177 posts tagged "Redken"
With November just a week away, Fall has hit its stride, which means a couple of things: First, you’re likely coming to the end of your seasonal-transition skin issues (rejoice!) and, two, you’re probably considering a hair color change now that those summer sun streaks seem incongruous with the cooler temperatures. “I warm my clients’ shades up in the fall,” Tracey Cunningham told us. As Redken’s creative consultant for color and one half of Beverly Hills’ celeb-friendly salon Byron + Tracey, Cunningham knows a thing or two about color changes (she tends to the tresses of Kate Bosworth, Cameron Diaz, Drew Barrymore, and Jessica Biel on the regular). Here, the coiffing star talks deep mahogany and brilliant copper-red hues and name-drops the Victoria’s Secret Angel who currently boasts the most requested hair color in L.A.
So, why warmer for winter?
It’s funny how clients embrace the winter. You’d think that we’ve trained them to think that they need to go darker! But people just really want to do that. They really want to cozy up.
Break it down for us; how are you instructing your clients—be they brunette, red, or blonde?
For my brunette clients, I plan to keep their base a dark chocolate truffle hue with thick golden highlights starting from the mid-section of their hair; for redheads, I lean towards a single-process tone with no highlights, just vibrant deep mahogany tones; and blond locks will be light and golden—a California blonde with the base a shade darker to give some dimension to the look. Think Kate Bosworth for this blond shade, it pops on her and looks great with a red lip. Sometimes just doing a gloss will work—it will warm up your highlights to a caramel tone—or with solid color, it would just make it more rich.
Whoa—Kate Bosworth has been really blonde recently. Will that really work on everyone?
Well, Kate is naturally really blonde. People always ask, “What’s the perfect blond?” and it’s really whatever looks good with your skin tone. Like…Cameron Diaz can tan.
Katy Perry sure does love her some nail art. The pop star took to her Twitter last night to show off her latest manicure, which features lace glove-embellished tips. Showering strikes us as near impossible with those things on. [OK!]
If the sheer joy of Wii tennis and Wii bowling have you thinking about purchasing one of the game consoles, this should help finalize your decision: Redken is scheduled to release Busy Scissors, a new “life simulation” game that allows players to perm, color, shampoo, cut, blow dry, and style hair with the goal of advancing their career in a Hollywood-based salon while meeting the demands of glamorous and “eccentric” clientele. No, we are not making this up. [Redken]
Nars Cosmetics fans, rejoice. The makeup giant has secured a West Village location for its New York flagship, which opens next spring. [Stylist]
Willow Smith: beauty icon—and pop star? The video for the nine-year-old’s first single, “Whip My Hair,” will get its BET premiere on Monday, October 26th and reportedly features a whole host of guest stars—you guessed it—whipping their hair for the camera. We hope Smith brings back the rattail she sported at the Milan shows for the occasion. [People]
With all of the seventies-era, free-flowing, middle-parted tresses on the Spring runways, we’re leaning toward losing our asymmetrical bob and regrowing our locks past the shoulders. We mostly credit Roberto Cavalli for our newfound lust for length—and Sophie Albou’s Paul &
Joe. Watching Karlie Kloss trot down Albou’s runway in two different bell-bottomed, halterneck jumpsuits sporting a particularly epic, middle-parted blow-out with slight height in the back was, in a word, inspiring. It’s something of a quandary, though, as there were also a few strong arguments for keeping things short. The first came via Keira Knightley, who sported a brand-new chin-sweeping style for her front-row appearance at Chanel on Tuesday, and the second debuted backstage at Miu Miu. Rather than fashion actual undercuts, hair stylist Guido Palau went with the faux bob at Miuccia Prada’s Paris finale—a look that is easier than you’d think to re-create and gives you the flexibility to dabble between cute-and-cropped and long-and-lovely. Prepping hair with Redken’s Blow-Dry Wool Shake 08 Gel-Slush Texturizer, Palau created center parts and brushed hair into low ponytails before rolling them upward and inward and securing with bobby pins. “Pull a few pieces out around the face for softness,” Palau recommends, to give the whole thing a more natural effect. It remains to be seen how our “to cut, or not to cut” dilemma will resolve itself, and until we sort it out, we’ll continue to neglect making an appointment with our stylist for a much-overdue trim. What about you?
Yesterday was a busy one for Peter Philips. In addition to choreographing the sensational smoky-eye display at Chanel, the makeup artist headed up face-painting duties at Alexander McQueen as well, a show that couldn’t have been more different, beauty-wise. “Light, luminous, gothic” is how Philips described the clean, glowing skin that Sarah Burton wanted to complement her “Earth Mother” debut collection for the house. “We decided to keep the girl really pure, very serene, almost a bit more fragile—and a bit more girly,” Philips said backstage—a departure, to be sure, from the more outrageous feats he has put together here in the past (three words: amphibious facial prosthetics). To achieve this effect, Philips used Chanel’s Pro Lumiere Semi-Matte Foundation, adding a sheen to eyelids with its Ombre Essentielle eye shadow in Ivory and a highlight to cheeks with the brand’s Poudre Lumiere Perlée for a hint of shimmer.
Philips’ deliberate decision to eschew mascara, shading, and color in general is a continuation of a general theme at this show, in which he typically casts a neutral color palette to make room for big hair and big scenery. The latter may have been more subdued for Spring 2011, but Guido Palau’s coifs were as intricate as ever, albeit a touch softer. “There were many permutations,” Palau said of the basket-weaving technique he ultimately employed backstage. “But in the end it was highly technical yet very simple.” Working off a pagan theme, Palau divided models’ hair into three sections before adding extensions over and under natural strands for a woven effect, ending each panel in a skinny braid. Back panels were folded flat against the head and pinned in place before the entire head was sprayed with Redken’s Forceful 23 hair spray—and lots of it. At last count, 60 bottles had been used to hold things in place.
In case you’ve somehow missed it, there’s a major seventies revival brewing in fashion for Spring—a certain decadent air, specifically, that’s ushering in a sophisticated, powerful, sensual beauty moment along with it. And so it went at Yves Saint Laurent yesterday, where the seemingly omnipresent Guido Palau called the look “Edwardian meets seventies, but kind of minimal at the same time.” “It’s quite sophisticated,” he added of the twisted updo he was fashioning, “but it does recall the classic Saint Laurent/Helmut Newton kind of woman.” Center-parting hair, Palau coated strands with Redken’s Hardwear 16 Super Strong gel and its Glass 01 serum before rolling and tucking it into a tight, coiled coronet around the back of the head. “The silhouette is so beautiful, and this is another way of rendering a modern interpretation of the era with the ‘small’ head that has been so important for Spring.”
“We wanted to do a more minimal Yves Saint Laurent,” echoed face painter Pat McGrath, who realized her vision of something “fresh and strong” through a gloss-covered, deep burgundy mouth, bleached brows, no mascara, and a slight swipe of Elizabeth Arden’s Eight Hour Cream on lids for shine. In complement to the collection’s very graphic lines, McGrath finished the face with a dusting of highlighter on the cheekbones.