35 posts tagged "James Kaliardos"
An androgynous and distinctly tough girl debuted at Erdem today in place of the feminine, and often plaited, muse we’re so used to seeing. “Let’s put it this way: If there were boys in the show, they would be wearing exactly the same makeup—it’s a bit like Mick Jagger or Keith Richards,” explained face painter James Kaliardos. Using NARS Pure Radiant Tinted Moisturizer, he evened out models’ skin before applying a touch of Optimal Brightening Concentrate over top to lend a moist finish. On cheeks, the Matte Multiple in Altai (launching for Spring 2014) was dotted into the hollows and blended to lend a sunken, almost bony impression. A touch of Radiant Creamy Concealer was applied to lids, while the matte charcoal shade from the Paris Duo was buffed into the inner corners of the eyes. For extra definition, Larger Than Life Long-Wear Eyeliner in Via Veneto was rimmed along the upper and inner waterlines, and a grayish cream shadow was worked through arches to add strength to brows.
The undone updos created by hair pro Anthony Turner also played up the masculine theme—with both a severe side part and “comb-over” in front. To achieve the look, Turner applied L’Oréal Professionnel Tecni Art Full Volume Mousse 5 to give hair guts and Tecni Art Fresh Dust (a dry shampoo) for a fluffy texture. Strands were pulled over the forehead and secured with a bobby pin, and the remaining length was pinned up in the back (the finished product resembled a messy French twist)—leaving just a few loose strands cascading around the face.
Nails were pale and ghostly, with manicurist Anatole Rainey creating a four-tiered ombré effect using Essie Allure. Let’s just say we’ll be stealing a few of these beauty moves inspired by Jagger come spring.
Mountains of mousse, teased hair, and side swoops are back—at least at Rodarte. Odile Gilbert said there was an “eighties intention” behind the look—which was evident by the inflated “bangs” that peaked over the brow and framed the face—as well as Debbie Harry of Blondie, who often sported a deep side part and a swoosh across the top. Gilbert created the look by dousing hair with John Frieda Frizz-Ease Curl Reviver Styling Mousse and blow-drying with a round brush to build body. She used a curling iron to set the flip, and added a slight wave to the length. For additional lift, a Mason Pearson bristle brush was used to back-comb the front section. The hair was then swung over the right shoulder, and a coiled cornrow was hidden near the nape of the neck, acting as a pincushion for the hand-painted extension that was added over the top. While we’ve seen printed looks from Gilbert in the past—like the cheetah-spotted bouffant she created at Jean Paul Gaultier Couture for Fall 2013—for this show she developed a pattern that she described as tweed meets zebra, meant to reflect fabrics used in the collection. After the extension that often contrasted the models’ hair color was secured, the length was conspicuously pinned to one side and shellacked (just as it was in the decade in which the style originated) with loads of Frizz-Ease Moisture Barrier Firm-Hold Hair Spray.
The nails were a different animal altogether (literally): with tortoiseshell patterns painted with a cosmetic sponge by manicurist Tracylee Percival. She first stamped two coats of Sally Hansen Complete Salon Manicure in Clay, a burnt orange, and accented it with patches of Cinnamon, a darker brown, for depth. (Both lacquers were made for yet another collaboration with the Mulleavy sisters, available in March.)
The inspiration for face painter James Kaliardos was a “wild L.A. girl—the real Los Angeles, not the red-carpet kind,” which he brought to life by applying NARS Larger Than Life Eyeliner in Via Veneto in an exaggerated V shape (for models with lids that touched the lash line, he implored Black Valley Eye Paint and an angled brush). Lashes were coated with Larger Than Life Lengthening Mascara, and arches were brushed up with Oural Brow Gel to give them an untamed and “animal-like” quality. To lift the eye and make it more graphic, Kaliardos applied a dot of Radiant Creamy Concealer underneath the eye that was paler than each model’s skin, which he said reminded him of either a leopard or Veruschka. The Matte Multiples in Altai and Anguilla (out spring 2014) were blended onto cheeks for color and contour. And the pinky-nude lip color was a combination of two Satin Lip Pencils in Biscayne Park and Floralies. Between the hair, manicures, and makeup, it was like a high-fashion zoo backstage.
“Women have great tools with their hands—they’re just special things. If I was a girl, I think I’d be a better makeup artist.”
The face painter shared the envy he has for “delicate” female fingers while backstage at DVF, but we think his handiwork is quite impressive without them.
Backstage at DVF there was talk of more than what sits solely on the surface. “Diane is very socially aware, as you can see with the casting, which is very diverse—unlike many designers during fashion week,” said makeup artist James Kaliardos. To reflect each model’s individuality and let her inner beauty shine through, he opted for sheer, creamy textures in warm, neutral colors like copper and sand. After evening out the complexion and using translucent powder on the T-zone to cancel shine from the lights on the runway, Kaliardos “cheated black liner in the [upper] lash bed,” which provided definition and created the illusion of fuller fringe. He then wrapped the eyes with a blend of two cream shadows from the MAC Spring ’14 Trend Forecast Palette—New in Season and Cultivating Chic—to create a subtle and shimmery copper hue, then coated lashes with Haute & Naughty Lash mascara. The tops of cheekbones were patted with Casual Colour in Keep It Loose for a soft glow, and lips were slicked with either a peachy nude or taupe gloss, depending on skin tone. “You can’t compare someone from Africa to someone from Sweden—they’ll always look different, but both are beautiful,” he added.
The hair was kept quite simple, as the designer was inspired by how the models arrived at their fittings with loose, lived-in waves, explained Orlando Pita. He started with a middle part and worked in BioSilk Volumizing Therapy Styling Foam, Texturizing Powder, or Root Lifter (depending on hair type) before blow-drying to create texture. Next he went in with a curling iron and bent the hair under and over the barrel to form his signature “S” patterns (think: Botticelli waves for the modern woman). Strands were lightly glossed over with Silk Therapy to cancel any frizz or flyaways.
And while the look as a whole was certainly scaled back, Diane von Furstenberg definitely made a strong statement about beauty. I think Kaliardos summed it up perfectly: “Each girl is her own woman.”
French wild child and novelist Francoise Sagan, who drove race cars, kept bad boyfriends, and ended up in rehab in Saint-Tropez, inspired the clothes in the collection. She was essentially the original Lindsay Lohan “…except she could write,” explained Brian Wolk, one half of the Ruffian design duo. Another author and bad girl, this one British, inspired the makeup and hair: Lady Caroline Blackwood.
As a nod to the beauty muse and the sixties, makeup artist James Kaliardos circled the eye in a gray shade from MAC called March Mist with a 213 brush, and added shadow, dubbed Particularly Pretty (both colors from the Spring/Summer ’14 Trend Forecast Eye Palette), to both the middle of the lid and the cheeks as a highlighter. Four individual lashes were placed on the center of the upper lash line to open up the eye, and Haute & Naughty Mascara was brushed on both top and bottom. “It’s quite lash-y, but still a soft look,” explained the face painter. Lips were dabbed with a soft apricot called Trendy Twist (also from a Spring/Summer ’14 Trend Forecast Palette).
Hair pro Nick Irwin applied Catwalk by TIGI Curlesque Lightweight Mousse to the halo area before blow-drying and adding a deep side part, which he set with Sleek Mystique Look-Lock Hairspray. To create the appearance of a set that had fallen out, he wrapped sections around a curling rod and then finger-combed.
“We wanted to bring minimalism to nail art this season,” said Wolk, imploring finger painter Cheryl Natoli and their own brand of circular nail sticker-stencils (available soon on Birchbox) to get the signature Ruffian crescent shape. The three lacquers in their newly launched Crowdsourced Collection were used around the edges of a nude-colored nail bed, extending all the way to squared-off tips. They also debuted a treatment, base coat, matte finisher, as well as black, scented polish-remover towelettes (arriving later this fall) backstage.