Kristen Heinzinger is the managing editor at American Salon magazine, based in New York City. Born and raised in New York and a graduate of Boston University’s journalism program, Kristen has experience as a copy editor and writer for finance and art publications in NYC. Her combined passion for writing and the beauty industry brought her to American Salon, where she reports on the latest and greatest in hair, skincare, makeup and nails.
Mercedes-Benz Fashion Week Spring 2014 NYC: Jenny Packham
The Australian cult classic film Picnic at Hanging Rock (1975) took hold over everything at Jenny Packham's Spring/Summer 2014 show at Lincoln Center, from the clothing to the hair, makeup and nails. The film, about a group of boarding school girls who are taken on a picnic to Hanging Rock and mysteriously wander off in a trance and disappear, was set in the early 1900s but was filmed in the '70s, and so the style drew from both eras for "a '70s take on austere Edwardian attire." Polka dots, checks and stripes popped up in the clothing, as well as whimsical satin ribbons reminiscent of the Edwardian era.
Essie manicurist Gina Edwards stayed in tune with this theme, creating a romantic and whimsical nail. She first painted dusty pink Eternal Optimist on the base, followed by sheer, creamy white Allure. Next, she applied large pink sparkles in A Cut Above, starting at the cuticle to the midsection, and large silver sparkles in Set In Stone on top, trickling it from the cuticle to the midsection.
For hair, Jeanie Syfu for Tresemmé desired to contrast elements of the collection--the bold colors, soft fabrics and feminine silhouettes--and created a romantic but very '70s hairstyle. First, she applied mousse and blow-dried locks, then curled them with a smaller iron at the nape, a medium-sized barrel from the ears to the crown and a 1-inch barrel at the top, and pinned them. Once cooled, pins were removed and hair was teased from the roots down to the ends to create lift and texture. Hairspray was misted for hold. To finish, a barrette was clamped above the temple to secure the style in place.
Laura Mercier makeup artist Talia Shobrook also highlighted the contrast between the eras, opting to create a "flush of innocence with a hint of naughtiness." She gave skin a juvenile, ethereal glow, using tinted moisturizer and then primer for added freshness. She then added a flush of cheek color, "like the way skin is flushed at a first kiss," and interspersed chunky and fine glitter on the cheekbones. Lips were given a natural color, and volumizing mascara was used for an overall "cool, teen innocence."