21 posts tagged "Wella"
Makeup artist Lucia Pieroni described the woman at Missoni as “a cool girl who’s been out all night, she’s got her boyfriend’s coat on, and is waiting for the bus around six in the morning.” In the case of today’s show, that coat would involve chevron stripes and vibrant tangerine trim.
The focus was primarily on the eyes—particularly the lashes, where “tons and tons and tons of mascara” was used from the iris to the outer corners on top and bottom to create a spidery, “haywire” effect. For an even more imperfect finish, lashes were pinched together to make them “a bit crooked.” (Some models with sparser fringe received a set of falsies for thickness, just on the outer half of the eyes.) To intensify the clumpy effect, MAC Fluidline in Blacktrack was applied from the middle outward on the upper and lower lash lines in a soft square shape, then blended with a matte, ebony-colored shadow.
“It feels like she’s done her hair herself, but not in front of a mirror,” Eugene Souleiman said of the “imbalanced” topknots. (The Missoni girl likely crafted this while she was waiting for the bus to pull up.) The style was simple enough to create: Loosely secure a ponytail with elastic to create “bagginess,” then pin in place. Since multiple models were dashing from Dolce & Gabbana via car and moped (no time to wait for public transportation), “necessity became the mother of invention,” Souleiman explained. “I love it because it’s a five-minute hairdo.”
“I’m so bored of nice—just over it in a big way,” said the mane man backstage at Rochas, Eugene Souleiman. “[Hairstylists] need to loosen up and live a little.” And loosen up he did, bringing what he referred to as a “couture” sensibility to ready-to-wear hair. The “over-brushed” updos were based off a look he created for Spring 2012 (which featured a fifties egg shape), but this season Souleiman “wanted to make the head and feet do the same thing.” In other words, the Helena Bonham Carter-like styles were designed to flutter like the feather-duster flats and heels. In order to not torture the models’ strands too much, he pinned a teased bun form to the backs of their heads to act as an anchor, then misted all over with Wella Ocean Spritz to lend a “chemically processed” matte finish. Next, he randomly curled pieces with a half-inch curling iron, made tiny braids, and flat-ironed bits before brushing through them and creating a French-twist-like roll in the back (which he would later pull apart). The remaining sections were wrapped around the sides and front, forming a gentle halo of fuzz. Souleiman said of the end result: “It’s chaotic, but it’s beautiful.”
As for makeup artist Lucia Pieroni, she played off the iridescent fabrics and the catwalk music, which began with what sounded like drops of water hitting a hard surface. “It’s like when the Little Mermaid stays out of the sea for too long—she can’t live above ground, so she goes a bit hollow-eyed,” Pieroni said of the dusky tones that were wrapped around eyes. For a dewy base, she prepped skin with Clé de Peau Beauté The Serum, and then applied the deep purple, taupe-y plum, and pink shades from the forthcoming Eye Color Quad in 212 on the lids and lower lash lines, diffusing the pigment with a small blush brush. Cheek Color in 1 (an earthy hue) was dusted lightly along the sides of the face, and lips were slicked with Enriched Lip Luminizer in 226 (launching next Spring). For a “wet” finish, she dabbed Egyptian Magic on cheekbones, lids, and brows to catch the light, similar to the strands of multifaceted, opalescent beads draped twice around models’ necks.
The last time I saw this many bluntly cut, synthetic ponytails I was watching Madonna take the stage for her Confessions Tour, wearing an equestrian-style top hat with a black horse tail attached. But instead of stallions serving as the reference for the hair at Missoni, mane master Eugene Souleiman was shown a Richard Avedon photo that featured a model sporting a braided updo that looked “fake,” he explained. To bring this idea to the runway, he attached a glossy, back-grazing extension to a ring (made by the house), rather than incorporating the faux, “plastic” strands into the actual style. “I wanted it to look like an accessory rather than hair,” he added. He reiterated the point by contrasting the pieces with each model’s natural color.
After making a side part in front, Souleiman misted the models’ real hair with Wella Ocean Spritz to create a raw texture and scraped it back into a ponytail, which was secured with a string of black elastic. The length was then threaded through the ring, folded close to the pony’s base, and wrapped once again with elastic—leaving the handcrafted accoutrement hanging from a newly formed loop.
The makeup by face painter Lucia Pieroni played off the four-elements (earth, wind, water, and fire) theme of the collection. The skin was left dewy to provide a “liquid” finish, while cheeks were gently contoured with a MAC Paint Pot in Groundwork (here lies the earth). Also inspired by Japanese girls, Pieroni traced a graphic band of Black Track Gel Eye Liner along the upper lash line, into the inner corners, and wrapped the formula underneath the eye—ending it just before the pupil. To clean up the shape, pointed cotton buds were employed by the pro. A shimmery silver eyeliner was washed across the lids and brow bones, lending a subtle hit of sparkle and Tokyo pop to the architectural look.
With the arrival of new designer Clare Waight Keller, the Chloé girl has gotten “a little bit more chic and caramel-y” for Spring, according to makeup artist Lucia Pieroni, who built on the “super-gorgeous, super-natural” makeup that typically colors this show by enabling yet another appearance of Spring’s monochrome makeup trend. Pieroni layered honey-hued pigments onto lids, cheeks, and lips accordingly, relying on four key products tailored to match individual skin tones to ensure a uniform finish: MAC Paintpots in Groundwork and Constructivist, which were dotted with its Metal X Eye Shadow in Fusion Gold around the temples for highlight, and its Lipsticks in Fresh Brew and Myth. “It’s not a nude mouth,” Pieroni stressed as she filled in brows with MAC Eyeshadow in Copperplate, Omega, and Typographic and slicked lashes with a few coats of brown mascara. “It’s meant to be quite present,” albeit neutral-toned, she said, which suited Waight Keller’s “very tonal and makeup-y” look just fine. Hair guru Eugene Souleiman added to the series of adjectives that best describe the quintessential Chloé girl, calling her “sexy, gorgeous, fresh, raw, young, and healthy,” before getting slightly more specific and pointing out that his product-less coifs were meant to look like “French Vogue fashion editors”—so, you know, chic. “We’re just using water and shampoo, ” he said lathering strands with Wella Enrich Volume Shampoo or its Brilliance line for dry, color-treated manes. “I wanted the hair to be light and free so it moved,” he explained.
We arrived at Place de l’Opéra for Stella McCartney’s Spring show just in time to catch the designer backstage as she settled into a makeup chair for a quick touch-up before the presentation got underway. “Make sure you tell them what you want so they don’t go all BBC on you,” McCartney’s longtime face-painter, Pat McGrath, shouted in jest, alluding to the designer’s classic no-makeup makeup look that is reinterpreted onto every model that walks in her show. “She’s just beautiful, fresh, glow-y, and gorgeous,” McGrath said of the quintessential Stella girl, for which she diffused CoverGirl TRUblend liquid foundation in one shade darker than each complexion to warm up faces before blending CoverGirl & Olay Simply Ageless Sculpting Blush in Lush Berry onto cheeks for a slight pink flush. Of course, something so sheer and pared-down requires a perfected canvas to start with. “It’s all about your skincare,” McGrath explained of the kind of proper conditioning that’s necessary to make this sort of look work. “Cleanse, tone, moisturize—that’s our thing,” she continued, name-dropping CoverGirl & Olay Simply Ageless Serum Primer and Dr. Orentreich’s oil-free moisturizer as great ways to create a flawless, dewy base.
Hairstylist Eugene Souleiman also looked no further than McCartney herself to get inspiration for the high and tight chignons he crafted using Wella Velvet Amplifier style primer. “What can I say? It’s just Stella,” he said of the bun that he swept up at the crown, coiled, and pinned to hold. Breaking out a blush brush to go over a layer of hair spray he had spritzed onto the sides to create sleekness without any harsh lines, Souleiman used his fingertips to rake hair back from the hairline, manipulating slight groves along the surface. Simple as it all seemed, there was definitely a point of view to the style. “Get rid of that Alberta Ferretti stuff—it’s way too romantic,” Souleiman advised a member of his team to emphasize the “very chic, but slightly tougher and more masculine” message.