August 27 2014

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23 posts tagged "Versace"

Less Crazy, More “Sexy Cool” Backstage At Versace


The words came backstage at Versace, as they so often do. “She’s a sexy, cool girl,” Pat McGrath said as she worked on a “dramatic,” shaded eye. “It’s just very much Donatella; she loves the smoky eye.” It’s a truism that can’t be denied—and one that manifests itself into similar incarnations of black-tinged beauty here each season, although for Spring McGrath served up the sultry with a noticeably lighter hand. “There’s a casualness [to the collection],” she explained—and therefore a little less smolder on the lids. Giving skin a “pretty, gorgeous, healthy” satin finish with a “sun-kissed” glow, the makeup artist smudged a layering effort of black and brown pigment through the crease of the eye, keeping it sheer and topping it with a dusting of shimmering bronze pigment. Swiping lashes with a few coats of mascara, McGrath filled in sparse areas with tiny individual hairs.

Guido Palau went so far as to call the look “much more natural” than usual. After Fall’s faux-fringe festival, the Redken creative consultant chose to keep things simple, center-parting strands and drying them with Redken Guts 10 Volume Spray Foam mousse to simulate thickness. “Donatella likes a cool length,” he said of the collarbone-grazing snips he made into the front sections of most models’ hair, spritzing with Redken Powder Refresh 01 Aerosol Hair Powder dry shampoo as he went for additional texture before fashioning a loose bun that he took out right before the show to “create movement.” So, how did catwalkers like Kati Nescher, Jacquelyn Jablonski, Daria Strokous, and Anna Selezneva take to the impromptu shearing? “They were very understanding,” Palau said. What’s a few inches in the name of runway perfection?

Photo: Michele Morosi /

Fall’s Fringe Benefits


It all started last month in Hollywood. Jessica Biel was spotted with freshly cut forehead fringe, thus beginning an impressive run for the brow-grazing style that flits in and out of fashion. Reese Witherspoon made a break for bangs shortly after, followed promptly by Rachel McAdams and Liv Tyler. All signs seemed to point to the fact that the look was about to make its latest comeback, a heralded return that has been solidified on the Fall runways. “Fringes are fun,” hairstylist Paul Hanlon said backstage at Marni this morning (more on that in a bit), where he was custom-cutting heavy, Penelope Tree-inspired hair pieces for Consuelo Castiglioni’s collection after experimenting with a looser, whispy incarnation at Iceberg earlier this weekend. “It gives you a little character,” he said of the face-framing accessory—or turns you into one, as Guido Palau proved with the four models he dyed black and gave “stand-out” 1920s-era flapper bobs replete with Rooney Mara-like bangs that barely passed the hairline at Calvin Klein. What does it all mean? If you have the bone structure to carry it, there’s no better time than the present to make the cut. And if you don’t, well, there’s always the less permanent option of trial and error with clip-ons. “They’re great,” Palau says of the fake fringes he keeps in his kit for those moments that require them, like, say, backstage at Versace. Heed his advice, though: “Give them a natural texture,” rather than an über-smooth blow-out, so they blend with the rest of your hair.


Rock Chicks Revisited, Backstage at Versace


After a few seasons of dewy skin with warm, highlighted contours, Donatella Versace and her longtime makeup collaborator, Pat McGrath, revisited a part of the house of Versace’s original DNA to create “a really kind of cool rock ‘n’ roll girl,” according to McGrath—requisite smoky eyes included. “It’s all levels of black,” the face painter emphasized, from the unattached strokes of obsidian CoverGirl LiquiLine Blast topped with its SmokyShadow Blast in Onyx Smoke that rimmed the upper and lower lash lines to its Eye Enhancers 1-Kit Shadow in Shimmering Onyx with a hint of gold sparkle that McGrath dusted across lids in a soft winged shape through the socket. “We just want the girls to look more cool,” she reiterated, re-bleaching brows and then adding cream, complexion-enhancing colors through individual hairs so they looked “toned,” rather than blocked out. The idea, McGrath continued, was to do a smoky eye of today—something modern and graphic that bore no resemblance to “reality TV black liner.”

Working off a similar “super-cool, super-modern” directive, Guido Palau dipped into his kit and produced a series of fake bangs. “The whole thing is a lot less blown-out than we’re used to seeing here,” he said, coating strands with Redken Wool Shake 08 Gel-Slush Texturizer and its new Powder Refresh 01 Aerosol Hair Powder/Dry Shampoo to add a lived-in, slick bend to the hair. Even the short, Rooney Mara-esque fringe was left texturized rather than perfectly straight, smoothed down by another of Palau’s Fall kit essentials: a series of gray and black No-Crease Bow Clips from Ricky’s NYC. “They don’t mark the hair,” he explained of the stylist tools that have traveled with him from New York to Milan.

Photo: Luca Cannonieri /

Versace’s Yellow Diamond Is Abbey Lee’s Best Friend


Versace is on a bit of a tear at the moment. Following a smash-hit Spring show and record-breaking sales at the retail level with its first capsule collection for H&M (a second line is reportedly already in the works), the Italian house’s name is on everyone’s lips. It’s about to be on their wrists and the inner curvature of their necks, too: Versace has just launched Yellow Diamond, its latest fragrance offering. Billed as a “celebration of exquisite, timeless beauty,” the citron, pear sorbet, bergamot, orange blossom, mimosa, and amber woods eau is an homage to the rare gem of the same name and is housed in a glass flacon with a faceted, canary-tinged topper accordingly. Abbey Lee Kershaw, platinum blond fringe and all, plays muse to Donatella Versace in the perfume’s Mario Testino-lensed ad campaign—and this behind-the-scenes footage of the making of the fragrance’s promotional video, which is now showing here. And you know what? Seeing Kershaw writhe around, swirling her cornsilk strands just so, does in fact make the scent that much more appealing.

$50 for a 1 oz bottle, available at

Leather And Fully-Loaded Lids, Backstage At Versace For H&M


The “flavor of Versace” was alive and well backstage at the house’s much-anticipated collection for H&M tonight in New York, according to makeup artist Tom Pecheux. “Donatella [Versace] wanted something fun, something glam that was very rock ‘n’ roll at the same time,” he explained of the beauty look, which translated to deep aubergine nails courtesy of Deborah Lippmann’s Dark Side of the Moon lacquer and the go-to makeup move of ladies who like to live hard: a black, smoky eye. “A black matte eye,” Pecheux confirmed of the full, elongated strokes of MAC Eye Shadow in Carbon he was sweeping over Natasha Poly’s lids, adding a metallic silver pigment on top from the upper lash line through the crease. Skin was kept dually matte with Estée Lauder’s Double Wear Stay-in-Place Makeup foundation and powder, which he applied to complexions that had been thoroughly prepped with Rodin Olio Lusso and a mixture of Estée Lauder’s DayWear Advanced Multi-Protection Anti-Oxidant Creme and its Idealist Even Skintone Illuminator. Bleached brows and a nude mouth slicked with MAC Studio Sculpt Concealer in NC35 provided an added edge. “It’s Versace today and Versace tomorrow,” Pecheux surmised of the result, before conversation turned to his plans for re-dyeing brows once the show was over. “Yeah, what are you going to do about that?” Poly asked the famed face painter. “The girls are going to have to choose between getting their eyebrows [back] and Prince,” he joked, referring to the post-presentation entertainment.

There was a hint of Versace yesterday, too. “The last show I did with Gianni [Versace] we used leather headbands,” coiffing star Orlando Pita explained of the impetus for the wide pieces of black leather that sat in a stack next to his station. After adding waist-grazing extensions to every model and razor-cutting the ends so they looked “jagged,” Pita lined up the center of each band near the brow line and, holding the ends in his hands, folded the fabric once behind the ears, then again, ensuring that the top lay flat before he tied a knot at the back of the head. “It’s Versace, so it has to look expensive and rock ‘n’ roll, but it’s H&M too, so I wanted to keep it young and cool.” Click here for more pictures.