174 posts tagged "Redken"
“It’s Ophelia,” said makeup pro Pat McGrath of the “serenely beautiful, ethereal girls” at Valentino. The overall effect was centered on pale, highlighted skin and deft contouring. McGrath used light gray shades around the eyes and a white hue on the lids, sweeping brown mascara through lashes as a finishing touch. A tiny bit of concealer to perfect complexions, a dash of lip balm, and it was done. “It’s about sculpting with light and shade,” she noted.
To make hair appear wet, Guido Palau misted Redken Shine Flash all over before crafting waves with a series of clips—ultimately leaving strands down save for a small section twisted around the length like a loose ponytail holder. (We suggest you steal this move straight off the runway and whip it out next time you find yourself missing an elastic or simply want to pull back curls without creating a dent.) “The beauty of the Valentino woman is very well defined: She’s always very serene and feminine,” Palau explained of the finished package.
Peter Philips spent his whole weekend single-handedly cutting seventy pairs of silver adhesive eyeliner that he used on the Dior Couture runway. And just hours before the show began, he received word that the house had worked out a way to produce them. (Look for them on-counter around the holidays.) “The collection explored contradictions, so we wanted to keep it pretty and pure. I just wanted to add one element that was highly contrasting and artificial,” he explained. Metallic liner emerged as the ideal counterpoint to the mirror-and-orchid set. Philips calls it the “empty eye”—meaning no mascara—bolstered by a little white kohl to fade out the lower lashes and a sweep of yellow and white shadows from the forthcoming Candy Choc palette under well-groomed brows. To even out the base, Philips reached for Dior’s new Star Foundation (for drier complexions, he used Capture), followed by a combo of Dior Blush in Rose Corolle and Starlight on the cheekbones (available internationally in October), and polished off pouts with Rouge Dior lipstick in Trompe L’Oeil (a peachy nude). Nails, too, were kept short, neat, and nude, with one coat of gel polish in Muguet followed by a layer of Dior Glow. “She looks like a fragile flower but with historical and futuristic crosscurrents,” he said. “When she moves, she catches the light.”
For hair, the look was natural and unforced. “It’s fresh and modern without reference to any past,” noted Guido Palau backstage. “Raf Simons’ Dior woman has put her clothes on and [needn't] over-bother with her hair.” Palau employed Redken Pillow Proof dry shampoo for texture, added a few extensions, and let the parts fall where they may. “We’re entering a transitional time in beauty where things seem to be much simpler. Women can’t complain anymore that they can’t do it,” he noted, adding with a smile, “which means there are no excuses anymore!”
“Donatella said she wanted to do something different,” explained face painter Pat McGrath. “She wanted couture-modern, but also something graphic, aerodynamic, and fun.” McGrath realized this vision via a thick, two-toned wing in peacock teal. To provide dimension, she applied a lighter shade to the center of the lid and swept a darker hue up toward the temple. A delicate veil of shimmer powder, faux fringe, and “tons of mascara on top lashes only” completed the eyes. The rest of the face remained neutral: Groomed brows, light contouring on perfect skin, and a pale lip balanced out the dramatic shadow. Ditto for nails, which were “natural pale” but ultra-shiny.
The hair was high-gloss, too. “This chignon is very un-Donatella,” conceded hair guru Guido Palau. To lend topknots edge and structure, the pro employed Redken Hardwear gel to shape models’ strands. He then moved the classic style closer to punk territory by using Forceful 23 hairspray and ironing the bottom few inches into a geisha-style flourish. Stella Tennant stood out and received a customized look sans extensions. “Along with the makeup, it’s very rock ‘n’ roll,” noted Palau. “This is a strong woman.”
Gone was the “precious” beauty of seasons past, and in her place was the urban, working woman (the Dior version, at least), summarized Guido Palau. Channeling the theme, the hair was all business. First, it was blown smooth with Redken Satin Wear 02, then the area from forehead to crown was shellacked with Forceful 23 hairspray in order to mold the strands tight to the head. “It’s a sculptural look, but the hair will move on the runway,” he said.
“This is a woman of today; she’s in the real world,” noted makeup guru Pat McGrath of the “street and slightly masculine” muse. The striking eyes were crafted using theatrical latex paint in cerulean blue and earthy khaki green—a material artists rarely employ because it requires impeccable timing to layer products over top. After “playing from 9 p.m. to midnight” at the test the day before, McGrath had the process down to a science: The graphic shape (“not a wing—we’re moving away from that,” she noted) was sketched on with a pencil, filled in with the paint, then a pigment in a similar tone was gently pressed into it. “Gradually, the latex swallows the pigment so you get this ultra-glassy feel—like a mirror,” she explained. In addition to colored mascara that matched the shade swathed across lids, the finishing touch was a sprinkling of glitter that reflected greenish gold or blue tinged with lavender. (For formulas that are less temperamental, we like Dior’s forthcoming 5 Couleurs shadow palette in Carré Bleu or Jardin. Or add a hint of office-friendly sheen with the Skinflash Radiance Booster Pen on the high points of the face.)
Between McGrath’s sparkly eyes and the slashes of vivid color seen on the catwalk, I don’t think the Dior customer could ever come down with a case of the Monday blues.
“The girls look like a pen-and-ink sketch,” Pat McGrath said of the painterly onyx liner and blunt lashes on view at Lanvin. She applied a black cream formula with a brush, smudging it along the upper rim. In contrast, the lashes were cut clean and square. The theme of the maquillage was “not being afraid to play,” she explained. “The whole idea of the eye and the lash is about being brave and strong.” And this major lid statement didn’t get lost beneath the bevy of hats in the collection. “Don’t forget, when you’re sitting down, you’ll still see the whole face,” McGrath noted.
To reflect the nighttime sensibility evoked by the feathers, decadent furs, and fringed gowns in the lineup, Guido Palau crafted a wet knot. “With the lighting and smoke, you just feel like the hair wouldn’t be dry—it would almost be too romantic,” he said. Palau doused strands with Redken Guts 10 Volume Spray Foam before raking the length back with his fingers and twisting it into a messy bun, placing it high or low depending on whether the model was donning a marabou-trimmed chapeau. For a glistening effect that played off the graphic pendants or hints of sparkle in the clothes, he finished with a generous spritz of Shine Flash.