It was a party backstage at Z Spoke by Zac Posen's Spring 2011 fashion show at New York Fashion Week. Pat Cleveland was busy testing out hairspray, which she claimed "smelled delicious," and The Js (that's Jay Manuel and J. Alexander to anyone who doesn't watch America's Next Top Model) were perched on a table conveniently located next to an impressive Champagne display. The beauty looks were a frenzy of curly updos and some serious use of color on the eyes and lips.
MAKEUP: Charlotte Willer for Maybelline New York HAIR: Odile Gilbert styling for Zac Posen using Got 2 Be products NAILS: OPI SNAPSHOT: Bold and Colorful
THE SCOOP: Posen is known for his dramatic silhouettess and color choices, and his unique aesthetic was reflected in the various makeup and hair looks; it was all about interesting shapes and slashes of bright eye shadow, plus vibrantly patterned nails.
"Zac said he was channeling the theater and street performers, so we went with something definitely dramatic," said Willer. She applied pink blush and black mascara, and then gave each model one of three daring eye and lip pairings. The "lead look" used gold and copper on the eyes and a striking cherry lip; the other two options included an intense yellow pigment on the eyes paired with hot pink lips, or peacock-blue and green eyes offset by hot orange lips.
Odile Gilbert was, to be honest, too busy to stop for interviews, so Larry Sims, Premiere Celebrity Stylist for Got 2 Be, explained the hair. "It's almost like Marie Antoinette walking down the street in New York City in 2010," he said. Translated, this meant masses of curls tied back in one of three ways (in a top knot, French twist or ponytail). Stylists used a ¼ inch curling iron to curl the entire head, spraying each section with hair spray for hold and shine, then brushed it out "almost until it was frizzy," and pulled it back. The French twists had curls coming forward onto the forehead, and the ponytails and top knots featured loose tendrils along the temples.
Nails were adorned with long oval press-ons, in brightly colored leopard, tie-dye or French manicure patterns.
GET THE LOOK - MAKEUP: All makeup by Maybelline New York. The Falsies Mascara, Mineral Power Naturally Luminous Blush in Gentle Pink, Eye Studio Color Plush Silk Eyeshadow in Give Me Gold, Copper Chic and Sapphire Siren, Color Sensational Lipcolor in Very Cherry (plus specially-created for the runway yellow pigment powder for eyes, and hot pink and orange lipstick)
GET THE LOOK - HAIR: All products by Got 2 Be. 2 Sexy Hairspray, Smooth Operator Hair Spray, Fat-tastic Root-Boosting Spray
GET THE LOOK - NAILS: All products by OPI. For leopard spot: Alpine Snow, What's With the Cattitude, The "It" Color, Who the Shrek R You, Black Onyx. For tie-dye: Alpine Snow, No Room For the Blues, Hot & Spicy, That's Hot Pink. For French manicure: Jade is the New Black, Romeo & Joliet.
Backstage at the Philosophy di Alberta Ferretti Spring 2011 fashion show at New York Fashion Week, a tropical parade of peaches and upswept ponytails exuded a Hawaiian vacation vibe.
MAKEUP: Lucia Pieroni for MAC Cosmetics HAIR: Paul Hanlon for TIGI SNAPSHOT: 1940's Miss Hawaii Pageant Queen
THE SCOOP: Philosophy di Alberta Ferretti's Spring 2011 collection sailed off shores to a sunny tropical getaway with sun-kissed faces full of peach and bronzer enhancing the bold print clothing, as well as retro-chic ponytails that featured Rita Hayworth-like waves to frame the face.
"We wanted to create a late 1940's Hawaiian pageant queen look, with tanned and glowing skin and a makeup palette filled with fun and young peach shades," Pieroni told StyleList. Brows were reminiscent of Brooke Shields in their strong and unshaped beauty, and the coral hues were so sheer and breathable, that Pieroni used the same shades on all the models, regardless of skin tone.
Hair took a cue from Rita Hayworth's classic '40's wave, though all strands save for sideswept bangs were pulled back into a low ponytail after being set with retro pin curls. "I didn't want the wave to make the girls look old, so leaving the bangs out gave it just the right touch of glamour, while pulling the hair back into a ponytail kept it young and flirty," said Hanlon.
GET THE LOOK MAKEUP - All products by MAC Cosmetics. Add a dewy glow to the skin with Mineralize Finish in Dark, and sweep bronzer under cheekbones and finish with Paparazzi peach blush over and above bronzer. Add black mascara, concentrating extra coats on the outter edge of the lash line. Using a lipstick brush, apply Orange Alarm to lips. "It's a super wearable shade for any skin tone, and makes a great summer color," said Pieroni.
GET THE LOOK HAIR - Blow dry hair smooth with a round brush, and then set in pin curls and allow to set and cool. Then take out pins, brush through hair, and pull back into a low ponytail. Keep a side swept section of bangs out at one side, and rake your fingers through it for a soft touchable wave. Spray with TIGI Sleek Mystique Hair Spray to hold style without crunch and to add shine. "Each model will wear a sun hat with at least one of her outfits, and we're hiding the ribbon of the hat in the hair," said Hanlon.
Makeup, James Kaliardos for M.A.C.; hair, Odile Gilbert for Aveda.
THE LOOK: Northern California innocent meets well-heeled wood nymph
MAKEUP: It didn’t take the sounds of rock band America’s 1972 hit “Ventura Highway” wafting through oversize speakers while models walked the runway to feel that decade’s influence on the face: Kate and Laura Mulleavy’s girlish muse, with her iridescent golden cheekbones and frosted, lemony lips, looked ready for a nature-inspired day trip through the Redwoods. It’s “gold rush,” “healthy, sunlit skin,” and “very Northern California,” said James Kaliardos.
HAIR: Inspired by “seventies suburban sprawl” and the awkward beauty of adolescence, the Mulleavys collaborated with Odile Gilbert on the models’ artfully rumpled hair (think Rodarte muse Kirsten Dunst inThe Virgin Suicides—a comparison that seems not-so-coincidental upon reflection). “It’s innocent,” said Gilbert, who used hairspray at the roots before blow-drying straight with her fingers for texture. She finished by pinning back one side with ornate wooden barrettes, “the way young girls do,” she said. “It’s almost as if they’re hiding behind their hair.” Just before models stepped onto the runway, she scrunched sections haphazardly to amplify the slept-on effect. Playing the role of their Golden State girl was a lineup of blockbuster honey-blonde models, from Anja Rubik to Karolina Kurkova and Constance Jablonski.
MAKEUP: ON SKIN: M.A.C. Quarry eye shadow (used as contour) on cheeks and temples.
ON EYES: The backstage team at M.A.C. arrived with strips of long, fluttery false eyelashes that had been hand-dipped in a shimmering green-gold powder the night before. After attaching them to the lids, Kaliardos dabbed the company’s Golden Lemon pigment onto the inner and outer corners of the eye.
ON LIPS: Kaliardos prepped models’ lips with M.A.C. Lip Erase in Dim (to tone down their natural color), then patted on the company’s Rose Gold pigment over top. He finished with touches of Golden Lemon Pigment on the cupid’s bow and bottom lip for contrast.
Makeup, Diane Kendal for M.A.C.; hair, Paul Hanlon for Frédéric Fekkai; nails, Kim D’Amato for Priti
THE LOOK: Postcollegiate cool girl plays dress up.
MAKEUP: “The boys felt their clothes were more ladylike than usual this season,” Kendal said. “It’s still their girl—boyish, a bit grunge—but it’s more finished this time around.” That meant a sophisticated, filled-in brow (“squared off and arched toward the ends”) and lightly contoured cheeks to offset the models’ clean skin and nude lips.
HAIR: For the Proenza girl who has grown up since last season but still oozes downtown edge: destroyed French twists from Hanlon, pinned to one side and dangerously teetering. To create a “weird tension in the hair, kind of like an old Hitchcock film,” he pinned the hair up, doused it with hairspray, then pressed it gently with plastic netting while blowing it all dry to create “a tacky sort of 3D texture.”
NAILS: “Absolutely nothing,” said D’Amato with a laugh. Not quite true, as it turns out: “The boys didn’t want any shine so we took off all their polish, then did a matte topcoat on bare nails.”
MAKEUP: ON SKIN: M.A.C. Taupe blush along the cheekbones for contour, followed by a dab of White Frost Pigment at the outer corners of the eyes for a healthy gleam.
ON EYES: Kendal darkened brows “by one shade” using an assortment of M.A.C. brow pencils, then finished with a swipe of the company’s Brow Set in Clear.
ON LIPS: After dipping a foundation brush in M.A.C. Lip Erase, she swept it lightly over the lips “to take away the pinkish color.”
Hanlon spritzed Frédéric Fekkai Coiff Oceanique Tousled Wave Spray throughout the hair and massaged it in with his fingers “to give it a really dry, matte texture.” He followed with “really almost too much” of the company’s Sheer Hold Hairspray.
Priti’s 100 percent biodegradable Soy Polish Remover on hands and feet.
At Nanette Lepore Wednesday, makeup had “a sexy, bohemian-chic look from the early Seventies,” said James Kaliardos, who was working on behalf of MAC Cosmetics.
Meanwhile, Kevin Ryan and Frank Rizzieri of Rsession Tools did a “messy, low side bun,” which had a ponytail look to it. The element was draped down behind the left ear.
“Princess Leia: Bad. Ballerina: Bad. It’s someplace in the middle,” Ryan said as he bounded away to another model.
Kaliardos did a “strong but neutral eye” with metallic brown and champagne hues. He first applied the brown all around the eye, then topped that with the champagne, blending the shades for a “soft, diffused, Jaclyn Smith-before-Kmart” effect.
Girls with darker skin tones got a combination of copper and black around the eyes.
A “strong magenta lip” had a “melted lipstick texture,” Kaliardos said, “like a gloss that covers lipstick.”
Cheeks got a thin layer of foundation, were contoured, highlighted and blushed.
The inspiration for the hair came when the girls walked into the fitting, explained Rizzieri. “They had a really cool look,” he said. “We cleaned it up and dressed it up — refined it. There was no part, so we gave them a center part.”
Ryan and Rizzieri used Aveda Volumizing Tonic “to prep the base” of the hair and the brand’s Air Control hair spray to rid the style of flyaways.
Makeup, François Nars for NARS; hair, Guido Palau for Marc Jacobs; brows, Laurie Foley for L’Atelier de Laurie; manicure, Elisa Ferri for CND.
THE LOOK: Seventies It-girl meets Viscontian aristocrat
MAKEUP: “There’s a seventies and thirties influence in the collection,” said Nars, who looked to highly glamorous icons of the former era for inspiration. “Angelica Huston, Pat Cleveland, Marie Helvin,” he said of the models’ glossy emerald eyes, flushed cheeks, and aubergine lips. Of the erased brows—bleached into submission backstage by colorist Laurie Foley at Jacobs’s request—“there’s got to be a twist,” he said mischievously.
HAIR: “It’s about decadence,” said Palau of the four looks he created backstage—Marcel waves, brushed-out pin curls, graduated bobs, and “Grace Coddington texture” among them. “It’s very pulled together, very done. This is the kind of woman who reeks of perfume.” He finished the look by tucking a cluster of oversize silk flowers behind each model's ear or, in some cases, settling one of the designer’s wildly oversize soft-brim hats over the crown. Is it a look easy to replicate off the runway? “In a word,” said Palau dryly, “no.”
MANICURE: “This must be the first time in history that the backstage nail color was inspired by the brow,” said CND creator Jan Arnold, who collaborated with Ferri on the final look. At Jacobs’ request, she mixed a flesh-colored nude polish with two drops of matte topcoat. “It’s almost like concealer,” she said of its eraser effect on the hands. An appropriately well-heeled pedicure, on the other hand, called for a shade called Bloodline—“a full-coverage blue-based red.”
THE TOOLS: MAKEUP:
ON EYES: “Marc wanted green,” said Nars of the smoky, jewel-toned haze he swirled around the eyes in shades of his company’s shimmering sea-foam (Nouveau Monde), emerald (Night Porter), and absinthe (Celebrate). He followed by dabbing a veil of Vaseline over the lids, explaining, ”That bit of shine keeps it modern.”
ON CHEEKS: NARS Orgasm blush
ON LIPS: NARS Pure Matte lipstick in Volga
HAIR: Redken Thickening lotion “for body,” and Quick Dry Instant Finishing Hairspray “for finish,” said Palau.
ON NAILS: CND Perfectly Bare (on fingers) and Bloodline (on toes).
Makeup, Dick Page for Shiseido; hair, Guido Palau for Redken
MAKEUP: “I just mixed these two colors, a greenish and pewter cream shadow, together in the lab,” Page said as he dabbed the yet-to-be-named shade on models’ eyelids. “Hopefully it will be out in time for 2011!” While the rest of the skin was kept quite clean, with just a sweep of pink blush high on the cheekbones (“for a little glow”) and a matte rose-brown tone for the lips, the tarnished, metallic eye delivered what Page called a “bit of definition and a cool-girl effect.”
HAIR: Palau described the hair—pulled back into a loose, pinned-up knot on the top of models’ heads—as “piece-y, punky, and very simple.” The black cotton band framing each face “adds a little drama,” he said. Inspired by Krakoff’s collection of “urban, yet stylized” clothes, Palau spritzed hair with wax spray to add texture and to “get all the good bits to stick up.”
MAKEUP: ON CHEEKS: Shiseido Makeup Luminizing Satin Face Color in Tea Rose
ON LIPS: Shiseido Perfect Rouge Glowing Matte Lipstick in Wink
Redken Wax Blast 10 High Impact Finishing Spray Wax and Guts 10 Volume Spray Foam
Dressed in a cotton black cotton dress from H&M and a white leather motorcycle jacket by Narciso Rodriguez, model Iris Strubegger—fresh out of Palau’s chair—explained why she was particularly in love with today’s look: “I’ve been hiking at home in Austria all summer long, and this hair is just perfect for something like that. It’s easy and anyone can do it.”
GET THE LOOK - MAKEUP: All makeup by Bobbi Brown. Bobbi worked largely from her Pretty Powerful Palette, which is available in two varieties for lighter or darker skin. Start with creating a matte, rather than luminous look for the skin by using a powder to correct, conceal, and contour the face where needed. Use the Pink Flannel eyeshadow all over the lid. But Brown cautions that it is tricky to use pink eye shadow without looking tired, so she does a heavy build-up of mascara on the top lashes with no eye liner to add definition to the eyes. "Use a brush for sure," says Brown to apply the lipstick, and be sure to make a rounded lip instead of a pointed for a modern finish. First apply nude, beige color with a bit of gold in it then add a peach, pink brighter tone like Bobbi Brown Coral Gables on top, using the brush to add dimension. stylelist.com
__________________ Yesterday is history, tomorrow a mystery, today is a gift so make the most of it
Last edited by eu-pt; 17-09-2010 at 11:40 AM.
Reason: to credit images
Backstage at the Sophie Théallet Spring 2011 fashion show at New York Fashion Week, a fiery Spanish flamenco dancer vibe took over makeup and hair, with smoked out lids, luscious red lips and slicked-to-the-head towering braid-buns leading the charge.
MAKEUP: Lena Koro for Nars HAIR: Antoinette Beenders for Aveda SNAPSHOT: Spanish Flamenco Fashionista
Sophie Théallet's Spring 2011 collection featured classic Mexican influences, from peasant blouses to fully tiered skirts and lace, and the makeup heightened the Latin intensity with a strong face of smoky eyes, red lips and rigidly braided updo's.
Eyes smoldered in shades of black and smoked-out charcoal, while lips were bathed in the same red Vesuvio Pure Matte Lipstick hue that has been featured heavily in the Nars' latest launch campaign. "I kept the skin very matte because it has an old Hollywood feel about it," said Kono.
Hair parted in the center, with a classically lacquered-slick Spanish finish and a braided bun for which Beenders actually built a structural support by slipping hooked bobby into the base. Black ribboned hairbands took on a new evolution. "I'm using them as 'bun bands' by circling them around the base and having my strong Japanese man secure it into position with elastic ties," said Beenders, speaking of her deftly-handed assistant.
GET THE LOOK - MAKEUP: All products by Nars. A new holiday palette called Okinawa was used for the eyes; you can instead blend substitute shades of black, charcoal and silver together on the eye for a luminous look with plenty of depth and contrast. Line eyes with black powder, and then blend gray over it for a smudgy look. Finish with several coats of black mascara, and pop lips with Pure Matte Lipstick in Vesuvio.
GET THE LOOK - HAIR: All products by Aveda. Prep dampened hair with Smooth Infusion Style-Prep Smoother, and use a wide-toothed comb to center part the hair and blow dry it straight. Brush hair back tightly and tie into a high ponytail just below the crown, spraying with Air Control Hair Spray for shine and hold. Braid the ponytail and massage the braid for fabric-like texture, spraying with Control Force Firm Hold Hair Spray for a stronger hold. Attach a black taffeta headband around the base of the braid and on the crown of the head, and secure with hairpins. Fold the braid in half and loop upward to create a vertical, braided chignon, pinning with bobby pins. Do a final spray-over with Control Force Firm Hold Hair Spray.
Sharon Tate Inspires Beauty Look at Julien Macdonald
LONDON — Sharon Tate’s turn in "Valley of the Dolls" inspired hair and makeup at Julien Macdonald.
“It’s sexy and bedhead-y in, but in a modern way,” said hairstylist Malcolm Edwards, who was working with L'Oréal Professionnel.
Edwards prepped hair with Tecni.Art Pli, Hot Style Constructor and Play Ball Texture Tonic before styling with tongs. Hair was worn loose save for some sections, which were pinned in place.
James Kaliardos, who was working with L’Oréal Paris, also referenced Tate for the show’s makeup look. The makeup artist opted not to focus on one particular feature. “It’s really about treating the whole face,” he said.
Kaliardos used Studio Secrets Professional Smoothing Resurfacing Primer to prep skin, and eyeshadows in brown and Champagne hues to create a rounded eye shape.
He elongated central lashes with Volume Million Lashes mascara to accentuate peepers’ rounded appearance. He used lip liner and lipstick in rosey hues.
MAKEUP: Val Garland for MAC Cosmetics HAIR: Stephen Low SNAPSHOT: Spectacular Interiors
THE SCOOP: The colourful, interior themed prints spoke for themselves on the catwalk, so the makeup and hair was kept fresh and simple.
GET THE LOOK - MAKEUP: Garland used "iced, Ladurée pastel shades" as her inspiration for the makeup this season. She used MAC Coloursticks in pale pinks, yellows and baby blues across the eyelids and added a touch of soft, fancy pink gloss to the lips. The overall look was soft and clean, with minimal makeup used on the face.
GET THE LOOK - HAIR: Low created a "sleek, natural" look with the hair, using very little product to keep the look as natural as possible. He scraped the hair back into a looped ponytail positioned just below the crown of the head, and bound it inside the loop to give support and bounce on the catwalk. He used blow dry lotion and Elnett hairspray to keep the hair in place.
St. Tropez skin-finishing expert Nichola Joss explains the skin…
“The inspiration for the skin comes from Cate Blanchett in The Lord of the Rings, when she has a hint of rose in her cheeks, It is as though the girls are outside running about in the woods. We are first spraying the models very lightly with the new Dark Mist; and then applying the mix of gold and pink illuminator over the skin. I love the combination – gold represents the golden light, which comes through the trees in the forest; and the pink is the pink blossom that grows within.”
Make-up artist Andrew Gallimore matched the face to the body with a very lightweight foundation that is almost a tinted moisturiser. “Then for the eyes,’ he said, beckoning the girl he has just demonstrated make-up to his team on, ‘there is a sort of day-glow plastic yellow colour. The face was super simple with a nude lip and no mascara. He then finished with a touch of St. Tropez Illuminator on the cheeks, down the bridge of the nose and in the cupid’s bow of the lips: ‘the whole feel is spring-like and Easter-y, in colour.”
I love this! I loved the collection, and the models looked soooo pretty!
ten days of perfect tunes
the colors red and blue
we had a promise made
we were in love
Fantastisk dejligt at se hårlooks fra New York, Rodartes schoolgirl look er lige til at kopiere! This look is so easy to copy – love the New York style..
Når du føntørrer dit hår, er det vigtigt at du tænker på den form du ønsker. Føntør derfor dit pandehåret fremad, så det kommer til at ligge i en bue ned i panden. Think about the shape you want when you’re blowdrying. Blow your fronthair down towards the face, to get the round shape. So chic and effortless..
HOW TO GET THE LOOK:
1.Prep damp hair with Aveda Brilliant™ Damage Control to protect hair from heat styling and brow dry straight with a Mason Pearson brush.
2. Using fingers for a slightly imperfect look, create a super-strong part on the left side of the head, parallel to the center of the right eyebrow. Spray liberally with Aveda Air Control™ Hair Spray for shine and light hold.
3.Emulsify Damage Remedy™ Daily Hair Repair in hands to add lived-in texture and prevent breakage. Use fingers to tousle hair and enhance texture and body with Aveda Volumizing Tonic™.
4.Secure a thick barrette to the left side of the hair, just above the left ear. Set the look with Aveda Air Control™ Hair Spray.