10 posts tagged "Peter Som"
Pastel-colored hair streaks have enjoyed a longer stay of execution on the runway then some members of the style set (this one included) are willing to believe. So when we arrived backstage at Peter Som this morning only to see that they would be making another appearance here for Spring, we definitely took pause. And Wella Professionals global creative director Eugene Souleiman noticed. “It’s good clothes, bad hair,” he admitted, explaining that his goal was to counterbalance Som’s “very rich-looking” collection with something deliberately “distressed, vintage…and patchy.” So he collaborated with Wella color ambassador, Aura Friedman, to work mineral-hued dyes—tourmaline, amethyst, teal, denim, and dusty rose—into a series of long weaves. “I wanted it to feel very spontaneous,” Souleiman said, gluing the hairpieces into “unusual” parting patterns while prepping strands with Wella’s Ocean Spritz Beach Texture Spray to create a matte feel. “It’s meant to be visual, not technical,” he insisted, pointing out that application is key when it comes to keeping pops of color from looking less contrived, and more “tough and cool.”
Makeup artist Tom Pecheux also had juxtaposition on his mind. Describing Som’s clothes as “more grown up,” Pecheux was intent on keeping faces playful. “When you become an adult, you do everything for a reason; kids do everything for no reason. Like, [their] drawings are amazing,” he said, explaining the thought process behind the finger-painted, “innocent” pastels he used on models’ eyes. Dusting lids with MAC’s forthcoming Eyeshadow in Sunshine, a sunny yellow, Pecheux applied another wash of pigment through the crease in varying shades of orange, blue, green, pink, and mauve. As a finishing touch, he left a darker thumbprint right below brushed-up brows, using a more concentrated dose of one of five corresponding MAC Paintsticks. Mouths were kept nude with varying slicks of MAC Lipstick in Luxe Natural and Posh Tone. As far as who got what eye-shadow combination, Pecheux left that to models’ whims. “As soon as it becomes too studied, it loses the innocence.”
“Nail art is not going away,” Deborah Lippmann told us last season, and if there’s one thing we can already report from the backstage trenches after two days of shows, she continues to be correct for Spring. Lippmann brought her own high-design touch to Kate Spade today, where she churned out a series of multicolored gingham prints with polish, but it’s a continuation of the artful French manicure that she previewed at Donna Karan for Fall that seems to have staying power. A mattified, black-on-cream iteration stole the show at Tanya Taylor yesterday, and this morning at Peter Som, it was an orange-on-mint green version that had everyone talking. Custom-created for Som, two coats of Zoya’s pastel lime Neely were topped with a bold stroke of the mandarin Sharon. Both will be sold in a trio kit with Jacqueline, a creamy beige, starting…now: The limited-edition collection launched right after Som’s 10 a.m. show and will be available at www.zoya.com while supplies last.
“I remember when Peter was making clothes for teenagers,” makeup artist Tom Pecheux said backstage at Peter Som this morning, reminiscing about his long-standing relationship with the designer. “But every season, his woman is growing up,” Pecheux continued. Fall 2012 is no exception. To contrast the “grown up” feeling of Som’s clothes, as Pecheux described them, the facepainter kept complexions deliberately fresh with a matte finish to add sophistication. Prepping skin with MAC Mineralize Charge Water Moisture Gel, he worked its Matchmaster Foundation into the skin with his fingers so that the layer of MAC Prep and Prime Translucent Finishing Powder he applied on top would sit flawlessly. “[If you're using a powder], you need to drop your brush, drop your sponge when you apply the foundation,” Pecheux explained of the technique. To maintain a hint of youthfulness, he created a sculpted contour with MAC Mineralize Blush in Stratus, a beige pigment laced with the surprising addition of iridescent lavender. The only part of the face that had a dewy component were eyelids, which were given a slick of MAC Lipstick in Delectable Mattene, a warm peach, that was also applied to lips and matted down with translucent powder. As a finishing touch, Pecheux feathered lashes with a brown mascara and filled in brows to create the illusion of “women with confidence.”
For Wella Professionals global creative director Eugene Souleiman, it was about a confidence that read very masculine. “We’re not making them look pretty like we usually do, we’re making them look handsome,” he said coating models’ hair with Wella Ocean Spritz Beach Texture Hairspray before carving out a deep side part that he left polished on top. “It has a very mid-90s feel to it—Helmut and Calvin when they were major,” Souleiman explained gathering the lengths and pulling them into a low-laying bun that he would ultimately undo to reveal a texturized bend. “It’s perfection with rawness,” he concluded.
In case it wasn’t clear—what with the banana-shaped eye-liner application, spider lashes, and all—Fall’s sixties-inspired beauty look was back in full effect for Spring at Peter Som this morning. “I noticed a little bit of a sixties detail in the collection in the shape of a sleeve or the length of a skirt,” face painter Tom Pecheux confirmed. He also picked up on what he described as a “sophisticated, but young and fresh” feeling in the clothes, which was why he chose to incorporate a fun pop of color into the makeup look. Sculpting cheeks with MAC blush in Peaches and Fleur Power, Pecheux devoted most of his attention to custom-blending violet/burgundy lids. After applying a dusting of MAC’s forthcoming Extra Diversion eye shadow in Young Venus, a shimmering purple, he carved out the crease with its eye shadows in Fig. 1 and India Ink before using its Chromagraphic pencil in Rich Purple to line the bottom lash line. A tawny pink lip and MAC’s Pro Lash mascara in Black on both top and bottom lashes hammered home the Twiggy effect.
Wella global creative director Eugene Souleiman was more trying to channel Julie Christie and fashioned his streaked, deep side parts accordingly. “It’s kind of sixties, but less ladylike and much more cool,” he said. After applying the ombré rose gold and steely lavender extensions, custom-dyed by Wella color ambassador Aura Friedman for the occasion, Souleiman prepped hair with Wella Perfect Setting lotion to add texture and a worn-in feel. “The color purposely has roots so it looks like the girls colored their hair three months ago and really don’t care that it’s grown out,” Souleiman elaborated. To further the “cool” vibe of the apathetically unkempt, he tied a side section of hair at the nape of the neck and spritzed on a halo of Wella’s Ocean Spritz salt spray as models made their way to the runway, massaging it in with his fingers for a “raw, Courtney Love kind of feel.”
Twiggy may have favored the sleeker, side-parted chignon that Guido Palau revisited at Alberta Ferretti this season, but the rest of the Sixties social set was much more interested in styles embodied by a single word: height. And so, to properly compliment Tomas Maier’s shift dresses and cardi sets at Bottega Veneta this weekend, Palau provided just that—heavily backcombed, texturized updos. “Rich ’60s glamor” is how he described his coifs, which he prepped with Redken Guts 10 Volume Spray Foam for body, side parted and gathered into either a low ponytail or a French twist, pinning and securing with a halo of Redken Forceful 23 Super Strength Finishing Spray. It harked back to the volume and silhouette of Sam McKnight’s streaked, rolled, Hitchcockian styles at Fendi last week, Eugene Souleiman’s half-up, half-down version at Peter Som, and the towering designs at Ruffian and Suno as well. Like the tall toppers that made a splash for Fall 2010, high and mighty is turning out to be a, um, big idea for Fall 2011.