Jason Wu
Senior Beauty Editor Celia Ellenberg's take:
After making its debut backstage at Marc Jacobs two seasons ago, the "dominatrix ponytail" has been getting a lot of backstage play. But the high, tight, and totally intimidating updo at Jason Wu this afternoon came with a message that was less fetish and more fighter. "Be strong! Go for it!" was hairstylist Odile Gilbert's battle cry as she applied waist-grazing extensions to models' hair and coated them with Kérastase's Fibre Architecte to smooth and treat dry ends. "Jordan loves this stuff," Gilbert effused of the lightweight serum that repairs damage as she finger-combed it through Jourdan Dunn's hair. Pulling lengths into a super-high ponytail, Gilbert wrapped strips of black latex around the base of the style for an additional element of toughness before spritzing it with a halo of Kérastase Double Force Hairspray for hold. The only girl that didn't get the ponytail treatment was Tao Okamato. "Jason wanted Tao to represent the boy in in the film In the Mood for Love," Gilbert said, explaining Okamoto's sleek, Cary Grant-era iconic men's pompadour that appears throughout Wong Kar-wai's classic film.
Makeup artist Diane Kendal was working within a similar cross section of warrior-meets-old school glamour, which manifested itself into a strong, diffused, emerald-green eye. "It's Ming dynasty and 1940's Hollywood," Kendal said while building up lids using MAC Powerpoint Eye Pencil in Tealo to create a base for its Eye Kohl in Minted, a light green, that she layered through the crease. To add texture and dimension, Kendal blended MAC Eyeshadow in Club and its Pigment in Kelly Green outward toward the temple before tracing the lash line with its Eye Kohl in Blooz, a dark blue, and a black cream liner to extend the elongated shape of the pigments. "The actual shape is the Hollywood part," Kendal said of the classic cat's-eye silhouette. MAC Haute and Naughty Mascara amplified top lashes only, while lips were left bare, save for a touch of its emollient Lip Conditioner.
As for the models' complexions, they needed very little help in the way of makeup, thanks in large part to skincare guru Sunday Riley, who was on-site to provide mini facials. Fashioning impromptu masks using her Ceramic Slip clay-based cleanser and a good helping of her Good Genes treatment cream, which contains lactic acid and lemongrass to clarify and smooth skin while stimulating circulation, Riley was able to create a totally natural, healthy glow.
After making its debut backstage at Marc Jacobs two seasons ago, the "dominatrix ponytail" has been getting a lot of backstage play. But the high, tight, and totally intimidating updo at Jason Wu this afternoon came with a message that was less fetish and more fighter. "Be strong! Go for it!" was hairstylist Odile Gilbert's battle cry as she applied waist-grazing extensions to models' hair and coated them with Kérastase's Fibre Architecte to smooth and treat dry ends. "Jordan loves this stuff," Gilbert effused of the lightweight serum that repairs damage as she finger-combed it through Jourdan Dunn's hair. Pulling lengths into a super-high ponytail, Gilbert wrapped strips of black latex around the base of the style for an additional element of toughness before spritzing it with a halo of Kérastase Double Force Hairspray for hold. The only girl that didn't get the ponytail treatment was Tao Okamato. "Jason wanted Tao to represent the boy in in the film In the Mood for Love," Gilbert said, explaining Okamoto's sleek, Cary Grant-era iconic men's pompadour that appears throughout Wong Kar-wai's classic film.
Makeup artist Diane Kendal was working within a similar cross section of warrior-meets-old school glamour, which manifested itself into a strong, diffused, emerald-green eye. "It's Ming dynasty and 1940's Hollywood," Kendal said while building up lids using MAC Powerpoint Eye Pencil in Tealo to create a base for its Eye Kohl in Minted, a light green, that she layered through the crease. To add texture and dimension, Kendal blended MAC Eyeshadow in Club and its Pigment in Kelly Green outward toward the temple before tracing the lash line with its Eye Kohl in Blooz, a dark blue, and a black cream liner to extend the elongated shape of the pigments. "The actual shape is the Hollywood part," Kendal said of the classic cat's-eye silhouette. MAC Haute and Naughty Mascara amplified top lashes only, while lips were left bare, save for a touch of its emollient Lip Conditioner.
As for the models' complexions, they needed very little help in the way of makeup, thanks in large part to skincare guru Sunday Riley, who was on-site to provide mini facials. Fashioning impromptu masks using her Ceramic Slip clay-based cleanser and a good helping of her Good Genes treatment cream, which contains lactic acid and lemongrass to clarify and smooth skin while stimulating circulation, Riley was able to create a totally natural, healthy glow.
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