• Chanel Beauty backstage - Métiers d’Art

    Written by Pari Damani

    Interview by Chanel

    The Chanel 2019/20 Métiers d’Art show took place in Paris 4th of December 2019, the catwalk was build to resemble Mademoiselle Chanel’s apartment on 31 Rue Cambon in Paris.  An interview by Chanel with Lucia Pica, Global Creative Make-Up and Color Director for Chanel, backstage images, the makeup she created for the show and her inspiration for the looks. The skin was prepped with hydra beauty micro serum following with moisturizer la solution 10 de Chanel and finally hydra beauty micro gel yeux, for the eyes.

    What were your sources of inspiration for this makeup? What brief did Virginie Viard give you? 
    LP: The sources of inspiration were the beautiful mirror stairs and the craftsmanship of Métiers d’Art. I wanted to play with texture and materials.

    Can you describe the fashion show makeup?
    LP: The first look was a masculine-feminine one realized with the Baume Essentiel Transparent with the accent of a strass placed in the inner corners of the eyes to catch the light.  There was the mascara Le Volume Revolution De Chanel Mascara 10 Noir on the top and bottom lashes.

    The second look was a wash of silver on the eyelid realized with Les 4 Ombres 334 Modern Glamour, that went into the inner corners of the eyes and underneath in a straight strong line focused just in the inner part of the eye. This look has a cool minimal 90’s vibe.

    The third one was a more sophisticated and feminine one. The skin was perfect, thanks to Les Beiges Eau De Teint. The focus was on the perfectly shaped glossy burgundy lips. First, I defined the lips with Le Crayon Levres 188 Brun Carmin. Then I applied Rouge Allure Velvet Extreme 130 Rouge Obscur direct from the bullet of on the lips. I finished the look with Rouge Coco Gloss 772 Epique on top to deepen and intensify. On the eyes, I applied a touch of Baume Essentiel Transparent and mascara Le Volume Revolution De Chanel Mascara 10 Noir on the top lashes only.

    The eyebrows are groomed and boyish in all the three looks. First, I used Le Stylo Sourcils Waterproof and then The Gel Sourcils to add depth and volume to hairs.

    Do you have any professional tips and tricks to share with us?
    LP: To have a strong defined glossy lip with a solid colour, layer the lip pencil all over the mouth, a strongly pigmented lipstick and a high shine gloss.

    Is there a product that you particularly enjoyed using for this makeup look?
    LP: The Baume Essentiel Transparent. It’s perfect to recreate the high gloss eyes of the show for your day to day life. It adds freshness to the look and highlights naturally.

  • JIL SANDER

    Pitti Uomo 97: Jil Sander vs. Sergio Tacchini Or the battle between cultural capital and commercial fashion

    Written by Philip Warkander by Sandra Myhrberg

    The Santa Maria Novella building complex, next to the train station in Florence, is home to one of the best-known of all Florentine companies, Officina Profumo – Framaceutica di Santa Maria Novella, founded already in 1612 by monks living in the monastery. The apotecharcy was established already in 1221, when monks were asked to take care of the city’s outcasts, and to this day, all products are made by hand. It is a site that tells of centuries of historical events, from the creation of the first alcohol-based perfume (commissioned by Catherine de’ Medici), the monks’ combatting the spread of the Black Death and their subsequent invention of rose water (!).
    That Jil Sander would choose a venue as rich as this is hardly surprising. Since married couple Luke and Luice Meier took over as creative directors of the brand in 2017, the brand has been on a very consistent and clear path. The fashion show at Pitti Uomo 97 was no exception to this strategy and can best be summarized as, “old Céline for the new man”, which might deserve a brief explanation: When Phoebe Philo left Céline (a few months after the Meiers took up the design positions at Jil Sander) she left a big gap in the market for the well-informed, educated and affluent client, wanting to dress fashionably but wary of big logotypes and marketing ploys. During Philo’s reign, Céline represented a unique perspective on fashion and was generally considered the epitome of good taste. The team at Jil Sander has been quick in attempting to fill up this space by creating understated, minimalist and sleek clothes, more in line with a classic style statement than a trend-driven fashion look. Today, this market is not only for the aesthetically adept woman but also for the equally style conscious man, more commonly known as “the new man”.
    A fashion show is in many ways similar to a symphony. The looks need to presented in a particular order to create harmony, the tonality and composition is dependent on how casting, lighting, music and styling come together to enhance the story of the design. This show was – as expected – well executed and true to the brand values of Jil Sander – black and white looks and every now and then discreet nods to the famous, deconstructed design practice of Helmut Lang. But, at times the design seemed slightly off, and there was something lacking in the presentation.
    Is there such a thing as trying to hard when it comes to branding? When does a fashion house risk appearing too obvious in their marketing strategies? If equal effort had been put into the garments as in the selection of the show venue, the show could have been both beautiful and inspiring, but unfortunately, in its current state it wouldn’t receive a higher grade than a solid C.
    In comparison, the combination of retrospective installation and collection presentation by Sergio Tacchini, organized in the outskirts of Florence in the magnificent Tepidarium del Roster just a few hours later, was something entirely different. Instead of imitating the work of others or trying hard to find inspiration elsewhere, the brand offered a transparent and clever display of both its history in sportswear and the up-coming collection of AW20. Tacchini celebrated designs of different eras from their archives by simply showcasing where they came from and in what kind of spaces their clothes had normally been used, in this way creating an event that was at the same time fun and engaging but also honest and to the point.
    Many of this season’s Pitti Uomo-visitors seemed to prioritize the glamorous Jil Sander runway show and neglect to go see the seemingly more pedestrian brand presentation of Sergio Tacchini. This is somewhat understandable but also regrettable as that evening, it was the commercial and unpretentious Sergio Tacchini who appeared to be the most innovative of the two.

    JIL SANDER
    SERGIO TACCHINI
    SERGIO TACCHINI
    SERGIO TACCHINI
    SERGIO TACCHINI
     
    SERGIO TACCHINI
  • photography by RIKARD LILJA
    stylist HENRIKA BONN
    make up CLAIRE ALLANSON
    hair MADELEINE GATERUD / Art Official Agency
    model ELLA WENNSTRÖM / Modellink
    photographer’s assistant DENNIS WERNERSSON
    stylist’s assistant LINA MALMBERG
    dress HOPE
    turtleneck VIKTORIA CHAN

    Metamorphose

    by Rikard Lilja by Sandra Myhrberg
    blouse HOUSE OF DAGMAR
    trousers WOOD WOOD
    hat L’HOMME ROUGE
    belt VINTAGE
    dress & OTHER STORIES
    leg warmers NYGÅRDSANNA
    boots HUNTER

    top STYLEIN
    bra COS
    skirt

    HOUSE OF DAGMAR
    boots TIMBERLAND

    coat STYLEIN
    sweater WEEKDAY
    trousers WOOD WOOD
    boots TIMBERLAND
    top STYLEIN
    bra COS
    skirt HOUSE OF DAGMAR
    boots TIMBERLAND
    dress HOPE
    turtleneck VIKTORIA CHAN
    belt VINTAGE
    top STYLEIN
    bra COS
    skirt HOUSE OF DAGMAR
    boots TIMBERLAND
    knitted sweater NYGÅRDSANNA
    panties ARKET
    hat L’HOMME ROUGE
    leg warmers NYGÅRDSANNA
    boots HUNTER
    sweater WEEKDAY
    dress MONKI
    bra & panties COS

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