115 posts tagged "Tom Pecheux"
How many times have you heard the adage that great makeup starts with fabulous skin? It’s repeated because it’s true, and Balmain’s Spring 2014 lineup is proof. Though lead makeup artist Tom Pecheux barely applied more than a light dusting of powder and a touch of concealer to the models, he did insist on mandatory pre-runway face massages. But this was no backstage-turned-pampering session. The type of facials that get you a healthy, youthful complexion are actually pretty aggressive, and they’re popping up on spa menus around the world. Think a deep-tissue sports massage for your face—often with a side of electric current. But these rough-and-tumble treatments are well worth it for their rejuvenating results. The hard pressure helps to rid your face and neck of built-up fluids that can make you look puffy and boosts blood flow to promote collagen production. You’ll leave the table looking younger and feeling refreshed, and for those reasons we’re willing to lay our heads in these expert hands. Click here to view the slideshow.
“The girls are booked for who they are, so it’s not about stamping a look on them,” explained hair pro Sam McKnight. When you have models like Angela Lindvall, Joan Smalls, Karlie Kloss, Anja Rubik, Jourdan Dunn, and Rosie Huntington-Whiteley all in one room, do you even need hair and makeup? Add a swipe of lipstick and the Hôtel de Ville might just spontaneously combust from the overwhelming amount of beauty. Nevertheless, a little foundation, concealer, and brow powder never hurt anyone. And that’s about all maquillage master Tom Pecheux used backstage to create the “safari goddess” who would wear Olivier Rousteing’s high-octane clothes through the jungle. The only alteration he made was paling out the skin with a lighter shade of base. “It’s still the minimum of what you can do in terms of makeup, but it’s much more than last season,” Pecheux quipped.
An “unbrushed, lazy ponytail with a structured front,” was how McKnight summed up the strict center parts and textured tails that showed off the collared necklaces and door-knocker earrings created by the designer. To coax out natural wave, he spritzed strands with a combination of water and Oribe Dry Texturizing Spray after tying off the length with a string of elastic. As for who, of all the girls, has the “ideal” hair: Huntington-Whiteley, of course. Sigh. As if that face and body weren’t enough.
Inspiration comes from everywhere, and in the case of makeup artist Tom Pecheux, we mean everywhere. Before the face painter left for Milan, he had concocted an entirely different look with the designer. Upon returning to Paris, they both decided it wasn’t right. So what brilliant tool does one turn to when in need of something fresh? Floss. (Yes, really.) “That same morning before going to the fitting I had an appointment with the dentist, and I was sitting in the dentist’s chair, and I was like, ‘Ah, yes—floss,’” Pecheux said. (It wouldn’t have been my first thought while awaiting the drill, but hey, that’s what makes the man such a genius.) After prepping lids with powder and using a black pencil in between the lashes, he coated a strand of floss wound tightly between his fingers with Estée Lauder Pure Color Envy Sculpting Lipstick in Envious, then pressed it above the top lashes and below the bottom set. With model Liu Wen acting as his “sexy assistant” by holding the Double Wear Zero-Smudge Liquid Eyeliner while he ran the string over the tip, Pecheux framed the graphic red lines with skinny black bands, adding a final onyx slash in the “banana” (i.e., crease). Aside from a trip to the dentist’s office, illustrators like René Gruau and Tony Viramontes inspired the eighties-meets-rock-and-roll maquillage; the color palette came by way of the collection (particularly the shiny, crimson ruffle on Look 26). While this isn’t the first time Pecheux reached for floss in a fashion context (having used it for an editorial in V magazine), improvements in oral care did pose a new challenge: “Fifteen years ago dental floss was dry, and now it has wax on it, so it’s very slippery,” he noted.
The hair by Anthony Turner was equally as edgy, but in lieu of clean lines, the pro employed a “bit of bend” to give strands movement. After prepping with L’Oréal Professionnel Tecni Art Pli Thermo-Fixing Spray, he pressed sections in with his fingers while blow-drying. “It shouldn’t feel too sad—it’s not about grungy, lank, nothing hair,” he explained. A masculine side part was made, Wild Stylers Next Day Hair (“a dry shampoo without the dustiness”) was misted all over, and the length was tucked behind the ears and into the “polar necks” that completed the majority of the ensembles—a gesture we’ve seen multiple times throughout the season. “She means business, I reckon, this woman. She doesn’t even think about her hair,” said Turner. I reckon I’d agree.
“Twisted” was the key word of the day backstage at Marni. Both makeup artist Tom Pecheux and hair pro Paul Hanlon used it to describe the look they created. For Hanlon, he was referring to the strands he plastered to the head—reminiscent of “brains,” “bird’s nests,” or “tree branches.” Consuelo Castiglioni said she was “a bit bored” of the simple styles she’d seen thus far in Milan, the mane master explained, so he crafted something more extreme—a look that might belong in an “enchanted forest” alongside the vibrant furs, floral prints, and feathers incorporated into the collection. He doused hair from roots to ends with mousse before coiling pieces over the top, covering the crown with a stocking cap and blowing it dry. “Basically, it’s the same effect as if you had a towel on your head and you keep twisting it around,” he explained of his technique. The top half was then locked in place with hairspray, but the length was left down and “dry.” Of the finished product he said: “It’s like a wicker basket—you don’t know where the hair stops or starts.”
To give the skin a “waxy” feeling, Pecheux reached for a highlighter, but not in a shade one would normally think to dab on the high planes of the face. Instead of your typical metallic, he employed MAC Cream Colour Base in Breaking Ground (a mauve-y gray) on the lips, lids, and brows. “Under the light it gives [the complexion] a weird tone and texture,” he noted. The products used to contour the cheeks were equally as unexpected as the chunky heels spotted on today’s runway: Lipstick in Siss (a deep nude) and Myself (a rose hue) were used to create an unusual flush. Lashes were left bare, and powder was dusted on sparingly to cancel shine in certain places (such as under the eyes). “Since the hair is so fucked up [meant in the most complimentary sense of the word], we needed the skin to be extremely polished,” he said.