NYFW backstage beauty: Starry starry night at Rodarte
Makeup artist James Kaliardos was given strict orders by the Mulleavy sisters backstage at Rodarte, with Vincent Van Gogh’s painting Starry Night as the point of inspiration. “The girls really wanted this dark, dark intense eye,” he said. Beginning with Nars’ Dark Rite Soft Touch Shadow Pencil (launching in the spring) and creating a circular shape, he then layered it with eyeshadow in “Night Flight,” a dense midnight blue with a sheen, and for additional sparkle, shadow in “Tropic” on top. “A smoky edge is important,” he said. “It makes [the look] softer and not so hard and theatrical.” To keep the eyes looking big, Larger Than Life Long-Wear Eyeliner in “Rue Bonaparte” was drawn on the waterlines. Cream Blush in “Penny Lane” enhanced cheeks as well as lips, which also received a helping of lipgloss in “Nana,” a purple-y pink hue. Working with the same reference, manicurist Deborah Lippmann used “Lady Sings the Blues,” a glittery navy, on short, rounded nails. “But they wanted it to feel really like a starry night so we’ve added tons of extra large particles of glitter,” she revealed.
In contrast to the strength happening on the face and hands, Odile Gilbert created soft, natural texture with a large-barreled curling iron. “I call it Sweet Sixteen hair,” she said of the waves. After parting it on one side, she fashioned a Hitchcock-esque wave at the front for an element of sophistication, and then secured it with a comb, hidden from view.
 and creating a circular shape, he then layered it with eyeshadow in “Night Flight,” a dense midnight blue with a sheen, and for additional sparkle, shadow in “Tropic” on top. “A smoky edge is important,” he said. “It makes [the look] softer and not so hard and theatrical.” To keep the eyes looking big, Larger Than Life Long-Wear Eyeliner in “Rue Bonaparte” was drawn on the waterlines. Cream Blush in “Penny Lane” enhanced cheeks as well as lips, which also received a helping of lipgloss in “Nana,” a purple-y pink hue. Working with the same reference, manicurist Deborah Lippmann used “Lady Sings the Blues,” a glittery navy, on short, rounded nails. “But they wanted it to feel really like a starry night so we’ve added tons of extra large particles of glitter,” she revealed.
In contrast to the strength happening on the face and hands, Odile Gilbert created soft, natural texture with a large-barreled curling iron. “I call it Sweet Sixteen hair,” she said of the waves. After parting it on one side, she fashioned a Hitchcock-esque wave at the front for an element of sophistication, and then secured it with a comb, hidden from view.
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