20 posts tagged "Sunday Riley"
Requesting “American dream”-caliber beauty from a makeup artist when the model call time for a show is 5 a.m. is asking a lot. But if any makeup artist is up to the task, it’s Tom Pecheux. “Fifty percent of good makeup comes with good skincare,” the face painter said in the wee hours of the morning backstage at The Row yesterday, where he was conducting facial massages with Sunday Riley’s Good Genes treatment cream and its Juno Serum for Body (it’s a bit lighter than the line’s similar omega oil-rich formula for the face). “It just gets rid of the puffiness and the lines,” Pecheux said of taking the extra step to stimulate the skin before starting in with foundations and primers. “And more than anything, it makes the girls feel well treated”—”girls” being the models, Mary-Kate and Ashley Olsen, and hairstylist Odile Gilbert, who all took a turn in Pecheux’s chair.
Going for a completely classic look, Pecheux alternated between Riley’s Light Foundation and its more opaque cream formula before building up brows and applying a slight shadowed veil to lids. Skipping mascara in favor of Riley’s Eye Shadow in Little Black Dress, a dark charcoal powder that he “painted” onto the roots of lashes for definition, Pecheux turned his attention to crafting “pinky, rosy, bronzy” cheeks, which he highlighted with Riley’s shimmering Eye Shadows in Moon Dust and Camille. “American dream beauty is not easy to get,” he joked, slicking on a coat of its Lip Gloss in Chameleon, a brownish berry pigment that the makeup artist applied three hours before the Olsen’s first presentation of the day so it left a natural stain on lips without all the shine. “It’s like what I do at Ralph,” Pecheux surmised, comparing the face to the kind of American, upper-crust look he’s become accustomed to whipping up for Ralph Lauren. “But this is a little more urban,” he insisted. “You could think of Gwyneth Paltrow.”
Or an “American girl aristocrat,” Gilbert chimed in, putting her stamp on a series of sleek side-parted updos by brushing hair up at the hairline and fashioning a mix of soft ponytails and chignons using Kérastase’s Double Force hair spray for slight hold. “For years, everyone was doing flat side parts, but here we’ve brushed the hair up on the side and suddenly, it’s not trying too hard—just like the clothes.”
According to Redken creative consultant Guido Palau, Victoria Beckham is still creating her image. “Her image has been her, but she’s really moving away from that, and over the next few seasons it will become more apparent.” There’s still a ton of Victoria in everything Beckham does, though—which is to say that her special brand of streamlined sex appeal continues to be inherent to her collections, their beauty components included.
To complement her Fall offering, Palau opted for very simple, minimal hair, as we’ve seen him do at shows like Alexander Wang already this week. “This woman is much more rich, much more uptown,” he said, comparing the two shows, both of which included blow-outs with Redken Satinwear 02 Ultimate Blow-Dry Lotion and extensions that were razor-cut into a uniform, blunt length. The key difference was that Beckham’s models got deep side parts and a super-flat, glossy finish. “It’s dead, dead flat,” Palau reiterated, coating the sides of the head with Redken Shine Flash 02 Glistening Mist and smoothing out the hairline with its Hardwear 16 Super Strong Sculpting Gel for “a little flash in front.”
“You don’t need to build hair up for glamor,” he insisted—although adding a gorgeous, velvety red lip to the equation certainly helps. “[Victoria] wanted the girls to look really strong and beautiful but still fresh,” makeup artist Diane Kendal explained, prepping skin with a combination of Sunday Riley Juno Serum and its Good Genes, which she topped off with Riley’s brand-new Tinted Primer for a veil of light coverage. As for that perfect crimson mouth, Kendal precisely lined lips before using a brush to paint on strokes of Riley’s new Lipstick in Persuasive. To add intensity and “a more modern feel,” Kendal dusted Riley’s Soft Focus Loose Powder in Transparent Light onto the pigment, topping that off with a sprinkle of bright orange blush. “It gives a little more of an edge,” Kendal said of the matted-down mouth, a trend that’s becoming an early favorite among face painters in New York.
After making its debut backstage at Marc Jacobs two seasons ago, the “dominatrix ponytail” has been getting a lot of backstage play. But the high, tight, and totally intimidating updo at Jason Wu this afternoon came with a message that was less fetish and more fighter. “Be strong! Go for it!” was hairstylist Odile Gilbert’s battle cry as she applied waist-grazing extensions to models’ hair and coated them with Kérastase’s Fibre Architecte to smooth and treat dry ends. “Jordan loves this stuff,” Gilbert effused of the lightweight serum that repairs damage as she finger-combed it through Jourdan Dunn’s hair. Pulling lengths into a super-high ponytail, Gilbert wrapped strips of black latex around the base of the style for an additional element of toughness before spritzing it with a halo of Kérastase Double Force Hairspray for hold. The only girl that didn’t get the ponytail treatment was Tao Okamato. “Jason wanted Tao to represent the boy in in the film In the Mood for Love,” Gilbert said, explaining Okamoto’s sleek, Cary Grant-era iconic men’s pompadour that appears throughout Wong Kar-wai’s classic film.
Makeup artist Diane Kendal was working within a similar cross section of warrior-meets-old school glamour, which manifested itself into a strong, diffused, emerald-green eye. “It’s Ming dynasty and 1940′s Hollywood,” Kendal said while building up lids using MAC Powerpoint Eye Pencil in Tealo to create a base for its Eye Kohl in Minted, a light green, that she layered through the crease. To add texture and dimension, Kendal blended MAC Eyeshadow in Club and its Pigment in Kelly Green outward toward the temple before tracing the lash line with its Eye Kohl in Blooz, a dark blue, and a black cream liner to extend the elongated shape of the pigments. “The actual shape is the Hollywood part,” Kendal said of the classic cat’s-eye silhouette. MAC Haute and Naughty Mascara amplified top lashes only, while lips were left bare, save for a touch of its emollient Lip Conditioner.
As for the models’ complexions, they needed very little help in the way of makeup, thanks in large part to skincare guru Sunday Riley, who was on-site to provide mini facials. Fashioning impromptu masks using her Ceramic Slip clay-based cleanser and a good helping of her Good Genes treatment cream, which contains lactic acid and lemongrass to clarify and smooth skin while stimulating circulation, Riley was able to create a totally natural, healthy glow.
Last season, we broke the news that skincare guru Sunday Riley had teamed up with makeup artist Diane Kendal on a new makeup line that debuted backstage at Maiyet and Vanessa Bruno in Paris. After a stellar performance for Spring, it’s perhaps unsurprising that we’ve got some more news to break for Fall: Style.com just learned that Riley has landed a few impressive makeup sponsorships in New York, where her full line of complexion perfectors will be used backstage at Helmut Lang, Victoria Beckham, and The Row. These last two shows are particularly of note, as they have previously been showcases for big-name brands like Lancôme and Estée Lauder. But now it’s Riley’s foundations, eye shadows, lipsticks, and the like that will be in the very capable hands of Kendal as well as makeup artists Lisa Butler and Tom Pecheux, when the shows commence next week. In a word, pumped!
When it comes to beauty, Stella McCartney likes to keep things minimal. “Stella doesn’t like a lot of makeup,” face painter Lottie Stannard deadpanned backstage at McCartney’s pre-fall presentation yesterday, adding that Stella wanted to keep the skin “super-clean and fresh,” as she’s wont to do. So, Stannard set to applying a light veil of MAC Face and Body Foundation, which she sponged onto well-moisturized skin that had been treated to a thorough mini-facial at the hands of complexion guru Sunday Riley. “It’s been weird weather in New York and a lot of these girls are coming in from places like Sweden so they have dry, chapped skin from indoor heating and traveling,” Riley explained, prompting her to mix her Good Genes, a lactic acid-laced multitasker that resurfaces as it hydrates, with her Stimulant II, an anti-redness treatment that helps soothe irritation. Riley then layered her Juno Transformative Lipid Serum with a dollop of her Skin Adrenaline, an antioxidant-rich antiaging concentrate to impart the perfect matte-radiant finish.
The green-leaning scientific skincare approach that comes along with any cameo from Riley (who recommends drinking lots of coconut water—”from Brazilian coconuts, not the ones from Thailand”—to help further fight winter dryness from the inside out) has become something of a regular occurrence at Stella’s New York shows; ditto the kind of dewy skin perfection it yields. But there was one unusual sighting on the faces on display in the West Village last night. Once complexions had been perfectly polished by Riley, Stannard applied a thin stroke of MAC Fluidline gel eyeliner in Royal Wink, a bright cobalt, across the top of models’ upper lash lines. “It’s just a hint of color,” she explained of the blue accent that she picked up from fabric in McCartney’s collection. Subtle highlights across cheekbones courtesy of MAC Cream Colour Base in Pearl and a slight flush from its Cremeblend Blush in Something Special finished things off.
Staying true to the McCartney model of chic simplicity, coiffing star Sabrina Michals prepped hair with Bumble and Bumble Surf Spray and its Prep Lotion for texture. Once strands were dry, Michals raked its Sumo Wax through the ends and then gathered the lengths into a low-lying chignon. “[Stella] wanted it to look like the girls had done it themselves,” Michals said of the easy style before pulling out a few pieces toward the top for added volume.