54 posts tagged "Paul Hanlon"
When it comes to hair color, model Heather Marks has run the gamut—from blond for Resort 2013 to auburn for Fall 2012 and brunette for Fall 2009. Only hours ago, I spotted her backstage at Proenza Schouler making a last-minute shade change (a direction given by the designers). “They’ve got a little section with two or three girls with red hair,” said hairstylist Paul Hanlon. (The other gingers on the runway included Irina Kravchenko and Magdalena Jasek, all wearing crimson—whether it was a suede dress, cropped trousers, or threaded throughout a shaggy jacket.) Although many girls have gone for varying shades of platinum and champagne for Spring 2014, I’m excited to see someone finally venture into more fiery territory.
When Paul Hanlon talks about hair, it’s never just a step-by-step—he takes you on an entire journey. It’s almost like listening to your grammar school librarian read a book aloud—except the semicircle is filled with editors aggressively shoving mini-recorders and iPhones in the storyteller’s face. And at 3.1 Phillip Lim, the tale went something like this (imagine this being told in a cool British accent): “I wanted it to look a little bit shipwrecked, a little bit Robinson Crusoe—like a girl that has been washed ashore. She wouldn’t have a comb, she wouldn’t have a brush, she wouldn’t have a hair band. And the back has this slightly dreadlock-y, crustaceous [feeling].” See what I’m saying? The visual narrative makes the style so much more than just a wet-looking, vine-y knot. And for the record, the hair was not physically drenched in water, as these are obviously very expensive clothes, joked Hanlon.
To get this “savage” and “elemental” texture, he applied Schwarzkopf Osis Twin Curl (a two-phase cream and gel formula) from the middle of the head down, and soaked strands from roots to ends in Grip mousse (about three-quarters of a can, to be exact). A diffuser was used to rough-dry, but not in the same way one would scrunch hair in the eighties—”more of an ambient air dry,” Hanlon explained. The front section was swept across the forehead and the length divided into two pieces and tied in a knot (or two, for longer hair), just as you would your shoelaces, and pinned discreetly into place. Elastic hair spray was used to flatten different areas against the sides of the head (as if the models had fallen asleep out of exhaustion once they finally reached land), and right before show time, Hanlon misted Flatline and Sparkler all over for serious sheen. “I like the idea of when [the girls] walk out, people don’t really see how their hair has been done—it’s more of a question of where have they come from,” he added.
The makeup was less gritty and more refined. Face painter Francelle Daly called it a “monochromatic techno look.” So what does that entail exactly? NARS Pure Radiant Tinted Moisturizer was mixed with a few drops of Copacabana Illuminator for extra glimmer. The Luxor Multiple was applied with fingers on the high planes of the face (i.e., cheekbones, forehead, chin, bow of the lips, and down the bridge of the nose) and set with a blue-tinged powder from the Iceland Duo Eyeshadow palette—lending an opalescent finish. In addition to mascara on top and bottom and brushed-up brows, the “cyber glow” was completed with a touch of Années Folles Larger Than Life Lipgloss (a lilac shade launching for Spring 2014) pressed onto the models’ pouts. I like to think of this total package as club kid meets castaway.
The backstory behind the “glass” box on the designer’s runway and the hair and makeup that was built around it goes something like this: “It’s almost like [the girls] aren’t human—as if they’ve been preserved through time, and then, for this one moment, they are let out to feel the reality of the world,” hairstylist Paul Hanlon said without stopping to take a breath. So how exactly does that translate into a look for real, live models?
For maquillage master Charlotte Tilbury that meant creating perfect, pore-less skin using liberal amounts of concealer on the lids, around the eyes, nose, and mouth. Then, topping that with a full face of MAC Mineralize Moisture Foundation and a dusting of finely milled Prep + Prime Transparent CC Powder in Adjust. The cheeks, brows, and lashes were left bare so the lips could take center stage. To create the illusion of a more voluptuous, Irving Penn-inspired pout, the outside of the mouth was slightly overdrawn with lip pencil. Tilbury filled in the middle with three custom-blended shades—Pepto pink, acidic lilac, and bright orange with a kick of red—made using various combinations of Lipmix in White, Crimson, Burgundy, and Orange. The finishing touch was a coffee-colored, feline flick on the upper lash line that was reminiscent of Marilyn Monroe in her last sitting with Bert Stern.
Hanlon’s interpretation of Gurung’s tale required “lots of product” for shiny, “surreal” strands that looked as if they’d been dipped in formaldehyde. He started by making an almost surgical right side part and taming any flyaways with Schwarzkopf OSiS+ Softn’ Straight (a smoothing balm). Next, he doused the hair from the roots to the neck with the line’s Freeze strong-hold hair spray and flattened it against the head by hitting it with heat from a blow-dryer. Wavy “S” shapes were molded into the remaining length using Flatliner heat-protecting serum and a straightening iron. Hanlon misted on Sparkler (a shine spray) to lend a “vinyl” finish to the look.
Eight polishes—three of them being pearlescent pastels developed by Gurung in conjunction with Sally Hansen (available in March)—were used to coordinate with the colors in his collection. And while I hate to say, “I told ya so” (OK, so I don’t exactly hate it), finger painter Ana-Maria used a forthcoming matte top coat over three-quarters of the nail and a glossy lacquer across the tips to create a textural twist on the French manicure. Looks like some beauty trends will forever be sustained.
Not to be unexpected, but my chats with hair pro Paul Hanlon and face painter Hannah Murray at Helmut Lang were rife with references to the nineties—from Peter Lindbergh’s images of the era’s supermodels to one of the label’s original muses, Kirsten Owen. However, instead of grungy and destroyed, both artists approached the decade with a bit more polish and sophistication.
To juxtapose the slouchy silhouettes in the collection, Hanlon kept the hair less “street” and more groomed. “We were worried that if the hair was too natural, it would look wishy-washy and drab,” he explained. After prepping strands with Unite 7Seconds Condition Leave In Detangler and Session Whip (a weightless sculpting foam) for shine and girth, he blew the hair smooth and straight with a round bristle brush and touched up the ends with a flat iron. Next, Hanlon added a clean side part and liberally sprayed the top, section by section, with Max Control Spray Strong Hold. Once the hair was tucked neatly behind the model’s ears, he hit it again with some heat to lock everything into place. Then, a low tail was secured with an elastic and hidden underneath a custom black Helmut Lang cover (a strip of Velcro was affixed inside to give it grip). “Rather than putting the ponytail in tight, we kept it loose to provide an element of ease and reality…with this type of style and that accessory, the hair can look a little too S&M-y,” he said.
As for the makeup, Murray’s ode to the inspiration was obviously the brown-red mouth—a blend of two NARS Satin Lip Pencils in Golshan and Het Loo. “I’m using a lip brush to apply, and diffusing [the pigment] around the edges with a domed blending brush that’s normally reserved for the eyes to get intense color that doesn’t look too done,” she said. The rest of the face was left “raw,” only applying concealer—no base—where needed. To achieve a ruddy flush, Murray warmed up the same Golshan pencil used on the lips on the back of her hand and pressed it onto the lower half of the cheeks with her fingertips. Triple X Lip Gloss was tapped on the centers of the eyelids and the excess applied to the tops of the cheekbones to catch the light (although Murray disclosed that Egyptian Magic All-Purpose Skin Cream can be used for the same effect). The brows were left bare, aside from a clear setting gel, and lashes remained mascara-less. Looks like minimalism is back with quite a beautiful vengeance.
Isabel Marant is a favorite stop on our Paris tour, as much for the clothes as for the hair and makeup. With a casting like the one the reigning queen of Parisian cool typically commands—which this season garnered perennial French favorites like Aymeline Valade and Julia Frauche, as well as an international coterie of catwalkers cut from the same cloth, like Nadja Bender, Kasia Struss, and Caroline Brasch Nielsen—very little is needed to ensure that models are runway-ready. But it’s that deliberate, light-handed approach that is so impressive. For Fall, the face-painting reins were handed over to Estée Lauder creative makeup director Tom Pecheux, who knows a thing or two about channeling that special brand of effortless, French chic. “I’ve known [Marant] for a long time; I do a lot of her campaigns, and it’s a really good connection between Isabel and me—and me and Estée Lauder,” he explained, shouting out the beauty giant that picked up sponsorship duties here for the first time.
To ensure that skin looked flawless “but not too made-up,” Pecheux focused most of his energy on a pre-makeup facial treatment. “The massage takes 25 minutes, the makeup takes five minutes,” he joked, creating small, circular motions with a mixture of Lauder’s Advanced Night Repair Synchronized Recovery Complex and Idealist Pore Minimizing Skin Refinisher, as well as an emollient layer of its Revitalizing Supreme Global Anti-Aging Creme on top. If needed, Pecheux applied a minimal coverage of its Double Wear Light Stay-in-Place Makeup before giving everyone a subtle dusting of its Lucidity Translucent Loose Powder in Transparent for a “matte satin” finish. Working on a “friendly, not aggressive” contour, Pecheux used a mixture of Lauder’s Pure Color Blush in Sensuous Rose and Blushing Nude to sculpt the face with peachy hues, instead of sharper taupes and browns, before “flattening” eyes with a swipe of the light beige shade in its Pure Color EyeShadow Duo in Vanilla Pods. To lift lids back up again, he scrawled a barely perceptible stroke of shimmering gray shadow from its forthcoming Pure Color Instant Intense EyeShadow Trio in Smoked Chrome right onto the lash line to catch the light as models walked. “We’re doing everything but mascara,” he laughed, curling lashes and slicking on a nude lip while beefing up arches with Lauder’s Artist’s Brow Pencil/Double Groomer. “In France, you think of the eyebrows,” Pecheux elaborated of the face-framing touch. “It’s [our] version of the British rose [complexion].”
Paul Hanlon became another newly christened member of team Marant after shooting with the photographer David Sims on the set of Marant’s Spring ad campaign in Saint-Tropez. “I’m a big fan of her,” Hanlon said with genuine enthusiasm. “Every girl who sits in my chair says she wants to wear the clothes, which is a refreshing environment to be in.” Trying to work a bit of consistency back into the fold, Hanlon gave everyone extensions, not to lengthen but to thicken the hair, before applying Frédéric Fekkai Full Volume Mousse to add a subtle texture. “[Marant] wanted the hair to look more conditioned than it has,” Hanlon said, layering in its Silky Straight Ironless Smooth Finish Serum. “Like a young Carla Bruni or Jane Birkin—not so rock ‘n’ roll,” he explained of the barely perceptible shift in focus. Fashioning loosely centered parts, Hanlon proceeded to run lengths through a curling iron, just once, to create a very soft wave that he spritzed with a bit of water and shook out to “lighten the richness.” The Isabel Marant girl isn’t interested in a just-out-of-the-salon set, after all.