31 posts tagged "Viktor & Rolf"
The “one, two, three” braid—it’s a plait hair pro Luigi Murenu has been making a case for this season. We saw a similar look at Emilio Pucci, but here he lost the elastic in favor of a more disheveled, “last moment feeling.” To achieve the dry texture, he worked Kérastase Mousse Bouffante through strands before blowing them dry and employing a curling iron for texture. Then he divided the length into three sections and wove them loosely together near the nape, finishing with a generous amount of hairspray to ensure plenty of hold. Forgoing the band was a feat in and of itself, and the finished product perfectly complemented the designers’ more accessible offerings.
Pat McGrath kept the makeup equally as attainable. Aside from beautiful skin, a slight flush, and “rich” brows, only a gray-brown shadow was washed around the eyes. “It looks like the street in there,” she said of the show space located in the Jardin des Tuileries. “The girls should just look like they are simply walking down the street.”
The professional ballerinas from the Dutch National Ballet who presented Viktor & Rolf’s Couture show moved softly, en pointe—more than gliding, it felt like they were floating. That idea of movement translated into couture week’s most conceptual beauty moment: Mane master Luigi Murenu captured the emotion by veiling dancers’ faces behind crimped, highly textured hair. “They look almost like clouds, like a surrealist work by [Argentine painter] Leonor Fini,” Murenu said backstage before the show. To set the style, the pro reached for Kérastase Laque Couture hairspray. “It’s medium hold, but it fixes hair well enough that you can still keep brushing it,” he explained.
Although mostly obscured by their strands, the dancers’ complexions were highly sculpted in foundation shades that echoed the pale hues of their outfits, punctuated by this season’s major statement: the winged eye. “There’s a slight reference to dance, but it’s really all about the face, about paling out the skin to match the clothes,” said Pat McGrath. “We’re playing with highlights and creating an illusion—even though you won’t really be able to see it [onstage].”
After the show, Viktor Horsting and Rolf Snoeren served pink champagne and chocolates in honor of a surprise reveal of the campaign for their forthcoming fragrance, BonBon.
Observant members of the audience at Viktor & Rolf’s show this weekend likely noticed something recognizable dangling from a few models’ wrists. There, among the tightly edited collection of black and white pieces, were black and white accessories in a strikingly familiar shape. Were those Flowerbomb bottles in minaudière form, the astute guest may have asked? And the answer, it appears, is yes. The house used its Fall presentation to introduce the Flowerbombette, a clutch that takes its faceted form from the grenade shape of V&R’s best-selling perfume bottle. It’s available in lacquered ebony and glossy ivory, so now you can wear the sambac jasmine, centifolia rose, and patchouli eau—and accessorize with it, too.
Once showgoers got over the shock-and-awe of Viktor & Rolf’s relatively shock-and-awe-free collection, they likely shifted their focus from the unusually wearable clothes to the equally wearable—and downright beautiful—hair and makeup. “It’s pretty, non?” Luigi Murenu asked, looking over a gorgeous interwoven coronet. “It’s innocence and youth for once,” he joked—a remark that he, of all people, is more than qualified to make. As the design duo’s longtime coiffing collaborator, Murenu has been a part of his fair share of backstage heroics here that have included braids in the past, an apparent soft spot for monsieurs Snoren and Horsting, but braids that are almost always paired with something extreme (Fall 2011′s allover red faces immediately come to mind). This season, Pat McGrath’s “fresh, young, and finished” blush-colored lids and contours made the soft, texturized plaits Murenu treated with Kérastase Nutritive Mousse Nutri-Sculpt seem that much more accessible—and instantly covetable. Full disclosure: We tried to replicate Murenu’s center-parted, crisscrossing inverted French braids (also called Dutch braids, which is appropriate for the Amsterdam-based fashion house) this morning with little success. But, as they say, “If at first you don’t succeed, try try again”—and watch as many YouTube tutorials as you can find online.
“It’s just very much Donatella,” Pat McGrath said of the smoky eye backstage at Donatella Versace’s Spring show in Milan, where the makeup artist had set to sculpting the designer’s go-to “sexy, cool” look, just as she has for many a season past. Versace’s desires for her haute couture show this weekend weren’t much different, as sooty, black-rimmed lids reigned once again in Paris. Although seeing as how it was a special occasion—the house’s longtime muse Kristen McMenamy opened the show while fellow supe Stella Tennant closed it—McGrath added a hint of color to the predictable onyx abyss via flashes of lime green on the inner and outer corners of the eyes. Upon further inspection, we noticed something even more interesting about the offbeat pop of green: Those outer flicks are actually stencils. “We’ve been doing it for fifteen years,” McGrath told us of the tried-and-true technique backstage at Viktor & Rolf circa Spring 2012 (above, right). “It’s something we came up with as a way to get an eye liner on quickly,” she explained of the easy-on system. The hours spent cutting out those perfectly pointed strips, however, is slightly less of a speedy process, we imagine.