August 22 2014

styledotcom In the words of Tim Blanks, "devastatingly beautiful girls looking devastatingly beautiful."

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65 posts tagged "Paul Hanlon"

That Seventies Show Gets Syndicated Backstage at Topshop Unique


Saturday Night Fever hit New York last week with Marc Jacobs’ Studio 54 divas, Badgley Mischka’s angelic disco dolls, and Halston’s, well, Halstonettes. Now the designers at London’s Topshop Unique have caught the seventies vibe. Backstage, where makeup artist Hannah Murray was hard at work, it was all about groomed power arches, made to look brushed up à la Brooke Shields with individual pencil strokes, and a patent leather-finish red lip created using Topshop’s Lipstick Pencil in Flame topped off with its Gloss in Cardinal Sin. Employing the rickracking technique Guido Palau used at big and little Marc, coif master Paul Hanlon brushed out texture into what he described as triangle-shaped, voluminous “Saturday night” hair. The twist came in the form of extensions in an “antique pastel shade” used to bulk out tresses. As for that quintessential seventies glow, Lady Gaga’s go-to tanner, James Read, was charged with giving models a dark high-maintenance bronze with Saint Tropez’ wash-off mousse, which he layered three times for a “real retro impact.” (Anyone who noticed Gaga’s next-level fake-baked complexion at the VMAs two weekends ago knows that Read does not mess around.)

Photo: Danny Martindale / WireImage

Ladies With A “Tough Edge” Backstage At Proenza


The clothes at Proenza Schouler may have been more ladylike than usual, but Jack McCollough and Lazaro Hernandez still wanted a “tough edge,” makeup artist Diane Kendal told us backstage last night. The edge in question came from making models’ arches one shade darker with a host of MAC’s Impeccable Brow Pencils and its Brow Set, as well as a precise placement of its Sculpt and Shape Powders in Sculpt and Taupe, which Kendal pressed underneath cheeks. “Mature,” “sexy,” and “unkempt” were words hairstylist Paul Hanlon added to the inspiration mix, choosing to fashion “French twists that have fallen out—as though she’s slept on the bus on the way home.” Wherever the Proenza girl was, it must’ve been quite the party. Hanlon whipped up that side-parted, matted-down texture by prepping hair with Frédéric Fekkai’s Coif Oceanique Tousled Wave Spray, diffusing and creating “indentations” by spritzing its Sheer Hold Hairspray over a mesh cloth.

Photo: Luca Cannoniere /

A Summertime Rave Breaks Out Backstage At Joseph Altuzarra


The clay-caked hair at Alexander Wang (see below) was met with mixed reviews, but we imagine no one was more against the style than hairstylist Paul Hanlon, who was charged with coiffing duty at Altuzarra, which followed Wang’s show by three hours. The good folks at Redken were courteous enough to give Hanlon a heads-up about their handiwork, so a washing station was set up at Milk Studios to rinse the chalky mess out of models’ tresses before he got started. But ironically, Hanlon’s first order of business once the girls were washed was to put more streaks in their hair. Prepping strands with generous spritzes of TIGI Catwalk Sleek Mystique Look-Lock Hairspray, he brushed hair away from the hairline and flat-ironed saturated sections for a sticky fibrous effect before backcombing for texture. Then came the streaking. “We always wanted to use a fluoro paint in the hair to match the belts,” Hanlon said of the neon flashes he was adding to the girls’ heads in neon yellow, orange, red, green blue, or purple. “It’s like raver on the beach,” he surmised of the style, which retained a chicness, he noted, to compliment Altuzzarra’s precise tailoring. Makeup artist Tom Pecheux saw Hanlon’s “raver on the beach” and raised him an “Amazon tribal woman—in a very sophisticated way, of course.” Eschewing concealer and mascara altogether, and opting for only a dollop of foundation, Pecheux’s main objective was contouring. Using MAC Cosmetics’ Sculpt and Shape Powders in Shadester, Definitive, and Sculpt, the face painter blended lines up across the temples and on the cheekbones before brushing the same pigment combination onto the lip for uniformity. It was an easily duplicate-able look, as was the coif, surprisingly. A few words to the wise, though, about playing with fluorescent hair paint: According to Hanlon, blondes should veer toward the cooler end of the color spectrum. Most water-based gels wash out completely, but red and orange shades may leave a tint in flaxen locks, while greens and blues will actually help tone it.

Photo: Monica Feudi /

Scarf-Tying 101


Ah, the head scarf. The consummate mix of understated elegance that is sought after by many and successfully pulled off by so few. Hairstylist Paul Hanlon made easy work of it backstage at Marni, though, which made us both curious and envious of his coiffing prowess. Still, try as we might right now with an oversized Hermès number we reserve for special occasions, perfection still eludes us. So we called for reinforcements, i.e., Bumble and Bumble’s Nico Aceves, who kindly agreed to walk us through the process:

1. Prep hair from roots to ends with a styling product, like Bumble and Bumble Thickening Spray, to help give grip and texture.

2. Blow-dry using only your hands for a finger-combed effect.

3. Collect all of the hair at the back of your head and gather it into a slightly off-center ponytail. While holding the ponytail tight with one hand, use the palm of your other hand to rub upward against the grain of the hair from the back of the head to the front to loosen it a bit and make a few pieces fall out.

4. Secure with an elastic, but only pull the pony halfway through the last time you wrap it around, creating a large loop.

5. Fold your scarf of choice lengthwise and position the folded edge at the hairline. Wrap the ends around to the back of your head and tie once, slightly askew.

6. Make a rabbit ear with one end, then wrap the rest of the length around and knot. This gives a lovely off-kilter elegance to the ends of the scarf.

Photo: Greg Kessler

at mcqueen, beauty to infinity and beyond


To echo the themes that guided his collection, the look backstage at Alexander McQueen was intended to proceed on a continuum—beginning with the natural and organic and evolving into the darkly post-industrial. As per the makeup artist for McQueen (and also Chanel’s creative director of makeup), Peter Philips, this kind of undertaking was only possible through a collaborative effort with the hair team. “Paul [Hanlon] and I work really well together,” Philips said of his coiffing counterpart. Hammond designed something of an Art Deco style for the show, giving models a “painted-on look” by sculpting sections of hair in swirls over their faces and then covering them with transparent hairnets for added hold. For his part, Philips started with a tiny bit of blush on the cheeks and a neutral lip—colors that, as the show went on, became gradually more translucent until skin was pale and brows totally disappeared. To further support the transition, models at the beginning of the show wore light gold nail polish while those who finished it sported a green-gray shade (Chanel’s cult sensation from Fall, Kaleidoscope). “I also glued Swarovski crystals onto the cleavage,” Philips said, adding that, to keep up the transition, he painted the backs of the sparkly adornments in an intensifying gray scale so that what began as an “explosion of clear crystals” ended essentially with black diamonds (in McQueen’s dystopia, there’s still, thankfully, some semblance of luxury).

Photo: Greg Kessler