221 posts tagged "Pat McGrath"
“Very pretty, very French—very Nina Ricci,” Redken creative consultant Guido Palau summed up of his effort backstage at Peter Copping’s Fall show, which had a slight sixties feel in its soft flowiness devoid of any hard edges. “Dream hair” was how Palau described the half-up, half-downs that were coated with Redken Velvet Gelatine 07 Cushioning Blow-Dry Gel, dried, and set in large Velcro rollers for volume and bounce. After brushing out strands, he gathered small side sections beneath a touch of height at the crown and secured with bobby pins to hold.
“It’s Portrait of a Lady, Vanessa Beecroft, Tamara de Lempicka,” makeup artist Pat McGrath added of the evening’s inspirational muses, referencing de Lempicka’s Art Deco paintings and the frequent appearance of “those lips” for her own decision to add a salmon pink pout to the equation. “It’s ultra-feminine,” McGrath said of the bold brows, brown mascara, and bright mouth she painted on using a mix of pink pigments meant to match a fabric swatch in the collection. Manicurist Yuna Park embarked on a similar mission, mixing up a bottle of lacquer with the dress Arizona Muse wore as she swanned down the runway in look 16 in mind—a moment that happened to be one of our favorites in the entire show.
Although we pointed out on this blog that many of Guido Palau’s “Balenciaga blondes” from Spring have embraced chestnut browns for Fall (Brit Maren, most notably), the coiffing star seems unfazed by the transition. With Nicolas Ghesquière’s blessing, Palau asked colorist Christophe Robin to turn to the peroxide bottle once again for Balenciaga’s Fall show, ordering bleach jobs for five girls before the presentation and relying on a purposeful cornsilk casting to “make a strong statement on the runway” at the get-go. Formerly flaxen beauties Aline Weber, Kori Richardson, and Lisanne De Jong were among the first ten models out, and their super-bright strands—that were center-parted, coated in Redken Satinwear 02 Ultimate Blow-Dry Lotion, teased at the crown for lift, and pulled pack into a very low-lying ponytail—did indeed set a convincing tone for the show. “It’s very modern, easy, sophisticated,” Palau said of the style, although jury’s out on how long the word “easy” will factor into the equation once their roots start to grow in. That being said, the hair color registered as electric on the runway, its vibrancy helped along by über-dark brows filled in and—get this—dyed brown in a few instances by makeup mistress Pat McGrath, who has demonstrated that her power with arch transformation goes way beyond a mastery of blocking them out. Not only did McGrath build them up at Balenciaga, she gave four girls—Kasia Struss and Arizona Muse among them—a blue “brow bar” scrawled across the nose bridge for an added touch of graphic chic. What can’t this woman do?
We have been quietly polling fashion’s most noteworthy face-painters over the past few weeks of shows about where they stand on Fall’s bleached vs. full brow debate, as arches are now big and bushy after spending the better part of the past few seasons totally non-existent. The most exciting moment in this journalistic experiment came tonight when we finally got a moment with Pat McGrath backstage at Nina Ricci (more on that in a bit). The Queen of the Blocked-Out-Brows, as we have fondly come to call her, McGrath pretty much caused the all-forehead, all-the-time resurgence with her showstopping Fall 2009 peroxide performances backstage at Balenciaga and Prada. But seeing as how she too has embraced bold, visible arches this season at Prada and Dolce & Gabbana, we had to find out where she stood on the issue—a question she made short work of: “As a makeup artist, it’s so important to change things. See how you would’ve liked it if I did full brows for ten years! It’s about challenging yourself. [Bleaching brows] might not mean ‘you’ can do it—but it’s not about ‘you’ all the time. It’s about making fashion exciting.” In a word, boom!
It all started at the Couture shows in January. Peter Philips scrawled a deliberately short, thick, almost awkward line across models’ top lash lines at Chanel to “take the makeup look away from retro,” and a new era of unexpected liner applications had officially begun. Since then, the concept has been all over the Fall shows. At Marc Jacobs’ dominatrix extravaganza in New York, François Nars called his similar flicks “droopy,” comparing the downward sloping line he drew onto upper lash lines with his new for fall Larger Than Life Longwear Eyeliner in Via Venetto to “a grandmother who’s a bit eccentric that puts on her eyeliner wrong.”
Flash forward to Milan, and a whole range of unique adaptations of the sixties makeup essential were employed to keep the plethora of references to that era from becoming too literal. At D&G, Pat McGrath added white to the equation, coating the inner rim of the lower lash line with Dolce & Gabbana The Makeup Crayon Intense Eyeliner in #13 White to add a modern, graphic touch to the thick black stroke on lids. A few hours later at Moschino, Tom Pecheux turned to MAC Technakohl liner in Graphblack to draw an oval shape that swept underneath the lower lash line and almost extended to the brow bone to resemble cat-eye sunglasses. “It looks like every girl is wearing them on the catwalk whether she is or not,” he quipped, topping the outline with a dusting of MAC Single Matte eye shadow in Carbon for opacity. On Sunday, it was Lucia Pieroni’s turn at Missoni, and she focused her attention on crafting an elongated black smudge along lower lash lines only using the same MAC Technakohl liner at Missoni to help hammer home the idea of “cool girls who are slightly masculine.”
As far as our favorite incarnation goes, it’s a tie. Yesterday at Giorgio Armani, the house’s resident face painter, Linda Cantello, etched two parallel lines extended toward the temple from the outer corners of models’ eyes for a look that was inspired by “the boudoir,” while Peter Philips brought things full circle at Jil Sander. Rather than extrapolate on the trend with a new shape, he chose to introduce a new color: a shimmering, blue-reen jade. And on to Paris, we go…
In a season that has featured its fair share of masculine hair looks (see Ruffian, Preen, Louise Gray, and Missoni for starters), it took a Dolce & Gabbana show toward the end of Milan to offer up a different point of view on coiffing androgyny. Redken creative consultant Guido Palau provided a compare-and-contrast opportunity by sculpting not one but two different looks for Domenico Dolce and Stefano Gabbana’s glam rock show: a boyish French twist with a gelled quiff and a loose, twisted, “very matronly and womanly” chignon. “It’s how I would imagine a Sicilian woman to put her hair up for the day,” Palau said of the girlier style, for which he coated strands with Redken Layer Lift 07 for extra body before setting them in four large rollers for volume. Two side tendrils joined in the back of models’ heads and gathered into a loose bun finished the look.
We found ourselves more drawn to the mannish updos, however, as in combination with makeup artist Pat McGrath’s strong brows and carved out cheeks, even Natasha Poly looked like a gender-bender. Prepping hair with a generous helping of Redken Structure Wax 17 Classic Styling Wax, Palau divided tresses into two sections, pinning a classic French twist vertically above the nape of the neck and leaving small “bits” out on both sides, which—get this—he coated with more of the styling wax to create faux sideburns! (Palau is nothing if not a showman.) The top section was then molded into a fifties-era pompadour to impart a tough edge onto even the most delicate features.