56 posts tagged "Sam McKnight"
Post-fashion month, hair pro Sam McKnight has been uploading more Instagram pics of his backyard oasis in London than backstage beauty moments. It’s a place he often finds inspiration, particularly for his new collection of hair accessories with Vicki Sarge, landing exclusively on Net-a-Porter this spring. “They’re based on dying flowers in my garden,” he told me in Paris, flipping through photos of headbands, clips, and hair elastics on his iPhone. McKnight adorned ponytails with camellia flowers at Chanel, but I myself can’t wait to re-create the look with one of these plastic-and-crystal blooms once this cold front finally moves on.
From double-C branded ketchup to white rubber dish gloves adorned with black camellia flowers, the aisles of the Chanel supermarché were abundant with color. The angular wings sketched onto the outer corners of the eyes reflected not only the range of shades in the collection (including pink, orange, green, and marine blue), but the bottles of fizzy, neon-hued “Tweed Bubble” soda lined up on shelves and ultra-ripe produce piled in the center of the set. The silver shadow base, however, played off the leather-and-chain-link shopping baskets that only this particular French grocery would have on hand.
The ponytails crafted by Sam McKnight were “blown up in proportion” and “exaggerated” courtesy of tweed rags, lace, and pearls that were braided and woven into crimped extensions. (Before being wrapped around the base of the pony, the faux strands were prepped with a combo of Fudge Salt Spray and Oribe Dry Texturizing Spray.) The motley mix of textures in back (somewhat reminiscent of dreadlocks) contrasted with the sharp and smooth center parts at the front. If filling my fridge and pantry was always such a feast for the eyes, I might be tempted to skip Fresh Direct and stock up in person.
“She likes really good skin,” said Lisa Butler of Isabel Marant’s makeup vision. “That’s where we’ve been spending our time—making sure it is absolutely flawless, but without looking really made up.” After prepping complexions with Shu Uemura DepSea Hydrability Intense Moisturizing Concentrate, Bobbi Brown full-coverage foundation was dabbed only where needed to ensure models’ faces still had “dimension.” Butler skipped contouring and mascara, but created a highlight on the eyes without piling on products. A “blob” of & Other Stories Face Contour Cream (a shimmery taupe shade) was applied to the inner and outer corners, then joined in the crease—leaving the center of the lid bare. A shadow in the same tone was dusted over the top to set. MAC Paint Pot in Antique Diamond was dotted along the bottom lashes with fingers for “twinkle.” For brows that were “thick and bushy” without being “dark and heavy,” Butler combed Anastasia Tinted Brow Gel in Auburn or Blonde through arches. Because the clothes were “quite strong and dark,” a berry hue was rubbed into the middle of the lips to make models look “pretty, not harsh.”
“She’s undone rather than overdone,” Sam McKnight explained of the always chic Marant woman. It’s a story we’ve heard before, but it never gets old. Show me a girl who doesn’t want to be “natural, sexy, and French” and I’ll show you a liar. The hair pro achieved this coveted cool-girl vibe by blow-drying strands using L’Oréal Professionnel Tecni Art Mousse, adding a slight bend with a curling iron for movement, and misting Bumble and Bumble Dryspun Finish throughout for texture. This style may be inspired by Parisians, but I’m taking it back to New York (along with those polar vortex-worthy fur boots that came down the catwalk).
“The girls are booked for who they are, so it’s not about stamping a look on them,” explained hair pro Sam McKnight. When you have models like Angela Lindvall, Joan Smalls, Karlie Kloss, Anja Rubik, Jourdan Dunn, and Rosie Huntington-Whiteley all in one room, do you even need hair and makeup? Add a swipe of lipstick and the Hôtel de Ville might just spontaneously combust from the overwhelming amount of beauty. Nevertheless, a little foundation, concealer, and brow powder never hurt anyone. And that’s about all maquillage master Tom Pecheux used backstage to create the “safari goddess” who would wear Olivier Rousteing’s high-octane clothes through the jungle. The only alteration he made was paling out the skin with a lighter shade of base. “It’s still the minimum of what you can do in terms of makeup, but it’s much more than last season,” Pecheux quipped.
An “unbrushed, lazy ponytail with a structured front,” was how McKnight summed up the strict center parts and textured tails that showed off the collared necklaces and door-knocker earrings created by the designer. To coax out natural wave, he spritzed strands with a combination of water and Oribe Dry Texturizing Spray after tying off the length with a string of elastic. As for who, of all the girls, has the “ideal” hair: Huntington-Whiteley, of course. Sigh. As if that face and body weren’t enough.
Faux bobs abounded at Dries Van Noten—all inspired by the forties-esque dresses and shoes in the show. Sam McKnight disguised models’ length by braiding the under-layers at the nape to form an “anchor,” misting all over with Fudge Salt Spray to create a matte texture, and wrapping sections around an iron to form loose curls. After a generous spritz of Oribe Dry Texturizing Spray was applied, the hair was divided into three sections, and each was tied off at the end with a band. McKnight then rolled up each piece and secured it to the plait that acted as a pincushion, allowing the shorter layers to cascade around the right side of the face. To play off the metallic pieces, he slid a flat barrette just behind the left ear to finish. “Dries’ focus for the hair was a wave, but the wave down was too glamorous. A small head somehow made it a little more masculine and a little less frivolous,” he noted.
“It’s just one graphic element,” Peter Philips explained of the onyx eyes at Dries Van Noten. “The collection is full of prints and bold combinations, so we wanted to do something that’s strong but doesn’t clash with the clothing.” His weapons of choice: MAC Chromacake in Black Black and Giorgio Armani Beauty’s Eye Shader Brush. A clean, angular shape was swathed across the lid and bluntly ended just past the corner of the eye—deliberately not bringing it to a point, which would make it feel “retro.”
It’s not the first time we’ve seen an artist focus on this aspect of the face this season—from Derek Lam to Roberto Cavalli, the eyes certainly have it. Philips’ reasoning: “If you do a lip or an eye, it brings the girls together and creates an army that represents the designer’s vision…It makes them almost anonymous because it overtakes the natural shape of the eye and becomes an accessory.” In comparison to Van Noten’s shimmery, silver Mary Janes that are now sitting on my Fall 2014 wish list, this lid look is an accessory I can definitely afford.