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August 31 2014

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14 posts tagged "TIGI"

The Pom-Pom Ponytail: Put It on Your To-Do List

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This summer, we’re paring back our makeup routine and focusing on look-at-me hair instead. From rainbow dye jobs to nineties-era crimps, subtlety is looking severely overrated. But if you’re feeling something a little less permanent (or easier), the playful hair accessories spotted at Mara Hoffman’s Swim ’14 show in Miami are at the top of our list. The designer worked with longtime collaborator and TIGI global creative director, Nick Irwin, to create elastics with braided strings of handmade pom-poms, which can be woven through a single long braid or ponytail. Hoffman was inspired by Indian wedding ceremonies, where camels are traditionally adorned with the colorful tufts. Though this isn’t a look we’d encourage at the office, we’re thinking these would be perfect for twisting through our salt- and sun-soaked hair after a day at the beach. Even Karl Lagerfeld is on board with the statement pony—at Chanel’s Fall ’14 show, models sported extra-long tails with strips of tweed trailing through the ends. While you won’t find it stateside until August, the Catwalk by TIGI x Mara Hoffman pom-pom ponytail holder is currently available as a gift-with-purchase when you buy any two products at TIGI salons in the United Kingdom. Instantly upgrading a beauty classic? Totally worth a trip across the pond.

For more information, visit catwalkbytigi.com

Photos: Getty; Courtesy of TIGI; Indigital

Sophisticated Ladies, Backstage at Chloé

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chloe-ss-2014-beauty“She’s more intellectual than previous seasons,” hairstylist James Pecis said of the Chloé girl. “This is a woman that’s done and has healthy, expensive hair.” Now, those are three words (“done,” “healthy,” “expensive”) we haven’t heard all season—with organic and slightly grungy textures reigning supreme for Spring 2014. To achieve the sleek and luxurious look, Pecis washed the majority of models’ strands with Bumble and Bumble Seaweed Shampoo and Conditioner in the two tiny sinks backstage (a step necessary for getting the lightness and bounce he desired on the runway). For fullness, he misted TIGI Bed Head Superstar Queen for a Day Thickening Spray from roots to ends and blew hair dry using a paddle brush for smoothness. Extensions were added for extra body before a flat iron was run through thin sections. A precise center part was made with the pointed tip of a rattail comb and set with L’Oréal Elnett hair spray. “It’s the little touches that are going to give the look strength—like a hard, clean line in the middle of the head,” he explained.

In contrast to the hair, however, the makeup by Diane Kendal was par for the course: barely there, but beautiful. She prepped skin with a moisturizer and applied a light-coverage foundation. The top and lower lash lines were rimmed with MAC Powerpoint Eye Pencil in Duck before a cotton swab dipped in moisturizer was used to wipe it off, leaving a shadowy sepia tone behind. The hollows of the cheeks were subtly defined with MAC Pro Sculpting Cream in Copper Beech and the apples topped with Cream Colour Base in Bronze. Kendal added a touch of the sculpting cream in Accentuate (a pale beige) to the tops of cheekbones and just above the brows to catch the light. Similar to the technique used to achieve the foggy leftovers around the eyes, she worked moisturizer over the entire face to produce a “residue” that rendered complexions luminous.

Backstage at Ruffian: An Ode to the Original Bad Girls

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ruffianFrench wild child and novelist Francoise Sagan, who drove race cars, kept bad boyfriends, and ended up in rehab in Saint-Tropez, inspired the clothes in the collection. She was essentially the original Lindsay Lohan “…except she could write,” explained Brian Wolk, one half of the Ruffian design duo. Another author and bad girl, this one British, inspired the makeup and hair: Lady Caroline Blackwood.

As a nod to the beauty muse and the sixties, makeup artist James Kaliardos circled the eye in a gray shade from MAC called March Mist with a 213 brush, and added shadow, dubbed Particularly Pretty (both colors from the Spring/Summer ’14 Trend Forecast Eye Palette), to both the middle of the lid and the cheeks as a highlighter. Four individual lashes were placed on the center of the upper lash line to open up the eye, and Haute & Naughty Mascara was brushed on both top and bottom. “It’s quite lash-y, but still a soft look,” explained the face painter. Lips were dabbed with a soft apricot called Trendy Twist (also from a Spring/Summer ’14 Trend Forecast Palette).

Hair pro Nick Irwin applied Catwalk by TIGI Curlesque Lightweight Mousse to the halo area before blow-drying and adding a deep side part, which he set with Sleek Mystique Look-Lock Hairspray. To create the appearance of a set that had fallen out, he wrapped sections around a curling rod and then finger-combed.

“We wanted to bring minimalism to nail art this season,” said Wolk, imploring finger painter Cheryl Natoli and their own brand of circular nail sticker-stencils (available soon on Birchbox) to get the signature Ruffian crescent shape. The three lacquers in their newly launched Crowdsourced Collection were used around the edges of a nude-colored nail bed, extending all the way to squared-off tips. They also debuted a treatment, base coat, matte finisher, as well as black, scented polish-remover towelettes (arriving later this fall) backstage.

Photo: Ivan Lattuada/Indigitialimages

Taking A “Fumble In The Jungle,” Backstage At Kenzo

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Backstage at Kenzo, the evidence of Carol Lim and Humberto Leon’s already impactful influence on the house they took over two seasons ago was visible everywhere. We’d say, and this is a conservative estimate, that 30 percent of the production crew, hair and makeup artists, publicists, and catwalkers assembled there were wearing one of the design duo’s gotta-have-it logo sweatshirts or sweaters from Fall, with or without tiger head. They had an equally exciting lineup hung on racks for Spring, which had a bright, fun beauty look to match. “They wanted the girls to really have a progression,” said makeup artist Yadim, who explained that the models were meant to seem as though they had walked into the jungle and then got consumed by it.

This necessitated not one but six different eye liner looks. “It’s slightly rave, modern and graphic,” Yadim continued of the thick etching of MAC Chromaline in taupe, black, forest green, yellow, orange, and bright green that he traced around models’ lids, drawing it to a point in the inner corner of the eye and leaving a small gap in the otherwise fluid shape in the center of lower lash lines “for a surprise.” Marian Newman painted nails with a corresponding four-polish palette of MAC Nail Lacquers in a bright mandarin, a glossy taupe, a deep nude, and a rich emerald, for an added touch of color, although the eyes were still the focus. To make them stand out even more, Yadim kept upper and lower lashes heavy and clumpy with MAC Haute & Naughty mascara while taking down lips, beefing up brows, and giving cheeks a slight contour with MAC Blush in Taupe. “I’m also using lots of highlighter,” he emphasized of the concentrated brushstrokes of its Cream Colour Base in Pearl that he swept across cheekbones, along the brow ridge, down the bridge of the nose, and onto the Cupid’s bow of mouths, pulling Sui He over to illustrate how her skin glowed with a luminescent dewiness (and it did).

“She’s had a bit of a fumble in the jungle,” Anthony Turner elaborated of the idea, dousing hair with TIGI Catwalk Session Series Salt Spray as a rousing rendition of “Happy Birthday” broke out for Magda Laguinge. Letting strands air-dry to create a piece-y texture, the hairstylist explained that the thesis here hasn’t changed; his objective is still to “bring New York to Paris” with a cool, young feel that has an air of effortlessness to it—and a little something extra. “I’m going to rough them up a bit before they hit the runway,” Turner promised.

Photo: Greg Kessler

Kurt, Courtney, And Couture Lips, Backstage At Dries Van Noten

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“The first idea Dries [Van Noten] showed me was a Kurt Cobain/Courtney Love image, so I thought about a lip,” Peter Philips said backstage at the designer’s Spring show. Not the burnt brick red that Love made famous during her early days in Hole—there were no remnants of red at all, in fact. “Not after Milan,” Philips joked, referencing the crimson color used at Prada that is still no doubt burned into most fashion insiders’ brains. Instead, he went with an eye-catching dusty magenta mouth. “It’s a bit more street,” Philips said of the color.

Giving skin a pale, satin finish, the face painter brushed lids with a green-gray wash of eye shadow “for definition,” before lining the inner rims with Chanel Le Crayon Khôl Intense Eye Pencil in Clair to open them up. Tracing the outline of pouts with its Le Crayon Levres Precision Lip Definer in #55 Fuchsia, Philips proceeded to apply the corresponding shade of Rouge Allure Velvet luminous matte lip color in #37 L’Exubérante. “The clothes are part couture and part grunge,” hairdresser Paul Hanlon elaborated. “So Peter’s doing the couture part; I’m doing the grunge part.”

Hanlon has made reimagining nineties styles something of a career calling card at this point, and his expertise was in full effect today as he referenced grunge-era heroines like Emma Balfour and the glossy pages of The Face in which she lived. Spritzing strands with a cocktail of Frédéric Fekkai Coif Oceanique Tousled Wave Spray and TIGI Bed Head Superstar Queen for a Day Thickening Spray to give manes a “stringy” quality, he glued on different colored extensions so it appeared blonde models had sections of bleach amid their golden locks. Then, raking TIGI Bed Head After-Party Smoothing Cream through lengths to create an even more lived-in feel, he proceeded to brush roots with a range of MAC Eyeshadows in shades of carbon blacks, dark browns, and grays. “A lot of people are on the nineties tip at the moment,” Hanlon admitted, “so it’s nice to find an identity.” It’s not the first time we’ve seen him break out this technique, although witnessing that kind of ingenuity never truly gets old—especially when the perfect song is playing in the background: Hanlon typically prefers to work to bass-pumping club beats, but queuing up College featuring Electric Youth’s “A Real Hero” from the Drive soundtrack added a certain cinematic specialness to the beauty moment.

Photo: Luca Cannonieri / Gorunway.com