“The adventure comes from central the body,” says Sharon Eyal, the choreographer who not alone helped artisan Maria Grazia Chiuri accept Dior’s active Spring 2019 runway-show-meets-dance-performance this afternoon in Paris, but whose aqueous movement and aitionist self-expression aggressive the striking, freeform eye designs created by architecture artisan Peter Philips.
“I met [Eyal] on Friday at the architecture test,” explained Philips backstage, speaking of his aboriginal time advancing contiguous with the 47-year-old Israeli adorableness with her silver-streaked beard and advanced grin. “Maria Grazia told me ‘I anticipate she has tattoos about her face,’ which articulate absolutely intriguing. But aback she came in, [I realized] it’s aloof the altered way she approaches makeup. She doesn’t [think] about how her architecture is activity to look. She gestures, traces, and leaves it—like a choreographer. It’s actual poetic, actually.”
Philips gave the majority of the models and able dancers in the appearance natural, aglow bark address of Dior’s new forty-shade Backstage Foundation ambit (“Maria fabricated bodysuits in altered bark tones to bout anniversary dancer, so it was important for the bark to bout perfectly,” he said). Then, he coated the aperture in Dior Addict Lip Maximizer appearance afore abating the tip of a kohl liner pencil with the flick of a lighter for added grip, and smudging the colorant into the baptize curve from the close to alien corners for a added intense, busy look. “It looks a bit like extra architecture afterwards a call or performance,” he explained. But for Philips, the added accurate homages to Eyal were the dark, finger-paint-like scribbles framing the gazes of 10 of the models, anniversary activated about and with hyper-individuality in mind. “When Eyal [applies eyeliner], it’s altered anniversary time,” explained Philips, the aback of his larboard duke covered in abysmal atramentous swatches. “It’s not symmetrical, but it’s in balance. It’s controlled asymmetry.”
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