100 posts tagged "Peter Philips"
“There’s a Fred-and-Ginger theme,” Peter Philips revealed backstage at Dries Van Noten, explaining the designer’s nod to the thirties-era dance duo. Uninformed, and you’d have been hard-pressed to pick up on it. “We wanted to avoid [the makeup] becoming too ballroom,” Philips explained while beefing up brows with Chanel Crayon Sourcils Sculpting Eyebrow Pencils and contouring lids with the dark brown and nude colors from its Les 4 Ombres Eyeshadow Quad in Prelude—which is why he chose to complement the gem-encrusted necklaces, brooches, and earrings models wore on the runway with something unexpected. Instead of opting for more retro-glamour elements—a red lip or a heavy lash, for example—Philips gave nine girls “a bejeweled ear,” using special-effects adhesive and a treasure trove of different-shaped crystals. “We tried it on the face, but we’ve already seen that. Topolino did it in the eighties,” he said of the gleaming mosaic embellishments, referencing the legendary Italian face painter who made metal facial studs and mixing mediums something of a signature. Keeping skin purposely matte to “enhance the sparkle” of those creative crystal cuffs, Philips treated complexions to Chanel’s Perfection Lumière Long-Wear Flawless Fluid Makeup before dusting on an allover application of its Poudre Universelle Libre.
“It’s basically women wearing men’s clothes, and the end is more Hollywood,” Paul Hanlon elaborated of Van Noten’s collection. “But with Dries, it always needs a contemporary feel,” he continued, dampening hair with Bumble and Bumble Styling Lotion and fashioning a side-slung part that segued into a marcel wave across models’ foreheads. True to form, Hanlon insisted on pulling the waves apart just before the show to ensure a messy “as though she had [the style] a week ago” feel. Perfection often lies in the imperfections when this hairstylist is concerned.
The mulberry mouth that dominated the Fall 2012 shows is having a bit of a resurgence this season, although it’s popping up in a few unexpected variations. “Kiki de Montparnasse. That was the reference for the lip,” Peter Philips said of the burnt-purple pouts he masterminded backstage at Fendi, explaining that the vampy jazz-age Parisian artist and muse served as a good starting point for the conceptualization of “a retro element that at the same time looked punky.”
Keeping skin matte with Chanel Pro Lumière Professional Finish Makeup and a dusting of its Poudre Universelle Libre, Philips concentrated his attention on an equally powdery pout, which he coated with its Rouge Allure Velvet in La Provocante. “The brows are strong because there is nothing on the lids,” he continued, brushing up arches and grooming them with Chanel Crayon Sourcils Sculpting Eyebrow Pencils before lacquering nails with a complementary shade of Le Vernis de Chanel in Vendetta, a rich blackened aubergine.
Sam McKnight was going for a similar edge. “Punk’s an idea that has been floating around,” the hairstylist confirmed of one of the season’s reigning themes, which led him to prep strands with Pantene Pro-V Deep Moisture Soufflé before weaving a ridged, Mohawk-inspired braid. “Karl [Lagerfeld] loves a graphic shape,” McKnight continued of the creative process that evolved to include spray-painted fox-fur headpieces pinned to the top of models’ coifs to add an embellished element to the silhouette. Finishing the look with a mist of Oribe Superfine Hair Spray, McKnight left the length of his plaits varied—on purpose. “I love all the bobs,” he effused of the bevy of short haircuts models like Daria Strokous, Kel Markey, and Karlie Kloss brought to the casting. “I feel it’s a little old-fashioned to have everyone have the same hair for a show, anyway.”
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: Benedetta Barzini
The Moment: Lace eye appliqués
The Motivation: Decorative, 3-D eye adornment has been getting a lot of traction of late, what with Pat McGrath’s stick-on metallic green triangles at Atelier Versace and Peter Philips’ gorgeous tulle lashes at Chanel Haute Couture making the rounds on the blogosphere earlier this month. Using mediums other than plain old pigment and powders to embellish lids and brows is a long-standing beauty tradition, however: Diana Vreeland’s creative team ordered up this well-placed swathe of black lace for a 1964 Vogue editorial starring model Benedetta Barzini, which was applied above a jaunty cat-eye drawn on both the upper and lower lash lines, and on top of a swipe of matte white eye shadow—a good trick to ensure the precise latticework is that much more evident. Not convinced you’ve got the steady hand for this kind of task? A little trial and error with makeup artist Phyllis Cohen’s Face Lace decals should do you one better.
Peter Philips has been making a case for the statement eye a lot recently. The Chanel creative director of makeup added “a touch of edginess” to Karl Lagerfeld’s tartan-rich Métiers d’Art pre-fall collection in December, while a “kind of heavy-handed,” black-rimmed silver lid colored the designer’s Spring show. At the house’s couture presentation this afternoon, it was much of the same.
“We created the eye applications specially for this show,” Philips said of the pieces of leaf-shaped tulle that Maison Lemarié cut using the same strips of fragile fabric Lagerfeld employed in a series of delicate hair pieces. “The makeup is almost an extension of the head accessories,” Philips continued, pointing out that each feathered clip-in that Sam McKnight affixed to models’ messy updos covered one eye, revealing only half of the face, the entirety of which still needed to be primped to perfection.
Creating a flawless base with Chanel Vitalumière Aqua Ultra-Light Skin Perfecting Makeup SPF 15, Philips swept on a touch of its Joues Contraste Powder Blush in Frivole, an extremely flattering peach hue, before building a standard smoky eye around the appliqués with its Stylo Eyeshadow in Black Stream and Stylo Yeux Waterproof Long-Lasting Eyeliner in Noir Intense. Natural eyelashes were treated to multiple swipes of Le Volume de Chanel Mascara in Noir to add further intensity. “In close up, you feel the fragility of the textures and materials, and from a distance, the look feels much darker,” Philips points out of the particular paradox he was striving for with the makeup—and the nails. Fingers were treated to two coats of Le Vernis Nail Colour in Emprise, a pale coral, while toes were varnished with its Black Satin for contrast. No detail was overlooked, as per usual.
Temperatures reached a low of 30 degrees Fahrenheit last night at Scotland’s Linlithgow Palace, where the Chanel faithful had gathered to watch Karl Lagerfeld’s latest Métiers d’Art triumph. Brand ambassadors like Caroline Sieber and Poppy Delevingne braved the front row in towering fur hats to fight the chill at the castle’s open-air hall, which left the French house’s creative director of makeup, Peter Philips, in the precarious position of creating a look that could withstand the elements. “When applying makeup in rough weather conditions, it’s important to use a good moisturizer and a bit more coverage in your foundation,” he pointed out backstage, where he was busily sculpting “pure skin” with a “fresh, crisp glow” courtesy of Chanel’s Vitalumière Éclat Compact or Mat Lumière Long Lasting Soft Matte Makeup SPF 15, depending on the girl. “I need to use [something] that can stand in this cold,” he reiterated, adding a deliberate dose of its Joues Contraste Powder Blush in Rose Initial to create a wind-swept flush that, quite frankly, needed little coaxing by way of cosmetics.
But the evening’s beauty focus was on both the skin and the eyes, Philips emphasized. “It’s a soft, fresh look with a subtle edge,” he said, explaining that Lagerfeld wanted a little something extra on lids that would complement Sam McKnight’s elaborate range of braided and back-combed updos, equipped with pieces of Chanel Fine Jewelry, without the whole thing becoming “too costume.” Building a base of soft shading and highlighting with Chanel’s forthcoming Les 4 Ombres Quadra Eyeshadow in Raffinement, Philips added a “touch of edginess” with precise strokes of its Stylo Yeux Long Lasting Waterproof Eyeliner in Noir Intense under the lower lash line and at the upper corners, tracing the inner rims with its Le Crayon Khôl Intense Eyeliner in Clair as he went. “It’s between a dancer’s makeup and a punk look,” he surmised, skipping mascara and brushing on a thin coat of Chanel Glossimer in Plaisir, an innocent pink, on the lips to “keep a fragility.” The punk bit was repurposed on nails that were painted a shimmering shade of dark blue/violet with Chanel Le Vernis in Taboo, which will make its debut next year. If you can’t wait to slick on two coats while layering your best tartans and tweeds, you’re not alone.