56 posts tagged "Sam McKnight"
“Karl likes an eye,” Peter Philips admitted backstage at Fendi this morning—a partiality that Lagerfeld has certainly made clear over the last three seasons at the Italian house. And while following Spring’s gold and silver foil eye shadow was certainly no small task, Philips made quick work of it for Fall, painting lids with a “feathered” white brushstroke of MAC Lipmix. “There are white details in the collection,” the makeup artist explained, referencing the antelope furs specifically while scrawling a thin black line across the upper lash line with Chanel’s Stylo Yeux Waterproof Eyeliner. A few slicks of mascara on top lashes only provided a hint of additional embellishment.
“I need pins! It’s a big-time pin situation over here,” Lily Donaldson chirped from Philips’ chair, beckoning Sam McKnight to come over and fix her double halo of hair twists. “It’s a dark, Nordic look,” the hairdresser remarked of the style, pointing out that his sleek, embellished coifs were meant to be “almost Victorian, not fairy-tale.” Prepping models’ strands with Sebastian Forte Strong Hold Gel, McKnight created precise middle parts, separating out two low pigtails, which he divided into sections and “twisted like a rope.” “There’s a childlike quality to it,” he surmised, fastening small elastics on each twist’s ends before ultimately removing them for an “undone” effect. It was labor-intensive, to say the least. “We started at 6 a.m.,” McKnight divulged of the call time for the 11:30 a.m. show.
Backstage at Doo.Ri last week, Orlando Pita made a bold statement. “I have a feeling the headband is going to have a big moment this season,” he predicted only two days into the Fall 2012 shows. And he did his part to make sure the trend had legs in New York, adding thin black elastic bands to heavily back-combed “big hair” at Carolina Herrera and tying bejeweled satin ribbons to teased-up and brushed-over faux bobs backstage at Oscar de la Renta to complete the illusion of “a young girl playing dress up.”
Now that the fashion pack has settled in London, it appears as though Sam McKnight has taken up Pita’s cause. The super-stylist whipped up texturized “bohemian” chignons, which he restrained with thick, twisted black bands at Clements Ribeiro this weekend before repeating the feat backstage at Moschino Cheap And Chic with similarly twisted satin strips in a bevy of pastel colors, which he placed around sixties-era beehives. But the biggest sign that Pita just may be prophetic came last night, when Alexa Chung adopted the look for Emma Hill’s star-studded Mulberry party. Whether Milan and Paris will follow Chung’s lead remains to be seen, although that “it’s on” seems likely. Stay tuned.
Topshop Unique isn’t typically the first place you’d look for wearable hair and makeup looks that translate to everyday life. Few rushed to replicate the furry eyebrows and frizzy strands on offer at the Fall 2010 show, for example—or the Minnie Mouse noses circa Fall 2011. But under newly appointed creative director Kate Phelan, accessible has trumped kitsch for Fall 2012, in both the clothes and the beauty.
Light and feminine were the buzzwords Phelan gave her glam squad of makeup artist Hannah Murray, hair stylist Sam McKnight, and nail artist Anatole to suitably off-set a collection dominated by military lines, a dark utilitarian palette, and heavy fabrics. “We wanted to create an army of über-beauties,” Murray explained backstage, which was all about “fresh-faced luminosity and a defined eye.” Using a selection of the retail behemoth’s in-house cosmetics line, Murray reached for Topshop Glow, a highlighter that carved out cheekbones, the bridge of the nose, the brow ridge, and the cupid’s bow of lips, before painting mouths with its Lips in Nevada, a nude-peach color. Then she devoted her attention to lids, which were laden with mascara. “I’d been looking at Amy Arbus’ photographs of the 1980′s. I wanted to line the eyes but without a retro flick. I felt a curved wing would be more modern,” Murray explained, tracing Topshop Kohl in Coal along models’ upper lash lines, intensifying it as she went with its Matte Eyes shadow in Backboard.
McKnight kept things dually light and airy. “I wanted clean, fresh hair,” he explained. “No back-combing, just a little soft texture.” Prepping strands with Frédéric Fekkai Coiff Bouffant Lifting & Texturizing Spray Gel for a subtle lift, he coaxed each long mane into a buoyant bedhead with a boatload of shine.
But perhaps the greatest sign that the winds of change were upon us yesterday was that nail artist Anatole steered clear of the art-y designs that have prevailed here for the past few seasons. Gone were the hand-etched hieroglyphics and dalmatian-print spots, and in their place, a return to that old classic, the French manicure. “I haven’t done one in ages,” he admitted. “But look: It’s sheer, fresh, and cool,” the manicurist insisted, painting on a two-coat tip with Topshop Nails in White Lie topped with its creamy opaque Milkshake so the contrast wasn’t too stark.
Before Karl Lagerfeld’s space shuttle Couture show took off yesterday in Paris, he gave Chanel’s creative director of makeup, Peter Philips, a brief with two specific directives: “blue, and make sure they don’t look like stewardesses.” Bearing Lagerfeld’s anti-Pan Am sentiment in mind, Philips kept his attention squarely on the eyes—something the famed face painter has made a habit of at recent shows (Philips acolytes will recall his homage to kohl liner at the house’s Raj-inspired pre-fall extravaganza last month). This time, though, it was shades of navy, rather than black, that informed his palette. “Instead of going for black khol, I created a few blue alternatives for this ‘flight,” Philips joked.
After building a flawless base by prepping skin with Chanel’s forthcoming Hydra Beauty Serum, due out in April, and its Perfection Lumiere Long Wear Flawless Fluid Makeup, Philips used Blue Aerien, a new intense blue Le Crayon Yeux Precision Eye Pencil, to contour lids. Then he applied two new shades of his creamy, blendable Illusion d’Ombre Long Wear Luminous Eyeshadow in Apparition, a grayish-blue that he swept through the crease and faded out toward the temple, and Destination, a silvery satin blue that he dotted along the brow bone and onto the inner corners of the eyes for a subtle dose of light. To keep the blue theme going, Philips lined the rims with Chanel Le Crayon Khol Intense Eye Pencil in Marine before slicking on a few strokes of its Inimitable Waterproof Mascara in Black. The layering effect had a slightly lived-in, rock ‘n’ roll feel to it, which was helped along by hairstylist Sam McKnight’s series of faux fades and mohawks—a nod to new Chanel ambassador and model-turned-thrash metal drummer Alice Dellal, no doubt. And because no Chanel show, Couture or otherwise, would be complete without a custom-designed nail lacquer, Phillips whipped up a pale, pearly blue shade called Sky Line for the occasion, which unsurprisingly was a perfect match with Lagerfeld’s collection. Made to order, indeed.
When Chanel creative director of makeup Peter Philips got the word from Karl Lagerfeld that this year’s Métiers d’Art show was to be a nod to classic Indian decadence, his mind went to one place: black kohl. “We wanted a graphic interpretation of an iconic Indian beauty ideal,” Philips said of the almond-shaped black-rimmed lids that were the focal point of the beauty look he created backstage at the Grand Palais. Once Philips built a base out of his Perfection Lumiere foundation dusted with “a touch” of Chanel Joues Contraste Blush in Brume d’Or for a hint of cheek color, he devoted his attention to that eye, which he described as “something between mysterious and rock ‘n’ roll.” Key to skirting that line was a new shade of Philips’ ultra-luxe Illusion d’Ombre in Nirvana, a deep onyx cream eye shadow that he blended beneath the lower lash line and through the crease, dragging his brush upward into a slight wing toward the temples. Chanel’s Le Crayon Kohl Eyeliner in Noir drawn along the water line and its Inimitable Intense mascara in Noir achieved what Philips called a “pitch black” finish.
To keep the focus squarely on the eyes, lips were painted a muted shade of pink courtesy of Rouge Coco Shine in Empreinte for a natural dewy effect before Philips got to work on gilded accents, which he used to bring out the metallic embroidery and lace in Lagerfeld’s collection—not to mention the sparkling pieces of Chanel Fine Jewelry peeking out of hairstylist Sam McKnight’s dread-ed updos. “At the last minute I added some golden highlights on cheeks and eyes,” Philips said, dipping into Chanel’s forthcoming, limited-edition Route des Indes palette due out in June. Fingertips were treated to a few coats of a golden lacquer fittingly named Diwali “in homage to the famous ‘celebration of light’ that takes place in India,” according to Philips. It’ll likely prompt a similar excited frenzy when it hits shelves this summer.