101 posts tagged "Tom Pecheux"
The makeup at Anthony Vaccarello, created by Tom Pecheux, was strangely familiar, harking back to Derek Lam’s show a few weeks ago. The French designer asked for something graphic that played up the outer corners of the eyes, which immediately set off alarm bells in the face painter’s head. “I can’t repeat myself, but I still have to respect what he’s looking for,” Pecheux explained. While the shape was small and rectangular on the runway in New York, the first day of Paris fashion week called for something a bit more dramatic—hence, the larger triangle that floated away from the eye. Pecheux cut a stencil into a plastic sheet protector with an X-Acto knife for each member of his team to insure uniformity. “If you freehand, it’s much more romantic. But this is a fashion cosmetic factory; we have to move fast,” he added.
Pecheux prepped models’ complexions with Estée Lauder Idealist Pore Minimizing Skin Refinisher, then mixed a drop of Advanced Night Repair (which helps “Velcro” foundation to the skin) with Double Wear Light Stay-in-Place Makeup. Pure Color Blush in Sensuous Rose was used to contour the cheeks and worked slightly onto the apple to finish. A pinky-nude hue—Pure Color Envy Lipstick in Insatiable Ivory (launching March 2014)—was slicked onto lips with a brush. The handcrafted stencil was then placed against the face so the tip of the triangle hit the highest point of the crease, lifting the eye upward. Using a stiff eyebrow brush, he filled it in with a black shadow from the Pure Color Eye Shadow Duo in Moons, then layered over top with a brighter shade of cobalt (Pure Color Gelée Powder Eye Shadow in Fire Sapphire)—the end result being a midnight blue that picked up on the touches of navy in the collection. Next, he arched the pigment over the crease and ended it just past the inner corner of the eye. Pecheux filled in brows with a pencil that was a touch darker than each model’s hair color, focusing on the inner corners to bring balance to the face.
Inspired by Vaccarello’s introduction of denim into the line, hairstylist Anthony Turner wanted to create a style that was a bit more “street.” And what better reference point than a street-style snapshot of the designer’s close friend Anja Rubik? “We looked at a picture where she was pushing her hands through her hair” he recalled. “So I thought, Why don’t we try to interpret that?” For hold, Turner worked mousse through strands and blew them dry with a few drops of L’Oréal Professionel Mythic Oil and a Mason Pearson brush for smoothness. To get a “poker-straight” finish, he ran a flat iron over top. For a bit of lift in front, True Grip Texturizing Powder was sprinkled in at the roots and back-combed about two inches from the forehead using a rattail comb. He misted all over with Infinium hair spray to polish off the look. “I wanted to maintain the confidence and sexiness that is the Anthony Vaccarello woman but introduce a sportier element,” Turner elaborated. Mission accomplished.
One might imagine that once you reach the level that Tom Pecheux has in the cosmetic and runway worlds, you could fill your kit with everything and anything—from the most luxe face cream to Q-tips spun from silk. However, he prefers the cotton swabs by Muji. “These are the best things in the world, and every woman should have them,” the face painter gushed about the makeup blunder-erasing buds. And for once, we all can—two hundred of the thin version retail for $3.50, while the standard kind go for $2.25. “They are very firm and very cheap—in terms of price,” he added. And one more little known fact: Pecheux can name nearly every Muji store location from Paris to New York.
(Above: Scenes from Pecheux’s tabletop, backstage at Anthony Vaccarello)
In contrast to seasons past, the boxy Marni silhouette was drawn closer to the body for Spring, and an athletic theme emerged, with graphic visors and gem-encrusted fanny packs cheekily worn on models’ backsides. Tom Pecheux put his own “twist” on the makeup, citing the Austrian visual artist Markus Schinwald—who is known for his manipulation of classic beauty (he often adds slightly disconcerting elements, like masks or bandages, on top of nineteenth-century paintings)—as his inspiration. The brows were enveloped in a “cloud” of MAC Sparkle Shadow in Night Light (a glittery gray) that both exaggerated their shape and played off the shade created by the wide-brimmed hats. Extra Dimension Blush in Pleasure Model was placed low on the cheeks near the jawline, “almost where a man’s beard would be,” elaborated Pecheux. (There’s that “twist” again.) The rest of the face, however, was kept quite pure, with a light dusting of Eye Shadow in Gesso washed over the lid and placed on the high points of the cheekbones. A touch of the same pinky-nude blush was swept gently along the lash lines for additional contrast. Mouths were topped off with a shade that’s been popping up in key artists’ kits all season long: Velvetease Lip Pencil in Mattely in Love.
And while there was sporty headgear, tennis was not what hairstylist Paul Hanlon had in mind; he was drawn to the “geishalike” platform sandals and architectural lines of the clothing. “I kept everything above the visor very clean and considered,” he explained—so as to not detract from the opulent embellishments and patterns in the collection. At the top, a center part was made and strands were shellacked close to the scalp. Hanlon employed a fine-tooth comb and layers of L’Oréal Paris Elnett Satin hair spray to get the glassy effect, dousing the crown and sides before and after fitting models with a stocking cap and locking the look in place with heat from a blow-dryer. From the ears down, the texture was more “organic.” TIGI Bed Head Superstar Queen for a Day Thickening Spray was misted all over to build body, while a small hidden pony—made with the underlayers near the nape of the neck—also added dimension; it was looped through a Topsy Tail (yes, you read that right) to keep it close to the head. Hanlon wrapped sections around the barrel of a curling iron to achieve an “airy” finish, and the extra-long strings that hung down from the visors were gently tied over the hair, catching a few pieces in the back. “I wanted it to look almost like a mistake, so everything wasn’t so precise,” he said. If a blush beard meeting modern minimalism looks this good, I say game on.
Gwyneth Paltrow is known for her green eyes—to which her husband, Coldplay front man Chris Martin, dedicated a song. And last night at the L.A. premiere of Thanks for Sharing, she played them up by rimming them with a navy liner—a shade we saw backstage at Derek Lam this season. Makeup artist Tom Pecheux told me that he opted for the inky hue over black because it was “less aggressive,” a point Paltrow certainly proves here, with her soft, rosy cheeks and always flawless, fair complexion. I do think, however, that she should have taken a cue from Lam’s show and left the red lipstick home—opting for quieter nude that allowed her lyric-worthy assets to take center stage.
When it comes to Ralph Lauren, you’re not going to find anything earth-shattering backstage—there will be never be a trendy lip color or daring eyeshadow, which some may find repetitive, or to put it bluntly, boring. I, however, appreciate a man who knows what he likes and sticks to the classics. And on the last morning of fashion week, who needs surprises? (After all, we’ve got Marc Jacobs for that.) But this season, instead of the low ponytail we know and love, there was a slight departure: Guido Palau switched things up with a more casual blowout. (Baby steps, ladies and gentlemen, baby steps.) He prepped damp strands with Redken Satinwear 02 from roots to tips, made a slightly off center part, then blew hair straight using a round brush. For a glossy finish, he applied a drop or two of Diamond Oil Shatterproof Shine through the ends.
Makeup artist Tom Pecheux added some sixties flavor to the face—citing Twiggy and Jane Birkin as muses. “We decided to play a little bit with that [theme], but in the Ralph world,” he said. And while Palau had his blowouts, Pecheux was able to use black mascara on both top and bottom—for the first time ever. But before he got to the exciting part, he perfected models’ complexions with a light layer of foundation and powdered the T-zone. Next, he sheered out MAC Mineralize SkinFinish Natural in Medium Deep (a bronzer) with translucent powder and swept it gently along the hollows of the cheeks, adding a touch of MAC Pleasure Model Extra Dimension Blush (the same shade used at Proenza Schouler, available for spring/summer 2014) just below the apples so as to not make the models look too “girlish.” After brushing brows up and curling the lashes, he took the 205 Mascara Fan Brush from MAC and coated the bottom lashes with Estée Lauder Sumptuous Extreme Lash Multiplying Volume Mascara in Extreme Black. As for opposing set, the wand that comes inside the tube did the job. Next, Pecheux rimmed the inner eye with an alabaster-colored liner pencil and drew a rough band across the upper lash line before diffusing the pigment up over the lid with a small, synthetic brush. “I used a white pencil [instead of powder] because I wanted to avoid flakes on the lashes,” he added. To make sure the fourth row could clearly see the fringe, he applied a second layer of mascara to the top lashes—this time using the fan brush to work the formula into the roots. The lips were dabbed with a simple balm. Sure, there was nothing truly revolutionary here, but I give Ralph Lauren points for taking some “risks.”