5 posts tagged "Schwarzkopf OSiS"
“This is Saturday morning makeup,” Gucci Westman said of the yé-yé girls- and Katharine Hepburn-inspired look at Rag & Bone. “It’s about fixing what you had on the night before.” If you’re not Joan Smalls (who closed the show), you likely don’t wake up after a Friday evening out on the town looking anything close to this—at least I don’t. But Westman says it’s possible to turn last night’s liner into this graphic shape by applying Revlon ColorStay Crème Gel Eye Liner in Black with a skinny brush and perfecting the shape by tracing over it with the Liquid Eye Pen. “Pointed Q-tips clean up everything,” Westman said as she sharpened the wing on a model’s eye. As for the rest of the face, things were rather pared-down in order to achieve the “tomboy” aesthetic. The Rag & Bone woman doesn’t wear blush, she explained: “It feels too finicky.” Instead, she contoured and highlighted in all the usual places (cheekbones, bridge of the nose, cupid’s bow, etc.). Any pink or red tones in the lips were canceled using a beige cream shadow (on darker complexions) or a white liner pencil for fair-skinned girls.
Aside from having his three-month-old son by his side backstage, hair pro Paul Hanlon was excited about working with the designers for the first time. “What I love about them is that they’re pushing [the hair and makeup] bit by bit every season,” he said. To achieve a lived-in texture, he loaded strands with Schwarzkopf OSiS+ Grip mousse “to take the cleanliness out” and raked Rough Rubber paste through the roots for “separation and dirtiness.” Dust It was added through the mid-lengths and ends to provide a “dreadlock-y” texture before hair was pulled into a low ponytail. Hanlon tucked the ends through the elastic to create an “urban sports knot” and finished with hair spray. “She hasn’t washed her hair all week; she’s been out; she hasn’t got a hairbrush or a comb; she’s just yanked her hair back with a band and it got all tangled and knotted,” he said of the muse. Yep, sounds about right.
Makeup artist Val Garland has worked with Giambattista Valli for many years now, so it’s safe to say she knows his girl by heart: “Dewy, expensive, quality skin, with rosy cheeks,” she noted. Even so, the designer proved he is not above throwing the occasional curveball. “This season, he told me he wanted a bit of drama,” Garland said. Enter the strong black line. “Gambattista’s woman is very Parisian—she’s a little bit cocky; she’s very sure of herself. She might wake up and not really care about how she looks because she has so much confidence,” Garland noted backstage before the show. In order to create a counterpoint to the designer’s soft, Monet-inspired clothing, Garland created a modern, graphic eye. “Instead of that couture fifties flick, we’ve made it a lot stronger and blockier,” she said. She worked using not one liner but two, starting with a black cream from MAC followed by a powder formula. “The first one is easy to apply, and the second gives it hold,” she explained. She finished with “lashings and lashings of mascara.” A barely there beige mouth courtesy of Lip Eraser rounded out the face and kept the emphasis on the eyes.
When it came to the tresses, Valli asked hair guru Orlando Pita to keep things straightforward and simple. “Giambattista said he wanted the hair to [appear] as though the girls had just run their fingers through it,” he explained. Pita blew hair dry with Schwarzkopf OSiS+ Volume spray, and brought texture to smooth strands with Dust It powder. Next, he curled a few sections in back before tousling them—ultimately securing the hair with several strategically placed pins and finishing the look with “not too much hair spray.” He said of the end result: “It’s supposed to look luxurious but not madame.”
When Paul Hanlon talks about hair, it’s never just a step-by-step—he takes you on an entire journey. It’s almost like listening to your grammar school librarian read a book aloud—except the semicircle is filled with editors aggressively shoving mini-recorders and iPhones in the storyteller’s face. And at 3.1 Phillip Lim, the tale went something like this (imagine this being told in a cool British accent): “I wanted it to look a little bit shipwrecked, a little bit Robinson Crusoe—like a girl that has been washed ashore. She wouldn’t have a comb, she wouldn’t have a brush, she wouldn’t have a hair band. And the back has this slightly dreadlock-y, crustaceous [feeling].” See what I’m saying? The visual narrative makes the style so much more than just a wet-looking, vine-y knot. And for the record, the hair was not physically drenched in water, as these are obviously very expensive clothes, joked Hanlon.
To get this “savage” and “elemental” texture, he applied Schwarzkopf Osis Twin Curl (a two-phase cream and gel formula) from the middle of the head down, and soaked strands from roots to ends in Grip mousse (about three-quarters of a can, to be exact). A diffuser was used to rough-dry, but not in the same way one would scrunch hair in the eighties—”more of an ambient air dry,” Hanlon explained. The front section was swept across the forehead and the length divided into two pieces and tied in a knot (or two, for longer hair), just as you would your shoelaces, and pinned discreetly into place. Elastic hair spray was used to flatten different areas against the sides of the head (as if the models had fallen asleep out of exhaustion once they finally reached land), and right before show time, Hanlon misted Flatline and Sparkler all over for serious sheen. “I like the idea of when [the girls] walk out, people don’t really see how their hair has been done—it’s more of a question of where have they come from,” he added.
The makeup was less gritty and more refined. Face painter Francelle Daly called it a “monochromatic techno look.” So what does that entail exactly? NARS Pure Radiant Tinted Moisturizer was mixed with a few drops of Copacabana Illuminator for extra glimmer. The Luxor Multiple was applied with fingers on the high planes of the face (i.e., cheekbones, forehead, chin, bow of the lips, and down the bridge of the nose) and set with a blue-tinged powder from the Iceland Duo Eyeshadow palette—lending an opalescent finish. In addition to mascara on top and bottom and brushed-up brows, the “cyber glow” was completed with a touch of Années Folles Larger Than Life Lipgloss (a lilac shade launching for Spring 2014) pressed onto the models’ pouts. I like to think of this total package as club kid meets castaway.
“He respects women,” Tom Pecheux gushed when talking about Joseph Altuzarra. “His clothes are fashion, but wearable fashion,” the makeup artist continued, showering Altuzarra with accolade after accolade while describing his collection, a favorite stop for Pecheux in New York. “It’s very tailored mixed with a little craziness, it’s a little [Thierry] Mugler-ish, it’s very…Carine Roitfeld,” he finally relented. “You said it!” an excited Daria Strokous exclaimed as Pecheux applied MAC Mineralize Moisture Foundation and its Prep and Prime Translucent Loose Finishing Powder to pale out her skin following a moisturizing massage. How so? “You know how [Carine] wears those pencil skirts? I was shooting with her once and underneath was the sexiest slip, but no one sees it. It’s that kind of woman,” Strokous elaborated.
For Fall, Altuzarra’s woman was spiked with a touch of “spookiness,” according to Pecheux, which caused the face painter to play with a black smoky eye—another Roitfeld signature—while making sure it was not aggressive. Using the creamy onyx Oil Slick Black from MAC’s Fall Forecast Eye Palette, Pecheux diffused the pigment across models’ lids with his fingers so there were no hard edges, dragging it halfway underneath the lower lash line as well. To that, he added a metallic raspberry stroke of its Eye Shadow in Loves Lure, also only halfway to the inner corner, which had a bruised quality to it but was meant to create the illusion of madness, Pecheux explained. “It’s a little Belle de Jour fantasy,” he surmised, taking down lips with MAC’s Paint Pot in Tailor Grey.
Paul Hanlon added Patti Smith and Kate Moss to the inspiration list when describing his texturized, lived-in locks. “It’s a bit rock ‘n’ roll, like it’s a few days old,” he explained taking all the volume out of models’ strands with a cocktail of OSiS Schwarzkopf Grip Extreme Hold Mousse and its Buff Light Styling Cream, twisting as he blow-dried to further flatten the hair shaft. Then, section by section, he worked in OSiS Schwarzkopf Magic Anti-Frizz Shine Serum all the way to the roots for a “greasy’ effect that was enhanced by its BC Hairtherapy Oil Potion Finishing Treatment through the ends for separation. “It’s stringy,” Hanlon said imparting a bend to the mid-lengths with a low-lying elastic that he removed before the show started. “It’s the opposite of beautiful, rich, quality hair.”
Prabal Gurung’s Fall mission was made immediately clear to anyone who stepped foot backstage before the show. There, at the entrance, was a large white mood board scattered with pictures of servicewomen. “He was telling me about how in the American army they just let women go to the front lines,” British-born hairstylist Paul Hanlon explained of Gurung’s directive for the season. “So he didn’t want anything too fussy or glamorous,” Hanlon continued of the “rough and disheveled” buns he devised for the occasion. Raking Schwarzkopf OSiS Quick Volume Mousse through lengths to give hair texture, Hanlon liberally applied its Dust It Mattifying Powder—”about a bottle per girl”—to roots for a drying effect. “She’s been outside, and she just pulled her hair back,” he elaborated of the style, which prompted him to add wind-blown wisps that were deliberately blown back with Schwarzkopf OSiS Elastic Flexible Hold Hairspray, “so it’s more savage,” he contended.
Makeup artist Charlotte Tilbury was going for a similarly “empowered, fighting in a female army” look, but not in a “nineties, Amazonian kind of way,” she insisted. Instead, Tilbury created strength with a fresh, young “natural knowingness,” that started with a blend of earth-toned, cream pigments from MAC’s forthcoming lip palette in This Is Autumn, Red Statement, and Rich New Mood that she dabbed onto the tops of cheeks. “This makes it a little ruddier,” she said, layering on its Paint Stick in Deep Brown, which she also blended across lids. Skipping her signature contours, Tilbury kept the rest of the face simple, brushing brows up with MAC’s clear Brow Set and slicking a moisturizing lip balm onto mouths.