21 posts tagged "Roberto Cavalli"
Shearling and rave prints are high on our list for Fall, but we might just be adding a platinum wig to the mix of must-try trends. Daria Werbowy wore one (along with a black bowl cut and Joan Jett-like shag) in the series of selfies she snapped for Equipment’s newest campaign; Rita Ora donned a Marilyn Monroe-esque iteration for Roberto Cavalli; and Candice Swanepoel tried on faux strands for size in Hype Energy’s latest ad. While bleach can certainly take a toll on the health of your hair, wigging out in the white-hot hue is a low-risk option worth taking.
A ring of fire surrounded a pool of water in the center of the circular runway, but the collection at Roberto Cavalli wasn’t Hunger Games-inspired, although Look 36—a gown with flames rising from the hem—might have said otherwise. In fact, there was no muse at all, noted Guido Palau, who doused strands with Redken Shine Flash for a “greasy” vibe before raking them with his fingers into a chignon. He then tied off the length with elastic before personally coiling and pinning all of the models’ “messy knots” into place. The bits he pulled out in front for texture were set in place with Forceful 23 hairspray. “When it gets too overcomplicated, it doesn’t feel sexy anymore,” he said of the relatively simple style.
The makeup by Diane Kendal, however, was a bit more dramatic. The face painter crafted “smoky, extended eyes” that were squared off at the outer corners to avoid a “catty” shape. (There were plenty of felines dangling from models’ necks in pendant form, courtesy of the designer.) A combination of black and brown liners was used in order to create a sense of depth. “Black can be too hard,” Kendal explained. A champagne shadow from MAC was tapped on the center of the lids, a powder blush was rubbed into cheeks with fingertips, and lips were topped with Siss, a flesh color.
Keeping with the nude nail theme that is already quite rampant for Fall 2014, MAC senior artist Keri Blair blended two lacquers, Quiet Time (a cool, grayish hue) and Thimbleweed (a warm, peachy shade), to create a polish that flattered a range of skin tones. “It feels a little bit dirty,” she explained. “It’s a rock ‘n’ roll nude.” Standard beige clearly wouldn’t do—the Cavalli woman needs a manicure worthy of pyrotechnics.
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.