31 posts tagged "Prabal Gurung"
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.
“It’s all about a military look,” Jin Soon Choi said as Prabal Gurung’s women-on-the-front-lines mood board loomed large in the distance (more on the full beauty look in a moment). While female combat fighters likely don’t have time for a mani appointment, that didn’t stop the nail artist from devising a “simple, elegant” motif in their honor. “This is powerful nail art,” she offered, using Gurung’s forthcoming polish collection with Sally Hansen, due out later this year, to paint on a gold base with its lacquer in Coat of Arms, which she topped with two diagonal strokes of Loden Green, an army-inspired olive, creating what Choi described as a “skinny V.” “It’s the new moon manicure,” she insisted—or at least a fun new take on an old classic.
It was so hot and dark backstage at Prabal Gurung’s Spring show, which took place during New York’s early-September, rainforestlike conditions, that there was literally steam rising in the shadows as models assembled in first looks for rehearsal. Discomfort aside, it was the perfect backdrop for Charlotte Tilbury’s makeup look. “It’s a play on ethereal and haunted,” the flame-haired face painter explained as models like Kati Nescher and Joan Smalls blotted the sweat off of their brows, cheeks, and lips in between makeup brush strokes. That Tilbury had committed to an all-cream palette certainly helped matters. “Cream [formulas] makes it a lot easier,” she explained of the look that was heavy on melted-in contours.
After creating a base with MAC’s forthcoming Mineralize Moisture Fluid Liquid Foundation, Tilbury played with a palette of its new Sculpting Creams in Pure Sculpture and Coffee Walnut, working the emollient, earth-toned tints from the hallows of cheekbones up through the temples, along the jaw line, and through the sockets of eyes. Lids were given a touch of highlighter courtesy of a finger-dabbing of MAC Cream Color Base in Luna, a shimmering pearl, before its Prep + Prime Translucent Powder was dragged through the T-zone to further showcase the architecture of the face.
Paul Hanlon’s hair design was similarly amenable to the conditions. “It’s very nineties but also has a Sissy Spacek, seventies vibe as well,” the stylist said of his center-parted, deliberately flat, no-volume coifs. Massaging Schwarzkopf’s Osis Grip Extreme Hold Mousse into the roots and blowing it out for texture, Hanlon raked “loads” of its Osis Magic Finish Anti-Frizz Shine Serum through the mid-lengths to create separation so strands were “ropelike—skinny and languid.” As a finishing touch, he coated his hands with Osis’ Buff Light Styling Cream to smooth any flyways.
Tracylee’s nail designs were probably the closest thing to the contemporary art movement that compelled Gurung’s collection. “He was inspired by Amy Dicke and Anish Kapoor,” said the Sally Hansen nail ambassador, who was looking at a piece of Kapoor’s work when she devised Spring’s “blood-dripped nail.” Using one of the three latest shades from Gurung’s continued partnership with the brand, Tracylee slicked a trickle of Sally Hansen’s Angel Bite, a sanguine red, onto a sheer cream base. Apparition, a gunmetal gray, and Resurrection, a steely blue, will join the deep burgundy lacquer on shelves next year.
“The casting’s really considered, so I thought the hair should be, too,” hairstylist Paul Hanlon said backstage at Prabal Gurung yesterday, where the designer’s “uncursed”-themed show, which explored the ideas of heaven and hell through periods of black, then blue, then gold and white, necessitated a similarly linear coif. “The girls at the beginning have dark, dark hair but towards the end of the show, it’s almost white blond,” Hanlon explained, prepping strands with Tigi Catwalk Curl Collection Curlesque Strong Mousse, blowing them dry, then adding a hit of its Your Highness Weightless Shine Spray, section by section, for a high-gloss finish. “It’s like Sissy Spacek—flat, narrow hair that’s very pure,” he added, fashioning middle parts that kept the hair deliberately graphic so that it didn’t conflict with the embellishments in Gurung’s clothes.
While Hanlon took the designer’s other influence, the Japanese blue rose, as a green light to mimic Asian hair—”it’s very straight; there’s no movement”—makeup artist Charlotte Tilbury chose a much more literal translation of the prized bloom, playing with turquoise, teal, and cobalt shadows and liners for what she deemed a “hypnotic” eye. “There’s always a story here,” Tilbury said, referencing last season’s “intoxicating” tri-colored lips before throwing out Fall’s makeup references, which included Avatar and scarab beetles. Prepping skin with MAC Face and Body Foundation for an “innocent, fresh” finish, Tilbury used blue and green shades from its forthcoming eye shadow palette in Delft, as well as its Pigment in Blue Brown and its Eyeshadow in Fresh Water, to create a wash of iridescent color. MAC Technakohl Liner in Smoothblue was used to rim both the upper and lower lashline. “There’s a dual tonality,” Tilbury said of the corresponsing flashes of aquamarine and teal, which she described as “precise but very raw” (while examining her team’s handiwork, the flame-haired face painter would proclaim, “more like the feather of a bird of paradise” if she felt the pigment had been applied too angularly). “I don’t want to see a mess—it’s still beauty,” she chirped.
The same blue was echoed in the nails in the form of Blue Rose, one of four new polishes in Prabal Gurung’s continuing collaboration with Sally Hansen. Manicurist Jin Soon coordinated the steely shade with Onyx, a black she gave to the show’s first group of models, and Gilded Lily, a dense gold she applied to its final group, who wore the celestial gowns at the end of Gurung’s show. Ivory Skull, the fourth varnish in the collection, will also be available when the range hits stores in October.