April 18 2014

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120 posts tagged "Peter Philips"

Artists in Residence



This past season, one of the most impressive runway displays was the double-C branded “art gallery” at Chanel. It was dreamed up by (who else?) Karl Lagerfeld, and makeup guru Peter Philips took his cues for the painterly eyes from the freestanding sculptures and canvases flanking the catwalk. Hairstylist Sam McKnight was also influenced by this world, but instead of the actual pieces hanging on the walls, the flared-out wigs were inspired by the women that buy and sell them: “In my head, I was thinking that [the models] should look like those expert art ladies who are dressed in all black and slightly eccentric,” he explained backstage. With so much creativity coming into play for Spring 2014, we asked the beauty pros for the cultural hot spots—ranging from ballet to Basel—they’ll be hitting this holiday season and beyond in this month’s guide.

Photo: Alessandro Garofalo/

Make Your Mark With Temptu


temptuBackstage, there was a lot of airbrushing going on, but the pros weren’t perfecting complexions Photoshop-style—far from it. Pat McGrath scrawled muted shades of mustard, green, purple, and blue across lids at Prada, while Peter Philips erased hairlines at Alexander McQueen by blasting models’ foreheads with black paint. McGrath admitted that the spray gun was “a new medium” for her, but true to form, she managed to use it in an unconventional way that would make graffiti legend Banksy proud.

Interested in “tagging” a few features of your own? Get your hands on the limited-edition version of Temptu’s Airbrush Makeup System that features a removable GelaSkin designed by Jade Lai of Creatures of Comfort. The navy sticker that covers the machine’s base is dotted with the same dandelionlike pattern printed on the skirts, shirtdresses, cropped pants, and tanks in Lai’s Spring 2014 collection. Create a flawless canvas by applying the Airpod Foundation and Blush (included in the kit), then take a cue from this season’s European runways and color outside the lines.

Temptu Limited-Edition Creatures of Comfort Kit, $149, available at and NYC and L.A. Creatures of Comfort boutiques.

Photo: Courtesy of Temptu

Throwback Thursday: Work of Art


Tatiana Patriz by Michel Comte, Elle FR-cropThrowback 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.

Photo: Michel Comte for French Elle, 1985; courtesy of

Helmet Hair, Backstage at Alexander McQueen


AlexanderMcQueenAlexander 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.

Photo: Gianni Pucci /

Gallery Girls, Backstage at Chanel


ChanelKarl 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.

Photo: Gianni Pucci /