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April 20 2014

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171 posts tagged "Redken"

“Sweet and Sour” Beauty, Backstage at Marc by Marc Jacobs

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marcbymarc“It’s a little bit ninja, a little bit manga, a little bit Wednesday Addams,” hair pro Guido Palau explained of the inspiration behind the braided pigtails at Marc by Marc Jacobs. “The clothes are a bit more sophisticated this season, so the hair had to be quite young, but still have an edge to it—a sweet-and-sour kind of effect.” He began by working Redken Shape Factor 22 sculpting cream through the strands, rough-drying them, and finishing with a Pillow Proof Blow Dry Two Day Extender (a dry shampoo) for texture and control before forming two schoolgirl-esque plaits. Then a black headband was slipped on and the hairline scruffed up to lend the look a punky vibe. The end result was “a cartoonish kind of a character,” Palau noted.

To help those pigtails feel more badass, makeup pro Dick Page densely rimmed the upper and lower waterlines using black cream liner and a soft lip brush, then “piled on the mascara.” He kept the skin as bare as possible—opting out of both a mouth and a cheek. “It’s the gesture of a kid who is trying makeup for the first time,” he said. Well, at least one who’s very adept at applying eyeliner.

Photo: Sonny Vandevelde; Indigitalimages.com

Industrial Minimalism, Backstage at Alexander Wang

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alexander-wangWhen you’re Alexander Wang, you don’t bring Brooklyn to the fashion set; you bring the fashion set to Brooklyn. And when you bring the fashion set to Brooklyn, you better deliver something special—like heat-activated fabrics and a 360-degree finale composed of a dozen supers (including Karlie Kloss, Joan Smalls, Caroline Trentini, Anne V, Angela Lindvall, and Bridget Hall).

Diane Kendal and Guido Palau were tasked with creating hair and makeup that lived up to the spectacle across the river. For Kendal, that meant creating “monochrome” faces with bleached brows, light coverage foundation, a bit of contouring underneath the cheekbones and in the creases of the eyes, and a few strategic swipes of NARS Illuminator in Copacabana for sheen. “The head is very hard…so we wanted [to create] an open feel to the face—almost like mannequins,” she explained of the androgynous look.

Palau married multiple references—the sixties, futurism, comb-overs—into a lacquered style that swept across the forehead like a bang and wrapped tightly around the sides. “[The idea] was taken from an illustration that Alex had done—I wanted to do hair that was kind of drawn on,” he said. To achieve this, Palau blew strands straight using a Mason Pearson brush, made a deep side part, doused hair from roots to ends with Redken Control Addict 28 High-Control Hairspray, smoothed everything into place, and blew it dry to lock in the shape. Any remaining length was pulled into a low ponytail, which would later be concealed by cravats. The twelve models dressed in head-to-toe black (revealing vibrant shades of pink, yellow, blue, purple, and green when rotated in front of industrial vents) had their heads blasted with black powder for a seamless finish. When asked about the venue change, Palau replied, “What do I think about Brooklyn? No, it’s great.” The masses might not be in favor of crossing a bridge to get to a show, but Uber certainly enjoyed the ride.

Photo: Gianni Pucci, Indigitalimages.com

Sky Ferreira Flips Her Wig

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Newly crowned Redken ambassador Sky Ferreira performed last night at Le Nouveau Casino in Paris wearing not one, but two wigs. She alternated between a cobalt blue bob and a Joan Jett-esque black shag. Underneath it all, we still believe her to be a rooty, Marc Jacobs-inspired blond. She may be the face of a styling line, but it’s a hell of a lot easier to simply slip on something faux.

Photos: Getty

Bold or Barely There Mouths, Backstage at Dior Couture

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Backstage before the Dior show, hair maestro Guido Palau noted that Raf Simons’ forward-thinking Spring 2014 couture show required him to keep things rather pared down. “Raf really wanted a nod to being now,” he explained. “There is no reference to another era, so he wanted something modern and nonreferential. It’s not what you would imagine from couture hair, in that it is not elaborate.” With that in mind, Palau devised “simple hair with a messy side part,” which he created using Redken Shine Flash 02 Glistening Mist to amp up luster and, in turn, reduce volume. “It’s very real,” he concluded.

As for fingertips, manicurist Elsa Deslandes was the first to get her hands on the new Diorlisse Abricot #800 (Snow Pink) lacquer. “When you put it on, it’s like a collagen injection for the nails. One coat makes them appear perfectly curved, soft, and smooth,” she said. Deslandes topped the pale polish with a single, high-shine layer of transparent Gel Coat. “It’s really thick, so it magnifies the shine and it works on any other color. It’s the comeback of the shiny nail!” she said, laughing.

In creating the makeup statement with Simons, face painter Pat McGrath said that they very quickly determined that the strongest look was one that “conveyed perfect grooming without being overdone. It’s very much about raw glamour with very natural skin and a bare, simple face with a strong, fiery red lip.” McGrath prepped models’ faces with primer (like the house’s Pore Minimizer) and perfected complexions with foundation and touches of highlighter (try Diorskin Nude foundation and Skinflash Radiance Booster Pen), before turning her attention to the lips—opting either for a flesh-hued balm (such as Addict Lip Glow) to enhance models’ mouths or a mix of two crimson lipsticks before sealing the color with balm (to re-create the look, use Rouge Dior in #999 and #844 Trafalgar). To complement the lip story, McGrath readied the eyes with a primer and then swept a rusty-bronze eye shadow (a cornerstone shade in the forthcoming 5-Color Transat Edition Sundeck palette) over the top. “Burnishing the lids brings out that natural eye color we all love,” she explained. A stroke of a plumping serum on the lashes (like Diorshow Maximizer), followed by a coat of brown mascara, and they were done. “It’s a super-clean, graphic face—everyone is enhanced and the color really pops; it’s like an illustration,” observed Stella Tennant backstage. As one of the “nude lip” models, she noted she’d considered going back to McGrath and “begging for a mouth.” But then she decided to stay put. “Pat knows best,” she said. Seeing as the Queen recently recognized her beauty skills, we’d have to agree.

Photo : Sonny Vandevelde / Indigitalimages.com

Strong and Sleek, Backstage at Atelier Versace

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atelier-versace-cropCouture clients tend to know who they are, and Donatella Versace knows that her client lives in sync with her own taste for sleek, lustrous, perfect hair. Reflecting that spirit, hair guru Guido Palau brushed models’ strands (plus a good deal of extensions) stick-straight. Using Redken Satinwear 02 Blow-Dry Lotion and the lock-taming Redken Iron Silk 07 Ultra-Straightening Spray, he swept models’ hair cleanly back from a center part with a Mason Pearson brush—and for the handful of girls sporting hoods, Palau pulled everything back into a tight, silky bun at the nape of the neck. He knocked out any flyaways with Redken All Soft Argan-6 Oil as he went along. “This is super-simple, classic Versace hair,” he noted.

“It’s very Donatella with a little hint of Grace Jones,” commented makeup artist Pat McGrath as she gave models a final look before the show. Accentuating the lush lashes and blend of bronze, gold, and brown shadows on the lids was a shot of electric blue on the inside corner of models’ eyes. She said of the total package: “It’s very rich, very beautiful, very Versace.”

Photo : Sonny Vandevelde / Indigitalimages.com