“The McQueen woman is always a warrior,” said Guido Palau backstage at the house’s spring show, gesturing toward the gleaming gold helmet he was fitting onto model Irene Hiemstra’s head. Over the past few seasons, the hairstylist has worked closely with designer Sarah Burton to conceive one conceptual headpiece after another for her runway. This season’s incarnation was a mash-up of cleverly mixed references. The idea, he continued, “is that you’re not quite sure what you’re looking at. It’s tribal and futuristic, but at the same time, there’s something very 1920s about it,” he continued, pointing out its blunt edges around the forehead and ears, which loosely recalled the angles of the era’s iconic bobs.
After deciding on a silhouette, Burton spent the two weeks before the show producing 40 of the pieces, in shades of gold and silver, in-house. Were they as heavy as they looked? “Well,” said Palau with a mischievous laugh. “They’re not light.”
Before placing them on the head, he was using Redken Hardwear gel to slick the hair down, then passing each model along to makeup artist Peter Philips, who was spray-painting the hairline with a black Fardel professional makeup paint. “I had thought of using it on the eyes, since there are a lot of Basquiat references in the collection,” he said. Ultimately, however, “using it at the [forehead] worked better to create a connection between the face, the hair, and the helmet,” he said of the shadowy trompe l’oeil effect, which also cast the edges of the metallic pieces into sharp relief.
Once the makeup had dried, models were returned to Palau, who made sure each helmet fit firmly against the head. “It’s almost like a piece of jewelry,” he said. “It’s beautiful, but it’s strong.”
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