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July 30 2014

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174 posts tagged "Redken"

Going Matchy-Matchy, Backstage at Marc Jacobs

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Marc Jacobs

Spring’s bombed-out beach and choppy, bowl-style wigs gave way to a more “tonal” look that was as hauntingly beautiful as the night sky and cumulus clouds that floated above the Marc Jacobs runway. Instead of evoking kids who cut their own hair, these faux strands (inspired by Jessica Lange, whose voice carried through the air, and Polly Allen Mellen) were precise, blunt, and graphic—a job that could only be tasked to a master such as Guido Palau. “It’s so perfect that it looks futuristic; there’s no era reference when you look at the girls,” he explained. The five hair colors developed by Victoria Hunter at Whittemore House Salon were “pulled back” and “off”—almost like an “old lady” would layer watercolor-like hues over gray—creating an odd, mink-y brown, blond, or silvery white tinged with pink or purple, Palau said. “It’s like an illustration come to life,” he added. “Everything matches.”

Mimicking the colors and textures of the fabrics in the collection, François Nars focused his efforts on the eyes. A light gray shadow was dusted over the lid and accented by “touches of chocolate” outlining the crease and, lightly, the lower lash line. Brows were bleached and then dyed the same shade as the wig. “You used to see that on Vogue covers in the sixties; hairdressers would match the brows to the hair color,” he noted. Nars Lip Gloss in Striptease, a nude laced with silver, was dabbed onto the lips with his fingertip to catch the light.

Manicurist Marian Newman extended the color palette all the way down to models’ fingers, painting nails with five custom-blended lacquers from the designer’s eponymous cosmetics collection that ranged from pale porcelain to purple-y mushroom (available for Fall 2014). The total package was, as Palau described, “a bit eerie and unsettling,” but completely calculated and immaculate—obviously the work of a man who strives for perfection.

Photo: Alessandro Garofalo

Two Worlds Collide, Backstage at Ralph Lauren

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ralph-lauren

“It’s a downtown kind of girl for Polo,” Guido Palau noted of the womenswear line the designer debuted on today’s runway (behind the scenes the label’s latest fragrance, Midnight Romance, was also unveiled). To create hair that was as laid-back and cool as a bomber jacket or leather leggings, Palau prepped strands with Redken Pillow Proof primer and let them air-dry to enhance models’ natural waves. He followed that up with a dry shampoo for additional body and texture. For the classic Ralph Lauren portion of the show, he crafted a sophisticated pony. Satinwear 02 lotion was used before blow-drying for smoothness, after which the length was raked back into an “easy” tail and tied off with an elastic. To conceal the band, he wrapped a small section of hair around the base.

Before heading off to lunch at Basta Pasta, Tom Pecheux’s post-New York fashion week indulgence, he revisited the look he did for pre-fall. Pecheux began by evening the complexion with foundation, softly contouring the sides of the face with cream bronzer, and dabbing a pearly highlighter on the tops of cheekbones and lids. On the apples, he patted a combination of rose and apricot blushes. “You have to mix a lot of things to make it believable—nobody has pink cheeks,” he explained. As for why he taps his brush instead of swiping: “If you push it in, the [color] becomes one with the skin, [otherwise] it just sits on top.” The top lashes were coated with the black side of Estée Lauder’s Sumptuous Two Tone Mascara to “lift” the eye, while brown was used on the bottom for contrast. Yes, the designer revealed a new (and significantly more youthful) collection, but if the beauty look ain’t broke…

Photos: Getty

Winging It, Backstage at Hugo Boss

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hugoboss“The inspiration isn’t anything or anyone—it’s the brand,” said hair pro Guido Palau, who was on hand for Jason Wu’s debut for Hugo Boss. Palau “amplified” the German label’s “chic and rich” aesthetic by crafting a simple, low ponytail. A deep side part was made, Redken Satinwear lotion was added for smoothness, and strands were blown dry. He then coated his hands with Forceful 23 hairspray and raked the length into a low tail, tying it off with a string of black elastic to finish.

“We’ve been talking to Jason about architecture meets nature,” explained Pat McGrath. The makeup guru translated this conversation into a soft, angular wing using a khaki green shadow. “We were playing between a green and a gray, and the green worked,” she noted. The hue appears to be working for many a New York designer. Now, to see what the Europeans think.

Photo: Sonny Vandevelde; Indigitalimages.com

“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