The freewheeling spirit of Rio swept through Paris tonight—or, more specifically, wound its way through the Grand Palais, where Nina Ricci’s Spring 2017 show evoked the seaside city’s romantic nightlife. Taking Bruce Weber’s iconic ’80s photographic series as a starting point, makeup artist Diane Kendal took six grease paints and custom-blended them to craft three vivid shades that read a bit differently on each girl—apricot and peach Kryolan shifted from tangerine to nectarine, for one. At times, a lilac lid tint matched the plush shade of a velvet suit. Elsewhere, Ben Nye Cosmic Blue and Make Up For Ever turquoise became a robin’s egg tinge that was a striking contrast with orange silk. Bustling backstage in the minutes before the show, Kendal coolly retouched the lids with a soft dab of Eight Hour cream to add a pretty sheen, as hairstylist Paul Hanlon pushed strands back from the face to render an easy, windblown effect—the girl from Ipanema come to life.Expand
Photo: Courtesy of Shelley Blaze / @shelleyblaze
See the Nina Ricci Spring 2017 Ready-to-Wear Collection
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It has been a week of refreshing footwear styles for the duchess.
A flock of acidic birds of paradise took wing beside the Trocadéro this morning, where Haider Ackermann punched up his Spring 2017 collection with wildly spiked strands, fanning up from heads like ruffled plumage. Backstage before the show, hairstylist Kamo Katsuya wound models’s lengths into several circular knots before pinning extensions against them, using liberal coats of strong-hold spray to keep them aloft. “It’s a little punk-inspired, but with a bit more finesse,” explained makeup artist Lynsey Alexander of the finished look, which was secured with a length of ribbon around the head and paired with a broken flick of neon pigment and MAC’s Pure White Chromaline to lend a “ballerina edge.” Mere hours later, a kaleidoscopic array of gelled and Manic Panic–ed manes tromped onto the catwalk for Junya Watanabe’s raucous punk outing alongside frenetically beautiful black and silvered lids.
A similar course was held the night before at Yohji Yamamoto, where makeup artist Pat McGrath drew pale lips and slashed white paint across the faces to enhance Eugene Souleiman’s black sculpted wigs, their edges jutting all around. “It’s an angry crow, really, isn’t it,” he said backstage. “We’re applying a rawer, animalistic kind of feeling to the hair.” As the models’s coolly eased their way down the runway to soulful strings and guitar, beneath a light fall of rain, that primal approach read magnetic—reason enough to call on a little subversion this spring.
The post Paris Fashion Week Goes Punk: Behind the Painted Lids and Spiked Wigs at This Week’s Shows appeared first on Vogue.
Fashion Month’s love affair with bangs has become a full-blown street style phenomenon, with unconventional variations sparking joy in the hearts of showgoers from New York to Paris. The new rule is no rules: the ’70s feathered shags, micro-mini chops, electric blue ringlets.
It kicked off in New York when Alexander Wang sent models in freshly-cropped surfer shags down the runway—a look that Alexandra Elizabeth proved just as versatile on the streets of Milan, with her new tousled bangs tucked charmingly under a black beret. Versace’s customized runway fringe was another model off-duty favorite, with Edie Campbell pairing her new face-framing cut with a classic leather moto jacket and indigo denim—matching hardback book in hand—for a Parisian stroll. Street style darlings are imparting their own subversive takes on the trend—perfectly evidenced by Nell Kalonji’s forehead-grazing flounce of aqua curls, which provided another mood-boosting lift during the last leg of Paris shows. Here’s to a few more days of inspiring spins on fashion’s favorite fringes.
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Photo: (From feft) BFA / Splash
It’s no secret that Gigi Hadid and Kendall Jenner’s twinning hair moments verge on beauty ESP. And now that it seems Jenner is sitting out the last leg of fashion month, her bestie sent her a brilliantly-coiffed postcard from Paris.
Spotted in the City of Light with her bombshell mane twisted into a thick topknot and finished with a set of faux blunt bangs, Hadid riffed on Jenner’s latest signature hairstyle—if only for a night. But in lieu of a wispy, eyelash-grazing fringe and messy high bun, Hadid’s take channeled a bit of sex-kittenish Brigitte Bardot that resonated with her beaded ’60s dress and sultry nude makeup. Now that’s how to give your BFF a well-coiffed shoutout without biting her look.
It’s never a dull moment with Gigi Hadid:
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Bruno Frisoni’s glam new “Slidy Viv” is certainly not your typical Birkenstock.
Last night, young American designers met their muses at the newly re-opened Ritz in Paris.
“It’s kind of awesome,” mused a Jonathan Simkhai-sporting Taylor Hill by the baby grand in the foyer off the Salon d’Eté. “I’ve been coming to Paris for a very long time now and it’s where my career started growing. It’s where I first started working with American Vogue. And it’s super special to me because it’s the city where it all began.”
The event, held with Tumi and hosted by Hill, Vogue‘s Selby Drummond and Tumi’s creative director Michael Petry, brought together the likes of Gigi Hadid, Imaan Hammam, Anna Cleveland, and Fernanda Ly for a champagne-filled evening under the Ritz’s rose crystal chandeliers. They were all toasting 2016’s batch of CFDA/Vogue Fashion Fund finalists, who came to present their Spring 2017 collections in the Americans in Paris showroom this week.
Looking across the storied room, one could see CG’s Chris Gelinas mingling with Brother Vellies‘s Aurora James, Simkhai chatting with Hill and Thaddeus O’Neil, and Brandon Maxwell sweeping in with his date Riley Montana. (“We took the plane here together,” said Maxwell, with Montana adding, “And I watched him sleep the entire time!”)
Hadid was dressed in a beaded Adam Selman number that seemed straight out of Studio 54. “It’s so fun,” she said. “When I move, [the dress] lights up.” The twinkling didn’t only come from her dress. One couldn’t help but be dazzled at the thought of the many literary icons—from Jean-Paul Sartre to Marcel Proust to Oscar Wilde—who made the hotel such a legendary social and intellectual hub.
“I love it so much,” Ryan Roche said about reveling in one of Hemingway’s favorite haunts. “It’s really authentic.” Roche—who dressed Lexi Boling, Lindsey Wixson, and her dear friend James in her signature knits—was in a warm and affectionate mood. “The love we have for each other within the CFDA is so genuine. It’s all my closest friends. We’re all working together and we’re all supporting each other.”
Gigi Burris, seated in a crimson-and-amber velvet armchair, summed up what was so exceptional about the evening. “We get to see each other all the time in New York City, but there’s something really special about getting together as Americans in Paris.”
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Audrey Hepburn once said, “I never think of myself as an icon. What is in other people’s minds is not in my mind. I just do my thing.” The Academy-Award-winning actress will certainly be on our minds next week when her storied film, Breakfast at Tiffany’s, celebrates its 55th anniversary. The legendary ode to New York helped secure Hepburn’s position as a veritable style star—and the look has continued to be replicated, emulated, and celebrated ever since. “My look is attainable,” Hepburn told Barbara Walters in 1989. “Women can look like Audrey Hepburn by flipping out their hair, buying the large glasses, and the little sleeveless dresses.” In honor of her contributions to fashion and film, here are five things you may not have known about Hollywood’s most famous Tiffany & Co. customer.
1. Audrey Hepburn was discovered at age 22 on the French Riviera by Colette, the renowned author who penned the 1944 novella Gigi. At the time, Hepburn had a small part in the film, Nous irons à Monte-Carlo. During production, she was spotted across a hotel lobby and was immediately pegged for the lead in the upcoming Broadway musical adaption. “I’d only said a few lines in my whole acting career,” Hepburn later recalled. Upon first sight, Colette reportedly whispered, “Voilà, c’est Gigi.”
2. Roman Holiday costar Gregory Peck insisted that Hepburn receive the same top billing on the film, a project that she was almost overlooked for entirely. Producers initially imagined Elizabeth Taylor in the role. But the director, William Wyler, was so impressed by Hepburn’s screen test that he opted to cast the relatively unknown actress in the lead instead. As part of Peck’s contract, the film was originally set to feature his name above the title, with “Introducing Audrey Hepburn” to follow beneath in smaller font. Soon after filming began, Peck made a phone call to his agent and requested otherwise. “The real star of the picture is Audrey Hepburn,” Peck said. “We all knew that this was going to be an important star and we began to talk off-camera about the chance that she might win an Academy Award in her first film.” (She did in 1954.) The moment was also in part thanks to her legendary screen test. When the actress performed a scene from the film, the cameraman were told to keep things rolling after the director said, “Cut.” Several minutes of unscripted Hepburn was captured on film and the end result won her the part. “She was absolutely delightful,” Wyler said when he saw the test. “Acting, looks, and personality.”
3. Hepburn first suggested Hubert de Givenchy to design the costumes for Sabrina. While Edith Head was originally enlisted for the position, and would ultimately take credit, the film’s director, Billy Wilder, said the change of plans came from the leading lady. The actress expressed her adoration for fashion on the set of Sabrina. “Clothes are positively a passion with me,” she told a reporter. “I love them to the point where it is practically a vice.” Fortunately, Paramount allowed Hepburn to incorporate the costumes into her own closet, a habit she kept throughout her collaboration with Givenchy for the remainder of her career, including Funny Face (1957), Love in the Afternoon (1957), and Breakfast at Tiffany’s (1961). “Givenchy gave me a look, a kind, a silhouette,” she once said. “He kept the spare style that I love. What is more beautiful than a simple sheath made an extraordinary way in a special fabric and just two earrings?”
4. Truman Capote wanted Marilyn Monroe to play Holly Golightly in the film adaption of his 1958 novella, Breakfast at Tiffany’s. “Paramount double-crossed me in every way and cast Audrey,” the author has said. “It was the most miscast film I’ve ever seen.” Monroe passed on the role, reportedly, because it was bad for her image. “Marilyn Monroe will not play a lady of the evening,” her acting coach, Paula Strasberg, said. Hepburn also had her own misgivings. “I hesitated a long time before accepting the part,” she said prior to the film’s release. “It’s very difficult and I didn’t think I was right for it. I have to operate entirely on instinct. It was Blake Edwards who finally [persuaded] me. He at least is perfect cast as a director and I discovered his approach emphasized the same sport of spontaneity as my own.” The actress added. “I should be a stylish Holly Golightly, even if that’s all I can contribute.”
5. Hepburn has said the Breakfast at Tiffany’s scene where she dispels her tabby, named Cat, out of the cab into the rainy streets of New York is the most distasteful thing she has ever done on film. Hepburn famously owned a Yorkshire terrier, named Mr. Famous, (see his cameo in Funny Face in the dog basket during the train shot with Anna Karenina) and spent part of her first Hollywood paycheck on a diamante collar for her beloved friend. She also adopted a baby deer she dubbed “Ip” (short for Pippin) after on the set of her 1959 film Green Mansions. The animal trainer suggested Hepburn take the fawn home with so that it would follow her on-screen. After her turn in Tiffany’s, animal-rescue leagues and pet stores everywhere reported an unprecedented demand for orange cats.