She means business: Kris wore a chic white dress and large round sunglasses as she attended the Cannes Lions 2015, International Advertising Festival
We’re forever impressed by the work celebrity stylists do, but honestly, it pales in comparison to the serious prep, planning, and man-hours that go into getting a singer ready for a tour that’ll last months and months. It’s a challenge that Marina Toybina knows, having worked with singers like Carrie Underwood, Taylor Swift, and Katy Perry (she won an Emmy for working on the latter’s Super Bowl halftime show, natch). Most recently she just finished crafting the looks for her second mega-tour with Underwood; you can see the stylish fruits of their labor right now on The Storyteller Tour, keeping the country star busy through July.
“With this tour we were able to work closely with multiple designers to manipulate each piece to make it tour-ready,” she explained, revealing that everything is made after a sketch is reviewed. “Only one is made and from there we do multiple fittings. After we agree on it, I go through and re-customize to make sure it’s the right length and embellish it to make it the best it can be.”
MORE: See What Red Carpet Dresses Looked Like Before Celebrities Had Stylists
When we got the fashion pro on the phone, we asked everything we could think of (including when someone finds the time to wash and repair these hard-working garments). Check out our conversation here:
Glamour: What’s the process of costuming a tour like?
Marina Toybina: Tours can be extremely different from one another; it can depend on whether we’re doing the dancers or just one artist. The process usually involves coming up with visuals with the creative director, looking at what the acts might be if the tour is split between various sections. From there I’d start doing my own sketches based on the general creative and proposing that to the artist. With Carrie, her creative director would come up with certain creatives, she would approve, and I’d come in after that process and come up with pieces that’d work best for each section. Then I’d sit with Carrie one-on-one and see what she prefers. If this is a high-beat act, what kind of shoes are we going to go with so she can move around the stage? Can the piece be a little bit heavier?
Glamour: How many looks in total does Carrie have for this tour?
MT: The show is split into five sections and for each of those she has about three or four options. Each night she can manipulate the look of the show or pick what she’s comfortable in. It’s an evolution and not the same for each show, so it’s about 20 to 25 various looks that are being continuously worn. We’ve always done [wardrobe options] with Carrie. Things aren’t done in duplicate forms because everything was so customized and each was so different. It’s a personal preference of hers to switch in and out of things when she’s performing. Not being tied down to one look on constant repetition makes it a little bit more interesting.
Glamour: Silly question, but how are things cleaned when you’re in the middle of a packed tour?
MT: At whatever arena, they’ll set up a traveling washer and dryer wherever unloading happens to help people. They’ll even make sure the band’s clothes are taken care of. An off-day is when most things are dry-cleaned or any special needs are addressed.
I work closely with the person who travels on the road with her, asking, ‘Can this be dry-cleaned? Can this be machine washed? Can this only be in cold water?’ We dissect each costume prior to opening night so if something happens like a rhinestone coming off, we know how to replace them. We make sure there’s enough stock just in case something goes wrong in a cleaning process or the handling of the costumes while traveling. There are always enough extra accessories to make sure you can rebuild it.
Glamour: Did you have to prepare for a lot of quick changes with this tour?
MT: Every one is always considered prior to us doing fittings. Even if certain things look or feel great, the first thing we do is make sure all zippers are changed out. As flattering as hidden zippers look on actual clothes, for any sort of quick change you need the industrial plastic zipper because it holds the shape best and gives it a weight so nothing catches when you’re trying to unzip. It’s more durable too.
Before rehearsals I’ll time how much time we have, and when we do our first pre-production rehearsal we’ll see if she can make all the quick changes and if not, what we have to adjust. We’ll make sure Velcro or snaps are involved, and do things in particular colors [to help with speed]: If we’re going to have a black zipper, we’ll have a silver hook-and-eye. There are these tricks that go into every single piece just to make sure can touch and feel it in case something goes wrong or the lights went out under the stage [where most of the quick changes happen.]
Glamour: You style Carrie for some red-carpet appearances too. How is that different than the work you do prepping for a tour?
MT: I pay attention to detail so even if we do a simple fitting for a carpet, it still becomes a big deal to me and her, making sure all the hems are correct and the fits are perfect. It’s not as drastic as coming up with something [brand new] for a tour, but it’s the same amount of detail and work that goes into anything she does. We re-customize the look from head to toe, adjusting the hem to make sure it’s the perfect height, especially with whatever shoe she’s wearing.
Glamour: You worked together when she hosted the CMAs and changed at least ten times. How was that?
MT: We had about 15 changes that she could have anywhere from two to five to 15 minutes for, and we were actually cutting down changes because we had such an incredible original fitting. The similarity between that experience and the tour is that when you’re on a tour each act and song represents something, and you want to match your visual to the vocals and the atmosphere. Hosting an award show, each time you’re on camera it’s something new, and you’re looking the part. If you’re presenting an award you want to be a little more elegant, while if you’re presenting a performance you have the opportunity to be more edgy and play with fashion.
Another celebrity stylist who’s been busy lately? Come meet the woman hired to revamp Katy Perry’s red-carpet look.
Go behind the scenes of Carrie Underwood’s Glamour cover shoot.
Photos: Jeff Johnson, Getty Images
It’s the afternoon after the 2016 Oscars, and our inboxes are overflowing with how-tos for all the glam hair and makeup we gazed at on the red carpet. We’re getting all the important details to you as fast as we can (see: our roundup of the night’s best beauty trends, names of this year’s best Oscars lipsticks, and details on all those sexy smoky eyes). But we know what you really want the most: Those super-easy, sneaky little tricks that the world’s best makeup artists use to get the world’s most famous faces looking their most flawless—and staying that way all night long. So here ya go—five genius tactics, plus inside scoop on why they work so well.
1. Prevent harsh liner.
Defined eyes are a must for photo-heavy occasions like the Oscars, but as we all know, sometimes black liner can look too harsh, when you’re going for a more natural look, while brown can look too warm and gray too subtle. That’s where violet came in last night. This jewel tone can be used to take the edge off black liner; Reese Witherspoon’s makeup artist Molly R. Stern used it in this subtle way for the star’s “crisp, clean eye”, tracing Chantecaille Luster Glide Eye Liner in Violet Damask over black cream liner to soften the color and the line. Meanwhile, Oscar winner Brie Larson’s eyes exemplified how more obvious violet can be a subtle and brightening alternative to neutrals. Makeup artist Rachel Goodwin used Chanel Stylo Yeux Waterproof Long-Lasting Eyeliner in Purple Choc, a deep violet, on her lash line and waterline.
2. Add oil to your foundation.
Here’s the red-carpet trick for preventing full-coverage foundation from getting cakey and drawing attention to fine lines and blemishes: Spike it with a drop of face oil, like Brigitte Reiss-Andersen did for Amy Poehler. “It’s one of my favorite tricks,” she tells us. “I mix a drop—no more—of oil into the foundation to thin it so I can build layers without it looking pasty and heavy.” She mixed a few drops of Kiehl’s Daily Reviving Concentrate into Elizabeth Arden Flawless Finish Perfectly Nude Makeup in Vanilla Shell. Bonus: You’ll add radiance to the skin and hydrate it.
3. Keep your mani flawless and glowy.
Nude nails are everywhere right now, and we feel like dry, sad cuticles look even more obvious without the distraction of bold polish. That’s why we’re already employing the trick used by Rachel McAdams’ Oscars manicurist, Tom Bachik: treating our hands with face oil. On McAdams, this involved a few drops of L’Oreal Age Perfect Hydra-Nutrition Facial Oil; he tells us he prefers using face oils to traditional cuticle oils: “They have a unique blend of multiple oils, so they’re super conditioning.” They’re also designed to penetrate deeply to give skin—including cuticles—extra long-lasting hydration.
4. Try strobing your eyes.
To brighten Julianne Moore’s eyes and amp up their natural shape, makeup artist Elaine Offers traced inside her waterline with a softly reflective pencil that matched her skin—L’Oreal Infallible Silkissime Eyeliner in Highlighter. Doing this eliminates the pink tones naturally found at eyelids’ edges while subtly diffusing light into the entire eye area.
5. Get all this stuff off your face before bed—gently.
If celebrity makeup artist Pati Dubroff managed to fully cleanse her face after attending Elton John’s viewing party, you really have no excuse. She even posted an Instagram shot of the products she calls “the best of the best” for removing makeup gently. “I really wanted to just fall into bed,” she told us on the phone bright and early. “But I had to take those ten minutes and get my skin perfectly clean or it would have been a real disaster.” She started with Bioderma wipes followed by the micellar water; makeup artists have long sworn by this French brand. “Everyone in the fashion world knows it’s the best,” Dubroff says. “It feels like water but breaks down makeup like nobody’s business, and it’s not too harsh around the eyes.” Then she used 001 Exfoliating & Conditioning Cleanser, plus her pick for the best post-event, pre-sleep moisturizer: Laura Mercier Flawless Skin Nourishing Oil.
Watch Highlights of Oscars Nights Past:
Photos: Getty Images; Instagram
Work outfit by wulanizer on Polyvore – I dont care for the accessories though. find more women fashion ideas on www.misspool.com