23 posts tagged "Val Garland"
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.
Fashion month is a great place for beauty brands to put prototypes in the hands of their artists, to get the kind of professional feedback needed to make any tweaks before products go to market. So far, we’ve seen a few new launches we’re anticipating with more than a little enthusiasm, including Redken’s Diamond Oil Shatterproof Shine, which Guido Palau has frequently relied on to get Fall’s popular shiny, wet finish; Estée Lauder’s dark burgundy Pure Color Vivid Shine Lipstick in Hot Lava that Tom Pecheux debuted at Anthony Vaccarello; and the six new cream blushes—with matching lipsticks!—that Chanel plans on launching this summer (more on that in a bit). But we might be most excited about the MAC Pro Eye Gloss in Black Sea and Mother of Pearl that Val Garland used backstage at Giambattista Valli.
We first spotted the darker color of the buildable, glitter-flecked shine at Roberto Cavalli, where Lucia Pieroni was using it to add a “sexy, punky” feeling to the show’s requisite black smoky eye. Garland came up with a similarly innovative way to employ the multifunctional polish with an impressive glisten. “It’s a bit of nothing, but it’s also everything,” she said of the “cellophane simplicity” she managed to achieve by dipping an acrylic artist’s brush into the flat pot of product and swiping a squared-off strip from the outside of models’ eyes toward their temples and along the cupid’s bow of their lips. “We were actually going to do a red lip here, but it made the collection look ordinary,” she revealed, opting for something extraordinarily subtle instead. “It’s got a good stick on it, so it doesn’t move,” Garland continued of the gloss—which is a good thing to remember if you make a mad dash to procure one when it launches next year: It works best with the kind of “lacquered, no-hair-out-of-place” hair Orlando Pita fashioned for Valli’s presentation.
It was a tale of two looks at Mary Katrantzou for Fall—a sort of split personality that crept its way out of the collection and into the hair and makeup. The contrast of the formidable structure of certain garments and the occasional inclusion of flowing fabrics translated into a sharp, geometric, blunt fringe with a soft and supple ponytail that boasted plenty of movement. “I wanted a strong impact from the front, for when the girls walk down the catwalk, and then to have that juxtaposition with the loose, clean, and light ponytail at the back,” explained Wella Professionals’ global creative director, Eugene Souleiman. Relying on yards and yards of hair extensions, which, aided by a trusted assistant, he meticulously glued into models’ heads, Souleiman used scissors to do a little hand-sculpting himself. “It’s not for the work-shy,” the hairdresser said of the lengthy and intricate process.
Makeup artist Val Garland created something altogether softer but equally dramatic. “A pure, ghostly apparition” was the main part of Garland’s brief, which she achieved by using a forthcoming product from MAC: Super Gloss in Mother of Pearl. Keeping complexions relatively fair, Garland layered the white and highly reflective cream over lids to achieve an almost glow-in-the-dark effect before lining the inner rims of eyes with MAC Eye Kohl in Fascinating, a pure white.
Even after the hysteria over vibrating mascaras died down three years ago, the question still remains: Does a constant pulsing motion really enhance a beauty product’s performance? If you ask Missha, the South Korean brand known for developing unusual and often cult products (think: snail gel face masks and some of the first widely successful BB creams), the answer is yes. The company’s newest wonder product is M Prism Bright-On Auto Powder, an illuminating facial powder that features a pulsating powder puff. Not just a fancy gimmick, the sponge boasts 13,000 vibrations (or “pats”) per minute, a feature that increases the light-reflecting quality of the illuminating minerals in the formula, which contains skin-brightening, pearlescent particles. The vibrating function also helps distribute the powder evenly over your skin to ensure an invisible finish. Available in two sheer shades, the formula contains seven flower extracts—white rose, freesia, edelweiss, lily, lotus, iris, and jasmine—to provide extra hydration, and Inca Inchi oil, which helps the powder seamlessly melt into the skin. It’s already been tested in the fashion trenches, too: Makeup artist Val Garland praised the flawless applicator and its “face-massaging qualities” backstage at Behnaz Sarafpour’s Spring show.
Two weeks into the Spring shows, and there are two dominant decades from which designers seem to be culling inspiration, which has had a sweeping impact on backstage beauty looks as well. While New York’s collective homage to nineties minimalism gave us the simple, no-makeup makeup that threatened to cast a “contours, not colors” spell over the season when things first got under way earlier in the month, an undercurrent of support for the sixties has meant a renewed focus on last season’s eyeliner love, which has been reimagined with a surprising pigment preference: blue. It has come in bright shades of aqua at shows like Clements Ribeiro, where makeup artist Cassie Lomas channeled the “innocent beauty” of Wes Anderson’s Moonrise Kingdom with a slick of Bourjois Metallise Eyeliner Pencil in Bleu Clinqiant, and Moschino Cheap And Chic, where Hannah Murray gave psychedelia an “urban kick” by etching MAC Pro’s Ultra Chromagraphic Pencil in Marine beneath the lower lash line. “[Michael Kors] just wanted to do an eye thing,” Dick Page explained of his similarly hued “floating lines” at the designer’s show, which he drew in a banana shape through the crease. Predictable shades of black got more competition from midnight iterations as well at shows like Mary Katrantzou, where Val Garland fashioned an inky elongated almond line with a blend of MAC Lipmixes in Blue and Red, and perhaps most notably at Altuzarra. “I think it’s so chic,” Tom Pecheux said of MAC’s Technakhol Pencil in Auto-de-blu—”a royal blue,” he declared backstage at the designer’s show—which he brushed along upper lash lines to a squared-off edge. That right there is endorsement enough for us.