Makeup: Charlotte Tilbury
Hair: Paul Hanlon
Birds Of Paradise Flock Together, Backstage At Prabal Gurung
February 12, 2012
“The casting’s really considered, so I thought the hair should be, too,” hairstylist Paul Hanlon said backstage at Prabal Gurung yesterday, where the designer’s “uncursed”-themed show, which explored the ideas of heaven and hell through periods of black, then blue, then gold and white, necessitated a similarly linear coif. “The girls at the beginning have dark, dark hair but towards the end of the show, it’s almost white blond,” Hanlon explained, prepping strands with Tigi Catwalk Curl Collection Curlesque Strong Mousse, blowing them dry, then adding a hit of its Your Highness Weightless Shine Spray, section by section, for a high-gloss finish. “It’s like Sissy Spacek—flat, narrow hair that’s very pure,” he added, fashioning middle parts that kept the hair deliberately graphic so that it didn’t conflict with the embellishments in Gurung’s clothes.
While Hanlon took the designer’s other influence, the Japanese blue rose, as a green light to mimic Asian hair—”it’s very straight; there’s no movement”—makeup artist Charlotte Tilbury chose a much more literal translation of the prized bloom, playing with turquoise, teal, and cobalt shadows and liners for what she deemed a “hypnotic” eye. “There’s always a story here,” Tilbury said, referencing last season’s “intoxicating” tri-colored lips before throwing out Fall’s makeup references, which included Avatar and scarab beetles. Prepping skin with MAC Face and Body Foundation for an “innocent, fresh” finish, Tilbury used blue and green shades from its forthcoming eye shadow palette in Delft, as well as its Pigment in Blue Brown and its Eyeshadow in Fresh Water, to create a wash of iridescent color. MAC Technakohl Liner in Smoothblue was used to rim both the upper and lower lashline. “There’s a dual tonality,” Tilbury said of the corresponsing flashes of aquamarine and teal, which she described as “precise but very raw” (while examining her team’s handiwork, the flame-haired face painter would proclaim, “more like the feather of a bird of paradise” if she felt the pigment had been applied too angularly). “I don’t want to see a mess—it’s still beauty,” she chirped.
The same blue was echoed in the nails in the form of Blue Rose, one of four new polishes in Prabal Gurung’s continuing collaboration with Sally Hansen. Manicurist Jin Soon coordinated the steely shade with Onyx, a black she gave to the show’s first group of models, and Gilded Lily, a dense gold she applied to its final group, who wore the celestial gowns at the end of Gurung’s show. Ivory Skull, the fourth varnish in the collection, will also be available when the range hits stores in October.
Source: vogue.com, style.com's Beauty Counter Blog
There’s detail oriented, and then there’s Phillip Lim. “I’m really hands-on,” Lim admitted last weekend when he summoned longtime collaborators, Nars brand ambassador Francelle Daly and hair stylist Odile Gilbert to his studio to talk beauty for his Fall collection. The meeting of the minds was truly something to behold: Lim took Daly and Gilbert through his designs piece by piece, shared his “neo-noir” inspiration with them presenting a Roy Lichtenstein photo as a starting off point for the makeup, and then sent them on their way to “search for magic,” as Gilbert eloquently put it. And the magic came…slowly. At fist, there was too much red in the “superhero” eyes Daly drew onto lids using NARS Lip Liner in Jungle Red and its Eyeliner Stylo in Nuits Blanches, which she dotted with a “special effect” in the form of its Triple X Gloss for an illustration-caliber shine. And the hair? Well, the hair vacillated between too soft and too sleek, until Lim actually took out a pen and a marker and drew the shape he was after. “I don’t speak the language [of beauty] so sometimes the only way to get there is to paint a picture,” he explained. When everything was said and done, Daly had used almost an entire tube of NARS Larger Than Life Volumizing Mascara, which she had slicked onto custom-cut fake lashes, and Gilbert won Lim over with a texturized updo that she prepped with Kérastase Mousse Substantive and then fashioned into a curled under faux bob on one side with a long, straight section hanging down in the back—for the short term at least. When we arrived backstage at Lim’s show yesterday, he asked her to change the look one last time. “I had to do all 42 girls, in 45 minutes,” Gilbert exclaimed after the presentation. Magic, indeed. Above, watch the process unfold in real time.
Source: vogue.com, vogue.it, style.com's Beauty Counter Blog
Love to see the stuff like cobalt eyeshadow at a runway.. it looks like fun!, and (confession time) it reminds me of when I used to [ab]use it back when I was 13 .. that was the time when you'd try all of Christy Turlington's looks in her Maybelline ads.
Back to present, I'm looking forward to more info on Preen's makeup .. love how minimal and fresh it is.
^ You're welcome!
And thank you MulletProof and mimirose for the beautiful contributions!
Here are details on the hair & makeup at Preen:
Makeup: Gucci Westman
Hair: Paul Hanlon
The Vibe: Outdoorsy and very fresh. The models’ hair certainly looked very weathered with Aveda lead stylist Paul Hanlon creating coifs that he described as “aerodynamic” and “windblown.” To achieve these wild styles, hair was parted down the back of the head and then tied it into either one or two knots, depending on the length of the girl’s hair. Stylists added pins to keep the style secure, while loose ends and other errant hairs were blow-dried and sprayed pointing stick-straight back. To help get a matte, piece-y texture, Hanlon used two Aveda products: Phomollient, a weightless volumizing styling foam, and Pure Abundance Hair Potion, a hair-thickening cream that adds grit.
The makeup also portrayed a very active woman. “It’s a sporty kind of girl who has her blood flowing,” Gucci Westman, for Revlon, said. “She’s modern and athletic, and has good taste in clothes.” To create healthy, rosy cheeks, Westman used PhotoReady Cream Blush in Flushed (available May). For lips, it was a trio of products: Just Kissable lip crayons in Crush and Adore (both also available May) and Super Lustrous Lipstick in Mink. But the biggest statement was reserved for the brows. “The brow is a bit stronger,” said Westman as she shaded in a model’s arches using Brow Fantasty. As for the age-old pencil vs powder question, Westman has a simple response: “It varies depending on the girl’s eyebrows. When they’re more sparse, I like to use a pencil because then I can fake hairs.”
Last edited by flyme2themoon; 17-02-2012 at 02:41 AM.
A “classic, sportif” look with flushed cheeks and bright lips was created by Dick Page, Shiseido Artistic Director, for Michael Kors A/W 2012 collection.
“The connotation of sportif in Europe is energetic and the look is all about the woman who’s living this life, who’s very chic and made of money.”
The Michael Kors face featured a “bloody, wonky flush”. Dick started this look with a clean, well-moisturized base and applied a wash of Radiant Lifting Foundation (launching Fall 2012) to remove any redness or imperfections.
To create a chevron-shaped flush on cheeks, Dick blended Lacquer Rouge in Drama (RD501), a lipstick with concentrated color, onto the apple of the cheek, along with a dab of foundation using a damp Foundation Sponge Puff.
The eyes were given a “transparent, easy, flexible” treatment that resulted in a “very chic,” shimmery, wearable look for day or night.
To create weight in the brow, Dick mixed a blend customized to each model’s natural brow color using Shimmering Cream Eye Color in Sable (BR709), Meadow (BE204), Caviar (BK912), and Leather (BR306). Using a shadow fluff brush, Dick blended Luminizing Satin Face Color Soft Beam Gold (BE206) and High Beam White (WT905) and applied the color to the inner corner of the eye, blending out over the entire lid. (Tip: when mixing color, use a bit more of the High Beam White shade to keep the blend bright.) He then curled the lashes to give them a soft, natural bend, walking the curler up the lashes to avoid a “crimped” look, and finished with Perfect Mascara Full Definition in Black (BK901) on just the upper lashes.
Red lips on the Michael Kors runway felt very “winter,” emulating “après ski and sex” — an approach fitting for the confident Kors woman.
Dick first took down the natural lip color using a bit of foundation. Then he applied Lacquer Rouge in Drama (RD501) to the entire lip in a defined, precise manner. He blotted with tissue and reapplied three times in order to set the color.
More Dick Page describing the look at Michael Kors (Excuse the redundancy)
“It’s more like après-sex,” Shiseido artistic director Dick Page interjected, using the brand’s forthcoming Lacquer Rouge in Drama, a deep crimson, to coat lips and blend a creamy flush from the apples of models’ cheeks all the way down to the jaw, “the way you’d get if you were cold, or hot, or excited,” Page explained. Shiseido’s Luminizing Satin Face Color in Soft Beam Gold and High Beam White dusted along lids and cheekbones added a transparent glow. “Blush makes everyone look better,” the face painter surmised. “It’s a very simple way to look and feel glamorous.”
Makeup: François Nars
Hair: Guido Palau
Backstage At Marc Jacobs, It’s All In The Details
February 15, 2012 12:41 pm
The backstage scene at Marc Jacobs can get so harried, the designer instituted a new system a few seasons ago: If you don’t show up four hours before the show’s 8 p.m. start time, don’t bother showing up at all. Last season, he canceled backstage access entirely. But running a tight ship means that things now run particularly smoothly—especially when the highly anticipated New York event’s beauty look is relatively minimal. “I’m in a supporting role today,” said Redken creative consultant Guido Palau, who was charged with setting the hair so that it sat well underneath Jacobs’ bevy of towering, colored mink hats. Following Jacobs’ “get rid of it” directive, Palau created center-parted pigtail braids, which he wrapped into knots before using his fingers to jostle a “mist of hair” that “floated” over the front of the face. “Marc likes a total look even if you don’t see it,” he pointed out.
Since Jacobs’ wide-brim chapeaus covered a good quarter of models’ faces, makeup maestro François Nars’ job was similarly subdued. “The hats are very overpowering,” Nars admitted, although that didn’t deter him from inserting his own bit of “romance with a touch of decadence.” Referencing the 1920’s and Marchesa Luisa Casati, the face painter mixed the black shade from his Eyeshadow Duo in Panda with his Eyeshadow in Bali to create a smoky “round” eye that he described as “really dreamy but sad, in a way.” Skin was left purposefully bare—”no blush, no lip, just pale and very dewy,” said Nars, who added a strong eyebrow and an even stronger lower lid, which he rimmed with his Eyeliner in Black Moon. “I’m using lots of mascara,” he added, focusing on the lower lash line—a detail that was just barely visible beneath the headgear that Lindsey, Alana, Frida, and co. donned on the runway. At a Marc Jacobs show, every little detail counts.
Rag & Bone
Makeup: Gucci Westman’
Hair: Guido Palau
“Patti Smith Goes To India,” Backstage At Rag & Bone
February 11, 2012
“When you have a brand with a signature feeling, you kind of just go with it,” Redken creative consultant Guido Palau said backstage at Rag & Bone, referencing designers David Neville and Marcus Wainwright’s signature style. And so, as she has in nearly every season past, the downtown cool girl reared her languid, texturized head of hair yet again. There were “Patti Smith goes to India” references being bandied about as well, but not in any kind of literal way. “She’s a traveler but she’s still rock ‘n’ roll,” Palau clarified, explaining why strands were a little bit more “dread-y” than usual thanks to Redken’s Full Frame 07 Protective Volumizing Mousse, which was slathered onto wet strands. Palau then added its Rough Paste 12 Working Material paste once the hair was dry. “It defines the texture,” he said of the sculpting product, as he set hair in twists to allow for movement.
The India component was actually Revlon artistic director Gucci Westman’s idea. “The boys were inspired by the jump in severe poverty and wealth [there],” Westman explained, which led her directly to that classic Indian beauty staple enjoyed by women of all income brackets: kohl eye liner. “I used three different eyeliners—a gel, a kohl pencil, and a liquid,” Westman said of her application technique, which relied heavily on Revlon Crème Gel Liner in Black, its Luxurious Color Eye Liner in Black, and its Liquid Liner in Blackest Black. For a slight change of pace, the face painter opted to trace the lower lid only, smudging as she went so it looked rough, “like decay.” Skin was kept “porcelain-y” thanks to a precise layering effort of a blend of skin correctors and luminizers, including the highlighter from Westman’s limited-edition shadow palette for fall in Midnight Express. To ensure that the effect was “pure and angelic,” she misted models with water as they hit the runway for an instant dewy look.
“She wanted big hair, big hair,” Orlando Pita said yesterday, recounting Carolina Herrera’s specific directive about the beauty look for her Fall show. Like a good collaborator, Pita obliged her, giving her the biggest hair we’ve seen this week. To build the foundation inside the style as well as maintain the voluminous shape, Pita spritzed models’ strands with copious amounts of Moroccanoil Luminous Hairspray Strong, back-combing as he went to achieve height. “It’s nice to do something different—to break the mold,” Pita continued, throwing out words like “graphic” and “bold” to describe the mass of hair that was contained around the hair line by a simple piece of black elastic and occasionally tied at the bottom with a bow.
Because the hair statement was so, er, big, makeup artist Diane Kendal kept the face intentionally “fresh and bare.” Using MAC’s Mineralize skincare, she applied a light layer of its Face and Body Foundation before she carved out cheeks with MAC Sculpting Powder in Sculpt, adding a touch of its Blush in Tenderling on the apples for a hint of warmth. Filling in brows, Kendal skipped mascara—something she’s made a habit of for Fall—and colored in mouths with MAC Lip Liner in Spice, which she topped with a clear balm to emulsify the matte pigment ever so slightly.
The Inspiration: The Ming Dynasty meets 1940s Hollywood
Hair: Kerastase Paris stylist Odile Gilbert created a warrior ponytail that channeled "Tomb Raider's" Lara Croft. She prepped the models' hair with Fibre Architecte to smooth ends and boost shine. She then flat-ironed before gathering into a sleek, high ponytail. Extensions were added and the ends bluntly cut. For a surprising twist, she wrapped electrical tape around the holder. Gilbert finished with a blast of Double Force Controle Ultime Hairspray.
Makeup: "Jason Wu's fall collection is very rich and opulent so he wanted to reflect that in the face," said MAC Cosmetics lead artist Diane Kendal. Inspired by the collection's military touches, Kendal drew on a very defined eye using an emerald shadow that extended out in a shape she described as "Hollywood." Blush shades in Sculpt and Tenderling were applied to give cheeks a warm glow. Kendal slicked on black liner closely to the lids and then applied mascara. Brows were filled in heavily, while the lips were left bare.
Nails: OPI manicurists carried out Wu's vision for an opaque nude effect by painting on Santan-tonio (a creamy mocha), followed by a clear top coat.
“She’s a little naughty—she likes to break the rules a bit,” coiffing star Orlando Pita said backstage at Derek Lam of the designer’s sixties-era, college coed muse. What kind of rules does she like to break? The decade’s rigid coiffing norms, for starters. “It’s a little bouffant, but not perfectly done,” Pita explained of the high hair, which he slathered with Phyto Professional Intense Volume Mousse and spritzed with its Workable Holding Spray before blowing dry, back-combing, and crafting two different variations on the style, including a faux bob and a low, messy ponytail. “There’s no uniformity,” Pita reaffirmed.
“She has a twisted mind,” Estée Lauder creative makeup director Tom Pecheux said, adding to the character profile. Like Pita, Pecheux chose to keep things almost perfect—creating a flawless base with Lauder’s forthcoming Invisible Fluid Makeup and carving out an “oval” eye using the burgundy and black shades from its new-for-fall, limited-edition Pure Color Eye Shadow Palette, which he emphasized with black mascara on the top lashes and brown on the bottom using his brand-new, dual-ended Sumptuous Two Tone Eye-Opening Mascara. Cheeks were given a pretty wash of rosy-beige pigment with a mix of Estée Lauder’s Pure Color Blush in Alluring Rose and Brazen Bronze, which was dusted below the apples of the cheeks, rather than on top, to slightly contour and prevent a feeling that was “too teen,” according to Pecheux. Lips were painted a similar shade using a blend of its Pure Color Crystal Lipstick in Crystal Pink and its Pure Color Long Lasting Lipstick in Vanilla Truffle that Pecheux matted down—as he’s been wont to do this week—with a finger patting of white powder. But there was one slightly “off” element that helped convey the bad-girl directive Lam had given his glam squad: Pecheux drew lashes onto the skin below the lower eyelid so that the models looked like dolls—”twisted dolls,” he asserted.
Makeup: James Kaliardos
Hair: Odile Gilbert
Down Under Stunners, Backstage At Rodarte
February 15, 2012 4:41 pm
Before setting up his station with bottles of NARS Sheer Glow Foundation and a multitude of its bronzer and blush compacts backstage at Rodarte, James Kaliardos broke out the skincare. “Everyone’s skin is just disastrous right now,” the face painter proclaimed, soaking cotton pads with NARS’ new Makeup Cleansing Water and then slathering on “pretty much everything” from the brand’s skincare line to remedy models’ dry complexions—the unhappy result of four full days of shows. Once Kaliardos did start in with the makeup, though, there was no stopping him.
“These girls are in the Australian Outback and they’ve been caught in a dust storm,” he said, explaining Laura and Kate Mulleavy’s inspiration for their Fall collection, which manifested itself as a blend of bronze and pink pigments that Kaliardos applied with a heavy hand onto cheeks and lids. “I didn’t want it to be all bronzer and J. Lo,” he insisted; instead, the makeup artist opted for “Faye Dunaway cheeks,” which he sculpted by brushing on layer after layer of NARS Bronzer in Laguna. The shimmering insta-tan also made an appearance on lids, where it was brushed through the brows in the shape of an “arc.” Next Kaliardos dusted NARS Blush in Gaiety, a pure pink, from the crease toward the outer corners of eyes and then dotted its Blush in Madly onto the apples of cheeks, “geisha-style.” To open the eyes a bit, he pressed the white shade from NARS’ Eyeshadow Duo in Vent Glace into the inner corners. Lips were painted an opaque pink with its Velvet Matte Lip Pencil in Bolero. If the makeup looked heavy, that was intentional. “More!” Kaliardos instructed his team. “Stronger!”
Hairstylist Odile Gilbert worked off a similar directive, re-creating a down under dust storm effect by varying the texture in her side-parted faux bobs. Prepping hair with Kérastase Mousse Volumactive, Gilbert created a shorter, curly side of the style, which she adorned with a series of gold pins, some of which had stars on them, and a longer, smoother side that went sans accessories. So how did Gilbert determine which girls got gold stars? “They decided,” she said of the designers. “They decide everything. They know what they want.”
Luminous satiny eyes and bright lips. I could wear it everyday.
Behind The Makeup: Thakoon Fall 2012
February 13, 2012
“I was really nostalgic for old, elegant New York. I just wanted to feel dressed up again,” Thakoon Panichgul said last weekend, explaining his Fall collection inspiration to his go-to glam squad of hairstylist Odile Gilbert and makeup artist Diane Kendal as the group met up for the first time to discuss the beauty look for the season. And with that, each woman set to work turning his vision into reality, readying a few different hair and makeup options to try with the clothes. Gilbert went with “a modern, destroyed chignon,” treating hair with Kérastase Mousse Substantive and Double Force Hairspray to give it guts, before forming a top and bottom section. Creating a ponytail with the top half, she flipped the lengths over themselves and secured them, fashioning a short bang “as an homage to Audrey Hepburn.” Back-combing the bottom section, she made a twist that she then broke apart with her fingers, ensuring that the sides were very flat and the back was slightly disheveled. For her part, Kendal chose to zero in on the idea of a strong mouth that was “lady but eccentric.” Cue NARS Lipstick in Heatwave, a bright orange-red pigment that she topped with an electric pink powder to amp up the color and “make it more modern” with a matte finish. Needless to say, it was an easy sell. Panichgul greenlighted both looks, which made their way down the runway last night.
Source: vogue.it, style.com's Beauty Counter Blog
Last edited by flyme2themoon; 18-02-2012 at 02:13 AM.
Makeup: Diane Kendal
Hair: Paul Hanlon
“Last season, she was more sophisticated, more lady,” Diane Kendal said of the Proenza Schouler girl. “She’s gone back to very cool.” This meant brown grease paint — M.A.C.’s Richly Honed Sculpting Cream — around the eyes; moist, dewy skin; and only a touch of lip balm. “Not really a look,” was how Paul Hanlon described the hair in comparison to spring’s more sculptured style. “It’s about the confidence of not having to do anything.” To achieve this effect, Hanlon shampooed with Frederic Fekkai Apple Cider Clarifying Shampoo before blowing hair dry. For those with thicker locks, he braided a layer against the head before twisting the rest with his hands and setting the ends with Fekkai Ultra Light Finishing Creme. He wanted to let the girls’ personalities come through, let their hair relax after a long week. He chalked up the success of the concept to the designers Jack McCollough and Lazaro Hernandez’s stellar casting. Like Kendal, he felt the boys were “bringing it back to what they’re all about.”