118 posts tagged "Peter Philips"
Throwback Thursday is a column 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 Moment: Painterly Makeup
The Model: Tatjana Patitz
The Motivation: The no-makeup makeup trend may have ruled the majority of runways this season, but we can always rely on Chanel (and Peter Philips, in particular) to bring us something spectacular. Matching the impressive set—an art gallery full of double-C art—came bright brushstrokes swatched across eyes. Philips said he was inspired by Karl Lagerfeld’s creations (both flanking the runways and worn by models), but the above shot from a 1985 edition of French Elle could very well have been pinned to his mood board, too.
Alexander McQueen’s woman is never a wallflower and always a warrior, hair pro Guido Palau explained, fitting all forty models with metal helmets (designed by both Sarah Burton and himself). And similar to the many wigs we saw for Spring 2014, the armor was meant to provide “instant character” and “unify,” rather than reference a certain period—citing everything from Tron to twenties bobs as an inspiration for the final shape. Since the “head jewelry” was one-size-fits-all, Palau slicked back strands using Redken Hardwear 16 Super Strong Gel and pinned sponges in various places to prevent anything from wobbling on the runway.
With Jean-Michel Basquiat serving as one of the references, face painter Peter Philips perhaps looked to the artist’s early days, when he dabbled in graffiti on the Lower East Side of New York City, and blasted hairlines with Fardel water-based black pro paint using an air-brush system. “I wanted to create a shadow that would connect the face to the helmet and make the models more anonymous,” he said, also noting the Maasai people and how he aimed to create a tribelike effect. And while Philips said he’d normally describe the house muse as a “nonexistent girl,” this season she retained a sense of reality, as the skin was kept natural in lieu of porcelain doll- or alien-like complexions. “They’re warriors, but not space warriors,” he said of the finished product, bringing the fantastical McQueen woman slightly (and I reiterate, slightly) back down to earth.
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.