19 posts tagged "Roberto Cavalli"
Sandra Bullock embraced the high-low concept last night in London at a screening of Gravity—beauty-style. She paired polished makeup (including a red lip and extra-thick lashes) with the undone waves designers and hairstylists embraced all season long. “There’s nothing cooler than not doing your hair and wearing an amazing dress,” said Guido Palau, a belief he made a reality at show after show (Roberto Cavalli, Bottega Veneta, and Versace, to name just three). It appears that Bullock is in full agreement.
Throwback Thursday is a column on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Moment: Lived-in Locks
The Motivation: Remember the days when your mother told you to brush your hair before leaving the house, and a perfectly coiffed ‘do was the look du jour? Well, those days are long gone. Never has there been a time more obsessed with looking undone (Alexander Wang, Proenza Schouler, Christopher Kane, Burberry, Versace, Roberto Cavalli, and Bottega Veneta—cases in point). Our inspiration? The above shot from a 1989 issue of French Glamour. The French have always been masters at achieving the I-just-rolled-out-of-bed-and-look-like-this hair, and if the carefree strands we’ve seen on the New York, London, and Milan catwalks are anything to go by, we’re bound to see the style in its natural habitat: Paris.
Similar to Donatella Versace last night, yet another designer known for excess—Roberto Cavalli—opted for simplicity when it came to beauty, juxtaposing beaded gowns, metallic fabrics, and snakeskin with pared-down hair and makeup. “Anything that looks like you’ve tried feels old; the not-caring theme is what makes it sexy,” said mane master Guido Palau. (Music to my ears, and to those of you whose styling skills are subpar.) To get the laid-back—but still polished—look the designer desired, Palau used his finger to make a messy center part, then tucked hair behind the ears. To add an element of control, he flattened the top section close to the scalp using Redken Shine Flash 02 and anchored strands in place with Fashion Work 12 (a hair spray). For girls with straighter textures, he wrapped sections around the barrel of a curling iron and raked through waves with his hands for natural bend and movement.
The makeup was equally as “raw,” face painter Diane Kendal said—a term she’s used a lot this season. After applying a light-coverage foundation, she smoothed MAC Pro Sculpting Cream in Copper Beech under the cheekbones to gently contour the face. Casual Colour in Keep It Loose (a warm pinky-peach shade) was tapped on the apples and topped with Extra Dimension Blush in Pleasure Model to intensify the color. Kendal used a brush to run Sculpting Cream in Coffee Walnut in the crease of the eye and layered it with Copper Beech, blending the pigments with her fingertips to eliminate any harsh lines. Black cream liner was worked just along and in between the top lashes for definition. Sparkle Shadow in Tender Moon was then dusted over lids to make them appear wet (minus the gloppy grease so often used to achieve the effect), while lips were slicked with the Velvetease Lip Pencil in Mattely in Love for a non-shiny finish. To lend a “sweaty feel” to the face, Kendal patted Embryolisse Lait-Crème Concentré onto the surface of the skin.
To pick up on the silver thread running throughout the collection, Keri Blair mixed MAC Discothèque and Girl Trouble Nail Lacquers with Overlacquer (a top coat) to dilute the opaque polishes and create a sheer and shimmery “essence.” “It’s like mixing a clear gloss with lipstick,” she said of the process. The theme of Spring 2014 still remains the same (at least thus far): Less truly is more.
Redken effectively joined the hair-oil game two years ago when it launched its All Soft Argan-6 Multi-Care Oil at the Fall 2011 shows. The versatile bottle brought touchable sheen to a number of high-profile runway looks, from the wet locks Redken’s creative consultant Guido Palau constructed for Alexander Wang that season to the now-famous halo of braids he wove for Valentino. But as the hair-oil business continues to boom, the New York-based company has taken a “the more, the merrier” stance on product development and added another strand-smoothing elixir to its arsenal. Introducing Diamond Oil Shatterproof Shine, a new breed of styling aid that comes in both Light and Intense formulas, which Palau had on heavy rotation backstage for Fall 2013. Boasting an impressive 99 percent natural oil base, which also happens to be silicone-free, the rich fluid doesn’t just sit on top of the hair but actually penetrates deep into individual strands to better assist in manageability while improving texture over time. Apricot and camelina oils help repair damage, while coriander oil forms a barrier on the surface to keep hair safe from “the elements” (read: humidity). Its ability to penetrate is key to what sets this oil apart from its predecessor, and many of its competitors, too, as it’s capable of creating a range of amazing styles, like the lived-in look Palau whipped up at Prada; the severe dose of sophisticated shine he built at Roberto Cavalli; or just a simple touch of lustrous definition through dry lengths, as we’ve become accustom to using it.
$40, available May 2013. For salon information, visit www.redken.com.
The makeup artist job at Roberto Cavalli has been something of a revolving door of late. The past three seasons have seen three different face painters take the reins backstage at the show, although the ever-present Cavalli girl herself—who will not be parted from her black eyeliner—has made the transition of power a relatively seamless one. For Fall, Lucia Pieroni was tasked with bringing her own spin to the house’s “sexy, punky” vibe, which resulted in an “oily eye”—not to be confused with a greasy eye. “I’m bored of greasy eyes,” Pieroni admitted.
Rimming lids with a black kohl pencil, she blended MAC Eyeshadows in Black Tied, a shimmering onyx, and Carbon, a matte obsidian, into an elongated shape underneath the lower lash line and on top of the lids. Adding multiple swipes of its Haute & Naughty mascara close to the lash line, she etched a taupe-y pencil along the inside of the eye to open things up. Then came the oily effect, for which Pieroni slicked on a new MAC Pro Eye Gloss prototype in Black Sea, a high-shine, glitter-flecked cream-gel hybrid that she blended to sheer perfection just before models hit the runway. “You can plunk it on, which makes it really thick, like tar,” she said of the multitasking product, “or you can fade it out so it doesn’t get everywhere,” Pieroni laughed, anticipating the pigment’s inevitable sticky aftereffects, as she toned down lips and patted MAC’s fortcoming Cream Eyeshadow in Oyster, a shimmering pearl, on the top of models’ cheekbones for a luminescent highlight.
Guido Palau was honoring the “tough, boyish, cool girl” code that has long ruled here as well, via wet hair that was molded to models’ individual head shapes. Blow-drying strands with Redken Shine Flash 02 Glistening Mist and its forthcoming Diamond Oil Shatterproof Shine Intense, Palau created severe center parts, which he flattened with his fingers and its Forceful 23 Super Strength Finishing Spray. “It has to be, like, a lot of it,” Palau stressed of the quantity of hairspray required to create the kind of reflective, damp surface he was after. “Using shine rather than dry [texture] feels much more luxurious to me right now,” he conceded of what has become one of his favorite looks for Fall—a sentiment that extended to the nails, which were given a clear, ultra-glossy finish courtesy of MAC Overlacquer.