August 22 2014

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28 posts tagged "Val Garland"

“Handsome” Girls, Backstage at Giambattista Valli


valliThis season, the designer created clothes for a “woman who was confident to dress in women’s clothes,” but the makeup, as describe by face painter Val Garland, was “healthy, wealthy, and handsome.” Brushed-up brows, perfected complexions, and lips topped with a clear mattifying formula from MAC comprised the look. “Just before they go out, we are going to give them a little massage on their cheeks so we get nice, natural color—but it’s not a blush,” she noted. The sheen on the high points of the face came courtesy of moisturizer, rather than a shimmery pigment, applied with a fan brush. “I’m a bit over the frosty sheen of highlighter, I think it’s dying a death,” Garland said. And similar to the London shows, she made a point of not picking up mascara. “It can look commercial when what you want to get across is something more directional,” she explained. But for those of us in the live real world and not on the runway, she suggests hanging onto our go-to tubes. “You can’t live without it—none of us can.” As much as I despise scrubbing off the black rings that form post-shower, I have to agree.

Hair pro Orlando Pita crafted a clean, natural ponytail—adding shine and canceling any flyaways with L’Oréal Professionnel Mythic Oil. “This makes it shiny, touchable, and soft—all the things the girls’ [strands] aren’t during the season,” he said. The tails were bent slightly with a curling iron for movement. Asked if the hair would be tucked into the collars and high-necked pieces in the collection (a trend that’s held strong since New York), Pita said that would be a game-time decision left up to Valli. The “haphazard” feeling this finishing touch lends, however, is something the mane master fully supports: “It’s as if you just got up and threw on a T-shirt—except [the T-shirt] is actually a Giambattista Valli dress—and headed out the door.” That sounds like my kind of morning.

Photo: Sonny Vandevelde;

Fashion’s House of Horrors, Backstage at Erdem


erdemAn abandoned, almost derelict, old hotel; a plush red-carpeted catwalk; dark and intense lighting: The setting for Erdem’s Fall 2014 show was as dramatic as the ornate clothes that were soon to make their way down the catwalk.

Makeup artist Val Garland summed up the look in terms of a movie title: Village of the Damned. She perfected complexions using NARS Pure Radiant Tinted Moisturizer and Radiant Creamy Concealer, purposefully leaving the area around the eyes bereft of base so that the skin took on its own natural shading and contours—a choice inspired by the work of photographer Sarah Moon. Lids were slicked with clear gloss before Larger Than Life Long-Wear Eyeliner in Via Veneto was used to rim the upper and lower waterlines. To keep focus entirely on the eyes, brows were toned down with a touch of foundation. Staying true to the face painter’s previous assertion that she has “not touched a mascara wand in London this season,” lashes were left bare, and lips were patted with stick concealer to cancel the natural pinky tones.

Manicurist Jenni Draper carried the theme onto nails with a few coats of Essie nail lacquer in Allure. “We wanted something ghostly but not too white,” she said. “A shade with a lot of white would just be too high fashion, and that’s not what this woman is about.”

In addition to Moon, hairstylist Anthony Turner cited Jane Eyre as a reference point. With the literary heroine in mind, he crafted a wispy and ethereal knot at the nape of the neck, using L’Oréal Professionnel Tecni Art Pli for texture. With just his fingertips, he teased strands of hair to fall over the face like a veil. “This gives the impression of something more ethereal and romantic,” he explained. “Val left the skin quite glossy, so the idea is that the hair will stick to the face, lending her a mysterious quality.”

Photo: Indigital

The Temple of Glam, Backstage at Vivienne Westwood Red Label


vivienne-westwoodOver fashion week you hear a fair amount of obscure references, but if there were an award for most random reference of the week, it would most certainly go to Vivienne Westwood Red Label. The inspiration behind the look this season was a mash-up of Marilyn Monroe’s classic beauty (the red lips and rosy cheeks) and Indiana Jones’ sense of adventure (the windblown-esque set). Makeup pro Val Garland employed her “one-stop shop,” in which the same products were used on both lips and cheeks. She mixed together MAC Lipmix in Red and Orange and stippled the blend onto cheeks with a duo-fiber brush, concentrating the pigment outside the apples. The same color cocktail was painted around the outer edges of the mouth, then smudged in toward the center and out past the natural lip line; this was meant to be a messed-up Marilyn, after all.

Toni&Guy’s Mark Hampton brought Indy and Marilyn to life with two styles: a classic fifties curl created with a medium-sized barrel iron, and a second style revolving around a more disheveled updo. In keeping with this dual personality, manicurist Marian Newman used two different polish shades from MAC: an off-black hue called Starry Skies (out Fall 2014) and Screaming Bright, a sheer gold. To continue the theme, Newman left the nail shape very natural and the edges slightly chipped. These girls are meant to have been on some sort of adventure—climbed a mountain, maybe—so their manicure should be short of perfect.

Photo: Indigital

A Beauty Curveball, Backstage at Giambattista Valli Couture


giambattista-valliMakeup artist Val Garland has worked with Giambattista Valli for many years now, so it’s safe to say she knows his girl by heart: “Dewy, expensive, quality skin, with rosy cheeks,” she noted. Even so, the designer proved he is not above throwing the occasional curveball. “This season, he told me he wanted a bit of drama,” Garland said. Enter the strong black line. “Gambattista’s woman is very Parisian—she’s a little bit cocky; she’s very sure of herself. She might wake up and not really care about how she looks because she has so much confidence,” Garland noted backstage before the show. In order to create a counterpoint to the designer’s soft, Monet-inspired clothing, Garland created a modern, graphic eye. “Instead of that couture fifties flick, we’ve made it a lot stronger and blockier,” she said. She worked using not one liner but two, starting with a black cream from MAC followed by a powder formula. “The first one is easy to apply, and the second gives it hold,” she explained. She finished with “lashings and lashings of mascara.” A barely there beige mouth courtesy of Lip Eraser rounded out the face and kept the emphasis on the eyes.

When it came to the tresses, Valli asked hair guru Orlando Pita to keep things straightforward and simple. “Giambattista said he wanted the hair to [appear] as though the girls had just run their fingers through it,” he explained. Pita blew hair dry with Schwarzkopf OSiS+ Volume spray, and brought texture to smooth strands with Dust It powder. Next, he curled a few sections in back before tousling them—ultimately securing the hair with several strategically placed pins and finishing the look with “not too much hair spray.” He said of the end result: “It’s supposed to look luxurious but not madame.”

Photo : Sonny Vandevelde /

Lindsey Wixson Is One Tough Mudder


lindsey-wixsonBorrowing a page from Vivienne Westwood’s Spring 2014 beauty book (where makeup artist Val Garland flicked models with black, brown, and metallic paint to re-create the look of splashed mud), Lindsey Wixson and photographer beau Joachim Johnson opted to get down and dirty in New Mexico. Mother nature—in this case, at least—makes the best maquillage.

Photo: Instagram