Contouring And Highlighting

    Contouring and highlighting, one of the biggest beauty tricks around at the moment from subtle and almost nothing on the skin, to dramatic Kim Kardashian hardcore contouring and 'baking' highlights, you name it, it's probably been done in the highlighting and contouring world! But as you'll be able to see from my images above, we went very natural with our contour, highlight and blush which is perfect for our beauty portion of this project.
    I started by applying the foundation to my models skin but not powdering, as we started to contour with cream products this'll help it apply much smoother to the skin and once I was done I then went and powdered the whole face to stop creasing. I then enhanced the shadow we created and added a small touch of bronzer and blended upwards into the small touch of pink blush I applied just above the contour and slightly onto the apple of the cheek, and then moved onto highlight. For highlight I used my glam glow palette and used the highlighter that leaned more on the chrome side, then took a small fluffy brush and dusted a small amount on the very tops of the cheekbones, again blending into the blush very slightly.
    I was very pleased with my contouring and highlighting I did in this lesson and thought when I get round to shooting my beauty images, this sublet contour will really enhance shadows and light on camera making the models skin glow and creating an overall more pleasing image. I also can't wait to try out some of these techniques on my male model for my final beauty images!

My First Make-Up Look At Uni!

    On Thursdays lesson with Kat we had to use our monochromatic face chart and recreate it on someones face! I was super excited for this lesson as this was the first time I'd created a look and done a full face of make-up on someone since being at uni, it was amazing to see your own face chart to finally be seen on someones face and to overall have fun while creating it.
    I started off by creating a very pale complexion to my model using a mixture of her normal skin tone colours and the Illamasqua white as I didn't want her to be pure white, I just wanted to create the illusion of a very pale face as I was using warm orange tones and I thought having a pale face would help my look standout a lot more than if I kept her national skin tone which is yellow based and rather tanned.
    I then moved onto the eyes, I wanted to create a sunken in effect to the eyes and to create this I used the Charles Fox bright eyeshadow palette and the different tones of orange, yellow and a burnt orange red. Starting with one of the orange shades I packed this onto the lid and slightly blended up into the crease to create a base to work my eyeshadows around, I then started to build deeper shades of orange into the crease creating definition to the eye and start to create that sunken in, blown out effect. Next I decided to go in with the orange red colour and added this into the crease, again creating more depth the moved to the inner corner of the eye up near the brow bone and started to flick shadow up into the brow to create a blown out effect. After I had got my desired opacity I wanted to make this look even more warm so I took the yellow shade in the same palette and added this around the edges of the look which also helped me blend out the eyeshadow even more and the eyeshadow was complete!
    Using the same Charles Fox bright eyeshadow palette I started to contour the face, by using the orange and yellow shades in this palette to match the eyes. I took my Zoeva small buffing brush and started to contour the face by building up the colours and also blending them out using the same yellow shade.
    While creating this look I wanted to keep it very soft and blown out which I believe I achieved when executing my look. Looking back at my design now I wish I used a small line of eyeliner to help ground the look and help tie it all together and also adding more definition to the eyes as even though this look is very dramatic, I felt it didn't have much definition at the eyes which I think eyeliner would of solved this issue. The lips is another part I wish I could of changed and made them so much more dramatic and opaque by over lining them slightly to give them more body, then going in with a orangey red Charles Fox super colour and used this method instead of just using a thin layer of orange lipstick. In my future looks I will keep this small details in mind, and hopefully execute it in a much bigger and better way as I keep learning new techniques!

Analogous Face Chart

    Analogous: For this face chart I wanted semi dramatic make-up, so I created a purple wing of eyeshadow and a pop of blue on the lid, this whole look I wanted to be dramatic but in a much softer way compared to my first design. Seeing as the eyes are so cold you need that extra bit of warmth from the skin, so I added bronzer as well as a pink blush to tie the look together, I then went and created an ombre lip of a rosy lip moving into a light baby pink. I chose to do an ombre lip to add dimension to the lip so they aren't just flat, and to also make the colour much softer than if it was just a flat bold colour.

    In conclusion, I do really enjoy doing face charts and how my outcomes looked in the end. However, I do think I need to work on getting fine details into my face charts as I feel like they'll just stay in this basic format which will make me not grow and learn from doing face charts, and hopefully keep improving over the years I have to do them.

Complementary Face Chart

    Complementary:  I wanted this face chart to be more of a festive and subtle look, as compared to my pervious design this one would be quite wearable when it comes closer to winter. On the eyes I'd apply a slight wash of green on the eyes to act as a base colour and to contrast between the red lips, with a touch to glitter to make the eyes more dramatic or going out, with rosy cheeks which will act as a slight contour on the face and to finish off a bright punchy red lip! Who doesn't love to rock a red lip?

Monochromatic Face Chart

  (L-R) Monochromatic: For this face chart I wanted there to be a blown out effect with the eyeshadow by hollowing out the eyes and cheeks. For this whole look I used Charles Fox bright eyeshadow palette and for the lips I used the Charles Fox super colour. I started off with the eyes by layering up the orange, yellow and orangey red shades and building the darker colour into the crease while focusing the orangey red shades in the inner and outer corners of the eye. After I had reached my desired intensity I went to contouring the face, I got a flat brush and placed it at the sides of the face and blended upwards towards the cheek bone. Lastly the orange lips I used one of the colours from the super colour palette and applied it to the lips.

Colour Theory!

    The colour wheel is divided into three different categories: primary, secondary, and tertiary.

Primary: three primary colours are: red, yellow and blue. These colours are considered to be foundation colours because they are used to create all other colours.

Secondary: combining two of the primary colours, three secondary colours are formed. 

Tertiary: the six tertiary colours are made by combining a primary and an adjacent secondary colour. These are: yellow-orange, orange-red, red-violet, violet-blue, blue-green, and green-yellow.

 Warm colours: bright, passionate and tends to be eye catching colours. Warm colours include red, orange and yellow and also variations of those three colours.

In the make-up artistry, reds can be both cool and warm. If the red is blue based it is cool, but if the red is orange based it's warm.

Cool colours: normally seen as calm, soothing colours. Cool colours include violet, blue and green.

In make-up the same theory applies with the colour green. If the green has more gold/yellow undertone then it is warm. However if the green contains more blue undertone then it is cool.

Analogous: looks created by using three or more colours that are next to each other on the colour wheel.

Complementary: created by combining colours from opposite sides of the colour wheel.

London: National Portrait, Charles Fox & MAC!

    Last Thursday we all took a trip to London to visit the National Portrait Gallery and was encouraged to take a peek into the new MAC store in Carnaby Street, Illamasqua and Charles Fox.
    Our first stop was The National Portrait Gallery and saw the Elizabethan section for inspiration for our work, which I did gather some inspiration by seeing the portraits of Tudors that we'd been talking for the previous month. Even though not all the portraits was of Elizabeth it was interesting to see people who was related to her, such as King Henry 8th and Anne Boleyn and see how they was portrayed back in the 1600s. What really interests me is the use of symbolism in Elizabeth 1st portraits, the uses of powerful objects like her crown, her scepter and the globe was a big use in her portraits which shows that she's the ruler of her nation and also what she plans to take over one day.
    I also took a serious look at the make-up and hair used in these portraits, which was also very inspiring for my final pieces as I feel as if I have a better understanding of what was the beauty trends around that time, and also how Elizabeth changed the beauty ideal when cosmetics was created. During my time in the gallery I took away so much inspiration for my final outcomes and also how I would position my models when photographing them.

    Our last stop was, of course the MAC and Charles Fox stores in London! I will admit, I went slightly over the top when being in these stores but that's one of the reasons why this trip is rememberable! But the MAC store was the biggest thing planned for us, as we had a tour of the brand new store and got to view and buy their pro products with a discount of 35% off! (I low-key died a little). The MAC tour consisted off us being bought around the new store and having demos on how to use their pro products and what would be useful to have in our make-up kits in the future, (which is when I decided I need everything in the store).
    Finally, I really enjoyed this trip and I'm so thankful that our lecturers was able to take us on this trip to help us with finding inspiration for our final make-up and hair outcomes and I will defiantly be using a lot of the things I bought, and learned today in my work in the future.

Baroque Music

    Baroque music is a style of music composed from approximately 1600 - 1750. This era followed the Renaissance, and was followed in turn by the Classic era. The negative use of the word comes from a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome. Although the term was used in architecture and art criticism in the 19th century, it wasn't until the 20th century that the term "baroque" was applied to music.
    Baroque music forms a major portion of the "classical music" canon, being widely studied performed and listened to. Composers of the Baroque era include Johann Sebastian Bach, George Frideric Handel and Alessandro Scarlatti. The Baroque period saw the creation of tonality. Baroque music expanded the size, range, and complexity of instrumental performance, and also created opera, cantata, oratorio, concerto and sonata as musical genres. In addition to producing the earliest European music familiar to most of us, the baroque era also greatly expanded our horizons.
    Although the baroque period ended over 250 years ago, traces of the era can be heard everywhere. Some of the most influential compositions are regularly performed in concert halls, many of the musical genres still in use today, like the oratorio, concerto and opera, originated in the period. Twentieth century composers such as Ralph Vaughn Williams, and Benjamin Britten paid homage to the baroque in their works. Its influence can be heard outside art music and into free movement between solo and jazz can be sometimes compared to baroque music, and parts of Bach and Vivaldi have been known to appear in solos of heavy metal guitarists.

Contemporary Royalty

    For my contemporary portrait that shows royalty I decided to use one of my favourite fashion brands, Dolce and Gabbana. If anyone has been their runway shows or fashion editorials you'll know that the majority of them follow this trend of baroque which I really relate to royalty.
    Baroque is often thought of as a period of artistic style that used motion and clear, easily interpreted detail to produce drama, tension and energy in sculpture, painting, architecture, literature, dance and music. The style began around 1600 in Rome which explains why Italian designers Domenico Dolce and Stafano Gabbana incorporate their heritage into their work and baroque was also created around the same time is Queen Elizabethans era and before the Renaissance.
    Another reason why I associate baroque with royalty is because they always have crowns which is symbol of royalty and their use of Monreale's famous Byzantine and Venetian mosaics bring a romanticised view of the Catholic Church which also explains their use of decorative crosses throughout their designs and adverts. Roses are another form is symbolism that Dolce and Gabbana use, but more specifically red and white roses. Red roses mean true love and whits is silent or innocent, wistfulness, virtue, purity, secrecy, reverence and humility which sums up Queen Elizabeth herself, another colour scheme they use on their flowers is red and white together which symbolise united which relates to the Renaissance.

    Celebrities have also adopted this desire to be royalty and have expressed this though advertisements for their world tour to perfumes. I think this really shows the impact that Queen Elizabeth has had on all classes around the world and everyone has a different image of what they see as royalty, for example look at the difference between Beyonce and Katy Perry's promo pictures, they each have a different view on Queen Elizabeth and have thrown in their own spin on the look. Katy's look is so much more simpler yet saturated with colour compared to Beyonce's where she is dressed head to toe in pure gold, however they do have many things in common too such as their sceptre which has also been adapted to suit their own person image, and their crown to really finish off the whole royal look to their campaign.

Fake Bleaching My Eyebrows!

    I know what you're thinking, but why?! Well to answer your question because I was inspired! If anyone has seen pictures of Queen Elizabeth 1 you'll notice the eyebrows, or lack of eyebrows I should say, and if you see any fashion shoot or runway you'll come across images of the models with bleached eyebrows as the designers are inspired by the Elizabethan era.
    The Elizabethans loved that look of a large rounded forehead as they thought it made them look smarter, to achieve this look they would shave the first two inches of their hairline which you'll see from the Queens portraits and any movie adaptation the actress that played Elizabeth would have to do the same. And lastly they would keep their eyebrows light, and now it's my turn to try it out!
    I didn't want to go to the fullest for my first go so instead of using bleach I used a concealer that matched my skin tone and an eyebrow spoolie to brush the product though my brows. To make sure I got every inch of each hair I brushed the hairs upwards and downwards and repeated till I got my desired opacity. The results was interesting to be completely honest, it did freak out my flatmate and according to her I looked "alien", although this hasn't got the exact effect of bleaching your eyebrows, I still felt very weird wearing no eyebrows. I did notice that my face looked very elongated compared to when I had my eyebrows natural and I didn't hate the finish product! Even though I wouldn't of worn this outside, It isn't a look I would dismiss although even for the final look for our Elizabethan make-up which I was contemplating on recreating anyway.
    Overall I'm happy I did this little experiment as research for my final make-up outcome and would defiantly think about recreating this look again on other people and maybe my model for my final outcome!

Illamasqua 'Once' Collection

    When searching brands and designers that had been inspired by the Elizabethans I came across this contemporary version by Alex Box. As you can see her vision of the Elizabethans I think is more contemporary than historical, however you can still tell that it's Elizabethan inspired compared to some interpretations of this look where they're so modern only a few aspects really relate. What really drew me to this collection is the obvious wardrobe choice, but also the make-up has so many elements that just scream Queen Elizabeth 1, like the very light hair and eyebrow hair along with the circular application of the rouge. However she has made this look contemporary by making the skin very glowy and shiny and also sticking with a peachy nude instead of the classic red.
    "Old cannot exist without new, juxtaposition exalts the differences, She endures, her spirit is encapsulated, timeless and as present and as vital as the morning light, whilst everything around her gently decays. She feels both vintage yet with a modern vital spiral. Beauty endures." - Alex Box

Elizabeth in Her Portraits

The Armada Portrait:

    One of Queen Elizabeths 1st most popular portraits which she's against a backdrop representing teh defeat of the Spanish Armada in 1588. English art during this time was isolated from trends in Catholic Italy, and The Armada Portrait is no different: the chair to the right is viewed from two different angles, as are the tables on the left, and the background shows two different stages in the defeat of the Armada. On a secondary level, it shows Elizabeth turning her back on teh storm an darkness while she looks at the sunlight.

    The Queen's hand also rests of the globe and her fingers covering the Americas, indicating England's dominion of the seas and plans for the New World. Andrew Belsey and Catherine Belset have pointed out the striking geometry of the painting, with the repeating patterns of circles and arches described by the crown, the globe, the sleeves, ruff and the gown worn by the Queen. They also contrast from the large pearls symbolising that she's a virgin queen and the mermaid carved on the chair of the state, representing female wiles luring sailors to their doom.

The Rainbow Portrait:

    Elizabeth stands before a dark archway holding a rainbow above which is inscribed the Latin motto "Non Sine Sole Iris" meaning no rainbow without a sun. On her arm, a serpent which is embroidered on Elizabeth's sleeve with a heart shaped ruby in its mouth. The serpent is thought to represent wisdom and the ruby Elizabeth's heart, implying that the Queen's wisdom controls her emotion. Eyes and ears are also found on the fabric of Elizabeth's dress clearly implying a sense of omniscience; as queen, she was able to hear and see all.

Elizabethan And Contemporary Beauty Methods

    There was many beauty methods in Elizabethan times that claimed to solve different problems with peoples hair, skin and teeth. Every example of Elizabethan beauty methods is just amazing to read, but one I thought was interesting was how to cure redness in the face to achieve that snow white complexion they so desired.

How to cure redness of the face:

Elizabethan method

Take white lead (ceruse), rose water and violet oil and mix together and anoint the face.

Contemporary method

L'Arissa Active formula with Retinol & Vitamin C ingredients:

aqua, retinol, glycerin, lecithin, helianthus annus (sunflower oil) seed oil, glyceryl stearate, ceteareth-20, ceteareth-12, cetearly alcohol, cetyl palmitate, soybean oil, isoprpyl myristate, ethlhexylglycerin, pheonoxytheanol, dimethiconce, citrus grandus extract, sodium PCA, xanthan gum, parfum, carbomer, triethanolamine, EDTA.

To make you beautiful:

Elizabethan method

Take bread crumbs and egg whites and mix them together and put them in vinegar for two whole days, and then use it as you please.

Contemporary method: Glamglow mask

Water, Kaolin, Magnesium Aluminum Silicate, Sodium Hydroxide, Eucalyptus Clobulus, Mandelic Acid, Charcoal, Parfum [Benzyl Benzoate, Linalool], Clycolic Acid, Lactic Acid, Azelaic Acid, Pyruvic Acid, Salicylic Acid, Xanthan Gum, Aloe Barbadensis Leaf Juice, Maltodextrin, Iron Oxides, Peppermint Oil, Butylene Glycol, Clycyrrhiza Glabra Root Extract, Glycerin, Chamoilla Recutita Flower Extract, Calendula Officinalis Flower Extract, Cucumis Sativus Fruit Extract, Hendera Helix Extract, Symphytum Officinale Leaf Extract, Phenoxyethanol, Ethylhexylglycerin, Caprylyl Glycol, Hexylene Clycol, Methylchloroisothiazolinone, Methylisothiazolinone.

    Although the Elizabethan method are a lot more simple compared to the contemporary method, it's a lot more harmful on the skin which can cause lead poising and result in death, whereas the contemporary method contains safer ingredients which can be used on human skin.
    Looking though Making Up the Renaissance and seeing some of the ingredients that they would have used really shocked me that people actually thought that some of these things was okay to put on the skin, hair and teeth. I guess our generation is lucky that we know what is good and bad for the skin and how we can find alternatives to recreate their beauty methods in a much safer way which won't result in poising or death.

Tudor Cosmetics And Dangers

    The use of cosmetics or make-up was very frowned upon at some points in history, but not necessarily the Tudors, The rich women of the Tudors, Royalty and the Nobility wore make-up as an indication of their status. It was also used to hide any imperfections on the skin such as scarring from various diseases like smallpox. Although cosmetics might have been worn by the wealthy in Tudor times, in the early Tudors like when Henry VIII was king it was not fashionable to be seen wearing heavy amounts of make-up, however the use of creams to soften the skin way. These creams would of been made from ingredients such as honey, beeswax and sesame seed oil.

    Make-up was developed in the Middle East and used by the Ancient Egyptians as far back as 3000BC. Eye make-up in the Middle East consisted of providing colour to their eye lashes, eye lids and brows. Rouge was made from red ochre and was used to colour their lips and cheeks.

    Queen Elizabeth 1 set the fashion as she grew up she became more elaborate with make-up which was a result of hiding wrinkles and other signs of ageing. Queen Elizabeth had caught smallpox which ended up leaving her with scarring on her face which was another reason for her using cosmetics more and as she grew older the heavy white make-up which she favoured helped to hide this and maintained her illusion of beauty as the 'Virgin Queen'.
    The Tudors view of ideal beauty during the Elizabethan era was a women with light hair and "a snow white complexion" which was complimented with red cheeks and lips. However the famous white base would only be achieved by the wealthiest women, and women from the lower class was expected to work outside so they couldn't maintain that milky complexion.
    Queen Elizabeth loved to enhance and exaggerate the image of the white make-up and their favourite way of applying this base was called ceruse which was a mixture of white lead and vinegar but unfortunately poisonous. Other methods of getting this white base was using plant roots and leaves. Moving onto the lips and cheeks, expensive rouge would be applied using cochineal to stain the cheeks and lips, as well as madder and vermilion was also popular to create this reddening effect.

White Base Experiment

    Earlier in the week we tested out different white bases that we all have in our make-up kits to see how they performed and what base would work best for certain aspects of our final Elizabethan make-up.

Illamasqua Skin Base in 01:

When applying skin base it didn't cling to any dry patches on the skin, which my model did have, and was good to blend into the skin to create an overall white wash on the face. However, when going back to see if we could build it up, as you'll see from the pictures nothing really happened it just blended into the previous white on the face.

Krylon Aqua Colour:

This was by far the worst base to apply out of the three we had to test out, you couldn't build up the colour as it just went streaky and the product just moved while trying to paint it onto my face. As this base is water activated I could feel it drying to my skin and it became hard as if I had applied a face mask and wasn't as weightless as the other bases. A plus we found with the base is it would be great for detailed work, as applying it in small strokes would mean you'd get that colour pay off without it going streaky which is what happened when applying it in a large area.

Krylon Super Colour:

Just like the Illamasqua skin base this product was easy to apply and it was an almost instant colour to the face. Unlike skin base you could build up the opacity of this base, but according to the make-up artist applying it to my face, it was very hard to move across my face and it had to be painted on not buffed as it went patchy on the skin. Another plus on this base was it felt weightless on my face, unlike the aqua colour it just felt like I had no product on my skin.

In conclusion, the Krylon Super Colour was the overall winner if you wanted that perfect white base for your Elizabethan make-up but all three would be great in different aspects of make-up, like the Krylon Aqua Colour it would of performed better if it was detailed work and not used as a face paint.

Foundation And Concealer

    The second step to achieve a flawless base is foundation! I was super excited about this lesson as it's the first lesson where we have used our kit for the first time. We started by following the steps of cleansing and toning the skin before applying the foundation which we had to follow some simple steps and tips to help use achieve the perfect base.
    After prepping the skin this is when you apply the primer which will help your foundation stick to the models face making it last longer and stop foundation and concealer sinking into pores and lines. Another tip is if you're working on a shoot outside is to match the foundation you're using to the environment, this means if the weather is hot to use a foundation that's waterproof e.g. MAC Face and Body, and to use sun cream instead of a moisturiser as this'll protect the skin from sun damage.

How to test foundation:

    To test the shade and tone of the foundation after mixing different shades together from the Krylon foundation palette is to apply a small amount across the jaw line going onto the neck. Doing this will ensure that you get the perfect colour for your model, if your model has fake tan this technique will help you match the foundation to the fake tan and not their real skin tone.

Applying foundation:

    After primer has been applied to the face it's now time to start with the foundation application. I started off by mixing various shades from the Krylon foundation palette matching to her skin tone, in my case my model had a very yellow/warm skin tone due to her fake tan. After matching the foundation to her neck I then used my Zoeva buffer brush to apply my foundation to my model in a buffing motion working my way around the face. I made sure to buff the product as much as possible into her skin to make it look seamless on the skin and getting the ears and neck as this will all be on show and if your model has red ears and a perfectly neutral face it'll look a little odd.

Applying concealer and powder:

    With applying concealer, we was advised to always go 1-2 shades lighter than the foundation as for under the eyes this'll create a natural highlight making the face look more 3D and not a flat surface. I decided to just use my models foundation shade and mix a bit of the Illamasqua Skin Base in 01 (white) to lighten up the colour as I knew this shade matched her skin tone. To apply I used a small flat eyeshadow brush to pin point conceal spots and areas the foundation may still show redness, and also under the eyes in a patting motion then blended in further by using a clean finger.
    Lastly to make sure the foundation and concealer doesn't move anywhere we use powder to set the face, we used the Illamasqua translucent powder and a powder puff and rolled the very tip of the puff into the powder and gently pushed the powder into the skin.

Cleansing and Toning

    In our first practical session we learned about prepping the skin before applying the perfect base. We also learned some basic rules about how we should start before we do anything to our client, and questions we should always ask before starting anything. Tips that we learnt was while cleansing and toning, or any part of make-up in general was to keep checking your model though the mirror, this will allow you to really see what you're application is looking like and will tell you how much you need to apply or take away of things.

What you'll need to bring to a shoot:

1. hair cape
2. two hair slides
3. full make-up kit and brush kit
4. cotton pads
5. cotton buds
6. sensitive cleanser, toner, and moisturiser (beware cleansing can cause an allergic reaction) 

Basic rules that you NEED to do before a shoot:

1. hair needs to be UP
2. wash hands before and after every shoot/practical
3. wash brushes before and after every shoot/practical

Questions that you should ask your model:

1. are you allergic to anything?
2. do you wear contacts?

    Cleansing, toning and moisturising can be achieved in achieved in five simple steps, however, if your model is wearing a lot of make-up this process can take longer compared to if they had none on at all. A good tip is to lay out all your cotton pads and place a bit of each product onto them to help you save time.

1.  after putting the cleanser onto the cotton pads, move in upward strokes across the face
2. for eyebrows, to remove just rub them from side to side until they've been removed
3. for around the eyes, you can get your model to rub their own make-up off and you clean up after with a cotton bud. OR you can gently rub over the eyes until all traces of make-up is removed
4. after cleansing it's time for toning. Start by getting toner onto a cotton pad and just wipe over the face still following in the upward motion and you'll begin to see more make-up will start to be removed, if so keep toning until the pad comes off clean.
5. and lastly, moisturiser. Still following with the theme of moving upwards on the face place some moisturiser onto clean hands or cotton pads and rub until it has been absorbed by the skin.  

Make-Up Inspiration - Elizabethan Style!

    Not going to lie, but when we found out we had to create Elizabethan inspired make-up I was pretty excited as I'd had a few pictures in my inspiration folder that suit this style so much and I'm dying to recreate! As you'll be able to see I have a reference picture from the Sofia Coppola movie Marie Antoinette, even though she was alive in a completely different era the make-up though out the film is very heavily inspired by Queen Elizabeth. You can see the heavy rouge and rosy lips with basically no eyebrows and pale white skin, this is a basic adaptation from the Elizabethan make-up.

    Another big inspiration for me and for the Elizabethan make-up is Pat McGrath at John Galliano A/W '09. I absolutely adore this look, and Pat McGrath is also one of my favourite make-up artists her work is hauntingly beautiful her way of applying and using make-up is just so outrageous, but you can't look away from it. She is also very much inspired by Elizabethan make-up, if you've seen most of the shows she worked on you'll be able to see that the use of pale skin, circle rouge and pointed red lips just scream Elizabethan.

    The last two images was just ideas that I thought would good to keep in mind of what you could create. See the last image, the eyebrows are completely blank, creating a very elongated forehead which is what the Elizabethans wanted to achieve. But then a different way of creating that same look would be to just highlight the entire brow (see first photo) which just creates a very different look but still keeping in with the contemporary Elizabethan theme. 

Modern Elizabethan Beauty & Fashion

    Pale faces, rosy red lips and pink cheeks, just some of the Elizabethan beauty trends that was around at the time. Now you look at celebrities and catwalks and you're bound to run into this style of make up.

    To understand the cosmetics worn by Elizabethan women, you have to understand the effect they wanted to achieve - that "ideal" of beauty is beautifully summed up in one of Shakespeare's most popular sonnets; 

"My mistress' eyes are nothing like the sun

Coral is far more fair then her lips fair

If snow be white, why the, her breast is dun,

If hair be wires, black wires grow on her head.

I have seen roses damasked, red and white,

But no such roses see I in her cheeks..."

    Even just by reading this short quote from Shakespeare's you can catch a glimpse of the ideal Elizabethan female: bright eyes, snow-white skin, red cheeks and lips, and fair hair. And as you can see from the images above, they all have those main components but have been interpreted in different ways, every recreation have aspects of the Elizabethan beauty ideals but still keeping with a modern touch that shows how each designer pictures the Elizabethan era. 

    (L-R: D&G A/W 09-10, Alexander McQueen A/W 2014, Ashley Smith by Sharif Hamza for Vogue Russia)

    Every aspect of the Elizabethan era has been an inspiration in almost anything in the fashion industry, and even down to the style of clothes they wore. A common theme is this idea of baroque, as a lot of the Elizabethan fashion have the same kind of patterns and designs as seen from the first image from the left. Another common feature that is used quite often in fashion is the use of a ruff around the neck. A ruff was worn by men, women and children which evolved from the small fabric ruffle at the drawstring neck of the shirt or chemise. A ruff could/was also used to reflect light onto a persons face, making their appearance seem brighter and whiter than it actually was. 

Health And Safety

    Before applying make-up or prepping the skin on your model, you must ask them the questions above to get as much information about that person as possible to get a better understanding of their skin types and if they have any diseases that could effect the overall look, yours or their health once you're finished with them. 

    Skin type is a very important question to ask so you have an idea on what products you should use and shouldn't use on their skin so it produces the best outcome. When it comes to the overall health of their skin, it's best that you ask if they have any diseases such as; psoriasis, eczema, impetigo, and ringworm etc. This will insure that you won't catch anything while working with this model, and like I said above you can create the best outcome for your look.

Other information you should find out:

1. Are they allergic to anything?
2. Any cuts, blemishes, rashes, open sores or any skin complaints?

    Also make sure you wash your hands before touching your models skin, as you don't want to spread any bacteria onto their skin.

1. Place a gown around your model
2. Don't put make-up straight onto their skin, make sure it's clean and put something between their skin and the make-up such as a primer or moisturiser
3. Don't double dip any of your products

Skin conditions: Contagious & Noncontagious

For our make-up classes it is obvious that we'll be in contact with many different peoples skin, but we probably aren't aware of different skin conditions that could affect the make-up application or decide that the client is un useable. I'm going to talk about 6 different skin conditions, 3 that aren't contagious and 3 that are so in the future I know to look out for conditions such as these!

Noncontagious:

Psoriasis: is a skin condition that causes big areas of red, raised skin, flaky dry skin, and scaled skin. It has no cure, and cannot be contracted with skin to skin contact. 

Rosacea: is a very common acne-like facial skin condition which has red or pink patches, broken blood vessels, small red bumps, and pink eyes. It is found in people with very fair skin.

Eczema: is a skin condition caused by inflammation. It's a chronic condition for many people and is most common among small children.

Contagious:

Impetigo: found mostly in children, this highly contagious skin condition often happens after a recent respiratory infection. Impetigo begins as itchy, red sores that blister, produce fluid, and eventually become covered with a tight crust.

Tinea (ringworm): there are multiple forms of ringworm which effect the skin on the body (tinea corporis), the scalp (tinea capitis), the feet (tinea pedis), or the gorin with jock itch (tinea cruris). 

Tinea Versicolor is thought to be the most commonly occurring type of fungal skin infection and can affect adults. Often found on oily parts of the body, chest or back, it causes many small, flat spots on the skin. The spots can be flaky or itchy.

Scabies: is an itchy skin confition caused by a tiny mite called Sarcoptes scabiei. Blistery bumps often appear and is often found between the fingers, in the armpits, around the waist, on the side of the wrist, on the inner elbow, on the knees, and on the buttocks.