35 posts tagged "James Kaliardos"
As previously mentioned on this blog, early-nineties makeup has been ruling the runways from New York to London. At Matthew Williamson’s show last night, makeup artist James Kaliardos managed to skirt the line between intentionally undone and beautifully, barely there using—get this—an arsenal of drugstore products. Kaliardos’ “five-minute face,” as he called it, was inspired by Kim Noorda’s flawless skin and began with L’Oréal’s Studio Secrets Smoothing Resurfacing Primer, which he applied for pore minimizing and shine control. To create what he dubbed the “scaffolding,” i.e., the base of the look, Kaliardos dotted a pale shade of L’Oréal’s True Match Touche Magique on the nose and center of the forehead to naturally highlight the allover coverage he built using L’Oréal’s High Definition Smoothing Foundation. Reaching for a deeper shade of the complexion-correcting product (which comes equipped with a built-in brush), he contoured cheekbones and shaded the temples. In an interesting turn of events, models’ eyes were then given structure with a nod to Barbra Streisand—a non-grunge-era heroine if we’ve ever heard of one. Kaliardos skipped the liner and instead grabbed L’Oréal’s Pro Eye Shadow trio in Grey Obsession, which he used to draw a long straight line just above the crease that he pulled past the outer corners. Singing the praises of multitasking products, Kaliardos finished the look with an eye shadow-turned-highlighter on cheeks and the inner corners of the eye and utilized a pink-hued primer to take away sallowness and inject an aura of overall health. The nineties were there, sure, but in a much more fresh-faced, less angsty, Funny Girl kind of way.
When we arrived backstage at Rodarte yesterday, makeup artist James Kaliardos was doing a little promotion for Karen Elson, who was sitting in his chair. “Tell us about your new album, Karen,” he said, but the flame-haired model-turned-singer was willing to divulge little except to say that it was “spooky.” So was the makeup look. “We’re entering the spirit world here,” Kaliardos said, adding words like “sleepwalking” and “Mexican border towns” to the equation. That heady mix evolved into very paled-out skin and a shiny, iridescent cheekbone, not cheek. “I’m not into blush anymore,” Kaliardos said, echoing makeup artist’s Charlotte Tilbury’s similar distaste for rosy cheeks for Fall. “This is a neglected part of the face, but I’m bringing it back,” he said of models’ temples and facial contours, along which he dabbed MAC’s Pigment in Kitchmas for an ethereal, iridescent effect. A metallic mauve-y/lilac eye courtesy of MAC eye shadows in Quarry and Silver Ring completed the “dreamscape” that Kaliardos was building. For her part, hairstylist Odile Gilbert was just interested in creating something “clean and proper,” sculpting deep side parts that were slicked back with Aveda Control Force hair spray and held in place with oxidized copper floral hair pins that the Mulleavy sisters designed for the occasion. When we asked Gilbert how many pins each girl was allotted, she had this to say: “It depends who they are. If they are a top model they get a lot. You need to know how to work them.” Hierarchy exists even in the subconscious, it turns out.
Fashionphiles with an appetite for indie magazines will be delighted to know that the entire December issue of Dazed & Confused Japan is devoted to womenswear. Beauty fiends, on the other hand, will likely be drawn to the glossy’s cover for its distinct nod to 1930′s pin curls and an equally era-specific dark lip. The particular pout model Anya Kazakova is sporting adds a modern touch to the otherwise anachronistic spread, though. Her two-toned, heavily lined stain is reminiscent of makeup artist James Kaliardos’ handiwork backstage at Rodarte’s Spring show, where he used MAC Lip Pencil in Beet in the center of models’ mouths and an angled brush dipped in MAC Pro Lipmix in black as a liner. The double-textured look acts as something of a natural plumper while also adding an edgy twist to an otherwise classic berry-color. The very 2009 bleached eyebrows serve a similar purpose, which will be discussed at length in our upcoming The Look feature. Stay tuned.
East L.A. gang girls. Menacing condors. Maori tribeswomen. Makeup artist James Kaliardos rattled off all of these things at Rodarte yesterday, where he was attempting to create “the dark side of beauty.” With a charred black lip and a series of full-sleeve, half-sleeve, and neck tattoo designs courtesy of MAC senior artist Chantel Miller, his efforts were an overwhelming success. Starting with a minimal base, Kaliardos dabbed concealer under models’ eyes and brushed a dark mauve shadow on their lids for contour. Keeping everything “simple and strong,” he skipped the mascara and blush, and focused his energies on the lips, where he filled in the middle with strokes of MAC Lip Pencil in Beet and then used an angled brush dipped into MAC Pro Lipmix in black to line the rest of the mouth. Nail connoisseur Deborah Lippmann echoed Kaliardos’ trip to the dark side with her new “Funky Chunky,” a sheer, texturized black lacquer that goes on slightly more uniformly than Marquis Moon, the sequined silver shade she premiered at this show last season. As for the hair, Odile Gilbert explained her coifs in a single word: “Beautiful.” The stylist treated the models’ tresses with Aveda Pure Abundance Hair Potion to create a salt-water texture and then laid a piece of wool on top, spraying it with hairspray so that it adhered to the hair. Gilbert referenced Edward Curtis’ evocative images of the American West and Native Americans as the basis of the look, although her inspiration really came from the unique way the Mulleavys work with knitwear and the wholly different vantage point from which they approach their designs—a universal appreciation that resonated backstage.
The CFDA flashbulbs, tented red carpet, and accompanying street blockades outside Alice Tully Hall on 65th Street last night were enough to intrigue even the least fashion-minded passerby. But the grandstand erected around the corner on Broadway showcasing 60 models, 20 girls each in the Fall collections of the Womenswear Designer of the Year nominees, with runway hair and makeup to match, was downright traffic-stopping. “We had literally two hours to do all 60 girls,” MAC Cosmetics’ James Kaliardos said after the storm had passed and he and Bumble and Bumble’s Jimmy Paul could exhale. The old friends were charged with the task of re-creating the backstage beauty from Narciso Rodriguez and Rodarte’s presentations, as well as Marc Jacobs’ eighties spectacular, which struck us as the most difficult of the three to replicate. “I just tried to keep the black structure,” Kaliardos said of his version of François Nars’ epic turn at the Armory. He crafted a thick black cat-eye shape on all 20 Marc Jacobs models and filled them out with MAC pigments in varying shades of teal, kelly green, yellow, and fuchsia. For time purposes, each girl got a silver lip courtesy of MAC Pro Color Base in Birchbark, rather than the individual shades that Nars whipped up in February. Paul, for his part, executed the tri-colored chignons from Rodarte’s “deconstructed, reconstructed” show using different shades of Bumble and Bumble hair powder; got the Narciso slicked-back wet look with an aerosol version of the brand’s Holding Spray; and managed a near perfect rendition of some of Guido Palau’s most ambitious shapes at Marc—including our personal favorite, the “flame head.” Unwilling to speculate as to who he thought was going to take home the big prize, Paul did extrapolate on the state of beauty at the moment. “These shows were great examples of all the options women have with hair and makeup these days,” he said. “You can pull subtler pieces from each idea, so it’s really anything goes when the whistle blows. What a great time to be a woman.”