177 posts tagged "Redken"
Playing off the graphic lines in the collection, hair pro Guido Palau crafted a classic pony. The twist? “They’re made of hair extensions, like a big horse’s tail, and cut very blunt,” he explained. Inspired by nineties minimalism, Palau kept things “sharp” instead of “soft and natural”—an aesthetic the house has stuck with the past few seasons. To get strands super-straight, he used Redken Align 12 to blow-dry hair smooth before it was flat-ironed. Palau then gathered the length at the back of the head, tied it off with a piece of elastic, and wrapped the tail with extensions for thickness—hiding the band with a small section of hair to complete the ultra-clean look.
“It’s not natural, undone nothing [makeup]; it’s natural, but, beautiful and polished,” Pat McGrath noted. For a “fresh” contour, she employed a taupe-y rose blush in lieu of a harsh bronzer. Lids were softly shaped with a beige shadow and brows were simply groomed to finish.
“Donatella simply wanted glamorous, but more of a clean glamour,” explained Pat McGrath. Gone was the smudgy liner from Spring 2014, but the double set of faux lashes remained. Eyes were further emphasized with a taupe shadow in the contours, and brows were softly groomed. A tawny lipstick and gloss polished off the lips. “This is her version of natural makeup,” McGrath said of the designer, who sports a strangely similar look.
The sixties were referenced yet again backstage by Guido Palau, who called upon the era by creating volume at the crown. After extensions were added in for thickness, the rest of the hair was kept “poker straight” using a combination of Redken Pillow Proof Two Day Extender and Guts (a volumizing spray foam), then subsequently flatironed. After backcombing the Bardot-esque bump in with a rattail comb, the style was set with Forceful 23 hair spray. “Per the usual, it’s very glamorous hair for a very high-maintenance woman,” Palau summarized. Seeing as this is the house of Versace, we would expect nothing less.
Outside of the clothes, brows were the stars of the show at Christopher Kane. Makeup artist Lucia Pieroni brushed arches up and filled them in with NARS Brow Perfector, the finished product resembling a young Brooke Shields. “These brows should look naturally full, not painted on,” Pieroni explained. She created a “shaft of light” down the center of faces with Illuminator in Copacabana and a forthcoming Dual-Intensity Eyeshadow in Andromeda. Highlights were placed over cheekbones, the bridge and tip of the nose, Cupid’s bow, and chin. A touch of Pure Matte Lipstick in Bangkok was pressed onto models’ mouths like a stain, and lashes—in what has become a defining feature for Fall 2014—were left bare.
Kane simply wanted “the girls to look like how they look,” said mane master Guido Palau. “Younger designers don’t tend to reference iconic women—they get off on how the model looks naturally. Little moments rather than big moments,” he noted. To craft these “little moments,” Palau used Redken’s Shine Flash for texture and sheen, keeping the length fairly straight and flat. To finish, he made a sharp center part and nonchalantly tucked the hair behind the ears. In the end, these subtle nuances brought the larger picture to life.
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.
“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…