References
The Artifical Face, A History of Cosmetics. 1973 Fenja Gunn
Facing Beauty, Painted Women & Cosmetic Art. 2011 Aileen Ribeiro
Elizabethan Make-up http://www.elizabethan-era.org.uk/elizabethan-make-up.htm 2015.
Introduction to Elizabethan Make-up
References
The Artifical Face, A History of Cosmetics. 1973 Fenja Gunn
Facing Beauty, Painted Women & Cosmetic Art. 2011 Aileen Ribeiro
Elizabethan Make-up http://www.elizabethan-era.org.uk/elizabethan-make-up.htm 2015.
'Elizabeth' by Shekhar Kapur 1998
The film Elizabeth follows the transformation of Henry VIII's daughter from her young years to being Queen of England. One key element of this transformation is the transgression of the make-up and hair design.
To begin with, Elizabeth's make up is almost non-existent. She wears her long, strawberry-blonde hair loosely with small plaits tied around her head. The award winning makeup designer Jenny Shircore decided to leave her skin clear and glowing and left her lips looking natural with a light nude colour. In the first scene we witness young Elizabeth, she is dancing around innocently whilst grabbing the attention of Robert Dudley. Her virginal look allures the young man and he remains the love interest for the remainder of the film. Interestingly, as her make-up transforms, their relationship disintegrates.
When she is coronated as Queen, her natural make-up look has been continued, however, her hair is more sleek and styled. From the illustrations a paintings from the 1550's, the style has been portrayed realistically. Her face does not look as pale as the painting on the right but the sleek waves drooping onto her robes compare well. Throughout her role as Queen, multiple women assist her in her transformation from woman to Queen daily. Thus symbolising the decisions that are being made for her that she does not necessarily want to follow through (war and marriage for example).
Queen Elizabeth is soon subjected to the process of finding a suitable husband. Whilst this process occurs, Elizabeth's hair becomes more styled and pristine with a curled updo entwined with gems, flowers and gold jewellery. As her opulence grows, Robert Dudley becomes more interested in her - demonstrating his guise of being a suitor for the young Queen as he is already married and seems to be more intrigued with only her lifestyle.
As Elizabeth grows as a Queen and as a woman, she begins to indulge in the splendour of royalty and this is reflected through the choice to include large, theatrical crowns and headdresses within the costume. Her make-up also develops as her face becomes pale and matte with a powder-like substance and exaggerated blush under her cheek bones. Within the Elizabethan era, this make-up
was created dangerously through mixing vinegar and white lead and applying it all over the face. A pale complexion was a sign of the upper class, disguised ageing and optimises Elizabeth I's transition into the 'The Virgin Queen'. The make-up artists adapted this look for the modern screens with full coverage foundation, layers of translucent powder and a lighter powder to further remove colour from Cate Blanchett's face. They also chose to bleach her eyebrows to reflect the trend of severely plucked brows throughout the Elizabethan era. For the cheeks, layers of powder blushes were applied. These techniques allowed the make-up and hair crew to indulge the character completely within the era of the film.
'I am no man's Elizabeth' is declared by Elizabeth I in one of the penultimate scenes following the deceit of Robert Dudley and her final transformation to being 'The Virgin Queen' begins. Her head is shaved in preparation for her lavish wigs and headdresses. Before she steps out into her final scene fully transformed, she exclaims 'I have become the Virgin'. Her face becomes extremely white, reflecting her virginal concepts and the innocence within her. The make-up is of significant importance to symbolise her transition from an naive young girl longing for marriage to an iconic Queen who has sworn to only 'being married to England'. The make-up almost becomes a disguise and acts as a mask that gives her power to rule the country as she is no longer seen a juvenile but is seen as a timeless icon.
References for research
http://englishhistory.net/tudor/monarchs/queen-elizabeth-part-2/
http://www.elizabethan-era.org.uk/elizabethan-make-up.htm
http://www.costumersguide.com/cr_elizabeth2.shtml
To begin with, Elizabeth's make up is almost non-existent. She wears her long, strawberry-blonde hair loosely with small plaits tied around her head. The award winning makeup designer Jenny Shircore decided to leave her skin clear and glowing and left her lips looking natural with a light nude colour. In the first scene we witness young Elizabeth, she is dancing around innocently whilst grabbing the attention of Robert Dudley. Her virginal look allures the young man and he remains the love interest for the remainder of the film. Interestingly, as her make-up transforms, their relationship disintegrates. 
When she is coronated as Queen, her natural make-up look has been continued, however, her hair is more sleek and styled. From the illustrations a paintings from the 1550's, the style has been portrayed realistically. Her face does not look as pale as the painting on the right but the sleek waves drooping onto her robes compare well. Throughout her role as Queen, multiple women assist her in her transformation from woman to Queen daily. Thus symbolising the decisions that are being made for her that she does not necessarily want to follow through (war and marriage for example). 
Queen Elizabeth is soon subjected to the process of finding a suitable husband. Whilst this process occurs, Elizabeth's hair becomes more styled and pristine with a curled updo entwined with gems, flowers and gold jewellery. As her opulence grows, Robert Dudley becomes more interested in her - demonstrating his guise of being a suitor for the young Queen as he is already married and seems to be more intrigued with only her lifestyle.
As Elizabeth grows as a Queen and as a woman, she begins to indulge in the splendour of royalty and this is reflected through the choice to include large, theatrical crowns and headdresses within the costume. Her make-up also develops as her face becomes pale and matte with a powder-like substance and exaggerated blush under her cheek bones. Within the Elizabethan era, this make-up
'I am no man's Elizabeth' is declared by Elizabeth I in one of the penultimate scenes following the deceit of Robert Dudley and her final transformation to being 'The Virgin Queen' begins. Her head is shaved in preparation for her lavish wigs and headdresses. Before she steps out into her final scene fully transformed, she exclaims 'I have become the Virgin'. Her face becomes extremely white, reflecting her virginal concepts and the innocence within her. The make-up is of significant importance to symbolise her transition from an naive young girl longing for marriage to an iconic Queen who has sworn to only 'being married to England'. The make-up almost becomes a disguise and acts as a mask that gives her power to rule the country as she is no longer seen a juvenile but is seen as a timeless icon. References for research
http://englishhistory.net/tudor/monarchs/queen-elizabeth-part-2/
http://www.elizabethan-era.org.uk/elizabethan-make-up.htm
http://www.costumersguide.com/cr_elizabeth2.shtml
First Week at Southampton Solent University
Illamasqua Seminar 23rd September 2015
Spob (Sharon) O'Brian and Helen Roche visited the university to give us an insight on Illamasqua as a company, the make-up industry and their personal experiences and careers. Both Spod's and Helen's careers were inspiring and the one main piece of information that stuck out for me was 'personality is everything'. As Spod discussed her career, varying between a freelance make-up artist and head of professional development at Illamasqua, her passion for everything that she has achieved and her current projects demonstrated to me how determined you must be to succeed. Specifically, Spob reminded me of my passion for film and television make-up as she listed her previous jobs varying from Inception to the new James Bond. It was a new outlook on my career options as Spob manages to be hands on within the make-up world whilst working for a famous make-up brand in the head office - both of those aspects appeal to me strongly as professional options.
Illamasqua Workshop 23rd September 2015
Following the seminar, Helen and Spob led a make-up workshop demonstrating a look they had created on 19th of September for Sorapol. Luckily enough I was picked to be a model! It was a great experience to, for the first time, have my make-up applied professionally and understand how it feels for the client. As they proceeded with the workshop, they explained how they achieved the final look from the brief to seconds before the runway. The emphasis was placed on research when working to a brief. We were also warned of last minute changes, models' emotional states and not having certain products and producing your own on the day. Being able to question them and hear their professional stories (and their mistakes!) was an eye-opener and will be a positive learning experience I will reflect on throughout my future career.
Kryolan/Charles Fox Workshop 24th September 2015
Members from Charles Fox visited our groups for a live demonstration of a beauty look. The make-up artist Gemma gave some extremely helpful pointers for working on a client that will be the basis of working with my peers and future models. For example:
After completing the induction week feel, I feel extremely positive about starting the course. The 3 events I have described above were the most useful and engaging and really opened my eyes to what the Make-up and Hair Design course and my future career will entail. However, I did not necessarily enjoy the Head in the Bag activity as I was not sure where to go with it and how relevant it was to the course. Although, the blogging induction was very informative and has aided me in starting this page. Overall, this induction week and get me ready and raring to go!
Spob (Sharon) O'Brian and Helen Roche visited the university to give us an insight on Illamasqua as a company, the make-up industry and their personal experiences and careers. Both Spod's and Helen's careers were inspiring and the one main piece of information that stuck out for me was 'personality is everything'. As Spod discussed her career, varying between a freelance make-up artist and head of professional development at Illamasqua, her passion for everything that she has achieved and her current projects demonstrated to me how determined you must be to succeed. Specifically, Spob reminded me of my passion for film and television make-up as she listed her previous jobs varying from Inception to the new James Bond. It was a new outlook on my career options as Spob manages to be hands on within the make-up world whilst working for a famous make-up brand in the head office - both of those aspects appeal to me strongly as professional options.
Illamasqua Workshop 23rd September 2015
Following the seminar, Helen and Spob led a make-up workshop demonstrating a look they had created on 19th of September for Sorapol. Luckily enough I was picked to be a model! It was a great experience to, for the first time, have my make-up applied professionally and understand how it feels for the client. As they proceeded with the workshop, they explained how they achieved the final look from the brief to seconds before the runway. The emphasis was placed on research when working to a brief. We were also warned of last minute changes, models' emotional states and not having certain products and producing your own on the day. Being able to question them and hear their professional stories (and their mistakes!) was an eye-opener and will be a positive learning experience I will reflect on throughout my future career.
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| Left: Being a model for Spob. Top Middle + Right: Sorapol S/S Catwalk and Spob's application on me. Bottom: Selfie with the artists! |
Members from Charles Fox visited our groups for a live demonstration of a beauty look. The make-up artist Gemma gave some extremely helpful pointers for working on a client that will be the basis of working with my peers and future models. For example:
- Personal space for the client is extremely important
- When doing eye make-up, raise the eyebrow with your finger
- When applying eyeliner, if their eyes start to water you should offer the client the option for them to complete it themselves
- Throughout the course, we should use varied models for our portfolio
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| Gemma's final beauty look |