118 posts tagged "Peter Philips"
Faux bobs abounded at Dries Van Noten—all inspired by the forties-esque dresses and shoes in the show. Sam McKnight disguised models’ length by braiding the under-layers at the nape to form an “anchor,” misting all over with Fudge Salt Spray to create a matte texture, and wrapping sections around an iron to form loose curls. After a generous spritz of Oribe Dry Texturizing Spray was applied, the hair was divided into three sections, and each was tied off at the end with a band. McKnight then rolled up each piece and secured it to the plait that acted as a pincushion, allowing the shorter layers to cascade around the right side of the face. To play off the metallic pieces, he slid a flat barrette just behind the left ear to finish. “Dries’ focus for the hair was a wave, but the wave down was too glamorous. A small head somehow made it a little more masculine and a little less frivolous,” he noted.
“It’s just one graphic element,” Peter Philips explained of the onyx eyes at Dries Van Noten. “The collection is full of prints and bold combinations, so we wanted to do something that’s strong but doesn’t clash with the clothing.” His weapons of choice: MAC Chromacake in Black Black and Giorgio Armani Beauty’s Eye Shader Brush. A clean, angular shape was swathed across the lid and bluntly ended just past the corner of the eye—deliberately not bringing it to a point, which would make it feel “retro.”
It’s not the first time we’ve seen an artist focus on this aspect of the face this season—from Derek Lam to Roberto Cavalli, the eyes certainly have it. Philips’ reasoning: “If you do a lip or an eye, it brings the girls together and creates an army that represents the designer’s vision…It makes them almost anonymous because it overtakes the natural shape of the eye and becomes an accessory.” In comparison to Van Noten’s shimmery, silver Mary Janes that are now sitting on my Fall 2014 wish list, this lid look is an accessory I can definitely afford.
“It’s about purity of line,” hairstylist Sam McKnight explained of the sharp and minimal look he crafted at Fendi. “Karl sent me an illustration with a very small head.” To keep strands compact, McKnight employed a lot of Sebastian hairspray and made two side partings on either side of the face, dividing the hair into two small sections near the crown. Next, he folded the sections over one another, tying each off into a ponytail with a piece of elastic. “It’s like a basket weave or origami,” he noted of his technique. Then the sides were scraped back to cover the elastic and gathered into a low pony, which was later wrapped with a piece of the tail to hide the band. While the style appeared seamless, it required “pins and grips” (which were pulled out after the hair was set into place) and at least two pros per model to create.
Playing off the linear elements in the hair, face painter Peter Philips opted for cinematic highlighting and shading over a “proper makeup statement.” Seeing as the collection was filled with stark contrasts—tough fabrics and delicate orchids; fluffy furs and shiny, sleek jackets—he wanted to keep the look strong but simple, so as not to clash with or overtake the clothes. A full-coverage foundation was used to perfect complexions before it was powdered to a semi-matte finish. Then he applied a pure white Mehron CreamBlend Stick on the cheekbones. Philips said he tested out a pearly illuminator but found the result “too pretty,” and these girls needed to be “tough.” A taupe, matte pigment was run along the hollows of the cheeks, and eyes were given a graphic feel with a blend of two brown Make Up For Ever shadows (#17 and #165) just on the outer corners. Not wanting a cat-eye effect, Philips concentrated the color on “the spot between the socket and the eyeball,” angling it downward, “like old photos of Marlene Dietrich or seventies Guy Bourdin makeup.” Lips were topped off with transparent gloss. “It doesn’t look natural, but 50 percent of the makeup will blend in with the light on the catwalk,” he explained. And Philips was right. With drones buzzing overhead, the intense, almost-theatrical contours disappeared—all that remained were models’ perfectly chiseled features as Cara Delevingne kicked off the show, a Lagerfeld-like Fendi bug daintily dangling between her thumb and forefinger.
British aristocrat and model Mary Charteris blinged out the hair above her eyes for the London shows. This particular beauty move took us right back to Chanel’s Fall 2012 collection and Peter Philips’ extraordinary, mineral-encrusted eyebrow art. While we love a naturally thick set à la Cara Delevingne, this It girl’s sparkly arches certainly got our attention.
“To get liquid eyeliner right, I always look at the eyes straight on—I never apply makeup to a closed eye. I make two dots, one where I want the line to start and another where I want the line to end, and then I draw a straight line. It’s all about connecting the dots.”
Every face painter has his or her own technique for creating the perfect swoosh with liquid liner—a product that can trip up even the steadiest of hands. I’ve heard of penciling on a stencil before tracing over the top with eyeliner, crafting the shape in three parts, and even using a credit card to nail a sharp edge. Leave it to this master of maquillage, however, to make achieving the often-finicky flick as easy as a kindergarten worksheet. With strong, graphic eyes appearing on multiple couture runways (Chanel and Giambattista Valli) thus far, it seems studying up on the classic look isn’t a bad idea. Consider this your Cliffs Notes.
Makeup artist Peter Philips confessed that this season’s beauty look was built from the ground up—literally. Those hand-embroidered sneakers by Massaro conveyed such a new attitude in themselves that playing with iridescence in terms of makeup became self-evident. “I wanted to do something that stood out with lightness but at the same time was elegant and couture,” he said. Mission accomplished. Philips started with Chanel Perfection Lumière Velvet foundation (launching in March) to create a matte finish, “because all the shine had to come from the eyes,” he noted, and dabbed a touch of powder blush in Espiègle on cheeks and across the chin. Then came a stroke of black Ligne Graphique liquid liner and ample coats of mascara, which tempered the hologram glitter in various sizes that he applied under the otherwise unadorned lower lashes. “The eyeliner makes it chic and iconic, but then you’ve got the sparkle that feels relaxed and fresh yet creates magic,” he noted. To finish it off, Philips reached for Rouge Coco Shine lipstick in Satisfaction (out next month). “It’s a great color, because if models’ lips are naturally too red, it tones them down; if they are too pale, it brings in just the right amount of color,” Philips explained. For a bit of discreet sparkle on nails, he opted for Le Vernis in Frisson, a rosy iridescent lacquer.
Asked about his inspirations, hair guru Sam McKnight reached for his iPhone and fished out a few sketches Karl Lagerfeld sent over a couple weeks back. “He specifically said he wanted something kind of undone and asymmetrical.” McKnight’s solution: extensions that matched each model’s hair color attached to headbands (shown below). The faux strands were flatironed to stand at attention, creating the impression that the girls had just tied up their hair and left the spiky ends out. “You could say the hair had to correspond to the sneakers, too,” he said. “It had to capture an attitude, it had to be a little sporty, but it had to be a look—for couture, it couldn’t be nothing.” Ultimately, he quipped, “what it became is a version of nothing.” Not exactly much ado about nothing—the finished product was as fantastical as the footwear.