24 posts tagged "Prabal Gurung"
The backstory behind the “glass” box on the designer’s runway and the hair and makeup that was built around it goes something like this: “It’s almost like [the girls] aren’t human—as if they’ve been preserved through time, and then, for this one moment, they are let out to feel the reality of the world,” hairstylist Paul Hanlon said without stopping to take a breath. So how exactly does that translate into a look for real, live models?
For maquillage master Charlotte Tilbury that meant creating perfect, pore-less skin using liberal amounts of concealer on the lids, around the eyes, nose, and mouth. Then, topping that with a full face of MAC Mineralize Moisture Foundation and a dusting of finely milled Prep + Prime Transparent CC Powder in Adjust. The cheeks, brows, and lashes were left bare so the lips could take center stage. To create the illusion of a more voluptuous, Irving Penn-inspired pout, the outside of the mouth was slightly overdrawn with lip pencil. Tilbury filled in the middle with three custom-blended shades—Pepto pink, acidic lilac, and bright orange with a kick of red—made using various combinations of Lipmix in White, Crimson, Burgundy, and Orange. The finishing touch was a coffee-colored, feline flick on the upper lash line that was reminiscent of Marilyn Monroe in her last sitting with Bert Stern.
Hanlon’s interpretation of Gurung’s tale required “lots of product” for shiny, “surreal” strands that looked as if they’d been dipped in formaldehyde. He started by making an almost surgical right side part and taming any flyaways with Schwarzkopf OSiS+ Softn’ Straight (a smoothing balm). Next, he doused the hair from the roots to the neck with the line’s Freeze strong-hold hair spray and flattened it against the head by hitting it with heat from a blow-dryer. Wavy “S” shapes were molded into the remaining length using Flatliner heat-protecting serum and a straightening iron. Hanlon misted on Sparkler (a shine spray) to lend a “vinyl” finish to the look.
Eight polishes—three of them being pearlescent pastels developed by Gurung in conjunction with Sally Hansen (available in March)—were used to coordinate with the colors in his collection. And while I hate to say, “I told ya so” (OK, so I don’t exactly hate it), finger painter Ana-Maria used a forthcoming matte top coat over three-quarters of the nail and a glossy lacquer across the tips to create a textural twist on the French manicure. Looks like some beauty trends will forever be sustained.
Once you worked your way around the fifty-plus gowns and frocks that lined the halls at the Mona Bismarck last night for the MAC-sponsored Paris opening of André Leon Talley’s SCAD Little Black Dress exhibition, the gallery spilled into a final space that was the stuff beauty dreams are made of. In a wood-paneled room that looked out onto the venue’s lush grounds hung towering face charts featuring seven MAC-designed makeup looks—with their corresponding product breakdowns—created to complement seven of the show’s standout pieces. “MAC lives fashion 365 days year,” Estée Lauder Group President John Demsey explained of the special addition to the show, emphasizing that more and more, the brand’s sartorial ambitions are branching out beyond its connections to the Fall and Spring ready-to-wear and couture collections to include collaborative capsule ranges with tastemakers and scholastic pursuits that center around style. “MAC has always been referred to as the brand in black, so the little black dress and the little black lipstick sort of went hand in hand,” he elaborated. And let’s not forget its little black eye shadows, eyeliners, and mascaras; where would fashion be without MAC’s fan-favorite shadow pots in Smoulder and Carbon; its eye kohl in Feline; and its cream Fluidline in Blacktrack?
While “[wearing] black is a blank canvas” for makeup, according to Gordon Espinet—the brand’s vice president of makeup artistry, who conceived the individual looks on display—there are certain things to keep in mind when face-painting for an all-black ensemble. “Makeup has no rules; it’s highly personable,” he asserts. “But I tend to go with this: The more embellishment there is on the clothing, the less embellishment should be on the face.” Words to live by.
British singer-songwriter Jessie Ware’s stock is on the rise. In addition to receiving rave reviews for Devotion, her debut album that comes out this month, Ware has booked the Big Three of summer festival slots and will perform at Coachella next weekend, followed by Glastonbury in June and Lollapalooza in August. This week, Ware is in New York for two sold-out shows at the Music Hall of Williamsburg and Webster Hall—and last night’s launch party for Paper magazine’s “Beautiful People” issue, for which she plays cover star. A sucker for eyeliner and big gold hoops, as we learned in Style.com’s Spring Beauty Guide, the songstress displayed a penchant for nail art, too, as she posed on the red carpet with a V-shaped moon manicure—or a “skinny V,” as nail guru Jin Soon Choi called a similar design she created for Prabal Gurung’s Fall show. Thoughts on Ware’s graphic black-and-white manicure motif?
Last Spring, blue made a strong case for eye makeup color of the season, as liners and shadows in shades that ranged from aqua and turquoise to cobalt and navy turned up on the runways in full force. And it’s proved a hard habit to kick for Fall, too, as makeup artists like Diane Kendal and Hannah Murray have turned to midnight and robin’s-egg iterations of the hue at shows like Jason Wu and Topshop Unique, respectively. But there’s another color that’s staking a claim to the season, and it’s a rather unexpected one at that. “There’s a sort of seventies feeling to it,” James Kaliardos said of MAC’s forthcoming Rusted Red cream eye shadow that he blended onto lids backstage at Diane von Furstenberg, which followed a similar move by Charlotte Tilbury at Prabal Gurung, where she used the ruddy color to create a fresh, young, stained effect on eyes. In their more saturated outings, cranberry lids have showed up at Cynthia Rowley, courtesy of Romy Soleimani and her trusty compact of Stila Eyeshadow in Pigalle; at Altuzarra, where Tom Pecheux swiped MAC’s metallic raspberry eye shadow in Loves Lure underneath models’ lower lash lines for a “spooky” feel; and just yesterday at Gucci, where Pat McGrath borrowed a deep claret from Frida Giannini’s collection and turned it into a greasy, bold eye, replete with bleached brows for a molten finish. We have a feeling it won’t be the last we’ll be seeing of the color in Europe.
Prabal Gurung’s Fall mission was made immediately clear to anyone who stepped foot backstage before the show. There, at the entrance, was a large white mood board scattered with pictures of servicewomen. “He was telling me about how in the American army they just let women go to the front lines,” British-born hairstylist Paul Hanlon explained of Gurung’s directive for the season. “So he didn’t want anything too fussy or glamorous,” Hanlon continued of the “rough and disheveled” buns he devised for the occasion. Raking Schwarzkopf OSiS Quick Volume Mousse through lengths to give hair texture, Hanlon liberally applied its Dust It Mattifying Powder—”about a bottle per girl”—to roots for a drying effect. “She’s been outside, and she just pulled her hair back,” he elaborated of the style, which prompted him to add wind-blown wisps that were deliberately blown back with Schwarzkopf OSiS Elastic Flexible Hold Hairspray, “so it’s more savage,” he contended.
Makeup artist Charlotte Tilbury was going for a similarly “empowered, fighting in a female army” look, but not in a “nineties, Amazonian kind of way,” she insisted. Instead, Tilbury created strength with a fresh, young “natural knowingness,” that started with a blend of earth-toned, cream pigments from MAC’s forthcoming lip palette in This Is Autumn, Red Statement, and Rich New Mood that she dabbed onto the tops of cheeks. “This makes it a little ruddier,” she said, layering on its Paint Stick in Deep Brown, which she also blended across lids. Skipping her signature contours, Tilbury kept the rest of the face simple, brushing brows up with MAC’s clear Brow Set and slicking a moisturizing lip balm onto mouths.