18 posts tagged "T3"
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.
The first thing you noticed about the Oscar de la Renta girl for Fall was her penchant for towering fur hats. The second? A proclivity for blush. “I wanted you to really feel it—like it’s authentic,” Revlon global artistic director Gucci Westman said of the brand’s ColorBurst Lipsticks in Fuchsia and Candy Pink that she blended into a “big apple” on models’ cheeks. Westman added a “subtle, greasy” smoky eye to the equation, courtesy of Revlon’s ColorStay Liquid Liner in Blackest Black rimmed around the lids and diffused outward with a wash of the gray pigment from its ColorStay 12 Hour Eyeshadow Quad in Silver Fox. Next came a finger-dabbing of the wine stain in Westman’s forthcoming Multi-Use Palette in Bordeaux in the Snow and a very strong brow, drawn onto arches with Revlon’s Brow Fantasy in Dark Brown and blended using an angled brush. “Constantinople/Tibetan” were the general reference points Westman gleaned from de la Renta’s collection, although she really had Björk on the brain when she decided to go big with the blush and brows—Björk circa 1994, to be exact, when the raven-haired Icelandic beauty took to the Jean Paul Gautier Fall runway wearing a similar look.
Hairstylist Orlando Pita added “Mongolian” to the inspirational mix, fashioning a middle part and crafting big, soft waves by prepping strands with his T3 Elevate Heat-Seeking Volumizer and setting them in large rollers before brushing them through—an unusual sight at a de la Renta show, where Pita is typically more inclined to go with a classic updo. “We had to control it in the front,” the coiffing star said of the style, which needed to comfortably anchor the designer’s myriad fox toppers. Pita also pointed out that the free-flowing style, while uncharacteristic, remained in de la Renta’s comfort zone; it was “a bit younger” than he typically requests but undeniably luxurious. Ditto manicurist Yuna Park’s deep berry nails, which she painted with precision using Deborah Lippmann’s Just Walk Away Renee lacquer.
“It’s not day makeup,” Tom Pecheux joked of the metallic eye and heavy brow he concocted backstage at Derek Lam. Nor should it be; a lackluster look simply wouldn’t do for a Lam collection, which Pecheux rightly pointed out has the unique ability to be “casual, sophisticated, feminine, and minimal without being boring.” Translated into face-painting terms, this meant flawless matte skin, prepped with Estée Lauder’s new-for-summer Idealist Even Skintone Illuminator and a nice helping of its DayWear moisturizer, dramatized with an iconic eye. “It’s minimal but slightly severe,” Pecheux remarked of the August Sanders photography-inspired metallic silver and charcoal lids he was painting using two new Estée Lauder Eyeshadows from his Modern Mercury product range, due out this fall. Next, Pecheux turned his attention to a “powerful eyebrow,” filled-in with coordinating shades of Lauder’s Automatic Brow Pencil. “You can really feel them,” Pecheux—a staunch bleached-brow opponent—emphasized of the arches. Cheeks were contoured slightly with a few swipes of Estée Lauder’s Bronze Goddess Soft Duo Bronzer, while pouts were toned down using an as-yet-unreleased peachy beige matte lipstick. “A nude lip makes the eyes pop more,” Pecheux remarked. So does sleek, pulled-back hair, which coiffing star Orlando Pita was flat-ironing and spritzing with his T3 Control Hairspray before brushing it backwards and using a wide, pure-bristled toothbrush for extra smoothness. “It’s a classic schoolgirl look that typically would be secured with a barrette,” Pita described of the style. “But we’re not using barrettes here,” he continued, pointing out that he’s over that whole “it’s supposed to look like the girl did it herself” movement in runway hair. See how the three-sectioned ‘do stays perfectly symmetrical and perfectly in place? Try doing that yourself. He dares you.
Backstage at Elie Saab’s Spring Couture presentation today, it all started with Grace Kelly. “She was never too overdone, and Elie wanted the girls to look very young and fresh,” hair guru Orlando Pita said of the “wholesome” side-slung chignons he created by prepping strands with his signature T3 Plump before drying, side-parting, and fashioning a loose braid behind the ear, which he tucked into itself. “It’s supposed to look effortless,” he added. That’s not necessarily a word we’d use to describe the late Princess of Monaco’s always put-together appearance, but MAC senior vice president Gordon Espinet clarified, “It wasn’t about making the girls look like her; it was more about making them look fabulous without a lot of fuss. No muss, no fuss.” That meant a flawless, dewy complexion, the kind of adolescent gleam we find ourselves trying to muster every day. Espinet achieved it here by prepping models’ skin with MAC’s much-loved Care Blends Essential Oils mixed with its Strobe Liquid Lotion. Then came a light application of foundation courtesy of MAC Mineralize Skinfinish—”it doesn’t cover; it just makes skin look awesome,” Espinet enthused of the color-correcting compact. A flush, “not blush,” created using cream color bases and a slathering of tinted lip conditioner, gave cheeks and mouths a natural rosy glow, while a slashing of black mascara on the top lashes added just a hint of drama. “It’s almost makeup that you don’t have to look into the mirror to do,” Espinet says. “You can feel it go into all the right places.”
The sixties struck again at Derek Lam yesterday, where the combination of Orlando Pita on hair and Tom Pecheux on makeup duty—his first and only NYFW appearance as Estée Lauder’s creative director of makeup—made for a middle-parted/strong-eye masterpiece. Pita prepped models’ hair with his Plump Heat-Seeking Liquid Hair Plumper for T3, and let his round brush and blow-dryer do the rest. He set hair slightly forward and added a little bump in the back to properly re-create the sixties vibe. As was the case at Peter Som earlier in the week, Pecheux paid homage to the decade with some well-crafted eyeliner. “I always said I would bring a French touch to Estée Lauder,” he said of his decision to eschew plain black liner again and go for a bright tangerine pigment, adding a shimmery, white triangle on the inner corner of models’ eyes. “I’m definitely cooking,” the former pastry chef said of the a-little-of-this, a-little-of-that makeup mantra he used to concoct the orange look, which involved a stroke of Lauder’s Double Wear Stay-in-Place Lip Pencil in Coral topped off with a mixture of its Pure Color Moisture Rich Lipstick in Melon and Mandarin Pop. (Editor’s note: Lauder is relaunching its Pure Color Lipstick collection this spring to include super-bright, fun opaque shades like the two Pecheux used here as eye makeup. Get excited.) To add a touch of shimmer and hold the glossy lipstick in place, Pecheux topped off lids with a dusting of his Pure Color Eyeshadow in #39 Rock Coral. Lips were left a glistening nude courtesy of another one of these new pout perfectors in Vanilla Truffle. If this is what Pecheux meant when he told us at Lam’s show last season that he wanted to inject “a little fashion, some fantasy, naughtiness, and above all youth” into the 65-year-old Estée Lauder brand, we’re all for it.