Beauty & Fashion
New York Fashion Week: Spring/Summer 2014
New York Fashion Week is more than what you see on the runway — it’s about what happens behind the scenes, after hours, and on the streets outside of Lincoln Center. In addition to the pros it takes to pull off a runway show — designers, models, makeup artists, hairstylists, manicurists, sound engineers, lighting crews, caterers, security — there’s also a frenzy of journalists, bloggers, photographers, fashionistas, celebs and fans buzzing about the event. Fashion editors Joanna Douglas and Jennifer Fox of Yahoo Shine caught these players in their element, as did members of our various Fashion Week groups. So live vicariously, and enjoy your front-row seat to Fashion Week!
Source : Internet
Backstage Beauty
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March 7, 2013 10:51 am
By the time the fashion pack arrives at Miu Miu, the unofficial finish line of a marathon month of shows, exhaustion and a certain degree of elation set in—the latter of which was enhanced by Miuccia Prada’s fun, colorful collection yesterday. Equally inspired were the adorable pigtail knots Guido Palau delivered backstage. “The coats are very heavy and very stylistic, and Miuccia wanted a ’small head,’ ” Palau said, using the industry term for sleek, close-to-the-scalp coifs, reimagined here with two “little bunches” secured below models’ ears. Prepping hair with Redken Hardwear 16 Super Strong Gel for a “very shiny” finish, Palau carved out deep side parts and separated strands into two sections, which he tightly braided and secured into little balls above the nape of the neck. “It’s very cute,” he concluded. And how.
Photo: Gianni Pucci / Gorunway.com
tags: Guido Palau, Hair, Miu Miu, Redken
“The braid is part of the language of the beauty here,” Guido Palau said backstage at Valentino—a language, it should be noted, that has garnered almost as much attention as Maria Grazia Chiuri and Pierpaolo Piccioli’s gorgeous collections for this house. (Red-carpet watchers will fondly remember the plaited coronets Palau constructed four seasons ago that made a seamless—and well-documented—transition off the runway.) “They really understand what women want with beauty,” Palau continued, explaining the design duo’s low-on-product, high-on-accessibility aesthetic—the “I could look like that” factor that comes with the soft, pure, innocent styles they so often request.
For Fall, Palau prepped strands with Redken’s Satinwear 02 Ultimate Blow-Dry Lotion before devising a center part and weaving a simple three-section braid through extended lengths that were slung over models’ left shoulders. Referencing Flemish painters, as well as nodding to the seventies and Victoriana, he fastened a thick black leather band around the head and over the ears for a “monastic” touch.
Pat McGrath worked off Vermeer’s Girl With a Pearl Earring portrait that the designers showed her for inspiration, focusing her attention on creating “a softness but a realness” to the face. “There’s always a certain level of color here,” she pointed out, going through a greatest-hits backlog of her work for Chiuri and Piccioli, which has included exquisite lavender and gray contours in the past. This season, although nails were lacquered with two glossy coats of cherry-red polish, McGrath was working with peach, rose, and beige hues that she traced through the crease of eyes, swiped across cheeks, and blotted onto lips, often layering with foundation to “tone everything down.” Powdering complexions to give them the matte, velvety, “put-together” finish we’ve seen so much of this week, McGrath added brown mascara just at the roots of lashes for subtle definition.
Photo: Luca Cannonieri/ Gorunway.com
tags: Guido Palau, Hair, Makeup, Maria Grazia Chiuri, Pat McGrath, Pierpaolo Piccioli, Redken, Valentino
Paris’ Grand Palais is appropriately named. The turn-of-the-20th-century venue is massive, and so are the Chanel shows that take place there every season. The fact that the audience here is perched in stadium-style seating presents an interesting challenge for Peter Philips. “We wanted something that is beautiful close by, but that you can read from a distance,” he explained of the process by which he and Karl Lagerfeld brainstormed a makeup look for Fall. Noticing the metallic threads that were woven into many of the designer’s tweeds, and the twinkling lights demarcating cities in the giant globe that sat at the center of his runway, the idea of using glitter “just came up,” according to Philips, who turned to 3-D eye makeup that utilized “jumbo” silver sparkles as a fairly festive solution to the problem.
It worked. Even from the cheap seats, you could see models’ lids flickering as they circled the world according to Chanel with pieces of sequins affixed close to their lash lines in an elongated shape, and in the lashes themselves. “We actually applied extra glue in the lashes so they get more faceted and catch in the light,” Philips revealed. Keeping skin semi-matte with Chanel Perfection Lumière Long-Wear Flawless Fluid Makeup, dusted with its Poudre Universelle Libre to contrast with the shiny texture on the lids, Philips added a warm flush with Chanel’s forthcoming cream blush, one of six new hues that will launch with corresponding Rouge Coco Shine lip colors this fall—including the transparent, deep berry-rose Instinct that Philips slicked onto mouths today. Nails were painted a similar color with the as-yet-unreleased Le Vernis de Chanel in Elixir. As a finishing touch, Philips drew a long line of its Le Crayon Khôl eye liner in Noir underneath the lower lashes to further ensure models didn’t disappear in the vast space. “It’s a combination between a technical solution and an aesthetic solution,” he said of the graphic element.
Sam McKnight’s “done, but undone” center-parted strands were a reaction to two additional graphic elements. “There are these chokers,” he said, referencing the wealth of necklaces that were placed over the back of models’ hair, creating an indentation. Prepped with Frédéric Fekkai Full Volume Mousse for a slight bit of texture and Magic Move for piecey-ness—”the white one, which is the creamiest one,” McKnight said of the popular sculpting cream—lengths were tucked into overcoats, blazers, and dresses, so all that remained was the illusion of a short-hair silhouette, a shape that was made even more distinct via a series of colored hats shaped like bobbed wigs with blunt bangs. Lagerfeld has always had a soft spot for the kind of short cuts that are making the runway rounds this season, often surrounding himself with cropped, house muses like Saskia de Brauw and Stella Tennant—the latter of whom showed up backstage just in time to get an impromptu trim from McKnight. Talk about a job perk.
Photo: Luca Cannonieri/ Gorunway.com
tags: Chanel, Frederic Fekkai, Hair, Karl Lagerfeld, Magic Move, Makeup, Peter Philips, Sam McKnight
Fashion month is a great place for beauty brands to put prototypes in the hands of their artists, to get the kind of professional feedback needed to make any tweaks before products go to market. So far, we’ve seen a few new launches we’re anticipating with more than a little enthusiasm, including Redken’s Diamond Oil Shatterproof Shine, which Guido Palau has frequently relied on to get Fall’s popular shiny, wet finish; Estée Lauder’s dark burgundy Pure Color Vivid Shine Lipstick in Hot Lava that Tom Pecheux debuted at Anthony Vaccarello; and the six new cream blushes—with matching lipsticks!—that Chanel plans on launching this summer (more on that in a bit). But we might be most excited about the MAC Pro Eye Gloss in Black Sea and Mother of Pearl that Val Garland used backstage at Giambattista Valli.
We first spotted the darker color of the buildable, glitter-flecked shine at Roberto Cavalli, where Lucia Pieroni was using it to add a “sexy, punky” feeling to the show’s requisite black smoky eye. Garland came up with a similarly innovative way to employ the multifunctional polish with an impressive glisten. “It’s a bit of nothing, but it’s also everything,” she said of the “cellophane simplicity” she managed to achieve by dipping an acrylic artist’s brush into the flat pot of product and swiping a squared-off strip from the outside of models’ eyes toward their temples and along the cupid’s bow of their lips. “We were actually going to do a red lip here, but it made the collection look ordinary,” she revealed, opting for something extraordinarily subtle instead. “It’s got a good stick on it, so it doesn’t move,” Garland continued of the gloss—which is a good thing to remember if you make a mad dash to procure one when it launches next year: It works best with the kind of “lacquered, no-hair-out-of-place” hair Orlando Pita fashioned for Valli’s presentation.
tags: Giambattista Valli, Hair, MAC Cosmetics, Orlando Pita, Val Garland
Phoebe Philo’s Céline show is one of the hottest tickets in Paris—so hot, in fact, getting backstage is a near-impossible task. But not if you’re Dick Page. The Shiseido artistic director of makeup, and longtime Philo collaborator, has been on face-painting duty here for seasons, including Fall 2013, which proved to be a big winner for the designer, thanks in small part to Page’s “natural, healthy, transparent beauty.” Here, Page provides a postcard from the trenches:
“It’s clean and pure. Lightly moisturized skin [with] a wash of foundation where needed to cover any blemishes or redness. I used dark brown concealer to shade around the lash lines—top and bottom—for a naturally shaded effect, and Shiseido’s eyebrow compact brushed through the brows to toughen them up. No mascara. Lips were treated with its Benefiance Lip Balm and muted slightly with a rose-beige camouflage concealer for a very natural lip finish. I did a little color toning on each girl individually, with beige/tawny/brown concealers applied with a fluffy blush brush across the cheeks, the bridge of the nose, and a little around the hairline, depending on the skin tone, leaving freckles and natural shadows [visible] under the eyes. The result? You don’t see makeup. You just see pretty girls in gorgeous clothes.”
tags: Dick Page, Hair, Makeup, Phoebe Philo, Shiseido
There was plenty to lust over at Givenchy. That jacket in look fifteen immediately comes to mind, although we are still thinking about nearly every single aspect of the exceptional forty-eight-piece collection Riccardo Tisci showed for the house—including that hair. “[Riccardo] called me in Milan and said, ‘I want to have a test with you and only you’—it was a test of eight hours,” Luigi Murenu recalls of the process by which he and Tisci, with whom he has worked since the designer started at Givenchy eight years ago, decided on the closely cropped, colorful coifs models wore down the runway. “Usually [the hair] here is very organic. But [Riccardo] wanted to bring the show to another level,” says Murenu. “When I arrived at the studio, the first thing he did was play me all the tracks of Antony and the Johnsons, and he told me, ‘It will be extremely emotional, and I want you to bring something sensitive to the hair.’”
So Murenu obliged Tisci with twenty different ideas that were “masculine but extremely feminine—not androgynous,” and, at Tisci’s request, “looked like there were little roses in the head.” The result was a number of tightly wound pin curls that Murenu and his team saturated with Kiehl’s Clean Hold Styling Gel and applied to every girl, no matter her haircut, completely sans extensions. “We used the length of Saskia [de Brauw] to the length of Isabeli [Fontana]—everybody’s natural hair!” he reveals of the deliberately flat swirls that were meant to have a “Victorian punk” quality, even though there was something seemingly thirties about the almost retro bathing-cap silhouette—those neon faux dye jobs aside. “Originally, it was without color,” Murenu admits of what ultimately became temporary shocks of sky blue, dark blue, orange, fuchsia, red, black, purple, and a light pink that was a real crowd-pleaser. “The girls loved it,” he maintains, pointing out that Natalia Vodianova was quite taken with her bubblegum-tinged locks, which went surprisingly well with Pat McGrath’s glossy red-burgundy-stained eyes and clean skin. She certainly wasn’t the only one: catwalkers like Magdalena Frackowiak and Isabeli Fontana kept their hair totally intact to hit the post-show party circuit. “It was extremely special,” Murenu muses. “We wanted to represent the woman who wants to dream, the people who appreciate the poetry of fashion” (to which we say, thank you).
Photo: Michelle Morosi/ Gorunway.com
tags: Givenchy, Hair, Kiehl’s Since 1851, Luigi Murenu, Makeup, Pat McGrath, Riccardo Tisci
Black cat-eyes—thin flicks of dark pencil drawn across the upper lash line—are a pretty standard maneuver for makeup artists hoping to incite a feeling of classic glamour. But what if you want to accentuate the lids while steering clear of that feeling entirely? “It’s all about the under eye,” according to Aaron de Mey, who used an elongated uptick of MAC Eye Kohl in Smoulder underneath the lower lash line, inside the water line, and in the root of the lashes to get the reverse effect at Kenzo—or a “punky” vibe, as he put it.
“It’s very futuristic maharaja,” de Mey said of the look, citing references ranging from Stanley Kubrick to India as he topped his hand-scrawled stroke with MAC Eyeshadow in Carbon to intensify the darkness of the pigment and its Fluidline in Blacktrack, which was used on the outer corners only to define the straight shape. “It looks strong, direct, and purposeful,” he continued of the graphic element that contrasted with Humberto Leon and Carol Lim’s incredibly rich, colorful collection—as well as skin that de Mey described as “icy” as he used a blend of its Cream Colour Base in Pearl and its Iridescent Powder in Silver Dusk to create dimension on the high planes of the face. Slicking MAC Gloss Texture across lids for a high-shine finish, de Mey concentrated a small dose of it on the center of mouths as well, which had been made slightly smaller with a finger-pressing of foundation around the edges. “It’s like the girls were sucking on ice,” he explained of the technique—which wasn’t too hard to imagine, considering the subarctic chill backstage at La Samaritaine.
“There’s a lot going on,” Anthony Turner confirmed of the bounty of prints and patterns in the clothes, not to mention the large enameled Delfina Delettrez Fendi-designed earrings that dangled from models’ ears. “We wanted to make sure we brought the girls back into the young Kenzo world,” he elaborated of the “cool, downtown, nonchalant” hair he fashioned by coating strands with Moroccanoil Curl Defining Mousse, drying them with his fingers, and then carving out messy side parts. “I was inspired by skater boys—you know, how they put too much product in their hair,” he continued, slathering lengths with its Intense Curl Cream before tucking them behind the ears and simulating a soft, piece-y frizz around the hairline and the crown, so the style felt more organic. “I live in New York,” Turner declared. “I know what this looks like.”
Photo: Luca Cannonieri / Gorunway.com
tags: Aaron De Mey, Anthony Turner, Backstage Reviews, Kenzo, La Samaritaine, MAC, MoroccanOil
If you had a slight feeling of déjà vu upon seeing the spiky black wigs marching down Jean Paul Gaultier’s runway in additional shades of auburn, chestnut, and platinum blond, your mind was playing tricks on you. “It’s like a toupee or a bang,” Guido Palau said of the “patchwork” effect he was hoping to achieve with the deliberately cheap-looking hairpieces here, which were not to be confused with the similarly choppy, high-end crops he hand-dyed and -cut for Marc Jacobs last month. “A lot of people want to see short hair this season and most girls don’t want to cut it,” Palau explained of his recent reliance on wigs, which offer a temporary solution to the predicament. “It’s supposed to look like a girl’s hair that is colored and grown out,” he elaborated of the faux trims here that were meant to deliberately contrast with models’ natural strands where they met as a flat panel in the back. There was a slight nod to the eighties-era androgynous stunner Leslie Winer, although Palau was content to speak to the style’s “punky, boyish, concert-y” quality, which he fashioned using Redken Control Addict 28 High Control Hairspray.
“The brows really help balance it out,” he said of the way Lloyd Simmonds’ “masculine, yet feminine” makeup look complemented his coifs. “There’s a really dark frame to the face, so we needed a dark frame to the girl’s personality. You get a personality with a brow,” Simmonds explained, using a matte black eye shadow to fill in arches while keeping the skin fresh and glowing with YSL’s La Teint Touche Éclat Illuminating Foundation, and a little pressed powder to reduce the risk of shine. A light dusting of blush in shades of light rose and warm gold—”whatever looks good with [the girls’] skin tone”—finished the face.
Photo: Luca Cannonieri / Gorunway.com
tags: Guido Palau, Hair, Jean Paul Gaultier, Lloyd Simmonds, Makeup, Redken, YSL Beaute
Once showgoers got over the shock-and-awe of Viktor & Rolf’s relatively shock-and-awe-free collection, they likely shifted their focus from the unusually wearable clothes to the equally wearable—and downright beautiful—hair and makeup. “It’s pretty, non?” Luigi Murenu asked, looking over a gorgeous interwoven coronet. “It’s innocence and youth for once,” he joked—a remark that he, of all people, is more than qualified to make. As the design duo’s longtime coiffing collaborator, Murenu has been a part of his fair share of backstage heroics here that have included braids in the past, an apparent soft spot for monsieurs Snoren and Horsting, but braids that are almost always paired with something extreme (Fall 2011’s allover red faces immediately come to mind). This season, Pat McGrath’s “fresh, young, and finished” blush-colored lids and contours made the soft, texturized plaits Murenu treated with Kérastase Nutritive Mousse Nutri-Sculpt seem that much more accessible—and instantly covetable. Full disclosure: We tried to replicate Murenu’s center-parted, crisscrossing inverted French braids (also called Dutch braids, which is appropriate for the Amsterdam-based fashion house) this morning with little success. But, as they say, “If at first you don’t succeed, try try again”—and watch as many YouTube tutorials as you can find online.
Photo: Luca Cannonieri / Gorunway.com
tags: Hair, John Frieda, Luigi Murenu, Makeup, Pat McGrath, Viktor & Rolf
The hair at Haider Ackermann sort of stopped you in your tracks backstage. Pieces of platinum strands were floating in the air as Eugene Souleiman trimmed hand-dyed, white-gold wigs that were left black at the root to resemble natural grow-out. “It’s an unnatural blond, a fifties blond,” he said of the specific bleached-to-oblivion color he had been working on for the past three days, in preparation for this show. The idea came from the Marilyn Monroe soundtrack playing as models took to the catwalk, but clearly the bombshell’s familiar set would not have worked here. “That’s what Haider is about: challenging your perception of what you think is beautiful,” Souleiman explained of why he tweaked the retro color with “techniques of now.” Using a boatload of Wella Professionals Ocean Spritz Beach Texture Spray, Souleiman applied a dusty, matte texture through the lengths, which he fashioned into a thick bun in the back while adding spiky extensions to top and leaving natural hair visible underneath. “We actually colored the roots with felt tip pens,” he explained of the dark base that was meant to stand out in stark contrast to the army of “sexy, assertive, bad attitude” flaxen-haired beauties. “It’s sort of like an alternative Daphne Guinness,” Souleiman suggested, referencing the heiress’ signature skunk streak style.
Lucia Pieroni was on support staff essentially, working on a makeup look that played to the hair. Using black eyeshadow to blend the hairline into the skin, which had been prepped with MAC Face and Body Foundation, Pieroni went heavy on MAC’s illuminating Strobe Cream and its neutral Cream Color Base in Groundwork that she layered across lids, underneath the lash line, and on the tops of cheeks for a “hallowed” look. “[Haider] actually showed me a picture of James Dean,” Pieroni said, name-dropping another 1950s icon and dotting the face with MAC’s Mixing Medium in Shine to create a glossy finish. “Feral” arches that were brushed, built up with its Brow Quad, and topped and with mascara “to make them more werewolf-y,” brought a certain strength to the face.
Photo: Luca Cannonieri / Gorunway.com
tags: Eugene Souleiman, Haider Ackermann, Hair, Lucia Pieroni, MAC Cosmetics, Makeup, Wella Professionals
Purple Crush
It sounds counterintuitive, but when Purple throws a party, it’s best to show up on time. By the hour of “fashionably late,” the mag’s dinner, thrown with Bulgari at the Café de Flore, was so packed that the only thing harder than getting in was getting out. “It’s a sign of a good party when you’re on the periphery,” laughed Tilda Swinton, who was not the only VIP relegated to the terrace for showing up late for dinner—not that anyone paid much attention to the food anyway.
“I was shy about doing a big party in Paris, because it’s my city,” said Olivier Zahm. “I’m much more relaxed in Tokyo or New York. Paris is like a mirror of what I am doing. And the guest list was a nightmare, because Purple is not just a magazine—it’s about a world outside fashion that understands what I do. It’s like Instagram—you see yourself in the world around you.”
The world last night included Vincent Darré, Olivier Theyskens, Haider Ackermann, Isabeli Fontana, Clotilde Courau, and Élodie Bouchez. Near the door, Olympia Le-Tan’s little sister Cleo made waves in leather shorts, with a strategic heart cutout, from her big sister’s latest collection. (Stay tuned for those cheeks in Purple’s next issue.) Amid the crush, late arrival Adrien Brody said that he was just passing through after wrapping Wes Anderson’s The Grand Budapest Hotel with Swinton.
He wasn’t the only one passing through—after all, this being Paris fashion week, most nights offer a variety of after-hours events. After dinner, much of Purple’s crowd made for Le Montana next door, which will shortly undergo a major renovation and the addition of a hotel on top, but that was only one option. Diesel and Edun, new partners on a line of made-in-Africa jeans, were celebrating their marriage with an African-themed party, where Solange Knowles shared the bill with the Belgian-Congolese artist Baloji. It kicked off the new Studio Africa initiative, a campaign featuring African artists from various disciplines and supported by a series of concerts bridging Western and African music. Which couldn’t, it turns out, have a better advocate than Solange. “I played with African musicians on the last album,” she said. “I have friends from all over Africa. I’ve traveled there. This year, I’m planning to go to Mali and have my portrait taken by Malick Sidibé. I love and support African fashion designers.”
Meanwhile, Solange’s pals Humberto Leon and Carol Lim were toasting their latest Kenzo collection with a musician of their own: Deee-Lite’s Lady Miss Kier, who performed a set for the likes of Jessica Alba, Robyn, Leigh Lezark, and Ellen von Unwerth. For one night, groove was in le cœur.
— Tina Isaac and Maya Singer
MEGAN & BEN
Megan and Ben were married this July at Millcreek Inn. Utah wedding photographer Alixann Loosle captured this lovely couples special day with so many amazing pictures it was hard to pick which to feature. Megan wore a beautiful mermaid cut gown from Modern Trousseau and her lovely maids coral gowns are from Lily & Iris.
Everytime that Megan and her mom were in the shop it was always so much fun and they truly were a joy to work with. Megan is just as beautiful on the inside as she is on the outside. It is bittersweet for all of us now that her wedding is over. For even more loveliness, check out Megan and Ben’s feature on Alixann’s blog.
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