113 posts tagged "Tom Pecheux"
“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.
Tom Pecheux, backstage fixture and creative makeup director for Estée Lauder, could hardly contain his excitement last season at Anthony Vaccarello when he described the packaging that was in the works for a mysterious new line of lipsticks. He discreetly referred to the more architectural look and magnetic closures, but considering these types of secrets are strictly confidential in the corporate beauty world, that’s all he could share…until now. The cosmetics giant is launching twenty shades of Pure Color Envy Sculpting Lipstick, a formula that boasts time-released hyaluronic acid and multifaceted pigments (available February 24 at esteelauder.com). In this exclusive, the pro reveals all—including the shades he hand-selected to suit the many model faces of the brand.
How would you describe the new Pure Color Envy collection?
When I look at the collection, the first thing I think is the packaging is absolutely divine. Richard Ferretti did an amazing job with the case. For me, twenty colors is the perfect amount. The range captures every woman’s desire. The shades and formula are [traditional] in that they have the high coverage you expect from a lipstick and include a pure red and a perfect nude, but the new technology gives the line a modern twist. It’s like a classic wool dress that is made in cashmere. The new texture and formula make Envy extremely luxurious.
What are your favorite shades in the collection?
As a makeup artist, I cannot limit myself to one favorite shade. It will be the one that fits the person that I am working with on that day.
What do you think a lipstick says about a woman?
Lipstick tells us so many things about a woman. It tells us about her personality. For example, a woman wearing a strong lipstick—bright red—suggests she wants to express a certain power.
What is the best way to apply lip color? Fingertips, brush, or straight from the bullet?
There is no recipe. It depends on the result you want to create. A bullet is the best application because it’s fast, precise, and gives nice coverage. Fingertips create a transparent finish with no precision—more like a stain. A brush is for when you want perfection and a high-quality finish, particularly when you apply a red lipstick.
What are your tricks for making lips appear fuller? Does lip liner help?
Lip liner can help, but for me, a liner only works if it’s a nude or a color that matches the color of the lip. To make them fuller, you can go slightly outside the lip line.
If you have small lips, avoid a dark shade. The darker the shade, the more intense your lips look, but on smaller lips it can give you a mean, severe look. Also avoid very pale lipsticks if you want a fuller-looking mouth.
What is your favorite lip look?
It depends on the woman. But I am totally in love with red as much as I am with nude. I love women who play with makeup to emphasize a quality of their personality or character. That’s why in terms of lipstick, I love colors that have something to say—so either a pale nude, a true red, a dark plum, or a bright color. When it comes to a gentle pink, I understand why women want to wear it, but as a makeup artist, it doesn’t reflect a personality so well.
Which shade in the collection would you choose for each of these Estée Lauder spokesmodels?
Carolyn Murphy: Envious. She loves a red lipstick.
Constance Jablonski: I love it when she focuses on her eyes, so a nude color like Insatiable Ivory works on her lips.
Joan Smalls: I love her in a dark burgundy like Insolent Plum.
Liu Wen: I would go more pink, [one that's] powerful and dynamic. A shade like Dominant would suit.
Arizona Muse: I love her in a red as well, so Vengeful Red.
What do you think makes a woman enviable?
I think Carolyn Murphy pretty much embodies that—gotta love a bad bitch on a bike who knows how to make a serious statement by slicking on some lipstick and revving up her engine.
“It’s a downtown kind of girl for Polo,” Guido Palau noted of the womenswear line the designer debuted on today’s runway (behind the scenes the label’s latest fragrance, Midnight Romance, was also unveiled). To create hair that was as laid-back and cool as a bomber jacket or leather leggings, Palau prepped strands with Redken Pillow Proof primer and let them air-dry to enhance models’ natural waves. He followed that up with a dry shampoo for additional body and texture. For the classic Ralph Lauren portion of the show, he crafted a sophisticated pony. Satinwear 02 lotion was used before blow-drying for smoothness, after which the length was raked back into an “easy” tail and tied off with an elastic. To conceal the band, he wrapped a small section of hair around the base.
Before heading off to lunch at Basta Pasta, Tom Pecheux’s post-New York fashion week indulgence, he revisited the look he did for pre-fall. Pecheux began by evening the complexion with foundation, softly contouring the sides of the face with cream bronzer, and dabbing a pearly highlighter on the tops of cheekbones and lids. On the apples, he patted a combination of rose and apricot blushes. “You have to mix a lot of things to make it believable—nobody has pink cheeks,” he explained. As for why he taps his brush instead of swiping: “If you push it in, the [color] becomes one with the skin, [otherwise] it just sits on top.” The top lashes were coated with the black side of Estée Lauder’s Sumptuous Two Tone Mascara to “lift” the eye, while brown was used on the bottom for contrast. Yes, the designer revealed a new (and significantly more youthful) collection, but if the beauty look ain’t broke…