July 29 2014

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7 posts tagged "St�phane Marais"

The Fifties Get Fetishized, Backstage At JPG


As certain beauty trends continue to turn up for Spring—wet hair, bright lips, and monochrome makeup among them—there’s one seasonal muse that just won’t quit. “It’s fifties-inspired,” Guido Palau said, giving yet another nod to the mid-twentieth century backstage at Jean Paul Gaultier with “dressed” hair that was prepped with Redken 10 Guts Volume Spray Foam and divided into three sections. Center-parting two front panels, Palau rolled hair over foam cushions to create density before sweeping remaining hair into a high, tight chignon. “It’s very saucy,” he continued of the look—and it had to be, considering Gaultier’s shout-out to postwar fetishism.

“It’s also very Jean Paul,” makeup artist Stéphane Marais added, discussing the designer’s decision to have a few “real” girls among his models, inspiring the bevy of temporary tattoos and piercings that he sent down the runway. “They’re meant to be extensions of the fabric,” Marais said of about five different inked designs that were applied to arms, necks, and décolletage—”wherever there is skin, but not on the face. The face is for me.” Starting with a clean complexion, Marais built off his handiwork at Gaultier’s Couture show a few months ago. “It’s a little girl who wants to look made up and is obsessed with a really red, glossy lip.” Channeling Guy Bourdin images and a certain “Saint Laurent sophistication,” Marais applied a precise coat of the bright crimson pigment from MAC Pro’s dual-ended Longwear Lipcolor in Lasting Lust before swinging it around and dipping into its high-shine clear gloss. Filled-in brows and false lashes finished the look. (Pro tip: For increased ease of application, Marais recommends waiting at least 30 seconds after applying glue before adhering lash strips to lids.)

But wait—there’s more! Manicurist Isabelle Pain enhanced the retro S&M vibe by hand-piercing acrylic nails that had been painted with two coats of Debby Lacquer in ColorPlay #25, a bright red. She used a truly archaic-looking piercing gun to get small, silver ball rings onto two to three of each girl’s fingertips. A small safety warning: Do not attempt on natural nails unless you have at least a half-inch of length to work with.

Backstage At Haider Ackermann, “Possessed,” “Disturbed,” And Utterly Gorgeous


If you were even remotely into last season’s move toward masculine beauty—sculpted skin, quiffs, et al—then the hair and makeup look at Haider Ackermann this morning definitely struck a chord. “It’s very intense,” makeup artist Stephane Marais said of the greasy brown “present” eyes and contrasting facial contours he designed for the occasion. Referencing poetry—”but disturbed poets, and mostly men, like Lord Byron”—Marais lined lids with MAC Eye Pencil in Coffee just along the water line to thicken lashes before layering chocolate and lavender shades of MAC Eye Shadow in Mulch, Concrete, and Shale through the crease, topping them with MAC Pro Mixing Medium Shine so the pigments appeared wet and glistening. Forgoing mascara, Marais blended a similarly toasted shade of MAC Cream Colour Base underneath cheekbones for definition before finally settling on the precisely right descriptor for the end result. “Possessed. That’s the word.”

While we happen to love a slick, smoldering, demonic eye, it was the hair that won us over. Prepping strands with Wella Create Character Spray Texturizer, Eugene Souleiman assigned himself the task of fashioning a faux fade—the second attempt we’ve seen at the gradually shaved on the side, long on the top style in two days—constructing a tight twisted chignon that wasn’t tucked in all the way at the top. Instead, mid-lengths and ends were left out, straight-ironed, and sprayed with Wella Stay Styled hair spray before being pinned down randomly to create spiky definition. It was an opportunity for the girls with typically long locks to live out that fantasy of going really short—which can be a particularly liberating experience, according to Catherine McNeil. “I did it in December and just got it trimmed,” McNeil said of recently making the cut with the chin-grazing crop she’s been sporting in Europe. “I’ve had the same hair forever,” she said. “It’s so much easier now.”

Photo: Luca Cannonieri /

Birds Of A Feather Flock—And Sing, And Dance—Together For Jean Paul Gautier































In keeping with a ballet theme (one with the obligatory Black Swan inflection), Jean Paul Gaultier mandated a beauty look at his Couture show fit for stars of the stage—and for good reason. Ultra-French chanteuses Zizi Jeanmaire and Mylène Farmer were among the many models and muses Gaultier called up for runway duty this morning. Translated in makeup terms, this meant a seriously artful eye and classic crimson lip, which were executed with precision by famed face painter Stephane Marais. “The real star was the eyeliner, but since in my opinion none of the companies who used to do good ones still do, we mixed it up ourselves backstage using theater makeup, which really holds,” Marais said of the flicked-out strokes he drew along both top and bottom lash lines. To get the “true-true” red he wanted on mouths, Marais raided his personal stash of lipstick bullets from his own discontinued signature line.

An iconic songbird, Farmer closed the show wearing a huge ostrich feather number, which echoed the incredible feather hair accessories coif-master Odile Gilbert concocted for the occasion—the second time Gilbert has turned to exotic plumes in Paris this week. Anyone wondering where the feather theme came from got their answer at the post-show party launch of Gaultier’s new men’s fragrance, Kokorico (a name borrowed from what the French coq crows). Billed as “chic, torrid, and full of panache,” Kokorico is a heady mix of cedar, patchouli, vetiver, fig, and the paradoxical (read: bitter) side of the cocoa bean, signed by perfumers Olivier Cresp and Annick Menardo. Buff Basque hunk Jon Kortajarena stars in the fragrance’s campaign—himself clad in a black feather ensemble, in which he dances up a storm for the Kokorico TV commercial set to air later this fall. “I did nothing but dance for one and a half days before [the shoot],” the male model laughed of the prep work that went into his latest role. “It was hard but really fun.”


Photo: Luca Cannonieri /

Things Get Bougie, Backstage at JPG


The Gaultier woman cashed in her punk-rock Joan Jett wig from Spring and grew up—literally. The table lined with varying tones of gray-dyed bouffants, towering, teased, and twisted, made that pretty clear. “Josh Wood dyed them,” Redken creative consultant Guido Palau said of the coloring jobs, which covered the ashen spectrum from golden gray to purple gray and everywhere in between. “Kristen McMenamy really made it an ageless color.” Palau prepped the silver strands the day before the show with loads of Redken Forceful 23 Super Strength Finishing Spray. “It’s the sixties Hitchcock feeling that’s been around a lot this season, but we’re taking it to a Gaultier level,” which mandated a precise attention to structural detail mixed with a touch of humor (silly swirls were sculpted above bangs and molded into sideburns).

The JPG humor was clearly evident in the makeup, too. “I don’t want full makeup. I’m impeccable, I’m bourgeois, I’m chic!” makeup artist Stéphane Marais chirped of the look he was going for. The clean skin and taupe-y line he blended through the crease of models’ eyes was meant to appear “frigid.” “There’s nothing sexual here,” he said of the bare-bones beauty, which was not totally devoid of glamour. “Mascara is the only thing this woman does for herself,” Marais suggested, as he piled on layers of dense black pigment along the top lash line for a purposefully clumpy, false-lash effect. His main undertaking was full arches. Rather than simply fill them in with powders and pencils, Marais toiled over individual hairs, drawing them in along the natural shape using a dried-out brow pen. “It’s as though she’s just stopped plucking her eyebrows,” he translated of each finely crafted, deliberately placed stroke.

Before the first looks went out, Gaultier strode into the hair and makeup area to check on his glam squad and to pay his respects to some of his favorite girls, including Coco Rocha and Karolina Kurkova. “It’s great, because he can see what she’s going to look like in 60 years,” Kurkova joked at Rocha’s husband, James Conran—who was snapping pics of his wife for posterity. “Yes,” Gaultier replied. “Beautiful.”

Photo: Luca Cannonieri /

Stéphane Marais Prefers to Stay Outside The Lines


We’ve already talked at length about eye shadow’s dominance on the Fall runways, but after seeing some interesting liner work at Jean Paul Gaultier on Saturday, we thought we’d take a minute to ruminate on pencils and liquid fine-point pens. While cat-eyes in varying thicknesses have shown up at many shows, we were dealing with something else entirely at Gaultier. “[His] collection was influenced by the world traveler,” Guido Palau mentioned backstage, where his job was made easy by a slew of hats and turbans, leaving only four girls with visible undone side ponytails to work with. That meant all impact had to come from the face, which was left in the hands of makeup artist extraordinaire Stéphane Marais. Marais chose to express this general globe-trotting aesthetic with a geometric eye, composed of a bleached brow and blended strokes of black eye kohl. The first thing we thought when we saw the look wasn’t so much international wanderer as Zac Posen. Although cleaner and more structured, the design reminded us of the “trashy with dignity” peepers Marais cooked up for Posen last month in New York, using short, deliberately smudged black dashes to create his desired effect. Who says eyeliner should be confined to the lash line, anyway?

Photo: Greg Kessler /; Luca Cannonieri /