156 posts tagged "Redken"
In contrast to the futuristic-looking golden arches, gilded lids, and flashes of color rimmed along the upper lash lines (more to come on the maquillage later), the hair created by Guido Palau was “classic Dior.” “Raf [Simons] didn’t want to reference a particular era,” the hairstylist explained—so, when in doubt, a simple chignon was made modern with a “boyish” side part and a slick comb-over. Palau used Redken Hardwear 16 (a strong-hold gel) for hold and shape, twisted strands into a low knot, and secured in place near the nape of the neck. Shine Flash 02 was misted all over to mimic the metallic finish created with makeup only inches below.
The mantra of Spring 2014 continued at Lanvin: “Designer’s aren’t so concerned about the normal constraints—they just want it to feel easy and not too thought about,” said mane master Guido Palau. In contrast to the metallic fabrics, precise micro pleats, and oversize necklaces, the hair was kept minimal yet again—with a soft, “slightly broken” low ponytail that loosely swooped across the forehead. “It should feel as if you haven’t tried…which we haven’t,” he added. Strands were blasted with Redken Guts 10 for texture, and Quick Tease 15 (a volumizing spray) was used at the roots so that the finished product would appear more “bed-head-y” than flat.
The same logic applied to the makeup, explained Pat McGrath, who noted Alber Elbaz wanted to mimic how model Jamie Bochert showed up to the fitting. The girls were simply “enhanced” with brown mascara worked into the roots of lashes, a wash of taupe shadow around the eyes, a light touch of highlighter in key places (like the lids, inner corners, Cupid’s bow, and chin), and rose blush dusted across the cheeks. Due to the unusually warm temperatures in Paris this week, McGrath did her best to “mute” the naturally flushed faces of the girls. But despite the steamy backstage conditions, the summery weather seems to have inspired a wave of laid-back looks.
It seems that Domenico Dolce and Stefano Gabbana’s love affair with Sicily and Sophia Loren will never end (and Spring 2014 is no exception), but what an exquisite relationship it has been on the runway. “Even though it’s soft, romantic, and cherubic, it’s still Sophia Loren—but this time she’s in a Greek theater and it’s sunny and hot,” Pat McGrath said of the muse, alluding to yet another reference for this season’s show, Federico Fellini’s 1969 film, Fellini Satyricon. To lend an instant glow to skin, McGrath applied Dolce & Gabbana Make Up Perfect Luminous Liquid Foundation in a shade slightly warmer than each model’s skin tone. For a Fellini-esque flush, three shades of Luminous Cheek Colour (Rosebud, Apricot, and Peach) were swirled together and dusted on the cheeks, chin, hairline, and brows. To pick up on the plethora of precious metals in the collection—including a finale entirely composed of shorts, dresses, and separates made of metallic lace—a blend of yellow- and rose-gold hues from the Smooth Eye Colour Quad in Golds and Desert was applied to lids, with a slightly deeper beige blended into the crease and rimmed along the lower lash lines. To highlight cheekbones, McGrath used the gilded side of the Smooth Eye Colour Duo in Fortune, then wet a small brush and dabbed the pigment on the inner corners of the eyes to catch the light. Since it wouldn’t be a Loren look without at least a hint of a cat eye, a tiny wing was made on the outer corners with a chocolate brown pencil and topped with Intense Liquid Eyeliner in Baroque Bronze, while a nude pencil was run along the lower water lines for pop. Lashes were coated with PassionEyes Mascara in Terra and a brow pencil (a forthcoming launch from the label) was used to fill in and flesh out arches. Classic Cream Lipstick, in Bellissima and Traviata (out for Spring 2014), was mixed on the back of McGrath’s hand and pressed into lips for a subtle, stained effect.
The hair—a softly braided chignon pressed flat against the head—harked back to the styles often worn in ancient Rome, said backstage fixture Guido Palau. To prep strands for these un-stuffy updos, he misted Redken Guts 10 for texture and Powder Refresh 01 to take away any shine. The top half was curled using a half-inch barrel, the sides gently twisted back and secured near the middle of the head. Next, the length was gathered into a singular braid, coiled, and pinned into place. And when in Rome (or at least keying a show inspired by it), one should do as the Romans do, which for Palau meant tucking the exquisite embellishments crafted by the house—such as coin-encrusted headbands, jeweled combs, and feminine flora—throughout. To finish, he tugged pieces around the front to loosen up the look and create a soft halo of fuzz around the face. The look, he elaborated, contained “all the things a girl wants to be at some point” (think Italian goddess meets femme fatale meets modern-day jet-setter). And indeed it did, at least for this girl.
“There’s no period—it’s totally now and totally her,” hairstylist Guido Palau said of the look at Jil Sander. Hair was blown out with Redken Satinwear 02 for smoothness, and a deep side part was made with fingers (in lieu of a comb, which forms a hard line). After glossing over the surface with All Soft Argan-6 Oil, he pulled the length back into a low, loose ponytail and secured it with a black elastic. “A chignon would be too lady; [the pony] keeps it young yet pulled together,” he explained. After the models were dressed, Palau loosened a few pieces in front to form a “mesh” over the side of the face, introducing an element of fragility and ease to an otherwise stark style.
The minimal makeup created by Pat McGrath entailed only the basics: foundation, pinky-peach blusher, brown mascara on the top lashes, a blend of taupe-colored cream and powder shadows washed around the eyes, and lip balm. The only true “pronouncement” was the brows. “We’re not forcing a shape or a character—just enhancing,” she said of defining models’ arches. A touch of highlighter was added to the lids and inner corners of the eyes for a subtle and sophisticated glow.
Similar to Donatella Versace last night, yet another designer known for excess—Roberto Cavalli—opted for simplicity when it came to beauty, juxtaposing beaded gowns, metallic fabrics, and snakeskin with pared-down hair and makeup. “Anything that looks like you’ve tried feels old; the not-caring theme is what makes it sexy,” said mane master Guido Palau. (Music to my ears, and to those of you whose styling skills are subpar.) To get the laid-back—but still polished—look the designer desired, Palau used his finger to make a messy center part, then tucked hair behind the ears. To add an element of control, he flattened the top section close to the scalp using Redken Shine Flash 02 and anchored strands in place with Fashion Work 12 (a hair spray). For girls with straighter textures, he wrapped sections around the barrel of a curling iron and raked through waves with his hands for natural bend and movement.
The makeup was equally as “raw,” face painter Diane Kendal said—a term she’s used a lot this season. After applying a light-coverage foundation, she smoothed MAC Pro Sculpting Cream in Copper Beech under the cheekbones to gently contour the face. Casual Colour in Keep It Loose (a warm pinky-peach shade) was tapped on the apples and topped with Extra Dimension Blush in Pleasure Model to intensify the color. Kendal used a brush to run Sculpting Cream in Coffee Walnut in the crease of the eye and layered it with Copper Beech, blending the pigments with her fingertips to eliminate any harsh lines. Black cream liner was worked just along and in between the top lashes for definition. Sparkle Shadow in Tender Moon was then dusted over lids to make them appear wet (minus the gloppy grease so often used to achieve the effect), while lips were slicked with the Velvetease Lip Pencil in Mattely in Love for a non-shiny finish. To lend a “sweaty feel” to the face, Kendal patted Embryolisse Lait-Crème Concentré onto the surface of the skin.
To pick up on the silver thread running throughout the collection, Keri Blair mixed MAC Discothèque and Girl Trouble Nail Lacquers with Overlacquer (a top coat) to dilute the opaque polishes and create a sheer and shimmery “essence.” “It’s like mixing a clear gloss with lipstick,” she said of the process. The theme of Spring 2014 still remains the same (at least thus far): Less truly is more.