The flip side of a record is typically referred to as the “B-side.” The singles, which make up the majority of the A-side hits, can be found on the B-side, where you may learn more about the artist. And to be quite honest, there isn’t a better analogy I can think of for the design team behind a beauty look. They gather the sources, research the records, and create the picture you see on the big screen. The song with the most airtime belongs to the actor, model, or celebrity. The glam squad, however? They serve as the directors, producers, friends, and relatives. They make it work since there isn’t a less overused phrase.
As the artistry of hair and makeup is a nuanced, comprehensive inquiry at the nexus of aesthetics and culture, it has always been our objective to shed light on the BTS of beauty. Why? Considering that the source of a look is just as significant as the look itself. The background has earned its own well-deserved fame.
This time, we’re introducing you to Ayami Nishimura and Kiyonori Sudo, the designers behind The Power Issue, the fourth cover of Byrdie, which features Jamie Chung. We invite you to join us in the video below as Ayami Nishimura and Kiyonori Sudo share their insightful and potent perspectives on beauty.
Cosmetics: Ayami Nishimura
Regarding the initial appearance, Nishimura remarks, “The inspiration was lively and forceful, with a different hue on each eye” (the jewel-tone creation that ultimately made the cover). “My preferred cool colour combination, purple and emerald, is what I went with. I applied tonnes of mascara and added individual eyelashes to her outer eyelids.” From conception to completion, the entire shoot was heavily influenced by the issue’s topic of power. In his experiments, Nishimura used vibrant yet powerful textures, colours, and shapes. Jamie was a perfect subject every step of the way as well. About Chung’s willingness to work with others in the chair, Nishimura remarked, “Jamie was open and excited to explore other looks.” “And her skin is flawless. Making her up was great fun for me.”
We decided to use eyeliner again for the second look, but in a different, more interesting approach. As she applied several hues and forms to each eye, Nishimura chose another asymmetrical design and followed her instincts. “I experimented with pink, blue, and white coloured lines and haphazardly placed them to each eye in a different way. That gave the appearance a more contemporary feel.”
Nishimura, like many of us, fell in love with beauty throughout her teenage years and has always known that she wanted to be a makeup artist. She confessed to me, “I liked applying my friends’ cosmetics.”
Her passion for the quirkiness of 1970s punk music, the flamboyance of the 1980s New Romantic movement, and the simplicity of the 1990s vamp style lend themselves nicely to the foundations of her cosmetics work. Beginning in London, Nishimura contributed to every issue of the publication Dazed & Confused (a bi-monthly founded in 1991 rebranded as Dazed in 2008). In Nishimura’s early years, it was the best location to learn and create; it was a culture journal that sparked a movement. She tells me, “Fun job and fun concerts, I had so much fun. The hairstylist for our first-ever digital issue, Johnnie Sapong, recalled working in London in the 1990s with a similar reverent nostalgia.
The wistfulness with which Nishimura remembers that time adds a layer of FOMO I’ve probably never felt this intensely. London shaped and fostered so many of beauty’s most renowned artists, including her.
Publishing a beauty book with British photographer and Dazed & Confused founder, Rankin, is, in Nishimura’s opinion, one of her finest professional achievements. She recalls, “We had a spectacular opening at Diesel Tokyo Gallery. Ayami Nishimura by Rankin was published in 2012, and we had an exhibition in London and Tokyo.” She mentions the decades of work she did with Vogue Japan as evidence that she also enjoys the research and references required for the job. “I enjoy doing research. Finding, analysing, and transforming ‘previous trends’ into’modern styles’ is enjoyable “Tells me Nishimura.
picture in the video
When Nishimura and I talk about working with Asian features—something that all makeup artists should be familiar with and trained in but aren’t—she expresses the most crucial idea of all: “We [need to] cherish the diversity in each of us; that’s what will give us confidence.” Furthermore, she says “Being Japanese, I’ve always admired Asian traits. High cheekbones are attractive, and flat eyes give the makeup artist more room to work with.” She claims that recently, there has been a change in how Asian features are welcomed on set, but there is still more work to be done. I have been a cosmetic artist [for decades] and have lived in three different countries, she continues, so I know that eyes don’t need to have deep sockets to be beautiful. Nishimura has had the opportunity to use that time to get to know each person’s special features and to recognise, celebrate, and adore their differences. According to Nishimura, “genuine confidence is something that comes from within the person. It is what beauty is.”
The third and last outfit of the day—and the one I fell in love with right away on set—was inspired by a spring sunset, Nishimura explained. “I applied orange on her cheeks and mixed it with pink [around the hairline, forehead, and temples]. I later added sky blue to her eyes for a sudden burst. It was stunning.”
I questioned her before our time together ended if she had any tips for others trying to break into the business. She retorted, “Continue to develop your own concepts. Prepare yourself for the chance.” Regardless of industry, it’s a lesson we can all learn from.
