23 posts tagged "Rag & Bone"
Flashback Friday is a column 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: Arizona Muse
The Moment: Tropical Punch
The Motivation: When I came across this photo of Arizona Muse by Patrick Demarchelier for British Vogue‘s February 2012 issue, I immediately longed for summer, or at the very least, a vacation in a warm, palm tree-laden destination. But aside from daydreams about jet-setting to an island that’s far sunnier than Manhattan at the present time, I noticed that Muse sported multiple Spring 2014 trends: pastel-blue shadow (seen at Miu Miu), along with bold lips (on display for the first time at Rag & Bone). And instead of being swirled on her apples, the blush was dusted low on her cheeks (a technique face painter Tom Pecheux employed at Marni). While I’m not one to wear color in more than one place, Muse certainly makes a case for breaking the makeup rules.
Lipstick has never been easy for me. The bright zing of red, orange, or pink on the mouth has never been my style. Oh, trust me, I’ve wanted it to be—there’s something effortlessly cool and quirky (traits I deeply admire) about the saturated lip effect. But I’ve never been much good at it, you see. Finding the right shade is challenging because, as I’ve learned, the wrong tone of crimson or coral can really make you appear like you have caught a bad stomach bug, or perhaps even worse, are trying oh-so-desperately hard to wear a certain “look.” The odds of me wearing lipstick became slimmer after I had two kids, and the fear of kissing off any kind of vivid pigment on their chubby cheeks further convinced me to stick to simple, clear lip balms (or maybe a tinted rose if I was feeling bold). But I can’t deny the siren appeal of the rainbowlike bullets. The spring runways were full of optimistic inspiration, too, particularly in the form of matte orange shades seen at Rag & Bone, Prabal Gurung, and Fendi, where a pinky-orange made me blink twice at its beauty. Sigh, if only.
Well, OK, full stop on that pining. As luck would have it, a perfumer friend of mine passed along a sample of Albeit Matte Stylo Stick in Geranium, a new release for fall from Anthropologie. I admit, it sat in my handbag untouched for almost a week. But the other day, I traced on the rosy coral and was completely transformed. The tip of the crayon is conveniently shaped to conform to the contours of your mouth, making it ridiculously easy to apply on the go (no fancy lip brush required). The papaya-rich, nourishing formula is an appealing cross between a lip balm and lipstick, so it melts into your skin for a complexion-flattering finish that doesn’t fade away too soon. In fact, if you blot and reapply, the color lasts a good three to four hours. As for remembering to wear it in the first place? I’ve discovered that time-honored secret shared among lipstick girls: When your color looks this good, that’s all the motivation you need.
Gucci Westman claims that she knows more about Manchester United (a British soccer team), and coaches leaving and coming thanks to her designer husband David Neville, than she does about makeup—but we beg to differ. Inspired by the bright colors and fervor surrounding the impending World Cup in Brazil, the face painter took a new approach at Rag & Bone. “It’s [the label's] first-ever lip adventure—I’ve done a stain, but never anything this full-on,” she says. A blend of Revlon Super Lustrous Lipstick in Carnival and ColorBurst Matte Balm in Mischievous (out in January) was applied with a brush, but the rest of the face was made up using mostly fingers—Westman told her team to press the product into the skin for that lived-in look.
The lids were slightly more toned down in comparison to the models’ orange pouts—a combo of ColorStay Shadowlinks in Charcoal, Onyx, and Cocoa was applied and then wiped off using flat cotton swabs and makeup wipes. Post-shadow deconstruction, Westman applied a mix of Elizabeth Arden Eight Hour Cream, Dr. Hauschka Eye Contour Day Balm, and Revlon Skinlights Face Illuminator onto lids for extra sheen and rubbed a shimmery brown powder shadow along the lower lash line. Her inspiration: makeup leftovers after a really fun night out. “The next day you look pretty good, even though you’re hung-over,” she joked. The rest of the face was kept simple—defining only the brows with a pencil and using Illuminance Cream Shadow in Not Just Nudes on cheeks and Skinlights in Pink Light (also launching in January) on the cheekbones, bridge of the nose, and chin for additional glow. Westman topped everything off with a spritz of Evian Brumisateur Facial Mist to give the girls a fresh, dewy look.
Guido Palau set out to reinvent the brand’s cool, wearable hair using only two products. He made clean center parts with a comb and slicked strands down around the crown to the point just above the temples using Redken Forceful 23 finishing spray. For contrast and texture, he wet the length and worked in the lotion-like Satinwear 02 before letting the hair air-dry. And instead of being hidden, the ears became the focal point of the style—with small sections being pulled out in front and the rest tucked behind. “When girls are young, their ears stick out and it adds a certain charm—I wanted to emphasize that here,” he explains. We were certainly smitten.
Banana liner—or banane, as François Nars often refers to the single arched pencil etching that is customarily drawn through the crease of the eye, en Français—is a classic sixties-era makeup mainstay. You may remember seeing it last season at Marc Jacobs, Michael Kors, and Moschino, when the decade experienced its latest resurgence. But there is a way to modernize the popular lid embellishment, as we learned from Gucci Westman at Rag & Bone’s Fall show—and makeup artist Polly Osmond in the new issue of Numéro. “The typical sixties shape starts closer to the nose,” Westman explained backstage in New York, choosing to start her stroke toward the center of the eye and drag it straight out toward the temple, rather than in a more perfect crescent shape. For her part, Osmond went the other direction, starting her line almost on top of model Nadja Bender’s nose and keeping it soft and slightly diffused. “This feels more obscure,” Westman said of the benefits of experimenting with newfangled approaches to old techniques—and making them seem new again in the process.
Backstage at Rag & Bone, all of the usual beauty suspects seemed to be present and accounted for: Black eyeliner? Check. Texturized, broken-up hair? You bet. But there was something decidedly different guiding their execution for Fall. “The mood board was all sixties,” makeup artist Gucci Westman revealed, explaining the absence of the grunge-heroine influence that often guides the look at David Neville and Marcus Wainwright’s shows. “We had to evolve someday. We couldn’t do Kate Moss forever,” the Revlon global artistic director joked.
But the classic downtown cool-girl code that has long reigned here was not gone—far from it. “This felt more obscure,” Westman explained of the thin banana liner she was drawing through the crease of models’ eyes with an uncharacteristically elongated stroke of Revlon ColorStay Liquid Eye Pen in Blackest Black and its ColorStay Crème Gel Liner in Black. “The typical sixties shape starts closer to the nose,” she continued, pointing out that in contrast, her etchings began about a quarter of an inch from the inner corner of the eye and extended out toward the temple. “We want [the girls to feel pretty],” Westman continued, insisting that both the top and bottom lashes were slicked with Revlon PhotoReady 3D Volume Mascara in Blackest Black but that no fake lashes were used, to keep things authentic. Arches were groomed with Revlon Brow Fantasy pencils while lips were bumped up a touch with its ColorStay Ultimate Suede Lipstick in Supermodel, a sheer mauve-berry.
Guido Palau echoed the sixties feeling by starting off the Fall show where he left off for Spring and sculpting a super-deep side part. “It’s almost like a comb-over,” the Redken creative consultant pointed out as he prepped strands with Redken Guts 10 Volume Spray Foam Mousse to create grip before applying its Power Refresh 01 Aerosol Hair Powder through the lengths for a matte finish. “A regular side part seems sophisticated, but a deep side part is boyish and also has a rebellious feel,” Palau offered, spritzing Redken Quick Tease 15 Backcombing Finishing Spray through the lengths and gathering them into a ponytail before securing a “spiky bun.” Your classic Twiggy homage, this was not.