17 posts tagged "T3"
There was a peculiar sense of life imitating art backstage at Christian Dior today. The brand recently debuted its latest Charlize Theron-fronted J’adore Dior fragrance commercial, equipped with some particularly impressive CGI in which Grace Kelly, Marilyn Monroe, and Marlene Dietrich all appear with Theron—backstage before a Dior show, in fact. A few short weeks later, a Kelly-esque air could be detected in the hair and makeup for Spring. “She’s got perfect eyes, perfect skin, groomed eyebrows, and beautiful red lips—nothing overdone,” makeup artist Pat McGrath said, mixing together three different pout pigments to come up with a pretty, matte, pinkish crimson mouth. “It’s a lipstick a girl would wear today,” McGrath added, bringing it back to the here and now. “[This season] is very much about enhancement in a natural way,” she continued—except, of course, on nails. Fingers were treated to varying shades of forthcoming Dior Le Vernis lacquers in soft green (Water Lily #504), orange (Riviera #537), and violet (Forget Me Not #694) as well as demure hues of nude and pink (Incognito #257 and Lucky #659, respectively), which popped softly on short, neat oval tips.
Hair maestro Orlando Pita was up for a similar change of pace, embracing a simple retro style and making it modern. “I don’t like to take the past in a very literal sense,” he proclaimed. “So the idea was to keep it very young and fresh—still groomed, but not too complicated.” This translated into a side part that Pita prepped with his T3 Plump volume spray before gently sweeping lengths into a soft roll above the nape of the neck. A halo of his T3 Control hair spray kept everything in place. Simple as it sounds, Pita reiterated that you needn’t give this one a go at home. “I always try to do a hairstyle that isn’t so easy to do by yourself,” he said, keeping the mystery of session-styling alive. “Otherwise, what’s the point?”
When words like “safari” and “Africa” provide the backstage beauty inspiration, there’s really only one way to go: “I’m exploring the different sides of bronze,” Shiseido artistic director Dick Page said of the golden finishes he was serving up at Michael Kors. Assigning a selection of Shiseido’s bronzing powders to complement individual complexions, the makeup artist strengthened brows using his go-to Shimmering Cream Eyeshadows in Sable, Caviar, and Leather and added a gold glisten underneath the lower lash lines and in the inner corner of eyes using the same color pots in Meadow. Brown, not black, mascara and Shiseido’s beige-toned Perfect Rouge lipstick in Caramel finished off the faces of Kors’ desert explorers.
Orlando Pita chose to hone in on the function, rather than fashion, of a trip through the African bush. “These girls have nothing to do their hair with except a shoelace,” Pita said, producing a long leather cord that he fishtail-braided into middle-parted lengths. Prepping hair with T3 Refresh Dry Shampoo and Bumble and Bumble Surf Spray for a matte texture, Pita back-combed around the base of the style, pulling out hair for a messy, disheveled feel. The hairline, however, was kept pristine thanks to the smoothing effect of T3 Control hairspray. “The front is the only part of their hair they can fix,” Pita explained. Obviously.
A few pops of color in the form of statement lips at shows like Prabal Gurung, Jason Wu, and Donna Karan (more on that in a bit) notwithstanding, we’ve been noticing a more muted makeup trend for Spring: the tonal palette. The process requires the precise placement of complementary and contrasting neutral shades with both cool and warm undertones. “It’s a bit like paint-by-numbers,” makeup artist James Kaliardos said at Diane von Furstenberg where he had smudged about ten different shades of MAC’s versatile Cream Colour Base onto a clear, plastic plate-cum-mixing tray to custom-blend pigments for each model’s skin tone. Inspired by “modern Africa” (a favorite of von Furstenberg’s diverse muses), Kaliardos sculpted cheeks and lids with color slightly darker than each girl’s complexion and added dimension to eyes by building in a lighter center and inner corner area. Lashes were curled and swiped with mascara while brows were strengthened using MAC Eyeshadow in Omega.
Hairstylist Orlando Pita sculpted sixties silhouettes with a French twist, following the shape of the head. “It ended up looking like Kim Novak,” Pita said, drying strands with T3 Plump Heat-Seeking Liquid Hair Plumper and adding a hefty amount of its Control Hairspray for an “earthy, rustic, and fresh” matte texture. To put his own stamp on the classic look, Pita started the style at the top of the head and rolled it down, pinning as he went. “Usually twists go up,” he pointed out.
Backstage at Derek Lam, makeup artist Tom Pecheux was looking west—to California specifically, with its sun-kissed hills and the outstanding homes that dot them. “We talked about Richard Neutra,” Pecheux said. “It was the beginning of that time in architecture when they let the outdoors come in with big windows. That’s what I wanted to translate into the makeup.” As such, Pecheux brushed on a “strong, architectural brow,” with Estée Lauder Cyber Eyes Eyeshadow in Cyber Green and Cyber Copper, which he dusted beneath the brow bone and up through individual hairs, pointing out that powders create a softer look than pencils. Underneath was a wash of sheer canary yellow eye shadow in Rainboots, from a forthcoming five-pan palette. “That comes from the California sun,” Pecheux said of the color, adding a thin black line of pigment along the upper lash line with Lauder’s Intense Kajal Eyeliner in Blackened Olive. Skin was sculpted and bronzed with its new-for-Spring limited-edition Gelée Bronzer, while lips were given a high shine courtesy of a new Pure Color Lipgloss in Citron Kiss, a sheer yellow. “It takes away the pink,” Pecheux said, adding that it can also brighten up any darker, fall lipstick.
Coiffing star Orlando Pita was also drawn to Neutra’s “clean, crisp” lines, which inspired his sleek ponytails. Prepping hair with Phytovolume Actif Spray, Pita created deep side parts and blow-dried with his trusty T3 Featherweight blow-dryer before applying Phyto 7 Daily Hydrating Botanical Cream on the ends to smooth out any jagged tips. Then, gathering hair into a high ponytail, he flat-ironed the lengths, coating them in Phyto Shine Defining Wax for intentional severity. The sheen came from a spritz of Phyto Professional Workable Holding Spray—”I didn’t want to do a gelled wet look,” Pita said. “Who wants to wear their hair like that?”
While we may be dutiful about certain makeup bag and skincare arsenal maintenance—regularly rotating out our mascaras, tossing sunblock the day it exceeds its expiration date, etc.—we’re pretty much hopeless when it comes to our coterie of hair tools. Full disclosure: We’ve been using a banged-up travel-size hairdryer for about two years, and our flat iron, while effective enough, tends to emit a burnt odor that signifies that you’re hair is, well, cooked (ew). So it is with great delight that we welcomed the chance to test-run some new and noteworthy launches from three hair tool pioneers. Needless to say, these hot stylers are more than just full of hot air.
Conair has teamed up with John Frieda to release a straightener, a trio of curling irons, and, our favorite, a blow-dryer. The Full Volume Dryer has the power, variety of heat and speed settings, and lightweight design of models twice its price to dry your hair faster, more safely, and considerably more economically.
T3′s SinglePass Compact Iron is, as the name suggests, a shrunken-down version of the brand’s cult-favorite, full-size flat iron. But unlike most travel accessories, it doesn’t sacrifice efficacy for size. The mini version still boasts T3′s signature tourmaline technology, which means smooth, straight strands are now just easier to come by.
The Curling Iron
Sultra’s new Bombshell three-quarter-inch maintains the same erotic plaything shape as its 1-inch predecessor and uses the brand’s unique Japanese Kyocera ceramic heat system to rapidly impart waves and ringlets to languid locks. It’s a clip-free model, too, which means you wrap sections around the rod, rather than singe them between damage-inducing clamps. Great for texture control—and protecting the integrity of the hair shaft.