Spring 2014 Ready-to-Wear

3.1 Phillip Lim

Senior Beauty Editor Amber Kallor's take:
When Paul Hanlon talks about hair, it's never just a step-by-step—he takes you on an entire journey. It's almost like listening to your grammar school librarian read a book aloud—except the semicircle is filled with editors aggressively shoving mini-recorders and iPhones in the storyteller's face. And at 3.1 Phillip Lim, the tale went something like this (imagine this being told in a cool British accent): "I wanted it to look a little bit shipwrecked, a little bit Robinson Crusoe—like a girl that has been washed ashore. She wouldn't have a comb, she wouldn't have a brush, she wouldn't have a hair band. And the back has this slightly dreadlock-y, crustaceous [feeling]." See what I'm saying? The visual narrative makes the style so much more than just a wet-looking, vine-y knot. And for the record, the hair was not physically drenched in water, as these are obviously very expensive clothes, joked Hanlon.

To get this "savage" and "elemental" texture, he applied Schwarzkopf Osis Twin Curl (a two-phase cream and gel formula) from the middle of the head down, and soaked strands from roots to ends in Grip mousse (about three-quarters of a can, to be exact). A diffuser was used to rough-dry, but not in the same way one would scrunch hair in the eighties—"more of an ambient air dry," Hanlon explained. The front section was swept across the forehead and the length divided into two pieces and tied in a knot (or two, for models with longer hair), just as you would your shoelaces, and pinned discreetly into place. Elastic hair spray was used to flatten the hair onto the sides of the head (as if the models had fallen asleep out of exhaustion once they finally reached land), and right before show time, Hanlon misted Flatline and Sparkler all over for serious sheen. "I like the idea of when [the girls] walk out, people don't really see how their hair has been done—it's more of a question of where have they come from," he added.

The makeup was less gritty and more refined. Face painter Francelle Daly called it a "monochromatic techno look." So what does that entail exactly? NARS Pure Radiant Tinted Moisturizer was mixed with a few drops of Copacabana Illuminator for extra glimmer. The Luxor Multiple was applied with fingers on the high planes of the face (i.e., cheekbones, forehead, chin, bow of the lips, and down the bridge of the nose) and set with a blue-tinged powder from the Iceland Duo Eyeshadow palette—lending an opalescent finish. In addition to mascara on top and bottom and brushed-up brows, the "cyber glow" was completed with a touch of Années Folles Larger Than Life Lipgloss (a lilac shade launching for Spring 2014) pressed onto the models' pouts. I like to think of this total package as club kid meets castaway.
Spring 2014 Ready-to-Wear Shows
Subscribe to today!