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Backstage Reviews

September 13, 2012Â Â 3:32 pm


Paul Hanlon was psyched backstage at Proenza Schouler. â??This collection is quite exceptionalâ??itâ??s beyond,â?? he effused. â??These guys are always ahead of the pack.â?? This will be the hairstylistâ??s fifth season with Jack McCollough and Lazaro Hernandez, and at this point, heâ??s got the â??Proenza girlâ?? peggedâ??as well he should; Hanlonâ??s special brand of downtown cool has helped further define the designersâ?? woman. â??Sheâ??s not a good girl, sheâ??s a dangerous girl,â?? he offeredâ??â??whose hair looks like it needs a wash.â??

With Kurt Cobainâ??s iconic, languid locks as his guide, Hanlon set to work on building a â??vey stringyâ?? texture, misting hair down with water and using his hands to layer Frédéric Fekkaiâ??s Perfectly Luscious Curl Wave Activating Spray through the lengths. Every girl wore a stretchy latex, leather black cuff to elongate her neck, and rather than pull center-parted strands through the accessory, which he felt would look â??too conceptual,â?? Hanlon had other plans. To give a â??natural effect,â?? he braided under sections to remove extra weight and gathered hair into a ponytail, the base of which he spritzed with Fekkaiâ??s Sheer Hold Hairspray. â??Weâ??re going to cut it right before they go out,â?? he explained of the elastic, tying mesh scarves on top of the cuffs and around the ponytail to further set the resulting indentation. Hanlon added a final â??electricâ?? element by using his fingers to rub the crown of the head for a frizzy, static effect, which created a further dichotomy between his contribution and the clothes. â??Youâ??ve got these incredibly expensive fabrics and hair thatâ??s just whatever,â?? he saidâ??a directive that came right from McCollough and Hernandez. â??Theyâ??re really good at describing hair,â?? Hanlon attests. â??Iâ??m sure Lazaro was a hairdresser in a former life.â??

Makeup artist Diane Kendal is a similarly longstanding member of team Proenza, and she too is well versed at channeling the houseâ??s â??urban feel,â?? which reliably calls for strong brows, smudged lids, and clean skin. Using MAC Studio Finish Concealer where needed, Kendal applied a nude-pink lipstick on the apples of the cheeks to get a sheer flush with a bit of sheen. Lower lash lines were then lined with its Eye Pencil in Coffee, which was also placed in the crease and blended over lids for a subtle stain. Skipping the mascara, Kendalâ??s finishing touch came via her signature â??boyishâ?? brows, which were filled in and brushed up. Even â??real girlâ??-inspired beauty requires a few extra steps.

Photo: Luca Cannonieri / GoRunway.com

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— Celia Ellenberg

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tags: Diane Kendal, Frederic Fekkai, Hair, Jack McCollough, Lazaro Hernandez, MAC Cosmetics, Makeup, Proenza Schouler

September 13, 2012Â Â 10:34 am


There are two decades being mined at the New York shows this week, and Michael Kors managed to get both of them into one beauty look. â??Itâ??s sixties/nineties,â?? Orlando Pita said, referencing the super-sleek, deep side parts that he was giving models, creating an indentation in the back with a long elastic that was clipped behind the ears. The straightness, which he achieved with a blow-dryer and a few spritzes of his T3 Control Heat-Seeking Hair Spray, hammered home the homage. â??The first time women straightened their hair was in the sixties, but they used actual irons,â?? Pita said in an impromptu session of hair history 101. â??In the nineties, they finally created a straightening iron.â?? Karlie Kloss, Jac, and Frida Gustavsson got updos to accommodate the evening dresses they wore to close the show.

Dick Page was on a similar tip, although the Shiseido artistic director wasnâ??t quite ready to call his colored, banana liner applications retro. â?? just wanted to do an eye thing. a floating line,â?? he declared of the single stroke of its Luminizing Satin Eye Color Trio in Jungle, a punchy green, that he gave brunettes, and the Punky Blues palette that he saved for blondes, both of which changed shades underneath a series of plastic pastel sunglasses. A wash of white pigment along the upper lash line and a few swipes of Shiseidoâ??s Perfect Mascara Full Definition in Black helped open the eyes while its Luminizing Satin Face Color in Highbeam White brought light to cheekbones, jawlines, and foreheads. Lips were painted and then blotted down to a barely perceptible nude with Shiseidoâ??s Perfect Rouge in Vision, a dusty roseâ??not that it mattered; after Kloss passed her new Perfect 10 cookies around to Page, Lindsey Wixson, and Magdalena Frackowiak (and this reporter), there wasnâ??t much visible lipstick left to speak of.

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— Celia Ellenberg

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tags: Dick Page, Hair, Karlie Kloss, Makeup, Michael Kors, Orlando Pita, Shiseido, T3

September 12, 2012Â Â 5:39 pm

The beauty buzz at the Spring shows thus far has been largely about a return to simplicity. With a few notable exceptions, itâ??s been all clean skin and unfussy hair that is without reference and purposely devoid of too much glamour (read: volume). But after Narciso Rodriguezâ??s winning show, now seems like a good time to point out that while all the minimalism may seem like a newfound, palate-cleansing idea, it does indeed have a reference point in Narciso Rodriguez, the longtime king of understated chic.

â??Itâ??s vintage Narcisoâ??and Calvin,â?? Shiseido artistic director Dick Page pointed out of the phenomenon that he, too, was partaking in backstage at Rodriguezâ??s Spring show, with a bare face and a glossy lid. Page, who met Rodriguez when the latter was working at Calvin Klein, has been painting faces for the designer for years. â??Without being super conceptual about it, weâ??re doing nothing,â?? he explained of the makeup look, which, to be fair, was as barebones as it gets. Skin was given a slight highlight with Shiseidoâ??s Luminizing Satin Face Color in Soft Beam Gold, brows were brushed up and filled in using its Shimmering Cream Eye Color in Sable and Caviar, and lips and lids were coated in its Benefiance Full Correction Lip Treatment for a shiny flash of gloss. â??It just felt right,â?? Page said. â??The girls have to belong to the clothes and the collection; thatâ??s the most important thing.â??

Paul Hanlonâ??s center-parted strands, spritzed with By Byron Spirulina Hairspray, had â??structure, sophistication, and shine,â?? which felt similarly rightâ??a testament to the wunderkindâ??s skills as it was his first-ever Narciso show. â??Iâ??m very honored. Iâ??m a big fan,â?? Hanlon said of the opportunity to replace Eugene Souleiman, who had been the third piece of the Rodriguez-Page trifecta for quite some time. â??Iâ??ve always been aware of who woman is,â?? Hanlon confirmed, adding that to him, â??the history is important.â?? So he dug into the archives a little bit, while adding his own updated touch in the form a hint of disheveledness achieved by â??shakingâ?? the hair out so it fell â??very sporadicallyâ?? before models hit the runway. Deborah Lippmannâ??s impeccably buffed nails finished the lookâ??by which all other pared-down beauty looks this season will heretofore be judged.

Photo: Luca Cannonieri / GoRunway.com

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— Celia Ellenberg

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tags: By Byron, Deborah Lippmann, Dick Page, Hair, Makeup, Nails, Narciso Rodriguez, Paul Hanlon, Shiseido

September 12, 2012Â Â 4:09 pm

As we stagger through day six of New York fashion week, the nude nailâ??or no nailâ??movement is gaining steam with each passing show. But that hasnâ??t stopped the industryâ??s nail artists from flexing their creative muscles. Michelle Huynhâ??s spiel at Rodarte yesterday started much like many similar spiels have gone since the weekend. â??We created a base with two coats of Frosting Cream and Desert Suede, which we followed with a glossy topcoat,â?? the CND manicurist began. But it ended quite differently. â??Then we mixed those two colors with Chocolate Milk, painted a piece of wax paper, let it dry, and topped that with a matte topcoat,â?? she continuedâ??at which point our ears perked up. â??We cut the paper into strips,â?? she explained, demonstrating how the microscopic slivers were then crisscrossed on top of the nail and glued down by another coat of the bandâ??s Super Shiny Topcoat, which was slicked on underneath the paper pieces, not on top of them, so there was a â??glimmerâ?? from the different textures playing off one another when models walked down the runway. Not your average nude nail, to be sure.

Photo: Courtesy of CND

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— Celia Ellenberg

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tags: CND, Nails, Rodarte

September 12, 2012Â Â 1:19 pm


â??A modern-medieval faceâ?? is what the tip sheet James Kaliardos was passing around to his team backstage at Rodarte said, but there was more to it than that, of course. â??The collection feels Dungeons & Dragons to me, not Joan of Arc,â?? Kaliardos elaborated, referencing the austerity of old religious paintings and â??getting rid of the Kim Kardashian lookâ??forever.â??

That meant skipping those familiar, heavily bronzed contours and focusing instead on a paled-out complexion that was treated with NARS Skin Optimal Brightening Concentrate and a light-handed application of its Sheer Glow Foundation just in the center of the face, â??because once it gets on the cheeks, it actually looks like foundation,â?? according to Kaliardos. There wasnâ??t much visible product on the face at all, really, save for NARSâ?? Triple X Lip Gloss, which was swathed onto mouths and eyelids and applied through girlsâ?? brows as well, including show-opener Jessica Stamâ??s. â??Can you fix me,â?? Stam beseeched Kaliardos, who added a little fullness, too, at the modelâ??s request.

Odile Gilbert was working off the proportions of Kate and Laura Mulleavyâ??s designs. â??When they showed me the clothes, I thought needed something long,â?? Gilbert said, referring to the hair, which she made â??strict and straightâ?? to accommodate a dragon earring cuff clipped onto modelsâ?? left ears. â??Itâ??s like the girls are shaved,â?? she explained, slicking strands with Kérastase Ciment Thermique for a pre-blow-dry polish, and dividing them into three sections: two in backâ??one hanging straight down over the otherâ??and one in front, which was combed all the way over to one side and coated with its Elixir Ultime for added shine.

The finishing touch came from the most conceptual neutral nail weâ??ve seen this week. â??It took 200 man-hours,â?? CND manicurist Michelle Huynh said of the three-dimensional polish-on-polish basketweave tips that showcased a blended base of its varnishes in Desert Suede and Frosting Cream. Nude, it turns out, doesnâ??t necessarily mean boring.

Photo: Luca Cannonieri / GoRunway.com

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— Celia Ellenberg

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tags: CND, Hair, James Kaliardos, Kérastase, Nails, NARS Cosmetics, Odile Gilbert, Rodarte

September 12, 2012Â Â 8:30 am


â??I was bored with my hair,â?? Ruby Jean Wilson said nonchalantly backstage at Marc Jacobs, explaining why two months ago, she decided to cash in her dark brunette locks for a rooty, white-blond dye job. Thereâ??s no way she couldâ??ve known that the color would land her both openingâ??and closingâ??duties on Jacobsâ?? Spring runway.

â??A lot of the girls are based on . Sometimes a girl comes in and becomes Marcâ??s muse,â?? Guido Palau admitted, explaining the impetus for the beauty lookâ??which also included a nod to that original peroxide-blonde, big-browed icon, Edie Sedgwick. â??Sheâ??s a punky New York girl, for sure, and she might be a little rich,â?? the Redken creative consultant continued, further describing Marcâ??s woman this season, who got a severely deep side part and a ton of texture thanks to a generous helping of Redken Guts 10 Volume Spray Mousse Foam, its Refresh 01 Aerosol Hair Powder Dry Shampoo, and a new product called Quick Tease, which Palau described as having a quality between â??a fiber and a spray.â?? The coiffing star added a touch of volume to the back of the crownâ??â??not like Amy Winehouse, though thatâ??s not the point,â?? he clarifiedâ??and gathered the lengths (some of which had been dyed Rubyâ??s precise shade of platinum or a contrasting matte black courtesy of Laurie Foley), securing them into a low ponytail. â??I love your hair. Itâ??s gorgeous,â?? Jacobs told a newly raven-haired Irina Lazareanu as we worked the room, checking on modelsâ?? progress.

François Nars was given the same Edie directive, which could not have been better timed considering his brandâ??s recent collaboration with the Andy Warhol foundation. â??Everything is a coincidence,â?? Nars joked of the crossover that saw him on familiar ground. â??This is more updated,â?? he said of this particular sixties homage, careful not to use the word â??modern,â?? which â??doesnâ??t mean anything,â?? as far as heâ??s concerned. â??I took out the hardness of Edieâ??s look and kept the freshness,â?? he elaborated, prepping skin with his Sheer Glow Foundation and forthcoming Radiant Creamy Concealers and paling it out with his new-for-spring Light Reflecting Powder. Sculpting lids with the neutral shades from his Duo Eyeshadows in Key Largo and Portobello, Nars lined the upper lash line and the outer corner of the lower lash line with his Eyeliner Pencil in Black Moon, drawing a similar stroke through the creaseâ??or â??the bananeâ?? (a banana line), as they say in Frenchâ??which he set with the onyx pigment from his Duo Eyeshadow in Pandora. Brows were beefed up to Edie proportions with his Single Eyeshadows in Bengali and Bali before Nars treated upper and lower lashes to multiple whips of his Larger Than Life Volumizing Mascara. Poor little rich girls never looked better.

Photo: Luca Cannonieri / GoRunway.com

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— Celia Ellenberg

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tags: Edie Sedgwick, Guido Palau, Makeup, Nails, NARS Cosmetics, Redken, Ruby Jean Wilson

September 12, 2012Â Â 8:17 am


When NARS national makeup artist Francelle Daly and Phillip Lim started talking about the beauty look for the designerâ??s Spring show a few days before it happened, they were keeping it light. â??We were looking through the clothes, listening to Nirvana,â?? she recalls of the test shoot. â??Then I remembered myself as the music girl, going to Lollapalooza,â?? Daly continued, which is when the lightbulb went off: clumpy mascara.

â??Itâ??s modern grungeâ??without the grunge,â?? she explained of the â??sophisticatedâ?? face-painting effort that began with a base of NARSkin Luminous Moisture Cream topped with its Pure Radiant Tinted Moisturizer and a spot treatment of the new-for-spring Radiant Creamy Concealers where needed. Contouring cheeks ever so slightly with its Bronzing Powder in Casino, Daly brushed brows up and started in on those eyes. Working NARS Eye Liner Pencil in Black Moon into the lash line, she turned to her trusty tube of Larger Than Life Lengthening Mascara and pretty much went for it. â??I hand-clumped them myself,â?? she effused of the chunky effect of curling the lashes, applying one to two coats of glossy pigment, letting that dry, and then adding eight to ten more swipes.

Paul Hanlon followed suit with a matted-down side part and an exaggerated, volumized, almost retro rock â??nâ?? roll quiff on one side that was rendered positively contemporary thanks to copious amounts of TIGI Queen for A Day Thickening Spray that he heated into sections as he blow-dried to create a frothy texture. â??Make it really flat on the sides or else it looks like a bit of a joke,â?? he instructed his team on how to keep it current, poring over the minutiae of every last hair.

Lim ordered up a nail moment, too, courtesy of Essie celebrity manicurist Michelle Saunders. â??This is the half-and-half nail,â?? Saunders exclaimed of dual-colored tips painted on one side with Chinchilly, a mauve gray, and Brooch the Subject, a cappuccino, on the other. It was a far cry from the chipped black polish of true rock chic, but that was kind of the point.

Photo: Luca Cannonieri / GoRunway.com

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— Celia Ellenberg

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tags: 3.1 Phillip Lim, Francelle Daly, Hair, Makeup, NARS Cosmetics, Paul Hanlon

September 11, 2012Â Â 4:33 pm

One look at the makeup backstage at Donna Karan transported us to another show entirely, as an immediate déjà vu of Pat McGrathâ??s hot pink eyeliner and eyelashes at Dior Couture set in. â??It gives you intensity of color and graphicness of form,â?? Charlotte Tilbury said of the technique, which she repurposed as a juxtaposition to all the muted reds, golds, blues, and greens in Karanâ??s collection. â??Itâ??s sunrise, sunset,â?? the face painter elaborated of the clothesâ?? dégradé pastel palette, which was meant to reference the light progression over a dayâ??s time (not the Fiddler on the Roof refrain, lest you be confused).

Starting with a blank canvas of MAC Face and Body Foundation mattified with powder in the T-zone, Tilbury drew a blocked-off wing using its Eyeliner in Magenta, dipping a brush into a MAC Chromacake in the same color to paint top and bottom lashes a shade of hot fuchsia. Nails were given two coats of a custom-mixed nude varnish composed of MAC Nail Lacquer in Quiet Time and Cream Delicate, while brows were bleached to keep eyes the focal point of the look (much to modelsâ?? dismay).

Eugene Souleiman subsequently pulled hair up to accommodate a series of frosted Perspex headpieces designed by Stephen Jones, although the Wella Professionals global artistic director added his own â??romantic, dark-tragedy twistâ?? to the equation. Using the brandâ??s Ocean Spritz Beach Texture Spray to give strands a shine-free, naturally gritty quality, Souleiman folded a ponytail onto itself to make a flat panel in the back of the head, building â??spiky, sharp shardsâ?? in the front by setting floating wisps around the hairline with hair spray. â??Itâ??s a little bit off,â?? he decided.

Photo: Luca Cannonieri / GoRunway.com

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— Celia Ellenberg

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tags: Donna Karan, Eugene Souleiman, MAC Cosmetics, Makeup, Marianne Newman, Nails, Wella Professionals

September 10, 2012Â Â 9:41 pm

James Kaliardos and Orlando Pita donâ??t have to look too far to find beauty inspiration at Diane von Furstenberg, where they often reference the designer herselfâ??from her Studio 54 days to her more recent globe-trotting jaunts to the far reaches of Africa, India, and beyond. But for Spring, von Furstenberg wanted something else. â??After looking at four different hair tests on four different girls, she turned around and said, â??Can we do that?â??â?? Pita recalled of the moment Diane decided to make the look more about the modelsâ?? individuality and less referential of her own.

â??These girls already have these amazing gifts of beauty, so we just want to enhance them,â?? Pita said of strands that came in center-parted, side-parted, straight, and wavy iterationsâ??all of which mixed seamlessly with von Furstenbergâ??s colorful, varied collection. There was one curly girl, too, which afforded Pita the unavoidable opportunity of paying homage to the woman behind the brand. â?? looks a little like Diane so weâ??re going to do her hair like .â??

Kaliardos went with a more uniform makeup look, which started with a base of MACâ??s new-for-spring Mineralize Moisture Fluid Liquid Foundation, some slight contouring with its forthcoming Sculpting Cream in Pure Sculpture, and a â??ruddy, healthy, punchyâ?? cheek courtesy of its Blushcreme in Tea Petal. â??Weâ??re using the same palette, but tailoring the look a little bit for each girl,â?? he explained of the slightly smoked-out lower lash line that he intensified or pared down with a stroke of MACâ??s Pro Chromagraphic Pencil in NC15/NW20 and its Eyeshadow in Antique and Espresso. â??It has a slight Indian vibe,â?? Kaliardos admitted of the dark, elongated shape as he added a few whips of MAC Haute & Naughty Mascara on the top and bottom lash lines and affixed a few individual lashes on the outer cornersâ??which only served to make models like Kasia Struss and Joan Smalls look that much more gorgeous in their own unique ways.

Photo: Luca Cannonieri / GoRunway.com

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— Celia Ellenberg

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tags: Diane von Furstenberg, Hair, James Kaliardos, MAC Cosmetics, Makeup, Orlando Pita

September 10, 2012Â Â 1:03 pm

Last season, we sat in on the creative process as Thakoon Panichgul and his crack team of beauty expertsâ??thatâ??s Odile Gilbert on hair and Diane Kendal on makeupâ??trouble-shot a few different looks before arriving at a keeper for the Fall show. This time around, success was immediate. â??We got it on the first take,â?? a jubilant Gilbert confirmed backstage of the â??strict, graphicâ?? hair that stemmed from Panichgulâ??s Spring â??garden, flowers, and birdcagesâ?? reference points.

â??He brings to me, and I bring to him,â?? Gilbert continued of the idea sharing that helped her arrive at the collectionâ??s dual-textured style. Starting with a generous application of Kérastase Elixir Ultime Imperial to get a glossy, conditioned quality, Gilbert center-parted hair, smoothing front panels behind ears and using a three-branch iron to create defined waves through the lengths. â??When we love, we donâ??t count,â?? she said, translating a French-ism while slipping a haphazard number of black bobby pins across the back of the head in a half-circle pattern and gathering ends into a low-lying elastic.

â??Fantasyâ?? was the Thakoon directive that Kendal picked up on, a theme that was helped along by mood board images of Mia Farrow in The Great Gatsby. â??Thatâ??s where the 1930s eyebrow came from,â?? she explained; ditto the sunken eyes and rosy flush. Dusting NARSâ?? new-for-spring Light-Reflecting Setting Powder over a freshly cleaned and spot-treated base, Kendal blended NARSâ?? forthcoming raspberry-hued Blush in Seduction onto modelsâ?? cheeks, lining lids with its Larger Than Life Long-Wear Eyeliner in Santa Monica Blvd and blending its Eyeshadow in Bali and Blondie across lids. As for those brows, it was important to Kendal that modelsâ?? natural arches were visible, â??so your eye is drawn to the dark line,â?? which she drew on top of natural brows with NARS Eyebrow Pencils in either Jodphur or Mambo. â??We wanted that eccentric quality,â?? she explained of why she chose not to bleach brows or glue them downâ??a quality the models certainly appreciated.

Photo: Luca Cannonieri / GoRunway.com

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— Celia Ellenberg

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tags: Diane Kendal, Hair, Kérastase, Makeup, NARS Cosmetics, Odile Gilbert, Thakoon

Backstage Reviews



September 13, 2012  3:32 pm

Backstage Reviews
Paul Hanlon was psyched backstage at Proenza Schouler. “This collection is quite exceptional—it’s beyond,” he effused. “These guys are always ahead of the pack.” This will be the hairstylist’s fifth season with Jack McCollough and Lazaro Hernandez, and at this point, he’s got the “Proenza girl” pegged—as well he should; Hanlon’s special brand of downtown cool has helped further define the designers’ woman. “She’s not a good girl, she’s a dangerous girl,” he offered—”whose hair looks like it needs a wash.”

With Kurt Cobain’s iconic, languid locks as his guide, Hanlon set to work on building a “vey stringy” texture, misting hair down with water and using his hands to layer Frédéric Fekkai’s Perfectly Luscious Curl Wave Activating Spray through the lengths. Every girl wore a stretchy latex, leather black cuff to elongate her neck, and rather than pull center-parted strands through the accessory, which he felt would look “too conceptual,” Hanlon had other plans. To give a “natural effect,” he braided under sections to remove extra weight and gathered hair into a ponytail, the base of which he spritzed with Fekkai’s Sheer Hold Hairspray. “We’re going to cut it right before they go out,” he explained of the elastic, tying mesh scarves on top of the cuffs and around the ponytail to further set the resulting indentation. Hanlon added a final “electric” element by using his fingers to rub the crown of the head for a frizzy, static effect, which created a further dichotomy between his contribution and the clothes. “You’ve got these incredibly expensive fabrics and hair that’s just whatever,” he said—a directive that came right from McCollough and Hernandez. “They’re really good at describing hair,” Hanlon attests. “I’m sure Lazaro was a hairdresser in a former life.”

Makeup artist Diane Kendal is a similarly longstanding member of team Proenza, and she too is well versed at channeling the house’s “urban feel,” which reliably calls for strong brows, smudged lids, and clean skin. Using MAC Studio Finish Concealer where needed, Kendal applied a nude-pink lipstick on the apples of the cheeks to get a sheer flush with a bit of sheen. Lower lash lines were then lined with its Eye Pencil in Coffee, which was also placed in the crease and blended over lids for a subtle stain. Skipping the mascara, Kendal’s finishing touch came via her signature “boyish” brows, which were filled in and brushed up. Even “real girl”-inspired beauty requires a few extra steps.

Photo: Luca Cannonieri / GoRunway.com

tags: Diane Kendal, Frederic Fekkai, Hair, Jack McCollough, Lazaro Hernandez, MAC Cosmetics, Makeup, Proenza Schouler

September 13, 2012  10:34 am

Backstage Reviews
There are two decades being mined at the New York shows this week, and Michael Kors managed to get both of them into one beauty look. “It’s sixties/nineties,” Orlando Pita said, referencing the super-sleek, deep side parts that he was giving models, creating an indentation in the back with a long elastic that was clipped behind the ears. The straightness, which he achieved with a blow-dryer and a few spritzes of his T3 Control Heat-Seeking Hair Spray, hammered home the homage. “The first time women straightened their hair was in the sixties, but they used actual irons,” Pita said in an impromptu session of hair history 101. “In the nineties, they finally created a straightening iron.” Karlie Kloss, Jac, and Frida Gustavsson got updos to accommodate the evening dresses they wore to close the show.

Dick Page was on a similar tip, although the Shiseido artistic director wasn’t quite ready to call his colored, banana liner applications retro. “ just wanted to do an eye thing. a floating line,” he declared of the single stroke of its Luminizing Satin Eye Color Trio in Jungle, a punchy green, that he gave brunettes, and the Punky Blues palette that he saved for blondes, both of which changed shades underneath a series of plastic pastel sunglasses. A wash of white pigment along the upper lash line and a few swipes of Shiseido’s Perfect Mascara Full Definition in Black helped open the eyes while its Luminizing Satin Face Color in Highbeam White brought light to cheekbones, jawlines, and foreheads. Lips were painted and then blotted down to a barely perceptible nude with Shiseido’s Perfect Rouge in Vision, a dusty rose—not that it mattered; after Kloss passed her new Perfect 10 cookies around to Page, Lindsey Wixson, and Magdalena Frackowiak (and this reporter), there wasn’t much visible lipstick left to speak of.

tags: Dick Page, Hair, Karlie Kloss, Makeup, Michael Kors, Orlando Pita, Shiseido, T3

September 12, 2012  5:39 pm

Backstage ReviewsThe beauty buzz at the Spring shows thus far has been largely about a return to simplicity. With a few notable exceptions, it’s been all clean skin and unfussy hair that is without reference and purposely devoid of too much glamour (read: volume). But after Narciso Rodriguez’s winning show, now seems like a good time to point out that while all the minimalism may seem like a newfound, palate-cleansing idea, it does indeed have a reference point in Narciso Rodriguez, the longtime king of understated chic.

“It’s vintage Narciso—and Calvin,” Shiseido artistic director Dick Page pointed out of the phenomenon that he, too, was partaking in backstage at Rodriguez’s Spring show, with a bare face and a glossy lid. Page, who met Rodriguez when the latter was working at Calvin Klein, has been painting faces for the designer for years. “Without being super conceptual about it, we’re doing nothing,” he explained of the makeup look, which, to be fair, was as barebones as it gets. Skin was given a slight highlight with Shiseido’s Luminizing Satin Face Color in Soft Beam Gold, brows were brushed up and filled in using its Shimmering Cream Eye Color in Sable and Caviar, and lips and lids were coated in its Benefiance Full Correction Lip Treatment for a shiny flash of gloss. “It just felt right,” Page said. “The girls have to belong to the clothes and the collection; that’s the most important thing.”

Paul Hanlon’s center-parted strands, spritzed with By Byron Spirulina Hairspray, had “structure, sophistication, and shine,” which felt similarly right—a testament to the wunderkind’s skills as it was his first-ever Narciso show. “I’m very honored. I’m a big fan,” Hanlon said of the opportunity to replace Eugene Souleiman, who had been the third piece of the Rodriguez-Page trifecta for quite some time. “I’ve always been aware of who woman is,” Hanlon confirmed, adding that to him, “the history is important.” So he dug into the archives a little bit, while adding his own updated touch in the form a hint of disheveledness achieved by “shaking” the hair out so it fell “very sporadically” before models hit the runway. Deborah Lippmann’s impeccably buffed nails finished the look—by which all other pared-down beauty looks this season will heretofore be judged.

Photo: Luca Cannonieri / GoRunway.com

tags: By Byron, Deborah Lippmann, Dick Page, Hair, Makeup, Nails, Narciso Rodriguez, Paul Hanlon, Shiseido

September 12, 2012  4:09 pm

Backstage ReviewsAs we stagger through day six of New York fashion week, the nude nail—or no nail—movement is gaining steam with each passing show. But that hasn’t stopped the industry’s nail artists from flexing their creative muscles. Michelle Huynh’s spiel at Rodarte yesterday started much like many similar spiels have gone since the weekend. “We created a base with two coats of Frosting Cream and Desert Suede, which we followed with a glossy topcoat,” the CND manicurist began. But it ended quite differently. “Then we mixed those two colors with Chocolate Milk, painted a piece of wax paper, let it dry, and topped that with a matte topcoat,” she continued—at which point our ears perked up. “We cut the paper into strips,” she explained, demonstrating how the microscopic slivers were then crisscrossed on top of the nail and glued down by another coat of the band’s Super Shiny Topcoat, which was slicked on underneath the paper pieces, not on top of them, so there was a “glimmer” from the different textures playing off one another when models walked down the runway. Not your average nude nail, to be sure.

Photo: Courtesy of CND

tags: CND, Nails, Rodarte

September 12, 2012  1:19 pm

Backstage Reviews
“A modern-medieval face” is what the tip sheet James Kaliardos was passing around to his team backstage at Rodarte said, but there was more to it than that, of course. “The collection feels Dungeons & Dragons to me, not Joan of Arc,” Kaliardos elaborated, referencing the austerity of old religious paintings and “getting rid of the Kim Kardashian look—forever.”

That meant skipping those familiar, heavily bronzed contours and focusing instead on a paled-out complexion that was treated with NARS Skin Optimal Brightening Concentrate and a light-handed application of its Sheer Glow Foundation just in the center of the face, “because once it gets on the cheeks, it actually looks like foundation,” according to Kaliardos. There wasn’t much visible product on the face at all, really, save for NARS’ Triple X Lip Gloss, which was swathed onto mouths and eyelids and applied through girls’ brows as well, including show-opener Jessica Stam’s. “Can you fix me,” Stam beseeched Kaliardos, who added a little fullness, too, at the model’s request.

Odile Gilbert was working off the proportions of Kate and Laura Mulleavy’s designs. “When they showed me the clothes, I thought needed something long,” Gilbert said, referring to the hair, which she made “strict and straight” to accommodate a dragon earring cuff clipped onto models’ left ears. “It’s like the girls are shaved,” she explained, slicking strands with Kérastase Ciment Thermique for a pre-blow-dry polish, and dividing them into three sections: two in back—one hanging straight down over the other—and one in front, which was combed all the way over to one side and coated with its Elixir Ultime for added shine.

The finishing touch came from the most conceptual neutral nail we’ve seen this week. “It took 200 man-hours,” CND manicurist Michelle Huynh said of the three-dimensional polish-on-polish basketweave tips that showcased a blended base of its varnishes in Desert Suede and Frosting Cream. Nude, it turns out, doesn’t necessarily mean boring.

Photo: Luca Cannonieri / GoRunway.com

tags: CND, Hair, James Kaliardos, Kérastase, Nails, NARS Cosmetics, Odile Gilbert, Rodarte

September 12, 2012  8:30 am

Backstage Reviews
“I was bored with my hair,” Ruby Jean Wilson said nonchalantly backstage at Marc Jacobs, explaining why two months ago, she decided to cash in her dark brunette locks for a rooty, white-blond dye job. There’s no way she could’ve known that the color would land her both opening—and closing—duties on Jacobs’ Spring runway.

“A lot of the girls are based on . Sometimes a girl comes in and becomes Marc’s muse,” Guido Palau admitted, explaining the impetus for the beauty look—which also included a nod to that original peroxide-blonde, big-browed icon, Edie Sedgwick. “She’s a punky New York girl, for sure, and she might be a little rich,” the Redken creative consultant continued, further describing Marc’s woman this season, who got a severely deep side part and a ton of texture thanks to a generous helping of Redken Guts 10 Volume Spray Mousse Foam, its Refresh 01 Aerosol Hair Powder Dry Shampoo, and a new product called Quick Tease, which Palau described as having a quality between “a fiber and a spray.” The coiffing star added a touch of volume to the back of the crown—”not like Amy Winehouse, though that’s not the point,” he clarified—and gathered the lengths (some of which had been dyed Ruby’s precise shade of platinum or a contrasting matte black courtesy of Laurie Foley), securing them into a low ponytail. “I love your hair. It’s gorgeous,” Jacobs told a newly raven-haired Irina Lazareanu as we worked the room, checking on models’ progress.

François Nars was given the same Edie directive, which could not have been better timed considering his brand’s recent collaboration with the Andy Warhol foundation. “Everything is a coincidence,” Nars joked of the crossover that saw him on familiar ground. “This is more updated,” he said of this particular sixties homage, careful not to use the word “modern,” which “doesn’t mean anything,” as far as he’s concerned. “I took out the hardness of Edie’s look and kept the freshness,” he elaborated, prepping skin with his Sheer Glow Foundation and forthcoming Radiant Creamy Concealers and paling it out with his new-for-spring Light Reflecting Powder. Sculpting lids with the neutral shades from his Duo Eyeshadows in Key Largo and Portobello, Nars lined the upper lash line and the outer corner of the lower lash line with his Eyeliner Pencil in Black Moon, drawing a similar stroke through the crease—or “the banane” (a banana line), as they say in French—which he set with the onyx pigment from his Duo Eyeshadow in Pandora. Brows were beefed up to Edie proportions with his Single Eyeshadows in Bengali and Bali before Nars treated upper and lower lashes to multiple whips of his Larger Than Life Volumizing Mascara. Poor little rich girls never looked better.

Photo: Luca Cannonieri / GoRunway.com

tags: Edie Sedgwick, Guido Palau, Makeup, Nails, NARS Cosmetics, Redken, Ruby Jean Wilson

September 12, 2012  8:17 am

Backstage Reviews
When NARS national makeup artist Francelle Daly and Phillip Lim started talking about the beauty look for the designer’s Spring show a few days before it happened, they were keeping it light. “We were looking through the clothes, listening to Nirvana,” she recalls of the test shoot. “Then I remembered myself as the music girl, going to Lollapalooza,” Daly continued, which is when the lightbulb went off: clumpy mascara.

“It’s modern grunge—without the grunge,” she explained of the “sophisticated” face-painting effort that began with a base of NARSkin Luminous Moisture Cream topped with its Pure Radiant Tinted Moisturizer and a spot treatment of the new-for-spring Radiant Creamy Concealers where needed. Contouring cheeks ever so slightly with its Bronzing Powder in Casino, Daly brushed brows up and started in on those eyes. Working NARS Eye Liner Pencil in Black Moon into the lash line, she turned to her trusty tube of Larger Than Life Lengthening Mascara and pretty much went for it. “I hand-clumped them myself,” she effused of the chunky effect of curling the lashes, applying one to two coats of glossy pigment, letting that dry, and then adding eight to ten more swipes.

Paul Hanlon followed suit with a matted-down side part and an exaggerated, volumized, almost retro rock ‘n’ roll quiff on one side that was rendered positively contemporary thanks to copious amounts of TIGI Queen for A Day Thickening Spray that he heated into sections as he blow-dried to create a frothy texture. “Make it really flat on the sides or else it looks like a bit of a joke,” he instructed his team on how to keep it current, poring over the minutiae of every last hair.

Lim ordered up a nail moment, too, courtesy of Essie celebrity manicurist Michelle Saunders. “This is the half-and-half nail,” Saunders exclaimed of dual-colored tips painted on one side with Chinchilly, a mauve gray, and Brooch the Subject, a cappuccino, on the other. It was a far cry from the chipped black polish of true rock chic, but that was kind of the point.

Photo: Luca Cannonieri / GoRunway.com

tags: 3.1 Phillip Lim, Francelle Daly, Hair, Makeup, NARS Cosmetics, Paul Hanlon

September 11, 2012  4:33 pm

Backstage ReviewsOne look at the makeup backstage at Donna Karan transported us to another show entirely, as an immediate déjà vu of Pat McGrath’s hot pink eyeliner and eyelashes at Dior Couture set in. “It gives you intensity of color and graphicness of form,” Charlotte Tilbury said of the technique, which she repurposed as a juxtaposition to all the muted reds, golds, blues, and greens in Karan’s collection. “It’s sunrise, sunset,” the face painter elaborated of the clothes’ dégradé pastel palette, which was meant to reference the light progression over a day’s time (not the Fiddler on the Roof refrain, lest you be confused).

Starting with a blank canvas of MAC Face and Body Foundation mattified with powder in the T-zone, Tilbury drew a blocked-off wing using its Eyeliner in Magenta, dipping a brush into a MAC Chromacake in the same color to paint top and bottom lashes a shade of hot fuchsia. Nails were given two coats of a custom-mixed nude varnish composed of MAC Nail Lacquer in Quiet Time and Cream Delicate, while brows were bleached to keep eyes the focal point of the look (much to models’ dismay).

Eugene Souleiman subsequently pulled hair up to accommodate a series of frosted Perspex headpieces designed by Stephen Jones, although the Wella Professionals global artistic director added his own “romantic, dark-tragedy twist” to the equation. Using the brand’s Ocean Spritz Beach Texture Spray to give strands a shine-free, naturally gritty quality, Souleiman folded a ponytail onto itself to make a flat panel in the back of the head, building “spiky, sharp shards” in the front by setting floating wisps around the hairline with hair spray. “It’s a little bit off,” he decided.

Photo: Luca Cannonieri / GoRunway.com

tags: Donna Karan, Eugene Souleiman, MAC Cosmetics, Makeup, Marianne Newman, Nails, Wella Professionals

September 10, 2012  9:41 pm

Backstage ReviewsJames Kaliardos and Orlando Pita don’t have to look too far to find beauty inspiration at Diane von Furstenberg, where they often reference the designer herself—from her Studio 54 days to her more recent globe-trotting jaunts to the far reaches of Africa, India, and beyond. But for Spring, von Furstenberg wanted something else. “After looking at four different hair tests on four different girls, she turned around and said, ‘Can we do that?’” Pita recalled of the moment Diane decided to make the look more about the models’ individuality and less referential of her own.

“These girls already have these amazing gifts of beauty, so we just want to enhance them,” Pita said of strands that came in center-parted, side-parted, straight, and wavy iterations—all of which mixed seamlessly with von Furstenberg’s colorful, varied collection. There was one curly girl, too, which afforded Pita the unavoidable opportunity of paying homage to the woman behind the brand. “ looks a little like Diane so we’re going to do her hair like .”

Kaliardos went with a more uniform makeup look, which started with a base of MAC’s new-for-spring Mineralize Moisture Fluid Liquid Foundation, some slight contouring with its forthcoming Sculpting Cream in Pure Sculpture, and a “ruddy, healthy, punchy” cheek courtesy of its Blushcreme in Tea Petal. “We’re using the same palette, but tailoring the look a little bit for each girl,” he explained of the slightly smoked-out lower lash line that he intensified or pared down with a stroke of MAC’s Pro Chromagraphic Pencil in NC15/NW20 and its Eyeshadow in Antique and Espresso. “It has a slight Indian vibe,” Kaliardos admitted of the dark, elongated shape as he added a few whips of MAC Haute & Naughty Mascara on the top and bottom lash lines and affixed a few individual lashes on the outer corners—which only served to make models like Kasia Struss and Joan Smalls look that much more gorgeous in their own unique ways.

Photo: Luca Cannonieri / GoRunway.com

tags: Diane von Furstenberg, Hair, James Kaliardos, MAC Cosmetics, Makeup, Orlando Pita

September 10, 2012  1:03 pm

Backstage ReviewsLast season, we sat in on the creative process as Thakoon Panichgul and his crack team of beauty experts—that’s Odile Gilbert on hair and Diane Kendal on makeup—trouble-shot a few different looks before arriving at a keeper for the Fall show. This time around, success was immediate. “We got it on the first take,” a jubilant Gilbert confirmed backstage of the “strict, graphic” hair that stemmed from Panichgul’s Spring “garden, flowers, and birdcages” reference points.

“He brings to me, and I bring to him,” Gilbert continued of the idea sharing that helped her arrive at the collection’s dual-textured style. Starting with a generous application of Kérastase Elixir Ultime Imperial to get a glossy, conditioned quality, Gilbert center-parted hair, smoothing front panels behind ears and using a three-branch iron to create defined waves through the lengths. “When we love, we don’t count,” she said, translating a French-ism while slipping a haphazard number of black bobby pins across the back of the head in a half-circle pattern and gathering ends into a low-lying elastic.

“Fantasy” was the Thakoon directive that Kendal picked up on, a theme that was helped along by mood board images of Mia Farrow in The Great Gatsby. “That’s where the 1930s eyebrow came from,” she explained; ditto the sunken eyes and rosy flush. Dusting NARS’ new-for-spring Light-Reflecting Setting Powder over a freshly cleaned and spot-treated base, Kendal blended NARS’ forthcoming raspberry-hued Blush in Seduction onto models’ cheeks, lining lids with its Larger Than Life Long-Wear Eyeliner in Santa Monica Blvd and blending its Eyeshadow in Bali and Blondie across lids. As for those brows, it was important to Kendal that models’ natural arches were visible, “so your eye is drawn to the dark line,” which she drew on top of natural brows with NARS Eyebrow Pencils in either Jodphur or Mambo. “We wanted that eccentric quality,” she explained of why she chose not to bleach brows or glue them down—a quality the models certainly appreciated.

Photo: Luca Cannonieri / GoRunway.com

tags: Diane Kendal, Hair, Kérastase, Makeup, NARS Cosmetics, Odile Gilbert, Thakoon

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