“They’re virtual dolls,” Guido Palau offered, putting a label on it. “Very manga,” the Redken creative consultant continued, describing the different colored extensions he was adding to emphasize the “synthetic feeling” of it all. “[I chose the extensions] based on which colors clashed best with the girls’ natural hair,” he said. (A long table was littered with opened packages of red, platinum white, and black hues for him to choose from.) Coating hair with Redken Thickening Lotion 06 Body Builder and blow-drying it backward, Palau smoothed strands away from the hairline with its Hardwear 16 Super Strong Gel “so it stayed back,” and then applied its Iron Silk 07 Ultra-Straightening Spray before straight-ironing the entire head. A final mist of Redken Forceful 23 Super Strength Finishing Spray ensured that everything remained superbly structured. “Real girls do this to their hair,” Palau admitted of the ombré streaks that have risen in popularity over the past few seasons on and off the catwalk. “But the perfection here becomes the ‘unreality.’” Leave it to Prada to make something played out, cool again.
Source: stylebistro.com, style.com's Beauty Counter Blog
“I need pins! It’s a big-time pin situation over here,” Lily Donaldson chirped from Philips’ chair, beckoning Sam McKnight to come over and fix her double halo of hair twists. “It’s a dark, Nordic look,” the hairdresser remarked of the style, pointing out that his sleek, embellished coifs were meant to be “almost Victorian, not fairy-tale.” Prepping models’ strands with Sebastian Forte Strong Hold Gel, McKnight created precise middle parts, separating out two low pigtails, which he divided into sections and “twisted like a rope.” “There’s a childlike quality to it,” he surmised, fastening small elastics on each twist’s ends before ultimately removing them for an “undone” effect. It was labor-intensive, to say the least. “We started at 6 a.m.,” McKnight divulged of the call time for the 11:30 a.m. show.
Source: vogue.it, vogue.com, style.com's Beauty Counter Blog
Hair: Anthony for Wella
Makeup: Val Garland
By Katie Jones
As for the statement top knots, Wella hairstylist Anthony was inspired by "cool Japanese kids... but these pom-pom style buns are still elegant and we've aimed to show off the proportions of the clothes with their high neck-lines".
He dried the hair with Wella Shape Control Mousse and a flat paddle brush before tying with an elastic. The hair was then teased around quickly (extensions were added where needed) and sprayed with Super Set Hairspray, although the finished look was far from up scraped back and polished. "Don't worry about flyaways", Anthony told us. "This look is far from up tight".
Hairstylist Luigi Murenu made soft waves on long hair that was padded with extensions. He added John Frieda Luxurious Volume Thickening Mousse and Luxurious Volume Thickening Blow Dry Spray to lift the roots and add texture.
After giving the girls an imperfect center-part, hair from the sides of the face was loosely twisted and secured at the back of the head with an abstract, bow-shaped clip of jeweled black stones designed by Frida Giannini for the show.
Hair: Odile Gilbert
Makeup: James Kaliardos
Big Love: Rodarte’s Cosmic Hair Accessories
by Catherine Piercy
Just before the lights went down at the Rodarte show Tuesday afternoon, the filmmaker George Lucas leaned in to ask his seatmate, Dakota Fanning, a question: “So, you like their clothes?”
It might as well have been a rhetorical statement. After all, the actress is just one of a small galaxy’s worth of stars who turn out regularly for designers Kate and Laura Mulleavy’s collections (a fresh-faced Natalie Portman was seated just down the runway).
There were stars of a different kind on the Mulleavys’ minds, however, when they dreamed up the flashing metallic hairpins that their models wore down the runway. “Kate and Laura were thinking about Australia, the Outback,” said hairstylist Odile Gilbert of the gold-plated metal pieces they designed in-house—a cluster of tiny stars and finely wrought branches that called to mind the wide open sky as glimpsed through the heavy brush.
Using clouds of Kérastase Double Force hair spray and Mousse Volumeactive, Gilbert whipped each model’s hair into a prettily disheveled bob before fastening the ornate pieces to one side. Seen from the runway, it seemed as if the Mulleavys’ windswept muse had simply reached up and plucked a cosmic cluster from the sky, tucking it behind her ear during a midnight stroll. The pins will be produced in limited quantities for fall, meaning you’d do well to put your name on the waiting list now.
Source: vogue.com, vogue.it, stylebistro.com
I must admit that the pins with the mini stars won me over.
Here's to hoping that they're somewhat decently priced...
A New Twist on the Chignon at Zac Posen
by Xiao Lim
Japanese elegance was the word last night at Zac Posen’s fall show, and makeup artist Kabuki and hairstylist Luigi Murenu both built their looks around the kimono sleeves and brocade fabrics in the collection.
While Kabuki’s look encompassed a lined eye and red-lacquered M.A.C. lip (“I am combining elements of Lana Turner and Marlene Dietrich, but say they’re on the Orient Express,” he said backstage), Murenu was going for his version of “couture Japanese princesses or swans.” This translated to stiff, sculptural chignons designed to “elongate the neck” (and further flatter the dipped backs of Posen’s kimono-style dresses). To achieve his gravity-defying twists, Murenu gave models’ hair a smooth finish thanks to liberal amounts of John Frieda Frizz-Ease Sheer Solution Lightweight Frizz Control. Then, after pulling it all into a high chignon, he blasted it with a runway-proofing hair spray (John Frieda Luxurious Volume Extra Hold Hairspray), and added individual slivers of straightened extensions for a final flourish. “Immaculate and perfect, like Japanese architecture,” he said.
As a Smiths' best-of album played on the sound system, hairstylist Paul Hanlon was perfecting yet another iteration of Fall's favorite updo, the ponytail. "Make sure the little bits in the front have spray on them to hold them down," he directed his team, smoothing the front of a short side part across the forehead and over the ears before securing texturized lengths with a black elastic that would ultimately be removed. "There are no hairbands," he said, explaining that after a hefty portion of hairspray and a hit of heat from the blow-dryer, the fasteners would be cut out to leave behind a slight indentation. "It's a little detail," he said, calling the overall look "natural and easy—very real," the better to balance out Van Noten's opulent, detailed designs.
^ Thank you MulletProof for the Dries and Laura Biagiotti additions.
The hair at Laura Biagiotti was really lovely, with just the right touch of romance. I wouldn't dare try to recreate it on my own either----it'd be a total mess from start to finish.
Rewinding back to NYFW to something more practical & easier to recreate was the hair at Doo.Ri.
With the inclusion of extensions, the hair was pulled back into a ponytail then carefully rolled and twisted into a classic bun. And the leather headbands? Just like icing on a cake.
Hair: Orlanda Pita
Makeup: Tom Pecheux
Orlando Pita: “I Have A Feeling The Headband Is Going To Have A Big Moment This Season”
February 11, 2012 2:07 pm
There is a standard line of questioning that persists backstage at shows that can get fairly monotonous—for both editors and artists. Queries of “what’s the inspiration?” or “will this be a big trend next season?” ring out from all angles as camera crews and models scurry through narrow, makeshift alley ways in between hair and makeup stations. It’s enough to make you a little weary of the whole scene, and as a result, certain artists refuse to conform to a similarly standard line of responses. Orlando Pita is one of those artists. “You know I’m not usually one to talk about trends,” the coiffing star reiterated yesterday at Doo.Ri, but in a rare move, he did just that. “I have a feeling the headband is going to have a big moment this season,” Pita predicted. Why? “I don’t know. I haven’t seen them for a while,” he continued, explaining that he thought the hair accessory was due for a comeback. But not the kind of comeback it had at the Golden Globes. “I wasn’t feeling them,” Pita deadpanned of the jewel-encrusted hairpieces Charlize Theron and Michelle Williams wore on the red carpet at the awards gala. Instead, Pita is heralding the return of sophisticated and subdued headbands, like the elasticized leather pieces Doo-Ri Chung designed in a range of colors, including black, burgundy, and hunter green, for her Fall collection. Secured around the tight ballerina buns Pita sculpted for the occasion, they served to streamline the silhouette rather than interfere with it. “I don’t like when [hair] accessories are superfluous,” Pita said. Make a note of it.
Source: stylebistro.com, style.com's Beauty Counter Blog
Heavy Metal: Copper-Streaked Hair at Haider Ackermann
by Catherine Piercy
What does a walk through Haider Ackermann’s world look like for fall? Well, for one, there are the clothes—supremely elegant sculptural jackets, front slit skirts, and high-waisted pants in earthen tones of moss green, saffron, and rust. And then there’s the hair. As soft and moody as the strains of Frank Sinatra’s “Autumn Leaves” on the runway, the models’ wispy, copper-streaked buns possessed a surreally romantic quality—as if a crisp wind had whipped through them, leaving only a few glimmering, melancholic traces of its memory behind.
“Haider said, ‘I want black hair,’ and it just evolved from there,” said hairstylist Eugene Souleiman of the look from the opulent dressing area of the Hôtel de Ville. With a lineup of models that included blondes Anja Rubik and Daria Strokous, he had to conjure a little trompe l’oeil magic first. After blowing out the hair using Wella Professionals Ocean Spritz for texture, he saturated it with can upon can of inky Stargazer One Wash Color Hairspray to create a dark, graffiti-streaked effect—blackening his own hands up to the wrist in the process. “Don’t worry,” he said. “We’ve told their agents it will wash right out with one shampoo.” Once he’d twisted it into a messy, flyaway knot, he dipped a brush into a molten metallic makeup pigment and began applying it onto the crown with long, fine strokes at random. “It’s painterly, but not in a Renaissance way,” he said, before breaking into a devilish laugh. “If Jackson Pollock had been a hairdresser, he might have done this.”
Eugene Souleiman’s “roughest, rawest, ugliest” hair that was purposely made to look “unhealthy” was presumably less of a treat to deal with postshow. “[The hair] is meant to seem like it’s evolved—maybe it’s been bleached, then it was dyed black, and then we added a little bronze,” he explained. Prepping strands with Wella Professionals Ocean Spritz Beach Texture Hairspray, Souleiman gathered the lengths into a ponytail brushing a halo of baby hair forward, before he sprayed a black aerosol hair color all over the roots and across the ponytail itself in a “nonchalant way.” Then, after securing a messy, “raw” knot that he literally just smashed onto the head and pinned down haphazardly, Souleiman brushed the baby hairs backward, sprayed the ends with a silver hair color, and then painted them in stripes of creamy metallic bronze makeup. “It’s what the hair would look like if Jackson Pollock was a hairdresser,” he surmised of the style. “It’s not about thinking about it, it’s about gestures, and the grand gesture here is: I don’t care.”
Source: stylebistro.com, vogue.com, style.com's Beauty Counter Blog
Last edited by flyme2themoon; 03-03-2012 at 08:10 PM.