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April 21 2014

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37 posts tagged "James Kaliardos"

Putting on the Glitz, Backstage at Rodarte

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rodarteGlitter, butterflies, and Star Wars—that’s what little girls are made of, at least in the minds of Kate and Laura Mulleavy. There was certainly no shortage of sparkle backstage, as makeup artist James Kaliardos channeled “childhood remembrances of beauty before grunge ruined them,” he explained. And what child of the eighties wouldn’t want glitter lipstick? I’m not talking a delicate sprinkling of sparkle—Kaliardos went to town mixing the fine, shimmery particles with two shades of NARS lipstick: Deborah Audacious (a brown-berry) and Dominique Audacious (a mauve-y pink). Complexions were perfected with full-on foundation, concealer, and powder, while the contours of the face were dusted with a luminescent blush (dubbed Unlawful) and layered with the Matte Multiple in Anguilla. The eyes were as over-the-top as models’ mouths, with the reddish brown side of the forthcoming Dolomites Duo used on the lower rim, over the lid, and up into the brows. The adjacent lavender shadow was dusted on the center and inner corners before mascara was applied to the top lashes only. The resulting cloud of color was how Kaliardos imagined Cinderella would have worn her eye makeup—except she would have chosen pale blue.

The hair—especially on catwalker Chloe Nørgaard, whose rainbow color is as spectacular as a My Little Pony—was equally as dreamy. Odile Gilbert added in extensions for length that could rival Rapunzel’s, before spritzing strands with John Frieda leave-in conditioner and creating two braids. “It’s not a question of being thick, it’s a question of being long,” she explained. After letting the plaits set, she unraveled them to reveal mermaidlike waves before making a side part, twisting one side back, and pinning it in place with a butterfly-adorned barrette. Nails also got the princess treatment—receiving a layer of Sally Hansen lacquer in Pink Dream, an iridescent glitter available in September. If the designers are looking for someone to play dress-up with, I’m ready, willing, and available.

Photo: Sonny Vandevelde; Indigitalimages.com

Ballet Russes Beauty, Backstage at Diane von Furstenberg

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dvf-cropThe ballerina at Diane von Furstenberg was not your typical perfectly coiffed bun head. Instead, “a dancer in rehearsal, not performance,” inspired the undone chignons crafted by Orlando Pita. After pulling the hair into a ponytail at the center of the head, the mane master spritzed a teasing brush with BioSilk Firm Hold Finishing Spray before dragging it vertically from forehead to elastic, making it appear as if the models had raked their strands back using just their fingers. After he coiled and pinned the tail in place, he strategically undid it for a soft, imperfect finish.

Makeup artist James Kaliardos noted the Ballet Russes and refugees leaving the mother country “to embark on a creative life.” He employed techniques normally used by dancers onstage, such as contouring the sides of the face with various tones of concealer and brightening the eyes by rimming the lower waterline with MAC Cosmetics’ forthcoming Technokohl liner in Nude. Wanting a “glossy taupe” shade for the lids, Kaliardos mixed Grey Matter, a cream shade from the Fall 2014 Trend Palette, and Dusty Mauve, a hue from the season’s lip palette. He topped it off with Gloss Crème Brilliance for additional sheen and coated the top lashes with Haute & Naughty mascara. “You know when you see those girls from ballet school and they just look like ballerinas even though they don’t have makeup on? This is what we’re doing,” Kaliardos explained. With all the lithe models milling about backstage, it was almost as if they were waiting for their curtain call instead of your standard catwalk.

Photo: Sonny Vandervelde; Indigitalimages.com

Boy Meets Girl Backstage At Erdem

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erdemAn 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.

Wild Child Meets Rock of Ages at Rodarte

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Rodarte

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.

Photos: Ivan Lattuada / Indigitalimages.com

Beauty Sound Bites: A Feminine Touch

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“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.

Photo: Getty