56 posts tagged "Sam McKnight"
Wigs, according to backstage fixture Sam McKnight, have taken the place of hats. And with choppy bowl-cut versions showing up at Marc Jacobs and Fendi, we’d say a trend is on the rise. Once thought of as something saved for Halloween, old ladies, and Lady Gaga, they’re quickly becoming more commonplace. For the photos attached to Cher’s latest album, Closer to the Truth, hairstylist Ricardo Rojas fitted the grand dame of divas and hair chameleon with faux strands reminiscent of a French beauty legend. “I wanted to re-create her signature long waves and youthful energy,” he explained. “I love Brigitte Bardot’s sexy tousled [look], so I went about styling the hair with that texture in mind, along with a little bit of rock ‘n’ roll.” And if your first question is, what exactly is the songstress hiding under the many wigs she wears in the artwork for her latest album—debuting three alone, including one made of newsprint, for the “Woman’s World” music video—it’s “gorgeous and long hair,” said Rojas.
The secrets to wearing a wig well, he explained, are not only to ask your stylist for advice, buy real (not faux), and get it cut by a pro, but to also concentrate on color. “When you first buy a wig, it lacks the darker roots and border that make it appear as if it’s your own,” Rojas elaborated. Then treat it like you would a Lucien Pellat-Finet cashmere sweater, meaning give it major TLC (and a monthly trip to the salon for maintenance). And while a quality rug is certainly an investment, you don’t have to commit to just one look…or suffer a bad hair day ever again.
“It took longer to take my makeup off than it did to put it on,” Karlie Kloss said backstage at Balmain. Minimal was an understatement, as makeup artist Tom Pecheux applied concealer only where needed, curled the lashes, and dusted powder across the tops of foreheads to take down shine. He focused mainly on skin care—massaging a combination of Estée Lauder DayWear Advanced Multi-Protection Anti-Oxidant Moisturizer and Revitalizing Supreme Crème into complexions, topping them off with Idealist Pore Minimizing Skin Refinisher for a dewy finish. “We transformed the makeup room into a spa,” he said. Pecheux picked up his soft touch from several pros around the globe, including Tracie Martyn, Terri Lawton, and Loudna at Joël Ciocco in Paris. “There are three pressure points [we are hitting]: under the eyes, inner corners, and beginning of the brow bone,” the face painter explained. He added that without the pampering the makeup-less models would “give him shit.” However, I didn’t hear any complaints—as most girls seemed to be in a blissful state as they sat back and enjoyed a little TLC.
The hair was equally as easy and organic. Sam McKnight misted strands with water to coax out natural texture and applied Magic Move Light (a non-greasy pomade shipped in from Japan via a former assistant) to create a piece-y effect.” The clothes are so high-octane that the Balmain woman is confident enough not to need any artifice,” he said. For girls with frizzier textures, he held sections taut with his hands and blew them straight, using a blow-dryer. Models lucky enough to have a thick head of hair had the under layers braided and tucked away to eliminate the bulk. As for the total package, Pecheux summed it up quite succinctly: “The rawness of a supermodel is different than the rawness of a regular woman.” Well, that’s certainly the understatement of the season.
Peter Philips is known as the master of makeup invention, and when it came to the eyelashes at Dries Van Noten, he certainly spun standard string into beauty gold. After evening out complexions with foundation and powdering the skin, he dusted Chanel Soft Touch Eyeshadow in Ivory (a pearl tone with a hint of shimmer) to provide lids with “a bit of depth.” Then he added sparkle to lashes via metallic thread. “You can never find a gold mascara that does this, and [false] lashes look too drag queen-y,” Philips explained. After snipping the delicate cord into small pieces with a pair of manicuring scissors and dotting models’ natural fringe with eyelash glue, he placed the tinsel-like fibers individually with a pair of tweezers. To frame the face and make the eyebrows uniform, Philips traced slightly outside arches using the Crayon Sourcils Sculpting Eyebrow Pencil in a shade slightly darker than each girl’s hair color; taking away the curve and replacing it with an elongated and angular shape. Lips were toned down with a touch of base just before showtime.
Sharp side parts inspired by Tamara de Lempicka (an art deco painter with Polish roots) and Loulou de la Falaise (Yves Saint Laurent’s muse) were gilded with a mix of hair wax and gold leaf. Hairstylist Sam McKnight washed hair with Pantene Pro-V Aqua Light Shampoo so that it was free of product or shine that would detract from the graphic stripe. He used a steel tail comb to divide the hair from left to right, then worked Sebastian Mousse Forte through the top section and brushed strands behind the ears with a Mason Pearson. A net was pressed over the crown, hit with a blow-dryer, and set with hairspray. The length was left “raw” and misted with water to revive any natural texture. The end result was a look that would make King Midas proud.
“Wigs have become the new hats—they’ve taken over and look really fresh.”
Above, we pay homage to the boyish bowl cuts we’ve seen thus far this season at Marc Jacobs and Fendi. As for the best thing about this high-fashion hair fad: You can remove the choppy crop just as fast as you try it on.
Everything is going digital these days—a fact acknowledged by Karl Lagerfeld at Fendi this season. The concept was infused into the collection via graphic shapes rendered in close-cropped fur and bold blocks of chiffon, while face-painter Peter Philips translated the creative director’s “digital code” into one distinctive hit of “chemical peach” on the lips, a shade inspired by the show’s invitation (pictured above). After outlining the mouth with Make Up For Ever Aqua Lip Waterproof Lip Liner Pencil in 18C, he filled it in using Rouge Artist Intense in 39 straight from the tube. “It’s a bit of an odd [hue] that has a very classic feeling—it could be a sixties lipstick,” the face-painter explained, “but it’s also very futuristic looking.” The rest of the face was devoid of color, using foundation and powder not only to lend a “satin-matte” finish to models’ complexions, but for practical purposes as well: “It’s easier to brush the [clippings] from the wigs off of this type of texture,” he said. After running a thin stripe of Chanel Stylo Yeux Waterproof Long-Lasting Eyeliner in Ébène across the upper rims, he curled the top lashes and locked in the shape with Inimitable Waterproof Mascara.
The short and choppy mop tops, created by hairstylist Sam McKnight, were influenced by Lagerfeld’s original sketch, Linda Evangelista in the eighties, the Beatles, and “a little Japanese thing thrown in,” he said. To blur away the individual and create a singular army of Fendi-bots, black wigs were fitted to each girl and tailored into a bowlish shape using a razor. “I wanted to keep it looking wiggy,” McKnight added. “Not kid people into thinking this was real hair.” The imperfect crops were finished with a liberal dose of Oribe Dry Texturizing Spray for a “fluffy, not dirty” finish. If the Kaiser and the King of New York (Marc Jacobs) have given the bowl cut the green light, perhaps it’s time to think about using your dishware for things other than cereal, and replacing the spoon with a pair of scissors. Or maybe just trying the trend on for size at the nearest wig shop…