Runway Make-Up Resort & S/S 2016

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Chanel Paris-Seoul Resort
Make-Up: Tom Pecheux.
Hair: Sam McKnight.



style.com

The Ultimate Red Lip: Discover the Duo Behind the Beauty Look at Chanel Resort
The questions we had the second the nearly neon pouts came down the catwalk at Chanel’s latest Resort show in Seoul: What is it, and how fast can we get it on our lips? To re-create the look, the house suggests a combo of Chanel Le Crayon Levres Precision Lip Definer in Fuchsia topped with Rouge Allure Velvet Luminous Matte Lip Colour in L’Éclatante. Inspired by Eastern beauty trends as well as “cartoon characters,” makeup artist Tom Pecheux crafted “manga kewpies,” as Style.com’s Tim Blanks noted in his review of the collection. The face painter sought to blend what “Asian women are looking for” with a Western consumer’s desires by strategically adhering snippets of falsies in two places. “I used the lashes in the middle to create big, round eyes,” said Pecheux of the rectangular blocks centered on the lower lash line. “Western women look for the cat-eye effect, so that is why I put the lashes on the corners of the eyes,” he said of the second option. Two ways to wear your lashes plus a fresh, electric take on a red lip—we like to think of the finished package as a one-two beauty punch.

vogue.com

K-pop Beauty at Chanel Resort 2016: 3-D Braids and Doll Lashes
With its candy-colored, plasticine set design and bright, geometric prints, there was an overwhelming feeling of futuristic fun at Chanel’s resort collection today in Seoul, the Korean capital where the bubblegum beat of K-pop is king. But backstage, it wasn’t all dolly-lashes and 3-D braids in the shape of Minnie Mouse ears, although there was plenty of that to go around. “Karl [Lagerfeld] sent me images, photos, and paintings of traditional hairstyles worn by ancient Korean nobility,” confirms hairstylist Sam McKnight, who looked to the past when he molded synthetic black hair into a series of 120 beeswax-primed plaits that took on different shapes.

There were large triple-back buns and traditionally inspired crowns, which almost resembled a hat on show-opener Soo Joo Park; and then there was the crowd-pleasing, symmetrically woven Disney-like domes that model Charlotte Free sported on top of her natural, center-parted blonde locks that had been pulled back into a texturized ponytail. “It gave the overall effect of a cartoon,” McKnight explained of the whimsical manga (or manhwa, as it’s known in Korea) style that got a playful boost from makeup artist Tom Pecheux’s punchy pouts and center lash placement. The effect gave Lagerfeld’s cast of catwalkers the kind of wide-eyed glance more readily spotted on the anime set—not to mention the designer’s thoroughly entertained front-row guests.

 

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Christian Dior Resort
Make-Up: Peter Philips.
Hair: Guido Palau.



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French Girl Beauty Gets the Riviera Treatment at Christian Dior Resort
Paris might be the current home of French-girl cool, but it’s hot spots like Cannes, St. Tropez, and Nice that have long been destinations for bombshell beauty à la française. “It’s a legend that started with Brigitte Bardot,” said makeup artist Peter Philips backstage at Christian Dior’s resort show. “She came to the Côte d’Azur because it was the only place where she could be herself.”

Views of the French Riviera from the runway inside Pierre Cardin’s iconic bubble house today were awe-inspiring to say the least. And it’s no wonder that Philips mined the mythology of that storied landscape to complement Raf Simons’s curvilinear collection. With skin that was touched with little more than the first blush of summer, the models had a luminous glow.

That barely-there effect was achieved with Dior’s Star Fluid foundation as a base and a light dusting of Skinflash highlighter along the temples, nose, and cheeks. The natural flush was amped up with a rosy pink cream blush and minimal eye makeup: a single stroke of liner along the bottom lid and a coat of Diorshow mascara applied solely at the root. Afterward, he followed with a swipe of the company’s clear brow gel along the entire lash. “It’s like putting conditioner in your hair,” said Philips of the trompe l’oeil effect. “It enhances the lashes without making them shiny.” A good dose of Dior’s Lip Maximizer in the newest shade of sunkissed was painted on to lips and then blotted just moments before the models took to the runway—the resulting pout had vacationing French movie star all over it.

As for those tousled south-of-France beach waves? The trick to getting them right, said hairstylist Guido Palau, was as simple as letting them air dry before going over them with a fine mist of Redken Diamond Oil Shatterproof High Shine spray. “It’s the epitome of easy, natural texture,” he said.

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Beauty Plays a Supporting Role at Resort
Hot on the heels of Louis Vuitton’s Resort collection in Palm Springs, Dior staged its Cruise show on a sky-grazing cliff in the French Riviera. Despite being an ocean apart, many a parallel existed between the two productions—from a futuristic setting centered around a lavish pool (Vuitton showed at Bob Hope’s estate, while Dior opted for Pierre Cardin’s Palais Bulles) to models sporting candy-colored dye jobs (LV cast Fernanda Hin Lin Ly and her signature pink strands, whereas Dior opted for Yuan Bo Chao and her fiery red mane reminiscent of The Little Mermaid). In terms of hair and makeup, both fashion houses seemed to fully support a return to laid-back beauty. After a Fall ’15 season punctuated by side ponytails and kidney-shaped blocks of shadow (both seen on the Dior runway), it appears that pros were ready for a respite. “It was more about a feeling of relaxation,” said makeup artist Peter Philips of today’s finished package. “It was about being in this amazing bubble house and playing with the space, light, and the fact that you’re so close to the Côte d’Azur.” The face painter could have very well gone in the direction of Brigitte Bardot or any other recognizable French beauty icon, but in tandem with such an extraordinary feat of architecture and a plethora of prints (including a beach-friendly interpretation of plaid), “conceptual makeup or a color statement” could be distracting. “It could become very ’60s or Barbarella or futuristic,” he explained.

Instead, the makeup maestro devised an “inner glow” rather than a complexion that looked sun-kissed or tan. At the base, Dior Diorskin Star Foundation was employed to “cover” any imperfections and lend a luminous finish to catwalkers’ faces. Next, Diorblush Cheek Stick in Cosmopolite Rosewood (available in August) was dabbed onto apples before a highlighter was tapped along cheekbones and on the center of lids. To avoid any harsh lines and give the impression that models like Greta Varlese, Julia Nobis, and Mica Arganaraz earned that hint of warmth by spending a few carefree days on the sand (slathered in SPF, of course), Philips avoided powders and opted for cream formulas that would seamlessly blend together with a sponge or fingertips. Eyes were kept neutral via Dior’s Eye Reviver Illuminating Neutrals Eye Palette, and lips were topped off with the brand’s Tie-Dye Edition Lip Maximizer in Beige Sunrise for “radiance” rather than a “glossy shine.” Arches were defined with the Diorshow Brow Styler in Universal Brown (an ashy shade that suits almost any hair color), then emphasized with the Diorshow Brow Styler Gel (on shelves in June) for texture. “It’s almost like washing your hair with a very rich conditioner—it lends brows a touch of shine,” Philips said. To ensure that inner glow stayed put as models soaked in some rays between shows, Philips applied the makeup in thin layers—“like a mille-feuille”—then blotted and applied a bit of sheer powder across the T-zone if needed.

The overarching lesson learned thus far from the SoCal to the south of France: Beauty should play a supporting role, not steal the spotlight.

 

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Louis Vuitton Resort
Make-Up: Pat McGrath.
Hair: Paul Hanlon.

California Dreamin’: See the Many Makeup Looks From Louis Vuitton Resort
In sharp contrast to the pre-event models in colorful maquillage and candy-colored strands parading around the late Bob Hope’s sprawling Palm Springs estate, the hair and makeup seen on the lengthy catwalk was significantly pared back. With Nicolas Ghesquière citing the cult ’70s film 3 Women—the concept of which came to writer and director Robert Altman in a dream—as one of the inspirations for his Cruise collection, it seemed only natural that the beauty should follow suit. Rumpled waves (crafted by hair pro Paul Hanlon) floating in the desert breeze were reminiscent of the childlike Pinky Rose, the character played by a young Sissy Spacek. Fresh, subtly sun-kissed faces devised by makeup guru Pat McGrath were equally as unfettered, save for a handful of girls who had surrealist white dots framing their brows. Others displayed the same dotted accents—this time done in black—just above the creases of their eyes (perhaps to produce the wide-eyed effect exhibited by Shelley Duvall in her role as the self-assured Millie Lammoreaux, or simply to mirror the many studded pieces seen on the runway). And the graphic shapes and colors swathed across greeters’ complexions—transforming women into living art displays (and Instagram fodder)—seemed to be a nod to the savage murals Willie Hart (actress Janice Rule) painted along the sides of drained pools. Together, this trio of looks produced a package worthy of the big screen. But in comparison to 1977 (when 3 Women was released), those not sitting front-row watched all the action go down via live stream instead of heading to the movie theater.

 

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Max Mara Resort
Make-Up: Georgina Graham.



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How to Achieve a Post-Workout Glow Without Hitting the Gym
Boxing has unquestionably permeated the Zeitgeist. From the rampant popularity of the Floyd Mayweather/Manny Pacquiao fight on Pay-Per-View to the coveted Alexander Wang boxing gloves at H&M to a showdown between Karlie Kloss and Taylor Swift in the singer’s “Bad Blood” music video—it seems everyone is getting in on the ***-kicking sport. A studio dedicated to burning calories in the ring, Shadowbox, even opened this week in New York City to cater to the legions of women wanting to follow in the footsteps of Gigi Hadid and Adriana Lima, who continually tout the athletic activity’s calorie-burning and body-shaping powers. And Max Mara’s Resort runway in London today was no exception.

Boxing-mania is alive and well across the pond, with Max Mara’s models wearing mink headgear down the runway. Fur equipment is certainly the epitome of luxury (and definitely one-ups the wares currently offered in the athleisure category), but it’s not exactly breathable—hence the dewy complexions on the catwalk. In addition to influences like ballet, Noël Coward, and flowers after the rain (all references cited by creative director Ian Griffiths and stylist Sissy Vian), makeup artist Georgina Graham said the goal was to convey a “sporty, healthy chic, young, fresh, and optimistic-but-cool mood.” To achieve the effect, the pro gave “mini facials” backstage by massaging Balance Me Radiance Face Oil into complexions, then covered any blemishes with concealer. Lashes were left bare, while MAC Cream Colour Base in a red tone (try Premeditated) was washed horizontally across cheeks and the bridge of the nose to “make it look like the girls were flushed from exercise,” Graham explained. Arches were brushed up and set in place with a clear brow gel. For a “slightly damp” finish, the face painter highlighted the top of the cheekbones, eyelids, and Cupid’s bow with Cream Colour Base in Pearl before spritzing facades with Prep + Prime Fix +. “I told a buyer that it was like spraying orchids in a greenhouse!” Graham quipped. (Apropos, seeing as the RHS Chelsea Flower Show is the other event on the buzzing social calendar in the Big Smoke.)

Though we don’t plan to enter the ring wearing fur, we’ll gladly pair one of the knockout floral prints in the collection with a post-workout glow any day of the week.

 

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Gucci Resort
Make-Up: Pat McGrath.

Say It with Glasses: Gucci’s Geek Chic Resort Beauty
Forget sultry smoky eyes or blazingly sexy lacquered lips. Designer Alessandro Michele’s Gucci girl for resort was no midnight viper but rather a romantically geekish beauty who spends her days eternally perusing the aisles of the local library circa 1967. Throughout the fashion house’s show, held downtown today in the Chelsea gallery district, models stepped onto the runway in deliberately retro glasses, ranging from leaf-embellished cat-eye frames to large square shades and paired with knit berets that were worn slightly askew for an aesthetic reminiscent of the bookish beauty of Faye Dunaway in Bonnie and Clyde. Of course, that’s not to say that they were lacking in sensuality. Offering a lesson in how to go from geek to chic in an instant, makeup artist Pat McGrath added a soft sheen to the skin and a pretty flush to the cheeks using a wash of the fashion house’s pink powder and a few strategically placed highlights on the face.

 

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Stella McCartney Resort
Make-Up: Gucci Westman.

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The New Look of Festival Beauty Backstage at Stella McCartney Resort 2016
When packing for Bonnaroo, Glastonbury, or beyond, according to the backstage beauty at today’s Stella McCartney 2016 resort show, the only thing you’ll want to bring with you is eyeliner. Drawn in multiple variations by makeup guru Gucci Westman, the flicks of jet black Chanel liquid liner and pencil were customized to each model’s eye shape. Delineated in strokes both thin and thick, some liner approximated the look of false lashes and a cat eye via a double swoosh at the outer corners, while others, drawn along both top and bottom lashes, crisscrossed at the eyes’ edges to dramatic effect that rendered mascara unnecessary. “It’s a cool girl going to a music festival,” said Westman of the eye makeup. “Not too perfect.”

Next came Westman’s approximation of the “nice clean skin” that usually results from a day spent on a field under a cloudless sky: a humidity-induced glow was re-created with highlighter on the cheekbones and a tawny swirl of NARS Bahama Velvet Matte Lip Pencil used as blush—a sun-kissed effect enhanced by a subtle smattering of faux freckles. Paired with hairstylist Frank Rizzieri’s athletically appealing low ponytail and manicurist Madeline Poole’s sheer nude nails in Sally Hansen’s Almost Almond—among the most chip-friendly polishes we’ve encountered—the look was made to take you from early afternoon acoustic sets to late-night headliners, only getting better as the hours go by. What could be more rock ‘n’ roll?.

 

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Marc Jacobs Resort
Make-Up: Pat McGrath.
Hair: Guido Palau.



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The Two Beauty Staples That Will Never Get Old
If there’s one thing we’ve learned backstage, it’s that an LBH (little black headband) works whether you’re on the job (makeup artist Pat McGrath is rarely seen without the strand-taming staple); going to an art gallery (as seen at Proenza Schouler’s Fall ’15 show); perusing the Palazzo Della Civiltà Italiana in Rome (the inspiration behind the set and architectural silhouettes at Fendi); or nibbling a croissant at a French brasserie (demonstrated by the ladies who lunch at Chanel). And today at Marc Jacobs’ Resort presentation, hair pro Guido Palau made yet another striking case for the simple accessory. Inspired by a “Martha Graham off-duty dancer” and an “’80s downtown girl who would use fabric to wrap and knot her hair,” the mane master slicked back strands into a neat pony at the crown using Redken Move Ability 05 cream-paste. Then he twisted the tail into a “punky” chignon to lend an eccentric edge to jewel-encrusted coats and dresses. Bold, ebony brows—reminiscent of Graham’s expressive arches—created by face painter Diane Kendal completed the package. While we imagine the cool skirtsuit sported by Amber Valletta or mirrored sweatshirt worn by Katlin Aas doesn’t come cheap, a brow pencil and a black band should be well within every woman’s budget.

Redken Move Ability 05, $19, Buy it now

Scünci Effortless Beauty Extra Wide Headbands, $5.50 for five, Buy it now

Marc Jacobs Beauty Brow Wow Defining Longwear Pencil in Dark Brown, $25, Buy it now

 

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Moschino (S/S 2016 Mens)



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Giambattista Valli Resort

From left: Lipstick in Bianca B, Margherita, Tats, Charlotte, and Eugenie; Crystal Glaze Gloss in Lena​

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You Can Afford to Buy Every Piece in the Newest Giambattista Valli Collection
Just when you think you can’t possibly justify another lipstick purchase, MAC comes along and dangles an irresistible new line in front of your face. This time, the proverbial carrot is a sophisticated collection created by Giambattista Valli. The designer channeled his endless fascination with flora and color—two things not “considered cool by the fashion industry” but always beloved by women, as noted in Style.com’s recent review—into a bouquet of five matte lipsticks. (For those who can’t resist a touch of shine, a Crystal Glaze Gloss dubbed Lena lends a pearlescent finish to lips.) From whitish-pink (Bianca B) to a sexy black cherry (Eugenie), the romantic range of shades plays off the soft blush, vibrant coral, and classic crimson found in many of the pieces for Resort and epitomize the “DNA of GBV,” Valli explained. “I am inspired by flowers from all around the world. If I’m in Kyoto, it’s cherry blossoms. Sometimes in New York you can see the most beautiful tulips. Or in Paris there are roses that feel very Marie Antoinette.” While not everyone is lucky enough to don the designer’s sumptuous creations (like the couture confection Rihanna wore to the Grammys), adding at least one tube to your cosmetics wardrobe is certainly within reach. And perhaps nobody sums up the power of lipstick better than Valli himself: “Makeup not only completes a look, it often makes the look.” We couldn’t agree more.

Lipstick, $17.50 each, Gloss, $23; available July 9 at maccosmetics.com

 

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Jsong...Way New York



livingly.com

 

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BCBG Max Azria | New York
Make-Up: Val Garland.
Hair: Orlando Pita.



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By Ellen Thomas

Beauty backstage at BCBG Max Azria was clean with a flower-child-turned-skater-girl vibe.

Inspired by “the quintessential California girl that is effortlessly cool,” Val Garland for Temptu used the brand’s new wireless Airpod Foundation to apply a seamless mist all over the skin, atop a perfected base thanks to Base Smooth & Matte Primer. For a subtle contouring effect, Garland used Airpod Foundation in Champagne around the eyes and bronzer in Warm Glow on cheekbones. Eyes were given a dose of rocker sensibility with black kohl eyeliner around the inner rims and several layers of mascara, added with a fan brush for a clumpy effect.

Hair, inspired by a woman’s natural texture after a day at the beach, was imagined by Orlando Pita for TRESemmé. To create the effortless wet look wave, Pita left hair to air dry in sectioned-off buns, which left behind a natural-looking bend once let undone. Using the brand’s Make Waves Shaping Cream and Shine Creating Serum, Pita pre-wet the two-inch hair sections, carefully twisting them into place and securing with a hair pin. “It’s not a curling iron curl,” said Pita, noting that the fresh, almost kinky waves are a style “mom would never do.” After all, “she’s a cool California girl.”

Barely-there nails, done by Cinnamon for Zoya, were meant to be as close to natural as possible. Manicures were polished with the Zoya Buff Perfector and Satin Seal Top Coat. For a glossy look mimicking toes dipped in water, pedicures were done in Avery, a beige-hued nude.

 

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Betsey Johnson | New York
Make-Up: Kelly Thompson.
Hair: Rafe Hardie.





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By Ellen Thomas

Beauty backstage at Betsey Johnson was eccentric and varied, to say the least.

This season’s retrospective show marked Johnson’s 50th year working as a fashion designer, and three separate beauty looks were inspired Johnson’s evolving personal style through the years. Despite the decades, “she’s stayed true to herself,” said lead makeup artist Kelly Thompson for Kryolan. “She’s the real deal.”

The first look was retro-inspired glam and hinted at Johnson’s current style. Thompson used Kryolan Eye Shadow Variety Palette in V3, a range of neutrals, to create an allover black eyelid. She finished it off with Multi Gel Glitter in Gold for shine and sparkle, and two layers of Stargirl S1 faux eyelashes for a dense, dramatic emphasis. Bright-red lips were painted with Lipstick Matt in Eos and finished with Multi Gel Glitter in Red for more sparkle. Hair, imagined by Rafe Hardie for Sexy Hair, was inspired by vintage, 1940s movie star waves — a “modern take on a classic look.” Sexy Hair Smooth & Seal Aerated Anti-Frizz Spray was used before hair was curled with both 1-inch and 1 1/4-inch curling irons, then set with Healthy Sexy Hair Soy Touchable Hairspray. Danielle Candido for Morgan Taylor Lacquer created a high-sparkle red nail using one coat of Pretty Woman, a vibrant pink, followed by two layers of New York State of Mind, a dark glitter.

For the second look, inspired by Johnson’s style in the Eighties, Thompson used Kryolan Coloring Vision Palette in Vivid to create the a rainbow of color — literally — on and around the eyelids. Lips were “straight color”, filled in with Lipstick Matt in Nike, a vivid hot pink. Skin was kept completely matte but eyes were given some shimmer thanks to a highlighter — a nod to “textures of the time.” For hair, Hardie created straight roots and crimps all the way down, using two different micro crimpers for a zig-zag effect. Big Sexy Hair Push Up Thickening Finishing Spray was used on ends for volume and width. “I went to beauty school in the Eighties, so I know how to crimp,” said Hardie. Candido finished the look with a graphic Mod-print black-and-silver manicure using Morgan Taylor Lacquer Little Black Dress as the base and Could Have Foiled Me, a silver metallic, as the accent.

Finally, a third look represented Johnson’s punk rocker style in the late Sixties and Seventies. Thompson used Kryolan Illusion Palette to create a white eye with a deep black crease. Lips were glossed over in silver with High Gloss Pearl for a “really shiny” effect. Hardie created a Debbie Harry-inspired updo to match the makeup, first curling hair with a two-inch barrel iron, then adding texture with Healthy Sexy Hair Soy Paste. Nails were marbled and psychedelic — a combination of bright pinks and blues from Morgan Taylor Lacquer.

 

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Givenchy | New York
Make-Up: Pat McGrath.



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vogue.com

Makeup Artist Pat McGrath on the Story Behind Givenchy’s Extraordinary Face Masks
by CATHERINE PIERCY

What will Riccardo Tisci do next? This was the question on the minds of the designer’s loyal fashion fans as they settled into their seats along the Hudson River pier at tonight’s Givenchy show—and that growing spirit of anticipation didn’t stop at the neck: On the heels of last season’s darkly romantic Victorian collection, where models’ elaborate facial jewelry culminated in a heart-stoppingly provocative expression of beauty that nearly stole the show, the idea of upping the proverbial ante seemed like a bit of a tall order. And yet leave it to Tisci, always the contrarian, to suddenly flip the script: With the dim of the lights and the clang of a bell, Mariacarla Boscono stepped onto the runway—her hair falling straight over her shoulders and her skin stripped almost bare.

Just a few hours earlier, makeup artist Pat McGrath had foreshadowed the sharp change of pace backstage. “Riccardo wanted a softness, but also a strangeness,” she said of the decision to treat skin with a bit of concealer, a swipe of brown mascara on the upper lashes, and a “grayish brown smolder of shadow around the eye” before bleaching the brows blonde for a supernatural effect. Only two girls—Joan Smalls and Imaan Hammam—were being prepped to wear a trace of color in the form of a vinyl-lacquered deep red lip.

But then what to make of the velvet shrouded area tucked discreetly in the far corner, where makeup assistants were slipping in and out of a hidden room holding trays filled with sparkling embellishments? With a sweep of the curtain, McGrath revealed five more models that had been designated with a special purpose. Each one sat patiently as a team of artists used beads and fabric to construct the elaborate ivory-color face masks that McGrath had dreamed up with Tisci for the occasion over the course of the previous week; still another model was having a series of gold and black graphic metal slivers crafted into a gleaming headpiece that wrapped around her ears.

“Spray work, layer upon layer of jewels, bits of lace taken from the dresses,” said McGrath, ticking off a list of materials that were being layered onto the skin with professional adhesive in an upwards-of-five-hours-long process to create a look that was “romantic, organic, and all about pattern.”

True to form, when Tisci’s masked models finally stepped onto the runway—their facial constructions as fiercely feminine and ethereal as their couture statement dresses—they brought the fashion house’s otherworldly vision of beauty brilliantly to life.
For those looking to re-create Givenchy’s stripped-back skin and bleach brows for day, here are the products you’ll need to get the look:

- Givenchy Mister Light Instant Light Corrective Pen, $35.
- Givenchy Ombre Couture Cream Eyeshadow in Taupe Velours and Gris Organza, $24 each.
- Givenchy Phenomen'Eyes Mascara in Deep Brown, $31.
- Jolen Creme Bleach, $6.

 

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Hervé Léger | New York
Make-Up: Val Garland.
Hair: Orlando Pita.





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By Ellen Thomas

For Hervé Léger’s 30th anniversary show, the look was fresh-faced tomboy with strong brows and playful hair.

“The clothes are body con, so we needed a cool look — you can’t have sexy makeup with sexy clothes,” said lead makeup artist Val Garland for MAC Cosmetics. Garland used foundation and concealer as needed, and enhanced brows with MAC Big Brow Pencil for an emboldened natural look. Garland mixed together Strobe Cream in Peach, Gold, Silver and Red and applied on the face for a “3-D strobe” luminous effect. Using the same Big Brow Pencil, Garland shaded under the eyes and across the lid for more depth. “Daria Werbowy would wear this look,” she said.

Orlando Pita for TRESemmé led hair, a soft braided ponytail pulled across the crown of the head. It was still “a strong statement” in line with Hervé Léger’s “controlled, sharp tailoring,” but Pita noted that this style contained a certain fluidity meant to mark the more “relaxed” direction the brand is taking in its thirtieth year. “It’s a little playful, a little youthful, but still with style,” said Pita. Starting with wet hair, Pita took TRESemmé Max the Volume Root Lifting Cream from roots to ends and blow-dried with a round bristle brush. Parting hair at the side, he began French braiding down across the forehead, letting a few strands fall out for added texture and that aforementioned “fluidity.” He secured the braid in a low ponytail at the nape of the neck and set with hairspray.

Cinnamon Bowser for Zoya led the nail look, a classic sheer pink done in Zoya Grace.

 

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Rebecca Minkoff | New York





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Alexander Wang | New York
Hair: Guido Palau.



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How to Pull Off an Alexander Wang Haircut: Bangs, Bobs, and More at the Designer’s Spring Show
by MACKENZIE WAGONER

It was something of a homecoming for Alexander Wang. Before taking his final bow at Balenciaga early next month, his 10th anniversary show for his namesake label reminded tonight’s New York audience of what he does best—make cool downtown girls look even cooler. Only this time around, the Wang Gang was more eclectic than ever. Gone were the uniform Erin Wasson–inspired air-dried waves of his early collections. Instead, Anna Ewers, Binx Walton, Kasia Struss, and Mica Arganaraz stomped down the runway in a range of easy styles—from bedhead texture hanging loosely over their shoulders, to knots fastened into sporty sprays at the nape, and fuzzy waves falling over their eyes—not without a few major cut and color transformations, of course. “There’s not one singular idea of beauty anymore,” said hairstylist Guido Palau backstage, pointing out the height variation in the model lineup (runway sophomore Molly Bair clocks in at a towering 6 feet). “It’s really about bringing out your personality.”

A look around the room was proof that he had done just that. The girls were beaming. “What we’ve done is emphasize [their natural hair] with [Redken Wind Blown] . . . or a pair of scissors.” Through a tousle of fingers, a snip of length, fringe, or buzzed reshaping, Palau sought to give an edge to each model’s personal style. For Irina Kravchenko, a new set of micro bangs had her calling home to the Ukraine. “I feel so fresh!” she said. Peyton Knight shook off nearly a foot of her wavy brunette for a freshly shorn shag—and as divergent as the style may have been, “It makes me feel more me.” Just before making her runway debut, newcomer Lucinda Schaefers said goodbye to six inches of length, for a look that she described simply as “stronger.” After the last girl exited the runway, Wang played a video montage celebrating his whirlwind career, reminding us, in his words, that when it comes to hair or work, “It’s not worth it if you’re not having fun—you won’t get to enjoy it.”

 

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Christian Siriano | New York



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