65 posts tagged "Paul Hanlon"
With a unique ability to give hair that hard-to-execute edgy-but-chic, done-but-undone quality, Paul Hanlon has become the preferred coiffing star of fashion’s reigning cool kids: Altuzarra, Proenza Schouler, Giles, and Jonathan Saunders are all card-carrying members of the Hanlon fan club. After a number of high-octane performances over the last week and a half, we may have witnessed Hanlon’s finest work last night at Ance. “It’s that Debbie Harry thing, when she used to bleach her hair but keep it dark underneath,” Hanlon said backstage, where he was adding extensions to models’ hair in shades that contrasted with their natural color. “It’s supposed to look grungy,” he continued, choosing clusters of black, mousy brown, or honeyed red locks, which he prepped with L’Oréal Professionnel tecni.art Volume Architect Thickening Blow Dry Lotion and its Infinium hair spray for body and texture. To give the whole thing a “dangerous” quality, Hanlon artfully sprayed tinted dry shampoo onto the roots so it appeared as though a good amount of post-dye-job regrowth had taken place, too.
Makeup artist Lucia Pieroni—a frequent Hanlon collaborator and last season’s champion of the full, boyish brow—had busied herself with the task of crafting “bronze-y, ruddy, dusty faces—as though the girls have been hanging out in the Arizona desert.” MAC’s Mineral Powder in Mineral Deep provided Pieroni’s desired shade of “terra-cotta tan,” while its new-for-Spring Metallix Infusion Eyeshadow in Rust was smudged onto eyelids, around the temples, and onto cheeks for a deep-toned shine. To finish off what amounted to a fairly monochrome face—save for bold brows that were filled in with MAC Eyeshadow in Omega, Copperpot, Brun, and Typographic—Pieroni slicked on a rusty nude lip using a blend of MAC lipsticks in Freckletone and Fresh Brew.
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.”
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.
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.”
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.