6 posts tagged "Toni & Guy"
Apparently, Lulu Kennedy isn’t busy enough. Creative director of Lulu & Co, Fashion East founder, and Love magazine editor at large, Kennedy has now turned her attention to hair, collaborating with British haircare company Toni & Guy for its Hair Meet Wardrobe product line.
Launching at select Boots stores exclusively in the U.K. this month (though if you can’t exactly hop across the pond to get your hands on Lulu’s line, the 23-piece core collection is now available Stateside at Target), the move into styling products makes sense for Kennedy, who, like Toni & Guy, sees fashion as a complete package from the head down: “Hair is as important as an outfit—each has to work with the other,” she says, herself the owner of full head of glorious Pre-Raphaelite curls.
For this limited-edition range, Kennedy has given the Lulu treatment to the packaging of four “hero” products: Casual Sea Salt Texturising Spray, Classic Shine Gloss Serum, Creative Stick It Up Gum, and Glamour Volume Pumping Whip. Spots, stripes, and leopard print throughout provide an instant shot of East London cool to your bathroom shelves, and Kennedy tells us that she enjoyed the creative process: “I loved studying the products and giving them personalities and doing visual research. Then I worked with my graphics team—looking at retro [typefaces] and editing colors. It was similar to how we work at Lulu & Co and felt very much a fashion project as well as a beauty one. Without realizing it at the time, I pretty much managed to get all my favorite things into the one collection—everything from stripes, polka dots, fifties fonts, leopard, and cosmic stars. I like how the prints clash but [still] work; it’s sort of how I put an outfit together. Plus Toni & Guy gave me total freedom and encouraged me to do my thing—how cool is that?”
Considering the endless spells of dry heat, Australian summers typically beget beauty routines that mainly consist of sunblock and lashings of waterproof mascara; it’s no surprise, then, that fashion week Australia always runs the risk of favoring a “no makeup” makeup look over more complex trends. What we saw this week was anything but, however, thanks to a thriving creative spirit and the imported face-painting stylings of British makeup maverick Val Garland. “What I love about Australians is that they have no fear and are willing to give it a go. They’re very enthusiastic, and you feel like everyone is so happy to be here,” said Garland, who made a surprise cameo at the shows this season. Here, we round up the ten best backstage moments from the week that was.
Lisa Ho’s woman never lacks sensuality, and Val Garland gave it to her in spades, courtesy of a dark, lacquered lip—”Like an oil slick,” she said of the precise texture—and gloriously glossy skin. Bodies were given that quintessential Bondi glow with the cult-favorite gradual tanning product Summer by Beauty Department, while ghd hair director and session stylist Alan White added “a power element” to strands via a segmented hair parting and a dual texture that was accented with tinted extensions in midnight blue. By cutting the extensions two inches beneath models’ own hair, White aimed to “create chicness, not a color statement,” he explained.
Watson x Watson
If you were in the market for a true-blue Aussie beach experience, you didn’t need to look any further than Watson x Watson, Somer and Liberty Watson’s young upstart line. “It’s when you go to the beach and your hair soaks up the elements like salt and it grows in texture,” Redken hair director Philip Barwick explained of the saturated strands that were pulled back into a half-up bun. “The shape comes from when you get out of the water and brush it off your face and the ends of the hair are blown out and windy.” The makeup here was similarly summery, inspired by the pink zinc that was a popular staple for eighties-era teen queens. To prevent the look from becoming too juvenile, Maybelline artists added a touch of glamour via bronzed contours and a clean base.
We Are Handsome
“[It] references the relationship that Guy Bourdin and Charles Jourdan had,” stylist Jolyon Mason explained of the direction for the swimwear label’s presentation, which manifested itself into a preference for the photographer’s beloved jewel-toned smoky eyes, high-blush contours, and shiny red lips. Fluffy seventies disco hair and tanned limbs, courtesy of St. Tropez, rounded out the homage, which got a small dose of the here and now via crazy and colorful nail decals from Rock Beauty London.
Michael Lo Sordo
Michael Lo Sordo loves geometry. The designer (who was recently nominated as a finalist for the Australian Woolmark Prize) kept his hair-and-makeup look sleek, simple, and contoured for Spring but asked his face-painting team to add a few, er, points of interest: blue triangles were painted onto models’ temples to serve as “futuristic beauty spots,” rather than architectural cat-eyes, as was the case when a similar technique was employed backstage at Erdem for Fall 2012.
At first glance, the beauty look at Shakuhachi was a little Givenchy Spring 2012, but makeup artist Natasha Severino’s references had nothing to do with the underwater theme Riccardo Tisci honed three seasons ago. “My brief was ‘techno chic,’ ” she explained backstage. “There were a lot of metallics and prints in the collection, and the silhouettes were almost raver. We wanted something to offset the metallic fabrics and shoes, so we decided to go with a white pigment powder overlaid with a glitter.” To add a touch of “glitz,” Severino stuck a single Swarovski Crystal underneath the lower lash line to provide an “extra ping” as models walked down the runway.
When designing a hair concept for any given show, Paul Hanlon’s points of reference tend to be varied. But more often than not, they coalesce at the intersection of “an eighties-nineties grungy girl who has stepped from one decade to the next.” And so it was backstage at Giles for Spring, where the coiffing star set to channel his now signature “skinny hair,” which was equal parts disheveled and undone.
Finger-combing Toni & Guy Label M Matte Paste through a low side part for a rough-dried effect, Hanlon mixed its Blow Out Spray with a bit of Sea Salt Spray for additional texture. On thinner hair, he worked its Smoothing Cream through the ends, tying lengths into a small bun, which he then removed to reveal a subtle wave. “This is a girl who will wear a beautiful ball gown but then totally forget to do her hair, so it looks cool,” he surmised of the designer’s woman.
Lucia Pieroni kept things duly casual, pointing out that her stamped-on, matte fuchsia mouths and luminescent skin were meant to resemble “makeup you can do at home.” Massaging skin with MAC Complete Comfort Cream, the face painter added highlights along cheekbones and eyelids with MAC Cream Colour Base in Luna and Hush, so those areas reflected “like lightning bolts” on the runway. Keeping London’s Spring lipstick revival alive, Pieroni slicked on a layer of MAC Lipstick in Embrace Me, a hot pink, which she dabbed over a layer of foundation and then powdered to remove all traces of shine. Nails were painted a similar color while brows were bleached or brushed up depending on the model (blondes got the peroxide treatment while brunettes remained true to their roots). That part is less likely to occur in the comfort of our own apartment; everything else, however, seems entirely doable.
The ponytail is having a strong showing for Fall. After backstage turns in New York at Anna Sui, Marc by Marc Jacobs, The Row, and Jason Wu, the simple style has been equally big in London, making appearances at Erdem and Jonathan Saunders. But the updo may have had its most fiery moment last night at Giles.
“[He's] capturing decaying decadence, something beautiful that has been destroyed by fire,” Paul Hanlon explained backstage of Deacon’s inspiration for Fall, which saw a series of the burnt fabrics from the runway revisited in the hair, courtesy of ribbons that had been cut from the same cloth—cream iterations for blondes and black for brunettes. “With couturelike dresses, the hair couldn’t be too theatrical, but the scorched ribbons connected this pure, innocent hair to each look,” Hanlon continued, coating strands with a combination of Toni & Guy’s Label M Leave-in Conditioner and its Sleek Blow Out Creme to weigh hair down while adding shine and separation. Tucking front sections behind the ears to impart a slight bend as they dried, Hanlon gathered lengths at the nape of the neck before securing with the custom-made accessories. “The trick to mess up the ponytail is to pull the band down and then push it back up,” Hanlon said, ensuring his signature undone doneness was in full effect. “It creates a bagginess.”
Lucia Pieroni found Giles’ muse on the set of Sleepy Hollow—”or maybe she has consumption?” the makeup artist joked. “She’s definitely looking worse for the wear. She’s smoked too many cigarettes and drunk too much booze—a tragic beauty.” Cue the requisite undereye bags, hollow-looking lids, and shiny skin, which Pieroni achieved with a healthy amount of MAC Strobe Cream and a blend of its multi-use cream pigments in Groundwork and Harvest, which were applied to eyes and lips to impart a “bruised” hue.
As we meandered around the Royal Court of Justice’s Gothic interior backstage at Giles, looking for answers to our burning beauty questions, there were few to be found. The focus was firmly fixed on the clothes. “Have you seen them?” Nail techs, makeup artists, and hairstylists kept asking one another, alluding to Deacon’s fantastic Spring collection—a rare sight, considering the conversation in these parts is typically all blushers and blow-dry lotions. “They’re incredible,” Lucia Pieroni concurred of the swan-inspired garments, explaining that the “super-simple” makeup look she devised just made sense “in this building and with those clothes.” Keeping it fairly minimal, Pieroni went with a clean complexion, a subtle pink cheek, and a “soft focus” bordeaux lip, brushing up brows for a naturally groomed effect. “It’s as though you’ve just had a little bit too much wine so you’ve got this slight burgundy mouth and a bit of a flush,” she said, diffusing a combination of MAC Lip Pencil in Brick and Burgundy out toward the corners of the mouth, so the pigment was strongest in the center, and blending MAC Lipstick in Russian Red onto cheeks for a sheer crimson glow. Egyptian Magic, Pieroni’s go-to moisturizer-turned-illuminator, was then dotted onto cheekbones and swiped across lids for a glossy dose of shine that was augmented by nail artist Marian Newman’s sparkling, sheer red manis. “You can only see it in the light,” Newman said of CND’s glittering Effect in Crimson Sparkle.
Hairstylist Paul Hanlon was similarly hesitant to do anything that might interfere with the complexity of Deacon’s collection, so he did the simplest thing he could: nothing. “There’s no product in the hair,” said Hanlon, who decided to forgo mousses and glossing sprays in favor of an on-site washing with Toni & Guy Label.M shampoo. Letting strands air-dry to capture “each girl’s natural texture,” Hanlon had one rule as he tucked front sections behind ears to create a slight bend: “No brushes. The minute you brush it, it becomes fluffy.”