Practice Sessions

This is my design completed by my partner in the practise sessions. I am very pleased with the outcome of the makeup, particularly the symmetry of the look. We still needed to add the eyelashes, but decided not to use them in the practise session, to reduce the chance of them breaking as they are very fragile. Whilst talking about the look, we came to a decision to use glue instead of the soap and water technique, as my partner, Amelia, feels that this would be the her strongest technique out of the two. We also practised using two different methods of applying the eyebrows, the first product used was the supra colour in black, using an angled brush, and the second product was using an eye/lip pencil. When using the pencil, the application was much smoother with much less excess product smudging across the eye, but is still just as black as the supra colour. We conversed about the angles of the eyebrows and the shape of the eye shadow, and how I wanted them to be completed, which my partner has done well in the process. I

Finalising my design

After studying the work of Pat McGrath's makeup for John Galliano, I have been inspired to carry forward the purple colours into my final piece. I was particularly taken aback by the lips,  the shape is so perfectly defined on the top lip, which is highlighted by the silver outline on the cupid's bow. McGrath's makeup is a big reason why I wanted to become a makeup artist, she has always been very influential and creative with her designs. She manages to combine both definition and softness, as well as bold and light colours. Her work is very arty, especially this look for John Galliano.

Makeup Artist: Pat McGrath
John Galliano Spring/Summer 2010
Vogue

She has drawn on the eyebrows over the top of her models, and she hides them underneath the mass of messy but perfect silvers and purples. There is definite Elizabethan influence in this makeup, the eyebrows are hidden and drawn back on over the smudged, coal-black eyes and the bold lips. The base is also very pale, but is not a ice-white, but a very pale shade of nude. 

Final Design

My final design is a mixture of my designs, moulded into one. I wanted to continue with the purple theme, as I feel the red and black theme was very obvious for the task. My New Elizabethan look will be on a base of a very light foundation, a mixture of the Kryolan Foundation Palette and the White Skin Base. This look consists of strong contouring of the cheekbone using 'Shallot' from the Brilliant Colour Palette and the Brown from the Blush Palette by Kryolan, instead of the traditional, circular blush of the era. I want to bring the contour down to the jaw slightly, so that the bottom part of the face isn't bare. This contouring will continue onto the top of the forehead just at the sides, which will elongate my forehead, as the Elizabethans wanted long foreheads as this was a sign of intelligence and aristocracy. The eyebrows will be blocked out using glue, and a purple gradient will fill the space between the eye and brow, and on top of the brow to further conceal it. The eyes will be drawn back onto the face, using the Supra Colour by Kryolan in black, which will exaggerate the illusion of a high forehead. The eyelashes will be black lace, as the Elizabethans wore a lot of lace, especially the wealthier ladies. I feel by incorporating lace will add another texture to the look, but also links their costume to this makeup. The lips will be MAC Lip Mix in a mixture of the red and blue to create a deep plum colour. This will be outlined by the shimmer lipstick mixed with the gold Supra Colour, to define the look.

I have studied the 'Makeup Is Art' Book by The Academy Of Freelance Makeup, finding my inspiration and also tips on how to create my look. This book has supported my experimentation of products and method, particularly in the contouring and the application of fake eyelashes. As these are two very essential aspects to my design, I have used this book to study. 

Reference: Makeup Is Art, AOFM Pro

Timelapse of myself practising the look:

Final outcome: 

(Still need the eyelashes)

I am really pleased with the outcome of my design. I need to work on being precise with the eyebrows and them being symmetrical. I am pleased with the contrast of the tones, the bold lips and eyebrows balance out the features, and I think the eyelashes will really tie the design together. I am pleased on the progress of myself blocking the eyebrows, I am beginning to be able to conceal them more.

In class I practised blocking the eyebrows and blending the eyeshadow over the glue, as the glue doesn't pick up the pigment as much as the skin. 

I feel this is effective due to the shapes of the shadow, elongating my forehead. I think the blending has worked well, and the eyebrows are very close to being concealed completely! 

Practising Blocking Eyebrows

At home I have been practising blocking out eyebrows, for my final assessment.

Using glue, I have managed to hide my eyebrows. I practised with drawing on different shapes, both with high arches, much like the Elizabethan's eyebrows! I need to work on the use of cancelling out the colour of my eyebrows as I have dark and thicker eyebrows. I can do this by using a red concealer from the Camouflage palette by Kryolan, and powdering, then adding the skin base on top. Below I have used concealer on the left eye, but not the right, and there is a clear colour difference where the eyebrow is. On the right, the dark hairs can still be seen, whereas on the left, the hair cannot be seen as much. 

In class, we have been practising blocking out the eyebrows as well. On my model Amelia, I have used a very light Foundation mixed with the skin base. I prepped the skin, and used toner on the eyebrows to remove any excess grease. I used soap in this glue in this practise, which I prefer to the soap method. I will be using the glue method in my final design, as I feel I can create a much more hidden brow to the soap. 

 I need to work on blending the colour over the eyebrow whether the glue is. The glue doesn't pick up the pigment as much as I would like it too, so I need to figure out a way to create an even, flawless coverage.

 I am happy with the outcome of this, as I feel my techniques are developing well. I need to work on the coverage and blending over the eyebrow so will keep practising!

Developing Face Charts

In a tutorial with Kat, I decided to work on developing my first two makeup face charts in aim to finalising my New Elizabethan look. I need to work on taking my idea a step further, and create an original look. I have explored the colour well, and my designs show Elizabethan influence. 

At home, I began to practise the looks that I had used on my face charts, and experimenting with some other ideas. This look was based on my initial face chart, but I added the point from the corner of the eye downwards to contrast against the soft blush/contour. I blocked out the eyebrows, and worked on blending the colour to create a soft look, much alike Pat McGrath's looks. I used the Kryolan Brilliant Colour Palette against the Illamasqua SkinBase, and then defined the eyebrow using the Supra Colours in Black. I feel this look is effective, but I would like to have a bold lip, as the rest of the face is very colourful. 

This look was based on my third design, which I think has a Mod feel to it. The curve connecting the eyebrow to the cheekbone both highlights and defines both elements. I will not be using this in my final design as I don't feel it suits the brief, but I am happy I have experimented as I have developed my techniques. 

This was my last experiment. I really enjoyed this idea as it was completely off the top of my head, as I was able to experiment with new textures. I used fishnet tights and Snazaroo face paint in silver, then sealed with white powder to give a shimmer effect. I contrasted this with a completely black eye, with black root-like veins reaching up my forehead. I liked this design as I believe it was effective, but I don't feel it relates to the New Elizabethan theme as much as my other ideas. 

In class I practised with using sticky tape to create sharp lines of contouring. 

I experimented with having the two colours butting, and also leaving a gap between them. 

I prefer the lines being immediately next to each other, as I feel it's much more effective in creating a shadow, rather than being disjointed.

I need to work on my work being symmetrical, as here, the eyebrows and the points coming down from the eyes are not quite even. I need to practise further in developing my idea, as I am still not quite happy with it.

Designs and Influence

When producing my designs for my New Elizabethan, I had to take any things into consideration. My aim was to be as experimental as I could, but with clear influence from the Elizabethan Era. My first design was influenced by Pat McGrath's soft but vibrant look on model Eva Jay Kubatova, by Steven Meisel for Vogue Italia, February 2002. I admired how the luminous colours were blended so evenly onto the skin, creating a smooth, gradual shape. The focus of this image is clearly on the makeup, as it stands out in the photo, whilst her hair, skin and clothes are all of a sepia tone, which contrasts against each other. The use of joining the colour on the eye to the cheeks was a technique that I wanted to use in my design, as the makeup flows and isn't disjointed.

Makeup Artist: Pat McGrath
Stylist: Lori Goldstein
Hair: Orlando Pita
Photographer: Steven Meisel
Model: Eva Jay Kubotova
http://forums.thefashionspot.com/f109/vogue-italia-february-2002-eva-jay-kubatova-steven-meisel-70583.html

I particularly liked this design, as I used the colours of the Elizabethans; red, white and black. These colours work well together because of the contrast, much alike the contrast of the neon pink and oranges in McGrath's work. For this design I would block out the eyebrows using the glue technique, instead of plucking them out like the Elizabethans did. The eyebrows would then be drawn on very arched and thin, as this was a sign of aristocracy and intelligence. I wanted this makeup to have extreme contouring on the cheekbones, which would be enhanced by the contrast of the red above the cheek bones. The base of the skin would be a mixture of the lightest shade on the Kryolan Foundation Pallete and the Illamasqua Skin Base. This would add a contemporary twist, as the Elizabethan's aimed for a pure white face. The lips would be in a dark red compared to the berry-red that the Elizabethans wore, which further makes this design more contemporary. I feel this design is quite safe, but think I could push myself further to enhance this more. 

Another influence of my designs is this makeup by Hyea W. Kang for Vogue Korea, in October 2002. Once again the makeup is very soft and blended perfectly on the face, so that the colour seeps into one another rather very naturally, rather than being very forced and disjointed. I particularly like the white paste that outlines her face and is dragged down the neck, as it brings a messy element to the very soft powdery look, contrasting these two techniques. 

Makeup : Hyea W. Kang
Vogue Korea, October 2002.
somethingvain.tumblr.com

This was my second idea for the makeup for my New Elizabethan. I used design 1 as a basis, using the same joining eye and cheek makeup, but made the contouring much more extreme and sharp, making this more contemporary than the rounded blush of the Elizabethans. This sharpness contrasts against the soft powdery look that I was achieving by using the powder products rather than the wet/grease products. Once again I would block the eyebrows out, and draw them back on very thinly like the Queen did herself. I would use a monochromatic purple colour scheme, to add a contemporary feel to the piece. The lips would be a deep plum colour,which would be balanced out by the black shadowing of the eye socket. I would like to develop this idea further, and experiment with shape of the eyeshadow. 

When searching for inspiration on Pinterest, I stumbled upon this image, by and unknown makeup artist. I was immediately drawn to the boldness of the eyes and their contrast against the nude face. The eye is really drawn towards the eyes of the model, and seeing as Elizabeth yearned to have the attention of people for her beauty, this seemed like a very good basis for my design.

Unknown Makeup Artist/Photographer
Pinterest

I wanted to use this image as a basis for my work. I decided to make this design more bold with the use of the hard black line. As I wasn't sure about whether to join the line up, I split the face chart in half and completed two designs. The left side I prefer to the right, purely because I don't feel by joining the line I achieve anything. The shape roughly creates a heart-outline, a shape that was used particularly for the hair of the Elizabethans. The base of the skin would be a pale white, just like Queen Elizabeth herself, which creates a really high contrast of the shapes of the eyes and the lips.

My last design was experimenting with shapes further. I wanted to see how I could use shapes to produce a contemporary design, and use the original Elizabethan colours, red, black and white. This design I particularly like based on the sharpness of the lines, which would be a complete change from the rounded and soft blush of the Elizabethans. 

New Elizabethans - Minajesty

Onika Maraj, or more commonly known as Nicki Minaj, is one of the world's leading, iconic, female celebrities of the modern day. She is constantly in the spotlight, whether it's due to her figure, her frankly-odd fashion, or her music. Onika was brought up with her family consisting of her three siblings, mother and father in Trinidad. However, her childhood was not all rosy as at a young age, her father developed alcoholism and an addiction to hard drugs, and following an attempted murder on her mother by setting their home on fire, Nicki moved to live with her Grandma. As a coping method, Onika turned to acting, a hobby which she enjoyed greatly. She desired to be an actress, but when her career in drama didn't take off, she worked as a waitress in Queens. She was fired from multiple jobs due to her 'discourtesy to customers', but that never stopped Nicki following her dreams. Adopting her new stage name of 'Nicki Minaj', her career began with a handful of mix tapes, and being signed to Young Money, Lil' Wayne's record label. With a push from leading rap-star Lil'Wayne, Nicki began to make her album, even being asked to join Rihanna on her tour in 2010, which Minaj declined to dedicate all of her time making her up and coming album. 'Your Love' was released in 2010, and Nicki's career began to fly. Her album 'Pink Friday', a play on 'Black Friday', was released, and went straight to the top of the charts, even certified as Platinum. Minaj has since worked with Madonna, M.I.A, David Guetta, Chris Brown and Lil'Wayne himself. 'I'm The Best' is a track that tackles her upbringing, in a positive way, showing people who doubted her how far she has come. 

Nicki Minaj for her album 'Pink Friday' 2010.
http://richestnews.com/nicki-minaj-net-worth/

Her work is constantly being criticised, but I admire Nicki for continuing producing her music, fashion and image. She doesn't follow the conventional music that is being produced in the modern day, with Nicki adding her own twist on Hip-Hop. Her music is partnered hand in hand with her crazy sense of fashion, which Nicki is renowned for. Her figure has been criticised many times, as she is in the eye of the media, being described as '"risk-taking" and "far-out", with "bold sartorial choices". She promotes women empowerment, even autographing fans boobs to show this, and refers to herself as 'king' rather than 'Queen' in track 'Moment 4 Life'.

'True confidence leaves no room for jealousy. When you know you are great, you have no need to hate!' - Nicki Minaj

Pink Friday photoshoot - 2010
http://hiphop-n-more.com/2010/11/nicki-minaj-pink-friday-promo-pics/

Recently, Nicki has been slammed for her sexual video in 'Anaconda' which she hits back how its about empowerment,'it’s always about the female taking back the power, and if you want to be flirty and funny that’s fine, but always keeping the power and the control in everything.” She is an influential women of the modern day, and her crazy outfits and bold wigs have led her to be invited by fashionista's to join them at catwalks, even being invited to sit with Anna Wintour during New-York Fashion Week.

Nicki Minaj promoting the MTV EMA's in November 2014.
http://power96.com/2014/09/30/whatdoyouthinkabout-nicki-minaj-hosting-the-2014-mtv-europe-music-awards/

Nicki Minaj is my idea of a New Elizabethan, as she is contemporary for her time. She is constantly producing new and wacky outfits, just a like how Queen Elizabeth's gowns were extravagant for her time. Nicki does a lot of self-promotion, similar to that of the Queen and her beloved portraits. She has the large 'booty' which is a symbol nowadays for wealth, and celebrity status, as well as the pink cars, multiple pairs of Louboutins, and designer clothes. For the MTV EMA's in November 2014, she produced an advert of the how the world would react to her hosting the event. I feel this is similar to how the public reacted to the reign of Elizabeth, copying her style, makeup, hair and carrying miniature portraits of her everywhere. Nicki is not afraid of causing controversy, but still remains one of the leading ladies of the modern day.

References:

GQ Magazine Interview on Anaconda: CNKGUY, October 2014, NickiMinaj21(online), [viewed 11/11/2014], available from: http://nickiminaj21.info/october-2014/

Background: Wikipedia, Nicki Minaj (online), [viewed 11/11/2014] available from: http://en.wikipedia.org/wiki/Nicki_Minaj

Video: https://www.youtube.com/watch?v=J0sq2AvzVIQ

Hiding Eyebrows

So as we know, the Elizabethans plucked their eyebrows, to create a large forehead, a sign of aristocracy and intelligence. For this look, we could use pritstick, or soap. I decided to use soap on my partner Amelia, and she used Pritstick on me. 

Once the skin had been cleansed, apply toner on the eyebrows to remove any grease and natural oils. It is best to use an unscented soap, as some scented soaps can irritate the model's skin. Wet the brush and stroke the soap to achieve a cream-like consistency, then brush backwards into the eyebrow, so that it reaches the root. The trick is to then press down hard on the model's eyebrows, so that they stick down. Build up the soap, checking the texture with your finger as you go. You do not want any stray hairs, the whole eyebrow should be covered. Make sure you also remove any excess soap with warm water and a cotton wool bud. Powder to seal.

Using a sponge, I then began to apply the makeup. It is important to begin by applying makeup to the eyebrow first, as it is easier to match the face makeup to the eyebrow than vice versa. Using a sponge, I applied makeup to the whole face. I used the Illamasqua Skin Base and completed a few layers here to build up the pale colour. Powder to seal using the Illamasqua translucent powder. I then used the Kryolan Glow Palette to create the rounded blush for her rosy cheeks, and a rosy lipstick from the lip palette. The finishing touch was applying the white base to the eyelashes, sealing that Elizabethan look. 

Kevyn Aucoin

Kevyn Aucoin was an American Celebrity Makeup artist, who grew up in Louisiana with his adoptive parents, Isodore Adrian Aucoin and Thelma Suzanne Melancon. He was brought up alongside his three other adoptive siblings, all adopted through the Catholic Charities of Alexandra, Louisiana. From a young age, he was interested in makeup, and would sit for hours applying his sisters makeup, and taking pictures on his polaroid, a thing he would do for years to come. At the age of 6, Aucoin realised he was gay, and would regularly be bullied, and would suffer abuse from teachers and classmates. It was difficult for his Catholic parents to accept this aspect of Aucoins life. He was nervous of buying makeup in shops, and opted to shoplift, until he became terrified of being caught. He dropped out of school due to the bullying because of his sexuality, and enrolled in a beauty school, but ended up teaching the class. He worked on a makeup counter at the age of 18, and for $30 would do a lady's makeup, but because of his gender, many women refused. He moved to Baton Rouge in Louisiana, and whilst looking at the new makeup alongside his male friends, was approached by a security guard and taken upstairs to the office to be beaten, all due to his sexuality, and being a man meant that he couldn't look at makeup. He began to fear for his life, and moved far away to New York, in hope to start his career as a makeup artist. In 1893, without a resume, he had a chance meeting with Vogue, where his fate was sealed. He worked with photographer Steven Miesel every day for a year and a half, when his career took flight. His shoot with Cindy Crawford took the spotlight, and from then was earning up to $6,000 a session. He has subsequently worked alongside Cher, Gwyneth Paltrow and Janet Jackson. He published books including Face Forward, The Art of Makeup and Making Faces, where he used everyday people as well as celebrities to show his techniques. His legacy is continued in his makeup brand, after his untimely passing in 2002. He is believed to have set the standard for makeup artistry across the world.
(Unknown author, 'About Kevyn Aucoin' (online), [viewed 07/11/2014], available from:http://kevynaucoin.com/the-brand)
(Wikipedia, Last updatd Septmeber 24th, 2014, 'Kevyn Aucoin' (online), [viewed 07/11/2014], available on: http://en.wikipedia.org/wiki/Kevyn_Aucoin)

Kevyn Aucoin and Janet Jackson
http://kevynaucoin.com/the-brand

The Westmore's

The Westmore family are royalty in Hollywood. The family has produced four generations of exceptionally talented makeup artists for Hollywood since 1917, when George Westmore established Hollywood's first makeup department. At this time, actors and actresses had to complete their own makeup, so George Westmore ultimately changed the film industry.

George Henry Westmore (1879-1931) was a specialist wig-maker, and later a makeup artist. He worked on a vast amount of celebrities, including cutting Winston Churchill's hair, creating Mary Pickford's signature curls and created the lace wig. He is referred to as the Patriarch of the Westmore family, which has since produced four generations of makeup artists. He taught his sons, Perc, Wally, Ern, Monte, Bud and Frank, the techniques of the makeup industry, with Monte working with MGM, Perc becoming head makeup artist at Warner Brothers, Wally was head of Paramount and Ern at 20th century fox. Bud was head at Universal Studios, and youngest son Frank wrote a book on his talented brothers and father, 'The Westmore's of Hollywood'. George sadly killed himself in 1931 via mercury poisoning, after his marriage with second wife Anita Salazar took a turn for the worst.
(Encyclopedia Britannia, 2014, 'Westmore Family' (online) [viewed on 0711/2014], available from: http://www.britannica.com/EBchecked/topic/641129/Westmore-Family)

The Westmore's have worked on almost every major celebrity in Hollywood, Bette Davis, Elizabeth Taylor, Audrey Hepburn and Marilyn Monroe. In the 1930's they created their own makeup brand, 'House of Westmore', which beautiful stars such as Rita Hayworth, Gail Russell and Marilyn Monroe advertised. This was a huge beauty salon on Sunset Boulevard, and became well known across America for the amazing makeup. 

Marilyn Monroe appearing in an add for Tru-Glo Makeup and lipstick by the Westmore's in 1953.
http://ladylikelady.tumblr.com/post/79345528672

Gail Russell starring in a movie magazine advert for OverGlo by the Westmores, which was also publicised for the movie 'The Unseen' in 1945.
http://www.flickr.com/photos/35255697@N03/5396573583/

Rita Hayworth modelling for Westmore Cosmetics in 1941
http://silverscreenoasis.com/oasis3/viewtopic.php?f=22&t=5863&start=330

Westmore Cosmetics Advert 1950
http://www.vintageadbrowser.com/beauty-and-hygiene-ads-1950s/43