54 posts tagged "Paul Hanlon"
“There’s a Fred-and-Ginger theme,” Peter Philips revealed backstage at Dries Van Noten, explaining the designer’s nod to the thirties-era dance duo. Uninformed, and you’d have been hard-pressed to pick up on it. “We wanted to avoid [the makeup] becoming too ballroom,” Philips explained while beefing up brows with Chanel Crayon Sourcils Sculpting Eyebrow Pencils and contouring lids with the dark brown and nude colors from its Les 4 Ombres Eyeshadow Quad in Prelude—which is why he chose to complement the gem-encrusted necklaces, brooches, and earrings models wore on the runway with something unexpected. Instead of opting for more retro-glamour elements—a red lip or a heavy lash, for example—Philips gave nine girls “a bejeweled ear,” using special-effects adhesive and a treasure trove of different-shaped crystals. “We tried it on the face, but we’ve already seen that. Topolino did it in the eighties,” he said of the gleaming mosaic embellishments, referencing the legendary Italian face painter who made metal facial studs and mixing mediums something of a signature. Keeping skin purposely matte to “enhance the sparkle” of those creative crystal cuffs, Philips treated complexions to Chanel’s Perfection Lumière Long-Wear Flawless Fluid Makeup before dusting on an allover application of its Poudre Universelle Libre.
“It’s basically women wearing men’s clothes, and the end is more Hollywood,” Paul Hanlon elaborated of Van Noten’s collection. “But with Dries, it always needs a contemporary feel,” he continued, dampening hair with Bumble and Bumble Styling Lotion and fashioning a side-slung part that segued into a marcel wave across models’ foreheads. True to form, Hanlon insisted on pulling the waves apart just before the show to ensure a messy “as though she had [the style] a week ago” feel. Perfection often lies in the imperfections when this hairstylist is concerned.
Tom Pecheux loves Marni, a point that is made ever clearer by the fact that, when you ask him about the makeup backstage here, his first priority is to tell you about the clothes. “It’s an insane, insane, insane beautiful collection,” he gushed about Consuelo Castiglioni’s Fall lineup, which, in a slight departure, was devoid of her signature bounty of prints and embroidery, and instead featured a masculine, monochromatic palette of luxurious fabrics. There was a single color that caught Pecheux’s eye, though: a deep, piercing raspberry fur that served as the inspiration for one of the best bordeaux lips we’ve seen yet this season.
“I wanted it to be a little blurry,” the makeup artist explained of the wash of MAC Lipmix in Crimson and its Lipstick in Hang-up that he painted onto pouts and topped with its Pigment in Basic Red to impart a dry finish. “Destroy the line,” he instructed his team while dipping Q-tips into MAC’s Invisible Set Powder and tracing them around the lip line for a diffused effect that called to mind old Sarah Moon photos. The powder was also integral to mattifying models’ skin, which was kept deliberately pale to make the mouth pop—and to contrast with the combination of MAC Lipmixes in Mid-Tone Nude and Orange that Pecheux layered across lids and underneath the lower lash line before topping them with its Gloss Texture for shine.
Acknowledging that Castiglioni’s woman was much “tougher” than usual for Fall, Paul Hanlon was compelled to add a masculine edge to hair via an extra-low side part that was coated with Tigi Catwalk Curlesque Strong Mousse and diffused through hairnets to achieve a “viny” texture that resembled ropes. “It’s a little bit twisted,” he admitted, making a purposefully bent mark in the back of strands to create the illusion of a scarf that had been tied around them causing a ridged imprint. The point was to move away from more whimsical notions and embrace something decidedly “deconstructed” instead, Hanlon explained. Mission accomplished.
“The girl this season is more than a little Carrie,” Paul Hanlon revealed backstage at Giles, where the hairstylist was doing his best to conjure “something of the teenage horror genre.” Cue the long, witchy extensions that were also more than a little inspired by show opener, and longtime devotee of long hair, Kristen McMenamy.
Hanlon gave all forty-five models (except, of course, McMenamy) twenty-four-inch extensions, which he misted with water and divided into two impossibly long plaits to set a loose wave. Taking out the braids right before showtime and giving a few girls—Cara Delevingne and Janice Alida among them—oversize beanies, as has been par for the course this season, Hanlon was left with thin, limp, crimped strands. “This is not so much a hairstyle as it is an effect,” he explained.
The macabre feeling was echoed in the makeup, too. “This girl is Goth,” Lucia Pieroni deadpanned, revealing that Tim Burton was a big inspiration for the pale, luminescent complexions she built using copious amounts of MAC Strobe Cream. Hollowing out eyes with MAC Paint Pots in Constructivist, a burnished brown, and Stormy Pink, a pale lavender, Pieroni concentrated the pigment to the inner corner of the lid to create depth before blending it underneath the lower lash liner to give off the appearance of “a sunken shadow.” Leaving lashes bare and taking lips down with a touch of concealer and lip balm, Pieroni was content to dub her handiwork “beautiful Burton.”
“A pinup who is not quite a pinup” is how makeup artist Lucia Pieroni described Jonathan Saunders’ woman for Fall while backstage at the designer’s show. “She’s a bit grunge, a bit nineties, and there is a touch of the Marilyn Monroe and Courtney Love about her,” Pieroni continued as she conducted mini facial massages on site with Clé de Peau Beauté Gentle Protective Emulsion. Citing the artist Allen Jones, Pieroni started in on “smudgy brown eyes” that she built by rimming waterlines with MAC Eye Pencil in Coffee before blending that out for a “worn-in” feel. Concentrating her mascara wand on the base of the lashes rather than pulling it through to the tips, Pieroni was quick to point out that this was not intended to be a “lashy look.”
Instead, the high-octane glamour came from the hair. In a rare departure from the signature lank “skinny hair,” which left an indelible impression on the New York shows, Paul Hanlon was hard at work on a style that was, dare we say, rather ladylike in its construction. Smoothing and polishing the cuticle, Hanlon fashioned deep side parts before using a medium-barrel curling iron to create a forties-era bend throughout lengths.
The Proenza Schouler woman has such a signature low-key beauty look that we often wonder if Jack McCollough and Lazaro Hernandez even have to instruct hairstylist Paul Hanlon and makeup artist Diane Kendal what to do at this point. Following a few twists and turns at the preshow test for Fall, however, it turns out there was, in fact, a specific directive: “They asked me to do the hair I did for them two seasons ago,” Hanlon revealed backstage.
For those of you who need a refresher course, that was the season Hanlon coined the term “skinny hair,” for which he washed every girl’s locks on site, to start with the most natural texture possible, before removing excess volume and weighing strands down with product. “They’re architectural couture clothes for Fall, but there’s a reality to them, so we don’t want the hair to look too groomed,” he explained, coating strands with Frédéric Fekkai Coiff Perfecteur Anti-Frizz Silkening Crème to create a “lank” effect before applying its Defense Pre-Style Thermal/UV Protectant to add moisture. Then, fashioning side parts that he tucked behind models’ ears, Hanlon applied a liberal amount of its COIFF Oceanique Tousled Wave Spray to add a “roughness, like if the girls had been wearing a beanie.”
Kendal wasn’t so much told to re-create her work from past shows, but she’s become so adept at channeling the design duo’s downtown cool aesthetic that it’s almost second nature at this point. “This season is a riff on classicism, so it’s a bit of a more feminine approach for them,” Kendal pointed out, “but they still wanted their girls to be their girls.” Cue the perfected complexions with MAC’s Studio Fix Powder for a velvety base, the boyish brows that were brushed up with its Clear Brow Finisher Wax, and a fine stroke of black cream shadow drawn against the upper lash line in lieu of mascara. There was one new development here, in the form of MAC’s Red Statement Lipstick from its forthcoming Fall Trend palette, which Kendal applied to cheeks as a transparent blush. “But it’s very sheer, so you can’t really see it,” she assured us.