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Tuesday 10 March 2015
Monday 9 March 2015
Final Image: i-D Magazine 'The love edition'
This is my final image for my publication. I am really happy with the hair and makeup and think it reflects the hair and makeup trends I chose to base my look on whilst conforming to the publication's style and target audience. I am especially pleased with how this photograph came out and really enjoyed working with both the photographer and model to come up with a final piece.
When editing the image, I used the programme Photoshop. The image itself was not edited in any way apart from being flipped horizontally as I covered the wrong eye in the shoot. To add the logo, I scanned the original logo from a magazine I had and then changed the colour of it on the programme. I added the text myself, choosing a font that I thought would suit the magazine. I coloured the text 'love fast; white in order to contrast against the colour of the models dress.
Products I think that worked really well in particular was the Benefit highbeam and Kryolan highlighter. The highlight can be seen well on the face, in particular on the models nose and I was really happy with how the camera picked it up. I also think that MAC face and body worked well on the models skin to create a flawless look. Using minimal powder allowed the makeup to look dewy and I was really pleased with the finish result.
Although I am really pleased with the overall image, there are things that I would improve on for next time. I took my set bag to the shoot to make finishing touches but as you can see from the above image, there is a loose hair across the forehead. I could have photoshopped this out of my final magazine image but I decided not to edit my photograph in any way so that it was a true reflection of my work. In future, I would take extra care to make sure that any loose hairs were moved before the photographs were taken. I also realised that one of the rose petals had come away from the hair at the top of the ponytail so this is something I would make sure to look at for next time however generally I am really pleased with my final image and would not change anything else.
COLLABORATING WITH OTHER ARTISTS
The
most important thing I learnt about working in a team was that although when we
were first give the projects it seemed quite daunting, it was actually the
opposite. Working together with the model and photographer enabled me to have
more confidence with my work. The day of the shoot went really well and I was
pleased with how my makeup and hair turned out.
One
of the important things I realised when working in a team was that I needed to
explain myself well in order for the model and photographer to know what look I
wanted. Without the use of my mood board and face design, I think explaining
the idea would have been more difficult, which just shows how important they
are when working in this industry.
On
the understanding that the model would receive photographers and the
photographer could use the images for her website, I was able to complete this
shoot for free. I didn’t have to buy any additional products as all makeup and hair products were from my kit and
the dress was the models own.
I
think it is really important that I practise this type of collaboration more in
order to build my portfolio whilst keeping the budget as low as possible.
Although I am aware that this industry is competitive and both the model,
photographer and myself aim to earn from our trades, I think as long as each
artist can benefit from the shoot, there is no harm in working for free.
Overall,
I really enjoyed this project and am looking forward to organising future
shoots. I was surprised with how well I was able to work under pressure and
with people that I didn’t know and am happy with the final image I created.
WHAT I HAVE LEARNT
Looking back to the beginning of the year and thinking about how my skills have developed over the last few months, I am really pleased with my progress.
I remember one of my very first lessons I was unable to achieve a winged eyeliner on my model and comparing that to how I quickly achieved the liner on my shoot without worrying or making any mistakes, it shows me how my skills have progressed in such a short amount of time. As well as this, I find that my time keeping has improved a lot and I am not spending so long on a makeup look now which will help me in future.
The most important thing I have learned this year is to just go with any ideas I have and if they don't turn out how I would like then it isn't the end of the world, it is just something I can learn from.
I think my most favourite lessons this year have been the more creative ones in the second term. I really loved the lesson on glitter as it allowed us to freely do whatever we wanted whilst experimenting with new products and I also really loved the lesson on face lace as it enabled me to realise that I do not need to spend loads of money on makeup products in order to achieve brilliant results.
Looking back through the research I have done over the past terms, it has surprisingly made me realise how much I enjoy fashion. What excites me is how much hair and makeup is used to enhance the clothes seen on the catwalk and I can definitely see myself working in fashion in future.
I have really enjoyed this project and am sad to see it end but am particularly excited in knowing that like the shoot I organised, it is all down to me to take the skills Branka and Emma have taught me and use them in order to push myself further with my work.
Shoot Day
The day of the shoot came around really fast but I felt well prepared and ready to enjoy the experience.
Health and Safety:
-Ensure all products are cleaned and ready to use
-Ensure the work space is tidy
-Ensure the model has no allergies
Products/Equipment:
-Brushes
-Curling Iron
-Pins and Grips
-Hair bands
-Cotton buds
-Cleansing products
-Ben Nye eyeshadow palette
-Kryolan blusher palette
-Duo glue
-Kryolan liquid eyeliner
-Kryolan lip palette
-MAC face and body foundation
-Kryolan translucent powder
-Benefit high beam
-MAC mascara
-Kryolan eyelashes
Timings:
00.00 Prepare the skin by cleansing, toning and moisturising.
00.05 Set the front of the hair in rollers, clip the rest of the hair away from the face.
00.10 Create the eye makeup, concentration on the crease using the Ben Nye palette and
creating the winged eyeliner. Add mascara to the top lashes, attach the false lashes
with duo glue and put mascara on top, joining them together.
00.30 Match the models foundation using MAC face and body and apply to the face in a
feathering motion whilst ensuring there are no streaks. Set the foundation with a small
amount of powder.
00.35 Contour under the cheekbones using powder and blend it into the skin.
00.40 Contour other areas such as the bridge of the nose, top of the head and under the jawline
00.45 Add the Benefit highlight to the cheek bones and the bridge of the nose. Set lightly with
Kryolan powder highlight.
00.50 Layer colours from the Kryolan lip palette onto the lips using a lip brush. Start light and build
up darker creating a layered effect.
01.00 Take out the rollers from the front and backcomb the hair slightly.
01.05 Brush the hair to the side using a Denman and secure with a rubber band, leaving out smaller
sections on each side.
01.10 Create a fishtail braid down the length of the hair, securing with a hair band. Wrap a section of
the hair around the rubber band and pin it with a grip to hide the hair band.
01.20 Taking the curling iron, curl the small sections of hair away from the face.
01.25 Holding the fishtail at the end, pull the sections loose and add petals to the gaps
01.30 FINISH
Evaluation
I was really pleased with how the hair style went. I didn't have any major difficulties with the hair and felt it turned out really well. What surprised me when creating the hair, was just how quickly I was able to achieve a neat braid. I made sure to be very careful when curling the hair so close to the head and successfully created the curls to frame her face.
The photographer Amy, was really helpful with listening to what I wanted to achieve and the model Georgia, was patient and quick to change poses as I told her. I think I did well in arranging a good team as we all seemed to work well together.
Health and Safety:
-Ensure all products are cleaned and ready to use
-Ensure the work space is tidy
-Ensure the model has no allergies
Products/Equipment:
-Brushes
-Curling Iron
-Pins and Grips
-Hair bands
-Cotton buds
-Cleansing products
-Ben Nye eyeshadow palette
-Kryolan blusher palette
-Duo glue
-Kryolan liquid eyeliner
-Kryolan lip palette
-MAC face and body foundation
-Kryolan translucent powder
-Benefit high beam
-MAC mascara
-Kryolan eyelashes
Timings:
00.00 Prepare the skin by cleansing, toning and moisturising.
00.05 Set the front of the hair in rollers, clip the rest of the hair away from the face.
00.10 Create the eye makeup, concentration on the crease using the Ben Nye palette and
creating the winged eyeliner. Add mascara to the top lashes, attach the false lashes
with duo glue and put mascara on top, joining them together.
00.30 Match the models foundation using MAC face and body and apply to the face in a
feathering motion whilst ensuring there are no streaks. Set the foundation with a small
amount of powder.
00.35 Contour under the cheekbones using powder and blend it into the skin.
00.40 Contour other areas such as the bridge of the nose, top of the head and under the jawline
00.45 Add the Benefit highlight to the cheek bones and the bridge of the nose. Set lightly with
Kryolan powder highlight.
00.50 Layer colours from the Kryolan lip palette onto the lips using a lip brush. Start light and build
up darker creating a layered effect.
01.00 Take out the rollers from the front and backcomb the hair slightly.
01.05 Brush the hair to the side using a Denman and secure with a rubber band, leaving out smaller
sections on each side.
01.10 Create a fishtail braid down the length of the hair, securing with a hair band. Wrap a section of
the hair around the rubber band and pin it with a grip to hide the hair band.
01.20 Taking the curling iron, curl the small sections of hair away from the face.
01.25 Holding the fishtail at the end, pull the sections loose and add petals to the gaps
01.30 FINISH
 |
| Images from the shoot |
 |
| Photo's from the shoot |
Evaluation
I
found the shoot day really fun. Knowing that I only had a maximum of two hours
booked in for the shoot, I had to work to a time limit and ensure I stuck to
it. Surprisingly, I stayed relaxed the whole time and really enjoyed myself. I found it helpful to have a small clock next to my makeup equipment as it enabled me to be able to check the time whilst referring to my timings to see if I was on track.
I was really happy with how the makeup turned out and didn't encounter any major problems when creating the look. One thing that I felt was quite challenging was my model's watery eyes. I found myself having to touch up the eye makeup a lot because her eye's were watering a lot and asking her to keep them closed was not helping it to stop it. Although this was only a minor problem, I found it quite difficult to keep touching up the makeup without disturbing the eyeliner. Another problem that I had to work with was my models lips. Her lips were quite heavily chapped and although we prepped them before the start of the look by adding Vaseline to them, it didn't help them as much as I would have liked. I think that although I did my best to layer on the lip colour to disguise this, they could still be seen as quite heavily chapped.
A product I could have used instead of Vaseline to help the lips is Embryolisse which is a fast working moisturiser. Although I didn't have any with me at the time, it is definitely something I will consider having in my kit for next time when problems such as these arise.
I was really pleased with how the hair style went. I didn't have any major difficulties with the hair and felt it turned out really well. What surprised me when creating the hair, was just how quickly I was able to achieve a neat braid. I made sure to be very careful when curling the hair so close to the head and successfully created the curls to frame her face.
The photographer Amy, was really helpful with listening to what I wanted to achieve and the model Georgia, was patient and quick to change poses as I told her. I think I did well in arranging a good team as we all seemed to work well together.
There
were a few minor problems when shooting the images. The prop that I had originally taken to
cover the eye was much too big for the
eye of my models face. To quickly improvise, I cut a heart out of some card I
had from an envelope in my bag and stuck it to the original prop. If anything,
I prefer the paper prop to the original and think it suits the style of the
magazine.
Another
problem we had was the lighting. Amy’s studio is in her home and although we
had the use of studio lights and reflectors, I felt that the images would look
better in softer light. I noticed a beautiful mirror in the corner and asked if
we could try some photos here. It is from this batch of photos I chose my final
image.
Overall,
the shoot proved to be a success. On receiving the variety of images, I was really pleased with how my look turned out and couldn't wait to create a magazine cover from the photos.
Final Design: Independant practise sessions
FACE CHART AND MOODBOARD
This is the moodboard and face chart I created in preparation for my shoot. I included all of my inspiration in order to create my look whilst taking into consideration which products to use.
Although I had a basic idea for the hair and makeup, I wanted to be able to practise the look before the day of my shoot to make sure that the hair and makeup worked well together, as well as using the time to overcome any issues whilst establishing time constraints and which products to use.
THE HAIR
For the hair, practising on my doll head proved to be ineffective because the hair was not long enough to do the fish tail plait on. In my hair lesson however, I discussed with Emma how I could incorporate the front of the hair into the fish tail. She suggested adding another plait which then was plaited into the fishtail so in my lesson I practised this on my dolls head.
To practise the whole idea, I asked a friend to come over as she has equally as long hair as my model for the shoot.
Products
-Heated rollers
-Brushes
-Pins and Grips
Health and Safety
-Ensure the work space is tidy and clean
-Ensure all equipment is clean
-Be careful when using heated products near the face and head
Health and Safety
-Ensure the work space is tidy and clean
-Ensure all equipment is clean
-Ensure the model has no allergies
This is the moodboard and face chart I created in preparation for my shoot. I included all of my inspiration in order to create my look whilst taking into consideration which products to use.
 |
| The mood board I created to show the photographer and model |
 |
| My Face Chart makeup design |
Although I had a basic idea for the hair and makeup, I wanted to be able to practise the look before the day of my shoot to make sure that the hair and makeup worked well together, as well as using the time to overcome any issues whilst establishing time constraints and which products to use.
THE HAIR
For the hair, practising on my doll head proved to be ineffective because the hair was not long enough to do the fish tail plait on. In my hair lesson however, I discussed with Emma how I could incorporate the front of the hair into the fish tail. She suggested adding another plait which then was plaited into the fishtail so in my lesson I practised this on my dolls head.
To practise the whole idea, I asked a friend to come over as she has equally as long hair as my model for the shoot.
Products
-Heated rollers
-Brushes
-Pins and Grips
Health and Safety
-Ensure the work space is tidy and clean
-Ensure all equipment is clean
-Be careful when using heated products near the face and head
Step by Step:
-To create this hairstyle, I sectioned the hair with a side parting using the end of a pintail comb and brushed the hair round to one side with a Denman brush.
-I then set the front of the hair in heated rollers in order to add some volume.
-Once the rollers had cooled, I took them out and backcombed the hair in order to give it some lift.
-I then took a section of hair from the top and began to create a fishtail plait close to the head taking sections from each side as I plaited.
-Once I had plaited down past the ear, I then took the piece of hair I had been braiding and fishtale braided it into the rest of the hair, securing it with a rubber band at the bottom.
-To give the plait a more romantic, less constructed feel, I held the bottom of the plait and gently pulled at some of the sections, making it more loose.
After creating this hairstyle, I can honestly say I'm not entirely happy it. The idea in my head was to create a romantic, free look and I don't think that the style I created shows this. To fix this, I think that rather than having the braid in the front, I will add heated rollers for volume and then use a heated tong to curl bits of hair around the face to frame it. I want my model to have 'The girl next door' look to her and I don't think this is something I have achieved yet but I think that will these alterations, I definitely will.
Key things I need to remember for the shoot in regards to hair are:
-Ensure there are no trailing hairs that will be caught in the photos
-Ensure to put the rollers towards the back of the head
-Ensure to hold the bottom of the ponytail when pulling out sections of hair
-Take the pintail comb and hairspray with me when going to take the photographs
THE MAKEUP
Practising the makeup allowed me to decide which makeup to use for my design. An exercise that I found useful was printing imagery of the makeup by Pat McGrath and sitting at a table with all my products and deciding which worked best. I found that by doing this myself, it enabled me to establish the right look without wasting the time of the model. As I didn't just want to practise on myself as this is much easier than on someone else, I asked a friend to model my makeup before my shoot so that I could see how well I could create the design on someone else.
Products:
-MAC face and body foundations
-Mascara
-Ben Nye eyeshadow palette
-Kryolan liquid liner
-Kryolan false eyelashes
-Duo glue
-Kryolan lip palette
-Translucent powder
-Kryolan blusher palette
-Ensure the work space is tidy and clean
-Ensure all equipment is clean
-Ensure the model has no allergies
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| Figuring out which makeup products work best for the design |
Step by Step
-Cleanse, tone and moisturise.
-Thicken the face and body foundation by mixing it with a spatula, letting the air get to it.
-Apply the foundation to the skin in a light, feathering motion.
-Set lightly with translucent powder using a small blusher brush.
-Using the Kryolan blusher palette, chose the dark brown colour and apply it under the cheekbones using a duo fibre brush
-Using the same palette, apply the highlighter down the bridge of the nose and onto the cheekbone, curving the brush into a C shape near the temple.
-Fill in the eyebrows using an eyeshade from the Ben Nye palette that matches the natural hair colour of the model.
-Apply liquid eyeliner close to the eyelash line and angle it upwards at the end creating a flick.
-Apply MAC mascara to the bottom and top lashes
-Attach the Kryolan eyelashes to the upper eyelashes using duo glue.
-Create a berry lip colour by apply different colours to the lip in layers.
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| Practising on another person |
I think that the makeup I practised worked well but there are a few things that I have changed for the final look. I think that the lipstick colour I created on myself was far too purple for the berry look I was trying to achieve so I changed it for the practise I did on my model which looked a lot better. I also did not like the powder highlighter that I used because the makeup for the Dolce & Gabanna look is more dewy. I decided that a cream highlighter would work a lot better so I used Benefit's high beam instead and then lightly brushed the powder highlighter on top to remove some of the pink tones in the Benefit product. Although my model had some dry skin issues, I was pleased with the makeup and think that it is going to work well with their on the day of my shoot.
Final makeup product choice:
FOUNDATION: To replicate the dewy look of the D&G trend I chose MAC face and body foundation which was light in application allowing the dewiness to be present.
LINER: To create the precision winged eyeliner I chose Kryolan liquid eyeliner because I felt it was the best product to achieve the look. Other products such as MAC blacktrack did not create the same sleek line I wanted for this design.
LIP: To duplicate the layered lip effect created my Pat McGrath I used a variety of colours from the Kryolan lip palette on order to achieve this look.
HIGHLIGHT: I used Benefit's high beam for this look because it's cream consistency added to the dewiness I wanted.
EYESHADOW: I used the Ben Nye eyeshadow palette for the eyes choosing a light colour for the base and a darker brown in the crease creating definition. I then added Kryolan false lashes to the upper eyes.
EYEBROWS: I groomed the brows and filled them in using eyeshadow to ensure they weren't as prominent as the ones from Dolce & Gabbana.
CONTOUR: I used a powder contour colour from the Kryolan blush palette to give the cheekbones a defined, bronzed look taking inspiration from the Dolce & Gabbana look.
Key things that I need to remember for the shoot in regards to the makeup are:
-Ensure the look appears dewy
-Ensure the lipstick is layered on whilst achieving a balanced lip
-Check the makeup with lightening before making final adjustments
-Ensure the eyeliner is flicked upwards and not outwards
Final Design: Hair and Makeup inspiration
To go with the love theme I have chosen and taking into consideration the youthful feel of the magazine, as well as the topics featured inside, I have decided to create a hair and makeup that accentuates these things.
I have decided to take inspiration from both Dolce & Gabbana and Mara Hoffman's SS15 trends.
THE MAKEUP
The makeup at Dolce & Gabbana was created by legendary makeup artist Pat McGrath. The fashion collection, influenced strongly by Spain is also shown in the makeup. The makeup consisted of a darkened strong brows, a beautifully bronzed and slightly dewy skin complete with a winged eyeliner and false lashes. As well as this the most prominent feature was the lip which was created by Pat by using a layering technique. To create this look Pat McGrath used Dolce & Gabbana classic cream lipstick in shades Ultra and Amethyst as well as Dolce matte lipstick in Dolce Desire on top.
Although it is stated that Dolce & Gabbana lipsticks were used to create this makeup, there are many alternatives that they could have used for this look. The lipstick has quite a shiny finish to it and I think that a good alternative to the lipstick used would be MAC diva lipstick which is a rich, deep red colour and similar in colour to the lipstick used in the campaign.
I love this look for SS15 and think that it will work well in my design to create a confident, fun, look that will also work with my chosen publication. Although I love this look, my aim is not to create a Spanish feel so I will be making the lip colour slightly brighter and not creating such prominent brows. The reason for this is because although beautiful, I think this makeup looks better on a maturer woman which is not the type of woman I am creating for my shoot. Overall though I will be taking most makeup aspects into my design such as the bronzed contour, dewy skin, bold lip colour and winged eyeliner.
THE HAIR
To compliment the romantic feel of my magazine and makeup as well as adding a youthful presence to the model, I have decided to take inspiration from one of the most prominent hairstyles seen on the SS15 catwalks.
Across a variety of designers, different braids were featured with designer Mara Hoffman's style appealing to me most. Hairstylist Nick Irwin took the classic fishtail plait and added a beach feel to the hair technique. I really liked this hairstyle because it almost had a rebellious feel to it, in that it was not constructed and formed but was more free and creative. This is the same type of message I want to give to the audience of my magazine so I think it will work well with my publication.
From looking at photographs of the hairstyle created , I think that the stylist created the messy braid by first creating a normal, messy fishtail and then pulling a piece of the plait down and bunching the rest of the plait up to create the messy look.
This type of hairstyle works well with my publication because I can recreate it into a more romantic and street look. Although I will not be creating the exact same style, I will still be incorporating a messy fishtail braid into my design using this trend as my inspiration.
The hair at the Dolce & Gabbana catwalk featured beautiful roses adorned in the hair. These roses were used to accentuate the Spanish feel of the look. Although I think the roses are very prominent in creating a Spanish look, I have decided to add rose petals to my fishtail braid in order to show referenced to Dolce & Gabbana, whilst adding to the romantic feel of my cover edition.
I have decided to take inspiration from both Dolce & Gabbana and Mara Hoffman's SS15 trends.
THE MAKEUP
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| SS15 makeup trends at Dolce & Gabbana |
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| Dolce & Gabbana makeup and fashion trends featured in Vogue UK & Elle UK |
Although it is stated that Dolce & Gabbana lipsticks were used to create this makeup, there are many alternatives that they could have used for this look. The lipstick has quite a shiny finish to it and I think that a good alternative to the lipstick used would be MAC diva lipstick which is a rich, deep red colour and similar in colour to the lipstick used in the campaign.
I love this look for SS15 and think that it will work well in my design to create a confident, fun, look that will also work with my chosen publication. Although I love this look, my aim is not to create a Spanish feel so I will be making the lip colour slightly brighter and not creating such prominent brows. The reason for this is because although beautiful, I think this makeup looks better on a maturer woman which is not the type of woman I am creating for my shoot. Overall though I will be taking most makeup aspects into my design such as the bronzed contour, dewy skin, bold lip colour and winged eyeliner.
THE HAIR
To compliment the romantic feel of my magazine and makeup as well as adding a youthful presence to the model, I have decided to take inspiration from one of the most prominent hairstyles seen on the SS15 catwalks.
Across a variety of designers, different braids were featured with designer Mara Hoffman's style appealing to me most. Hairstylist Nick Irwin took the classic fishtail plait and added a beach feel to the hair technique. I really liked this hairstyle because it almost had a rebellious feel to it, in that it was not constructed and formed but was more free and creative. This is the same type of message I want to give to the audience of my magazine so I think it will work well with my publication.
From looking at photographs of the hairstyle created , I think that the stylist created the messy braid by first creating a normal, messy fishtail and then pulling a piece of the plait down and bunching the rest of the plait up to create the messy look.
This type of hairstyle works well with my publication because I can recreate it into a more romantic and street look. Although I will not be creating the exact same style, I will still be incorporating a messy fishtail braid into my design using this trend as my inspiration.
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| Mara Hoffman's fishtail braid SS15 |
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| Hairstylist Nick Irwin creates the beach fishtail braid |
The hair at the Dolce & Gabbana catwalk featured beautiful roses adorned in the hair. These roses were used to accentuate the Spanish feel of the look. Although I think the roses are very prominent in creating a Spanish look, I have decided to add rose petals to my fishtail braid in order to show referenced to Dolce & Gabbana, whilst adding to the romantic feel of my cover edition.
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| The hair at Dolce and Gabbana |
Final Design: i-D Magazine
I have chosen I-D Magazine for my publication. I-D is a British monthly magazine that is based on youth culture and contains information on music, fashion and art. Unlike other fashion magazines, I-D is inspired by fresh and upcoming artists. The magazine has a positive vibe with it's message to the audience primarily being live life, enjoy and do what you love.
Characteristics of the magazine:
-Minimalist cover design
-Cover features an artist with the right eye covered/winking to symbolise the logo of the magazine
-Based on youth
-Topics covered such as art, fashion, real people and music
-Appeals to fashion lovers
-Contains articles on both celebrities and upcoming artists
Every different issue of i-D Magazine has a theme for the cover, with the latest being The Music Issue featuring singer Rihanna on the cover with only the words 'play loud'.
phases’.
I have decided to chose love as my theme for the magazine. Taking into consideration the characteristics of the magazine, I have chosen love because I think that it is a subject that is not taken seriously with youth. i-D magazine is very passionate about the younger generation expressing their feelings and ideas so I think that my theme is well fitting.
For my cover, I have decided to have a model on the front that has her eye covered with a heart. This will show a strong indication to i-D because of the clever play on the logo whilst sticking to the love theme. I plan to include the words 'love fast' on my cover to show the rebellious style of the magazine and to also show how i-D magazine supports youth ideas.
Characteristics of the magazine:
-Minimalist cover design
-Cover features an artist with the right eye covered/winking to symbolise the logo of the magazine
-Based on youth
-Topics covered such as art, fashion, real people and music
-Appeals to fashion lovers
-Contains articles on both celebrities and upcoming artists
Every different issue of i-D Magazine has a theme for the cover, with the latest being The Music Issue featuring singer Rihanna on the cover with only the words 'play loud'.
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| Latest I-D magazine The Music Edition |
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| Other editions of i-D magazine |
I have decided to chose love as my theme for the magazine. Taking into consideration the characteristics of the magazine, I have chosen love because I think that it is a subject that is not taken seriously with youth. i-D magazine is very passionate about the younger generation expressing their feelings and ideas so I think that my theme is well fitting.
For my cover, I have decided to have a model on the front that has her eye covered with a heart. This will show a strong indication to i-D because of the clever play on the logo whilst sticking to the love theme. I plan to include the words 'love fast' on my cover to show the rebellious style of the magazine and to also show how i-D magazine supports youth ideas.
Collaborating with different artists
I was nervous about finding people I didn't know for my photoshoot but excited to collaborate with different artists.
Firstly, I asked a friend if she knew anyone who would suit the look I created. She suggested one of her friends ,Georgia, who although wasn't a professional model, had modelled hair and makeup for other people before. I contacted her and sent her images of my moodboard and she was happy to do it.
Finding a photographer proved to be much more difficult. After visiting the website Model Mayhem and creating an ad, I had a number of people willing to do the shoot however once I had told them I was a student, some of them declined. What I found frustrating about this is that if I had just wrote that I was a freelance artist, I probably would have been able to get a photographer.
After having no luck on Model Mayhem, I decided to turn to social networks for help. I wrote an advert on twitter and facebook and was lucky enough to have a reply from a girl named Amy. Amy is a freelance photographer in Brighton who has a studio in her house. She is the owner of the company Flutterby Image and was willing to do my shoot for free in exchange for me allowing her to use the images of my model on her website.
I was really happy that I was able to organise a team and was excited to start my shoot.
Firstly, I asked a friend if she knew anyone who would suit the look I created. She suggested one of her friends ,Georgia, who although wasn't a professional model, had modelled hair and makeup for other people before. I contacted her and sent her images of my moodboard and she was happy to do it.
Finding a photographer proved to be much more difficult. After visiting the website Model Mayhem and creating an ad, I had a number of people willing to do the shoot however once I had told them I was a student, some of them declined. What I found frustrating about this is that if I had just wrote that I was a freelance artist, I probably would have been able to get a photographer.
After having no luck on Model Mayhem, I decided to turn to social networks for help. I wrote an advert on twitter and facebook and was lucky enough to have a reply from a girl named Amy. Amy is a freelance photographer in Brighton who has a studio in her house. She is the owner of the company Flutterby Image and was willing to do my shoot for free in exchange for me allowing her to use the images of my model on her website.
I was really happy that I was able to organise a team and was excited to start my shoot.
SS15 Fashion trends
SS15 saw a variety of hair and makeup looks across the runways of New York, London, Paris and Milan.
(All images from Spring/Summer 2015 hair and makeup trends. [online] Cosmopolitan.)
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| SS15s Makeup (EYES) |
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| SS15s Makeup (SKIN) |
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| SS15s Makeup (Lips) |
LIPS: SS15 saw the bold lip colour making a statement with designers such as Dolce & Gabanna, Zac Posen and Burberry Prorsum sending their models on the catwalk sporting a bold, coloured lip that was accompanied by minimal eye makeup allowing the lips to make the statement. Sally Lapointe focused on both the eyes and lips choosing contrasting pastel colours to stand out against the monochrome colours of her fashion designs.
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| SS15S Hair |
HAIR: SS15 saw a variety of different hairstyles hit the runway. With super sleek ponytails from Pamella Roland and Cushnie et ochs, these hairstyles contrasted greatly against the more messy, grunge hairstyles featured across the catwalks. Braids were a popular style across a variety of designers with the TRESemme team at Marissa Webb creating beautifully grunge, multiple plait hairstyles and Mara Hoffman reforming the classic fishtail plait into a more bohemian hairstyle.
The hair and makeup trends featured in London, New York, Milan and Paris fashion week greatly effect the fashion industry. High end fashion magazines such as Vogue, Elle and Harper's Bazaar all feature the latest fashion in their magazines. The trends from fashion week are shown in the magazines through advertising which includes the hair and makeup from the catwalks.
From looking in current magazines, it is clear that the trends from the fashion weeks dominate the magazines. High end magazines take advantage of the fact the consumer is interested in the trends by offering articles that tell the readers how to achieve the look. As well as this, the beauty industry see's an opportunity and begins offering beauty products that the readers can buy in order to create the same hair and makeup from the catwalks.
An example of how the catwalk affects the fashion industry is shown in the latest edition of Elle UK. A feature on Hair Trends shows a variety of SS15 hair looks with step by steps on how to achieve the look aswell as recommended hair products that the reader should buy in order to help achieve it.
Another example of how it affects the fashion industry is shown in the latest edition of InStyle UK. Throughout the beauty segment of the magazine, advice and products are offered in order to create the glowing skin shown in some of the SS15 shows. The articles talk about how the season is all about the fresh faced look and readers are given step by step information on how to obtain the look.
As the makeup and hair trends are featured in the fashion magazines, consumers are persuaded to buy the magazines because they know they will find the right information in them. As well as this, they are made aware of the fashion trends that accompany the hair and makeup thus having a positive effect on the fashion industry. What is important to remember is that the hair and makeup designs go hand in hand with the fashion pieces. They compliment each other beautifully and enable the designers to create a statement.
HOW THE HAIR AND MAKEUP COLLABORATES WITH FASHION
The hair and makeup seen on the catwalks this SS15 is intended to collaborate with the fashions on the show.
For instance, at Dolce & Gabbana, the inspiration for the fashion came from Italy in the 15th Century at a time when it was ruled by the Spanish. The strong Spanish influences of the fashion were shown on the catwalk with beautiful floral patterns and bull fighter inspired clothing. (seen below) The hair and makeup worked alongside this theme, with models wearing red roses in their hair (red roses used to be thrown to the winning bullfighter, the matador) and beautiful makeup that showed similarities to the flamenco dancer (a tradition Spanish dancer) with the bold red lip and heavily contoured cheekbones.
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| Fashion at Dolce & Gabbana |
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| The traditional Flamenco dancer with a red flower in her hair shows D&Gs inspiration |
Other fashion brands were not as obvious with their themes with designers such as Alexander McQueen opting for a more sinister look to compliment their clothes designs. The clothes inspiration at Alexander McQueen was definitely Japanese inspired with large floral prints in black, white and red block colours. Certain items certainly had a geisha feel to them with kimono style dresses seen on the catwalk. As well as this, there were aspects of Rome shown in the catwalk with each model wearing gladiator inspired lace up boots. These boots were complimented by the almost warrior appearing masks seen on the models faces. The masks created by makeup artist Pat McGrath, were different shapes but were open and allowed the makeup of the model to be seen. The models eyebrows were bleached and were teamed with a dewy brown eye makeup. This added to the dramatic, almost sadistic effect of the mask. The dewy look of the eye makeup was complimented by the wet look hairstyles seen on the catwalk. The hair was combed through and tied into a neat bun conforming to the structured feel of this look.
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| Japanese inspired fashion at Alexander McQueen |
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| Dramatic bleached brows by makeup artist Pat McGrath |
Overall, it is clear how designers use the hair and makeup to enhance their fashion designs and make a statement. Whether the statement is more obvious like at Dolce & Gabbanna or less obvious like in Alexander McQueen, it is clear that the hair and makeup is equally as important as the clothes shown in fashion week. The hair and makeup effects the fashion industry greatly and inspires many brands to create new products that can be bought by the consumer.
Influencial Magazine Cover: Vogue 1932
The magazine that I have chosen to look at is the July 1932 cover of Vogue. It appealed to me because I have never known fashion magazines to have anything but photographic covers. Although at the time, the illustrated fashion magazines were popular and a way for artists to express fashion, this 1932 cover is revolutionary for the time it was created. Perhaps what I love most about the cover is that the use of colour in the photograph is very strong. The bright blue colour that commands the mass of the cover conveys that Vogue intended to make a statement. That statement would have been something along the lines of 'Coloured photography is here'.
In 1932, Condé Nast made fashion history by using a full colour photograph on the cover of Vogue. Up until this time, illustrations of fashion had been used to in the magazine. This innovative move saw the rapid decline in fashion illustration and changed fashion history forever.
The photographer of the image was Edward Steichen, an American Photographer widely recognised for his photography. Around this time Edward worked for both Vanity Fair and Vogue making him one of the highest paid photographers of the time.
This cover has impacted the fashion industry greatly. Today, every fashion magazine has a photographic cover. Although the photographic cover of the July 1932 signalled a growth in technology, it also paved the way for fashion magazines to grow as well.
Having a photographic cover is very important to the magazine industry. What separates an illustration from a photograph is that an illustration is the illustrators interpretation of an image whereas photographs are used to show things in their true form. Having coloured photographic covers revolutionised the fashion industry because it allowed the fashion magazines to appeal to a wider audience.
Fashion photography is essential for the growth of the fashion industry because it acts as both an advertisement for the brands and a catalogue for the consumer. Today, magazines are predominantly centred around advertisements which are used in order to display the latest trends. Without photographs of the fashion, the consumer would be unaware of the brands thus deeming the fashion magazines pointless and having a detrimental effect on the fashion industry.
Another example of how the coloured photographic cover being introduced was impacted the fashion industry is that is allows the magazine to showcase the latest talents of the fashion world. Being photographed for the cover of a high end fashion magazine is every models dream and in the past has helped to kick start many model's careers.
Overall, the transition between illustrated covers and photographed covers is a great one. It has helped to expand the fashion industry with its ability to advertise and enhance the fashion magazine making it more enticing to the audience.
In 1932, Condé Nast made fashion history by using a full colour photograph on the cover of Vogue. Up until this time, illustrations of fashion had been used to in the magazine. This innovative move saw the rapid decline in fashion illustration and changed fashion history forever.
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| July 1932, Vogue |
The photographer of the image was Edward Steichen, an American Photographer widely recognised for his photography. Around this time Edward worked for both Vanity Fair and Vogue making him one of the highest paid photographers of the time.
This cover has impacted the fashion industry greatly. Today, every fashion magazine has a photographic cover. Although the photographic cover of the July 1932 signalled a growth in technology, it also paved the way for fashion magazines to grow as well.
Having a photographic cover is very important to the magazine industry. What separates an illustration from a photograph is that an illustration is the illustrators interpretation of an image whereas photographs are used to show things in their true form. Having coloured photographic covers revolutionised the fashion industry because it allowed the fashion magazines to appeal to a wider audience.
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| An illustrated cover from Vogue, December 1916 |
Fashion photography is essential for the growth of the fashion industry because it acts as both an advertisement for the brands and a catalogue for the consumer. Today, magazines are predominantly centred around advertisements which are used in order to display the latest trends. Without photographs of the fashion, the consumer would be unaware of the brands thus deeming the fashion magazines pointless and having a detrimental effect on the fashion industry.
Another example of how the coloured photographic cover being introduced was impacted the fashion industry is that is allows the magazine to showcase the latest talents of the fashion world. Being photographed for the cover of a high end fashion magazine is every models dream and in the past has helped to kick start many model's careers.
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| Today, Vogue spotlights inspiring models and fashion, British Vogue Feb 2015 |
Overall, the transition between illustrated covers and photographed covers is a great one. It has helped to expand the fashion industry with its ability to advertise and enhance the fashion magazine making it more enticing to the audience.
Influencial Magazine Cover: British Vogue 1966
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| British Vogue, 1966 |
One of the most influential magazine covers that hit the press in March 1966 was from the ever popular fashion magazine Vogue. The cover showed American actress and model Donyale Luna on the cover of British Vogue.
What makes this cover influential was the fact that Donyale was the first black model to be featured on the cover of a British magazine. A year earlier in 1965, Donyale had appeared in Harper's Bazaar as an illustration. The illustration however, although a first for a black model, was quite ambiguous with the skin tone of the model visually unclear.
Although the Civil Rights Act was passed in 1964, racial prejudice still existed so the statement that British Vogue made by using a black model around a time of racism was innovative and influential. As well as being the first black model to appear on the cover of a British magazine, it was the first for Vogue altogether with American Vogue not featuring a woman of colour until 1974.
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| Beverly Johnson, the first black model cover girl for Vogue US, 1974 |
This influential magazine cover helped pave the way for fashion as we now know it. Today, British black models such as Naomi Campbell and Jourdan Dunn have featured on the cover of the some of the most popular fashion magazine. It is because of British Vogue and Donyale Luna that the fashion industry has changed and accepted those of different ethnic backgrounds.
What is interesting in particular about the model Jourdan Dunn is that she was the first black models to walk a Prada runway. As well as this she is one of the first British models to enter the Forbes top earning model's list. Although racial prejudice towards models has improved since that first influential cover by Vogue, it is clear that even today, prejudice towards black models does still exist.
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| Jourdan Dunn on the cover of British Vogue, 2015 |
Up until this February when Jourdan Dunn appeared on the cover of British Vogue, there had not been another black model on the cover for twelve years. Before February, the last black model on the cover of Vogue was Naomi Campbell in 2002. Many newspapers have speculated why this is the case, with model Naomi Campbell herself stating that more black models worked in the 70s as appose to now.
Although in 1966, the British Vogue cover was influential to the fashion industry at the time, it is clear that changes still need to be made in order to rid prejudice from the fashion world for good.
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