “fresh” makeup. “There’s no particular thing on everybody,” she added. Pieroni used a light layer of foundation and concealer, filled in arches where needed, and moisturized lips with a clear balm—tailoring the look to each dancer. The end result, although stripped down, relayed an important message: When individuality is this spectacular, why attempt to conform?

Photo: Alessandro Garofalo /

Throwback Thursday: Hair Jewelry


Gisele-Bundchen-by-Herb-Ritts,-Vogue-FR,-November-1999_resizedThrowback Thursday is a regular column on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.

The Model: Gisele Bündchen

The Moment: Bejeweled headpieces

The Motivation: The French are often at the forefront of breaking trends, and in the case of hair jewelry, the above shot proves that, yet again, they are a cut above the rest. Trust Paris Vogue to drape a string of diamonds across Gisele Bündchen’s locks nearly a decade and a half before the look hit the runways. While headpieces are a little more subdued this season, the message remains the same: Jewels are just as appropriate perched on your head as they are on your finger. From the simple gold half rings that encircled the backs of models’ heads at Balenciaga’s Spring ’13 show to Chloë Sevigny’s Rodarte headband, a little sparkle in your locks never looked better.

Photo: Herb Ritts for Paris Vogue,; Courtesy of

Daria: A Vision In Emerald Green


What do you get when you cover Daria Werbowy in bronzing fluid and experiment with a range of sparkly lipsticks and shimmering eye shadows? If you’re makeup artist Aaron De Mey, you get pure editorial perfection, as evidenced by his latest spread for Paris Vogue. The Lancôme artistic director of makeup has a way with metallics: Take his L’Ombre Magnétique, an opaque reflective pigment with an easy-to-wear cream shadow finish that made its runway debut at Victoria Beckham’s presentation in February and will be a large part of De Mey’s Fall collection. The makeup artist really went for it here with a shiny emerald motif, carving out Werbowy’s lids with a smoky green that doesn’t so much smolder as glow on the page. His tools? The aforementioned L’Ombre Magnétique in Urban Silver, layered with Lancôme’s Pop N’ Palette in Petrol and Le Khôl Gloss in Pop Petrol—both of which are, sadly, European exclusives. Knowing that we’ll probably never be able to pull off this look quite as well as Daria somehow makes the whole you-can’t-get-these-products-in-the-States pill a bit easier to swallow. For now, we’re content just to stare at this Elizabeth Taylor-inspired photo and those deep-set doe eyes.

Photo: Ben Hassett for Paris Vogue, May 2010

Lara Stone, Back In Black


You’ve gotta love Lara Stone. First, she bleaches her brows, simultaneously jump-starting her career and setting off a runway trend. And now, in the pages of Paris Vogue, she’s gone dark, really dark. Sporting a bright pink lip and long, red oval-shaped nails, a nun’s habit, and more jewels than the Vatican, Stone debuts newly blackened arches in the magazine’s December/January issue. We’re no longer seeing the Brigitte Bardot comparisons but rather a reincarnation of an eighties-era, bushy-browed Madonna. Anyone else—and thoughts on the dye job?

Photo: Cedric Buchet for Paris Vogue, December/January 2010div>

Sasha Pivovarova: Bootylicious?


Perhaps in response to French Elle‘s La Beauté Vérité issue, in which cover stars Monica Bellucci, Sophie Marceau, and Eva Herzigova went sans maquillage (and sans digital altering) to stare the controversial issue of magazine retouching in the face, Carine Roitfeld and Bruce Weber collaborated on what could be construed as a body image story in the new Paris Vogue. The 14-page editorial stars the infamously rail-thin Sasha Pivovarova parading around the beach in butt pads and a collection of vacation-appropriate duds, sticking her enhanced posterior out in every shot. An intentional commentary on models’ unrealistic dimensions, or just a case of silly summer satire? You decide.


Photo: Bruce Weber for Paris Vogue, Juin/Juillet 2009