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24-06-2011
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" Le Nombril de L'ete "
VOGUE Paris April 1993 :
Photographer: Enrique Badulescu
Model: Heather Stewart-Whyte
Fashion Ediotr: Marie-Amélie Sauvé
Hair: Drew Jarret
Make-up: Diane Kendal







AngelLover scans

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30-06-2011
  62
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" Lovely & Amazing "
US VOGUE November 2002
Photographer: Steven Klein
Model: Carolyn Murphy
Fashion Editor: Grace Coddington
Hair: Luigi Murenu
Make-up: Diane Kendal




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30-06-2011
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" Knit Working"
US Marie Claire September 1996
Photographer: Perry Ogden
Model: Kim Iglinsky
Fashion Editor: Monica Dolfini
Hair: Didier Malige
Make-up: Diane Kendal




ellastica scans

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11-09-2011
  64
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US Vogue January 2010
"Natural Born Talent"
Model/star: Carey Mulligan
Photographer: David Sims
Stylist: Grace Coddington
Hair: Julien Y's
Makeup: Diane Kendal



gallery.carey-mulligan.us

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14-09-2011
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W OCTOBER 2011

Sects and the City

Female Models: Corinna Ingenleuf, Erjona Ala, Jess Gold, Julia Nobis, Katlin Aas, Mengyao Ming Xi, Milou Van Groesen, Nyasha Matonhodze
Male Models: Christopher Wetmore, Cole Mohr, Yuri Plesken
Ph: Craig McDean
St: Edward Enninful
Hair: Eugene Souleiman
Makeup: Diane Kendal





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27-09-2011
  66
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Jill Stuart Spring/Summer 2012
Makeup: Diane Kendal
Hair: Odile Gilbert





Quote:
“It’s a little bit Seventies,” said Diane Kendal about the beauty look she created backstage at Jill Stuart.

With the bright and colorful collection in mind, Kendal kept things “ethereal” and “dreamy.” She left skin matte and clean, highlighting cheekbones with apricot- and lilac-hued blush from the Jill Stuart Beauty Mix Blush Compact in Milky Strawberry. Eyes were soft and smoky, lined with black eye pencil and lightly smudged cream liner. Top and bottom lashes were accentuated with black mascara. Kendal then swept a deep brown cream shadow in the crease of the eyes for soft definition. Lips had “just a hint of a color,” primed first with foundation and then given a dusting of MAC Powder Pigment in Red Electric or Neo Orange. The result was a “bright-toned” face.
Source: wwd.com

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27-09-2011
  67
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Reed Krakoff Spring/Summer 2012
Makeup: Diane Kendal
Hair: Guido Palau





Quote:
by Ana Dragovic

THE CREDITS:
Makeup, Diane Kendal for M.A.C.
Hair, Guido Palau for Redken


THE LOOK:
THE MAKEUP: “It’s very fresh, very spring,” said Diane Kendal,referring to a nearly nude face punctuated by soft pops of pink on the apples of the cheeks. “We tried more colors at first, but it was fighting too much with the collection. This really balances it all.”

THE HAIR: In creating a look that oozed simple, come-undone perfection,Guido Palau acknowledged the “easy sophistication” of Krakoff’s clothing and the woman he dresses: “She’s not downtown, but she’s not way uptown,” he said. “It’s different from hair you see at the European collections—American fashion is about sportswear, and this look is very much about New York. It’s definitely something wearable, as opposed to photographic.”

THE TOOLS:
ON SKIN: To set the stage for flushed, peachy-pink cheeks, Kendal prepped the skin with M.A.C. Skincare Lightful Charged Essence, a concentrated serum, followed by Matchmaster SPF Foundation. She blended M.A.C. Powder Blush in Immortal Flower and Love Cloud on the apples, contoured with M.A.C Sculpt and Shape in Bone Beige, and highlighted with Iridescent Loose Powder in Silver Dusk.

ON EYES: Lids had the thinnest trace of M.A.C. Pro Creme Eye Liner in Black, growing thicker toward the outer corners. On tightly curled top lashes, Kendal applied M.A.C. False Lash Mascara in Black, and then a smudge of soft brown shadow, M.A.C. Matte Eye Shadow in Wedge, in the crease. She played up brows as a focal point, filling in and shading with a slanted brush and brown eye shadow. “I think for spring it’s really about a defined brow and a natural, gorgeous face,” she said.

ON LIPS: Kendal was loving the subtleness of M.A.C.’s Tinted Lipglass in C-Thru. “It still has some color,” she said, dabbing at a lustrous nude swatch on the back of her hand.

ON HAIR: “Reed chose it,” Palau said of the black leather hair tie he used to gently secure a very low, delicate ponytail. “It gives a different dimension.” Before blow-drying, Palau worked in Redken Satinwear 02, a low-hold blow-dry lotion to soften the hair. A few quick sprays of Redken Nature’s Rescue Radiant Sea Spray added texture—and a fresh scent—to the ponytail.

Source: vogue.com

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27-09-2011
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Proenza Schouler Spring/Summer 2012
Makeup: Diane Kendal
Hair: Paul Hanlon






Quote:
by Catherine Piercy

THE CREDITS:
Makeup: Diane Kendal for M.A.C
Hair: Paul Hanlon for Frédéric Fekkai
Nails: Shari Gottesman for Perfect Formulas


THE LOOK:
MAKEUP: If Jack McCollough and Lazaro Hernandez were influenced by the work of modernist architect Pietro Belluschi for spring, then models’ spare, well-constructed faces, too, were a masterful study in form. “There’s a bit of a starkness to it,” Diane Kendal said of the squared-off, structural brows and softly sculpted cheekbones. “But it’s still that Proenza idea of something androgynous and also quite sexy.”

HAIR: “We looked at a lot of pictures of Elvis before the show. There’s a bit of a Teddy Boy thing going on with the hair, but it’s more organic, more deconstructed than that,” said Paul Hanlon, referencing the distinctive hairstyle embraced by the British 1950s rock ’n’ roll subculture. “Masculine-feminine. It’s almost like her dad went out for the night and she grabbed his old barbershop comb and went at her hair.” The shiny, slightly wet texture nodded to the gleaming finish of the designers’ ladylike eel-skin skirts, belts, and gloves.

THE TOOLS:
MAKEUP:
With a lineup of major faces in the mix—Karolina Kurkova and Liya Kebede amongst them—Kendal’s job was made easier. She dabbed M.A.C. Pro Longwear Concealer only where needed, then filled in the brows with an assortment of M.A.C. pencils and powders. “We’re just matching the girls’ own coloring, and making the shape slightly square, which is more boyish,” she said. Afterward, she dusted a soft taupe contour powder (M.A.C. Bone Beige Sculpting Powder) along the hollows of the cheeks. To keep the skin looking healthy, she finished by swirling a barely there haze of soft pink and peach (M.A.C. Powder blush in Immortal Flower and Love Cloud) onto the cheeks. “That’s it!” she exclaimed. “No mascara, no liner, just a dab of clear lip balm at the end.”

HAIR: "There’s an organic, deconstructed quality to the hair," said Hanlon, who doused it with Fekkai COIFF Océanique Tousled Wave Spray to give it a weathered texture. After working the company’s Coiff NonChalant Piecing & Foaming Wax onto the crown, he melted the product with the heat of a blow-dryer, and then raked a wide tooth comb through it. The effect,” said Hanlon, was to create “these prolonged grooves on the side of the head. It’s very groomed,” he said, before tying the ends into an undone, pulled-apart knot.

NAILS: Models’ clean, natural nails were a quiet compliment to the lineup of brightly colored raffia crewneck sweaters and circle skirts. Only a small handful of girls—Julia Nobis and Elsa Sylvan amongst them—got a coat of manicurist Shari Gottesman’s yellow polish in Pollen. “Bright but neutral, which is a hard balance to strike,” she said. “It’s meant to pick up on the saturated yellow and orange tones of the collection and in the bags.”
Source: vogue.com

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27-09-2011
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Thakoon Spring/Summer 2012
Makeup: Diane Kendal
Hair: Odile Gilbert







Quote:

THE CREDITS:

Makeup, Diane Kendal for NARS
Hair, Odile Gilbert for Kérastase

Nails, Kim D’Amato for NARS



THE LOOK:

MAKEUP:
Designer Thakoon Panichgul was inspired by both cowboys and the colorful looks worn by women in India for his richly patterned spring collection. “The makeup has the cowboy influence,” said Diane Kendal. This meant a tough brow—“not arched, but straight and quite masculine,” with minimal color on the face, except for a flush of pink on the apples of the cheeks. “The pink connects well to the colors in the collection and in the hair without being too dramatic,” Kendal said.

THE HAIR: The backstage area at the Plaza Hotel’s Grand Ballroom resembled an art room where students might have been spray-painting. “Don’t get too close!” warned an animated Odile Gilbert, holding up two blue hands. Anyone who did risked inhaling a cloud of clay powder she was peppering onto models’ heads. “Thakoon wanted color in the hair,” she explained. And color he got—blue, green, lilac, terra-cotta, and bright pink in different combinations on each girl’s textured bob (which was actually a variation of two French braids Gilbert pulled back and tucked into a messy chignon to create “the illusion of short hair”).

THE TOOLS:

ON SKIN:
“Nothing too shiny,” Kendal said, applying quick, downward brush strokes on the apples of models’ cheeks with NARS blush in Gaiety, a poppy new color for spring. A light dusting on the temples of the company’s bronzer in Laguna offered a touch of shimmer over the Pure Radiant Tinted Moisturizer.

ON EYES: Kendal applied the ecru portion of NARS’ Eyeshadow Duo in Portobello to the inner creases of the eyes and buffed the color out to create a subtle smoky effect. (She used a lighter shade, Blondie, for very fair-skinned models.) Then, she softly traced a rich chocolate-brown shadow, NARS Matte Eyeshadow in Bengali, under the bottom lash-line. Using a small shaping brush, she shaded eyebrows with a neutral taupe, NARS Matte Eyeshadow in Bali.

ON LIPS:
Kendal kept lips simple, adding a dot of lip balm over sheer beige pencil, NARS’ Velvet Matte Lip Pencil in Belle de Jour.

ON HAIR: Gilbert has been using colored clay (specifically: a multipurpose organic clay powder, otherwise used as an ingestible stomach remedy) in her hair creations for years. For today’s show, she shipped a range of colors over from France, which she used to color the untidy chignons. First, to prep her canvas, she sprayed hair with Kérastase Volume Expansion Spray and worked in VolumActive Mousse to create a crunchy texture that would hold the powder. She dusted the loose powder into the intricately braided styles, and then, with a paintbrush, went over it with color of a different shade, which she had mixed with water to create a paste. “People always want to know, ‘Where is the drama?’ ” she said, paintbrush in hand. “Well, we have to wash all of this off after!” At the ready, postshow: rows of Kérastase Nutrative and Resistance shampoos and treatment masks.

NAILS: Thakoon’s India-inspired collection called for a premium gold on fingernails—“but not flashy,” said manicurist Kim D’Amato. One coat of NARS polish in Versailles did the trick.
Source: vogue.it, vogue.com

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05-10-2011
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US Vogue May 2001
"Made for the Boys, Worn by Women"
Model: Shalom Harlow
Photographer: Tom Munro
Stylist: Tonne Goodman
Hair: Luigi Murenu
Makeup: Diane Kendal



readysetfashion

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10-10-2011
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US Vogue September 2011
"The Ford Face"
Model: Sasha Pivovarova
Photographer: Craig McDean
Stylist: Phyllis Posnick
Hair: Eugene Souleiman
Makeup: Diane Kendal



models

Interview March 2011
"Proenza Schouler"
Models: Kasia Struss, Lazaro Hernandez & Jack McCollough
Photographer: Craig McDean
Stylist: Karl Templer
Hair: Anthony Turner
Makeup: Diane Kendal
Manicurist: Yuna Park
Set Designer: Piers Hanmer
Casting Director: Michelle Lee



fashiongonerogue

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24-10-2011
  72
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US Harper's Bazaar November 1997
"Island Girl"
Model: Kate Moss
Photographer: Mario Sorrenti
Stylist: Tonne Goodman
Hair: Didler Malige
Makeup: Diane Kendal



supermodelstars

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03-11-2011
  73
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"The New American Dress Code"
US VOGUE July 2002
Models: Carolyn Murphy, Liya Kebede & Trish Goff
Fashion Editor: Grace Coddington
Hair: Luigi Murenu
Make-up: Diane Kendal (carolyn & trish)






Posted by burbuja8910 via bwgreyscale / archive.org

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03-11-2011
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continued...


Posted by burbuja8910 via bwgreyscale/ archive.org

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26-12-2011
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CHAIN GANG
W magazine May 2003
PHOTOGRAPHER: DAVID SIMS
MODEL: LILIANE FERRAREZI
STYLIST: KARL TEMPLER
HAIR: SAMANTHA @ JULIAN WATSON

MAKE-UP: DIANE KENDAL




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