111 posts tagged "Peter Philips"
Karl Lagerfeld turned the Grand Palais into a double-C-branded gallery, complete with a Chanel No. 5 robot, a canvas dripping with pearls, and a towering sculpture of the female form comprised of the chain-link leather straps that normally hang from the house’s signature handbags. But the girls who walked the runway were no starving artists, a point made clear by their luxe, textural suits and quilted cream and black leather portfolios.
“In my head, I was thinking that [the models] should look like those expert art ladies that are dressed in all black and slightly eccentric,” said hair guru Sam McKnight of the “downtown New York” and “slightly eighties” muse. Similar to Fendi, the models were fitted with architectural black, blonde, and brunette wigs that he described as “a cross between Darth Vader and a seventies flick.” The faux strands were bulked up with extensions and prepped with a wave-maker, industrial-strength hair spray and gel to give them a stiff, paintbrush-like quality. On site, the hair was tailored to each girl and flared out using a flatiron, then polished off with Oribe Dry Texturizing Spray to lend a flat finish.
The painterly eyes by Peter Philips were inspired not only by the colors used in the pieces that flanked the catwalk but also by a print shown to him by the designer. “It looked a bit like a sample card for a paint company,” he said. To create a blank canvas, he instructed his team to even complexions with Chanel Vitalumière Aqua foundation. The brows were elongated and given a more angular shape with Crayon Sourcils Sculpting Eyebrow Pencil. And before sending the models along, lashes were curled and coated with black mascara, and lips moisturized with Rouge Coco Balm.
Then the lead makeup artist went to town, framing the eyes with thick swatches of black liquid eyeliner that extended past the outer corners, and topping the stenciled arches with the same formula. Next, he dipped a #21 brush into vibrant cakes of theatrical paint in pink, lavender, sky blue, yellow, green, and coral—employing short, uninhibited strokes of contrasting colors across the lids, above the brows, and along the lower lash lines. While the swatches appear to have been placed at random, there was a method to the madness: Philips used only one hue at a time and blotted each with a tissue before applying the next shade—being sure to leave space between blocks to prevent them from running into one another. In addition, only two colors were applied near the tear duct. “There’s a symmetry to the look, but also calculated mistakes,” he explained. As a finishing touch, a BIC lighter was employed to disinfect and soften the tip of the Le Crayon Khol Intense Eye Pencil in Noir before running it across the waterline. The end result was nothing short of a makeup masterpiece.
While we’ve seen some interesting things done with eyeliner in the past (Peter Philips at Chanel and Fendi anyone?), the bum shot that makeup artist Wendy Rowe posted on Instagram today was certainly cheeky. With denim recently incorporated into Anthony Vaccarello’s and Balmain’s collections, the hunt for that elusive pair that accentuates every curve without pulling across the front or gaping in the back is set to continue for Spring. Here, a black pencil offers a simple (albeit bold) solution to finding the perfect fit.
Peter Philips is known as the master of makeup invention, and when it came to the eyelashes at Dries Van Noten, he certainly spun standard string into beauty gold. After evening out complexions with foundation and powdering the skin, he dusted Chanel Soft Touch Eyeshadow in Ivory (a pearl tone with a hint of shimmer) to provide lids with “a bit of depth.” Then he added sparkle to lashes via metallic thread. “You can never find a gold mascara that does this, and [false] lashes look too drag queen-y,” Philips explained. After snipping the delicate cord into small pieces with a pair of manicuring scissors and dotting models’ natural fringe with eyelash glue, he placed the tinsel-like fibers individually with a pair of tweezers. To frame the face and make the eyebrows uniform, Philips traced slightly outside arches using the Crayon Sourcils Sculpting Eyebrow Pencil in a shade slightly darker than each girl’s hair color; taking away the curve and replacing it with an elongated and angular shape. Lips were toned down with a touch of base just before showtime.
Sharp side parts inspired by Tamara de Lempicka (an art deco painter with Polish roots) and Loulou de la Falaise (Yves Saint Laurent’s muse) were gilded with a mix of hair wax and gold leaf. Hairstylist Sam McKnight washed hair with Pantene Pro-V Aqua Light Shampoo so that it was free of product or shine that would detract from the graphic stripe. He used a steel tail comb to divide the hair from left to right, then worked Sebastian Mousse Forte through the top section and brushed strands behind the ears with a Mason Pearson. A net was pressed over the crown, hit with a blow-dryer, and set with hairspray. The length was left “raw” and misted with water to revive any natural texture. The end result was a look that would make King Midas proud.
Everything is going digital these days—a fact acknowledged by Karl Lagerfeld at Fendi this season. The concept was infused into the collection via graphic shapes rendered in close-cropped fur and bold blocks of chiffon, while face-painter Peter Philips translated the creative director’s “digital code” into one distinctive hit of “chemical peach” on the lips, a shade inspired by the show’s invitation (pictured above). After outlining the mouth with Make Up For Ever Aqua Lip Waterproof Lip Liner Pencil in 18C, he filled it in using Rouge Artist Intense in 39 straight from the tube. “It’s a bit of an odd [hue] that has a very classic feeling—it could be a sixties lipstick,” the face-painter explained, “but it’s also very futuristic looking.” The rest of the face was devoid of color, using foundation and powder not only to lend a “satin-matte” finish to models’ complexions, but for practical purposes as well: “It’s easier to brush the [clippings] from the wigs off of this type of texture,” he said. After running a thin stripe of Chanel Stylo Yeux Waterproof Long-Lasting Eyeliner in Ébène across the upper rims, he curled the top lashes and locked in the shape with Inimitable Waterproof Mascara.
The short and choppy mop tops, created by hairstylist Sam McKnight, were influenced by Lagerfeld’s original sketch, Linda Evangelista in the eighties, the Beatles, and “a little Japanese thing thrown in,” he said. To blur away the individual and create a singular army of Fendi-bots, black wigs were fitted to each girl and tailored into a bowlish shape using a razor. “I wanted to keep it looking wiggy,” McKnight added. “Not kid people into thinking this was real hair.” The imperfect crops were finished with a liberal dose of Oribe Dry Texturizing Spray for a “fluffy, not dirty” finish. If the Kaiser and the King of New York (Marc Jacobs) have given the bowl cut the green light, perhaps it’s time to think about using your dishware for things other than cereal, and replacing the spoon with a pair of scissors. Or maybe just trying the trend on for size at the nearest wig shop…
Few fashion-show teams work the way Karl Lagerfeld, Sam McKnight, and Peter Philips do; like the designs in Lagerfeld’s Chanel Couture collections, the accompanying hair and makeup looks also come directly from his sketches. “Literally he [draws] with makeup,” Philips said of Lagerfeld’s proclivity to pick up lip pencils and powders instead of pens and crayons, which is where the precise idea for the beautifully faded Chanel Joues Contraste Blush in Plum Attraction that Philips applied along the temples, and on the very tops of models’ cheekbones, came from. “[Karl] also made a really strong eyebrow,” according to Philips, so the makeup artist followed suit crafting a “smoky brow,” rather than a smoky eye, diffusing the darker brown shades from Chanel’s forthcoming Les 4 Ombres eye shadow quad in Mystere through arches to keep them thick and sculpted. “It looks a bit futuristic with the set and the theme of the show,” Philips continued, describing the impressive build-out inside the Grand Palais as a “destroyed movie theater with elements of sci-fi.” A thin stroke of Chanel’s Le Crayon Khol in Noir along the outer corner of the upper lash line and a light dusting of the pale gold shade from the same eye palette across lids ensured that even guests in the makeshift auditorium’s cheap seats could catch a glimpse of Philips’ handiwork.
What may have been less obvious from the old-timey wooden chairs that were carefully assembled in the show space was the lack of a noticeable nail color on models’ fingertips, a detail that has become something of a Philips signature over the years. In its place was a newfangled approach to nail art in the form of rings that clipped around the actual nail bed and along each knuckle on models’ fingers.
Sam McKnight was working with his own bit of bling—or “back bands” as he referred to the crystal-encrusted demi-lunes that sat above long ponytails treated with Oribe’s Dry Texturizing Hairspray for a hint of definition after all the kinks had been worked out with ghd’s Eclipse straightener. “It’s a Grace Jones flat-top,” McKnight said of the front half of the dual-sectioned updo, which in some cases was accessorized with a square silhouetted hat, and boasted hints of 1950s rockabilly and eighteenth-century masculine quiffs, “with a huge element of Karl in there as well,” McKnight insisted. Using just models’ natural hair—no extensions—and “quite a lot” of Pantene Touchable Hairspray, the coiffeur admitted that he had chosen the labor-intensive path. ”Wigs are easy; this is very difficult.”