30 posts tagged "Valentino"
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.
Since making a huge splash on the Spring and Fall runways, hair accessories have become an ever-increasing red-carpet staple as well. From barrettes and coronets to bedazzled baubles and bands, starlets can’t seem to get enough of the insta-embellishments, and this weekend’s GLAAD Media Awards in L.A. were no exception. Taking a page out of Rodarte’s Fall beauty book, Elle Fanning wore a Jennifer Behr circlet, while Kirsten Dunst opted for the simplicity of a thick black satin ribbon, not unlike the leather version Guido Palau placed over side plaits at Valentino. Which look do you prefer?
Nobody loves a theme party quite like the fashion set, which is why tastemakers and Oscar Award-winning actresses alike turned out in full force for Giancarlo Giammetti’s recent Pop Art party at his London home, which was shot by Vanity Fair. We were particularly impressed with Anne Hathaway’s and Margherita Missoni’s interpretations of the Warholian movement, which included some very inventive face-painting skills. Who do you think interpreted the silk-screened effect better?
“The braid is part of the language of the beauty here,” Guido Palau said backstage at Valentino—a language, it should be noted, that has garnered almost as much attention as Maria Grazia Chiuri and Pierpaolo Piccioli’s gorgeous collections for this house. (Red-carpet watchers will fondly remember the plaited coronets Palau constructed four seasons ago that made a seamless—and well-documented—transition off the runway.) “They really understand what women want with beauty,” Palau continued, explaining the design duo’s low-on-product, high-on-accessibility aesthetic—the “I could look like that” factor that comes with the soft, pure, innocent styles they so often request.
For Fall, Palau prepped strands with Redken’s Satinwear 02 Ultimate Blow-Dry Lotion before devising a center part and weaving a simple three-section braid through extended lengths that were slung over models’ left shoulders. Referencing Flemish painters, as well as nodding to the seventies and Victoriana, he fastened a thick black leather band around the head and over the ears for a “monastic” touch.
Pat McGrath worked off Vermeer’s Girl With a Pearl Earring portrait that the designers showed her for inspiration, focusing her attention on creating “a softness but a realness” to the face. “There’s always a certain level of color here,” she pointed out, going through a greatest-hits backlog of her work for Chiuri and Piccioli, which has included exquisite lavender and gray contours in the past. This season, although nails were lacquered with two glossy coats of cherry-red polish, McGrath was working with peach, rose, and beige hues that she traced through the crease of eyes, swiped across cheeks, and blotted onto lips, often layering with foundation to “tone everything down.” Powdering complexions to give them the matte, velvety, “put-together” finish we’ve seen so much of this week, McGrath added brown mascara just at the roots of lashes for subtle definition.