August 21 2014

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63 posts tagged "Sam McKnight"

Cut-And-Paste Makeup And “Aerodynamic” Hair, Backstage at Fendi


Peter Philips likes to think outside the box. The makeup artist known for his way around a perfect complexion and a gorgeous rose-petal pink or red lip is just as often referenced for mixing makeup mediums—an embroidered eyelash here, a precious gemstone brow there. Blame it on his art school education. At Fendi, it was the latter inclination that, er, stuck. “The idea was to use colors from the collection, and the best way to do that is to use the actual collection,” Philips said as he glued pre-cut fabric strips onto models’ lower eyelids.

“It was a bathing suit,” Philips explained of the neoprene swatches in peach, teal, royal blue, neon orange, tan, and yellow that he placed beneath the lash line in a three-part system: “There is black on the bottom, pointed outward,” he elaborated, followed by a color strip in the middle, and a shorter, brighter piece on the inner corner. “After rehearsal, I noticed the blue really worked,” Philips said of why most models ended up with the same royal blue center. Otherwise, faces were left bare to appear “more young and playful” and less “theatrical”—a directive that came right from Karl Lagerfeld, who dropped by to pay his respects. (“I didn’t want to interrupt you; I just wanted to say hello,” the designer said to Philips in passing). Never one to miss a nail opportunity, Philips added to the season’s neutral polish palette with a nude-salmon varnish, the result of Chanel Le Vernis Nail Lacquer in Ming, a warm, shimmering pink, mixed with white and a few drops of its Mimosa, a sunny yellow.

The same pastel colors could be spotted in a range of embellished headbands that Lagerfeld made for the show to accessorize Sam McKnight’s “sharp, aerodynamic” updos. “It’s not soaking-wet,” McKnight explained of what he ultimately deemed a “malleable, sea-wet” texture, the result of strands that had been prepped with Frederic Fekkai Marine Summer Hair Beach Waves and divided into four sections. Creating a flat bun in the back to remove excess weight, McKnight folded hair over from one side followed by the other, which was twisted and pinned down. Having left the top section free, McKnight ultimately rolled that backward, attaching it to the finished coif. “There’s about 40 pins in each girl,” he estimated, “so we’re not advising them to go to the airport anytime soon.” Zing!

Photo: Luca Cannonieri /

“A Little Lana Del Rey, A Little Raquel Welch,” And Another Big Sixties Shout-Out Backstage At Moschino


The beauty story at Moschino told itself: the teased-out bouffants, the white-rimmed lids, the loads of individual lashes—”It’s totally sixties,” Tom Pecheux confirmed backstage, shouting out the singular reference that has dominated the shows so far. “At least [Rossella Jardini] went there completely,” he joked of the designer’s full-on, swinging homage that put a “twisted, playful” spin on fashion’s reigning favorite decade.

There is something universal about the retro look, though, Pecheux insisted. “The strong brows are more forties,” he said as he filled in arches, “and the lashes are so huge they could be on [in 2012],” he continued of MAC Lashes in #35 and #33, which were painstakingly placed in between natural lashes and coated with its Haute & Naughty Mascara. The modernization of MAC’s Eye Kohl in Fascinating, a white pencil that Pecheux set with its Eyeshadow in Gesso and drew around the upper and lower lash lines, was a bit of a harder sell; ditto those “Typex” white nails and that quintessentially sixties coral mouth, which came courtesy of MAC Lipstick in Morange and a slick of its clear Lip Glass. But borrowing from the past does have its perks. “The sixties were about fun, and color and youth,” Pecheux pointed out, throwing in his two cents about why the style set is looking backward to move forward for Spring.

“[Stylist] Anna Dello Russo and Rossella [Jardini] were very specific about what they wanted,” hairstylist Sam McKnight chimed in, reciting the mix of muses he was given for inspiration. “It’s a little Lana Del Rey, a little Raquel Welch…a proper doll ‘do—very done,” he said of the voluminous, side-parted, half-up, half-down style that required a good amount of Pantene Pro-V Ultra Strong Mousse, its Ultra Strong Hairspray, and a lot of back-combing. After achieving his desired height, McKnight secured front sections in the back with bobby pins and smoothed lengths with his trusty Mason Pearson brush. “I didn’t know I had this much hair!” a surprised Cara Delevingne said as she settled into McKnight’s chair. “How do you get something like this out?” she asked. (After toiling over 33 girls and a tight deadline, McKnight let that one go with no response).

Photo: Rex Features via AP Images

EXCLUSIVE: Backstage At Chanel Couture, Peter Philips Updates The Classics


The idea behind the beauty look for Chanel’s Fall Couture show started as it always does. “I just got a sketch,” the brand’s creative director of makeup, Peter Philips, told us last week when we had the pleasure of chatting with him about Miroir, Miroir, his latest video vignette starring a range of Chanel products. The sketch expressed Karl Lagerfeld’s inspiration for the show: new vintage. “I took some [basics] and twisted them in subtle way,” Philips says of his approach, which focused on familiar makeup elements—a smoky eye, an eyeliner and blush application, a French manicure—made modern.

Starting with a clean base, the face painter concentrated most of his attention on lids, crafting a “blue/gray metallic eye” that began with a dusting of Chanel Ombre Essentielle Soft-Touch Eyeshadow in Furtif that Philips swept across the upper lash line through the crease and dragged underneath the lower lash line. To that, he applied a thick, “bulky” scrawl of black liner, which he topped off with a few swipes of Chanel Inimitable Mascara in Black and an etching of its Kohl Liner in Clair, a pale beige, that he traced along the inner rims to open the eyes a bit. Blending a swirl of Chanel Joues Constraste Blush in Rose Initial onto the apples of models’ cheeks, albeit “a bit higher than usual,” Philips finished the face with a neutral pout that he framed with its Lip Liner in Natural and filled in with its Rouge Allure lipstick in Evanescente.

The show’s theme was best realized through Sam McKnight’s silver-lined, forties-era hair nets and the nails, where Philips took the idea of the classic French manicure and gave it a touch of now, thus ushering in Chanel’s first foray into fashion’s continued embrace of the nail art revival. “When we were playing around with the idea of doing a nail polish, we evoked the idea of using two shades on one nail,” Philips explained, employing a discontinued chrome color that launched in 2007 to outline the entire nail bed, rather than just the tip, which had been lacquered with two coats of May, a melon varnish from the Spring 2012 show. “[New vintage] is…preparation for something that could last,” Lagerfeld explained to our intrepid runway reporter following the show, which we’ll take as a sign that nail art isn’t going anywhere anytime soon. At least now we have a new design to challenge our manicurist with.

Photo: Luca Cannonieri /

The New Aggy


With all the recent talk of Fall’s severe brunette dye job, fashion’s former obsession with blond strands—of the platinum and honey variety—seems to have taken a backseat. But the industry’s reigning queen of the peroxide bottle has made us take notice of the fairer hue once again. Since Sam McKnight famously cut Agyness Deyn’s hair into a spiky pixie and colored it a shade of white cornsilk, thus coining the original “Aggy,” the British beauty has dabbled in all manner of hair alter egos: There was the black bob and the pseudo mohawk-plus-fade, before Deyn got real crafty and shaved her head clean. The last year has seen the former catwalker go back to platinum while growing her locks into a uniform, chin-grazing length. But this month, she’s warmed things up with a true golden tone, which was on display at last night’s Jameson Empire Awards in London. We’ve always been of the mind that Deyn wears platinum with the best of them, but her latest spin on the color wheel seems to suit her just fine. Do you agree?

Photo: Ian Gavan/Getty Images for Jameson; Tommaso Boddi/WireImage

The Girl With The Chanel Fine Jewelry In Her Hair


It goes without saying that we wish were in Tokyo for last night’s cocktail, dinner, and Chanel Haute Couture reprise that went on in Japan’s capital for a select group of Karl Lagerfeld’s friends and fans who were able to make the trip. Not only do we live for the spectacle that is Tokyo—its bustling shops, over-the-top hotels, and unreal fish markets—but it just so happens that we loved Lagerfeld’s Spring Couture stewardess homage the first time we saw it, back in January. But maybe not as much as his Métiers d’Art pre-fall collection, which we still dream about four months later (please allow us to direct your attention to looks 41 and 64, if you need a little refresher course)—which is why it was hard to miss French-Spanish actress Astrid Bergès-Frisbey, who selected look 65 off that Raj-inspired runway for the evening’s festivities. As we pored over images of the Pirates of the Caribbean star’s dress, we noticed that while she eschewed Peter Philips’ dark, kohl-rimmed eyes from the show, she did incorporate Sam McKnight’s bejeweled hairstyle. Rather than work one of the large-scale pieces of Chanel Fine Jewelry that McKnight clipped into model’s dreaded locks back in December, Bergès-Frisbey selected a long string of gold and lavender crystal orbs, which she wound through a long, tousled, side-slung braid. Her off-the-catwalk interpretation only made us love the look that much more. Thoughts on her haute hair?

Photo: Courtesy of Chanel