AlwaysNicky
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the Lv gown looks great on her.she is so cute in it!
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intotheglossFor Michelle, I really felt like she hadn’t worn any Louis Vuitton, and I love Louis Vuitton—it has such a good spirit. Michelle was in Paris for the premiere of My Week With Marilyn two weeks ago, and I wanted to work with a French designer so that way we could do a fitting while she was in Paris and it would give us enough time to make the dress and make it perfect. It was orange—I guess people are saying it’s coral; it’s orange. [Laughs] Vuitton made it for her—that’s the thing about the Oscars, is that you can do everything custom. We get sketches from all different designers but I just felt like this one was so modern—I liked that it had tons of details but it wasn’t sparkly or shiny, it was matte. It had so much going on, but it felt young and fresh…light. All the beaded dresses didn’t feel modern to me right now. But watch I’ll probably do beaded next time, and people will go, ‘You said beaded wasn’t modern!’ [Laughs] But I change my mind; I change my mind all the time. It’s important to Michelle that there’s a little bit of poetry and some feminine, small details, and it had that while still being super structured and flattering and all those things.
What I usually do is make a big zip folder of inspirations, and email it to everyone [hair, makeup, manicurist]. And I make multiple ones, like, ‘If you wear this dress, what would the inspiration be.’ It’s also for attitude—I send ones to designers too when we’re asking for sketches, like, ‘This is what we’re inspired by.’ For Michelle, the inspiration was always that we’d do a contrast color lip—we were always saying red, red, red, red…and then I saw the Jil Sander show—Raf Simons last Jil Sander show—and it was that completely clean face that had this golden matte look to it, with a vibrant lip, and I sent it to Michelle at like six in the morning Sunday and said, ‘Makeup inspiration?’ and she said yes. So we gave that to Angela for the inspiration. It was very little eye, just lashes, with a really golden matte glow, and a vibrant lip. But the lip changed—a red lip would have been boring actually; I’m glad we didn’t do a red lip.
And at Michelle’s hotel, Chris McMillan just cut bangs for me—he did it when we were getting ready for Indie Spirits—so I had to get a little touch-up, and he kept saying, ‘I’m banging Kate in the other room, Michelle.’ [Laughs] Oh and Busy [Philipps] and I were talking about going to this store in Silverlake called ReForm School —there’s an artist there who will do custom nude portraits of you, that only cost like $100…they look like funny, not at all sexy—sort of Alex Katz-style. A little tiny painting of you naked—we were all saying how we want to go do that. So much better than sexting, giving this really weird little nude painting of yourself. [Laughs]”
And, a word on Williams’ softly gilded makeup…
Angela Levin: I’ve known Michelle for a quite a while, and this season I did her makeup for all the awards—the Golden Globes, the Spirit Awards—and she is the most adorable, delicious human being. I always start with what she’s wearing and where she’s going. But you always kind of save the best for last—knowing there’s going to be the Oscars. I kind of felt she’d get an Oscar nomination right from the get-go. With Michelle she has this beautiful pixie cut so we know what the hair’s going to be. And of course the hair color is also a consideration, and you kind of take it from there. The thing about Michelle’s personality is that she’s a very warm, gentle human being, so I never want to apply makeup that would be heavy or hard. There’s always a light, effortless feeling every time. So we play with different eye shadows but never really go into heavy liners or anything. I think of course, with somebody who has such light skin—which of course is the background to everything you do—you do want to emphasize the eyes, but I sort of use a rounder motion with my application rather than a straight line. Nothing is overwhelming—everything has a bit of a diffused, well-blended look. Her foundation is Vitalumière compact by Chanel, and for her eyes I used the Chanel eye shadow quad called Mystic Eyes. I used all the colors, and applied it all fading into each other. And then for a pop of extra glamour on the eyelids, I used a touch of single shadow called TigerLily—it’s sort of an orange-y golden sparkly color. That was the pop for the eye. The lip color is two lips blended together—they’re both Rouge Coco, one is called Paradis and one is called Destinée. I scraped those out and gave her a little jar of it to take in her bag, plus a dry mascara wand for the eyebrows and a cotton swab to correct any eye makeup.
When not “banging Kate in the other room”, McMillan blew dry Williams’ hair using Sebastian Professional Mousse Forte, and finished it by sweeping on some Couture Colour Pequi Oil Treatment. Williams’ nails got the HIPPxRGB treatment…more on that in a moment………