64 posts tagged "Paul Hanlon"
This past season at Proenza Schouler, hairstylist Paul Hanlon was intent on preserving the gentle haze of fuzz that models arrived with backstage at the show. “What you’d normally control, we’re not,” he said, in fear that strands would look more “commercial” if he were to tame every flyaway. Keira Knightley appeared to have followed the same credo at last night’s SeriousFun gala in London. Her undone waves (seen at shows like Balenciaga and Balmain) added an easy elegance to her Chanel Haute Couture gown—the same one she wore for her walk down the aisle and to a party in 2008. A hot hair trend—and great dress—is always worth repeating.
This season, there has been quite a buzz backstage surrounding maquillage master Tom Pecheux’s muse, Pascal. He has his own Instagram account (@PascalPascale), where he’s featured on shoulders (including Style.com’s Tim Blanks), in pockets, and being kissed by some of he biggest names in the fashion biz. The white doll has even has his own personal makeup artist, Anoli (a member of Pecheux’s team), that paints his face with the look for every show his adoptive father has keyed for Spring 2014. “It’s a modern world that’s open for anything you want to be, and Pascal is a modern child that can be anything you want to see—him or her,” she says. And I have to admit that today’s graphic eye shadow in particular, seen on Anthony Vaccarello’s runway, really brought out Pascal’s bone structure. While hair pro Paul Hanlon’s crew may have Frida Kahlo as their mascot (as seen in our Editor’s Diary), this backstage fixture sits first class and always seems to snag a window seat on planes to and from fashion locales (just check out his selfies for proof). But all in all, the doll is more than just a blank canvas for Pecheux’s imagination. “[Pascal represents] freedom—freedom of art, freedom of choice, freedom of creativity,” elaborates Anoli. That’s quite a tall order for someone so small.
In contrast to seasons past, the boxy Marni silhouette was drawn closer to the body for Spring, and an athletic theme emerged, with graphic visors and gem-encrusted fanny packs cheekily worn on models’ backsides. Tom Pecheux put his own “twist” on the makeup, citing the Austrian visual artist Markus Schinwald—who is known for his manipulation of classic beauty (he often adds slightly disconcerting elements, like masks or bandages, on top of nineteenth-century paintings)—as his inspiration. The brows were enveloped in a “cloud” of MAC Sparkle Shadow in Night Light (a glittery gray) that both exaggerated their shape and played off the shade created by the wide-brimmed hats. Extra Dimension Blush in Pleasure Model was placed low on the cheeks near the jawline, “almost where a man’s beard would be,” elaborated Pecheux. (There’s that “twist” again.) The rest of the face, however, was kept quite pure, with a light dusting of Eye Shadow in Gesso washed over the lid and placed on the high points of the cheekbones. A touch of the same pinky-nude blush was swept gently along the lash lines for additional contrast. Mouths were topped off with a shade that’s been popping up in key artists’ kits all season long: Velvetease Lip Pencil in Mattely in Love.
And while there was sporty headgear, tennis was not what hairstylist Paul Hanlon had in mind; he was drawn to the “geishalike” platform sandals and architectural lines of the clothing. “I kept everything above the visor very clean and considered,” he explained—so as to not detract from the opulent embellishments and patterns in the collection. At the top, a center part was made and strands were shellacked close to the scalp. Hanlon employed a fine-tooth comb and layers of L’Oréal Paris Elnett Satin hair spray to get the glassy effect, dousing the crown and sides before and after fitting models with a stocking cap and locking the look in place with heat from a blow-dryer. From the ears down, the texture was more “organic.” TIGI Bed Head Superstar Queen for a Day Thickening Spray was misted all over to build body, while a small hidden pony—made with the underlayers near the nape of the neck—also added dimension; it was looped through a Topsy Tail (yes, you read that right) to keep it close to the head. Hanlon wrapped sections around the barrel of a curling iron to achieve an “airy” finish, and the extra-long strings that hung down from the visors were gently tied over the hair, catching a few pieces in the back. “I wanted it to look almost like a mistake, so everything wasn’t so precise,” he said. If a blush beard meeting modern minimalism looks this good, I say game on.
The underlying beauty theme at Proenza Schouler: If it ain’t broke, don’t fix it. For hairstylist Paul Hanlon, that meant adding a central—but not perfect—part and keeping the gentle fuzz intact at the top of the head. “What you’d normally control, we’re not,” he said. Since the show was in the morning this season, Hanlon didn’t have to worry about product buildup; instead, he used Fekkai Glossing Conditioner (normally rinsed out) as a leave-in treatment and applied Coiff Controle Ironless Straightening Balm from mid-length through to the ends to weigh down strands. (His inspiration for the lank look came from Dogtown and Z-Boys, a documentary about a posse of seventies skater and surfer boys in California, and photographer Joseph Szabo’s book Teenage.) He then blew hair dry with fingers, as a brush would make it too even, and flat-ironed the underlayers around the ears and nape of the neck to eliminate volume, leaving the texture on the surface untouched.
Makeup artist Diane Kendal took an even more minimal approach, brushing brows up and filling them in only when necessary, and curling the lashes but not adding mascara. MAC Lip Conditioner (a clear balm) was used on both lips and lids for a hint of shine, while Prep + Prime Transparent Finishing Powder was dusted on the T-zone to mattify. The only color on the face was Pleasure Model Extra Dimension Blush (available spring/summer 2014), which Kendal tapped onto the apples of the cheeks with her fingertips. “We’re keeping the girls as they are,” she said. Refreshing.
The king of minimalism didn’t stray far from his roots this season when it came to hair and makeup (although the designer did display a new hem length on the runway). But behind the barely there maquillage was a study in both physiology and proportion, explained makeup pro Dick Page. “Rather than projecting the idea of painting the face, I thought about how everything is mobile and three-dimensional…it’s almost like when you do a life drawing in art class and have to think about structure.” For brows and lashes, he mixed three parts gel to one part brown mascara to achieve the optimal shade and texture. On lids, he blended Shiseido Shimmering Cream Eye Color in Shoyu with a bit of moisturizer for a transparent finish, and applied the same shadow formula in Yuba to the inner corners to subtly catch the light. Page also concocted a custom shade of blush, with fairer girls receiving a ratio of two parts Lacquer Rouge in Metalrose (a reddish pink) to one part Hellebore (a plum), and used the same tones for darker complexions, only with the equation reversed. To apply, he pinched a cosmetic sponge to create a domed shape (seen above) that is optimal for working the product into the skin. A blend of foundation and Lacquer Rouge in Camel was tapped on to the lips for a muted effect.
Hairstylist Paul Hanlon kept things classic with what he described as an “old salon blow-dry.” He started by spritzing Moroccanoil Heat Styling Protection from midlength down, and added Volumizing Mousse all the way through. Then Hanlon blew strands dry in large sections using big, round brushes. For a hint of sexiness and as an ode to the forties (a reference given to him by Rodriguez), he added a deep side part, hair-sprayed the top to cancel any flyaways, and used a drop or two of Treatment Light on the ends for separation. Simple, yet impactful—just like the collection.