17 posts tagged "T3"
Pink Lips that “Close the Deal,” Backstage at DVF
Being a designer backstage on the day of your own show comes with a few perks—including on-site touch-ups with some of fashion’s best hair and makeup people. “Can you do what you did before,” Diane von Furstenberg beseeched James Kaliardos as he was applying the show’s look to a model in his chair. Von Furstenberg was looking to re-up on her ruddy smoky eye—and to dole out a few words of wisdom in the process. “The idea with the color,” she said, motioning to the MAC Chromagraphic Pencil in Process Magenta that Kaliardos was blending with its Lip Conditioner for a semimatte finish, “is whatever you’re doing, close the deal.”
“It’s a look that makes you win in life,” Kaliardos continued of the seventies glam-rock makeup, which featured diffused red lids, courtesy of MAC Cream Eyeshadow in Rusted Red from its forthcoming Fall trend palette that he blended with its Cream Eyeshadow in Oyster, a shimmering champagne, to add a highlight to the inner corners of eyes. Sculpting skin with warm shades of MAC Face and Body Foundation, Kaliardos filled in brows with its Eye Shadow in Omega before swiping on a few coats of its Haute & Naughty Mascara to enhance the drama. Toes were painted with a combination of Essie’s fuchsia Plumberry and Miami Nice to match models’ mouths.
Orlando Pita added to the “life is a party” inspiration—von Furstenberg’s party, specifically—with seventies-style sets that he side parted and treated to a few spritzes of his T3 Elevate Heat-Seeking Iron Volumizer hair spray and a one-and-a-half-inch curling iron to implement a slightly disheveled wave. “Diane is about inspiring women,” he said, prompting him to skip hair extensions to avoid total uniformity, catering instead to models’ individual lengths.
Bohemian Beauty Rhapsody, Backstage At Derek Lam
“The buzzwords were bohemian, minimalism, structural architecture,” Orlando Pita said backstage at Derek Lam, rattling off a list of inspirational terms the designer had provided him with as a beauty directive for Fall. To Pita, that immediately meant texture. “We’re braiding hair and setting a wave,” he explained, adding extensions to ensure a uniform thickness at the bottom while prepping three-inch-wide sections with Phyto Workable Holding Spray before weaving them into plaits and pressing them with T3′s SinglePass Flat Iron. Nodding to the freewheeling feeling of the late seventies, Pita center-parted strands to “make the face more symmetrical” and ran his fingers through the crimped plackets. Then, taking two pins, he secured front sections behind models’ ears to give the shape a sense of uniformity.
Estée Lauder global Creative Makeup Director Tom Pecheux was speaking to Lam’s aptitude for giving incredibly rich fabrics a sense of casual comfort, which he also related to a bohemian sensibility—one that is rooted specifically in California. “You know when you ask people on the West Coast why they live on the West Coast and they say ‘quality of life’? It’s that kind of feeling,” he explained of the “very minimal” makeup that still managed to have a few complex twists and turns.
Following a massage with Estée Lauder Idealist Even Skintone Illuminator and its DayWear Advanced Multi-Protection Anti-Oxidant Creme, Pecheux created a base with Lauder’s Double Wear Light Stay-in-Place Makeup. “There’s no brow, no mascara, no contours, no highlighting,” he was quick to point out, turning his attention instead to a “stripe of eye shadow” in varying shades of lavender, rose, silver, and gray from Est—e Lauder’s forthcoming Pure Color Instant Intense EyeShadow Trios in Smoked Chrome, Steel Lilacs, and Sterling Plums, concentrating the sheer, shimmering pigment in the center of lids to catch the light on the runway. Lips were slicked with a blend of Lauder’s as-yet-unreleased Pure Color Vivid Shine Lipstick in Burnished Bronze, a sheer caramel, and its Pure Color High Intensity Lip Lacquer in Electric Wine, a deep garnet, before Pecheux pressed them with his fingertips to create a stain. As a finishing touch, he took another finger-dab of its Pure Color Stay-On Shadow Paint in Sinister, a dark black, which he patted onto the center of mouths to simulate “voluptuousness.”
A Sixties/Nineties Mash-up, Backstage At Michael Kors
There are two decades being mined at the New York shows this week, and Michael Kors managed to get both of them into one beauty look. “It’s sixties/nineties,” Orlando Pita said, referencing the super-sleek, deep side parts that he was giving models, creating an indentation in the back with a long elastic that was clipped behind the ears. The straightness, which he achieved with a blow-dryer and a few spritzes of his T3 Control Heat-Seeking Hair Spray, hammered home the homage. “The first time women straightened their hair was in the sixties, but they used actual irons,” Pita said in an impromptu session of hair history 101. “In the nineties, they finally created a straightening iron.” Karlie Kloss, Jac, and Frida Gustavsson got updos to accommodate the evening dresses they wore to close the show.
Dick Page was on a similar tip, although the Shiseido artistic director wasn’t quite ready to call his colored, banana liner applications retro. “[Kors] just wanted to do an eye thing. [This is] a floating line,” he declared of the single stroke of its Luminizing Satin Eye Color Trio in Jungle, a punchy green, that he gave brunettes, and the Punky Blues palette that he saved for blondes, both of which changed shades underneath a series of plastic pastel sunglasses. A wash of white pigment along the upper lash line and a few swipes of Shiseido’s Perfect Mascara Full Definition in Black helped open the eyes while its Luminizing Satin Face Color in Highbeam White brought light to cheekbones, jawlines, and foreheads. Lips were painted and then blotted down to a barely perceptible nude with Shiseido’s Perfect Rouge in Vision, a dusty rose—not that it mattered; after Kloss passed her new Perfect 10 cookies around to Page, Lindsey Wixson, and Magdalena Frackowiak (and this reporter), there wasn’t much visible lipstick left to speak of.
“Après-Sex” Hair And Makeup, Backstage At Michael Kors
A warm cheek and wind-blown hair are par for the course backstage at Michael Kors, whose sporty woman has frequently just come in from skiing, sunning, or a safari, as was the case last season. For Fall, she hit the slopes again and had just returned to the lodge for an après-ski cool-down when we caught up with her. “It’s an American well-bred couple , and they’ve just come back to have a little cocktail,” Orlando Pita explained. “So she takes her hair back, twists it into a little knot, and puts a bobby pin on the side,” the hairdresser continued, displaying a sheet of clips that had been spray-painted alternating shades of matte bronze, black, and white. “It’s a little undone,” Pita added of the style, using his T3 Elevate Heat-Seeking Volumizing Spray to add a bit of texture, taking extra care not to blow-dry “too much.”
“It’s more like après-sex,” Shiseido artistic director Dick Page interjected, using the brand’s forthcoming Lacquer Rouge in Drama, a deep crimson, to coat lips and blend a creamy flush from the apples of models’ cheeks all the way down to the jaw, “the way you’d get if you were cold, or hot, or excited,” Page explained. Shiseido’s Luminizing Satin Face Color in Soft Beam Gold and High Beam White dusted along lids and cheekbones added a transparent glow. “Blush makes everyone look better,” the face painter surmised. “It’s a very simple way to look and feel glamorous.”
Uptown Girls—And A New Nail Collection—Debut Backstage At ODLR
After getting a fair amount of play in Europe last season, high, voluminous hair is having a bit
of moment in New York for Fall, thanks in large part to Orlando Pita. “I’m three for two,” the
hairstylist said backstage at Oscar de la Renta, where he added another towering, teased style to his repertoire following equally gravity-defying stunts at Derek Lam and Carolina Herrera earlier in the week. “It really depends on what the designer wants,” Pita explained of his decision to go big, pointing out that de la Renta never wants a “the girl did it herself kind of thing.”
For Fall, the designer specifically requested a beauty look fit for “a young girl playing dress up,” according to his coiffing collaborator who used his T3 Elevate Heat-Seeking Volumizing Spray to coat sections of hair that he teased halfway down the shaft and then tucked into a faux bob, fastening a bejeweled, satin ribbon around the hairline (headbands; so hot for Fall 2012).
Revlon global artistic director, Gucci Westman, expounded upon de la Renta’s muse. “She’s an uptown girl who goes to private school,” the makeup artist said, building rosy, glowing skin with a combination of Revlon’s limited edition Highlighting Stick and PhotoReady Cream Blush, both from its forthcoming Escapism collection. “I wanted her to feel cooler and younger,” Westman continued, lining the upper lid with a stroke of Revlon’s ColorStay Liquid Liner in Black, which was slightly smudged so it appeared purposefully “not perfect.” To correspond with the sixties-inspired shapes in de la Renta’s clothes, Westman applied about four coats of its PhotoReady 3D Volume Mascara in Black so lashes were dark and dense.
The big beauty surprise was in the nails, though. Manicurist Yuna Park had the honor of debuting three of the new lacquers that will be a part of de la Renta’s Essential Luxuries collection that bows in October. “We’re matching the nails to the outfits and the hands to the toes,” Park said, alternating between Essential Aubergine, a deep berry, Essential Larimar, a pale blue and Essential Carnation, a true red. “The quality of the polish is pretty amazing,” she effused. “You get exactly what you see in the bottle.