Spring 2013 Ready-to-Wear
"It's all about the hair," Lucia Pieroni said, stating the obvious backstage at Rick Owens, where heavy, frizzed-out, middle-parted wigs had been assembled on Styrofoam heads with coordinating models' names pinned to the foreheads—which made Pieroni's job easy for a change. After three seasons of precise matte red lips, the makeup artist shifted her focus to what she called "blank radiance": a good base of MAC Face and Body Foundation blended with its Face and Body White for a more pallid finish, "a strong handsome brow," and a hint of MAC Pro Longwear Lipstick in Perpetual Flame finger-pressed just in the center of mouths, so models didn't look "dead and ghostly." Some of the wigs, Pieroni pointed out, "are not so forgiving."
They were really something to behold, though. "We've been working on them since 7:30 in the morning," Luigi Murenu said shortly before Owens' 5 p.m. show got under way. He had his work cut out for him: There were 20-plus models, each with a different wig that Murenu custom-fit himself. "We always want to do head shapes," Murenu explained of his creative process with Owens that, lest you've forgotten, included web-like, knitted masks last season that were pulled over tight hair wraps. "[Owens] has a very strong vision," he continued, referencing the architectural nature of each wig that was shaped with a razor, treated with lots of L'Oréal Elnett Hairspray, and flattened on the top with Murenu's own two palms. "The shapes looks like angels and nuns," he elaborated, referencing Gustav Klimt sculptures and work by Klimt protégé Egon Schiele. The Italian hair hero made his job that much harder by insisting on sleek, flattened chignons to anchor each hairpiece, rather than wig caps; ah, the plight of a perfectionist.