174 posts tagged "Redken"
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.
Guido Palau is a hair genius. For Spring 2011 alone, he has been responsible for the season-defining seventies frizz at Marc Jacobs, the gelled-up finger waves at Prada, and the platinum blond craze, which he ignited at Balenciaga and which will likely persevere through much of next year. But after our fair share of seasons charting Palau’s backstage triumphs, we noticed something: When the coif master likes something, he keeps with it.
Usually these repeat runway appearances begin at Alexander Wang. After debuting the wildly popular thick, over-the-shoulder Brooke Shields-inspired side braid there for Spring 2010, he promptly revisited the style at Miu Miu only a few short weeks later. Ditto the Fall shows, where Palau went with greasy, side-parted comb-overs at Wang only to bring them out again at Bottega Veneta in Milan. This season, his fallback seems to be wet hair. Hair that looks like “you’ve just gotten out of the shower,” he said at Rag & Bone, sweeping models’ hair up into messy buns. It was as though each girl were “rushing out of her apartment on the way to work and [let] her hair dry naturally,” as he described the nearly dripping, defined middle parts he created backstage at Bottega Veneta.
At Lanvin, Palau referenced “scuba” when slicking back what appeared to be water-saturated low ponytails (turns out Redken’s Hardwear 16 Super Strong gel can impressively simulate deep-sea diving). With only three days of shows left, it’s unclear if we’ll see yet another incarnation of the “damp” look, but all signs point to yes.
“All in all, it’s very architectural and sporty,” Pat McGrath said of the look backstage at Lanvin this afternoon. We imagine it’d be hard to do most anything athletic with the two pairs of fake lashes McGrath glued to models’ upper lash lines, but catwalking isn’t really on par with cardio of, say, the basketball variety, so we’ll take it. Going for a “matte, natural” effect on the face, McGrath gave CoverGirl’s NatureLuxe Silk foundation another backstage turn after its unforgettable performance at Versace, contouring slightly across cheek bones and swiping a taupe shadow over eyes. Picking up on the collection’s scuba vibe, hair guru Guido Palau kept strands similarly straightforward. He started by finger-combing damp hair from scalp to ends with Redken Hardwear 16 Super Strong gel, creating a wet ponytail at the nape of the neck and spraying generously with its Vinyl Glam 02 Mega Shine spray. Unlike last season, Palau noted, not every girl looked exactly alike. “There are some exceptions to the ponytail rule, but it’s still very Lanvin—strong and sexy but in a simple way.”
“It’s a big show for him,” hairstylist Guido Palau said backstage at Roberto Cavalli’s Spring presentation yesterday, which marked the designer’s 40th year in the rag trade. And for a big show comes big hair—although rather than make his statement with volume, Palau made it with length. To hammer home Cavalli’s rightful ownership of the seventies—the decade in which his sexed-up animal-print empire was born—Palau went with middle parts and hair so long it hit at the hip and swung in motion with the fringe that dangled off pretty much every piece the designer sent out. The look was reminiscent of the long, loose styles worn by Band-Aids—those quintessential seventies L.A. girls who “inspired” (often, ahem, bodily) the era’s rock ‘n’ rollers. Redken’s Align 12 Protective Straightening Balm provided those stick-straight strands, which were then exaggerated with nearly two feet of extensions, blended into models’ natural tresses using a flat iron and Redken’s Vinyl Glam 02 Mega Shine Spray.
Makeup artist Pat McGrath was on the same tip, crafting a smoky eye, which has become something of a staple at this show. Rimming lids with a black kohl eye pencil, McGrath blended a wash of brown shadow along the upper lash line, dragging it toward the brow bone and underneath the lower lash line for a “slept-in look.” A slight cheek contour and a balm-slicked mouth finished the whole look, which model Erin Wasson liked so much, she kept it intact, adding a brick red lip for the amfAR Milano gala later that night.