Geisha Performers

Our modern Geisha Girls blend classical Japanese artistry with a uniquely contemporary allure, offering guests an experience that is both visually captivating and emotionally disarming. They are trained to carry themselves with elegance, warmth, and a quiet confidence that men find irresistibly magnetic. Every gesture—how they enter a room, how they greet a guest, how they hold eye contact—creates a sense of intimacy and fascination, the sort of refined seduction that has defined geisha culture for centuries.

Although inspired by traditional Kyoto Maiko and Geiko, our performers represent a more global, modern interpretation. They come from diverse backgrounds, excel in multiple languages, and bring a level of cultural fluency and charm that appeals across continents. Clients often remark that interacting with our Geisha Girls feels both exotic and familiar—an effortless blend of traditional poise and contemporary charisma.

At venues, each Geisha uses a mixture of soft conversation, graceful movement, and polished stage presence to create an experience that feels immersive and personal. Their performances can include classical-inspired dance, elements of the tea ceremony, storytelling, refined hosting, themed character portrayals, and elegant audience interaction. Guests can expect outfit changes, choreographed entrances, and subtle theatrical elements woven throughout the event.

Even in group settings, the presence of a trained Geisha creates an atmosphere unlike any other. Their beauty, elaborate costumes, sophisticated mannerisms, and ability to make each guest feel seen contribute to their signature magnetism. This is not simple entertainment—it is a living art form reimagined for private venues, luxury gatherings, and modern corporate events.

Their preparation is equally meticulous. Every color, accessory, hairpiece, and garment is chosen with intention. Every layer of makeup follows tradition but is refined to meet modern aesthetic expectations and the demands of high-definition photography. Before a single guest arrives, our Geisha Girls undergo a transformation that blends cultural heritage with high-end beauty standards, ensuring their presentation is flawless from their first bow to their final farewell.

The beautiful and busty Xie sisters, Linda and Jessica help demonstrate how your Geisha performer gets dressed and prepared for your venue

Complete transformation guide:

PHASE 1: BUTT NAKED TO KIMONO UNDERWEAR

1.0 Get Butt Naked!

Before a Geisha begins her transformation, she follows a traditional preparation ritual observed in geisha houses for generations. In the private backstage dressing room, she removes all of her clothing and any personal accessories so she can begin with a clear, unencumbered foundation. This moment serves as both a practical reset and a symbolic cleansing—a way of leaving behind the outside world and stepping fully into the role she is about to embody.

Starting from a completely nude state allows the dressing team to apply body treatments, secure underlayers, and prepare her skin for professional-grade makeup and costume application. It is the quiet transition point between the everyday self and the fully realized Geisha she will present on stage.

1.1 Body maintenance and perfume

Once the initial cleansing is complete, each Geisha moves into her personal grooming routine. This stage focuses on ensuring the body feels refreshed, polished, and ready for the layers of costume and cosmetics that follow. Models use specialty wipes to freshen areas that tend to accumulate heat during long performances, keeping the skin clean and comfortable beneath multiple layers of attire.

Hair grooming, moisturizing, and fragrance selection also take place during this phase. Geishas often condition and tame their body hair, apply nourishing oils to maintain a smooth texture, and ensure that their skin has an even, healthy glow under stage lighting. A light mist of perfume is then applied to pulse points and select areas of the body, chosen carefully so the fragrance remains subtle and elegant throughout the event.

1.2 Pubic hair maintenance

Jessica and Ekaterina have extra-thick overgrown bushes close to their navels, while some Geisha have relatively large bushes. Geisha use special pubic combs to comb their giant bush before events. This helps ensure proper fluff, volume, and presentation. They then apply special oil to their bush and slowly comb it in. This process is very similar to oiling a male beard and mixing oils with combs. This process keeps the pubes shiny with a soft feel. After drying, she then spritzes her bush with perfume.

1.3 Waxing and shaving requests

Many Geisha are often requested to be fully waxed for performances. As the venue was booked months in advance, the Geisha had ample time to prepare for their venue. Requested Geisha often let their bush grow out for no less than three weeks. They are then waxed bald or to the client's preferred state during backstage preparation. Geisha are waxed or shaved to the client's request, no less than thirty minutes before their stage entrance, to ensure full freshness for the client. We prefer this approach as it lets the clients know that the Geisha they requested is presenting freshly waxed bald or to their request.

2.0 Undergarment preparation

After completing the cleansing and grooming ritual, the Geisha begins dressing by applying her foundational garments. This step is essential because it creates the base structure beneath the kimono and ensures comfort throughout a long performance or a venue event.

She starts by selecting a pair of brief-style panties in a color that complements her chosen kimono. The exact shade and style vary by performer—each Geisha chooses her own preferences, maintaining both comfort and visual harmony beneath the costume.
- Some performers choose to wear thongs as it makes their stage performance easier
- Clients can opt to pre-select the attire, and can opt to have the Geisha not wear underwear
Next, she puts on a simple sports bra or wireless bra. While traditional Kyoto Maiko styling has unique historical underpinnings, our modern interpretation allows more flexibility: the base layer supports ease of movement, posture, and silhouette without being visible once fully dressed.
- Many of our Geisha have over-endowed chests, and in order for the Kimono to better fit, they opt to wrap a linen cloth around their breasts to keep them pinned against their torso
- Clients can opt to pre-select the attire, and can opt to have the Geisha not wear a bra
Lastly, she dons a pair of white tabi socks, the split-toe socks commonly associated with traditional Japanese attire. Some performers choose to wear tabi for authenticity, while others prefer to go without, depending on choreography, footwear choices, or event requirements.
- Some Geisha go barefoot with their Zori sandals to give guests easier access to their toes and feet during the performance

This foundational layer sets the stage for the elaborate dressing process to come, ensuring comfort, structure, and a clean aesthetic beneath the ceremonial garments.

2.1 Getting dressed in Japanese Kimono Underwear

Now that our Geisha is wrapped in her foundation layers and beginning to take shape, she’s finally ready for the artistry that brings the entire transformation to life. Hair and makeup are where tradition, beauty, and performance style merge, turning a softly dressed woman into a fully realized cultural icon. This next phase elevates her from simply prepared to truly radiant.

Once her base garments are in place, the Geisha begins dressing in her first formal layer: the hadajuban. This lightweight, kimono-style undergarment serves as the foundation for all traditional attire. It protects the outer garments from oils, perfumes, and perspiration, and it creates the smooth silhouette required for proper kimono dressing.

She slips into the Hadajuban by wrapping it around her body from left to right, ensuring the neckline sits gracefully and the hem falls evenly. The material is soft and breathable, designed to allow long hours of movement, bowing, dancing, and engaging with guests without discomfort.

Once draped properly, the garment is secured using a simple tie cord around the midsection. The fit is intentionally minimal—snug enough to hold shape, loose enough to move elegantly. The sleeves are left open and flowing, allowing stylists to continue makeup, hair, and accessory work without restriction.

This step is one of the most photographed stages in the preparation process, as the hadajuban reveals the clean, traditional silhouette of a performer before the elaborate kimono layers are added. In the full dressing sequence, this layer is never visible during a performance; it remains hidden beneath the ornate outer garments.

Next, the Geisha slips into her Nagajuban, a long, elegant under-kimono traditionally crafted from silk or satin-like fabrics. Unlike the hadajuban, the nagajuban is meant to peek subtly beneath the outer kimono, creating the refined layered look that is iconic to Japanese formal dress.

She steps into the garment carefully, allowing it to drape over her shoulders and fall smoothly along the length of her body. The nagajuban is wrapped left over right—always the proper direction for living persons—and adjusted so that the collar sits gracefully at the nape of her neck. This small detail is symbolic: a slightly open neckline is considered feminine, formal, and visually refined.

Once fitted, she secures the nagajuban using a soft tie cord, smoothing the back panel and aligning the hem so that the silhouette stays even. This layer serves several purposes:

• Structure: It gives the outer kimono its clean, sculpted shape.
• Comfort: It prevents the elaborate kimono fabrics from rubbing directly against the skin.
• Aesthetic: Its collar and hem provide the subtle visible contrast that completes the traditional ensemble.

Though still an undergarment in the technical sense, the nagajuban is far more expressive than the hadajuban. The quality, color, and subtle embroidery are part of the artistry, and this stage of dressing often reveals a glimpse of the elegance to come once the full kimono is layered on.

PHASE 2: HAIR AND MAKEUP

Hair and makeup are where the transformation truly begins. These steps turn a fully undressed woman freshly wrapped in her kimono underlayers into a visually stunning performer ready for the stage. This phase blends traditional Japanese styling practices with modern performance artistry.

2.0 Preparing her beautiful face:

Before any makeup can be applied, her skin must be perfectly clean.

Jessica takes her seat while our stylists gently remove every trace of her existing makeup. All oils, creams, and products are wiped away until her face is completely bare. A fresh, clean complexion ensures that the Geisha-style makeup adheres properly and lasts throughout the entire performance.

Below, we show Jessica Xie backstage with no makeup, preparing for her transformation.

2.1 Preparing her hair:

Traditional Japanese hairstyles such as the Shimada, Wareshinobu, and Sakko inspire many of our looks, but we create a modernized blend tailored to each Geisha. Before styling begins, the hair is gently detangled, lightly oiled at the ends, and divided into foundational sections that determine the height and shape of the final silhouette. Every woman has a unique facial structure, hair length, and performance style, so her hairstyle becomes a personalized interpretation rather than a rigid traditional replica.

2.2 Styling her long hair:

Once the stylist begins, the process is precise, ritual-like, and deeply aesthetic:

1. After her hair is washed and fully dried, the stylist wraps it in soft cotton towels for 8–12 minutes to draw out remaining moisture without causing frizz. During this brief resting period, the stylist lightly presses along the towel to ensure even absorption and keep the strands smooth and pliable. When the hair has settled into the ideal texture for shaping, the towels are removed section by section, and the styling begins.

2. A few drops of tsubaki-abura (camellia oil) are applied lightly along her part lines using a cotton swab. This prevents breakage during sectioning, keeps the strands smooth, and helps the hair separate cleanly for shaping.

3. Her hair is first worked through with a shakuri (a wide, flat wooden brushing tool used in traditional coiffure), which smooths the length and removes any early tangles. Once the strands are aligned, the stylist switches to a kushi (a lacquered wooden comb) and a finer tokoyama comb, both designed for precise sectioning. These tools allow the stylist to shape the hair in controlled passes, gently curling and separating it into clean, workable strands. The result is a perfectly even base texture that can be sculpted into the bun structures that follow.

4. Each of the four major hair sections is tied at the base with a thin silk cord or an elastic band. This helps maintain even tension and mimics the stabilizing step used in classical mage styling, but with equipment that is portable for backstage use.

5. Kappou, our modern variant of bintsuke-abura, the styling wax used in Maiko and Kabuki salons, is gently warmed between the stylist’s palms and worked through the hair in thin layers using a kushi comb. This gives the strands a smooth, pliable texture and enough structure to hold the sculpted shapes that follow.

6. The stylist divides her hair into four large sections, working one at a time. Each section is combed smooth, waxed, and tightly gathered into a controlled twist. The twist is then coiled upward, flattened against the head, and secured with fine pins. The stylist repeats this process with the remaining sections, adjusting tension, angle, and curvature for symmetry. By layering wax, tension, and coil direction, the stylist builds four firm, sculpted tsunami buns—a modern interpretation of the traditional mage. Each bun is placed with intention, creating a balanced silhouette tailored to the performer’s face, posture, and kimono style.

7. Hōjō oil is warmed between the stylist’s palms and worked through the hair in slow, downward strokes, starting at the crown and moving across each bun and section. Only a small amount is used at a time, so the finish stays glossy, not greasy. The oil seals the Kappou, smooths flyaways, and adds just enough natural weight to define the silhouette under stage lights. This controlled layering is what gives Jessica her silky, polished, camera-ready finish.

8. A soft silk cloth is used to gently buff the hair surface and the tops of each bun. This enhances the lacquered shine and smooths any remaining flyaways, giving the style a refined stage-ready finish.

9. Kanzashi—traditional hair ornaments—are selected and placed with cultural intention as well as aesthetic balance. Depending on the event, the stylist may use kogai (slender decorative rods), kanoko-dome (ornate rear ornaments used in bun centers), bira-bira (delicate dangling metal strips that shimmer with movement), or hana-kanzashi crafted from folded silk flowers.
Each piece is inserted at a precise angle to complement the shape of Jessica’s tsunami buns. Some Kanzashi reinforce structure; others are purely decorative. Designs often reflect seasonal motifs, venue themes, or the Geisha’s personal artistic style.

10. The stylist steps back and inspects the silhouette—bun height, spacing, and face-framing balance. Small adjustments are made to ensure the style remains stable and symmetrical throughout the performance.

Note: In classical tradition, elaborate floral hana-kanzashi were worn primarily by Maiko and changed monthly to reflect the hanakotoba (flower symbolism) of the season. Modern Geiko typically wear more understated ornaments. Our company adapts these conventions for contemporary performance settings, blending seasonal motifs, Kyoto-style aesthetics, and custom client requests. This allows our stylists to create looks that honor Japanese heritage while offering the flexibility and artistry needed for large-scale events and multicultural audiences.

2.3 Applying her Oshiroi face white:

The Oshiroi stage is where the transformation becomes unmistakably Geisha. The process is methodical, layered, and designed to hold up under stage lights, heat, and long performances. Read about this process

Her stylist begins by gently moisturizing her face, ears, and neck with a light, oil-free lotion. This prevents cracking and ensures the Oshiroi spreads smoothly. A thin layer of bintsuke-abura (a wax-based primer) is then applied across her face and jawline to help the powder adhere evenly.
Traditional Oshiroi powder is mixed with water in a small porcelain bowl until it becomes a thin, glossy cream. The stylist adjusts the ratio until the texture is perfectly smooth and uniform.
Using a wide flat brush, the stylist applies the first layer across her face, down the jawline, and along the front of her neck. Long, even strokes prevent streaking and create the luminous, porcelain surface that defines the Geisha aesthetic.
A deliberate V-shape is painted along the back of her neck, leaving two slender unpainted lines. These negative spaces are classical symbols of elegance and modest beauty, and create a subtle, eye-catching contrast when she moves.
A second, thinner layer is applied and lightly buffed with a silk pad. This softens the finish, removes excess powder, and prepares the surface for stage lighting and photography.
A smaller, fine brush is used around delicate areas—the eyes, ears, hairline, and the edges of the jaw. This final detailing ensures that the Oshiroi is smooth, even, and seamless from every angle.
A light dusting of translucent powder is added to set the foundation. This helps the Oshiroi stay intact through dancing, bowing, and extended audience interaction, keeping her finish bright and flawless throughout the event.

2.4 Applying her makeup

Once the Oshiroi has been fully set, the color work begins. This stage adds depth, expression, and personality to an otherwise porcelain canvas.

A soft wash of eyeshadow is applied to the upper lids to give her eyes dimension against the white base. Jessica prefers pink or rose tones for a softer, youthful look, while Susan chooses deeper tones like charcoal or plum for a more dramatic, seductive style. Each Geisha selects her own palette depending on the event theme.
A subtle red or pink “beni” tint is brushed into the inner and outer corners of the eyes and softly blended. This traditional accent warms the eyes against the white foundation and enhances their expressiveness under stage lighting.
A fine black eyeliner is then drawn along the upper and sometimes lower lash lines in smooth, controlled strokes. For most events, the line is kept slim and elongated; for darker venues or large stages, it may be slightly thickened to keep her eyes expressive from a distance.
Black mascara is brushed carefully through the upper lashes and applied lightly to the lower lashes if needed. Some performers add discreet half-lashes for lift during major events, but these remain subtle to preserve elegance rather than create a costume-like appearance.
Her brows are shaped using a fine pencil or powder in deep brown or black. Soft, controlled strokes enhance her natural brows, giving them a refined, slightly elongated look that frames her eyes without overwhelming the Oshiroi. This step anchors her entire facial expression under the stark white base.
A soft pink or coral blush is applied to the apples of her cheeks and blended outward toward the temples. This adds warmth and keeps her from appearing flat under strong lighting while maintaining the illusion of traditional white makeup.
Finally, bright red lipstick is applied with careful precision. Some stylists begin with a thin stain of benibana dye to deepen the final tone, while others build the color directly. For traditional looks, the lips may be slightly rounded and softened; for modern events, the shape is sharper and more defined. A lip brush is used to build smooth, even layers of color. Against the white Oshiroi, the red lips become one of the most striking visual signatures of her finished appearance.

No Makeup

Full Geisha

PHASE 3: THE KIMONO

3.0 Dressing in Her Kimono

Once her hair and makeup are complete, the transformation enters its final stage: dressing in the full silk kimono. This phase is equal parts tradition, structure, and elegance. Even modernized geisha attire must be assembled in precise layers so that it moves beautifully on stage, stays secure during dancing, and drapes correctly for close-up interaction with guests. Although our company blends Kyoto and contemporary styling, the basic sequence remains rooted in classical kimono dressing.

3.1 Layering the Kimono

The stylist first helps her slip into the silk Geiko kimono, guiding her arms through the wide sleeves and adjusting the collar so it sits slightly lower at the nape of her neck. This exposes the painted Oshiroi neckline—one of the signature elements of traditional aesthetics—and creates the elegant “swan neck” silhouette audiences expect.
Before any tying begins, the stylist smooths the kimono along her shoulders and hips, aligning the inner seams so the fabric falls straight without twisting or bunching. A proper kimono drape is intentional: clean lines, no wrinkles, no gaps.
The stylist then folds and overlaps the kimono panels left-over-right. Right-over-left is reserved exclusively for funerals in Japan, so this step is never skipped or reversed.

3.2 Securing the Foundation Ties

Before the decorative obi can be added, the kimono must be anchored with koshi-himo, thin waist ties traditionally made of cotton or silk.

The stylist picks up the first koshi-himo (a thin silk or cotton waist tie) and wraps it firmly around her waist, over the kimono, just above the hips.
The tie is knotted securely at the back, then the stylist smooths the kimono fabric downward so the front overlap stays flat and locked in place.
A second koshi-himo is wrapped around her upper torso, just under the bust, and tied at the back to keep the kimono from slipping or gaping when she moves or bows.
The stylist does a final check, tucking any loose fabric into place so both ties are completely hidden and the kimono hangs in a clean, straight line.

3.3 The Obi: Structure, Beauty, and Signature Style

The obi is the centerpiece of the ensemble — visually striking, rigid, and symbolic.

The stylist places the obi-makura (small padding pillow) at the center of her lower back and holds it in position to establish the shape and height of the final knot.
An obi-ita (flat stiffened board) is slid into place at the front of her torso to keep the obi smooth and prevent the fabric from creasing during movement.
The stylist wraps the taiko-style obi around her waist, pulling the long sash firmly and evenly to create a stable, structured base. This can be a delicate procedure for our Geisha with very large breasts, as the obi needs to be quite tight and firm, which means the breasts need to be firmly held in place underneath.
The wrapping continues in tight, layered passes, each pulled with controlled tension to secure the kimono without restricting her breathing or movement while ensuring her breasts are firmly held in place.
The stylist lifts and shapes the fabric at her back into the taiko knot, folding and tucking the layers to form the iconic box-like shape.
The knot is tightened and adjusted so it sits centered and slightly elevated on her back, ensuring balance and stability for stage performances.
An obijime cord is tied around the middle of the obi to lock the structure in place.
A small decorative obidome clasp is added to the obijime at the front, giving the final ensemble a personalized accent chosen to complement her kimono and hairstyle.

3.4 Final Adjustments

With the full ensemble in place, the stylist performs a final precision check. She adjusts the sleeve alignment, ensures the collar sits at the correct depth, confirms the hem falls evenly, and inspects the symmetry of the taiko knot at the back. The front obi-ita is smoothed, and the obijime cord is retightened so its placement is clean and centered.

Any wrinkle, gap, or crooked line is corrected on the spot. A properly dressed kimono should move like liquid silk yet remain perfectly structured—beauty supported by discipline.

3.5 Footwear

Finally, she steps into her zori sandals. The stylist adjusts the hanao (the cloth thong) so it fits comfortably between her toes without pinching. Zori are worn with a light, deliberate step—the heel lifted slightly to create an elongated posture and the quiet, gliding walk associated with traditional Japanese etiquette.

Depending on the event, she may wear white tabi socks or go barefoot inside the sandals, both of which are acceptable modern adaptations for performance settings. Many of our Geisha select simple, unembellished zori, as the footwear is often removed shortly after presentation or during certain venue activities. The goal is comfort, grace, and stability rather than display.

A final check ensures the sandals fit securely, allowing her to move fluidly when she steps out to meet the audience.

3.6 Ready for Presentation

With her kimono perfectly draped, her obi secured into its sculpted taiko knot, her hair adorned with Kanzashi, and her makeup fully set, she is now ready for presentation at the venue. Every element—fabric, silhouette, scent, and shine—works together to create the complete transformation from backstage preparation to stage-ready elegance.

From completely nude to the final reveal, the entire process generally takes around 30 minutes, though intricate hairstyles, layered Oshiroi, or particularly elaborate kimono choices may extend the timing. Once finished, she steps forward polished, composed, and visually breathtaking—ready to greet the audience.

GARMENT CHECKLIST

Base Undergarments
• Panties – $30
• Bra (matching color set) – $75
• Tabi socks (white or ivory) – $50

Kimono Undergarment Layers
• Hadajuban (base kimono underwear layer) – $75
• Susoyoke (half-slip worn under Nagajuban) – $40
• Silk Nagajuban (full under-kimono) – $150
• Haneri (detachable silk collar sewn to Nagajuban) – $30

Kimono Dressing Foundation
• Koshi-himo ties (2–3 needed) – $30 total
• Datejime (wide fabric shaping belts) – $50 total
• Obi-ita (front stiffener board) – $35
• Obi-makura (padded support placed under knot) – $40
• Obijime (decorative braided cord) – $60
• Obiage (silk sash tucked above the obi-makura) – $55

Total Full Set Cost: $12,000

Main Ensemble
• Custom-made Geiko Kimono (hand-sewn silk, bespoke design) – $10,000
• Taiko obi (formal wide obi used for structured “box knot”) – $250

Footwear
• Zori sandals (lacquered base, silk straps) – $150

Hair & Accessory Items
• Kanzashi decorative pieces (silk flowers, bira-bira, kogai, pins) – $150–$500+
• Decorative comb (Kanzashi kushi) – $80

Want to rip her clothes off???

For private events and escort services, we give all clients the pre-billed option to quite literally rip all of the Geisha's clothing off and strip them completely butt naked. Depending on how "violent" this process is, their Kimonos often get damaged or destroyed. We apply a nominal $15,000 service fee for ripping a Geisha's clothes off.

If not authorized in advance, this act will be added to your final invoice, and the funds will be taken from your retainer.

This same fee is applied in the event of :

Geisha gangbangs in full Kimono. When being taken on by groups, the outfit tends to be torn off and ripped into various pieces.
Geisha attending Frat or Bachelor parties, as their attire tends to get shredded during the event, as groups take them on.
Geisha bukkake sessions have the Geisha wear her full costume. Large amounts of semen tend to get all over her attire and are not replaceable.

reiko-kobayakawa-akari-asakiri-ryoko-mur

Each of our Geisha maintains a wardrobe of at least four custom-made kimono specifically tailored for venue performances. Every Geiko kimono is commissioned individually and hand-crafted in Kyoto by traditional artisans. Production alone takes several months, followed by international transport and an in-house fitting. If adjustments are needed, the garment is returned to Japan for further tailoring. For our busiest performers—whose measurements are highly specific—the full process of creating a new kimono can take up to six months from commission to final approval.

Ryuki Mitsunaga

Rena Fujikawa

Julie Park