48 posts tagged "Sam McKnight"
Peter Philips has said it before, and he all but screamed it on Chanel’s Cruise runway in Singapore yesterday: Karl Lagerfeld loves an eye. In fact, backstage-beauty watchers will have to look all the way back to the house’s Fall 2010 Couture show to find evidence of the last time Lagerfeld ordered up a statement lip—which might be why Philips is in his comfort zone when it comes to lids; no matter how many times he reimagines them, they never fail to impress.
For Resort, the makeup artist’s handiwork was even more noteworthy than usual, considering the hot and humid conditions of the Southeast Asian summer—and because rather than expand the definition of the word makeup with pieces of tulle, lace, jumbo glitter, and rhinestones, as has become his signature, Philips used plain old pens and pencils, to no less impactful an effect. “We combined an exaggerated graphic black eyeliner on the eyelid, with an electric-blue kohl underliner,” he explained drawing a thick black flick through the crease of the eye with Chanel’s Stylo Yeux Waterproof Long-Lasting Eyeliner in Noir Intense before using the same crayon in True Blue to create an equally elongated stroke beneath the lower lash line. “I also used lots of black mascara on the top lashes and applied a gently enhanced eyebrow,” the face painter continued, swiping on multiple coats of its Inimitable Waterproof Mascara in Noir. Skin was kept luminous with a touch of Chanel Joues Contraste Blush in Frivole, a warm peach, its Éclat Lumière Highlighter Face Pen, and some expert contouring courtesy of Chanel Les Beiges, an inventive array of sculpting powders that debuts next month. To not distract the attention from the eyes, which were dusted by Sam McKnight’s side-swept faux fringes—the ends of precisely pinned French twists that had been carefully arranged over the forehead—mouths were kept bare, albeit moisturized. “We kept the lips natural, only using [Rouge Coco Baume] lip balm,” Philips elaborated. He did allow for a little distraction on the nails, though, which peeked out of a series of fingerless gloves to reveal two glimmering coats of the cult-favorite Le Vernis de Chanel in Black Satin.
For those of you wondering if the Spring sentiment that sent models to the salon in droves in search of bobs and bowl cuts would return for Fall, the answer appears to be yes. As the shows officially come to an end today, with yet another wig moment at Louis Vuitton, we can confirm that designers are still very much feeling compelling crops. So can Guido Palau. “A lot of people want to see short hair this season,” Palau said backstage at Jean Paul Gaultier, where he was busy trimming “patchwork,” clipped-on-top mullets—a request that he, personally, has been fulfilling with frequency.
It all started at Dior Couture, where the Redken creative consultant gave every girl a convincing pixie cut. Then Palau honed his wig-shaping skills at Marc Jacobs, fashioning an army of Edie Campbells, the Brit It girl he gave a black dye job and a Joan Jett shag for an editorial months earlier. But it didn’t stop there. Sam McKnight picked up the torch at Clements Ribeiro in London, fashioning veritable faux-hawks, a style he reproduced at Fendi in Milan with tight braids accessorized with fox-fur hair pieces a few days later. Next up was Eugene Souleiman’s Rei Kawakubo tribute at Yohji Yamamoto, for which he replicated the Comme des Garçons designer’s architectural black bob, and the stunning pin curls Luigi Murenu designed for Riccardo Tisci’s breathtaking Givenchy collection. Then Karl Lagerfeld got in on the act at Chanel, ordering up colored, similarly graphic hats that sat on top of McKnight’s “done but not done” center-parted strands, thus creating a deceptively short silhouette on top of a long one. This morning, Palau brought it full circle, giving every one of Jacobs’ Louis Vuitton models—Kate Moss included—a “fifties, sort of French Left Bank” bob that was heavy on the mousse for an out-all-night effect.
The season’s overarching punk undertones may have had something to do with the wealth of conceptual cuts that made it onto the runway; nothing captures the subculture’s DIY attitude quite like lopping off excessive length. Suffice it to say, if you’ve ever considered parting ways with your long locks, now would be a great time to do it.
Paris’ Grand Palais is appropriately named. The turn-of-the-20th-century venue is massive, and so are the Chanel shows that take place there every season. The fact that the audience here is perched in stadium-style seating presents an interesting challenge for Peter Philips. “We wanted something that is beautiful close by, but that you can read from a distance,” he explained of the process by which he and Karl Lagerfeld brainstormed a makeup look for Fall. Noticing the metallic threads that were woven into many of the designer’s tweeds, and the twinkling lights demarcating cities in the giant globe that sat at the center of his runway, the idea of using glitter “just came up,” according to Philips, who turned to 3-D eye makeup that utilized “jumbo” silver sparkles as a fairly festive solution to the problem.
It worked. Even from the cheap seats, you could see models’ lids flickering as they circled the world according to Chanel with pieces of sequins affixed close to their lash lines in an elongated shape, and in the lashes themselves. “We actually applied extra glue in the lashes so they get more faceted and catch in the light,” Philips revealed. Keeping skin semi-matte with Chanel Perfection Lumière Long-Wear Flawless Fluid Makeup, dusted with its Poudre Universelle Libre to contrast with the shiny texture on the lids, Philips added a warm flush with Chanel’s forthcoming cream blush, one of six new hues that will launch with corresponding Rouge Coco Shine lip colors this fall—including the transparent, deep berry-rose Instinct that Philips slicked onto mouths today. Nails were painted a similar color with the as-yet-unreleased Le Vernis de Chanel in Elixir. As a finishing touch, Philips drew a long line of its Le Crayon Khôl eye liner in Noir underneath the lower lashes to further ensure models didn’t disappear in the vast space. “It’s a combination between a technical solution and an aesthetic solution,” he said of the graphic element.
Sam McKnight’s “done, but undone” center-parted strands were a reaction to two additional graphic elements. “There are these chokers,” he said, referencing the wealth of necklaces that were placed over the back of models’ hair, creating an indentation. Prepped with Frédéric Fekkai Full Volume Mousse for a slight bit of texture and Magic Move for piecey-ness—”the white one, which is the creamiest one,” McKnight said of the popular sculpting cream—lengths were tucked into overcoats, blazers, and dresses, so all that remained was the illusion of a short-hair silhouette, a shape that was made even more distinct via a series of colored hats shaped like bobbed wigs with blunt bangs. Lagerfeld has always had a soft spot for the kind of short cuts that are making the runway rounds this season, often surrounding himself with cropped, house muses like Saskia de Brauw and Stella Tennant—the latter of whom showed up backstage just in time to get an impromptu trim from McKnight. Talk about a job perk.
The Balmain woman is a creature of habit. She likes a strong shoulder, a good bit of embellishment, and very little fuss when it comes to her hair and makeup. “I think it’s even more minimal than usual,” Tom Pecheux said backstage, pointing out that he did everything he usually does for Olivier Rousteing’s Fall outing, minus the highlights. “We’re making it more matte,” he explained of models’ complexions, which were brushed with Kett Sett Loose Powder and MAC Prep + Prime Transparent Finishing Powder, a technique that took a page out of this season’s makeup manual. “Mattifying [the skin] makes it a bit tougher,” Pecheux offered of the finish that has dominated the runway over the past few weeks. It worked particularly well here, in contrast with the ornate dresses and “very strong” earrings the girls wore. Curled lashes, light contours, and well-groomed brows finished off the face.
“We’re going more tough this season,” Sam McKnight elaborated, speaking to the hair look. “It’s not as soft and clean.” Instead, McKnight made things a little “dirty” by smoothing handfuls of Magic Move, a malleable styling paste, on the sides of the head and all the way through the ends, which he reactivated with water just before models hit the catwalk. “There’s never a huge concept here,” he pointed out, content to christen his handiwork “dirty, rock ’n’ roll chic.”
After last season’s all-out sixties tribute, arriving backstage at Moschino this morning, only to find peaches-and-cream complexions and ponytails, was more than a little change of pace. “Normally, Moschino is very full-on, but this season it’s very young and fresh,” makeup artist Tom Pecheux pointed out. “Very fresh, and very English.”
That much was clear from the soundtrack alone (Oasis, The Verve, and Blur, anyone?), as well as a specifically British dewy skin quality with a faint flush. “In France, you have the baguette; in England, you have the rosy fresh skin,” Pecheux elaborated, administering massages with a blend of Rodin Olio Lusso and Estée Lauder DayWear Advanced Multi-Protection Anti-Oxidant Crème before applying a moderate coverage of MAC Studio Sculpt Foundation. Concentrating a mix of its Cremeblend Blush in Posey and Cream Colour Base in Rich Coral on the apples of the cheeks—”not too high, because on high-definition cameras it looks bad,” Pecheux emphasized—he added multiple strokes of MAC Haute & Naughty mascara to lashes, then dabbed its sheer, dark pink lipstick in Red Statement onto pouts.
There was still a hint of the sixties in the hair, which was also rooted in the annals of British beauty. “I think we invented the sixties,” English hairstyling star Sam McKnight joked, coating strands with Pantene Triple Action Volume Mousse before drying them, fashioning a side part, and back-combing a small bump at the back of the head. Pulling the sides over the tops of models’ ears, McKnight gathered lengths into a low ponytail. “It’s a very British-riding-set homage,” he insisted. “They’re not ‘street’ girls.”