Certified

SITEMAP
Encyclopedic hair website
Il mondo della moda capelli e della bellezza
The world of hair fashion and beauty business
Die professionelle Welt der Haarmode und der Schönheitspflege
Le monde professionnel de la mode cheveux et de la beauté
El mundo profesional de la moda-cabello y de la bellezza
世界上的时尚发型及美容业务
عالم الموضة الشعر والتجارية تجميل
Мир моды и красоты волос бизнеса

20 Feb 17

HAIR: Leisa and Paul Stafford @ Stafford Hair – UK
Collection: Frontier
Ph: Lee Mitchell
Make-up: DJ Griffin
Styling: Sara O’Neill
Colour: Aiden Bradley

hair-collections

20 Feb 17

asian beauty

ASIAN BEAUTY BIZ is the Premium Business Magazine on Beauty,

connecting Cosmetics, Salon, Hair, Nail, Feet,
Medical Aesthetics, Wellness, SPA.

Discover the extract of the Magazine on line

20 Feb 17

Hair: Jessica Burt – AU
Collection: Coven
Ph: Carl Keeley
Make-up: Caity Williams
Styling: Joel & Taryn Gionis

hair-collections

20 Feb 17

parrucchieri-marche

Vuoi trovare un parrucchiere vicino a te?

salone-marche

salone-italia

20 Feb 17

HAIR: Angelo Vallillo & Angelo Vallillo Academy Art Team – UK
Ph: John Rawson
Make-up: Lan Nguyen-Grealis
Styling: Angelo Vallillo

hair-collections

Page: 1 | 2 | 3 | 4 | 5 | 6 | 7   next >

251
Beauty news
February 20, 2017

Ana Beatriz Barros, al naturale in spiaggia



La modella, dalle spiagge assolate delle Maldive, posta una foto che la ritrae in tutta la sua bellezza naturale



Star Icon: da Twiggy a Brigitte Bardot nel giro di un look



La collezione Star Icon di Davines rende omaggio alle icone di un tempo declinando nuance come il grigio o il blu su tagli perfettamente attuali sebbene ispirati al passato. Così come ci ha raccontato Angelo Seminara, Direttore Artistico del marchio hair care



249
Beauty news
February 20, 2017

Carnevale. Su la maschera!



Stelline multicolor e strass da portare a mo' di maschera, come Lady Gaga all'ultimo Super Bowl, insoliti cat-eye e labbra glitter, da copiare alle passerelle della prossima primavera-estate. La festa più pazza dell'anno è nell'aria, e il make-up invita ad osare. Le idee più belle? Quelle che arrivano dal web. Abbiamo selezionato le più originali, realizzate dalle MUA più cool della rete



It takes some courage – or rather, some certainty – to celebrate your first 20 years in fashion to a backing track of The Look of Love, sung by 16 different performing artists from Shirley Bassey, through Liza Minelli to Nina Simone. But to Roland Mouret, this choice of ‘same difference’ was symbolic of his career that started effectively when he was 36 and decided not to take over his father’s butcher shop in France, but instead to pursue a life in fashion.

“The music is the answer to the invitation because of all we’ve been through the last six months, since the world started to change,” said the designer. “Women have used words and their presence to express what they want and what they don’t want to lose – their freedom,” he said referring to the words on the invitation: Give her what she’s not afraid to ask for.

Roland Mouret

A post shared by Suzy Menkes (@suzymenkesvogue) on

Mouret went on to say that the message was answered by the non-stop loop of The Look of Love on the soundtrack – ending with Leonard Cohen’s I’m Your Man. But he might have been expressing a feeling about clothes – and love – that many women crave: consistency.

With this designer, it is all about the soft cut, starting with gilded mesh, crossing the bodice on the bias or a draped jacket in neoprene. His essential idea of draping included a soft top and bias-cut skirt in the designer’s two favourite shades: turquoise and purple. This effect of wrap and drape meant that there was a fluidity about the clothes that was both easy and subtle. The designer also played with slithering satin and bias-cut crepe – perhaps with small studs; while shoes were ribbons wrapped round the ankles.

Roland Mouret celebrates 20 years in fashion with drape, shape and class

A post shared by Suzy Menkes (@suzymenkesvogue) on

Mouret’s history will be forever entwined with his Galaxy dress: first seen in 2005 and an instant classic – to the extent that it is tough for him to find another identity. Yet in this show, mesh knit tops slithering off one shoulder created a different kind of sensuality.

“I think about the woman who wore the Galaxy,” said Roland, “She knows her body and knows herself and what she’s facing and using to wake up the icon inside herself. My job was simple: what was more important than the dress is how the woman lived her life in that dress. And I like when one woman wakes up the icon inside herself for one night or one moment.” [I’ve rejigged this bit – in keeping with his true sentiments, I hope.]

Since modern clients were meeting up with Roland immediately after the show to view and order the new collection, the Galaxy and its descendants seem to be much more than a one night stand. And back on English turf after a long period of showing in Paris, Roland said he was delighted to be back, looking lovingly on London, the city where his career as a designer began.

Roland Mouret celebrates 20 years

A post shared by Suzy Menkes (@suzymenkesvogue) on

L'articolo #SuzyLFW: Roland Mouret celebrates 20th birthday in London sembra essere il primo su Vogue.it.



247
Beauty news
February 20, 2017

The backpack was bold, practical and cheerful, decorated with a pair of the goggle eyes that have become a signature for Anya Hindmarch. But what was underneath calling for attention? A Fair Isle sweater to top a pair of shorts.

Anya Hindmarch – a glimpse of the bags

A post shared by Suzy Menkes (@suzymenkesvogue) on

The handbag heroine is getting serious about clothes and this season that meant more than easy pieces as mere backdrops to the accessories. The subject was winter, which was evident from the get go, as a mountain range was built into the set with the models working their way tentatively out of a cave and on to the piste.

I tried my best to concentrate on the bags, picking out a lightweight bucket bag – just the thing to use for shaping a snowman. A small satchel swung off a backpack that I later realised could also morph into a hand held bag.

But all the shearling, fine leather and suede was struggling to compete with the clothes. Especially as they too were examples of craft.

There was a tailored buttonless jacket with what looked like detachable jewels. The knit underneath was a meld of a romper suit and chopped off lederhosen – or a suggestion of its decoration. Colourful furry stoles were wrapped round shoulders and ski sweaters kept sliding by.

Anya Hindmarch is now committed to bringing her intelligence and her skills to clothes. In fact, her story line was intriguing: “exploring the contrast between the romanticised notions of winter and wanderlust and the darker motifs found in old Norse folklore.”

Yet, I felt that this commendable research was more appropriate.

Anya Hindmarch: winter fun and its reality in a snow top set.

A post shared by Suzy Menkes (@suzymenkesvogue) on

L'articolo #SuzyLFW: Anya Hindmarch’s Snow Scape sembra essere il primo su Vogue.it.



246
Beauty news
February 20, 2017

Hunkered down five stairways underground in what felt like a concrete bunker, the Gareth Pugh show seemed threatening, discomforting, scary – even before the models had marched through the arena in clothes as dark and frightening as their deep, black painted eyes.

From start to shiver-making ending, when a woman acted deranged as she walked the circle on a stick, there were echoes of Hitler’s war, Cabaret and a Gestapo suggestion as models of almost indeterminate gender dangled prison-like keys from one hand. To bring the aggressive spirit right up to date, a voice over chanted Build that wall suggesting President Trump’s world.

Gareth Pugh's 'bunker' collection suggested the dark side of today's rabble rising world.

A post shared by Suzy Menkes (@suzymenkesvogue) on

Backstage, the designer was passionate about the need for fashion as his medium of expression, saying: “I think it’s a necessary mirror to hold up to what’s going on. The clothes aren’t scary-mad, but I think the situation we’re in provokes a certain amount of severity. The whole collage of sounds is violence,” he said referring to the show’s soundtrack.

Strong words – and a powerful show, but not so different from the precise, stark and dramatic shows the designer has delivered before. He is an exceptionally fine tailor and in this collection he focused on geometric squares and circles where the darkness of a flat, tailored trouser suit or the sheen of a leather trench coat told his story in black – and more black. When black plastic came into the sombre picture – as coat sleeves, boots or ballooning, puffed up coats – the show became almost too theatrical. The sobriety of the main part of the show was the most chilling.

From Gareth Pugh, a cacophony of sound used to torture prisoners by keeping them awake

A post shared by Suzy Menkes (@suzymenkesvogue) on

It is not new for Pugh to treat a woman’s body as if it were in a cage, but this show did not feel in any way sexist – more a theatrical vision of the designer’s genuine angst and an urge to express it through his medium: clothes. Removed from the context of army caps and arm bands, there were elegant pieces, like a cape flowing down the body from its hood or the dusty grey fake furs.

Above all, however discomforting, you knew instinctively that this show came from a deep feeling and a desire to express it.

“It’s about fight or flight,” he explained in the show notes. “The cultural pendulum has swung to the right. The veil has been lifted. As a designer, how do you deal with that? It’s like that moment in Cabaret ‘In here life is beautiful!’ as outside the world burns. Do you look it in the eye, or do you look away? That’s the critical question. It defines who you are.”

L'articolo #SuzyLFW: Gareth Pugh – Hunkered in a Bunker sembra essere il primo su Vogue.it.



245
Beauty news
February 20, 2017

“Why red flowers?” I asked Simone Rocha, referring to the blood red blooms embroidered on dresses or even socks.

“It was taken from the colour of anger – but I was trying to do it in a peaceful way, through flowers,” said Simone backstage, standing with models of different ages, some definitely of the older generation.

“It’s really mixing red and pink with the idea of foliage, so it starts off all green, goes through black and then I’ve added masculinity in the tailoring,” explained the designer. “I’ve played with the idea of masculinity and femininity, including the way we have cast the show, inclusive of different types of women.”

Suzy with Simone Rocha backstage. @simonetocha_ Read my review. Link in bio

A post shared by Suzy Menkes (@suzymenkesvogue) on

Words cannot describe the beauty and the strength of this collection which seemed to catch the global vibe of anger but turned swords into ploughshares in the most mindful way. Off with the frills representing the girlish innocence of Simone’s previous collections. Goodbye to Irish farmland for escapes and escapades. Farewell to the Church and its pious little dresses. You could envisage this sober new woman in her dark fur saying farewell to her husband, maybe to her entire family, as she joined the marching band.

Not that there was anything elegiac or mournful about the Simone Rocha collection. The reverse was true. The women seemed purposeful and their clothes as intricately put together as in previous presentations.

The show opened with a belted coat and skirt in the brown of a muddy battlefield, but lush in its thick velvet. The designs moved on to khaki, and then black, but these military coats were feminised by a curving cut around the broad belts. Then came the flowers: primroses smothering dark tulle that was strapped and belted with leather.

A call to arms. Simone Rocha was thinking 'armour, camouflage, foliage. READ MY STORY. link in bio

A post shared by Suzy Menkes (@suzymenkesvogue) on

“It was my interpretation of armour as a kind of camouflage and how it can be done through foliage,” Simone said. “So I’ve embedded all these nuances into the fabrication, like the organza with embroidered flowers.”

Those arriving for the show in the grand surroundings of a royal palace found a sheet of paper with a few key lines. They were laid out like a poem with these words: “armour, camouflage, foliage, peace, peace of mind.” There were more lists of words: “protection, feminine, famine,” and “archivists, dirt and grit.”

Simone Rocha: 'protection, feminine, famine'. Read my story. Link in bio

A post shared by Suzy Menkes (@suzymenkesvogue) on

It is rare to find a designer who can express poetry through words, rather than clothes. But Simone Rocha’s skill was to do both: to live up to these evocative phrases in what she made.

The most significant expression was that against every drab background, there was always hope: a dull black coat, but smothered with black embroidery; an all-embracing black fur – but with a fluffy white fur sash. The blood red flowers bloomed not only as embroidery on dresses, but also as big floral crystals on a fur stole.

In some ways this was the most ‘masculine’ show Simone has ever done in terms of the cut and sobriety of the clothes. But not really, because even if her women might dress for a battle, you could feel that the fight was to sustain female strength.

Simone has benefited as a woman and as a designer from the support of her close-knit family, who were with her last week in Manhattan for the opening of her first American store. She has fought for her success. But the power of this collection lies in that she was designing to show that women could find a way to lay down their arms.

Simone Rocha: 'Armour, camouflage, foliage'. Read my story. Link in bio

A post shared by Suzy Menkes (@suzymenkesvogue) on

L'articolo #SuzyLFW: Simone Rocha’s Call To Arms sembra essere il primo su Vogue.it.



244
Beauty news
February 20, 2017

Si è spenta tra la notte  di venerdì e sabato, nella sua casa di Parigi Emmanuelle Khanh, stilista francese soprannominata la Mary Quant di Francia. Aveva 79 anni.

Dopo aver fatto la modella per le collezioni alta moda di Balenciaga e Hubert de Givenchy, Khahn diventa la più grande sostenitrice del pret-a-porter. Consulente per Missoni, MaxMara e Cacharel, dopo aver disegnato una capsule collection per il catalogo di vendite per corrispondenza La Redoute, finalmente nel 1969 fonda il marchio che porta il suo nome.

“La couture è morta, dobbiamo essere pronti per una moda dedicata al popolo, una moda socialista” amava dire la designer. Khanh infatti è stata la prima creatrice che ha contribuito a rendere democratica la moda accanto all’amica e collega Sonia Rykiel anche lei scomparsa qualche mese fa.

Dopo alcuni rovesci finanziari nel 1995 il marchio Emmanuelle Khanh chiude, verrà rilanciato nel 2007 con una linea di occhiali XXL in edizione limitata.

Le creazioni di Emmanuelle Khanh sono in mostra al Museum at FIT di New York fino al 15 aprile.

L'articolo Addio ad Emmanuelle Khanh sembra essere il primo su Vogue.it.



243
Beauty news
February 20, 2017

Direttamente dalla Settimana della Moda di Londra, in programma dal 17 al 21 febbraio, tutto il meglio dello street style avvistato tra una sfilata e l’altra delle Collezioni Autunno Inverno 2017/18.

L'articolo Londra Week Autunno Inverno 2017/18: lo street style sembra essere il primo su Vogue.it.



Sfilate di Londra: il calendario Autunno-inverno 2017/18



Giorno per giorno, seguite con noi tutti gli appuntamenti della London Fashion Week per scoprire tutte le tendenze della prossima stagione. Ma non solo



241
Beauty news
February 20, 2017

Federica Nargi, l'ora della piega



Shooting time per l'ex velina che scatta un bel selfie durante il trucco e parrucco



240
Beauty news
February 20, 2017

Hair trend: tutte con le Flat Waves



Ovvero onde piatte. Le Flaves ridisegnano il taglio rendendolo morbido e armonico e sono pronte a rivoluzionare bob e long bob. Preparatevi, saranno il tormentone della bella stagione. Ecco come realizzare le flat waves in poche mosse e renderle ancora più accattivanti con un'acconciatura



239
Beauty news
February 20, 2017

Serena Autieri come Lady D.



Fino al 18 febbraio, al teatro Sistina di Roma va in scena il musical Diana & Lady D., omaggio alla celebre principessa interpretata dalla bella attrice. A curare il suo make-up Luca Mannucci, Make-up Artist di Deborah Milano



238
Beauty news
February 20, 2017

Capelli: come difenderli dal freddo



Così come in estate bisogna proteggere le chiome dagli effetti negativi dei raggi UV, vento e salsedine, allo stesso modo, in inverno, occorre difenderli da aria secca, vento, e umidità. Ecco i consigli degli esperti e una guida per la loro cura che vale tutto l'anno



5 prodotti passepartout da avere sempre con sé in borsetta



Pochi prodotti, ma che sappiano soddisfare più esigenze: qualcosa per ritoccare il trucco, per mantenere idratati viso e corpo e per tenere in sesto la piega. Ecco cinque cosmetici multitasking da avere sempre in borsetta



236
Beauty news
February 20, 2017

Faustine Steinmetz: Jeans Genius

Faustine Steinmetz is fascinated by denim and its myriad treatments. But while in previous collections she has been in pursuit of different ways of treating the fabric, for this Autumn/Winter 2017 season she focused on place. That meant studying how – but not so much ‘why’ – Israel makes a strong denim and Columbian jeans are super-sexy.

Denim treatment by Faustine Steinmetz

A post shared by Suzy Menkes (@suzymenkesvogue) on

The effect was of ‘same difference’ – meaning that the outfits were mostly familiar jean shapes, but the treatments dramatically different. And as always for Faustine, the clothes are grounded in her belief that the production should not pollute water or waste it.

“I studied how people do denim and I found jeans from different parts of the world,” said the designer citing America’s Seattle and Bogotá in Columbia. “I just worked around it and reinterpreted it in a more contemporary way,” she said.

Denim from every place and with many treatments makes high fashion from Faustine Steinmetz

A post shared by Suzy Menkes (@suzymenkesvogue) on

That made for some intriguing fusions, such as taking the Japanese Shibori dyeing and binding system of treating indigo and applying it to Tel Aviv-style bold denim. These could become one of the Steinmetz classics, so each product is labelled with the date, technique and whether it is hand or machine made. “There is a new range we’re doing of denim which we hand weave in Africa, in Burkina Faso,” she added.

In Tel Aviv denim is treated to a special treatment, used here by Faustine Steinmetz

A post shared by Suzy Menkes (@suzymenkesvogue) on

Just to make things even more complicated, this African woven work is inspired by a Canadian archetype: broken denim “when denim is distressed and there are holes and a lot of yarn.” Yet another focus is Spain where a factory collects used jeans and pulps them to create new yarn, using the factory’s own recycled water – a control of waste about which Faustine is passionate.

The mini presentation had the energy of someone who is on a mission – and that is indeed rare in fashion.

Even shoes get the denim thread treatment from Faustine Steinmetz

A post shared by Suzy Menkes (@suzymenkesvogue) on

<strong>Molly Goddard: Party Time</strong>

Molly Goddard’s early work has always seemed personal, as though every high-waisted pretty dress with gathered, puffy sleeves was her individual choice, imbued with memories of her childhood birthday parties.

But this time, although looking pretty at parties was still the subject – referenced by antique tables with candelabras and bowls of fruit and flowers – the designer had taken things forward: literally, in the injection of more sophisticated looks and, metaphorically, in that she was clearly expanding her customer range.

So, alongside the dresses with full skirts to match the billowing sleeves, tripping down a path of oriental carpets, were women who were wearing, not glitter boots, but ballet slippers with narrow trousers and short dresses. There were other flat shoe looks that were still in the fantasy range with tutu skirts and some practising-at-the-barre ensembles of striped sweaters and coloured tights. The show was whimsical, colourful and sometimes like costume-y dressing up, but charming in spirit.

L'articolo #SuzyLFW: Faustine Steinmetz and Molly Goddard sembra essere il primo su Vogue.it.



235
Beauty news
February 20, 2017

The designer offered powerful, yet seemingly disparate, clothes that deliberately disrupted conventions.

As models walked purposefully through the narrow walls, often in complex outfits, it was more or less impossible to take everything in at the J.W.Anderson show.

Here was a simply beautiful dress with a gilded pattern and nothing complicated but different length sleeves. Or a dress with white pleated bib like something carved in alabaster – except that it swayed gently across the body.

Yet there were as many ideas from Jonathan Anderson as there were complex additions: purses hanging from a neck piece on a striped dress that was cut on the bias with skirt folds flowing every which way. When the designer carried off his fashion flourishes they could be stellar, like a skirt with twin inserts of silver and gilt paired with a leather jacket cropped only just below bare breasts.

The more you tried to capture the moment, the harder it seemed: drapes here, flowers there and then a flutter of ostrich feathers. Yes, opposites attract – especially if you are Jonathan Anderson with enough ideas to design all this and the Loewe brand too. As the show came towards its end with an absolute winner – an olive green silk dress that seemed to have been poured in a thin stream over the body – I was determined to go backstage.

But I did not feel much the wiser when I had found the designer, who was wearing the runway olive green colour as a zippered jacket with torn jeans. Words tumbled out as he tried to explain his thought process.

“It’s the idea of building up layers – and there are kind of couture edges that can be warped and disrupted – like the feathers,” he said. “You know that things shouldn’t really work but they kind of make it. Like dropping the waistline to compensate for not having a heel.”

Jonathan went on to pick out some specific clashes, like brocade that faced off against a completely different material like leather. He also talked about the insertion of pockets, giving a ‘utilitarian’ look even to fur.

So, was all this planned as disruptive and off-key?

“No, it’s not awkward – except in the combination of fabrics – the idea that you try to devalue it through the process,” he said. “So you get the skirt which becomes more like streetwear. Then you up it with leather to make it more for daytime. I like this idea where the look became a bit Dickensian. And I just wanted to explore something that was reduced to an extent. The idea of the silhouette as if it was an incline drawing it upwards – and then it fades out.”

Once Jonathan started talking about “one utopia – the idea of a style odyssey” he completely lost me, as my mind clicked through the clothes which were so appealing in many ways: the clever cuts, the intriguing fabrics and the colours facing off black and white.

And then the designer said one short sentence which defined the entire presentation with is subtle shaping and sudden baring of flesh:
“It’s this idea throughout the show of a style odyssey where you show different parts of a woman to make her sensuous,” Jonathan said.
Aaaah! Got it!

Jonathan Anderson

A post shared by Suzy Menkes (@suzymenkesvogue) on

L'articolo #SuzyLFW: J.W.Anderson – A Fashion Odyssey sembra essere il primo su Vogue.it.



An empty stage at Sadler’s Wells, the home of London ballet – and the place where Chalayan had presented some of his most dramatic shows before he moved on to the Paris schedule 16 years ago. So after an unforgettable presentation of tables turned into skirts at the turn of the new millennium, what would the designer do to wow us now?

Enter a circle of plain clothes, loose, but artfully cut and draped with a sense of that rare feeling in modern fashion: decency. The colours of these pieces were quiet, but not dull: grey moving towards purple or faded to white. Kate Bush’s Misty played as the music summed up the softness in colour and in shape.

Typically, the outfits were a masculine/feminine melange, with soft trousers and some with tops that sat wide on the shoulders drawing focus to the throat and the upper décolletage. Or there were capes that swung gently as if in a breeze to accentuate a skill of draping to shape. When sleeves were not long, models might wear gloves. The general feeling was of graceful, easy to wear clothes with a touch of folklore and a tinge of insecurity in the bare threads swaying on the surface.

Then suddenly the models yanked open a flap and out came the tinsel that seemed more aggressive than playful and added that punch of feeling that Hussein always brings to his collections.

What was this sudden explosion?
“I guess that’s what life is, isn’t it – that you could have that duality?” the designer said. “You can have a protest element, but also the purity. It has to do with layers of life and the idea is that the clothes are, in a way, trying to tell a story, or create a sense of life, within that scenario.”

Remembering the Kate Bush Misty video that had snow streaming in through a window and cascading across the screen, I asked Hussein whether his tinsel shower was meant to be a decoration or something more significant.

Chalayan! A powerful start to London fashion week with a mix of peaceful, streamlined shows and POW! PROTEST.

A post shared by Suzy Menkes (@suzymenkesvogue) on

“It was a combination of a protest and a celebration and also because I wanted these tacky things coming out, that I found very beautiful myself,” the designer said. “I call it a ‘pseudo celebration’ and a protest at the same time, because there’s that kind of aggression that you needed to tear them but also things that come out are quite charming. So I thought it was a nice combination.”

Chalayan’s words could not be a better summing up of his collection and the mood it created with its mix of modern, carefully realised and utterly wearable clothes – and a splash of surprise. Welcome back to a fine designer on his powerful return to London Fashion Week.

L'articolo #SuzyLFW: Chalayan – Back In London With A Tinsel Shower Of Imagination sembra essere il primo su Vogue.it.



Page: 1 | 2 | 3 | 4 | 5 | 6 | 7   next >
      CONTACT US      
The world of hair fashion and beauty business
Il mondo della moda capelli e della bellezza
Die professionelle Welt der Haarmode und der Schnheitspflege
El mundo profesional de la moda-cabello y de la belleza
Le monde professionnel de la mode cheveux et de la beaut
Το πιο σημαντικό portal στον κόσμο εξειδικευμένο στην μόδα μαλλιών
Самый важный портал в мире,специализирующийся по моде волос
أكبر موقع في العالم مختصّ في موضة الشّعر
是世界上在发型时尚专业领域中最重要的网站。

GLOBElife Advertise   -   Beauty Store
GLOBELIFE Group

©2017 Globelife.com All rights reserved