EDITORIAL FASHION | makeupexploration

MAKE-UP ARTIST. (2014). Make-Up Artist Magazine. Issue 109. U.S.: Michael Key. Below: Pages 81 and 82.

EDITORIAL FASHION & HENNA DESIGN

General Rules:

Arriving fifteen minutes early ensures you are on time

Make use of treatments and designs, take influence from social media and fashion magazines/ blogs

Know and keep up to date with current trends

TV: Hair and Make-Up... Fashion: Hair jobs alone, separate

Communicate with the client by asking what they want and listening, respect their desires

In fashion you want to have magazine prints in your portfolio of work

Be honest about what you can and cannot do, know your expectations and job requirements

-It is important to know of cultural differences in different countries and respect their differences in make-up and hairstyling. Be sure to know of the different magazines, their audience markets and understand what the make-up or hairstyle s for, look at the concept and research appropriately to the design brief.

Below: Dayton, J. (2015). BA Hons Make-up for Media and Performance. Arts University Bournemouth. 13 January.

Above: The bodypainting and henna designs on the images above were introduced in a slideshow from Jenny Dayton. They have influenced some of my make up designs and inspired me to experiment with henna techniques and various make-ups/ paints to creat the paisley patterned editorial looks. I particularly like the detailing around the eyebros in the top right image and would like to experiment with this editorial look in some of my own make-ups.

I have also taken inspiration from the images displayed at the top of the page by artist 'Carla Sakrzewski', she specializes in editorial make-ups and is represented by Arc Creative agency in Australia. She explains that the concept for the two looks was all about texture and wanted to incorporate different materials into the replacement brows, she mirrored the designs in the nails which brings the overall look together as a piece of art.

EXPLORATION EDITORIAL DESIGN

First Look:

This make up was a collaboration with a photographer and friend of mine: Rebecca Jobling, the concept was editorial fashion reflecting the likes of vogue magazine and beauty trends, particularly the Autumn 2014 Vogue catwalk looks with the focus on the eyes, and the darker lips and lace design on the second look fall into the same category.

I used a curling tong on the models hair to create tight barrel curls and straightened her fringe on an angle for added depth and texture. The model had auburn highlights and this complimented the layered curls.

For the make up I used a MAC lipliner in barely nude and outlined her natural lip shape. I used MAC coppering eyeshadow on the lids and a dark brown pencil in the crease- outward towards the brow for an edgy finish to the look. The coppering eyeshadow was complimentary to the models natural eye colour and the eyeliner defined the eyes as the main focus. I used a peach blusher on the cheeks from Inglot and the Anastasia Beverly Hills brow and contour palette. I also applied false eyelashes to finish the look.

For the second make-up I used a black water based paint (snazaroo) and a fine paintbrush to paint on the lace design similar to the above images. I painted the design up into the models hairline because I wanted it to appear to be actual lace across her face. I finished the look with a dark purple lipstick from DOSE of Colours.

Model: Paola Ciarska

EXPLORATION CONTINUED

I had to work heavily with product because of the studio lighting and used kryolan pan sticks In a mix of light and dark shades to contour both of their faces. The idea was to have them both look identical and I found it hard initially to contour both faces symmetrically to one another. I had to go back in and place colour in different areas during the shoot to emphasize the ‘twin’ appeal.

I used a curling wand in the hair and small hair pins to turn it up underneath, giving the illusion of the hair being shoulder length. The models actual hair was chest length; I also backcombed the underside of the hair and around the crown to add extra volume.

I worked with fashion photographer ‘Martin Smith’ on an editorial Burlesque style shoot for two dancers ‘Lauren and Jordan Grigg’. The concept was a Burlesque style with a sophisticated edge and the designs were to reflect wealth and beauty. I feel as though I fit the brief with the hair and make-ups and as a team we were all ecstatic with the final images (Some of which haven’t been processed yet). I took influence from the beautiful make-ups by ‘Carla Sakrzewski’ at the top of the page and I cut pieces of velvet filigree to shape (which Id drawn out on card first off to perfect the shape) before applying them over the brows with Duo-Adhesive eyelash glue.

EDITORIAL BEAUTY MAKE-UP

Above: Dayton, J. (2015). BA Hons Make-up for Media and Performance. Arts University Bournemouth. 13 January.

Above: Rosie Huntington Whiteley is known for walking the Victorias Secrets Catwalks, she is now an international supermodel and has starred on the covers of various high fashion- editorial magazines such as: Vogue, Maxim, Elle and Bazaar.

The beauty make-ups on the above images stood out to me because the products on each photo emphasize her features and outline her natural beauty. The hair styles look unkempt and messy on the two to the right (a spring/summer 2014 trending look) and the bottom left image looks to be a modern relation to a 1940's pin up. I will use the images as reference for a beauty-editorial make up practise where I will focus the attention on the models lips and keep the rest of her features neutral in colour.

Vogue. (2014) Vogue in Motion - Petal Pushers: EP 3 of 3 - Behind the Scenes of a Vogue Fashion Editorial Shoot. [online]. Available from: https://www.youtube.com/watch?v=S32Me8f4ar8. [Accessed 16 February 2015]

Notes Taken: Vogue: Tabitha Simmons on the story for Flower Power

-You have to get all of the ingredients right and it has to fit in with the breadth of the context of the rest of the magazine

-After the collections the stories are planned for the next three months.

-The prints were in a very modern way, strong shapes and fragmented prints

-Mark Jacobs flowers in lace, Dior in Paris was beautiful, the whole room was in flowers and it wasn’t hippie at all.

Around thirty people on set with five models. Is the hair and make-up right? Questioning the make-up and hairstyling on the first day is often the case.

EDITORIAL PRACTICE

I used influence from Vogue 2015 spring Uniform looks for the editorial make-up above. The look emphasizes scarlet lips and rose cheeks with a flawless foundation base. I thoroughly enjoyed this make up practise and I will continue to focus on Dutch plaits with added hair pieces for length and volume, throughout my make up exploration because they can be styled to look untamed and messy, promoting a wild aesthetic- suited to my theme on survival.

I attached a hair piece to the crown of the models head and plaited around the bulk of the hair. I added thin hair extensions to the underside of her hair for added length and then widened each section with a tail comb to eliminate the neatness in the style. The main feature on the models face was her lips and I used a MAC red lip liner to outline them, I filled the centres with a MAC 'satin' lipstick and Vaselined over the surface. I also applied Vaseline over the models eyelids to create a glossy finish and to draw the features together. The most difficult technique for me was plaiting the hair around the hairpiece, I didn't necessarily want to clip the hairpiece into place and therefore it became problematic. The extension was constantly shifting around her head and it meant that the hair at the back of the head leading towards the nape was loose and messy. Overall, this added to the look which was unkempt with a edgy beauty make-up but I will practise and perfect the technique to suit my survival make-up.

Jagua Gel

I started by drawing a general outline on the models arm of the design I wanted to draw. I used a blonde eyebrow pencil (rimmel) to do this to avoid confusion with the design and the henna ink. The plastic piping bag that came with the pack split whilst I was decorating the fingers which was problematic and I had to use a freezer bag to substitute, the bag wasn’t angular enough and it shows on the finger detail, where the pattern looks slightly off balance and the shapes are thicker/ uneven. I found the Jagua gel easy to work with and would definitely purchase it again. However, I need to work on speeding up the drawing process as it took a long time, over one and a half hours, to complete the design on the models arm.

WILD INFLUENCE

London zoo was full of creativity and I watched a documentary on tribes within the Amazonian forests where the men would hunt birds of paradise for their feathers. They would wear the feathers as decorative garments to attract females in the form of dance at a large social event similar to a carnival. ‘Jungles-people of the trees’

I spotted this small bird at the zoo, which looked similar to a bird of paradise and was mesmerised by its feathers. The colours where electric and although the bird was tiny in size, stood out within the surrounding trees. Both the documentary and the bird combined inspired me to explore a fashion-editorial make-up look with feathers and a lot of colour.

I Dutch plaited my hair towards the crown of my head and etched feathers into the creases where the plait naturally crossed over. For the make up, I used a mixture of green and blue eye shadows from ‘Crown eye shadow palette’ and contours around the eyes and down the sides of my nose accordingly. I wanted the eye make up to run down the sides of my nose, narrowing the bridge to mimic a birds beak, whilst looking fashion-editorial and not animalistic as such. To exaggerate the eye area further I used Duo Adhesive eyelash glue to stick feathers around my eyes, blending the colours up towards the temples and into my hairline.

I wanted to explore editorial make-up in a wild concept and I feel as though I achieved this with the overall look. I incorporated fabric, accessories to reflect a bird of paradise make up in a modern/ editorial fashion, and this worked along side the hair and make-up in my favour. For the final survival design, I will change the hairstyle and focus on a full Dutch braid, which will run long down the models back, promoting a wild being. The focus will run more towards camouflage and less on imitating a specific animal because I want the make up to reflect survival in the wild and repressed desires to be ‘wild and free’, a topic I have discussed in an appraisal and literature review.

HENNA DESIGN

and the historical meaning of tattooing

Above: iseverythinglife (2010). Instagram. [mobile app]. 17 February

Above: hundabeauty (2014). Instagram. [mobile app]. 17 February

Below: Two inspirational instagram artists posts of henna designs. Henna refers to the dye prepared from the 'henna' plant and the art of temporary tattooing based on the dye. It is used to dye the skin, hair and fingernails, as well as silk fabrics and leathers, a very traditional temporary tattoo method.Traditionally, henna was used to mark women in preparation of meeting their husbands, and is now used as a form of body art and fashion statement.

Tattooing:

A perminent body art- created whenever pigment is injected into (rather than on top of) the skin. The oldest surviving complete human body is that of the 'iceman' discovered only a few years ago frozen in a glacier in the Alps. Some 5000 years old, this Neolithic hunters body has 15 tattoos including rows of short lines to the right and left of the spine, parallel strips across the left wrist and a large cruciform mark on the inside of the right knee.

It should come as no suprise that so many traditional societies perfected tattoing in an elaborate, often exquisite, art form. Most famous aesthetic traditions is the delicate, facial swirls of the New Zealand Maori whose designs where actually chiselled into the face.

A few adventerous 'Modern Primitives' have experimented with scarification, but many of the resulting designs have been 'Primitive' in more ways then one. Traditional scarification looks set to disappear. In the process, the customised body will become a more purely visual phenomenon.

Above image and notes: pages 23,24 and 31. Polhemus, T. and Randall, H. (1996).THE CUSTOMIZED BODY. Santa Barbara, Calafornia. London: Serpents Tail.

MY DRAWN DESIGNS

I based my designs on various henna tattoos I’d seen and incorporated into the style. I wanted to keep the design traditional and editorial-like so that I could create a beauty/ fashion make-up look, which would compliment the temporary tattoo. Initially, I struggled to come to terms with the design of henna and found it hard to drawIntricate patterns together which complimented each other.

I found that my first few attempts at the drawings looked overly complicated and fussy. The image to the left is an example of one of my drawings on a sheet of a4 paper, the design was basic and I started by faintly drawing three large circles in pencil and then filling in the gaps whilst looking at reference form other henna designs...

...The pattern looks very complex as a whole but the shapes and drawing style together are both simple. The image to the right was a third attempt at drawing a henna design and it started to look less complicated but still effective as a design transfer onto the skin. I will incorporate both of the designs onto a henna beauty editorial make-up and add to the pattern if necessary when I see it against the skin, I will also practise other henna patterns on the skin to explore the freestyle type medium.

PRACTISE ON SKIN

...The design was simple but I found it difficult to stay within the margins of the shapes and to keep a steady hand. I will attempt the henna on a models skin rather than my own to avoid this happening again.

Above: First practise of Jagua Gel on my own hand in a flower petal design. I used tattoo transfer paper to draw out the basic design first and translate the pattern onto my hand. Then I drew over the lines with the Jagua pen and added in finer detailing. I was impressed with the result and from this I will explore the material further on a model more confidently.

Below: I practised with a rimmel (scandaleyes) liquid eyeliner on my arm before attempting the henna itself. I wanted to practise the technique on my own skin with a product that wouldnt stain before using the dye...

Left: The original tattoo transfer I drew out to test the paper before refining the design and adding in finer pattrn and detail. Above: The tattoo transfer paper purchased from Amazon.

Hints and Aftercare:

Begin at the top left hand corner of your design if you are right handed, to avoid smudging.

For the best results- regularly clean the tip of the applicator with tissue.

Avoid contact with eyes and keep clear of clothing. Do not bath or soak the area for the first 24 hours.

Once the tube is opened use within one week or if you have a re-sealable tubdo not leave it open, the gel will go off.

Try using the fine line application cone for smoother lines and greater detailing- if you overfill the cone the jaguar will start to degrade after a few hours.

Jagua is not PPD (Black Henna) it is safe and natural.

It has been fully tested certified. But, as with all cosmetics, we still recommend that you do a patch test before use and check the ingredients:

Aqua, Alcohol denat, Genipapo Americana, Xantham gum, Citric Acid, Potassium sorbate.

EDITORIAL HAIR

Below: Dayton, J. (2015). BA Hons Make-up for Media and Performance. Arts University Bournemouth. 16 January.

Above text: Berl, E. (2012). Two for the Runway. New York Times. 6 September. P.E3.

The job of a hair stylist: In the industry

-Fashion Editorial: style-design

-Fashion photography: - style-design

-Soaps: – style – cut – colour-design

-Film/TV: cut, colour, bald caps, wigs, knoTng, styling

Pro Tips:

Use a small iron, small comb or teasing brush and hairspray

The most important thing with editorial hair is to get the hair as big as you can get it, continue spraying it so that the hair stands upright. After, go in with a tong and create a curl, then go in with a fine toothcomb and tease it. Finally, spray the section and repeat the process all over the entire head, this will photograph beautifully.

Below: Ehowbeauty. (2013). How to do editorial hair: Styling hair and more. [online]. Available from: https://www.youtube.com/watch?v=9AtHj3z3fvY. [Accessed 20 January 2015].

GUIDO PALAU

Big Tease. (2008). Allure Magazine. May 2008. U.S.: Paul Cavaco. (n/a).

Hair Stylist: Interview with New York Times:

Guido Palau, is from Bournemouth, a seaside town in Dorset; characters like Boy George still inspire his work.

Mr. Palau added: “You had the New Romantics, the New Wave and subdivisions of that. So if you were around it, that immediately became your library of information.”

He stayed in London and enrolled in the Vidal Sassoon hair academy. He was kicked out after 18 months.

“I was probably intimidated,” Mr. Palau said. “It was a very strong structure. I suppose I wanted to run more rather than be held back.”

Jackets of all Trades. (2010). Vogue Womens. January 2010. U.S.: Tonne Goodman. (n/a).

Interview Continued: His Success:

Not long after, he landed the gig of a lifetime: the George Michael “Freedom ’90,” video, which featured Cindy Crawford, Linda Evangelista and other supermodels in their prime.

“I have no idea how I got that,” he said, laughing. “George Michael was a huge star then. The models were huge stars.”

He began working with Mr. Sims and those in the early grunge movement, including Kate Moss, the photographer Corinne Day and the stylist Melanie Ward. Calvin Klein picked up on the look, giving it a mass audience.

“Hair was coming undone,” Mr. Palau said. “It was when I really started to develop my own style.”

Above text: Berl, E. (2012). Two for the Runway. New York Times. 6 September. P.E3.

Influencing my design ideas:

The above mages from Guido Palau's work, particularly the Vogue editorial images, have influenced my design ideas for my survival make-up and bodypaint. I will incorporate editorial hair styling because it looks messy and wild or unkempt. I want the model to appear to be destructive/ primitive and this hairstyle is perfectly suited to the idea. The editorial video has given me an insight on backcombing to create a volumous look which I will need my models hair to reflect. The hair starts to tangle and matt together after being unatended for a long time and the look I want to create will be this exactly. I want the hair to look editorial/fashion one one hand but untamed and unattended on the other.

EDITORIAL & HENNA

Editorial hair and make-up combined with Henna design

Concept

I wanted the make up to be very neutral in colour with a flawless complexion, an angelic look. This way the make-up would work beautifully along side the henna, complimenting the natural style of the ink.

I used ‘Simple’ primer, which has a yellow dewy base and applied it with a large flat brush, covering the models face. I then used a mix of MAC studio sculpt in NC37 and MAC studio fix in NW20 for the face, applying a small amount as excess wasn’t necessary. I used derma colour palette concealer under the eyes and on the eyelids and Anastasiabeverly hills contour palette to sculpt the face, in this case I contoured the models cheekbones, jawline, chin and temples. I used a blonde Rimmel brow pencil and an Anastasiabeverly hills highlighting pen for the eyes, brow bones and upper lip. A mix of Inglot blushers on the cheeks and an Inglot highlighter across the tops of the cheek bones. MAC barely there lipliner to re-draw the lips and Velvet Teddy lipstick to fill in the shape. Finally, I cut some false lashes in half and applied them to the outer corners of the models natural lashes for added volume without the lashes looking overly fake.

The concept of the hair was minimalistic, I curled it with a large barrel tong and back combed it to suit an editorial brief. After, I pinned the bottom of the hair up into a bun style up-do, resting the hair around the crown. The focus was to keep the hair ‘big’ and deliberately messy. I managed to create the make-up and hair style collectively that I imagined and was very pleased with the final look.