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April 19 2014

styledotcom A trend so often embraced by the ladies, gets the male backing: stylem.ag/1h8v9q3

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64 posts tagged "Paul Hanlon"

Hieroglyphics And Honey, Backstage At Unique

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The cat was out of the bag when the invitations to Topshop Unique’s Spring show went out last week; the enlarged, black-and-white screen print of Elizabeth Taylor in 1963′s Cleopatra all but spelled out the inspiration for the retail giant’s Spring presentation. “It’s Egyptian, and hieroglyphics,” nail guru Sophy Robson said, painting a base of four different custom-blended colors onto all of the models, including pink, red, blue, and gold lacquers, and then topping them off with a series of hieroglyphic-inspired stickers and hand designs (that’s 400-plus fingers total, if anyone’s counting). “There’s definitely an Elizabeth Taylor in Cleopatra influence,” hairstylist Paul Hanlon confirmed, although he steered clear of Liz’s iconic black boxed bob, which he thought would look “retro and tacky.” Instead, Hanlon took the collection’s heavy-on-the gold palette and applied it to the hair. “Gel can look cheap and I wanted something expensive,” he said, spritzing a glossing spray onto the top of models’ heads and applying sheets of real gold leaf in one of the most original coiffing techniques we’ve seen yet. “I’m putting honey onto the hair and blowing the gold leaf on top so it sticks, because it’s very delicate,” Hanlon explained matter-of-factly. (Yes, we said honey.) To add “a youthful, haphazard effect,” he let the ends hang down in damp waves and proceeded to crack the gold leaf with a makeup brush so it appeared as though someone had “hit it with a hammer.”


With all the glitz and nail art, makeup artist Hannah Murray’s only choice was to keep the face pared down. “It’s a little bit of a Helmut Lang nineties girl,” she said, dabbing on Topshop’s Duo Concealer and using its Skin Glow, a rose illuminator, on the forehead, down the nose, and on cheekbones for a “polished feel.” While we imagine the urge to paint on a set of bold, black, Liz-like arches was hard to resist, Murray made like the rest of the makeup establishment this season and used Topshop Eyeshadow in Walnut to naturally build brows so they looked “brushed-up and boyish.”

Photo: Getty Images

Backstage At Proenza, Why Mess With Imperfection?

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Lazaro Hernandez and Jack McCollough are nothing if not consistent when it comes to their backstage beauty look. Even when brow bleaching was all rage two seasons ago, the Proenza Schouler boys stayed true to sculptural, darkened brows and contoured, carved-out cheeks—nothing more, nothing less. Makeup artist Diane Kendal was on site, serving up the designers’ signature for Spring. Referencing “Googie architecture and 1950′s cars,” Kendal set to creating clean lines, sweeping MAC Sculpt & Shape Powder in Bone Beige underneath cheekbones and fashioning naturally full, “squared off” arches that she filled in with a series of complementary eye shadows. Bare lids and a slight flush, courtesy of a mix of MAC Blush in Immortal Flower and Lovecloud, supplied a barely-there flush.

Hairstylist Paul Hanlon also had the fifties on the brain, resurrecting Fall’s favorite buzz word—”quiff”—while building a masculine style with a soft feel. “It’s a bit rockabilly,” Hanlon said of the deconstructed pompadours he prepped with Frédéric Fekkai Coiff Oceanique Tousled Wave Spray. Combing hair backwards and setting it using Fekkai’s Coiff Nonchalant Piecing and Forming Wax, Hanlon gathered the lengths into a messy knot, pulling pieces out as he went for additional dishevelment. Hanlon has mastered the kind of undone done-ness that is as essential to the Proenza girl as Kendal’s strong brows. If it ain’t broke, don’t incorporate a bouncy blowout.

Photo: Luca Cannonieri / GoRunway.com

Liz Taylor Feels The Burn, Backstage At Altuzarra

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It seems as if beauty’s tendency to go both ways for Fall is still trending for Spring, with the words “androgyny,” “handsome,” and “boyish” making more than a few cameos. At Altuzarra, hairstylist Paul Hanlon put a name on the increasingly popular look: “It’s like nineties David Sims,” he said of the general vibe that’s been dictating “strong and masculine” coiffing techniques in New York, including the deep side part he fashioned with blunt, razor-cut extensions prepped at the roots with Frédéric Fekkai Advanced Full Blown Volume Styling Whip. Spritzing on its Advanced Brilliant Glossing Sheer Mist for shine, Hanlon pulled a front section of hair forward and over each model’s left eye and coated it with Fekkai Coiff Magnifique Ultra-Light Finishing Cream for structure and hold. “It’s important to Joseph that when the girls walk, nothing moves.”

Makeup artist Tom Pecheux channeled Elizabeth Taylor. “Brows are the hanger of the eye,” he remarked, recalling Taylor’s epic arches and replicating them on models like Altuzarra muse Vanessa Traina. But in an interesting twist, the Altuzarra woman wasn’t Liz on the red carpet. “It’s Elizabeth Taylor at the gym,” Pecheux clarified, explaining the lived-in feel of the brow, which he dusted on using MAC Eyeshadow in Feline and Carbon-no pencils or waxes here. “You have to use something powdery, because the hair is over the eye. This way it won’t smudge.”

Photo: Luca Cannonieri / GoRunway.com

The Gold Standard, Backstage At Dries

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It wasn’t hard to grasp the inspiration behind the beauty look at Dries Van Noten yesterday. “There are elements of gold everywhere,” makeup artist Peter Philips pointed out of Van Noten’s gilded brocades and the similarly lavish trims at the Hôtel de Ville. Rather than play to a collection that was heavy in elaborate prints with an equally intricate makeup look, Philips kept it simple, opting instead to offer “a quiet moment” through clean skin and gold pigments. Prepping complexions with a light application of Chanel Pro-Lumière foundation, Philips devoted his attention to lids, which were coated up to the crease with a wet application of Chanel’s Joues Contraste Blush in Gold, created for the house’s much-heralded Paris-Byzance pre-fall show—and should be hitting counters soon. To add dimension and richness, Philips added a smudged-out scrawl of Chanel’s forthcoming Ligne Extreme liquid eyeliner in gold around the upper and lower lash lines. Eschewing mascara, as has become de rigueur this season, Philips finished things off with a velvety matte, rose-nude lip.

Hairstylist Paul Hanlon was also after something “super-easy,” which meant clean hair washed on site with Bumble and Bumble’s Bb Sunday shampoo. Hanlon massaged a small helping of its Bb Prep styling lotion into the scalp, finger-combing it through strands for a slight bit of texture before creating a side part and a low ponytail. “It’s such a nice change not to use too much product in the hair,” Hanlon said. “It’s how a girl would look—not a fantasy world.” There was one fantastical element, though. Two days before the show, Van Noten decided that he wanted to bring the gold rings and bracelets from his show into Hanlon’s coifs, so he designed custom “hair rings” for the occasion. “They’re quite heavy,” Hanlon noted of the gold-plated silver accessories, which were placed over rubber bands at the base of each ‘do—and may see the light of production, if we’re lucky.

Photo: Luca Cannonieri / GoRunway.com

At Unique, Beauty With A Bark

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Last season, Topshop hit on the seventies trend. For Fall there was something a little more off-kilter afoot backstage. “It’s all about Katie Grand’s humor,” shear genius Paul Hanlon said of the super-stylist’s 101 Dalmatians‘ directive, which inspired him to employ Japanese geisha techniques for rolling hair into two dog ears and finishing them off with black ribbon bows. “We made the ear shapes no bigger than our fists; otherwise it would take away the chic element,” Hanlon said of the style, which he prepped with TIGI Bed Head Superstar Queen For a Day thickening spray. That element was decidedly diminished by the shiny black triangles makeup artist Hannah Murray drew onto ten models’ noses, but fun rather than fashion has been the name of the beauty game in London thus far (see face painter James O’Reilly’s confetti-clad faces at Louise Gray).

Almost a year after launching Topshop’s makeup line, Murray had the range’s vast selection of offerings at her disposal for playing. “This is a real Topshop girl who’s tough and cool, so I gave her a bold black, grungy eye,” Murray said of the Topshop Eye Kohl in Coal she etched along models’ inner and outer lash lines, asking them to blink to give the look an authentic smudge. Bleached brows were also on the agenda, with all 44 girls hitting the peroxide bottle. “I wanted the skin to be really creamy and by bleaching the brows, it gives this rich effect,” Murray explained of her decision to eschew Fall’s fuller brows.

To complete the Dalmatians theme, nail guru Sophy Robson painted spots onto nails. “It’s the new animal print,” she quipped of Topshop’s matte white polish topped off with glossy black puddles. Heel, ladies. We’re going to bet that Robson posts a tutorial on her well-read blog sometime soon with step-by-step instructions for duplication.