Runway Makeup S/S 12
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In other words
Join Date: Jul 2005
Makeup: Peter Philips
Hair: Guido Palau
Nails: Marian Newman
by Catherine Piercy
Hair, Guido Palau for Redken
Makeup, Peter Philips
Nails, Marian Newman for Minx
For Guido Palau—the same hairstylist who created the headpieces for the Metropolitan Museum of Art Costume Institute’s Alexander McQueen exhibit this year—the decision to craft a series of embellished lace hoods for the runway felt somewhat organic. “I had the Met in my head and then I had a conversation with Sarah [Burton],” said Palau, whose long relationship with the house has given him a near intuitive sense of its above-the-neck aesthetic. The 34 exquisite pieces he designed—in a palette of primarily black, white, and gold—were subsequently produced by the designer’s team and matched carefully to each look in the collection. In keeping with Burton’s softer, more feminine direction for McQueen, they possessed a romantic quality, slipping on over the head, dipping over the eyes, and clasping gently around the throat.
“Makeup,” said Peter Philips, pausing for a beat before breaking into a smile. “Well . . . there’s not much.” With Palau’s hoods eclipsing so much of the face, he set to work creating “nude skin with a semi-matte finish” on the face and body.
Working with remarkable speed alongside Minx founders Janice Jordan and Dawn Lynch-Goodwin at a long table backstage, Marian Newman prepped premade pink and ivory tips with holographic metallic, matte silver, and gold foil based on Burton’s descriptive references. “Mother-of-pearl” and “standing at the sea,” she said of the buzzwords that inspired their blurry, marbleized finish.
Working in the same space where Alexander McQueen held his spring 2009 show, Palau’s team meticulously braided models’ hair into neat, tight cornrows that lay flat against the head. The goal was to make room for his slim cloth hoods, which contained a hidden zipper down the back. “The lace is quite sheer so the girls can see through,” he explained—a good thing given their towering platform shoes.
Philips smoothed Chanel Pro Lumière foundation onto the face and limbs to even out redness and cover imperfections. To ensure the faint outline of a face just below, rather than anything “too alien,” he built up the brows slightly using a latex-based pro glue that simultaneously sealed the hairs in place.
Source: vogue.it, vogue.com
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