18 posts tagged "T3"
Kate Moss morning-after makeup was out and Christie Brinkley was in at Oscar de la Renta yesterday. Cosmetics ads from the early eighties served as inspiration—dramatic eyes, sunken cheekbones, feathered hair, and all. “It’s really the whole look,” Revlon’s global artistic director of makeup, Gucci Westman, explained backstage, where she was giving the era of excess a few modern updates. Chalky skin was thus replaced by a lustrous finish, thanks to Revlon’s Age Defying Spa Face Illuminators in Pink Light and Gold Light, and matte brick lips were made glossy to bring them back to the now with Revlon’s Super Lustrous Lipstick in Chocolicious and Lipgloss in Shine City. Westman’s cheek contours and smoky, shimmering eyes were a direct tribute, though—as were Orlando Pita’s highly stylized feathered waves, for which sections of hair were set in rollers then brushed out, teased in the back for height, and set with T3 Elevate Heat-Seeking Volumizer. It was a defiant stand against the “undone” message proliferating at the shows this week, and we liked it. A lot.
Hairstylists Orlando Pita and Eugene Souleiman were in something of a hairpin-off backstage yesterday as they competed to see who could put more accessories into models’ hair. “70 to 100,” was Pita’s guesstimation at Carolina Herrera, where he incorporated plain bobby pins and others with floral clusters that came directly from the embellishments on the collection’s clothes and accessories. Keeping a little volume at the top of the head, Pita sprayed his hand with T3 Control Hairspray and finger-combed hair backward to maintain softness and femininity. He then rolled the hair into a chignon, which was barely visible beneath its coat of copper armor. Downtown at Donna Karan, Souleiman was going for a more masculine look in front, where models sported sleek and deep side parts that evolved into softer, off center buns in the back. He painstakingly placed “about 100″ straight black hairpins, starting from behind the ear and moving around the chignon, so that the rounded tips of each pin were visible from the top of the look, almost like elaborate, 3-D scales. “I wanted it to appear really pretty, but hard at the same time,” he said, an objective he definitely managed to pull off.
“Lawrence of Arabia, Sudanese women, and of course Diane herself,” makeup artist James Kaliardos said of the inspiration behind the look he gave models yesterday at Diane von Furstenberg, where the collection was about “real” clothes-separates that women need. “She wanted no makeup at all but I insisted on some glamour,” he continued. The stalemate resolved itself in a smoky nude eye and a sculpted face. This meant MAC Pro Sculpting Powder in Bone Beige on cheekbones and temples and Soba Eyeshadow, an earthy brown shade that Kaliardos swept across lids to simulate a natural, dark pigment. As for the lip, he incorporated a technique from the designer’s own makeup bag of tricks, brushing the Bone Beige powder around the lip line to blend into the skin for a natural finish, and topping that off with a touch of balm. Hairstylist Orlando Pita gave models “free-spirited” hair that could properly showcase a series of hats. He prepped hair with T3 Plump and then dried, working the ends around a two inch curling iron and leaving loose waves cascading down in back.