Runway Makeup: Peter Som Spring 2013


Pastel-colored hair streaks have enjoyed a longer stay of execution on the runway then some members of the style set (this one included) are willing to believe. So when we arrived backstage at Peter Som this morning only to see that they would be making another appearance here for Spring, we definitely took pause. And Wella Professionals global creative director Eugene Souleiman noticed. “It’s good clothes, bad hair,” he admitted, explaining that his goal was to counterbalance Som’s “very rich-looking” collection with something deliberately “distressed, vintage…and patchy.” So he collaborated with Wella color ambassador, Aura Friedman, to work mineral-hued dyes—tourmaline, amethyst, teal, denim, and dusty rose—into a series of long weaves. “I wanted it to feel very spontaneous,” Souleiman said, gluing the hairpieces into “unusual” parting patterns while prepping strands with Wella’s Ocean Spritz Beach Texture Spray to create a matte feel. “It’s meant to be visual, not technical,” he insisted, pointing out that application is key when it comes to keeping pops of color from looking less contrived, and more “tough and cool.”

Makeup artist Tom Pecheux also had juxtaposition on his mind. Describing Som’s clothes as “more grown up,” Pecheux was intent on keeping faces playful. “When you become an adult, you do everything for a reason; kids do everything for no reason. Like, [their] drawings are amazing,” he said, explaining the thought process behind the finger-painted, “innocent” pastels he used on models’ eyes. Dusting lids with MAC’s forthcoming Eyeshadow in Sunshine, a sunny yellow, Pecheux applied another wash of pigment through the crease in varying shades of orange, blue, green, pink, and mauve. As a finishing touch, he left a darker thumbprint right below brushed-up brows, using a more concentrated dose of one of five corresponding MAC Paintsticks. Mouths were kept nude with varying slicks of MAC Lipstick in Luxe Natural and Posh Tone. As far as who got what eye-shadow combination, Pecheux left that to models’ whims. “As soon as it becomes too studied, it loses the innocence.”

“Nail art is not going away,” Deborah Lippmann told us last season, and if there’s one thing we can already report from the backstage trenches after two days of shows, she continues to be correct for Spring. Lippmann brought her own high-design touch to Kate Spade today, where she churned out a series of multicolored gingham prints with polish, but it’s a continuation of the artful French manicure that she previewed at Donna Karan for Fall that seems to have staying power. A mattified, black-on-cream iteration stole the show at Tanya Taylor yesterday, and this morning at Peter Som, it was an orange-on-mint green version that had everyone talking. Custom-created for Som, two coats of Zoya’s pastel lime Neely were topped with a bold stroke of the mandarin Sharon. Both will be sold in a trio kit with Jacqueline, a creamy beige, starting…now: The limited-edition collection launched right after Som’s 10 a.m. show and will be available at www.zoya.com while supplies last.



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