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April 21 2014

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28 posts tagged "Val Garland"

Beauty Sound Bites: Dirty Girls

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vivienne-westwood“It started with the idea that the [girl] got the clothes in a thrift shop in EC1 London, and she’s been running for the bus, so her cheeks are a little flushed. She [arrives] at the bus stop, but it’s been raining, so as it pulls up, she gets splashed with mud.”

Urban living is often gritty and when it rains, like it did in Manhattan today, something as simple as catching the bus can be treacherous. Garland, however, managed to make the perils of public transportation appear quite glamorous. “How can we make being splashed with mud a Vivienne moment?” the face painter asked herself backstage. “I thought, let’s get a bit Twombly, a bit Pollack-y.” She kept the skin underneath the “flicked” paint pristine, using a combo of tan blush and highlighter. If only getting down and dirty in real life actually looked like this.

Photo: Gianni Pucci / Indigitalimages.com

Makeup Meets Emotion, Backstage at Giambattista Valli

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giambattistavalliI doubt that Giambattista Valli had Whitney Houston’s eighties hit “So Emotional” in mind when deciding on the look for today’s show, but the “tea-stained” eye makeup by Val Garland certainly brought the lyrics to mind. “She’s woken up from last night and she’s a bit brokenhearted,” explained the face painter of the designer’s muse.

To get the shadowy effect, she blended two colors from the MAC Spring ’14 Trend Forecast Eye Palette (March Mist and Cultivating Chic) to create a mushroom-rose hue and swept it across lids and underneath eyes—diffusing any harsh lines with a brush. A nude pencil was employed along the lower waterlines to cancel any redness the models have acquired at this point during fashion month. For seamless skin minus a heavy base, Garland broke down foundation with Care Blends Essential Oils and applied a bronze shade of Cream Colour Base in the hollows of the cheeks for subtle definition. The same oil was used to sheer out a pearly white highlighter before dabbing it on the tops of cheekbones, the inner corners, and just below the eyes. “There is always a shine detail somewhere at Valli—for Fall it was about a face stretching [sheen], this season it’s about a tear.” Lips, however, were “gloss negative,” with Mixing Medium Matte used to tone down the violet shade lightly patted onto models’ pouts.

Hair wasn’t a weepy affair for Orlando Pita: “She’s still very much a woman with personality and confidence that trusts in her natural beauty,” he said. To reflect this idea of empowerment, Pita made a French twist that was less “madame” and more deconstructed. “I’m always trying to achieve [a style] that appears as if a girl has done it herself,” he explained. To get that DIY feeling, he worked L’Oréal Professional Super or Texture Dust (depending on hair type) through the top section, then misted his hands with Elnett hair spray before scraping strands back with his fingers. Next, he rolled up the length and secured the twist on a diagonal with pins—keeping the sides tight but the crown area slightly loose, for an imperfect finish.

In the end, it seems that the Giambattista Valli girl doesn’t cry for long, or wait around for a man to bring her “forgive me” flowers—especially when she can buy them for herself, strewn across the shoulders of a well-tailored blazer (Look 27) or attention-grabbing mini (Look 29).

Photo: Sonny Vandevelde / Indigitalimages.com

Backstage at Mary Katrantzou: Very Mary

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mary-katrantzou-makep-ss-2014“There isn’t a muse this season,” makeup artist Val Garland disclosed backstage, but that didn’t mean inspiration was lacking at Mary Katrantzou. “It’s just a super fabulous finish, and it’s very Mary,” she continued. MAC’s forthcoming lip stains were used to create a diffused red lip that struck the perfect balance of blue and yellow tones. “There is so much going on in the collection—so many patterns, embellishments, and materials—that it was important to keep the makeup quite simple: fresh skin and a matte mouth,” she added. Complexions were flawlessly reflective with a light layer of MAC Mineralize Foundation, and lashes were left completely bare. “This season there is either loads of mascara or nothing at all. There’s no middle ground,” Garland said.

When it came to hair, however, change was in the air. “We’ve never done hair down before at Mary,” said hairstylist Anthony Turner, “so we thought it was time for a change.” Hair was “down, but not down,” which is stylist talk for strands that were worn loose but pinned underneath the many high, choir-boy-esque collars in the collection. Turner pulled and fluffed the hair so that only the ends were tucked underneath the necklines of dresses, tops, and jackets. For instances where there were no collars, he misted L’Oréal Professionnel Tecni Art Pli (a heat-activated setting spray) all over before tying a ribbon around the hair and neck and locking in the shape with a blow-dryer (the ribbon was later cut before the models hit the runway). The result was a distinctive kink that gave the impression that the hair had been trapped under a coat.

And there was something new on fingertips, too. Manicurist Marian Newman left the shape and length natural but painted one or two coats of MAC Matte Topcoat over the entire nail. “By leaving out the color and mattifying the [natural surface], it almost gives the impression of skin,” she explained—keeping the focus entirely on the designer’s vibrant patterns and unique silhouettes.

Photos: Ivan Lattuada / Indigitalimages.com

Scrapbook: Couture Beauty

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Couture BeautyFrom hand-painted hair to secret supermodel sightings to an up-close-and-personal encounter with those Chanel nail rings, the backstage beauty heroics at Couture week were plenty inspiring.

Here, Celia Ellenberg shares her snaps of all the action.

“Super Skin” And Sleek Strands, Backstage At Giambattista Valli Couture

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G-Valli-CoutureThe fine china reference that guided Giambattista Valli’s Fall couture presentation offered Val Garland a chance to interpret the designer’s inspiration fairly literally. “It’s all about porcelain figurines—patterns on porcelain and crockery—so I wanted the skin to feel very alabaster, to make [the models] look like they’ve got ‘super skin,” the makeup artist said, inadvertently coining the perfect descriptor for the impossibly flawless, paled-out complexions that were heavy on the highlights and not much else. “You’ve got to use a serum first,” she advised of the kind of beautifully bare effect she was after while reaching for Josie Maran’s Argan Oil, which provided a base for a good helping of MAC Mineralize Foundation. Then came the gleam, which was built with a mixture of MAC Cream Colour Base in Shell, Luna, and Pearl,and brushed across the cheekbones, down the bridge of the nose, and on top of the Cupid’s bow of lips. “It’s not too innocent,” Garland stressed, eschewing mascara and focusing her attention on a heavy, architectural brow instead, which extended toward the temples to give the face structure and ensure models did not “look like aliens.”

Also helping that cause were Orlando Pita’s blunt-cut half-up, half-downs that recalled a classic school girl-style, albeit with much more precision. “He sees everything,” Pita said of Valli, matching the horizontal parts he used to divide two distinct sections of hair with the line of Garland’s brows. Sticking with the porcelain theme, Pita implemented the ceramic material’s signature shine glazed via direct spritzes of Osis Session Finish Extreme Hold Hairspray, which smoothed out the top of the look and gave it a sheen. Then, for his crowning achievement, Pita placed a series of gold and pewter coronets above the forehead on eight, select girls—Maud Welzen (above), among them.

Photo: Luca Cannonieri / InDigital / Gorunway.com