giovedì 21 aprile 2011

ZOOM on PETER PHILIPS MAKE UP ARTIST of CHANEL

Cosa si nasconde dietro il fenomenale successo del make-up firmato CHANEL?
Cosa ha permesso che la scorsa stagione un flacone de CHANEL'S Le Vernis JADE venisse venduto su E-bay al prezzo shock di 100euro?
Sarà solo merito del marchio più famoso al mondo e di tutto l'universo racchiuso dietro due piccole C?
PETER PHILIPS,un nome sconosciuto ai più,è senza dubbio uno degli artefici di un fenomeno che non sembra arrestarsi.Proviamo a svelarne i retroscena... 
Nato ad Anversa,cresciuto quando ancora Internet era un sogno ed era difficile trovare una rivista di moda come  Elle o  ID, Philips trova la sua ispirazione nei vecchi film in bianco e nero e nelle attrici-icone come Rita Hayworth, Audrey Hepburn, Ava Gardner, e Sophia Loren.Sono loro ad aver creato il suo ideale di donna e bellezza.
La formazione di Philips si compie in modo abbastanza tradizionale, laureandosi in graphic design a Bruxelles. Ma subito dopo la laurea,frequenta l'Accademia di Anversa, dove viene travolto dalla rivoluzione della moda portata avanti da personaggi divenuti famosi come Ann Demeulemeester, Dries Van Noten e Martin Margiela.
Il momento cruciale nella carriera di Philips arriva quando durante uno shooting presso RAF SIMOS copre il viso di una modella con una maschera in pizzo che riproduceva le sembianze di topolino.Nasce così la sperimentazione nel tentativo di creare un nuovo modo di interpretare il make-up di una donna.
Tra le creazioni più spettacolari,come non citare  i tatuaggi temporanei che lui e Lagerfeld creano per la primavera 2010.
Rivoluzione ROUGE COCO
Chanel affida a Philips l'incarico di reinventare il mitico rossetto,emblema dello stile Chanel.
Rouge Coco Idratante Crème Lip Colour, è stato progettato per le donne giovani non ancora sedotte dal celebre ROUGE CHANEL.
Così nasce una gamma di colori seducenti ma mai eccessiva,sofisticata,che si interpone tra i glossi usati dalle giovanissime,e le tonalità calde ed avvolgenti dei rosa e malva.
Rinasce un nuovo must,un rossetto che non è più solo uno strumento di seduzione e belezza,ma un vero gioiello,un piccolo bijoux da possedere e mostrare,da collezionare ed indossare per lasciarsi avvolgere dall'allure che Chanel dona a tutte le donne da più di sessant'anni.

The backstory behind the rue cambon's resident beauty genius

Below is an interview that appeared on a famous magazine.
Good Read
In Antwerp in the early eighties, there was no Internet. You had to look around hard to find a Vogue or an Elle or an i-D," Philips says. Old movies, on the other hand, there were plenty of. "It's a cliché, but I've always been inspired by black-and-white films and the iconic actresses—like Rita Hayworth, Audrey Hepburn, Ava Gardner, and Sophia Loren. They created the original fantasy for me. Philips, who had an artist for a biological dad and a business-owner stepfather, decided on a relatively traditional course at first: He got a degree in graphic design in Brussels. But soon after graduating, he headed back home to attend the Antwerp Academy, where he became swept up in the fashion revolution that was taking place courtesy of famous alums like Ann Demeulemeester, Dries Van Noten, and Martin Margiela. It wasn't until he attended the Paris shows as a dresser that Philips caught the beauty bug. "I was a huge fashion victim in those days, and I saw something in makeup that was intricately linked to fashion but didn't require having to make a collection," he says. After graduating in 1993, Philips built up his book doing test shoots with aspiring photographers and stylists, among them Willy Vanderperre, who recently lensed the Jil Sander campaigns, and Olivier Rizzo, who these days most often collaborates with Miuccia Prada and Raf Simons. The pivotal moment in Philips' career came at a Raf Simons shoot, when he drew a Mickey Mouse face onto a model in perfect scale (graphic design degreescan come in handy). After that, he segued into similarly inventive illustrations using skulls. "People flipped out," Philips recalls. "They really remember the spectacular things you do, and the pure beauty things they take for granted. I learned a lot from that." "I became very selective for whom I would do the spectacular makeup, so as not to make it banal," Philips explains of his early days as a face painter. Luckily, his plain old beauty work was showstopping, too, and kept him in high demand with labels like Dries Van Noten and Fendi and magazines including i-D, V, Pop, and nearly every international edition ofVogue. Chanel took notice of Philips' handiwork after Karl Lagerfeld met him on a Fendi shoot. "They were very interested and they kept on booking me, but I didn't even dare to dream," Philips says of the opportunity to run the brand's makeup division. But one day, the house's former creative directors Heidi Morawetz and Dominique Moncourtois—the latter of whom was the last employee to have been handpicked by Mlle Chanel herself—invited him to their atelier and asked him how he'd feel about taking over. "I was shocked," Philips recalls. Having never worked for a big Going corporate hasn't changed Philips' artistic approach much. "There's space for playing here, which is great for a creator," he says. One place that Philips likes to play is in the nail department, where Morawetz and Moncourtois set a very high bar. "I waited in line for Rouge Noir!" Philips admits of Chanel's famed shade No. 18—also known as Vamp, the metallic burgundy polish created by his predecessors in 1994. Two years into his reign, Philips has released Gold Fiction, a limited-edition gilded lacquer; Robertson Boulevard, a trend-setting collection of four Pop Art-colored varnishes; and, of course, Fall 2009's sold-out Jade. Chanel is hoping Philips can do for lipstick what he's already done for lacquer and skin art. His first major launch, Rouge Coco Hydrating Crème Lip Colour, is designed to woo the lip gloss-loving youth set. Its easy-on, one-swipe glide should persuade girls who grew up on Chanel Glossimer to embrace the sophisticated side, but what'll really sell them is the range of shades. Rouge Coco has its crimsons, but it mostly comprises rose and pink hues as well as mauves, caramels, and deep berries available in matte, pearl, and soft-shimmer finishes. "I wanted to get rid of the stigma that lipstick has to be red, which may scare away a lot of women who may be really curious to discover it as a power tool."

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