Subscribe to Style Magazine
125 posts tagged "Peter Philips"

Beauty Sound Bites: Stick to the Point(s)


chanel-eye“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.

Magical Manes and Sophisticated Sparkle, Backstage at Chanel


ChanelMakeup artist Peter Philips confessed that this season’s beauty look was built from the ground up—literally. Those hand-embroidered sneakers by Massaro conveyed such a new attitude in themselves that playing with iridescence in terms of makeup became self-evident. “I wanted to do something that stood out with lightness but at the same time was elegant and couture,” he said. Mission accomplished. Philips started with Chanel Perfection Lumière Velvet foundation (launching in March) to create a matte finish, “because all the shine had to come from the eyes,” he noted, and dabbed a touch of powder blush in Espiègle on cheeks and across the chin. Then came a stroke of black Ligne Graphique liquid liner and ample coats of mascara, which tempered the hologram glitter in various sizes that he applied under the otherwise unadorned lower lashes. “The eyeliner makes it chic and iconic, but then you’ve got the sparkle that feels relaxed and fresh yet creates magic,” he noted. To finish it off, Philips reached for Rouge Coco Shine lipstick in Satisfaction (out next month). “It’s a great color, because if models’ lips are naturally too red, it tones them down; if they are too pale, it brings in just the right amount of color,” Philips explained. For a bit of discreet sparkle on nails, he opted for Le Vernis in Frisson, a rosy iridescent lacquer.

Asked about his inspirations, hair guru Sam McKnight reached for his iPhone and fished out a few sketches Karl Lagerfeld sent over a couple weeks back. “He specifically said he wanted something kind of undone and asymmetrical.” McKnight’s solution: extensions that matched each model’s hair color attached to headbands (shown below). The faux strands were flatironed to stand at attention, creating the impression that the girls had just tied up their hair and left the spiky ends out. “You could say the hair had to correspond to the sneakers, too,” he said. “It had to capture an attitude, it had to be a little sporty, but it had to be a look—for couture, it couldn’t be nothing.” Ultimately, he quipped, “what it became is a version of nothing.” Not exactly much ado about nothing—the finished product was as fantastical as the footwear.


Photo: Sonny Vandevelde/; Instagram

Flashback Friday: String Theory


carly-hangerFlashback Friday is a 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: Carly Hanger

The Moment: Eye Appliqués

The Motivation: We’ve seen neon triangles, crystals, pearls, neoprene, and lace applied to lids backstage. So upon stumbling across this image shot by Donna Trope, we couldn’t help but think of the last time we saw a makeup artist spin a standard spool of thread into backstage beauty gold. At Dries Van Noten’s Spring 2014 show, master of invention Peter Philips painstakingly layered tiny strands of tinsel-like string across models’ lashes with tweezers for a subtle—but striking—effect. Eye-catching, indeed.

Photo: Donna Trope, courtesy of

All That Glitters Is Beauty Gold



This year provided a plethora of New Year’s Eve-worthy looks, and the man that pulls off glitter better than any other on the runway is Peter Philips. Always the master of invention, he created ear cuffs composed entirely out of crystals at Dries Van Noten for Fall, only to follow it up the next season with tinsel-coated lashes (accompanied by gold-slicked side parts by Sam McKnight). And at Chanel, he rimmed upper eyes with a flash of silver glitter that could be seen from every seat in the house. In our esteemed opinion, Philips gets top honors for the most dazzling displays of 2013. Now if only we had a sparkly statue to commemorate the occasion…

To see more brilliant looks, read “2013: The Best of Backstage.”

Photos: Sonny Vandevelde /; Photo: Michele Morosi / InDigital | GoRunway

Chanel Channels the American Spirit



The women that walked Chanel Pre-Fall last night wore their war paint well—baring cheeks, lids, and temples that were burnished with gold and silver cross-hatching, inky black mascara and liner on top lashes only, and natural, pink-toned lips. To complement the makeup created by Peter Philips, Sam McKnight tucked double-C stamped feathers into select models’ wind-tousled low ponytails, while others sported a Lady Gaga (the early years)-style bow comprised of actual strands. Who knew playing cowboys and Indians could be so chic? Well, I suppose Karl had an idea.

Photo: Instagram