Andy Warhol was one of the most influential artists of the 1960s and his vibe lives on today.
A few weeks ago we wrote about the influence of 1960s icon Mary Quant. Another icon of the 1960s in terms of style and counter culture referencing is Andy Warhol.
He and his ensemble of artists, poets, models, actors and simply beautiful people at his downtown studio The Factory are still a huge influence on style today.
For over half a century now, fashion designers, artists and writers have mythologised the goings on and stories of the famously outrageous inner circle — so much so that truth and fiction are finely interwoven to the point that no one really knows what went on behind the factory doors now.
One thing we do know is that Warhol’s fingerprints are all over 1960s folklore and imagery. From the iconic Velvet Underground and Nico to Edie Sedgwick, names like Holly Woodlawn, Ultra Violet, Candy Darling and Taylor Mead have appeared in songs, films and newspaper articles in the same breath as the real stars who frequently visited the fabled studio, including David Bowie, Liza Minnelli Bob Dylan and Jim Morrison.
The Factory was almost a precursor to Studio 54 in terms of its celebrity magnetism but with a much darker undercurrent. Warhol was famously disparaging about his cast of superstars, dropping or ignoring and casting off individuals who became too needy, difficult or simply boring.
It was such a case with Valerie Solanas who, paranoid that Warhol was planning on stealing her writing, shot the artist, leaving him seriously injured.
But like Studio 54, the enduring legacy of different times, outrageous people, glamorous parties and the rock ’n’ roll aesthetic continues to appeal to fashion houses.
Gucci, Dior and John Varvartos, as well as high street stores The Kooples, All Saints, H&M and even Uniqlo continue to name-check or reference Warhol.
So with that in mind, this week’s makeover is a little homage to the heady days of Warhol’s 1960s New York — the look straddles the lines of gender. It’s as easy to see it as a 1990s Britpop lad’s feather cut as it is as a homage to the great rock chicks of the last half century, a hybrid of Patti Smith and Iggy Pop or even Chrissie Hynde.
It’s a look that our model Vika from Ros Model Management suits perfectly — cool and under-stated with little or no styling.
We decided to play to Vika’s strongest features — her eyes and cheekbones — by creating a face-framing fringe and perimeter strengthening the colour deeper to emphasise these key areas.
We worked alongside Alfaparf coulour expert and technician Aoife Murphy, who created the beautiful rich mocha base colour for depth, drama and shine before smudging the ends to lighter cognacs and caramels for a grungier rock ’n’ roll effect.
‘The effect itself looks simple but it is ultimately about balance and beauty. What we want to achieve is an anarchy in the harmony, it shouldn’t be too perfect but also not DIY looking.
‘There is an expensive aesthetic to this type of hair colour, the effect should draw you in but not alarm or shock you. It’s a grungy – inspired look for a sophisticated wearer,’ Aoife says.
The make-up is also interesting in the sense that, here we also focus on understated glamour, the juxtaposing of innocence and decadence playing with youth and experience, freckles exposed with natural skin tones, a nod to Vika’s Eastern European heritage, pale lips and sallow eye tones.
Vika has naturally wavy, unruly hair that does not want to be tamed or told what to do, so in comes Alfaparf education expert and senior stylist Tiarnan O’Kane, a much sought-after blowout expert, who gave Vika the fabulous finish.
‘For me, getting the perfect finish is minimal products and heated tools when possible,’ he says. ‘Starting off I used a little Alfaparf Cristalli oil to get the shine and then added some Style Stories’ flexible hold mousse for hold. Using a small, round YS Park brush, I smoothed the hair in small sections to follow the shape of the haircut, trying to create a little root lift but no volume. Then I blasted with cold air and another drop of oil for the finish.
‘The trick is then to leave it to settle for a few minutes to cool into the natural shape.
‘I avoid straightening irons on these shapes as they tend to strip out the personality of the haircut.’
So that’s our style update for this week, a look as influenced by the images and styles of the 1960s as much as the people who inspired them.
