56 posts tagged "Prada"
It’s been less than a year since makeup artist Nick Barose started working with Lupita Nyong’o, but he’s dolled her up for countless events (seriously, we tried to count, but got tired and gave up). That’s what happens when your client goes from being an unknown ingenue to an Oscar-winning international fashion icon in just eight months. And yet we still always look forward to seeing what Nick and Lupita come up with next, because unlike so many other A-listers who love to play it safe with a signature makeup look, this duo never fails to throw a surprise or two into the mix.
For tonight’s Met Ball, the twist comes in the form of metallic purple eye shadow—a playful contrast to Nyong’o’s green Prada gown and new raisin-colored strands. “The dress has a Josephine Baker vibe to it, and she’s wearing a headband that’s very dramatic, so I didn’t want the makeup to be too strong,” explains Barose. Here, the scoop.
The inspiration: “I’ve been looking at a lot of old photos from the 1920s to the 1950s, but I didn’t want to give her a specific period look. Her eyebrows have a classic, Grace Kelly kind of shape, and the smoky eyes look like they could be from the twenties or thirties—but the color is very seventies. So it’s a bunch of stuff I collaged together.”
The process: “I saw Lupita this weekend in D.C., so I showed her the kind of colors I wanted to use, but we’re both very laid-back about it. I show her so many ideas, but there are so many elements that play into [the look] that it’s good not to get so married to the one idea in your head. It’s good to go with the flow because it’s never going to turn out exactly how you picture it. For example, I came up with the lip color at the last minute.”
The look:“I did purple smoky eyes to contrast with the green dress. I didn’t want it to be matchy-matchy. On her cheeks, I used sheer powder blush in fuchsia. With dark skin, you can wear something bright and blend it down. It still pops, you just have to use a light hand. And on the lips I did a bronzy, berry-toned lipstick. Green is such a strong color that the lips can’t be too red, because then it competes. Same thing with purple—on dark complexions it really blends in well. Bronze would just disappear, so purple was the better option for something dramatic but not too loud. Especially because tonight it’s about the outfit.”
Prada’s latest eau out next month, Candy Florale, revolves around an imaginary flower—its heart described as “a tender bouquet of cosmos.” And for the always-inventive Miuccia Prada, one would expect perfumer Daniela Andrier to go to the moon and back, bringing with her a bloom not of this earth as a souvenir. With a flair for the theatrics (illustrated by the house’s most recent menswear and ready-to-wear shows, separated into two acts) the brand called upon Steven Meisel and Léa Seydoux to bring the scent to life. The French darling plays the role of Candy, a bombshell with bangs who understands the power of seduction, and as exhibited by the brand’s last campaign for Candy L’Eau shot by Wes Anderson and Roman Coppola, uses it to her full advantage—enchanting not one, but two men. In the latest ad, however, Seydoux appears sans suitors (or clothing, for that matter), floating among graphic, black-and-white flora. In response to working with Meisel, the actress said: “It was the first time that I’d worked on a film with someone who is essentially a photographer—it was a really interesting experience because Steven Meisel has such a precise vision of what he considers to be the perfect image.” Meisel’s in-the-buff interpretation calls to mind another fragrance and blond seductress: Marilyn Monroe famously stated that she wore nothing but Chanel No. 5 to bed, and we imagine Seydoux (donning Candy Florale, of course) does the same.
Tattoos have quickly become more commonplace backstage—models are not the blank canvases of seasons past. Yesterday at Prada, I saw a makeup artist hard at work with a concealer palette in hand, doing her best to camouflage a feather inked on a model’s neck. And of course, Cara Delevingne’s many tats made an appearance at Fendi (albeit all were covered up, either by white gloves or a face-framing fur hat). One spot I haven’t seen get much attention, however, are the cuticles. Sure, Delevingne has a lion permanently drawn onto her forefinger, but the area surrounding her nail still remains pristine. Leave it to London-based Ciaté—the company that brought velvet, caviar, and chalkboard manicures to the masses—to change all that with its latest launch: Cuticle Tattoos. These temporary transfers featuring bows, blooms, stars, and diamonds are designed to be positioned on the skin just outside the nail bed. It seems beauty brands have moved beyond nail art and are seeking (slightly) higher ground.
The same “clogged” lashes and tight chignons seen at Prada’s menswear show (featuring both sexes) made an appearance yet again in “Act 2″ for Fall 2014. This time around, however, additional characters were added to the Luchino Visconti- and Pina Bausch-inspired mix via red lipstick and blue shadow. A handful of the cast received a stained cherry lip in addition to their clumpy fringe, while others had both a crimson pout and a “worn-off teal-blue” shade washed across their lids. “In a way, that red lip, black mascara, blue eyeshadow is the beginning of makeup, isn’t it?” makeup guru Pat McGrath asked editors rhetorically backstage. “There’s something quite powerful about that on a face that’s so full of character and womanly,” she added. As for having models apply their own lipstick to capture the “imperfection” and “realness” Miuccia Prada was after, that idea made McGrath understandably a bit nervous. Before being handed a tube, one of the models whispered to another, “I will be so bad at this—I’ve never worn red lipstick.” And when you have to apply it for the first time in front of a face painter who was recently recognized by the Queen of England for her superior skills, well, that would make even an old pro a tad intimidated. With some coaching from the sidelines—”Take your time, darling, don’t make it bad,” McGrath pointed out to one of the girls as she quickly slicked the bullet over her lips—the results were surprisingly impeccable. “I might get in trouble because they’re too perfect,” the master of maquillage quipped.
“She loved the idea of ballerinas,” Guido Palau said of his conversation with the designer. “When a dancer goes out after a performance, she shoves on her coat, does her lip, and her hair is just pulled back, or she doesn’t change her hair after the performance, she just leaves it—there’s an elegance to it.” Before crafting “severe but basic” knots, Palau raked Redken Move Ability 05 paste through strands before tying them off into a pony, coiling the tail and pinning it in place near the nape to show off the neck. “There’s a feeling of hands [in the hair], an imperfection to its perfection,” he explained. The finished package was a beauty look we didn’t mind making a second curtain call.
What a difference a day makes—at least in the red-carpet life of Léa Seydoux. The French actress/model arrived for a photo call celebrating the BAFTA EE Rising Star Award nominees in London wearing a floral-printed Miu Miu dress and a powder pink Prada jacket, with pared-down pastel makeup to match. At last night’s National Board of Review Awards Gala in New York City, however, she turned up the glamour factor with gold and green eyeshadow and bold berry lips. In contrast to Monday’s strawberry blond hue, her hair also appeared a richer shade of auburn in the most recent snap. But considering the fact that she flew across the pond in time to turn up for yet another event, I doubt she had hours to spare and spend at the salon (unless, of course, she transformed herself at 35,000 feet like Lady Gaga). I’m attributing the slight tonal change to lighting and strands drenched with styling products. What do you think?