August 23 2014

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14 posts tagged "TIGI"

“Essential” Makeup and “Organic” Hair, Backstage At Marni


Consuelo Castiglioni is known by the Marni faithful for a certain way with prints. And there was plenty of that in her Spring collection today, although patterns were well paced with plenty of solids as well. “I wouldn’t call it minimal,” the desiger’s longtime face painter Tom Pecheux surmised of the wealth of white, black and color-blocking at play; “I’d call it essential”—which prompted him to take the makeup in a similar direction. “We decided [it] should be very pure,” he said.

“Pure,” in this case, did not mean bare as it has at so many other shows this season. Instead, Pecheux started each girl off with one of his signature massages—a deep-tissue rubdown with Estée Lauder Daywear Advanced Multi-Protection Anti-Oxidant Cream and its Idealist Even Skintone Illuminator—followed by a finger-blending of MAC Studio Sculpt Foundation, which provided a “healthy, glow-y” base. “We are using our fingers to melt everything” he elaborated of the “fresh” color that was applied to cheeks using a combination of MAC Cremeblush in Posey and its red-tinged Mineralize Rich Lipstick in Lushlife. A slightly darker incarnation of the transparent rouge hue appeared on eyes as well as Pecheux smudged MAC’s Mineralize Rich Lipstick in Glamour Era, a plummy black, across lids, mixing it with its Cream Colour Base in Root, a dark brown, which he buffed into the lash line. Just the tips of lashes were treated with mascara to “tint” them before Pecheux set to creating filled-in, “creamy” brows and mouths that were stained with a layering effort of both aforementioned lipsticks.

Castiglioni gave Paul Hanlon carte blanche with the hair. “She wanted me to do my own thing,” the styling star revealed—which usually means some incarnation of a deconstructed coif with a worn-in texture and a downtown feel. This time around, it was way simpler than that. “A lot of girls that work with Consuelo wear their hair like this,” Hanlon said of the sweeping, “organic” ponytail-knot hybrids that were prepped with TIGI Bed Head Superstar Queen for A Day Thickening Spray and treated individually, rather than uniformly. To let girl’s personality shine through, nary an extension could be found at Hanlon’s station as he simply groomed Janice Alida’s newly shorn fade and effortlessly brushed Athena Wilson’s bowl cut to one side.

Photo: Luca Cannonieri /

Backstage At Kenzo, The Walk of Shame Never Looked So Good


Despite the cold rain that set over Paris last night, there was something uplifting about being backstage at the Université Pierre et Marie Curie for the Kenzo show; it probably had something to do with the multicolored schoolrooms-turned-hair and makeup stations and the bird’s-eye view our fifth-floor perch allotted for watching 50 models rehearse a show that included a runway with four levels of escalators. ”This is fashion,” makeup artist Yadim said, commending Carol Lim and Humberto Leon’s sense of showmanship.

As was evident in the collection, the Kenzo girl has grown up since last season—and she’s also scored herself a new man. ”Humberto told me that he wanted the girls to look like they had found a rich boyfriend and now they’re spending all of his money,” Yadim explained of the progression of lip colors he slicked onto a dewy base of MAC Face and Body Foundation. Pouts ranged from MAC Lipstick in Sin, a dark burgundy, to Dare You, a purple-y red; Brave Red; Russian Red; So Chaud, a burnt orange; and Girl About Town, a muted fuchsia that was mixed with Dare You. Contouring lids and cheekbones with a taupe blush and adding highlights to the face with MAC Cream Colour Base in Pearl, Yadim painted on an additional detail in the form of a “couture wing” that he drew onto the top lashline with MAC Fluidline in Blacktrack and then “chopped off” at the end for a squared, rather than pointed, flick. As models prepared to step onto the down escalator, the face painter smeared a fingerful of gloss onto eyelids and pressed a hand-print of a particularly “wet” lotion onto exposed limbs to catch the glimmer of the venue’s fluorescent lights.

Hairstylist Anthony Turner applied a similar effect to a bounty of messy knots by patting TIGI Catwalk Session Series Wet Look Gel onto the tops of models’ heads just as they hit the runway. “It’s hair the day after, the night before,” Turner said of the updos that were meant to appear as though they had seen better days. ”It was once very well done,” he elaborated of the style, “but while she was walking back to her apartment on the Lower East Side in the morning, she got stuck in the rain,” he continued, making sure to emphasize that Upper East Side boyfriend not withstanding, the Kenzo girl is downtown through and through.

Photo: Yannis Vlamos /

Chloë Sevigny Talks Trannies And Hair Transformations, Backstage At Kenzo


When we got backstage at Kenzo yesterday, there were two pleasant surprises waiting for us. The first was Peter Philips; if Humberto Leon and Carol Lim’s  collection was half as good as their decision to enlist the Chanel creative director of makeup for their first outing for the storied brand, then they’d have a big success on their hands, we thought to ourselves. “They were open to suggestions,” Philips said of the design duo’s beauty concept for the show. ”That’s the way they work—it’s a team effort, more like a creative studio.” The group decision was to make sure the makeup didn’t look like it was for a fashion show. “I didn’t want all the girls to have a red lip or a black nail like a funny, quirky Teen Vogue shoot—and I mean that with the utmost respect. We just wanted to bring a maturity and credibility to it,” Philips explained, choosing instead to keep the face “strong but natural” so as not to complicate the colors and prints in the clothes. After creating a flawless base with Chanel Perfection Lumiere Professional Finish Makeup, Philips focused on building a big brow—”it’s not graphic or fifties,” he insisted, dipping into Chanel Ombre Essentielle Soft Touch Eyeshadow in Mahogany 51 and filling in arches with soft powder rather than a pencil. “They’re more like a young girl in the eighties would have,” he clarified, using the same pigment at the root of lashes for definition. Lips were kept muted, courtesy of Chanel Le Crayon Levres in Desert 28 and its beige-brown Rouge Allure lipstick in Curious—which we watched one of Philips’ assistants carefully apply on a center-parted brunette to our left. After a quick double take, we realized it was Chloë Sevigny.

“I’m working on a show in Manchester, England,” the Opening Ceremony designer and muse explained of her transformation from sunny blond to deep chestnut strands, which hairstylist Andrew Turner prepped with Tigi Catwalk Curlesque Curl Collection Strong Mousse, wove into a low braid, and slightly picked apart to add texture and movement. ”I used to do pink, purple, blue, peroxide—but I’ve never been dark,” Sevigny, who plays a “pre-op tranny” in Sky Atlantic’s forthcoming miniseries Hit and Miss, said of her trials and tribulations with hair dye. ”They really wanted me to disappear into the role,” she explained, which by all accounts seems to have worked, as Sevigny is barely recognizable without her flaxen locks—and that’s not necessarily a bad thing. “I don’t get cat-called as much,” the Big Love star joked of being a brunette versus a blonde.

Photo: Courtesy of Kenzo

“No distractions,” Backstage At Dries Van Noten


While some backstage beauty is meant to make a statement all its own (gold foil eyebrows, anyone?), a lot of it is intended to be a muting tactic—to create a uniform neutrality so the clothes truly take center stage. Such was the case at Dries van Noten, where less was indeed more to put the focus on the designer’s heavy-on-the-prints collection. “Even a slight blush would’ve been a conflict with the clothes,” makeup artist Peter Philips explained. “So we’ve literally done nothing”—well, almost nothing. Switching back and forth between Chanel’s new Perfection Lumiere Long Wear Flawless Fluid Makeup and Vitalumiere Aqua Ultralight Skin Perfecting Makeup, depending on each model’s complexion, Philips was after a finish that was not too matte, and not too shiny—”it has to be pure,” he said—blending the velvety foundations onto lips, too. To further “eliminate any hint of color,” Philips lined the inner rims of eyes with Chanel’s Le Crayon Kohl in Clair, a pale peach, and painted two coats of its Le Vernis Beige Petale onto nails, adding its mattifying topcoat so there was “no distraction” from Dries’ creations. Final touches came by way of a slick of gloss across lids and slightly built-up arches, which were filled in with only ashen tones of Chanel’s Crayon Sourcils eyebrow pencils to prevent any stark, disruptive contrasts.

Hairstylist Paul Hanlon heeded a similar call, although he got the message slightly late in the game. “There was supposed to be really complicated hair but we made a last-minute change,” Hanlon said, prepping strands with TIGI Bedhead Superstar Queen For a Day Thickening Spray. He then simply added extensions, created deep side parts, and pulled the lengths into a low ponytail, which he coated with its After Party Smoothing Cream and wrapped around a curling iron for a bit of bend.

Photo: Luca Cannonieri /

Backstage At Christopher Kane, “Really Pretty” Hair And Makeup


When we met up with hairstylist Anthony Turner backstage at Christopher Kane this morning, he voiced what everyone was thinking. “It’s really pretty this year,” Turner said of the overall feel of the collection—beauty included. Focusing on “something softer” to coincide with buzz words from Kane that included “naive” and “homemade,” Turner crafted side-parted, low-slung buns that he pinned just above the nape of models’ necks. “But what you see isn’t always what you get with Christopher Kane,” Turner was quick to point out, alluding to the fact that there was more to his “cute little knots” than met the eye. “I’m going to pull them apart,” he explained, coating his hands with TIGI Catwalk Session Series Work It Hairspray and jostling hairs out of place at the root so they floated as models walked. “It’s ghostlike,” he said.

Picking up on Kane’s fascination with “stickers and sparkly things” for Spring, Lucia Pieroni kept the makeup simple and duly sweet. “It’s a little bit ‘dear diary,’ ” she said of the rosy pouts and similarly pink cheeks that she painted on using Chantecaille Lip Sheer in Comet and its Blush in Joy, Emotion, and Laughter. Devising a “velvety” complexion courtesy of Chantecaille’s Future Skin foundation, which she applied on top of its Vital Essence serum, Pieroni brushed brows up and dusted lids with its Eyeshadow in Valerian, a shimmering light brown pigment that is part of the brand’s recently released New Classic Palette. And as it was not really a venue for her more outrageous stylistic leanings, nail guru Sophy Robson did something slightly out of character to complete the look: She christened “modern, clean” tips using Leighton Denny’s Trio Buffer—and not a stitch of custom-blended polish, Swarovski crystals, nail tattoos, or any other artful add-ons.