125 posts tagged "Peter Philips"
There are few people who can pull off metallic underliner, black cat-eyes, pink braids and bangs, and a skintight silver jumpsuit, but for Lily Allen, it’s all in a day’s work. Never one to study the art of subtlety, the singer took to the V Festival stage in Chelmsford, England, rocking a look reminiscent of Chanel’s Spring 2014 Couture show. As face painter Peter Philips explained of the makeup backstage in January, the graphic wing lent “iconic” appeal, while the silver sparkle on the lower lashes provided the “magic.” Rita Ora took cues from the same storied French house on stage, but combined elements from two different seasons: Fall 2014′s “exaggerated” ponytails laced with tweed rags and Spring 2012′s mermaid hair adorned with jumbo pearls—both created by mane master Sam McKnight. We applaud both Brits for taking risks and making some of the runway’s biggest beauty hits their own. As they say across the pond: Brilliant.
Peter Philips spent his whole weekend single-handedly cutting seventy pairs of silver adhesive eyeliner that he used on the Dior Couture runway. And just hours before the show began, he received word that the house had worked out a way to produce them. (Look for them on-counter around the holidays.) “The collection explored contradictions, so we wanted to keep it pretty and pure. I just wanted to add one element that was highly contrasting and artificial,” he explained. Metallic liner emerged as the ideal counterpoint to the mirror-and-orchid set. Philips calls it the “empty eye”—meaning no mascara—bolstered by a little white kohl to fade out the lower lashes and a sweep of yellow and white shadows from the forthcoming Candy Choc palette under well-groomed brows. To even out the base, Philips reached for Dior’s new Star Foundation (for drier complexions, he used Capture), followed by a combo of Dior Blush in Rose Corolle and Starlight on the cheekbones (available internationally in October), and polished off pouts with Rouge Dior lipstick in Trompe L’Oeil (a peachy nude). Nails, too, were kept short, neat, and nude, with one coat of gel polish in Muguet followed by a layer of Dior Glow. “She looks like a fragile flower but with historical and futuristic crosscurrents,” he said. “When she moves, she catches the light.”
For hair, the look was natural and unforced. “It’s fresh and modern without reference to any past,” noted Guido Palau backstage. “Raf Simons’ Dior woman has put her clothes on and [needn't] over-bother with her hair.” Palau employed Redken Pillow Proof dry shampoo for texture, added a few extensions, and let the parts fall where they may. “We’re entering a transitional time in beauty where things seem to be much simpler. Women can’t complain anymore that they can’t do it,” he noted, adding with a smile, “which means there are no excuses anymore!”
Eyeliner is making a serious statement on the Resort circuit this season. Backstage pro Peter Philips used a liquid formula to sketch graphic parallel lines on top and bottom lashes at Dior; Pat McGrath smudged shimmery blue, gray, burgundy, or khaki green pigments around catwalkers’ eyes at Louis Vuitton; smoky, kohl-rimmed lids accentuated by gold leaf on the inner corners appeared at Chanel; and makeup artist Vincent Oquendo crafted party-girl eyes reminiscent of Penny Lane in Almost Famous at Marc Jacobs’.
For the latest issue of Jalouse, however, Oquendo took a new textural approach to the trend, lining model Ali Michael’s upper lashes with black Duo Eyelash Adhesive and flat, gunmetal studs purchased from M&J Trimming in New York City. “I was inspired by the nineties and Nancy Downs [actress Fairuza Balk] in The Craft, so I wanted it to look dangerous but still feel fresh,” he said. “She was styled with all of these chokers and chains, so I translated that to Ali’s face.” For those who want to take the goth-punk aesthetic one step further, try Oquendo’s combo for a bewitching-but-subtle plummy-black lip: MAC Lip Pencil in Nightmoth and Lipstick in Cyber.
Flashback Friday is a feature on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Model: Guinevere Van Seenus
The Moment: Graphic Eye Liner
The Motivation: After witnessing so many shadow moments during the Fall 2014 season (including lids flecked with glitter and swathed in latex), good-old liner took a bit of a backseat. But at Wednesday’s Dior Cruise show, newly appointed creative and image director Peter Philips created a two-pronged effect by extending the house’s forthcoming It-Line Eye Liner out past the upper and lower lash lines. It was a bold move that reminded us of the power of an expertly winged eye, and inspired us to reach for the somewhat precarious black liquid more often (keeping cotton swabs and makeup remover close at hand, of course). Coincidentally, we happened upon the above Craig McDean-lensed image for British Vogue in 1996, where a cat-eye was created in the inner corner of the eye. Now that’s inspiration we’ll be adding to our daily routine.
Peter Philips’ inaugural backstage voyage as the creative and image director for Dior beauty started out with a relative bang—sixty-six models, branded water taxis, and Manahattanites floating across the East River en masse. (It’s not exactly the Seine, but if you close your eyes and hum a few bars of “La Vie en Rose,” you could almost pretend you were in Paris instead of on your way to Brooklyn.)
“There is an expression of scarves [in the clothes] and there’s a lot of movement when the girls walk, but the shapes are very graphic when they’re static,” noted the makeup artist. To mimic Raf Simons’ sharp aesthetic, Philips used the brand’s forthcoming It-Line Eye-Liner in It-Black (out in June), carefully etching the liquid formula straight across the upper lash line and running a parallel band along the bottom lashes, dragging it out just past the outer corners of the eyes to exaggerate their size. Next, Philips topped the liquid with a matte ebony powder from the 5 Couleurs Eyeshadow Palette in Bar (on shelves in August), making the lines slightly softer and significantly more stay-put. Pearly pink and white shadows from the same palette were employed as highlights (the pink on the lid and the white between the lines on the outer corners), and complexions were kept equally matte and luminous courtesy of the house’s new Diorskin Star Foundation (available in September). The final touch for many of the models was a dramatic strip of false lashes—a concept that seems to have carried over from the Fall 2014 season. “It’s not a big makeup statement, but it’s a look that fits with all sixty-six girls and makes them stronger,” he said.
As for the lack of Resort-like brights, Philips noted that the “steady line” that runs throughout the entire collection is black and any color seemed to clash. “It’s Raf’s version of Resort, so it’s a bit more strict,” he laughed. In any event, if you’re taking a cruise to BK, I’d say a dark and edgy eye is the way to go.