13 posts tagged "St. Tropez"
Gatsby buzz aside, there is another movie premiering at Cannes this week that’s making us wish we were sipping cocktails on La Croisette, the torrential downpours that have been plaguing the Côte d’Azur not withstanding. That’d be The Bling Ring, Sofia Coppola’s new film about a group of celebrity-obsessed teenagers living in Los Angeles who decide, for kicks, to burglarize the homes of Hollywood stars. After raiding the million-dollar designer closets of their victims—including Paris Hilton and Lindsay Lohan—and soaking up fame along the way, the gang is eventually nabbed and brought to justice, sort of. Here’s the most scintillating part: It’s a true story, reported in an article Nancy Jo Sales wrote for Vanity Fair in 2010, and starring Emma Watson in the big-screen adaptation. For more on the ridiculous vanity captured in every scene, Style.com caught up with the film’s lead makeup artist, Roz Music, to talk about tramp stamps, weekly spray tans, and the discontinued Chanel lipstick that Coppola flew in from Paris in order to get the perfect pink for a single scene.
How did you get involved with The Bling Ring?
Sofia and I are old friends, I had heard she was doing this movie, and I hoped—and suspected—she would ask me to do the makeup. Especially since it was shot in my hometown [Los Angeles].
How much of the makeup look was inspired by the actual teenagers who the film is based on?
Very little. There are a million kids out here in L.A. that look like the main characters. It’s a very particular style. I just took my camera out and Instagrammed for days, taking pictures of kids in their natural environment. I didn’t want Teen Vogue‘s version of how their closet would look. I wanted to see real kids doing their own thing. So I took a million pictures and that was my research.
So how, exactly, would you describe that rich-kid-L.A. look?
It’s like kids who are trying to look older than they are. They’re sixteen, but with the hairstyles and shoes of a 30-year-old. They’ve got short shorts and high, high heels. Some of the stuff was outrageous. I mean, they’re indulgent, bratty teenagers.
Considering her previous reputation as a do-gooding wizard, how did you go about turning Emma Watson into an “indulgent, bratty teenager”?
Well, we gave her a tramp-stamp tattoo! Emma’s character is one of those spiritual people who wants to express it on the outside—as in, she does yoga and talks about it all the time. She’s an eye-roll-y character. We wanted the tattoo to be an expression of that, so we went with a lotus flower.
Mark another one for Kate Moss. The super-est of them all—who has hawked everything from Chanel and Saint Laurent to Topshop, Rimmel makeup, and her own fragrance line—has just inked a deal with St. Tropez to become the new face (and body) of the British skin-finishing company. Moss, a longtime client of St. Tropez global tanning expert Nichola Joss, has been using the line of self-tanners and bronzing products as an alternative to year-round sun exposure “since they started,” and is quick to point out that she always feels “more confident” with its special brand of faux glow. The Skin Cancer Foundation couldn’t have asked for a better start to its Thursday.
We won’t pretend to be big Giuliana Rancic fans, but last night, as the E! correspondent was live on the Golden Globes red carpet, she did make our lives a little easier with some stealth beauty reporting. “I’m standing right next to her, and I want everyone to know she’s hardly wearing any makeup,” Rancic said of an Erdem-clad Sienna Miller, whose skin, for the record, looked positively glowing. After a little sleuthing, we learned that Miller didn’t need much in the way of foundation and bronzer, because she had enlisted the services of Fiona Locke. “All of what I do is done within a couple of days in advance. [Yesterday] was the big reveal. It has a Christmas-morning feel,” explains the St. Tropez skin-finishing expert who has become something of a secret weapon for the Hollywood elite. “Ninety-eight percent is about the confidence [self-tanner] gives you, and not having to worry at all about your body—it’s that feeling-great factor,” Locke says, pointing out that a little skin finishing goes a long way on the red carpet. Quick to dispel the long-held stigma attached to more primitive forms of insta-tan products, Locke points out that the practice of booking a custom self-bronzing appointment before awards season is as commonplace these days as securing a hair-and-makeup team. The artistry that Locke and her glow-giving cohorts bring to the table further helps the likes of Nashville‘s Connie Britton, Miller, and perhaps most important, Amy Poehler—the evening’s cohost—feel and look great. Here, Locke reveals the insider secrets to a great, effortless bronze—no streaks or sun (or orange after-effects) required.
So how far out are you typically working with your celebrity clients in advance of an awards show?
If we’re trying for a darker, more dramatic color, we tend to do it closer to the event. Some people I do two to three days in advance because I really want the color to fade a little bit beforehand to give a really supple finish to the skin.
How does the process evolve, as far as arriving at the right skin tint for each client?
I often take into account what they’re wearing—it’s sort of like getting ready for your wedding. [Amy and I] talked about how many wardrobe changes there would be. But the biggest part of her look was having her feel confident that no matter what outfit she put on, there was no need to add body makeup, because this beautiful golden color would be there. I worked with her on Saturday morning, so she wasn’t afraid to have a nice healthy amount of color that looked very fresh for Sunday.
Do you typically go with a spray or a buff-on mousse for something like the Globes?
I went with St. Tropez Skin Finishing solution spray. It’s the same formula as the classic self-tanner mousse. In some cases, I will use the bronzing mousse and mitt, depending on variation, but it is the same formula. The spray is good if you have time limitations—Amy had rehearsals all day—as it doesn’t take a lot of time to apply and allows me to do a little bit of contouring if needed.
What about on the face? Do you use the same spray?
I do actually use the spray on the face. It’s absolutely gorgeous. Because of the fairness of Amy’s hair, it looked so pretty on her face. I definitely spray a little less onto the face, but I do love the blend it gives from the chest to the neck. The [stage] lights do wash you out, too, and in HD, everything shows up. The skin finishing balances out any unevenness. It takes the edge off, and to leave it without any color, you tend to get what we refer to as a “floating head” in the industry.
“I’m glad to be getting back to my roots,” Eugene Souleiman joked—no pun intended—backstage at Mary Katrantzou, where the hair hero and Wella Professionals global artistic director made his grand return to London fashion week after a five-year hiatus. He picked a good show for his comeback, too; Katrantzou’s whimsical prints pack plenty of power in the way of beauty inspiration.
“[They're] very conceptual,” Souleiman admitted of the designer’s Spring fabrics, which included colorful, graphic adaptations of exotic stamps and banknotes, which caused the coiffeur to stay the “couture and sharp” course with the hair in complement. “The detail of the clothes needed something minimal to go with it,” he elaborated of the four-section updo that was based loosely on the aerodynamic shape of a “cycling helmet.” Prepping strands with Wella Create Character Texturizing Spray, Souleiman built a tight bun with the bulk of models’ lengths to anchor a panel of hair from the right side, followed by a panel of hair on the left side that he wrapped and secured on top of the chignon. A front section of hair was then combed backward and set with Wella Finish Shimmer Delight Shine Spray to “elongate and extend the shape of the head in a slightly alien way.” An additional otherworldly element came from Josh Wood, the London-based colorist who dyed a few girls, including Australian stunner Chrystal Copland, a platinum shade akin to “crisp linen” using Wella’s new Illumine range.
Makeup artist Val Garland’s contributions centered around a “ballpoint blue eye that referenced the inky colors of an English pound” (editor’s note: Blue is the new black when it comes to eyeliner for Spring). The precise shade of matte midnight pigment was a mix of two MAC Lipmixes in Blue and Red, which Garland drew onto the upper lash line in a thick, elongated, almond shape to adhere to Katrantzou’s mandate that the girls look “modern and linear.” Garland ditched mascara altogether and gave lips a clear moisturized finish with a swipe of MAC Lip Conditioner. Her intention was to keep skin looking “polished,” which was just fine with St. Tropez skin finishing expert Nichola Joss, who was giving models a “velvet tan” by buffing St. Tropez Instant Glow Wash Off Mousse mixed with its Body Butter into skin with a mitt, to which she added a light layer of St. Tropez Rose Skin Illuminator for a pastel sheen.
Self-tanner has had a bad rap since the earliest incarnations of dihydroxyacetone (DHA)-rich lotions first hit stores in the early sixties. A half-century later, and those orange-tinged, fake-baked connotations still stand. But not with Nichola Joss’ clientele. St. Tropez’ resident skin finishing expert has perfected the craft of sunless tanning and become sought after by A-listers like Hugh Jackman and Charlize Theron and supermodels like Kate Moss and Elle Macpherson in the process. “It’s cold and gray here, and we don’t want to look gray while we’re looking at gray,” the Scottish-born blonde jokes of her vast experience, which benefits from a childhood spent enduring long U.K. winters, not to mention a biology and cosmetology degree. We’re most familiar with Joss’ backstage résumé, though. “I did tanning at Julien Macdonald’s show 12 years ago when no one was doing it. I had to mix something and it wouldn’t wash off; it was really difficult,” the self-proclaimed “beauty therapist” recalls. A decade later and Joss has made a habit of giving limbs a natural warmth at shows like Erdem, Roksanda Ilincic, House of Holland, and David Koma—in a custom-built booth that lets her spray down models on site, no less. “You’ve got to really love it and you’ve got to understand how the body works and how your muscles work,” she says of the secret to creating the perfect faux glow. Here, as short-shorts season looms ever closer, Joss talks self-tanner innovation and imparts some of her application wisdom, free of charge.
What would you say is the most common mistake people make when they try to apply self-tanner at home?
It’s about being aware. With a very dark tan, you look one-dimensional, and the reason that happens is because you are applying [the lotion] all over your body—but you don’t tan naturally all over your body. So, when you apply all over your body, it flattens you, it makes you one-dimensional. It is really about understanding skin. I’m constantly thinking about how we can develop something new or fresh.
Are you part of the product development team at St. Tropez as well?
That’s why I was so keen to be involved! It is really hard to shut me up once I start talking about product. I was constantly saying to them, “Listen, it would be great if we do this” or “What about thinking about a wash-off product?” five years ago. I am passionate about skin and skincare, so I am really lucky to be able to influence it slightly.
So you’re the brains behind the new One Night Only wash-off product. Can you speak to that a little bit?
It’s an amazing product for me because it means I can tan [my clients], then they can go to their event, and then they can wash it off if they’re going to be in movies or for something that doesn’t warrant it. For backstage, editorial, and advertising campaigns, I can’t do without it. I used to have to mix stage products before. It is exactly the same color as the self-tan mousse except you have no commitment with it. You can play with it and make a mess and then wash it off. There are two different levels, a dark and a medium.