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July 12 2014

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17 posts tagged "Zac Posen"

Brow-Less Angelina Types Live At Givenchy

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A newfound love for Manic Panic may not have made it to the Europe shows, but brow-bleaching—in all of its weird, futuristic glory—has been the rage from Milan to Paris. Despite the fact that Chanel Iman recently came out on behalf of the long-legged-model set to say that walking sans brows makes her feel like she’s “from another planet,” designers continue to instruct their backstage teams with the same four words: Blank out those brows. Aaron De Mey is the latest makeup artist to employ the technique, sending nothing but forehead out onto the Givenchy runway yesterday. But De Mey added a touch of voluptuousness to the otherwise androgynous look by employing a simple lip-plumping technique that doesn’t require tingling serums or vials of collagen. He used a brown liner to lightly trace the outer corners of models’ lips, adding a touch of caramel color to the centers to give the illusion of fuller pouts. We saw Stéphane Marais do something similar at Zac Posen, with a gray liner and pink gloss. It’s an easy way to retain a touch of femininity (and humanity)—you know, if you decide to erase your arches for spring.

Photo: Luca Cannonieri / GoRunway.com

Beware The Streakers

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I was never the hardcore teenage type. I veered more toward the preppy/jocky end of the middle school social continuum, so face piercings and severe black eyeliner never entered into the equation. I did, however, have a brief Manic Panic phase, in which I added an eggplant purple streak to my dark brown hair—the scandal! As colored hair accents come back into vogue (thanks, Lady Gaga), I may have to consider a round two—especially after seeing two very different interpretations of the look backstage yesterday. “Sometimes, you just have to see life in color,” Odile Gilbert said at Zac Posen, where she was twisting neon pink and green extensions into models’ hair, putting them into high ponytails, and then pinning them down into chignons. Over at Thakoon, it was a little less vibrant, but the idea of creating contrast with pops of color still resonated. Wella Professionals color spokesperson Eva Scrivo fashioned a series of extensions with pewter, platinum, and rose Champagne hues, and stylist Eugene Souleiman used them to create a looped half-up, half-down style that put a modern spin on a classic look. “It’s Seven Samurai meets beach warrior,” Scrivo suggested. “It still looks sophisticated, not dated and punk.” Not that there’s anything wrong with punk.

Photo: Greg Kessler

Uniform Color Is For Squares

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Despite the continual barrage of exquisite bone structures and expertly crafted hair and makeup that have been on display over the past few weeks, we’ve remained drawn to a single face. That would be Elsa Sylvan’s, the Swedish-born model who first caught our eye backstage at Zac Posen and continued to hold our attention at shows like Josh Goot and Emilio Pucci. There’s a simple reason for our fascination: While most models who color their hair tint their brows to match, à la Vlada Roslyakova’s new look, Sylvan appears to relish in the variance, letting her jet-black brows remain in stark contrast to her platinum blond tresses. The juxtaposition is endlessly eye-catching and an excellent add-on if you’re thinking about going super-light anytime soon. If your brows aren’t naturally dark, dipping a mascara wand into regular hair dye formula will do the trick, although Roux Lash & Brow Tint from Sally Beauty comes in smaller quantities, which makes for more convenience and significantly less mess.

Backstage At Zac Posen, Pretty Is Passé

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“Much too pretty,” makeup artist Lucia Pieroni said to a member of her team last night at Zac Posen. “She needs to look tougher.” And so the minion headed back to her station, MAC’s Smolder Eye Kohl in hand. “We’re going for a Tim Burton girl,” Pieroni explained: “a tough, moody, but still beautiful” look that centered around big eyes and huge lashes—think Helena Bonham Carter incarnate. Pieroni swept MAC Carbon and Print Eye Shadows from the lower lash line up around the outer corners of models’ eyes and filled in lids with softer shades of the gloomy hues. Echoes of Burton’s hauntingly gorgeous animation continued with a cupid’s bow lip in a bright orange color called Morange, which the makeup artist applied in a sheer layer and with a stronger hand toward the center of the mouth. Studded “headbands of thorns” and the casting of Sasha Pivovarova also helped Pieroni’s cause; the model can bear a striking resemblance to Burton’s Corpse Bride when she wants to.

Photo: Greg Kessler

spring’s sun-kissed skin: beyond the bronze

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During the Spring show season, designers often pass down a “warm” mandate to the makeup artist in charge backstage. This is why, aside from a few rogue dissenters, you frequently see a bevy of rosy cheeks walking down the runway come September. Spring 2009 was no exception to this general rule, although in a particularly interesting turn of events, no one seemed willing to just call a rose a rose, so to speak. No, this year makeup artists got inventive and took creative license with the whole trend: At 3.1 Phillip Lim, NARS Cosmetics’ Ayako had an inspiration board with pictures of National Geographic cover girls—she called her bronzed cheek contours “dusty Gypsy skin.” Pat McGrath referenced “Mexican folklore” for the semi-flushed face she gave models at Anna Sui, and Charlotte Tilbury called the airbrushed tan she designed for Zac Posen “tribal.” We thought Dick Page’s “après-ski, pre-fondue” wind-burnt look at Michael Kors topped our list of inspirational favorites until we saw Tom Pecheux’s handiwork at Hermès. Approaching “ruddy,” Pecheux’s rugged faces managed to recast the image of frontierswomen in an elegant, even blatantly sexy way. Trailblazing, indeed.

Photo: Clockwise from left, Greg Kessler at Michael Kors; Antonello Trio at Hermès; Maria Valentino at 3.1 Phillip Lim.