124 posts tagged "Peter Philips"
Some of the biggest backstage hits—Chanel‘s painterly eyes (Spring 2014), Fendi‘s neoprene eyeliner (Spring 2013), and Dries Van Noten‘s gold-laced lashes (Spring 2014) —can be chalked up to one man: Peter Philips. He’s also the brain behind such sellout hits as Chanel Le Vernis in Jade and the brand’s pearl and lace temporary tattoos. And when the news broke that Philips landed at Dior as the house’s new creative and image director for beauty, I think the angels started singing (or was that just beauty editors squealing with delight?). It’s almost as if his career has come full circle—seeing as his pivotal makeup moment happened on a Raf Simons shoot, during which he drew Mickey Mouse’s mug in perfect scale on a model’s face. “People flipped out,” Philips noted in an earlier interview with Style.com. “They really remember the spectacular things you do, and the pure beauty things they take for granted. I learned a lot from that.” Here, the master of makeup invention provides a sneak peek of what he has in the works, which I expect is nothing short of spectacular.
What is your vision for Dior Beauty?
My personal vision on beauty doesn’t really change. The tools are new for me. My vision of beauty is that I put the woman first—especially individual beauty—and I’m hoping to be able to create palettes and colors and products that will enhance that beauty, but of course be in [step with the] DNA of the house. The Dior woman is like a hyper-feminine woman—she loves color…I’ve got this little one-liner that I always use: All women want to be beautiful, but not every woman wants to necessarily be fashionable, and I keep leading in that. Of course fashion—because this is also a fashion house—is a great locomotive, a great tool to play with, to attract women with, and to tease and to play with, you know? It can push or pull her attention toward a lipstick or a nail polish or a foundation that maybe a girl normally wouldn’t go for. It’s all a game of seduction, and that’s a strong card for Dior.
When you say that all women want to be beautiful but not necessarily fashionable, how do you plan to appeal to the woman who doesn’t want blue latex eyeshadow or glitter?
That’s the whole thing: Dior is known for the bold colors and everything, but they also have an amazing line called Nude, which is basically about that natural beauty. They have great formulas, and the labs are also working on new [ones]. I mean, I’m here now for three weeks, so I’m jumping from one meeting to another and getting to know everybody who works behind the scenes, and I’m blown away by what I’ve seen. I mean, the innovation in the house is so ahead [of the pack]—they’ve got fantastic laboratories. Those technologies and the knowledge they have—it’s great to work with that.
Is there a particular formula that you’re very excited about?
Yes, I actually just got introduced to a new foundation coming out soon, and the first show I’m going to do for Dior will be a Cruise collection in New York in May. I don’t know what the look is going to be but already know which foundation I’m going to use.
Speaking of show season, how closely will you work with Raf Simons day-to-day?
For that I think I’m mainly working on makeup looks for the catwalk, like I did, for example, when I used to work with him at Jil Sander. Of course I’ll be trying to get my new stuff in if there’s a place for it! And of course I’m going to try to make it to work if he wants something specific…if I need to make something especially for him, I will do that. The team behind me is ready to go for it, and they’re all very excited.
I know you’ve worked with him for more than two decades, and he’s really been pushing the envelope in terms of the look the past few seasons, with the gold brows and latex eyes. What is his aesthetic as far as beauty is concerned?
It grew—his aesthetic on beauty really grew. I’ve been doing his men’s shows since the early days, and then we did Jil Sander. He was very uncomfortable with makeup in the beginning because he didn’t want [the models to look like] they were made up, so that’s why we started off with very natural-looking but kind of severe, strong women. He was inspired by Kees van Dongen [for Jil Sander's Fall 2011 collection], and of course there was color in the paintings, so that’s when we started to introduce color, and we started off with a great lipstick—a vibrant shade on the lips. He started to appreciate makeup more and more, which for him is maybe a different thing than beauty. He sees makeup as a thing, which can be used to accessorize or to dress up.
What are you thinking of in terms of creations for the future? Have you already started developing new products?
I’m just starting to breathe and brainstorm. Every conversation I’ve had here [at Dior] has turned into a brainstorming session. Everybody was taking notes, and I had so many questions. I jumped on this [moving] carousel, this makeup train, and step-by-step my input will be seen. It’s not that everything stops now and you start over again.
When will we see your input hit shelves?
The first actual collection is Autumn 2015—still a long way away. But in the meantime, I’m working on a project for Christmas. It’s very exciting because it’s a smaller project, so we can easily fit it in. Of course, for Spring and Summer, the collections are already in the pipeline. I just jumped in and gave my advice on some things that could still be changed if needed.
Will you be working on ad campaigns similar to some of the projects that you did during your tenure at Chanel? I remember very vividly the makeup robots. Will you be doing anything like that with Dior?
That’s the idea, yes. I’m the Creative Director of Makeup and Image, so it’s kind of new for [the brand] as well…My name will be [associated with the product], so I have to stand behind it the whole way. I’m a big fan of visual communication, I love playing with the Internet, making films, and all that stuff—it makes it even more fun and it can make the message you’re trying to pass on much more accessible.
I can’t wait to see what you come up with. You’ve had so many product hits in the past, some of which are still sought after today on eBay. How do you develop those must-haves?
The thing is, I observe a lot and I listen. I travel a lot because of my work. Whenever I do interviews, especially when it’s about launches of products or when I work with beauty editors, they give the best feedback. A beauty editor from Korea will tell you so much more about Korean women and their needs and their desires than, for example, somebody Paris-based who does the marketing research on Korean women. You have true feedback, which is not pushed by any motive other than trying to be beautiful. I think it’s very interesting to get that feedback, and I listen. For example, everybody keeps talking about the nail polishes I did [at Chanel], but it was bound to happen—I just had the tools to play with and I knew there was a desire. I listened to my girlfriends and women that I know—I knew something was going to happen with nails—and just played around with it and wasn’t afraid. It wasn’t a risk—doing a funky new nail shade is not taking a risk—it’s just fun. And then being able to link it with shows gives [the polish] great visibility. When makeup becomes an accessory, it has a reason to exist…And that’s what I think women like, when they get something new in front of them and it’s there for a reason—it’s not just there for the sake of being there. When it has a reason to exist, they will go for it.
Obviously you’ve worked with a very famous French house before. How do you feel working with Dior will differ from Chanel?
The DNA, I mean, it’s totally different. The only thing they have in common is that both are French houses…Everybody is so mysterious about it, the other house, but I had a great time at Chanel. I did what I could do for the house, and it was fantastic to work with them. But if you look at the style of the house, it’s night and day. It’s a totally different type of woman. The codes of the house are different. Like I said, Dior is hyper-feminine, it’s colorful. It’s not that one is better than the other—it’s just different.
Fair enough. In your opinion, what is your beauty signature and how will you bring that to Dior?
Beauty, for sure—and excitement. It’s going to happen through color and formulas. I’m a storyteller—whenever I make a collection, I try to tell a story, and I hope the stories will be exciting.
There’s no doubt I’ll be completely captivated.
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.