The New Elizabethans.

Edward Bond ‘The Third Crisis: Drama and Civilization ’

“The first Elizabethan age ended with the discovery of brave new worlds (and incidentally the joining up of the United Kingdom). We are certainly on the edge of vast new unprecedented worlds, cosmic changes in culture, economy and society (and ironically the possible dissolution of the United Kingdom). But are our new worlds brave, cowardly, explorative or degenerative? It could be said the old Elizabethans plundered the new worlds. Perhaps now we can only plunder ourselves and call it trade."

The idea of a new Elizabethan age has been defined, promoted and challenged in Britain. How does Elizabethan values continue to present themselves in contemporary definitions of national identity, culture and character? 

In response to Edward Bond's observation of our current 'New Elizabethan Age', I have presented a few images to represent what I feel reflects a contemporary Elizabethan in terms of make-up, hair and styling. 

The runway now is full of aspects of the new Elizabethan era, you can see collars, corsets, ruffles, powder and big hair. Many designers have embraced the Elizabethan theme, taking it from different angles and extremes. Here are a few examples: 

Collars

There is nothing more aristocratic and romantic as a high collar. Givency makes use of a restricting harsh collar whereas Valentino's use is more 'delicate'. 

Spring collection 2013. Givency.
From: www.stylebristo.com.
Last accessed: 28th Oct 2013

Spring collection, Valentino.
From: www.whowhatwear.com, Last accessed: 27th Oct 2013

Ruffles 

Ruffles make the perfect trimming against simple garments for a sombre richness reminiscent of the era with no need for additional embellishments.

Chloe 2013 Spring Collection
From: www.wsj.online.com
Last accessed: 28th Oct 2013 

Chloe 2013 Spring Collection

From: www.wjs.online.com

Last Accessed: 28th Oct 2013 

Corsets

Corsets in the Elizabethan era represented the restraints of women and of idealistic beauty. In these modern day collections, they are purely impractical but still reflects the ideal women by giving shape and structure to the body. 

Dolce and Gabbana. spring collection 2013.

From: www.dailyfashion.com

Last accessed: 28th Oct 2013 

Dolce and Gabbana. spring collection 2013.

From: www.dailyfashion.com

Last accessed: 28th Oct 2013 

McQueen spring collection 2013. From: www.glamour.com. Last accessed: 28th Oct 2013 

Powder and Big Hair

Hair is all about volume and height, accompanied with a snow white complexion, it definitely has a hint of Virgin Queen. 

Vivienne Westwood. Spring Collection 2013.
From: www.stylebistro.com
Last accessed: 28th oct 2013

Vivienne Westwood. Spring Collection 2013.
From: www.bellasugar.com
Last accessed: 28th october 2013 

Selina Snow's Little Lamb

"I am fascinated by cross cultural juxtapositions'' 

''My paintings are visual diaries in response to my travels and surroundings.

Having lived and worked in London, Paris, Sydney and Tokyo, the cross-cultural and ritualistic elements from these societies have always fascinated me, along with strong culinary influences and references, which are reflected in my work. In particular, I explore the significance of seemingly incongruous foods, and place them within my paintings.'' 

Selina, S. (2013). Selina Snow . Available: http://www.selinasnow.com/. Last accessed 19th Oct 2013.

I am most fascinated by Selina's 'Indian and Children' series displayed at Southampton City Art Gallery this fall. The referencing of Indian, Portuguese, Chinese and Jewish cultures within her work are most extraordinary, pieced together with symbolic flowers, rich textiles, food and iconic European baby graphics from the 1950s and 1960s. 'I became aware during my travels around India of the high value placed on my offspring. About how women circled 'Fertility Trees' praying for boy babies as opposed to girls.' Selina, S. (2013). Selina Snow . Available: http://www.selinasnow.com/. Last accessed 19th Oct 2013.

The paintings in this series were created during a rough patch in her life, when her mother and father passed away alongside each other, and are inspired by her discovery of all the old birthday and mothers-day cards. Selina has used elements of her discovery alongside the images to represent the cross cultural mix and the Indian and British desire for children.

Little lamb -Fort Cochin  Acrylic on canvas 30cm x 40cm
Available: http://www.selinasnow.com/. Last accessed 19th Oct 2013.

This piece is rather confusing, it combines two completely separate images, painted in different styles and pieced together on one canvas. What strikes me first is the bold outlines and minimalist style used to create the lamb, juxtaposed with the attention to detail of the little Indian god perched on top of what looks like a lotus flower. My mind is puzzled by how two profoundly different images can be fixed together and look majestic. 

The bold shapes and lines in this piece are emphasised with a great use of colour. The colours really clash and contrast with each other, icy blues with royal reds and yellows collide, making the images really stand out. The background is subtle; it reminds me of wallpaper, wallpaper for a baby's room. I find it strange that both images are as bold as each other, my eyes dart from image to image, struggling to find a focus point. As a result, I feel that the two images have an equal importance. 

This painting has a lot of symbolism, I feel that everything has a real purpose, from the colours to the images and composition of the piece, all convey different emotions, meaning and projects mood. 

The artist has said to have created this painting to represent Indian and British desires for children, I feel that the lamb represents British culture and the lotus flower represents Indian culture, we can definitely see a division and difference between the two images. 

The lamb symbolises gentleness of character and is a image often used to symbolise the coming of Spring, the style in which the lamb is painted reminds me of baby congratulation cards of the 60s. The lamb is also a holy image, again referencing to British culture - Christianity, it signifies purity, meekness, and sacrifice. 

On the other hand, the rich colourful image of the flower and the little Indian god seems much more exotic to me, it feels mysterious and wise. I do not know much about Hinduism, so I cannot name which god is present, however, I feel that the blue skin is symbolic, blue stands for strength and power. It is a colour of depth, of nature, ocean, sky and fire, therefore I feel that it is symbolic of the importance of parents, reflecting the strength a parent requires to bring up a child. The poise is majestic, perched on top of the lotus flower, it is extravagant. The lotus flower is also symbolic in many ways. A lotus flower grows in muddy water and rises above the surface to bloom with remarkable beauty. At night, the flower closes, sinks and reappears at dawn. Untouched by the impurity, lotus symbolises the purity of heart and mind, it also represents long life, health, honour and good luck. Moreover, I feel that it represents the struggle of life, representing the overcoming of a hard time - Selina's parents may have had to overcome many difficulties and hardship in order to bring her up. 

Overall, I feel that this piece is amazing, it is able to convey so many meanings through symbolism and truly does represent the cross cultural mix of the British and Indian desire for children. 

Practical Session 1 - Preparing the face.

Avaliable from:beautysalon.wordpress.com

(8th October 2013)

Makeup should ALWAYS be applied to clean skin, makeup application requires a clean, fresh canvas. 

It is essential that the face is well prepared BEFORE you start any make-up application. 

Preparation is executed in 5 major steps. 

1) Consultation

It is important that before you touch the models face with any products you ask if they have any allergies and if they ave taken any medication beforehand.This ensures that you know what products are safe to use on the skin, you are also aware of how to execute the preparing and applying the makeup later on. For example, a model may have a little irritation on the face or slight acne, in this case, you would need to be super gentle when handling those areas on the face. 

Also, remember to ask if your model is wearing contact lenses, if contact lenses are being worn, remember to pay extra attention and gentleness around the eye area.

Note: Always use skin products for SENSITIVE SKIN. 

2) Setting up the station

It is most important that you set up your station ready to execute the procedure. By doing so, you are not running about trying to gather things as you go, also HYGIENE is essential. Always inspect the surface you are about to put your products and tools on, if it is necessary  wipe down with bacteria wipes or lay down a clean towel or paper over the surface, this will ensure you have the cleanest set up. 

Before you go anywhere near the model's face WASH YOUR HANDS, it is always nice to tell the model that you are about to work on that you are about to go and wash your hands. This will reassure the model, and she/he will have more confidence in you.

It is recommended that you pin the models hair back to avoid getting any of the cleansing product into the hair as it will make the hair greasy and styling the hair will become more difficult. 

3) Cleansing the skin 

When cleansing the skin and removing makeup, it is suggested that you use a soft cleansing lotion rather than an alcohol based makeup remover as it is harsher to the skin. I like to use SIMPLE products, they contain vitamins and no artificial perfumes or colour. It is a drugstore brand, but it gets the work done! 

Drew Barrymore. (2013). Simple Skincare Line. Available: www.simple.co.uk. Last accessed 8th Oct 2013.

When removing face makeup always use gentle upward motions, ask the model regularly if they are okay and if you are applying too little or too much pressure. Using downward motions will increase the chances of premature wrinkles and fine lines. 

When it comes to removing eye makeup, cotton buds are my best friends, because you can get in between the eyelashes and at the corner and tear-duct of the eyes to make sure all mascara and eyeliner is removed. If the model has been wearing fake eyelashes, I suggest that you go in with a little moisturiser as the oils in the moisturiser will force the eyelash glue to slip and slide and you can get rid of it quickly. The eye area is extremely delicate because the skin surrounding the eye is thinner that the rest of the skin on the face, so use a very gentle hand! 

Note: Always bin dirty cotton pads and buds, use plenty of them, if you stick to one or two cotton pads to remove an entire face of makeup, you are reapplying the old makeup and bacteria onto the face, and this defies the purpose of cleansing. 

Always try to keep the models eyes closed throughout the process to avoid irritation an redness.

4) Toning the skin 

After you are done removing all the makeup, you can proceed to toning. Toning is the process of removing dead skin cells from the face, as well as removing any dirt and makeup that you have not fully removed in the cleansing process. It also removes any access oils. Toning your skin will help keep your skin clear and firm and leaves you with smaller pores. Cleansing and toning the skin properly will avoid acne! 

Again, use upward motions hen you are applying toner to the skin. 

Note: You could also suggest and recommend exfoliating: exfoliating will remove all dead skin cells and dirt trapped within pores. Always only recommend exfoliating the skin a maximum of 3 times a week as skin can become over sensitive and irritated when over exfoliated. 

5) Moisturising 

When skin is exposed to the elements, skin an lose its natural moisture and you can be left with dry skin. This is one of the major causes of wrinkles and fine lines, moisturising properly will help maintain the skin and slow down the ageing process and forms a barrier between the skin and the elements, it will also make make-up application much more smoother. HOWEVER, do not over moisturise so that there is a greasy slick on the face, this will back fire and make makeup application harder as it can not grab onto the skin, instead slipping a sliding around-a pea sized amount of moisturiser should be adequate.

When applying moisturiser to someone else, squeeze a pea sized amount onto the palm of your hand and run both hands together, almost like you are applying hand cream, but do not run any onto the back of your hand as this will go to waste. 

Then gently apply the moisturiser on the models face by stroking the face in upward motions. Gently massage the cream into the cheek and around the jaw line, mouth and nose, try and avoid the eye area, and don't forget to apply to the neck. 

Again, always ask your model if they are comfortable and if you are applying the right amount of pressure.

When the entire cleansing process is complete, stand back and inspect your models face. CHECK FOR SKIN DISEASES/DISORDERS. If you spot anything, you may need to change the method of makeup application or decide if any make-up application is suitable. You can work round some skin problems and disorders, but some an be infectious and you need to suggest your model to seek medication. 

Here are a list of skin diseases/disorders that you may encounter:

Psoriasis: 

     Ø  A skin disease marked by red, itchy scaly patches

·      Affects 2% of people in the UK
·      Can affect anywhere on the body, most common on the elbows, knees and lower back.
·      Is caused by antibodies attacking the skin by mistake.
·      Can also affect the scalp. 


Ringworm: INFECTIOUS

     A number of fungal infections that grow in a patch or circle on the skin

·      Can be passed on through direct contact and sharing items such as towels, bedding or combs.
·      Most common in children

Vitiligo: 

    Pale white patches on the skin, more noticeable on areas exposed to sunlight.

·      Pigmentation disorder

Acne: 

Ø  A skin disorder that causes pimples when the passageway that connects the skin’s pores to the oil glands become clogged. 

·      Is most common in teenage years where there is huge release of hormones.
·      Treatment include, creams and skin treatments, sometimes, medication has to be prescribed by doctor.
·      Acne can cause scarring.

Eczema: 

Ø  Itchy red flaky skin

·      Can be treated by keeping the skin moisturized.
·      Some beauty products and perfume can trigger eczema

Project Brief: The New Elizabethans

I have been given the make-up brief 'The New Elizabethans' - the focus is on collating historical research and technical observations of makeup and styling used in the 16th and 17th century to create a contemporary Elizabethan character. 

Image - www.milesalridge.com 2013   

I need to consider the make-up, hair and styling identified in paintings from the Elizabethan Era, but also acknowledge that certain makeup and hair styles used by Elizabethan women had references to their age, class and status. 

My aim is to research all the ideas and techniques behind Elizabethan make-up, develop my own techniques and my own style in recreating the Elizabethan image, and finally producing the final contemporary look. 



My objectives: 

• Acknowledge studio safety and hygiene. 
• Learn about the historical contexts and cultural value relevant to the fashions in period and contemporary looks. 
• Develop an awareness of research as the basis of creative design development.
• Establish the relationship between research, design and realisation required for a successful project outcome. 
• Develop photography skills to capture image. 
• Develop key transferable skills in communication, collaborations and negotiation. 

Symbolism in Portraiture - The Pelican Portrait

Nicholas Hilliard. (2008). The Pelican Portrait . Available: http://www.luminarium.org/renlit/elizface2.htm. Last accessed 8th Oct 2013.

Above is the famous Pelican portrait painted by Nicholas Hilliard in around 1574/1576. It is speculated that Queen Elizabeth was in her forties when this was painted. 

There is much symbolism in this portrait: 

THE TWO IMPERIAL CROWNS

A crown is propped on top of the Tudor rose, this symbolises Queen Elizabeth's claim to England. 











On the top right hand side of the portrait there is another crown, however, his time it is propped on top of the 'Fleur de Lys' , this ultimately symbolises Elizabeths claim to france. 







PEARLS


Elizabeth is adorned with jewels in this portrait, especially pearls. the pearls signify Elizabeth's purity, innocence and virginity. 

TUDOR ROSE













Apart from the tudor rose which is prominent at the top left hand corner of the portrait, if you look closely, the tudor rose is actually embroidered onto Elizabeth's dress. Although, Elizabeth has been on the throne for quite a long time by the time this portrait was painted, the tudor roses reaffirm her Tudor roots and her right to the English throne.

PELICAN

The pelican is probably what I consider the most important aspect of this portrait. 

According to legend, a female pelican would pluck her own breast in order to feed her dying young with her own blood. 

As Elizabeth is wearing a pelican pendant on her beast, this symbolises and signifies her undying and selfless love for her county and her people. She radiates motherly love. 

In the middle ages, the pelican was also a symbol of Jesus's crucifixion, the ultimate sacrifice, and of the Eucharist, the feeding of his followers with his own flesh and blood. This makes sense as Queen Elizabeth was often seen as the divine, second to God. 

COLOURS

Here, Elizabeth is dresses in red, black, white and gold. These colours spoke of her wealth and status. Red frabic was dyed with cochineal, a dye which was extremely expensive and restricted to the upper class, Black fabric was also notoriously expensive. I feel that the colours gold and red alone show immense power and wealth. 

The Illamasque Distinction In Make-up Artistry Awards 2013

'We are colour you are beauty'

I had the wonderful opportunity to witness the Illamasque distinction in make-up artistry awards, which was held in London, at BAFTA 195 Piccadilly. 

The competition was split into three categories, non-professional, student and professional. 

Non-Professional Competiton

The non-professional was my favourite category: the atmosphere was intense as the audience sat and watched the four non-professional finalists battle it out with face-paint and mascara. 

I was shocked to see the level of skill these 'non-professionals' worked at, you say 'unprofessional', but the looks that have been created are truly mind blowing and surreal. I was most impressed by the close attention to fine details to each look, and the pace that they worked at in such a stressful environment. Each make-up artist had their own individual style which made the competition even more intense!

My favourite look in this category definitely belongs to Stefanija Vektere:

This look is truly extravagant, it is romantic and space-agey, I love the use of metallic shades, both the lips and the eyes are very dark, but it does not overpower the makeup, I think that the white eyebrows and pale complexion balances out the sinister shades, giving it a clean crisp finish. 

I think that this look juxtaposes fierce and feminine aspects, the fierce aspect comes from the dark eyes and angular warrior like collar art. For the feminine aspects, the lips are emphasised, which adds a sexy factor. 

The glitters used on the eyes remind me of space and the galaxies, I could imagine a space warrior princess rocking this look! 

Student Competition 

The student competition was also very tense. I thought that all four contestants were really well prepared as I could see very detailed mood boards and had a confident appearance. 

I really admire their bravery for going head to head in such a terrifying atmosphere (knowing they will soon receive judgement from Alex Box!) 











My favourite look from this category belongs to Frankie McKernon: 

I love this look because although, it is still a very dramatic image, I consider this look very natural looking compared to the looks created by the other competitors. I am definitely reminded of Marilyn Monroe when I look at this picture because of the similar locks.

The reason I like this look so much is because I feel that I have seen so many looks that are created with vivid colours and harsh edges that the elegance and softness in this look felt like a breath of fresh air, something that is completely different. 

This look is simply sexy, soft and warm. 




Professionals Competition

Last but not least, the pros got their turn to show what they had. 

All of these looks are very fantasy like and completely surreal. 

To begin with, the look on the top right hand corner was my favourite until she added the feathers onto the face. I thought the contacts added enough drama and that the feathers covered too much of the face, making it the focus of the piece and outshines the beautiful shading and attention to detail. 

I have decided that this is my favourite look out of the professional category simple because of the skill that has been shown through the symmetry and blending in this look. I think the hair works amazing with the makeup and the complementary nails look fabulous (and dangerous). 


Overall, I think that the Illamasque awards was an great experience and I aspire to be the one on the platform at next years awards. 

ALSO, check out some photos I took on the day, enjoy :)

Truly Inspirational - Alex Box

Q: Which make-up artist do you find the most inspiring? 

A: mmm, there are many inspirational make-up artists out there, but, for me, it would have to be Alex Box -creative director of Illamasque.

Alex Box is considered by most a ground breaking artist with a strong alternative voice. 

Above: Alex Box, Make-up artist
and creative director of Illamasque

Alex Box explores the relationship between the body and the environment, art, nature, science and the magical through her work. Alex has since become one of the most influential make-up artists of our time. She works alongside designers such as Karl Lagerfield, Stella McCartney, McQueen, Peter Johnson and Gareth Pugh. Her work is also regularly seen in the titles including Numero, W, Another Magazine, Dazed and 10. 

Out of the many beautiful images that Alex creates, this is one look that has a very dear place in my heart. I adore the dewiness of the skin combined with bold, striking statement lines. 

The lines create a two dimensional look, she looks like a character from an 80s comic book or a girl who has just jumped out of a Roy Lichtenstein poster. The structure of the lines also remind me of the MAC face-charts and plastic surgery outlines. 

There is a very limited colour palette, the pale skin and bright fushia lips contrast greatly and thus creates impact by emphasising the lips and the cheeks, giving the look more dimension and shape. 

If I was to wear this look out, it would be to beauty con as I feel that the look symbolises idealistic beauty: artificial beauty. 

I find that this look is reflective of my personality and aspirations; I wear makeup to emphasise my features or to create features that I am not naturally blessed with, such as long eyelashes, a larger double eyelid crease and higher cheekbones. I also think that the boldness of this look reflects my efforts to stand out and make a statement regarding my image and presentations. 

Here is my re-creation

 When reproducing this look, I encountered a number of difficulties. First of all, COVERING EYEBROWS is a nightmare, it look me a couple of tries to get a smooth surface and full coverage, especially as my brows are very dark. If you are curious, I used the glue stick method. I found this youtube video by Skarlet Starlet particularly helpful, as it is a step by step guide to covering your brows: 

http://www.youtube.com/watch?v=KxGzhrCrWDc

The second obstacle that I encountered was creating the brows. The brows in the original look are very straight with a soft curve, but I found that that shape was not as compatible for my face structure; instead I followed the natural curve of my eyebrow and brow bone to create a more arched shape. 

To begin with I outlined the lips following the natural contours and edge of my lip, but standing back and looking into the mirror again, I realised that the lips looked way too big and clown like. As a result I slimmed down my lips using concealer and drew on a smaller lip. 

For the hair I simply pulled it all away from the face into a low side bun and created volume at the top of the head to create a sort of romantic quiff. The makeup is outrageous and bold, and requires a softer, elegant updo. 

As for styling, I laced up into a black fluffy bralet and I chose to expose the neck and shoulders because I think that it keeps everything clean and crisp and helps to achieve a sexier more feminine silhouette.

This look took me approximately two hours to achieve. I hope I can adapt this style with looks that I create in the future. 

Photographer: Rhys Holmes 

Elsa Schiaparelli's Fashion Legacy - 'The Lobster Dress'

Coco Chanel
The introduction to androgyny. (1926) 

“Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision.” 

-Salvador Dali 

Surrealism, defined as the '20th century avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind' plays an important role in the fashion industry today. 

The surrealist movement brought out strong discussions and a world of judgement, conflict and outrage. In 1926, Coco Chanel introduced the garconne look, putting women in mens clothes and going against the orders of society. To some it seemed repulsive and perverse, to others it was a breath of fresh air, a break in fashion, and an introduction to androgyny. 

Not only was surrealism used to shock and surprise, it was also used to amuse and delight: Elsa Schiaparelli stepped into the spotlight of the 1930s with her infamous lobster dress. 

Wallis Simpson photographed by Cecile Beaton
in Elsa Schiaparelli's lobster dress. 

Wallis Simpson was a frequent subject of Cecil Beaton’s photographs during the 1930s. The photo was taken at the Chât

eau de Cande garden, Beaton suggested it to be a romantic shoot.  This is therefore a professional portrait. According to historical context, this infamous silk dress was worn shortly before her  marriage to Edward VIII, this suggests that this image is quite personal.

When I first laid my eyes on this photograph, I had a fairly neutral reaction. I feel that there is a lack of structure within this image, the model’s pose seems awkward and I feel that she is not aware that her photograph is being taken, as she is facing away from the camera. However, the photographer may be trying to capture a more natural setting by not displaying the entire dress, this captures a more mysterious mood as I had to examine the image more closely to see the lobster print on the dress. The lobster print shocks me: I consider it a huge juxtaposition, the setting and design of the dress itself is very elegant, almost romantic-looking but the print adds an aspect of surrealism. According to context, ‘this infamous lobster dress had sexual connotations and his placement of the lobster charged the design with erotic tension’. However, Wallis’s poise or placement is not erotic or provocative in any way. 

The subjected is depicted at a distance, which makes it difficult to see the emotion worn by the model. The subject appears to be in control of the environment as she dominates the frame. I feel that the background is supportive of the subject; she does not create a huge contrast to the setting, but enough to stand out. I feel that she depicts a little sense of loss as she is not holding the bouquet upright but instead having it face downwards, she seems to be looking for some support or recognition that she is doing the right thing.

When creating this image, I feel that the photographer may be trying to manipulate the model depicted, and casting her in a more negative light. As mentioned before the dress contains sexual connotations, and the placement of the lobster may be sensitive to the public. This throws Wallis into a world of judgment and conflict.

The image makes use of the ideas of ‘frivolity’ by combining fashion and art. A beautiful dress and backdrop is captured with a trait of frivolity; showing that fashion does not have to be sensible or necessarily required to be accepted by all.



http://en.wikipedia.org/wiki/Elsa_Schiaparelli#Lobster_Dress

http://www.vandoak.com/2012/07/19/icons/the-success-of-surrealism-elsa-schiaparellis-fashion-legacy/attachment/lobster-dress5/