156 posts tagged "Redken"
“For Donatella, this is very minimal makeup,” said face painter Pat McGrath. But then again, only Donatella would consider a set and a half of false lashes “minimal.” With Axl Rose and Stephanie Seymour serving as muses (there were concert-like tees, ruched biker shorts, and a shimmery take on denim incorporated into the collection), McGrath created a rocker-worthy eye by rimming the upper and lower rims and waterlines with an ebony-colored pencil. For a smoky finish, she topped off the black along the bottom lashes with a gray-brown powder shadow. In addition to mascara, faux fringe was used to amplify the eyes, and a half pair was stacked on the outer corners for an elongating effect. The rest of the face was actually quite pared down—with a clear balm on lips, a hint of nude-rose blush for warmth, and a touch of highlighter dabbed on the cupid’s bow, cheekbones, inner corners and center of the lids.
As for the hair, Los Angeles was yet again mentioned backstage—this time the music scene—and strands were left lank and nearly untouched. Mane master Guido Palau made a center part and misted Redken Powder Refresh 01 all over for texture—concentrating the majority of product from mid-length to ends. For girls who needed slightly more help to achieve “movement,” he wound strands into a chignon and released them just before show time, while other members of Palau’s team opted to wrap sections loosely around a curling iron.
The total package wasn’t nearly as complicated as we’ve seen in season’s past (in fact, the majority of models were ready by 5:30 for a 7 p.m. show), but the beauty DNA remained unchanged, explained Palau. “Its still got the same code—rock ‘n’ roll and sexiness—[both] key to the Versace woman.”
When determining the status of the look at Christopher Kane, things were far from complicated. “Christopher’s collection is very designed, very beautiful, and he likes to have a juxtaposition in the hair and makeup,” hairstylist Guido Palau explained. After strands were washed with Redken Cleansing Cream Shampoo and an off-center parting was made, he opted to work with each model’s natural texture. Fingers were Palau’s only tools, as he rough-dried everything with a few drops of Diamond Oil to cancel any frizz and finished with a spritz of Powder Refresh for volume. “A [polished] blow dry would only take away from the beauty of the collection,” he said.
Makeup artist Lucia Pieroni also elected to use her fingers over an arsenal of brushes. Models’ skin was massaged with NARS Optimal Brightening Concentrate to prep it for Radiant Cream Compact Foundation. Next, Pieroni strategically placed highlights on the cupid’s bow, cheekbones, temples, and eyelids with Illuminator in Copacabana for fairer skin tones, or Orgasm for darker complexions. Additional glow came courtesy of The Multiple in Copacabana (applied to the same areas), and lashes were left mascara-free but curled.
Barely-there nails completed the understated look with just a sweep of Leighton Denny Nail Colour in Starkers, followed by a clear and glossy topcoat. The total package was certainly a study in simplicity, but it undoubtedly allowed the pastels, prints, and graphic cutouts in the collection to take center stage.
If you looked at the models at Marc Jacobs and thought, “Did they plop a bowl on their heads and take a pair of scissors to their hair?” you were on the right track. To achieve the uniformity the designer requested, hairstylist Guido Palau fitted models with blond wigs dyed by Victoria Hunter at Whittemore House Salon in New York City, then went at them with scissors and razors. The references for the choppy style: surfers, Los Angeles, and kids who cut their own hair. To add texture, he dressed strands with Redken Forceful 23 Super Strength Finishing Spray.
François Nars also set out to make the girls appear more “interesting” than pretty, “characters” over classic beauties. “I’m bored to death with the healthy look,” he explained, using only NARS Pure Radiant Tinted Moisturizer on the face. The eyes are where he added the edge, rimming the upper and lower waterlines with either the Eyeliner Pencil in Kalisté (a darkened teal) or Larger Than Life Eyeliner in Blue Dahlia (a cobalt shade launching for the holiday season)—adding a small “slash” of color to the inner and outer corners to finish. The final touch was “tons” of black mascara.
And while manicurist Marian Newman insisted that the squared-off tips coated in a specially created color (Bark!—available for summer 2014) of Enamored Hi-Shine Lacquer from Marc Jacobs Beauty were not French in style, the tiny jet-black crystals lined along the free edge certainly said otherwise. “The whole point [of this manicure] is that it’s all a little bit wrong—it’s Spring/Summer and we’re using a grungy brown.” I suppose I never expected to see a look that was in step with the rest of the week; after all, this is a man who sets the trends.
The look at Marc by Marc was characterized by a single—but colorful—gesture, explained makeup artist Dick Page. He disregarded trends and even the palette of the collection, citing only David Bowie as a reference. “It’s just a lop of color on the eye,” he stated rather matter-of-factly. To create this graphic blue block, he started by applying Shiseido Shimmering Cream Eye Color in Ice in a crescent shape with a brush—placing it along the lash line from inner to outer corner and filling in the lid. He followed this same pattern with a powder formula in Curacao, a shade from the Limited Edition Eye Color Bar, using a “windshield wiper” motion to lay down the pigment and diffuse the edges. “When the model is looking directly at you, I only wanted you to see a halo of color,” he said. Any fallout was cleaned up before applying a light layer of foundation, and lips were left bare, save for a moisturizing balm.
Guido Palau created an equally simplistic hairstyle with a bit of rock ‘n’ roll edge. He started by prepping damp strands with Redken Satinwear 02, and blew the hair straight and flat to the head. To add a bend, he wrapped sections around the barrel of a curling iron—starting midlength and leaving the ends out. Diamond Oil Shatterproof Shine was glossed over the top to add weight. “I wanted the hair to feel lank—not flyaway, floaty, or romantic,” said Palau. After misting all over with hairspray, he tucked strands behind the ears and wrapped a silk scarf around the neck (a technique we saw earlier in the week at Thakoon) to add back a bit of “natural movement.” And while some of the girls had a black or cream scarf incorporated into their looks on the runway, “as if they had caught their hair in it,” he explained, the accessory was removed from the rest of the models before hitting the catwalk.
If you were wondering what shade was slicked on nails, it was Jacobs’ favorite color, of course: Shiny (i.e., clear).
Gucci Westman claims that she knows more about Manchester United (a British soccer team), and coaches leaving and coming thanks to her designer husband David Neville, than she does about makeup—but we beg to differ. Inspired by the bright colors and fervor surrounding the impending World Cup in Brazil, the face painter took a new approach at Rag & Bone. “It’s [the label's] first-ever lip adventure—I’ve done a stain, but never anything this full-on,” she says. A blend of Revlon Super Lustrous Lipstick in Carnival and ColorBurst Matte Balm in Mischievous (out in January) was applied with a brush, but the rest of the face was made up using mostly fingers—Westman told her team to press the product into the skin for that lived-in look.
The lids were slightly more toned down in comparison to the models’ orange pouts—a combo of ColorStay Shadowlinks in Charcoal, Onyx, and Cocoa was applied and then wiped off using flat cotton swabs and makeup wipes. Post-shadow deconstruction, Westman applied a mix of Elizabeth Arden Eight Hour Cream, Dr. Hauschka Eye Contour Day Balm, and Revlon Skinlights Face Illuminator onto lids for extra sheen and rubbed a shimmery brown powder shadow along the lower lash line. Her inspiration: makeup leftovers after a really fun night out. “The next day you look pretty good, even though you’re hung-over,” she joked. The rest of the face was kept simple—defining only the brows with a pencil and using Illuminance Cream Shadow in Not Just Nudes on cheeks and Skinlights in Pink Light (also launching in January) on the cheekbones, bridge of the nose, and chin for additional glow. Westman topped everything off with a spritz of Evian Brumisateur Facial Mist to give the girls a fresh, dewy look.
Guido Palau set out to reinvent the brand’s cool, wearable hair using only two products. He made clean center parts with a comb and slicked strands down around the crown to the point just above the temples using Redken Forceful 23 finishing spray. For contrast and texture, he wet the length and worked in the lotion-like Satinwear 02 before letting the hair air-dry. And instead of being hidden, the ears became the focal point of the style—with small sections being pulled out in front and the rest tucked behind. “When girls are young, their ears stick out and it adds a certain charm—I wanted to emphasize that here,” he explains. We were certainly smitten.