Sunday, March 26, 2017

How to Style Your Hair When Wearing a Hat

As part of the “Hats Heard Round the World” Project, today we are get­ting some advice from experts on how to style your hair when wear­ing a hat! And as a quick aside, I would like to thank all the bril­liant milliners who have sent their gor­geous hats so far.….including Maria Cur­cic and Trish Hirschkorn of Canada; Hania Bul­czyńska of Poland; Denis Gulyaev of Rus­sia; Yael Cohen of Israel; Steven’s Hats of Italy; Chris Van de Velde and Naomi Wuyts of Bel­gium; Majella Lennon of Ire­land; and Ana Pribylova and Wendy Scully of Aus­tralia. You’ll be read­ing more about these gifted artists soon on BSSTW, so stay tuned!

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The big ques­tion when wear­ing a hat is how to style one’s hair. This can make or break your look, but oddly, the solu­tion can be very sim­ple. Remem­ber that the hat is tak­ing cen­ter stage, so a low bun or chic chignon, with lit­tle or no vis­i­ble hair show­ing, is almost always a cor­rect option. How­ever, with the head­wear craze in full force, I want to exam­ine some other, more cre­ative alter­na­tives for you today.

When don­ning a hat, remem­ber that you should always show the line of your face, accord­ing to Michigan’s Gena Conti of Gena Conti Millinery. “The hat should enhance you, blend with you, become an exten­sion of you,” she says, “as a flat­ter­ing hair­style does.”

Just look at this strik­ing hat cus­tom designed by Gena for her favorite client and muse, co-owner of Hair Lab Detroit, Lau­ren Moser, below, pic­tured here with her fiancé Rodrick Samuels.

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First of all, this is sim­ply an exquis­ite hat. Fur­ther­more, the struc­ture of the face is clearly vis­i­ble, enhanc­ing Lauren’s killer cheek­bones, and although Lau­ren is an award-winning hair­styl­ist her­self, and can envi­ably do most any­thing with the hair that you can imag­ine, she has opted with her coif for a sim­ple updo. Pure ele­gance. You can­not go wrong. This is utter perfection.

Remem­ber: sim­plic­ity is the key to bril­liance. And for a low-down on how to cre­ate this look with utmost sim­plic­ity, we turn to stel­lar styl­ist Edward Tri­comi of the perpetually-chic War­ren Tri­comi Salons.

Please note that you do not have to be an accom­plished hair­styl­ist like Lau­ren or Edward to cre­ate this effect. “Pull the hair back into a low pony­tail with an elas­tic rub­ber­band. Braid, twist into a bun and pin with dis­cre­tion” so that your pins are not vis­i­ble, Edward advises. Be sure to check the back of your coif in the mir­ror by hold­ing a hand mir­ror to head level, while fac­ing away from your full-length mir­ror. Use your hands to feel that there are no stray bobby pins. Smooth strands gen­tly with a bit of hair­spray misted onto your palm. Spray­ing directly onto the bun may result in an unat­trac­tive, lac­quered effect.

The Short End of It

If you have short hair, a bun or chignon is not always pos­si­ble. In these cases, sleek and sim­ple always works. Remem­ber, the hat is the focus. Neatly slick the hair back off the face for a tidy cou­ture look.

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For a medium bob, pull hair back behind the ears if it’s attrac­tive on you, in order to see the line of your jaw and your face, Gena rec­om­mends. A short Sas­soon cut, like the one below, nat­u­rally enhances the bone struc­ture and works fab with a hat, but the bangs can seem prob­lem­atic until you play with them.

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Some­times the client loves her bangs and must show them,” Gena states. In this case the hat should be either perched a bit back on the head as seen above, or pulled down low allow­ing the fringe to cir­cle the face, she says. You can also wear the bangs side­swept, as seen below.

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It’s a Long Story

If you want to wear your hair loose and long, it all depends on the tex­ture and your desired out­come. Curls and waves are more fem­i­nine and roman­tic; straight hair equals severe drama or it can look per­fectly casual, and there’s even room for frizz, if done cor­rectly. Let’s take a look.

Curly Cues

Curls or waves can add a dis­tinctly coquet­tish slant to millinery, espe­cially a sum­mer sun­dress worn with a floppy semi-translucent hat or a fem­i­nine, over­sized, floral-embellished straw cre­ation on Easter, for example.

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Above how­ever, the model is sport­ing soft curls with a mas­cu­line fedora, which is a great dichotomy and really works in this case. Very styl­ish. I love this clas­sic look. It’s sexy as hell. Upon closer inspec­tion it is clear that the model’s hair has been set for these rounded, barrel-style waves.

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The curls above appear to be nat­ural. Millinery, in my opin­ion, looks bet­ter with a light set­ting. Nat­ural curls often ben­e­fit from heat curl­ing, if you have the time and incli­na­tion. It might seem odd, redun­dant and counter-intuitive to curl curly hair, but the out­come is often quite glo­ri­ous and worth the bother. Your curl pat­tern and bounce are going to look dif­fer­ent than freshly-washed nat­ural curls. They’ll be more pol­ished than a nat­ural curl, which can appear some­times strag­gly or fuzzy when topped with a hat, some­thing you might not notice when you’re wear­ing more casual attire. A hat is usu­ally going to ele­vate an out­fit into a more cou­ture moment. At that point, you will abruptly see that casual curls–aka your nor­mal “street hair”–no longer seems quite appro­pri­ate, unless you are wear­ing a knit cap, base­ball hat, or other sim­i­larly sporty creation.

Mak­ing Waves

Use a bit of heat to set the curl, then let the stand­ing curls cool, after which you gen­tly brush them out sec­tion by sec­tion with a boar bris­tle Mason Pear­son for incred­i­ble shine and a pol­ished look. And always remem­ber, the smaller the set, the tighter the curl obviously.

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Set­ting the hair in stand­ing pin­curls with a set­ting lotion or light­weight gel mixed with water, spritzed onto the hair for hold, will cre­ate picture-perfect waves that look slightly more sophis­ti­cated than an untamed mane of feral curls.

Frizz Fac­tor

Some­times feral works for you, but I must admit this is a hit-or-miss, Grace Coddington-kind of moment that often looks bet­ter in a fash­ion edi­to­r­ial than it does in real life.

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If you’re going to put the forté on the frizz, be sure you style your ensem­ble appro­pri­ately and adjust your makeup so that it looks delib­er­ate, and not like you ran out of prod­uct and got caught in a wind­storm on the way to the party. It can be tricky to pull off this look, even with a mane like Nicole Kidman’s, below.

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Let’s Get Things Per­fectly Straight

When opt­ing for long and straight, it’s impor­tant that the hair is per­fectly smooth and sleek, not fly­away or strag­gly or uneven at the ends.

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If your ends are not blunt enough with a suf­fi­cient weight­line, ie.–if they tend to look a lit­tle bit ‘see-through,’ this can be an unat­trac­tive men­ace and you might want to com­pen­sate with a syn­thetic pony­tail or 3/4 wig beneath the hat for extra weight and vol­ume, which can result in a truly spec­tac­u­lar, per­fect look. There’s plenty of fake hair out there to go around so con­sult your local wig shop.

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The Power of The Pony

Per­son­ally, I adore a chic, low pony, wrapped in its own hair, as seen below with this uber-cool seam­less sculpted cap by milliner Yael Cohen. You’ll be see­ing more from Yael in our “Hats Heard Round the World” Project by the way, so stay tuned for more about her.

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I hap­pen to have this very cap, a cher­ished gift sent to me from Yael, owner and chief designer at Jus­tine Hats in Tel Aviv, Israel. I wear this constantly–very sim­i­lar to the model above–with a low pony.

A high, more perky pony­tail is also another style to con­sider but only if the hat rides high on the back of the head. So be sure to exper­i­ment, con­sult your milliner if nec­es­sary and ask his or her opin­ion. Research great-looking shots of chic head­wear in the mag­a­zines and online. Exam­ine the hair­styles selected for the looks and prac­tice them on your­self. You may even want to take a few self­ies to per­fect your look when wear­ing a com­pli­cated piece, in par­tic­u­lar if you are going to be pho­tographed or it’s a spe­cial occa­sion. In fact, I highly rec­om­mend this process, for real­is­tic self-evaluation.

It’s a No-Show

Some­times the best solu­tion to a hair issue is to ignore it com­pletely. Yes, slick it back or pile it up under the hat for a “No-Show.” You can almost never go wrong.

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Note these exam­ples, where no news is good news, and the hair qui­etly takes sec­ond seat to the hat that adorns it.

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Above, the hair is tucked into the belly of the hat for a dra­matic effect. And below, sleek and smooth, the hair again is prac­ti­cally a non-entity with this spot­ted topper.

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Pass the Acces­sories, Please…

Finally, you may want to com­bine acces­sories when wear­ing a hat. Use dis­cre­tion. Below, all the hair is a “No-Show” con­cealed beneath a styl­ish scarf worn under that hat.

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And a rak­ish top hat takes on a dra­matic yet fem­i­nine appear­ance when the model’s hair is slicked back and packed inside a snood at Dior. So time­less, so femme fatale!

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No mat­ter your hair length or tex­ture, there’s always a chic solu­tion for every hat you may encounter, and now you know the indus­try secrets on how to style your hair when wear­ing a hat. Hats off to you!

Wednesday, December 7, 2016

The “Hats Heard Round the World” Challenge is Here!

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Today’s mod­ern cou­ture hats are with­out a doubt the purest-existing expres­sion of wear­able art, orna­ments for the head that are often part jew­elry, part sculp­ture, and are usu­ally one-of-a-kind, painstak­ingly hand­made with love by an actual per­son or team of peo­ple who sit squarely on the wall between artist and arti­san. I am so happy to announce that hats are surg­ing back into fash­ion. For many a true hat enthu­si­ast, hats never went *out* of fash­ion, but fash­ion did not seem to agree for a few decades there, start­ing around 1970 or so.

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Nowa­days I feel like there is always an occa­sion for a spec­tac­u­lar hat on every out­fit I see in the mags and the shops and on tele­vi­sion, a bold state­ment, but here comes an even bolder one: Soci­ety seems just a bit less civ­i­lized with­out the hat as a fix­ture on women’s heads, as cou­ture hats these days defy and tran­scend every expec­ta­tion soci­ety once defined for the hat, thanks to trend-setting mas­ter milliners who have pushed the cou­ture envelope.

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New milliners are pop­ping up world­wide, and millinery classes from old-school milliners are on the rise with fever­ish demand where the art of the hat is both revealed and discovered.

As part of this blog, I am launch­ing a “Hats Heard Round the World” Chal­lenge to milliners glob­ally for a unique and excit­ing fash­ion oppor­tu­nity. Its goal? To spread the love and enthu­si­asm and ado­ra­tion for chic hats and head­wear world­wide and reit­er­ate the mes­sage that hats are uni­ver­sal in every culture.

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Hats selected for the chal­lenge will be fea­tured in the “Hats Heard Round the World” fash­ion edi­to­r­ial, styled and shot in top cou­ture, and pub­lished on the blog. For milliners inter­ested in par­tic­i­pat­ing, please email beautyshallsavetheworld@gmail.com for details.

For you, my read­ers, you’ll meet count­less milliners from all over the planet—world-class, award-winning, utterly fab­u­lous milliners, as well as aspir­ing milliners who are self-taught and have never taken a sin­gle class—but all of them have one thread in com­mon: tal­ent. And all of them prove with­out a doubt that hat-making, or millinery, as it’s known, is not a dying art. In fact for many of these artists, millinery is their entire life and their devo­tion and passion.

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We will travel to Canada to visit with an award-winning milliner and felt­ing expert, Trish Hirschkorn, and see her breath­tak­ing hat made from clay (yes, clay!) that will daz­zle you with its utter spectacular-ness! On the oppo­site side of Canada we’ll stop at the ate­lier of the ver­sa­tile artist Maria Cur­cic, whose love for clas­sic cou­ture and valu­able vin­tage sur­faces in her incred­i­ble heir­loom cre­ations. Maria has one hat in par­tic­u­lar that I’m absolutely obsessed with, a top­per that would make Scar­let O’Hara green with envy!

We will jet across the world to the East­ern Bloc to Poland, and on to Rus­sia, to meet the gifted milliners Hania Bul­czyńska and Svet­lana Gulyaeva, respec­tively, both of whom stud­ied under one of my favorite milliners, a spec­tac­u­lar genius in hats, the great Anya Caliendo. And we will dash off to Israel for two milliners whose cou­ture hats are as dif­fer­ent as day and night, and their hats could not be any more so as well! Each milliner’s process is a unique one, and results in unique pieces of wear­able art, the anti-thesis of dis­pos­able fashion.

Yes, we are tak­ing a vir­tual tour around the world on the brim of a hat! Aus­tralia, Ire­land, Eng­land, Asia, Italy, France, Bel­gium and of course the United States are also all on deck! Isn’t it exciting?!?!

Every milliner fea­tured in the Hats Heard Round the World edi­to­r­ial will be inter­viewed and an arti­cle writ­ten about him or her. You will exam­ine the designer’s unique cre­ative process, read about their mate­ri­als, hear about their influ­ences and influ­encers, and dis­cover per­haps just a bit of what it is that makes them tick.

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As part of this series I’ll also teach you how to wear a hat—that is, how to posi­tion a hat prop­erly on your head—as well as how to choose the per­fect hats for you and your image and your age and face. My good friend from Aus­tralia, stel­lar styl­ist Lynette Pater will be chim­ing in on that. Lynette will give some help­ful tips on wardrobe styling, acces­soriz­ing, and over­all exe­cu­tion of a “look” when wear­ing var­i­ous styles of hats and head­wear, and we will also dis­cuss how to style your makeup and hair with all kinds of var­i­ous hats, with advice from my friend and celebrity hair­styl­ist, the fash­ion­able Edward Tri­comi of the perpetually-chic War­ren Tri­comi Salon in NYC. And of course I’ll be throw­ing in my two cents as usual. So stay tuned!

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He who works with his hands is a laborer.

He who works with his hands and his head is a craftsman.

He who works with his hands and his head and his heart is an artist.

~ St. Fran­cis of Assisi

 

Ciao for now, from your favorite fashionista!

Peace. Love. Beauty.

SHAN

xxx

Saturday, July 30, 2016

Sequoia Emmanuelle Photography: Have Art, Will Travel

the dapifer

Hi guys! If you’re in my hood this week, mean­ing the San Fran­cisco Bay Area, there’s an incred­i­ble treat wait­ing here for you! Sequoia Emmanuelle is in the house! Specif­i­cally, she’ll be at Beats Antique’s Shad­ow­Box store­front Tues­day in Berkeley–her first appear­ance here in two years.

It’s a cel­e­bra­tion of her newest, color-drenched mas­ter­pieces, and as a spe­cial gift she will also be avail­able for book sign­ing of her long-awaited, highly-anticipated tome titled “Duende,” a visually-juicy anthol­ogy of her illus­tri­ous career in fash­ion photography.

Sequoia began her career in the year 2000, after study­ing pho­tog­ra­phy at Min­neapo­lis Col­lege of Art and Design, and has since lived in New York, San Fran­cisco and Los Ange­les, where she’s cur­rently based. She unites her tal­ents in fash­ion, set design, paint­ing and graphic design in her beau­ti­fully bizarre por­traits steeped in surrealism.

Inspired by and hav­ing worked with many of the unique tal­ents of the West coast under­ground music, fash­ion, art and dance scene, her avant-garde cap­tures have sur­faced as album art and have been pub­lished in many a mag­a­zine, such as Ital­ian Vogue, Dark Beauty, Giusep­pina Mag­a­zine, and The Dapifer, pic­tured top.

If you have the loot, you can even book a shoot with Sequoia while she’s in town for a lim­ited time, as spaces are fill­ing up rapidly. Now take a look at some of my favorite works by Sequoia Emmanuelle.

oriental headdress

Ash­ley Joy Beck, above, looks divine in deVour Mag­a­zine, resplen­dent in noth­ing more than a mas­sive Asian head­dress by Bub­bles and Frown Hab­er­dash­ery Shoppe.

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The por­traits above and below, of the vision­ary Hol­ly­wood styl­ist and cos­tume designer Bea Aker­lund, are haunt­ingly beautiful.

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The dynamic pair­ing of Sequoia and Bea yields some pretty impres­sive cap­tures, darkly-themed and deli­ciously noir, dur­ing Bea’s film shoot “In the Closet” for Fuse TV.

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I love the shot above, where Sequoia uses dra­matic color and strik­ing com­po­si­tion for max­i­mum effect. It’s inter­est­ing, the way she inte­grates a play­ful sen­su­al­ity into down­right dan­ger­ous themes. Just look at that capture!

desert dune portrait

A myr­iad of sepia stone sets the back­drop for the shot above, Sequoia’s stark study in exoti­cism, with a raven-haired beauty wear­ing dra­matic facial jewelry.

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This photo takes glit­ter to a whole new level of glam­our, with makeup by Debra Macki. Alive with bril­liant color and tex­ture, it’s sim­ply flawless!

red velvet boots

Facial jew­elry has never been so right. It’s amaz­ing how Sequoia can make the bizarre look beautiful.

floral headpiece

Even a sim­ple flo­ral head­dress looks sul­try on this model. It’s innocence-with-an-edge.

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The impec­ca­ble beauty, music artist Ivy Levan, looks author­i­ta­tive and pow­er­ful sit­ting regally in a grand metal­lic chair in front of the lens of Sequoia Emmanuelle. So much mood in one defi­ant cap­ture. I love the drama!

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This model looks oddly vul­ner­a­ble in Sequoia’s ‘Wild­child’ series. Glam­orously punc­tu­ated with sparkling gems and dot­ted with body makeup, she is a fan­tas­ti­cal vision. There’s some­thing about the con­trast in this piece that makes it riv­et­ingly unique, and I love the play­ful lighting.

orange opulence

Overt in opu­lent orange, this shot speaks of deca­dent alienation.

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Sequoia’s piece for Kat Von D Beauty is awash in beau­ti­ful blues, fea­tur­ing a deep indigo lip on the feline-faced Ivy Levan.

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Blue Vel­vet,’ above, is another spec­tac­u­lar vision in cyan. Lov­ing the avant-garde hand jew­elry and the dra­matic turquoise top­per! Moody light­ing and sliv­ers of shine make this photo more than memorable.

gold glitter freckles

I just love the risks Sequoia takes in her styling. As if vivid slashes of teal eye­shadow and a poppy-red mouth are not enough drama, Sequoia sees to it that the model above is adorned flir­ta­tiously with a con­stel­la­tion of gilded freckles.

This is a show not to be missed! Hope I see you Tuesday…Ciao for now, from your favorite fashionista!

Peace. Love. Beauty.

xxx

Friday, July 29, 2016

Strobing: How & Where to Add Shimmer & The Best Products For It

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While there’s no sub­sti­tute for flaw­less skin, there is an elu­sive ele­ment nowa­days that you will see on the most beau­ti­ful faces in print and film–a mod­ern char­ac­ter­is­tic which every woman cov­ets, but few know how to master–and that is: The Glow.

Strob­ing, as it’s known in the biz, is all the rage these days, and it’s the tech­nique for cre­at­ing that envi­able look of per­fect, vibrant healthy skin. There are a bil­lion prod­ucts out there to get that lumi­nous glow and just about as many the­o­ries on how to do it. Here’s a lit­tle guide to strob­ing, with advice from one makeup artist pro who is def­i­nitely in-the-know about going-for-the-glow! Wel­come my dear friend from Down Under, Australia’s very own Susan Markovic, pic­tured below.

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No one could be more demand­ing than a bride on her big day, and Susan is a gifted makeup artist and edu­ca­tor who spe­cial­izes in bridal hair and makeup.

As owner of Makeup Mode Mas­ter­class, an incred­i­bly suc­cess­ful and respected makeup artistry school in Syd­ney, Susan expertly caters to this most dis­cern­ing pop­u­la­tion while teach­ing other artists how to make women look their most beautiful.

Here, Susan gives us the low-down on lay­ing the glow down! Pay attention!

Bronz­ers, high­lighters, illuminators–these are the prod­ucts that give the face its glow,” Susan said. “When apply­ing this to the face, think of all the areas that pro­trude for­ward and there you have the place­ment of high­lighters. This prod­uct is multi-dimensional, enhanc­ing bone struc­ture and bright­en­ing the face.”

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Loca­tion, Loca­tion, Location

As in real estate, loca­tion is every­thing when you’re going for the glow. Exam­in­ing the model’s face above, you can clearly iden­tify the areas that ben­e­fit from strob­ing: just under the brow­bone, the inner cor­ners of the eyes, on top of the cheek­bone (with­out going into the under-eye area where con­cealer is applied), the top cen­ter of the lip, known as the Cupid’s bow, the chin, and down the cen­ter of the face, espe­cially the bridge of the nose.

Real Glow-Getters: Prod­ucts & Tools

High­light­ing prod­ucts come in liq­uid, cream and pow­der con­sis­ten­cies. Here are some stel­lar strob­ing prod­ucts and glow-enhancing good­ies for adding luminosity.

Liq­uids & Creams & Pow­ders & Other Things

Becca’s Shim­mer­ing Skin Per­fec­tor in Opal Rebel is a main­stay in Susan’s kit, along with MAC Lus­tre Drops in Sun Rush and Pink.

Liq­uids can have a moist fin­ish, leav­ing a wet or dewy look on the skin, or they can be water-based and, once applied, dry to a pow­dery but shim­mer­ing fin­ish. They are very prac­ti­cal for a wed­ding or an event requir­ing long wear. “Liq­uids pro­vide the light­est of appli­ca­tions and have a sheer veil effect,” Susan stated.

I adore SeneGence’s Pearl­izer, which I have writ­ten about before. Check out my full review on this awe­some prod­uct, which is made by a truly inno­v­a­tive com­pany. It’s a liq­uid high­lighter that’s per­fect for brides, affordably-priced…and it’s also great for your skin!

Makeup artist Pat McGrath’s Skin Fetish 003, by Pat McGrath Labs, is now sold-out nation­wide at Sephora, and I must say that this lit­tle col­lec­tion is a full-on game-changer, and truly amaz­ing for cre­at­ing lumi­nos­ity, dewi­ness and radi­ance. It came in two tones–Nude, or my favorite, Gold–and was worth every cent! The brush is bril­liant, and the double-ended stick, with high­light­ing cream on one side and a dew-inducing balm on the other, is noth­ing short of genius.

Pow­ders

Kevyn Aucoin’s eye­shadow sin­gle in Whis­per is a gor­geous fleshy nude frost that can cre­ate the most won­der­ful shim­mery glow, and I also love Giella’s Eye M Glam, which now comes in four col­ors and is custom-blended by Kim Kardashian’s makeup artist, the bril­liant Mario Dedivanovic.

kim k

Orig­i­nally, Eye M Glam was the only color of the Eye M Glam high­lighter squad. It’s the deep, peachy-bronze cop­per that you see gild­ing Kim Kardashian’s exquis­ite face and ideal for darker com­plex­ions. But now, Dedi­vanovic has cre­ated Rose Glam, a soft, warm, incan­des­cent pink; M Glam, a golden shade; and Strobe, a bright shim­mery white. Try ‘lay­er­ing’ your strobe with Giella’s Eye M Glam pig­ments. That is, sweep the cheek­bone in a crescent-like shape with your base highlighter–either Eye M Glam for dark skin, Rose Glam for lighter com­plex­ions, or M Glam for Asian beau­ties and those with yel­low under­tones. Then dot the high­est pin­na­cle of the cheek with just a speck of Strobe, the white shim­mer, on each side of the face. You can use Strobe to illu­mi­nate the inner­most cor­ners of the eyes and the peaks of the brow bones, too…just a hint beneath your eye­brows, ever-so-sparingly, to cre­ate a multi-dimensional sparkle.

A del­i­cate fan brush works for the cheeks, but you can never go wrong by sim­ply using your hands. The great­est makeup artists count their own fin­gers as their top tools. Be pre­pared to blend, eval­u­ate, and blend again. Remem­ber, this is artistry. Your face is the can­vas and you are the painter. It may take time at first, but soon you will under­stand your own face, your prod­ucts, and how they work.

Oh, Guer­lain!

Guer­lain has a bril­liant lip pen­cil called ‘Cupi­don’ which is the most effec­tive way to high­light the Cupid’s bow, with­out a doubt. This lipliner goes dis­tinctly out­side the lipline, and the color is the most beau­ti­ful pearly-pink you’ve ever seen.

guerlain cupidon

Because it comes in a slim pen­cil, you get the ben­e­fit of ulti­mate con­trol in place­ment and can draw the high­light pre­cisely where you want it. This pen­cil is a favorite of Pamela Ander­son and her makeup team. Just a flick of Cupi­don flirt­ing along your lipline will look so very lovely. Thanks, Guerlain!

Keep­ing it Consistent

Remem­ber to keep your con­sis­ten­cies con­sis­tent when adding shim­mer or high­light. That is, liq­uids and creams go over other liq­uids and creams. Once you pow­der down, you should only top with pow­ders there­after or you might end up with a clumpy, caked-on mess.

A Word (Or Two) of Caution

Although strob­ing works well with many skins types, one time to def­i­nitely avoid it is with prob­lem­atic skin, accord­ing to Susan. Remem­ber, high­lights draw atten­tion to an area, so if you have large pores or break­outs, avoid high­light­ing that area. Ditto for wrin­kles or crow’s feet.

Dis­cre­tion: Foiled Again!

The key to effec­tive high­light­ing is to only high­light a few areas. Use dis­cre­tion and care in placement.

Susan cau­tions against over-highlighting the ball of the nose because some­times it turns down­ward. “This cre­ates the illu­sion of a broader nose and gives the impres­sion that the client has a runny nose,” she stated.

And don’t overuse the prod­uct or you may end up look­ing oily, sweaty, or like you fell in a tub of shim­mer, espe­cially in photographs.

In fact, if you are going to an event where you will be pho­tographed, make sure that you take some pic­tures of your­self in sim­i­lar light­ing well in advance, and with the type of makeup that you will be wear­ing, so that you are pre­pared to make adjust­ments. We don’t always pho­to­graph the way we look in-person, and there’s noth­ing worse than get­ting all dolled-up, only to see the hor­ri­fy­ing after­math of your­self with an unflat­ter­ing reflec­tive glare all over your face because you were unaware of the light­ing and how your prod­ucts ‘read’ on film.

Now you are set to strobe with the great­est of glow. On your marks, get set.….Glow!

Wednesday, July 20, 2016

Fashion Takes a Bow.…..Or Two

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There’s a new/old dec­o­ra­tive ele­ment of style that has me pos­i­tively obsessed these days–its ori­gin is antique and it con­jures fan­tasies of unwrap­ping a pre­cious gift for its recipient.

Bows date back in fash­ion his­tory longer than any of us have existed, and for bloody good rea­son: they’re fem­i­nine, styl­ish and lovely to look at, and can be worn in infi­nite ways.

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Lately I’ve been going a bit bow-crazy, scour­ing the shops for a bevy of bows. I love the way they can look ele­gant, classy and sweet; or dra­matic, whim­si­cal and coquet­tish. I also love the way they can take cen­ter stage as an enor­mous orna­ment or sim­ply work as an adorn­ment for an acces­sory, or even become the acces­sory itself.

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John Gal­liano ties one on for his Mai­son Margiela fall 2016 col­lec­tion, and this giant bow, in rich gor­geous choco­late, is the fab­u­lous focal point for the entire ensem­ble. I love the pro­por­tions of this thoroughly-modern bow! Amaz­ingly, the exag­ger­ated scale looks appro­pri­ate for chic day drama in an earthy urban palette, as Gal­liano bril­liantly rede­fines the bow.

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For­mally, Zoe Kravitz was fit to be tied at the Met Gala this year in dark and dreamy Valentino. Valentino loves the bow almost as much as I do, and has used bows in many a gar­ment over the years, as seen in the lit­tle red day dress below, worn by the perpetually-chic Alexa Chung. It looks so sweet and cur­rent. What a dif­fer­ence a bow can make!

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This ele­gant sleeve from Chloe in 2009, below, undoubt­edly shows that you can never have too many bows! Just look at the time­less­ness of the detail and tell me what I already know: it’s all in the bow!

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Notice how the bow can dom­i­nate or embell­ish, it’s entirely up to you! I also appre­ci­ate the fact that you can dress the bow up or down, and wear it sexy, school­girl or couture.

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For spring, sum­mer or win­ter, fall for the bow and you won’t go wrong. This grey tweed bow by Chris­t­ian Dior, shot by Paolo Roversi for Vogue Italia, proves that bows smartly travel through all sea­sons and can be worn on any occasion.

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Above is more Dior, a pump­kin gown punc­tu­ated with a beaded bow.

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But the hum­ble bow can also remain mod­ern and min­i­mal­ist, as seen in this Yves Saint Lau­rent sum­mer dress pho­tographed by Mar­tin Lidell for L’Officiel Rus­sia back in 2010. This design looks as cur­rent to me today as it did six years ago, which speaks vol­umes about the bow!

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Chris­t­ian Lacroix used the boun­ti­ful bow for Schi­a­par­elli Haute Cou­ture in the bus­tled beauty above. I love the whimsy of his pow­der pink plaid. Stunning!

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Vic­to­rio & Lucchino embell­ish a model’s assets in a sleek sil­ver sheath adorned with a dra­matic Asian-textile bow.

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Bows are ideal in bridal, as seen in the wide geisha-style wrap above, but they can also sur­face sim­ply as a del­i­cate accent on a gar­ment or worn in the hair for flir­ta­tious effect.

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This shoul­der rib­bon, in an edi­to­r­ial for Harper’s Bazaar shot by Solve Sundsbo, proves that the bow need not look bold to cre­ate a max­i­mum impact.

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Just a bit of rib­bon tied in a loose pony can ele­vate bed­room hair to a cou­ture coif in sec­onds! I love the sweet sim­plic­ity of it. It’s so effort­less look­ing and incred­i­bly sexy!

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And speak­ing of sexy, I’m cur­rently crush­ing on the hair-as-sculpture bows, pio­neered by Valentino in 2006 and worn famously by both Paris Hilton and Lady Gaga.

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They look just as cool with cou­ture as they do with a casual, fresh sum­mer dress, and now you can find clip-on hair­bows at the wig stores and beauty sup­ply and in a vari­ety of col­ors, so you don’t have to have mad skills to look charm­ingly coy if you decide to jump on the bow bandwagon!

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The bow is a glam­orous, chic and fem­i­nine ele­ment which has remained time­less in the his­tory of fash­ion. I now invite you all to take a bow!

Peace. Love. Beauty. xxx

Friday, July 8, 2016

The Meaning of Life and The Purpose of Life and Issie Blow

issie sublime in red

One of my ear­li­est mem­o­ries from child­hood is a cold day at the beach in San Fran­cisco, my sis­ter and I walk­ing with my mother and my father. I don’t remem­ber how old I was, but I must have been very young because my dad was still around, and the ocean was a new expe­ri­ence for me.

As I walked the shore with my father at my side and my mother and sis­ter trail­ing behind us, I col­lected trea­sures from the briny, surf-soaked sands. There was a mul­ti­tude of shells, pieces of glass and drift­wood, and a plen­ti­tude of peb­bles, each a tiny work of art from nature, and each a mas­ter­piece in its own right.

I would gather my sou­venirs from the sea and con­tem­plate their per­fec­tion, or lack thereof, in my tiny hands as we walked. None of the trea­sures were with­out flaw. Per­haps a gnarl in a shell or a blem­ish on a stone ren­dered them, in my mind, inad­e­quate. So upon reflec­tion I would inevitably dis­card each trea­sure that I dis­cov­ered by sim­ply drop­ping it along the walk until we came back to the car to leave, at which point I saw that I had nothing.

My sis­ter, how­ever, had the most intrigu­ing col­lec­tion of beau­ti­ful lit­tle things as we came to the end of our walk. In her find­ings were dar­ling shells and col­or­ful stones with char­ac­ter and won­der­ful, mem­o­rable relics that I exam­ined in awe. I remem­ber telling my mother with incredulity how lovely each item was, and ask­ing how my sis­ter found these beguil­ing memen­tos on our walk when I had seen only imper­fect specimens.

My mother sim­ply smiled for the longest time as I fawned over the glo­ri­ous trea­sures. How could my sis­ter have found such won­drous art, I asked, when I found noth­ing? My mother finally replied, “Shan­non, she picked up the things that you discarded.”

The story reminds me of a quote by Pablo Picasso: “The mean­ing of life is to find your gift. The pur­pose of life is to give it away.”

The story also reminds me that imper­fec­tion is inter­est­ing, flaws equate unique­ness, and noth­ing in life should be taken for granted. Beauty is every­where, and when you seek beauty in all things and all peo­ple, you not only find it, you become it.

This think­ing brings to mind one woman so mes­mer­iz­ingly unique that, despite her flaws, she remains radi­ant, beau­ti­ful and mem­o­rable long after she was dis­carded as an imper­fect spec­i­men in an indus­try obsessed with per­fec­tion. I’m refer­ring to Isabella Blow, the British styl­ist and fash­ion edi­tor whose sui­cide death in 2007 left a bit­ter­sweet legacy, as well as an imper­fect wardrobe–a diary in cloth­ing, if you will–which is now on dis­play until 28 August at the Pow­er­house Museum in Syd­ney, Australia.

issie and philip

Isabella Blow: A Fash­ion­able Life,” pro­vides the oppor­tu­nity to exam­ine more than 45 of Issie’s out­fits, as well as rare pho­tographs of her in her fin­ery. In addi­tion, you can see some of her favorite jew­elry and shoes, and of course the sig­na­ture hats that made both her, and her pro­tégé, milliner friend Philip Treacy, pic­tured above with Isabella, famous.

The remark­able thing about Isabella, to me, was her unwa­ver­ing authen­tic­ity in an inau­then­tic world. Like any artis­tic com­mu­nity, the fash­ion indus­try is filled with super­fi­cial people–talentless clingers scented with insin­cer­ity and insecurity–who really couldn’t give a fuck about any­one else. Issie, on the other hand, she cared. She cared about tal­ent and vision and genius, fos­ter­ing count­less “unknown” artists and pro­mot­ing their growth and flour­ish. She was the real deal, and she had heart.

issie with alexander

Issie dis­cov­ered the mean­ing of life when she sought beauty, and ful­filled her pur­pose in life when she gave it away. She unearthed the curi­ous, the inter­est­ing, the mag­nif­i­cent, when she brought us Philip Treacy, Alexan­der McQueen, pic­tured above with Isabella, and many more. Thank you Issie. You are nei­ther gone nor forgotten.

Monday, August 24, 2015

Hats Heard Round the World: Meet Master Milliner, Philip Treacy

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The hat is with­out a doubt the bold­est acces­sory that a woman can wear. And I believe it was the arrestingly-beautiful crea­ture Iman, who stated that British milliner Philip Treacy’s hats were glam­orous, sexy and eccen­tric. And that is such an impor­tant state­ment. It can be dif­fi­cult to look all of the above simul­ta­ne­ously, but with a Treacy hat or fas­ci­na­tor propped solidly on your top­per, it is indeed dif­fi­cult to go wrong.

Since the 2010 sui­cide death of Alexan­der McQueen, fash­ion has wit­nessed a fiery land­slide of McQueen’s vision­ary ideas sweep­ing the world of style, melt­ing the mun­dane and burn­ing away the banal like lava spewed from a hot cave.

Philip young

And sit­ting squarely in the cen­ter of this beau­ti­ful demo­li­tion is Philip Treacy, the pale quiet ghost and sole sur­vivor of the genius trin­ity, which includes the afore­men­tioned McQueen and one unusual woman: the remark­able, the unmistakable.….Isabella Blow.

Isabella was the British fash­ion edi­tor who dis­cov­ered both McQueen and Treacy. Unfor­tu­nately, she also com­mit­ted sui­cide three years prior to her pro­tege McQueen, in 2007, by drink­ing a bot­tle of weed killer.

I have spo­ken to Philip Treacy sev­eral times, and there is a long­ing in his voice when he speaks of her. She remains his muse, even from the grave.

Isabella Blow had some­thing com­mon to all of us, but unusual in fash­ion,” Philip told me. “She had a big heart. Her dilemma was that she worked in the fash­ion busi­ness, but was more inter­ested in the fash­ion, than the busi­ness. She lived for the art and drama of fashion.”

Philip recounted a story for me of the way Blow would attend the shows, “with 600 peo­ple all sit­ting there, dressed in black. They were all seri­ous, and there she’d be with a lob­ster hat on her head and a Nell Gwyn-inspired gown,” Philip recounted.

Lobster

She would be the only one to woo-hoo and clap. She didn’t care. I was so inspired by how she wore my hats. She wore them like she was not wear­ing them,” Philip con­tin­ued, “like they just hap­pened to be there. She was never a snob. She believed in talent–no mat­ter where you came from.”

Issie and lee

I’m a baker’s son. Alexan­der McQueen is a cab driver’s son. Issie gave me my first com­mis­sion while still a stu­dent at the Royal Col­lege of Art (in Lon­don),” Philip said. “I remem­ber some­one said to her, ‘Why is this stu­dent mak­ing your wed­ding hat when you could have any­one in the world make it?’ She didn’t give a fuck what they thought. Her focus was cre­ativ­ity, and I fell in love with her at that moment. When you were in her focus–and this includes Alexan­der McQueen, (pic­tured with Isabella, above), Stella Ten­nant and Sophie Dahl, whom she also discovered–it was like being in the mid­dle of a love affair,” Phillip explained.

Issie

Every­body loved Issie, but she didn’t always love her­self. She did have ovar­ian can­cer and she suf­fered with depression…it was all too much for her. Isabella Blow was the first extra­or­di­nary, inter­est­ing per­son I met in Lon­don when I moved here from Ire­land. In 20 years I have met all my heroes and nobody in my hon­est true esti­ma­tion sur­passed her. She was incred­i­ble. I thought there must be oth­ers like her, but there wasn’t. Every­one was bor­ing in com­par­i­son to her,” he added.

Although Blow was Treacy’s ideal client, this mas­ter milliner now counts many, many famous faces among his fans. Grace Jones, Boy George, Madonna, Lady Gaga.…and not just the celebri­ties, either. Treacy tops off the roy­als and prac­ti­cally every seri­ous high-end fash­ion­ista in the world today, and his career has spanned an incred­i­ble 30 years of not just rel­e­vancy, but reigning.

His cre­ations are exquis­ite perfection–with unpar­al­leled cre­ativ­ity and the kind of del­i­cate details and nuances that one would expect in fine art. Each and every piece is painstak­ingly crafted in his bright Lon­don stu­dio, with an expert staff that he over­sees. Take a look at some of these Treacy masterpieces.

Ship

Above is a 17th-century Dalian or sail­ing ship hat. It is Philip’s favorite cre­ation out of all his lit­er­ally thou­sands of hats. “I’d seen old ren­der­ings of ships in women’s hair,” Philip told me. “It was a cos­tume designer’s dream.”

The idea for this hat was inspired and cre­ated from a chap­ter in Olivier Bernier’s book, “Plea­sure and Priv­i­lege,” Philip said.

The chap­ter, called “Rule of Fash­ion,” was about life in France in the 1750s. “It described a British fleet admi­ral, D’Estaing, los­ing a famous bat­tle to the French fleet,” Philip told me. “In cel­e­bra­tion, women in Paris wore ships in their hair to go to the opera, and I loved the emo­tion attached to this,” he con­tin­ued. “It’s made from satin and the bone of the feather. The sails are par­adise feath­ers. And the rig­ging is made from the feather bones,” Philip said, which, he told me, is what remains when you strip away the feather from its spine.

Bird s nest

I first used feath­ers, shed by my mother’s goose, as a child to dec­o­rate hats where I grew up in Gal­way, (Ire­land). It took a year for Antony’s Yoko­hama cock­erels to grow their tail feath­ers long enough for me to pain­lessly clip them to cre­ate hats that were worn by Honor Fraser and Jodie Kidd on the cat­walk,” Philip told me. Above and below are two results of Treacy and McQueen’s col­lab­o­ra­tion from 2007.

Feathered hat 1

Birds are exquis­ite per­fec­tion. Their feath­ers are weight­less, and they give move­ment and vol­ume. Women love them and they are very sexy,” he stated.

Issy in pheasant hat

I like to invent new ways of using farm­yard fowl; feath­ers feel like liv­ing, breath­ing mate­r­ial. You are draw­ing with them rather than just dec­o­rat­ing a hat,” he added. Above, Issie Blow wears a pheas­ant hat designed by Treacy.

She loved this pheas­ant. She said, ‘I want to be buried in it.’ So we buried her in it,” Philip stated.

Philip on his youth: “As a child I always liked mak­ing things like pup­pets, toys, Christ­mas dec­o­ra­tions, stuff like that. And when I was six Mrs. McDo­nough, a neigh­bor, taught me how to sew. I stud­ied fash­ion first. I didn’t have any heroes in the way of design­ers and I didn’t really care too much about them. When I came to col­lege in Lon­don I found that many of the stu­dents were a lit­tle jaded but not me, because the city was all new to me. At that time I had no idea I would become a milliner, I just liked fash­ion and style.”

I was always influ­enced by beauty,” Phillip con­tin­ued. “At home in Ire­land we were taught about the beauty of nature. We had lots of chick­ens, pheas­ants and geese so the prime ingre­di­ent of the hats I make are feath­ers because I know them very well. I now appre­ci­ate the pro­found effect my child­hood had on me.”

Naomi campbell 2

Philip described his process to me: “I sketch the hat, and then begin to make the shape in a nat­ural fab­ric called spar­trie. When the shape is com­pleted it is sent off to La Forme in Paris who then cre­ates a wooden block. With this block hun­dreds of hats can be cre­ated.” Above, Philip fits a hat on model Naomi Campbell.

Twisted birdcage

Philip on the begin­ning of his career: “I was sum­moned to Paris to meet Karl Lager­feld, chief designer at Chanel. I was 23 and I’d just left school. I didn’t know whether to call him Mr. Lager­feld or what­ever. I was totally intim­i­dated but Issie was exactly her­self. She just walked into the house of Chanel and said, ‘We’d like some tea, please.’ I went on to design hats for Lager­feld at Chanel for 10 years. The first hat I designed was the twisted bird­cage, pho­tographed by Patrick Demarche­lier and worn on the cover of British Vogue by Linda Evangelista.”

Naomi

Philip on hats: “Hats are very sexy. When I started at the Royal Col­lege of Art, they thought hats were for old ladies and I thought that was com­pletely insane. Why would you think that? I love the idea of the unknown and the future; you don’t know what is going to hap­pen next week, and that’s a fash­ion attitude.”

Grace and iman

It’s all very well accus­ing some­one of being a ‘fash­ion animal’–I’m one too! Fash­ion ani­mals are obsessed with some­thing for a moment, and then they move on to some­thing else. That’s the nature of fash­ion. It’s all about change.”

Pink bow

A hat can com­pletely change the per­son­al­ity of the wearer, make them stand dif­fer­ently and walk dif­fer­ently. A hat can make that per­son feel inter­est­ing. Peo­ple think some­times that peo­ple who wear hats want to show off. But human beings, since the begin­ning of time, have always wanted to embell­ish them­selves. So hats have been around since the year dot. It’s a human thing to want to dress every part.”

Daphne

Philip on his clien­tele: “My assis­tant who looks after my shop tells me she sells a dream. She sells peo­ple things they do not really need, but they have to have. We all need beau­ti­ful things that make us feel good and give us plea­sure. Whether it’s a flower, a sun­rise, or a hat! These things are the spice of life and remind us of the essence of plea­sure and beauty. I have had the great­est plea­sure of hav­ing the oppor­tu­nity to chal­lenge people’s per­cep­tion of what a hat should look like in the 21st century.”

Daphne 2

Our cus­tomers are every­one from a young girl who’s saved up for a £150 rain­wear trilby to this very dis­tin­guished gen­tle­man of about 70. He comes in every sum­mer to order 20 cou­ture hats to enter­tain the ladies who will be stay­ing on his yacht. It doesn’t mat­ter how much peo­ple pay for them…everyone wants to look like a mil­lion dol­lars in a hat.”

Philip 2

I went to my stu­dio today and Isabella is every­where,” he said. “In every hat I made, every cor­ner I turn, she is there. I will miss her laugh, her pas­sion and her humanity.”

Issie with dog

I will always miss her.“