13 posts tagged "Rochas"
The pre-fall shows are often a good indication of what’s to come when the Fall shows commence next month. After a jam-packed day of appointments and presentations yesterday, however, they also seem to signify that some Spring trends have serious staying power. We are specifically referring to the blue eye makeup movement that left a lasting impression on the fashion set back in September—and on Marco Zanini, it would appear. The Rochas creative director adopted a marine mandate at his pre-fall presentation, asking makeup artist Silvana Belli to compliment his luxe brocade fabrics, which were occasionally accessorized by knit beanies, with an opaque wash of creamy aqua pigment, like Maybelline’s Eye Studio Color Tattoo 24HR Cream Gel Shadow in Tenacious Teal. Belli dragged the bold, stamped-on color across model Maja Salamon’s lids from her upper lash line to her brow bone, stopping just short of mingling the makeup with her actual brows. A deliberate eschewal of mascara kept the focus squarely on the bolt of blue—and the clothes, of course. Will cobalt, midnight, indigo, and cerulean prevail through February and March, too? We’ll know in a few short weeks. Watch this space.
There are certain collections that lend themselves to strong beauty looks, and under Marco Zanini’s tenure, Rochas is definitely one of them. “There are these incredible rosebud-colored patterned florals towards the end [of the show]; you kind of want to wear them on your mouth,” Clé de Peau creative director of makeup Lucia Pieroni said at Zanini’s Spring outing, where lush fabrics were a huge part of the story. The other conversation piece? Pieroni’s flat-finish cerise mouths.
“I’m obsessed with lips at the moment,” the makeup artist joked, having already gifted us with one of the month’s best last week in Milan. Giving skin a pastel, luminescent finish courtesy of a few swipes of Clé de Peau’s Luminizing Face Enhancer in #11, Pieroni dusted lids with the gold color from its forthcoming Eye Color Quad in #209 Sapphire and brushed up brows, leaving lashes without mascara. Then came those pouts, painted with a blend of Clé de Peau Extra Rich Lipstick in R1, “a beetroot red,” according to Pieroni, and R2, “a pillbox red,” which she mixed together and topped with a bit of its Blush Color Duo in Pink for a mattified texture. “Matte to me seems quite modern,” she said, dragging a cotton swab around the edges of the mouth to ensure a soft-focus effect, “as though they’ve really been sucking on a lolly.”
It wasn’t the first look she and Zanini tried, but it was the one that stuck. “The music’s very California, and we went through the process of having the girls look sun-kissed, but they looked too much like a Dutch painting with those hoods,” Pieroni elaborated, motioning to the silk visors-turned-headscarves that Zanini commissioned from the French couture house Lemarié. “She’s a romantic dreamer who does not go out into the sun,” Zanini chimed in of the accessories, which left Wella global creative director Eugene Souleiman very little to work with.
“A ponytail is a little boring, but logistically, it was the only thing we could do,” Souleiman said somewhat begrudgingly, leaving his mark on the look by giving models what he called “premium hair.” “It’s really, supernaturally straight, ” the coiffeur explained, stretching strands with a blow-dryer, coating them with Wella Professionals Shimmer Delight Shine Spray, running them through an iron, and gathering lengths into a low ponytail that he pulled out a bit from the top of the elastic to create a voluminous, pseudo bob beneath the bonnets. “It’s maximized,” he admitted of the end result, “but so subtle it’s not vulgar.”
More news on Rochas’ forthcoming fragrance developments. The Olivia Palermo-fronted perfume called Les Cascades de Rochas, is inspired by “a Parisian fountain in the summer,” is skewed toward a younger demographic, and launches in Europe in July. [WWD]
Alicia Silverstone is dedicated to promoting a green lifestyle—and green beauty, as the case may be. After a collaboration with EcoTools, the Clueless icon and PETA member has teamed up with the organic-minded Juice Beauty on a five-piece collection of skincare and makeup essentials. [WWD]
It was revealed this week that Botox is not the cure-all for migraine headaches researchers claimed it to be last year. But no matter; the wrinkle reliever has a new off-market use: a remedy for teeth grinding. [FOX News]
Speaking of strange uses for injectables, shooting your feet up with dermal fillers to minimize the pain of wearing sky-high heels is apparently gaining in popularity. [Daily Mail]
Matte lips have dominated the Fall runways this season, and more often than not they have been painted classic shades of red. Backstage at Victoria Beckham and Marc By Marc Jacobs in New York, lips were a perfect crimson hue, while a precise slick of scarlet ruled at PPQ in London and Rick Owens this week in Paris. But another pout color is starting to stake its claim on the season, and it’s gaining ground with each passing day: behold, the dark mulberry mouth. We got the our first glimpse of it in Milan, where Pat McGrath coined the “dark romance” effect at Gucci before creating “shading and contrast” at Bottega Veneta with paled-out skin and another burnt-cherry lip that she lined with a black eye liner and then filled in with a blackened-red pigment. Lucia Pieroni picked up on the idea at Rochas, where she crafted a dark wine-stained, “stamped-on” lip to complement the rich color palette of Marco Zanini’s collection. Then today at Viktor & Rolf, McGrath captured the enchanted show’s “witchy elegance” with a burgundy pout that she described as “gothic glamour.” This last incarnation had the addition of a high-gloss shine, which the makeup artist applied just before models hit the run way to avoid any, er, sticky situations.
The color is striking on a host of different complexions, but the real secret to pulling it off lays with a good lip liner. “[They're] brilliant!” Pieroni effused at Rochas of the colored pencils that can retain even the wiliest of lipstick bullets. Pro tip: For a true matte finish, apply your liner around the perimeter of the mouth and in the center before adding your lipstick. Blot with a tissue, dab with finger-patting of translucent powder, then apply the liner to the surface of the mouth again to thoroughly remove all traces of shine.
The color references were endless at Rochas, where Marco Zanini replicated a rich palette of Scandinavian pottery prints throughout his Fall collection. But makeup artist Lucia Pieroni honed in on a single shade of deep aubergine, which inspired the “stamped-on lip” she painted onto models’ mouths in perfect complement to the deep steely blues, warm mustard yellows, and hints of plum that were woven into the clothes.
“I’m making them matte,” the Clé de Peau color creator said of the lips, pressing a tissue over a dusting of translucent powder that she had blotted on top of a slick of the brand’s forthcoming Extra Rich Lipstick in #R10, a dark mulberry, to remove all traces of shine. Skin was kept luminous and pale thanks to a veil of Clé de Peau’s Teint Naturel Foundation and its Luminizing Face Enhancer palette in #12 Gold, which Pieroni swept across the tops of cheekbones. Blending a “soft-focus” eye onto lids with a mixture of its new-for-fall Satin Eye Colors in #118, a shimmering sand, and #116, a glistening wine, Pieroni beefed up brows, as she is frequently wont to do.
“It’s all about the textiles,” Wella global creative director Eugene Souleiman confirmed of the backstage beauty inspiration. And Souleiman added another nod to handcraftsmanship with a series of lacquered cinnamon stick barrettes that he bought in Paris specifically for the show. “We found them in the Marais for 50 cents! We bought every last one,” he effused of the street-market find that added a “wooden, organic” element to Zanini’s folk-ceramic influence. Sectioning out a front panel of hair, adding a bit of mousse, and brushing it backward for a semi-sleek effect, Souleiman rolled the lengths under themselves, pinning them down for a touch of volume at the nape of the neck. The remaining side sections were back-combed ever so slightly to maintain the shape of a faux bob before they were gathered together and secured with the barrettes. “She’s rich, but not in a vulgar way, in an artisanal way—like a character in a Bergman movie,” he proposed of Zanini’s muse for the season. “So the hair is soft but it’s definitely been done—by impeccably good hands.” And how.