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26-04-2012
  46
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Location: another girl, another planet
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" L'Indomptée "
VOGUE Paris September 2004
Ph. Inez & Vinoodh
Model: Natasha Poly
Styling: Emmanuelle Alt
Hair: Luigi Murenu
Make-up: Tom Pecheux
Source: liveinternet.ru


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09-05-2012
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Posts: 17,908
instyle uk june 2012
kate talks beauty...
model: kate moss
photographer: pietro birindelli
hair: odile gilbert
make-up: tom pecheux


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25-06-2012
  48
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US Vogue September 2001
White Squall
Photo Mario Testino Editor Elissa Santisi Model Gisele Bündchen
Hair Marc Lopez Makeup Tom Pecheux





Scanned by me

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29-07-2012
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Vogue Paris February 1996

"Le petit prince est de retour"
Photographer: Mario Testino
Model: Carolyn Murphy
Hair: Marc Lopez
Makeup: Tom Pecheux
Stylist: Carine Roitfeld


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30-07-2012
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My favorite look of Carolyn's. Thanks for scanning, cul8tr!

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11-08-2012
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Vanity Fair September 2012



Angel on Horseback
Photographer:
Mario Testino
Stylist: Jessica Diehl
Star: Jessica Chastain
Make-Up: Tom Pecheux
Hair: Marc Lopez


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14-08-2012
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Allure September 2012
Fall in Lust
Photographer:
Mario Testino
Stylist: Paul Cavaco
Models: Sigrid Agren, Catherine McNeil & Matt Raimo
Make-Up: Tom Pecheux
Hair: Eugene Souleiman


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16-08-2012
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US Vogue September 2012
El Dorado
Photographer:
Mario Testino
Model: Stella Tennant
Stylist: Camilla Nickerson
Make-Up: Tom Pecheux
Hair: Orlando Pita



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16-08-2012
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10-09-2012
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HQs

Vogue Italia September 2012
Elisa Sednaoui
Photographer:
Peter Lindbergh
Stylist: Sara Maino
Make-Up: Tom Pecheux
Hair: Didier Malige


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13-09-2012
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Peter Som S/S 2013
Makeup: Tom Pecheux
Hair: Eugene Souleiman
Nails: Deborah Lippmann





Quote:
Finger-painting And “Bad Hair,” Backstage At Peter Som
September 7, 2012

Pastel-colored hair streaks have enjoyed a longer stay of execution on the runway then some members of the style set (this one included) are willing to believe. So when we arrived backstage at Peter Som this morning only to see that they would be making another appearance here for Spring, we definitely took pause. And Wella Professionals global creative director Eugene Souleiman noticed. “It’s good clothes, bad hair,” he admitted, explaining that his goal was to counterbalance Som’s “very rich-looking” collection with something deliberately “distressed, vintage…and patchy.” So he collaborated with Wella color ambassador, Aura Friedman, to work mineral-hued dyes—tourmaline, amethyst, teal, denim, and dusty rose—into a series of long weaves. “I wanted it to feel very spontaneous,” Souleiman said, gluing the hairpieces into “unusual” parting patterns while prepping strands with Wella’s Ocean Spritz Beach Texture Spray to create a matte feel. “It’s meant to be visual, not technical,” he insisted, pointing out that application is key when it comes to keeping pops of color from looking less contrived, and more “tough and cool.”

Makeup artist Tom Pecheux also had juxtaposition on his mind. Describing Som’s clothes as “more grown up,” Pecheux was intent on keeping faces playful. “When you become an adult, you do everything for a reason; kids do everything for no reason. Like, [their] drawings are amazing,” he said, explaining the thought process behind the finger-painted, “innocent” pastels he used on models’ eyes. Dusting lids with MAC’s forthcoming Eyeshadow in Sunshine, a sunny yellow, Pecheux applied another wash of pigment through the crease in varying shades of orange, blue, green, pink, and mauve. As a finishing touch, he left a darker thumbprint right below brushed-up brows, using a more concentrated dose of one of five corresponding MAC Paintsticks. Mouths were kept nude with varying slicks of MAC Lipstick in Luxe Natural and Posh Tone. As far as who got what eye-shadow combination, Pecheux left that to models’ whims. “As soon as it becomes too studied, it loses the innocence.”
Source: stylebistro.com, style.com, bellasugar.com

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13-09-2012
  57
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Altuzarra S/S 2013
Makeup: Tom Pecheux
Hair:
Paul Hanlon



Quote:
“Very French,” “So Chic”—And Approachable!—Beauty Backstage At Joseph Altuzarra
September 9, 2012

“I don’t want to create jealousy,” Tom Pecheux said backstage at Altuzarra, “but [Joseph's] definitely in my top three.” The famed face painter was so transfixed with the designer’s Spring collection, in fact, that recollections of the makeup test were a little fuzzy. “I don’t 100 percent remember [Joseph's] exact words [at the test] because I was hypnotized by his clothes,” Pecheux admitted. He did manage to retain a few key objectives, though. “We wanted the girls to be extremely sophisticated and perfect, but in a simple way.”

This translated into a classic Catherine Deneuve-meets-Yves Saint Laurent face treated with MAC Face and Body Foundation and emphasized with a “very French” accent in the form of a navy, not black, stroke of eyeliner. “It’s royal blue, and I think it’s so chic,” Pecheux clarified of MAC’s Technakhol Pencil in Auto-de-blu, which he drew along models’ upper lash lines. “No wings,” he reminded his team of the lines’ elongated ends, which he wanted to be straight rather than turned upward. “I didn’t want any retro feeling,” Pecheux explained.

When asked why minimalism is emerging as an early trend at the shows in New York, Pecheux noted that “you don’t want anything feeling too heavy, because life is anything but light right now,” referencing the American and French elections and the European financial crisis. “In a way, people want to do less.” Paul Hanlon was on a similar tip, as he became one of many voices to reference Helmut Newton’s special brand of nineties-era minimalism this week, which he mixed with clean, precise equestrian- and Japanese-inspired lines. “But it’s very simple,” the coiffing star stressed of the sleek side parts he prepped with Frédéric Fekkai Full Blown Volume Styling Whip, gathered into a low ponytail that he coated with its Sheer Hold Hairspray for a flat-lacquered effect, and wove into what he called a “half-bow,” not a bun. “A bun would’ve been a cop out.”

Hanlon concurred that requests for a certain kind of subdued beauty have definitely been bandied about by designers so far this season—which is a good thing for people looking for an entry point into the world of high fashion. “Sometimes, when there’s a reference in the look, it can be a bit untouchable; when it’s simple, it makes you believe you can be that woman”—a woman, it’s safe to say, everyone in attendance was envisioning themselves as by the time Altuzarra’s finale hit the runway.
Photo: Luca Cannonieri / GoRunway.com
Source: style.com

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13-09-2012
  58
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Edun S/S 2013
Makeup: Tom Pecheux
Hair: James Pecis



Quote:
September 11, 2012
Backstage at Edun Spring 2013

“A clean youthful, rock ’n’ roll type of girl” was how Tom Pecheux, working for MAC Cosmetics, described his makeup look for Edun’s collection.

Using his fingers, Pecheux prepped the skin with MAC Comfort Cream Mineralized Moisture SPF 15 to provide natural coverage. To showcase the cheekbones, he used Sculpt and Shape Powder in Bone Beige. “I don’t think it’s about the makeup, “ said Pecheux. “I think it’s about the cool girl attitude on the runway.” To complement that attitude, Pecheux applied Feline Kohl Power Pencil to the outer corner of the eye in a “v” shape to connect the top and bottom lashes. Mineral Rich Lipsticks in Posh Tone and Luxe Naturale were applied to the lips.

“The inspiration for today is model’s day off,” said James Pecis, lead hairstylist for Bumble and bumble. Pecis added a couple of hair extensions and applied Bumble and bumble’s Thickening Spray to each model’s hair to create a consistent texture. Pecis also used the humidity from backstage to shape the hair.

To finish off the look, Essie’s nail polish in Jazz was applied to the each girl’s nails.
Source: stylebistro.com, wwd.com

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21-09-2012
  59
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MaxMara S/S 2013
Makeup: Tom Pecheux
Hair: Luigi Mureno



Quote:
September 20, 2012
An 'Enigmatic, Cool' Look at Max Mara

MILAN — Makeup artist Tom Pecheux created what he called a "technique-driven, ethnically-sourced" look for Max Mara's spring 2013 collection using MAC Cosmetics.

Models’ faces were massaged and then moisturized with Mineralize Charged Water Moisture Gel and Fix+, followed by a light foundation layer, set with Mineralize Foundation Loose & Mineralize Concealer. Cheekbones were delicately highlighted with taupe-colored Strobe Liquid. Then, for an unaggressive eye, no mascara or eye pencil was used and makeup was applied with fingertips to create “an enigmatic, cool girl who’s as contradictory as the collection’s mix of prints, materials and colors,” said Pecheux.

Models’ eyelids shone with earthen colors from the six-shade Forecast Eyes in Top Soil Palette — which is launching in spring 2013 — overlaid with orange and pink shades from the Right on Orange Lip Palette. Myth Lipstick sealed pouts.

Hairstylist Luigi Mureno created a metropolitan, urban coif with an African appeal, envisioning "a sporty, spontaneous girl that throws her hair back in knots and twists."

He whipped John Frieda Luxurious Volume Thickening Mousse through brushed hair and gathered it into a single twist. Fabric bandanas in complementary colors were wrapped low over foreheads and the tops of models’ ears to create a retro Seventies and Eighties feel. Mureno teased wisps of hair from the bandanas before applying a final spritz of L'Oréal Elnett Extra StrongHold Hairspray.
Source: stylebistro.com, wwd.com

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25-09-2012
  60
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Marni S/S 2013
Makeup: Tom Pecheux
Hair: Paul Hanlon



Quote:
“Essential” Makeup and “Organic” Hair, Backstage At Marni
September 23, 2012 9:11 pm

Consuelo Castiglioni is known by the Marni faithful for a certain way with prints. And there was plenty of that in her Spring collection today, although patterns were well paced with plenty of solids as well. “I wouldn’t call it minimal,” the desiger’s longtime face painter Tom Pecheux surmised of the wealth of white, black and color-blocking at play; “I’d call it essential”—which prompted him to take the makeup in a similar direction. “We decided [it] should be very pure,” he said.

“Pure,” in this case, did not mean bare as it has at so many other shows this season. Instead, Pecheux started each girl off with one of his signature massages—a deep-tissue rubdown with Estée Lauder Daywear Advanced Multi-Protection Anti-Oxidant Cream and its Idealist Even Skintone Illuminator—followed by a finger-blending of MAC Studio Sculpt Foundation, which provided a “healthy, glow-y” base. “We are using our fingers to melt everything” he elaborated of the “fresh” color that was applied to cheeks using a combination of MAC Cremeblush in Posey and its red-tinged Mineralize Rich Lipstick in Lushlife. A slightly darker incarnation of the transparent rouge hue appeared on eyes as well as Pecheux smudged MAC’s Mineralize Rich Lipstick in Glamour Era, a plummy black, across lids, mixing it with its Cream Colour Base in Root, a dark brown, which he buffed into the lash line. Just the tips of lashes were treated with mascara to “tint” them before Pecheux set to creating filled-in, “creamy” brows and mouths that were stained with a layering effort of both aforementioned lipsticks.

Castiglioni gave Paul Hanlon carte blanche with the hair. “She wanted me to do my own thing,” the styling star revealed—which usually means some incarnation of a deconstructed coif with a worn-in texture and a downtown feel. This time around, it was way simpler than that. “A lot of girls that work with Consuelo wear their hair like this,” Hanlon said of the sweeping, “organic” ponytail-knot hybrids that were prepped with TIGI Bed Head Superstar Queen for A Day Thickening Spray and treated individually, rather than uniformly. To let girl’s personality shine through, nary an extension could be found at Hanlon’s station as he simply groomed Janice Alida’s newly shorn fade and effortlessly brushed Athena Wilson’s bowl cut to one side.
Source: stylebistro.com, style.com

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