33 posts tagged "Valentino"
Last week, we called out nail lacquers that are in line with the cosmos and the high fashion times (like the gold Zodiacs wrapped around models’ necks and wrists, embossed on leather totes, and dangling from fringed clutches—all seen at Valentino). But if you can’t wait for these Spring 2014 treasures to arrive in store, you can pick up one of Estée Lauder’s twelve holiday compacts. Done in matte gold and featuring the brand’s Lucidity Translucent Pressed Powder inside, these refillable, astrology-inspired collectibles make powdering your nose in public a far more glamorous gesture. Plus, they’re engravable, so you can write a message among the stars for yourself or a friend.
At last night’s Carrie premiere in Los Angeles, Chloë Grace Moretz put her own spin on the effortless plait swung over one shoulder that we saw just a few weeks ago on the runway at Giles. Instead of a single, mussed-up braid, Moretz wove three smaller twists into the finished product and tied it off with black lace (a similar finishing touch was employed by Guido Palau at Nina Ricci). The end result definitely set the 16-year-old apart on the red carpet, but in a way that would draw a throng of admirers and score her a date to the prom with the class hunk—minus a blood shower on her Valentino gown.
“We’re using theatrical contours in a very minimal way,” face painter Pat McGrath said of the makeup at Valentino, calling upon references like Maria Callas in Pier Paolo Pasolini’s 1969 silver-screen adaptation of Medea. “It’s about building and structuring the face with light.” Similar to a trick often used onstage, McGrath swathed the top half of the face in a pale foundation, then used a highlighter on the inner corners of the eyes, cheekbones, Cupid’s bow, and chin. She ran a nude pencil along the waterlines to cancel any redness, washed lids with a light dusting of contour powder, and dabbed concealer lightly onto lips. A milder version of the metallic brows seen at Christian Dior also showed up here, with arches being coated in a shimmery gold cream.
Hairstylist Guido Palau took a more austere approach to the Valentino woman. “She’s still very beautiful, but more severe than usual,” he explained. He began by blowing strands smooth with Redken Satinwear 02 and making a crisp line down the center from forehead to crown. Next, he teased the area where the parting ended to build volume. Two panels of hair were set aside on either side of the face before placing the ornate leather headband provided by the house on each model’s head. Then the length was gathered into a low, clean ponytail and the two front pieces were pulled back over the ears, wrapped around the elastic, doused in hair spray, and set with heat. Not a single bobby pin was used (or at least visible), making for an impeccable and seamless finish.
“Opera was [once] the pop music of the day, so we were trying to make that modern,” elaborated McGrath. As a classic aria echoed through the Jardin des Tuileries, it was possible to imagine this look making an appearance not only at Lincoln Center, but also on the red carpet—worn by the likes of front-row fixture Ciara.
Following her breakthrough Fall ’13 season, Sasha Luss has quickly become one of the most in-demand fresh faces in the industry. The 21-year-old Russian model’s white-hot career got an additional boost at the Haute Couture shows last week, where she officially debuted a platinum dye job on the runways of Armani Privé (which she bookended), Dior (Simons chose her as the opener), Valentino, Atelier Versace, Giambattista Valli, Bouchra Jarrar, and Elie Saab. Luss was rocking her natural honey-hued tresses just weeks before, during the Resort presentations, turning up on the Chanel and Calvin Klein Collection catwalks. Rumor on the street is her icy-blonde makeover was for a Steven Meisel shoot. Considering her recent Numéro cover and a confirmed spot in the new Tommy Hilfiger ads, we wouldn’t be surprised to see this rising star go on to nab a Vogue Italia cover and additional campaigns.
“It’s very Valentino,” Guido Palau said matter-of-factly when describing the beauty look Maria Grazia Chiuri and Pierpaolo Piccioli ordered up for their Fall Couture show—a look, it should be noted, that maintains a certain degree of consistency from season to season. Rather than reinvent the wheel, Palau is typically tasked with coming up with “a new way to do something similar,” which more often than not involves a braid. Today, those plaits came via a thin, interwoven headband pinned across the head and behind the ears over a precise middle part that cascaded into two tight twists that were joined at the back of the neck using just a few spritzes of Redken Forceful 23 Super Strength Finishing Spray for a light hold. “It’s very important to get a beautiful head shape for the profile,” Palau expressed to his team as he walked the aisles backstage at the Hôtel Salomon de Rothschild.
When done just right, leaving the forehead “big” and the silhouette round, the hair provided the perfect window into the velvety matte, rose-kissed “Renaissance” skin that Pat McGrath has made her signature here. “We’re perfecting a very natural beauty,” she explained, pointing out that the shimmering beige tones that she swept across lids, the single swipe of brown mascara just at the root of lashes “for framing,” and the creamy blush that she applied to both cheeks and lips was an attempt at re-creating the fresh young complexion of Maartje Verhoef, the Dutch stunner who did the makeup test and who left a lasting impression on McGrath. (Models’ high-gloss, black-cherry manicures just happened to work well with the collection.) When asked if there was a different sensibility infused into her Couture versus ready-to-wear work for the Italian design duo, the makeup artist replied, “Not really. It’s actually less makeup than we would do for ready-to-wear”—and no less beautiful for it.