DRAMA IN CUT AND COLOR

Byline: Rose Apodaca Jones

LOS ANGELES — When it comes to celebrity, beauty is in the eye of a million beholders — critics every one of them, through the good, the bad and the ugly.
So while the Globes might entertain a more relaxed vibe compared to its cousin Oscar, the image stakes remain high. Even the looser, more carefree looks Hollywood artists maintain will dominate this month’s event have to be camera-ready.
“It is televised, so you have to keep a person somewhat matte for photographic reasons,” observes Collier Strong, consulting makeup artist to L’Oreal, charged with Calista Flockhart for the Jan. 21 event. “We’re dealing with actresses, but they’re going to want to look like themselves. Still, when I work with people for the Golden Globes, I try to take them where they haven’t gone before. A smoky eye is always popular and it’s sexy on everyone — certainly a smoky eye with color. I’d love seeing a pink or lavender.”
Color is key. “A presence of color on the mouth, a highlight on the skin,” says Strong. Makeup can be up a little more adventurous. I would love to see something unexpected.”
Like Strong, Robin Siegel is championing a dramatic eye and paler lip or vice versa. This could mean the new yellow shimmer on lids and wine-stained lips, she says.
As the head of makeup on “Friends” (she will be attending to Jennifer Aniston) and an artist with the Fred Segal agency, Siegel is schooled in an actor’s differing needs in fiction and reality — even when the latter is glossed up for the indulgence of viewing audiences.
“Their characters on the show are not the same as who they are in life. Of course, certain colors go well with their skin tone, eyes and hair. But I do vary it. There’s never enough time to experiment that day. But I’m getting a lot of new colors and I want to use them.”
Even with all the talk of color, it’s not about striping faces with Eighties neons like those at the spring 2001 shows.
“It’s not like the runway, where a designer picks a face everyone wears,” says Joanna Schlip, prepping Best Actress – Drama nominee Laura Linney. “Actresses are now the supermodels. Just look at the magazine covers. So they know what good makeup is and what a good artist is. Modern fashion makeup is not cakey. Still, sometimes at the Oscars people tend to overdue it and age themselves.”
Good skin enhanced with richer, berry tones and a more natural brow, Schlip and others believe, will be widely seen that day.
“It’s going for personal best, making each person look beautiful. There’s not one solid theme going on in fashion or real life right now. So I don’t think you’ll see one that day.”
That “everything goes” mantra is also being sung by Terri Apanasewicz, who’s doing the “Gilmore Girl’s” Lauren Graham for this year’s Globes, and in the past has prepped Jodie Foster, Kate Winslet and Laura Dern. “We’re so diverse right now.+You’ll see the younger celebs have fun with color, but a lot of the celebs who’ve been around for a while — the women of the group — will be more classic. We’ll see more berry lips, but not so much of the Fifties red. It will be strong without hitting you in the face.”
Matte is slowly replacing all the gloss of recent seasons. Expect natural, she notes, but with a little dose of drama. “I’ve been using lashes a lot more.”
Gregory Arlt, senior MAC artist, wants it both ways. Like others, he hopes Bjork shakes up the beauty status quo. “It would be so awesome to see a few piecey eyelashes and fuchsia lips.”
But Arlt also suggests “nude, beigy, vanilla-colored lips with eyes venturing into a smoky brown. Think of a postmodern Julie Christie, or Julia Roberts.”
Hair stylists are also sourcing Sixties icons like Christie, but, thankfully, with a new eye.
“It’s a Sixities influence in that it’s about volume. It’s sexy, bold, loose,” declares Charles Worthington, of the eponymous mini London product and salon empire, whose flying into Hollywood on Globe weekend to make new friends.
“The volume starts from the roots and continues all the way through. This isn’t a starchy, stiff event, so hair can’t be that either. Take Kate Hudson, I’m sure she’ll be wanting to be the total glamour queen,” added Worthington, whose salons count the nominee’s mom, Goldie Hawn, as a client, as well as Uma Thurman, Jody Kidd and Paloma Picasso.
It’s volume, however, with a modern spin. “It’s not big,” says Richard Marin, on hold this year for Debra Messing and Holly Hunter. “When you hear big hair is back, it’s not like it was in the Sixties or Eighties. It’s not ‘Dynasty.’ It’s hair that looks loose and natural and very sexy. And it’s texture.”
As makeup artists enthusiastically chant color, the mane brigade is thumping for texture. Of course, it’s color that enhances the layers, curls and shapes and provides the illusion of texture.
“Color,” Worthington continues, “is very, very important. It doesn’t just finish off the style. It’s an integral part. I love these hair styles where you have these contrasty, rich tones underneath. People want more defined color — not extreme. It’s definitely about gloss and richness, reds and gorgeous mulberries, and with blondes, caramelly tones.”
The drama is not in color that’s unreal, notes Vidal Sassoon celebrity stylist Etienne Taenaka. “Blondes will be really blond, brunettes really dark — but it’s really rich in color.”
“I also think we’ll see a couple of bobs on the runway,” he adds, noting a renewed interest in the liberating ‘do, thanks to Kate Moss, that put Louise Brooks in the Twenties and Vidal Sassoon in the Sixties on the cultural map. Recent fans include Julia Roberts and Jennifer Aniston with a less severe version that some consider more modern.
Paul DeArmas, creative director of Hair at Fred Segal, recommends a bob, halo or any other style cut with a razor instead of scissors for a fresh incarnation to the classics. “It’s got to be new. It’s got to be texturized,” says the man who works on Robin Wright Penn, Rita Wilson and nominee Jessica Alba of “Dark Angel.” “The updo is done.”
Even nominee Sarah Jessica Parker, Taenaka says, could arrive with her take, permed from halfway down, then diffused into a curly mass and pinning and back-combing it into a short length.
It’s also a good way for an actress to get the bobbed look, without lopping off her character’s signature tresses.
When Sela Ward, Best Actress – TV Drama nominee, entered the Fire & Ice Ball last month, fans and friends were shocked to see that she’d been bobbed.
“It’s pinned up!” she screeched in the Beverly Hills Hilton ladies lounge. “They won’t let me really bob it. I love it, though,” she added, pointing out where extensions had been attached near the part to give the illusion of chopped ends.
“It just seems everyone’s cutting their long hair off,” says Marin. “I was running around with long extensions and a flat iron just a year ago, there’s no reason for me to carry it around anymore.”
For Robert Vetica, the “real modern length is to the shoulder blade. Anything longer than that should be left for the runway. Of course, what is modern? It’s nothing in particular really. I think you’re going to see — in spite of what I want — a lot of natural-looking hair, almost as if people haven’t done anything. The look may be carefree, but it’s a day of work. I always tell my clients ‘You don’t want anything flying in the air.’ I like to suggest people wear their hair in a way that looks sophisticated, young and fresh.”
We’re still going to see a lot of long hair, it’s part of the glamour,” admits Laurent D of Prive, who recently chopped off Tea Leoni’s hair into chunky layers close to the neck. “There will be long hair mixed with curls and straight pieces, loose and worn down — more texture to the hair.”

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