7 posts tagged "Sonia Rykiel"
There are certain names that simply can’t hide from their serious fashion provenance. Monikers like Missoni, Versace, and Hilfiger are the stuff of sartorial legend—and Rykiel boasts a similar status. Sonia, the Paris house’s frizzy- and flame-haired forebearer whose utterly playful style sensibility helped build an indelible brand in the sixties, has since passed the family’s fashion torch onto her daughter, Nathalie Rykiel, and granddaughter Lola, ensuring that three generations of Rykiel women are on hand to keep the company cool. Lola, who serves as the brand’s U.S.-based public relations director, takes a carefree approach to style that happens to be reminiscent of her famous mémé. Here, the lithe doe-eyed beauty shares some of her favorite places to shop and primp in both Paris and her newly adopted city, New York.
The New York Vintage Vantage: Illisa’s, Marlene Wetherell, Melody Rodgers“These are my three favorite vintage stores in the city. I go with my friend Freddie Leiba to these secret spots and try on everything. They are all very special. Illisa’s is an incredible vintage lingerie store (I believe a lot of designers seek inspiration there), Melody Rodgers for vintage jewels, and Marlene Wetherell carries great vintage Rykiel.”
Illisa’s Vintage Lingerie, 40 W. 25th St., Rm 206, (212)627-2800; Marlene Wetherell, 40 W. 25th St., Rm 210, (917) 225-0662; Melody Rodgers, 1050 Second Ave., #10A, (212) 758-3164.
The Tried-and-True Workout: Gyrotonic“I’ve done many, many years of dancing, going on to study at the Martha Graham school in New York. Back then, one of my teachers was always telling me to do Gyrotonic because it would help a lot with my technique. Now I don’t dance anymore but I do Gyro almost five times a week. I started two years ago, and now I do it religiously. It is the most wonderful workout, but only if you get the right training, because it is very subtle. My trainer, Beth, in New York has changed everything about my body organization and how I carry myself; she teaches private lessons in all the city’s Gyrotonic centers. In Paris I train at Rituel, where I work with Verena Tremel and take open classes. All the teachers are great and they have good equipment, which most places in Paris do not.”
For more information, contact Beth at email@example.com; Rituel Studio, 16 Rue de la Grande Chaumière.
The Highlighting Heroes: Sharon Dorram and Delphine Courteille
“Since returning to live in New York, Sharon Dorram has been doing my highlights. I really can’t imagine going to see someone else; not only is she extremely talented and delicate in her work, she is a wonderful person as well that I consider a friend. When I’m in Paris I only go to Studio 34 that my longtime friend Delphine Courteille opened a few years ago. She originally only did shoots and celebrities, but then she decided to open her own salon which is like a hidden boudoir. She has been taking care of my grandmother, mother, and sister’s hair for ages.”
Sharon Dorram at Sally Hershberger, 17 E. 71st St., (212) 535-3519; Studio 34, 38, Rue du Mont Thabor, Paris 1er.
Cream eye shadow was something of a staple at the Fall shows, where makeup artists used it to create washes of color that ranged from sheer finishes, like Lucia Pieroni’s greasy brown lids at Rochas, to the kind of opaque iteration Peter Philips employed at Chanel. But Shiseido’s makeup artistic director, Dick Page, took it one step further, devising a 12-piece range of Shimmering Cream Eye Colors inspired by his personal passion for art, and breaking them out at Narciso Rodriguez, Sonia Rykiel, and Michael Kors. “I began, as I always do, with my photography,” he says of the line. “Sometimes I lift just one element of the photograph and use that as my primary idea; sometimes it’s the overall feeling of the photograph,” Page explains. The cross pollination of his still images and makeup resulted in shades like Techno Gold, a brilliant gilded yellow that pays homage to a metallic blanket thrown over a motorcycle that Page snapped in Tokyo; Sable, shown above at Michael Kors, a glistening taupe that’s meant to resemble an extreme close-up of a piece of fur; and our personal favorite, Meadow, a glowing beige reminiscent of the wheat field that grows behind Page’s home in Long Island, which he often captures on film. A special formula that boasts a jewel-reflecting powder ensures that the pigments appear as radiant and dewy at the end of the day as when they are first applied, and a patented emulsification technology ensures that there is zero creasing, which means none of that crepe-iness some lesser cream colors can leave behind. The best part, as far as we’re concerned, is how easily the shadows can add a sense of luxury to your makeup. Simply dip your fingertip into the pot, pat on, and diffuse out. Talk about instant gratification.
Since lipstick made its triumphant return about three years ago, some brands—more so than others—have been quick to adapt to the demand for vivid, opaque offerings that are a far cry from the early aughties reliance on gloss. Shiseido is one of them, churning out the spectacular Day Lily—a bright orange—as well as the kind of reds, pinks, berries, and corals that dreams are made of. Its colorful collections can in large part be credited to artistic director Dick Page, who was spotlighting—count them—six of the brand’s most vibrant bullets of Perfect Rouge Lip Color in tangerine, cerise, raspberry, crimson, fuchsia, and deep rose backstage at Sonia Rykiel.
“I’m assigning them randomly,” Page said of the bowls of bright, glossy pigment he had “dosed”with a touch of white pigment to make each more wearable on the runway. “It also has a lot to the do with the staging,” he said of the varied applications, which were meant to correspond with Nathalie Rykiel’s “riot of color” Fall presentation that included “gangs” of girls playfully placed along the runway. To add a unifying element to the whole thing, Page employed his “magic goop”—a Tupperware jar that contained his own special blend of Elizabeth Arden Eight Hour Cream, Aquaphor, and scoops of Shiseido’s new Shimmering Cream Eye Color in Technigold—for a glossy, gilded eye. A dusting of Shiseido’s Luminizing Satin Face Color in BE206—a shimmering beige—placed along the top of cheekbones provided a highlighted contour.
“She’s flirtatious and French,” Guido Palau said of Page’s painted ladies, who also sported side-parted hair rolls that were pinned low and askew for a fun youthfulness. Using Redken’s new Nature’s Rescue Radiant Sea Spray to get the matte, fuzzy texture he was after, Palau backcombed strands to create guts before twisting and tucking them along models’ necklines, finishing each coif with a long, bedazzled rhinestone barrette placed above the right ear. Kate King was the only lucky catwalker to get a different hair bauble, in the form of a red bird that was the envy of everyone backstage—this reporter included.
At Sonia Rykiel’s Spring show, hairstylist Guido Palau was inspired by “an artsy, Left Bank, Parisian woman.” As he tended to a mass of big, soft, brushed-out curls, it was hard not to notice that that mass bore un uncanny resemblance to Rykiel’s own flame-colored frizz. Prepping hair with Redken Thickening Lotion to create body, Palau left-parted strands and spritzed them with Redken Spray Starch before using a half-inch curling iron to make ringlets all over. Setting the curls for 20 minutes, Palau then finger-brushed his spirals into soft waves using Redken Wool Shake 08 Gel Texturizer to up the volume quotient without adding shine. “If you can be bothered to go through the process, it’s very pretty and wearable,” he said of the thirties-cum-seventies look, a reference that makeup artist Charlotte Tilbury enforced with the makeup. “It’s seventies-inspired but with a modern twist,” the face painter said of the dewy skin and ruddy brown eye she brushed on, smudging earthy shades from MAC Pro’s Creme Eyeshadow Palette with its Eye Kohl Crayon Pencil in Teddy, a bronze color, which she also used to trace the inner rims of both lash lines. “It’s actually a very runway-to-reality look,” she explained, “because we used glowing cream on the cheekbones and a magenta violet pencil on the lips that is very matte. Whether your eyes are blue, green, or brown, it really makes them pop.” If your hair is red, all the better.
Charlotte Tilbury is pioneering a 1920′s sepia-photo makeup movement for Fall. After showcasing the beige look backstage at both DKNY and Pringle of Scotland, the makeup artist took it out for a third spin at Sonia Rykiel yesterday, a presentation you can usually count on for cheery pop colors. “The collection is dark and mysterious but also has a flirty, erotic look, so we went for a wash over the eyes and a russet brown on lips, keeping it a little darker in the center,” she explained. To wit, Tilbury debuted a covetable as-yet-unreleased brick red shade of MAC Pro Longwear Lip Color, called Made to Last, which appears creamy but actually goes on more like a stain (look out for it come June). She treated eyes to a mix of neutral pigments from her trusty pots of MAC Sculpt and Shape powders in Sculpt, Shadowy, Shadester, and Taupe, applying them in layers on lids, under the lash line, and as a contour for cheeks. Making our way past Tilbury’s station to examine Guido Palau’s easy, twenties-inspired ponytails—with gigantic pompom headbands to boot—we were stopped in our tracks by a curious collection of black-and-gold-topped lip glosses and enamel compacts with Sonia Rykiel’s name emblazoned in white lettering across the top. SR, the makeup line?! Only in Japan, we were told. Damn the luck.