100 posts tagged "Peter Philips"
Peter Philips has said it before, and he all but screamed it on Chanel’s Cruise runway in Singapore yesterday: Karl Lagerfeld loves an eye. In fact, backstage-beauty watchers will have to look all the way back to the house’s Fall 2010 Couture show to find evidence of the last time Lagerfeld ordered up a statement lip—which might be why Philips is in his comfort zone when it comes to lids; no matter how many times he reimagines them, they never fail to impress.
For Resort, the makeup artist’s handiwork was even more noteworthy than usual, considering the hot and humid conditions of the Southeast Asian summer—and because rather than expand the definition of the word makeup with pieces of tulle, lace, jumbo glitter, and rhinestones, as has become his signature, Philips used plain old pens and pencils, to no less impactful an effect. “We combined an exaggerated graphic black eyeliner on the eyelid, with an electric-blue kohl underliner,” he explained drawing a thick black flick through the crease of the eye with Chanel’s Stylo Yeux Waterproof Long-Lasting Eyeliner in Noir Intense before using the same crayon in True Blue to create an equally elongated stroke beneath the lower lash line. “I also used lots of black mascara on the top lashes and applied a gently enhanced eyebrow,” the face painter continued, swiping on multiple coats of its Inimitable Waterproof Mascara in Noir. Skin was kept luminous with a touch of Chanel Joues Contraste Blush in Frivole, a warm peach, its Éclat Lumière Highlighter Face Pen, and some expert contouring courtesy of Chanel Les Beiges, an inventive array of sculpting powders that debuts next month. To not distract the attention from the eyes, which were dusted by Sam McKnight’s side-swept faux fringes—the ends of precisely pinned French twists that had been carefully arranged over the forehead—mouths were kept bare, albeit moisturized. “We kept the lips natural, only using [Rouge Coco Baume] lip balm,” Philips elaborated. He did allow for a little distraction on the nails, though, which peeked out of a series of fingerless gloves to reveal two glimmering coats of the cult-favorite Le Vernis de Chanel in Black Satin.
It was only a matter of time. Ever since Peter Philips glued chunky pieces of jumbo glitter onto models’ eyelids at Chanel’s Fall show in lieu of actual liner, we’ve been waiting for someone to reprise the look on the red carpet. And it looks like Hanneli Mustaparta is that person. The model-turned-blogger/photographer/stylist showed up to the Whitney’s annual Art Party last night in New York sporting a near-identical application of the sequins Philips painstakingly applied backstage at the Grand Palais back in March, which earns her a very enthusiastic golf clap from us. You, too?
Throwback Thursday is a new 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: Nadja Auermann
The Moment: Ear painting
The Motivation: Following a few seasons of 3-D makeup on the runway that has seen everything from sequins, rhinestones, paper cutouts, lace, and tulle double as eyeliner, mascara, and brow pencils, we’ve been semi-conditioned to think outside the box when it comes to defining the medium of makeup. But Peter Philips further expanded on the traditional idea of “face painting” by bedazzling nine models’ ears backstage at Dries Van Noten for Fall. You could say an emphasis on ear embellishment started last season, when side-slicked hair turned up at Rodarte to show off Game of Thrones-inspired dragon cuffs—although Stéphane Marais might beg to differ. The famed makeup artist gave model Nadja Auermann the silver treatment two decades ago for a 1994 issue of Harper’s Bazaar. What’s that they say about fashion—and beauty—being cyclical?
Peter Philips’ beauty look at Chanel is almost always a highlight of our fashion month. The makeup artist, who is known for the way he frequently expands upon the traditional idea of face painting with unexpected materials—like rhinestones as eyebrows and pieces of woven-fabric-turned-eyelashes—chose sequins as his makeup medium of choice for Fall. Using “jumbo” pieces of art-supply glitter instead of run-of-the-mill eye pencils, Philips applied single pieces of sparkle along the lash line and in the lashes to make sure models’ faces registered in the show’s gigantic venue (and to add that classic Philips-ian touch we have come to admire, of course). If you’ve been marveling over the “how’d he do that?” quality of the effect since the show on Tuesday, Style.com went backstage and shot Philips in action to help answer some of your burning questions. Click above to watch.
Paris’ Grand Palais is appropriately named. The turn-of-the-20th-century venue is massive, and so are the Chanel shows that take place there every season. The fact that the audience here is perched in stadium-style seating presents an interesting challenge for Peter Philips. “We wanted something that is beautiful close by, but that you can read from a distance,” he explained of the process by which he and Karl Lagerfeld brainstormed a makeup look for Fall. Noticing the metallic threads that were woven into many of the designer’s tweeds, and the twinkling lights demarcating cities in the giant globe that sat at the center of his runway, the idea of using glitter “just came up,” according to Philips, who turned to 3-D eye makeup that utilized “jumbo” silver sparkles as a fairly festive solution to the problem.
It worked. Even from the cheap seats, you could see models’ lids flickering as they circled the world according to Chanel with pieces of sequins affixed close to their lash lines in an elongated shape, and in the lashes themselves. “We actually applied extra glue in the lashes so they get more faceted and catch in the light,” Philips revealed. Keeping skin semi-matte with Chanel Perfection Lumière Long-Wear Flawless Fluid Makeup, dusted with its Poudre Universelle Libre to contrast with the shiny texture on the lids, Philips added a warm flush with Chanel’s forthcoming cream blush, one of six new hues that will launch with corresponding Rouge Coco Shine lip colors this fall—including the transparent, deep berry-rose Instinct that Philips slicked onto mouths today. Nails were painted a similar color with the as-yet-unreleased Le Vernis de Chanel in Elixir. As a finishing touch, Philips drew a long line of its Le Crayon Khôl eye liner in Noir underneath the lower lashes to further ensure models didn’t disappear in the vast space. “It’s a combination between a technical solution and an aesthetic solution,” he said of the graphic element.
Sam McKnight’s “done, but undone” center-parted strands were a reaction to two additional graphic elements. “There are these chokers,” he said, referencing the wealth of necklaces that were placed over the back of models’ hair, creating an indentation. Prepped with Frédéric Fekkai Full Volume Mousse for a slight bit of texture and Magic Move for piecey-ness—”the white one, which is the creamiest one,” McKnight said of the popular sculpting cream—lengths were tucked into overcoats, blazers, and dresses, so all that remained was the illusion of a short-hair silhouette, a shape that was made even more distinct via a series of colored hats shaped like bobbed wigs with blunt bangs. Lagerfeld has always had a soft spot for the kind of short cuts that are making the runway rounds this season, often surrounding himself with cropped, house muses like Saskia de Brauw and Stella Tennant—the latter of whom showed up backstage just in time to get an impromptu trim from McKnight. Talk about a job perk.