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July 10 2014

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37 posts tagged "James Kaliardos"

James Kaliardos Paints It Pink Backstage At DVF

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What is it about Warhol? The pop artist’s famous silk screens inspired not only Charlotte Tilbury at Victoria Beckham, but also the “matte, popping, beautiful orchid color” that James Kaliardos painted on models’ mouths at Diane von Furstenberg. Rather than using sculpting powders, Kaliardos added contours to clean skin with MAC’s Cream Colour Base in Pearl. But it was really all about the lip, which bore a striking resemblance to a similar MAC-made pout that premiered at Antonio Berardi’s Fall 2009 show; we loved it then and are just as enamored with it now. Kaliardos’ version started with MAC Pro’s Chromagraphic Pencil in Processed Magenta for a nice base, which the face painter topped off with its Pigment in Magenta Madness for a vivid, chalky finish. Do try this at home.

Photo: Luca Cannonieri / GoRunway.com

Backstage Beauty Déjà Vu At The CFDA Awards

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The glitz and glamour of last night’s star-studded CFDA Awards didn’t get under way until the early evening, but the prep work at Alice Tully Hall was going strong all afternoon long. Champagne flutes were getting unpacked, the red carpet was being rolled out, and name cards were being filed in alphabetical order by an army of black-clad publicists. Up on the second floor, meanwhile, makeup artist James Kaliardos and hair stylist Alain Pichon were occupied with the business of beauty. “It’s fun to copy people and not get sued,” Kaliardos joked of the task at hand, a new tradition at the annual event in which models sport head-to-toe catwalk looks from the Womenswear Designer of the Year nominees—backstage beauty included—and stand on bleachers in front of the building to greet guests. What made this particular reenactment so interesting was that Kaliardos and his coiffing partner were using all L’Oréal Paris products to re-create looks from Donna Karan, Marc Jacobs, and Alexander Wang’s Fall outings, whipping up runway-ready hair and makeup with mass-market products.

“All of these looks happen to be really user-friendly if you simplify them,” Kaliardos said while working on a tribute to Charlotte Tilbury’s precisely lined red lip from Donna Karan using strokes of L’Oréal Paris HIP Studio Secrets Professional Shine Struck Liquid Lipcolor in Turbulent. To replicate Diane Kendal’s greasy brown eye from Alexander Wang, Kaliardos opted for a uniform smoky copper adaptation, coating lids with L’Oréal Paris Studio Secrets Professional Shocking Shadow Pigment in Progressive; and as for the clumpy spider lashes from Marc Jacobs, all they took was multiple lashings of L’Oréal Paris Voluminous Volume Building Mascara. “We’re chunking up the mascara a lot—maybe even more than François Nars did at the show,” Kaliardos said, using the tip of his mascara wand to get the desired texture.

For his part, Pichon kept things simple, too, by relying on a single go-to product: L’Oréal’s Elnett hair spray. “It’s incredibly versatile,” he said of the gold aerosol can that’s a backstage staple every season. Pichon generously applied it to deep side parts for Wang’s wet look; brushed it on top of Donna Karan’s polished updos before applying the patent leather headbands from her show; and even added a few spritzes to the undone styles that Guido Palau perfected at Marc Jacobs back in February. “I think Alexander Wang has a good chance,” Pichon projected for the womenswear prize, which ultimately went to Jacobs. Maybe next year.

Backstage At Matthew Williamson, Grunge Gets An Update From Babs

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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.

Photo: Don Ashby & Olivier Claisse / FirstView.com

Sleeping Beauties At Rodarte

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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.

Photo: Greg Kessler / FirstView.com; Amina Bobb / AP Photo

1930′s Beauty, With A New Millennium Twist

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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.

Photo: Yasunari Kikuma for Dazed & Confused Japan, December 2009