Extraordinary Fashion and Makeup
For this lecture there was a guest speaker, Jenny Dayton. Jenny is a professional in the industry she works mainly on fashion editorials, commercials, beauty and television and film. It was very inspiring to hear her talk so passionately about the work that she completes and to inform us on the way she approaches tasks and the etiquette on set. Although my main interest in the industry is not primarily fashion makeup, Jenny's talk had a lot of helpful information and created a spark of intrigue into that side of makeup. Jenny gave lots of tips about working in the indsutry and various tools that are essential for working in a challenging environment such as a forest. One of the key points that I picked up on was the necessity to be an excellent all-round makeup artist. To have skills in all different areas and to be able to complete much more challenging tasks immediately increases your employability and makes you more desireable as an artist.
Jenny talked about the differences between fashion editorial and commerical makeup as there is a large difference. Below is exploration into the differences between the two, with the aid of photographs from the internet. The primary aim of fashion editorial is to be artistic, creative and extraordinary, whereas commercical is all about selling the product to a customer. Below are examples of both style of makeup.
Commercial makeup sells a product.
Makeup found within a commercial shoot is there to enhance the product that is being sold, it is not there to distract. It highlights and flaunts the product. Generally the lighting, stylingand background is relatively plain in order to focus the viewer's attention onto the product. An example of this kind of makeup can be found in any catalgoue selling products with models either wearing or posing with the product. The overall look is very natural, yet beautiful.
Svenler (2010) Definition: What is the difference between Fashion Photography, Commercial Photography, and Editorial Photography?[Online] Available From: http://www.svenler.com/blog/definition-what-is-the-difference-between-fashion-commercial-and-editorial/ Date Accessed: 17/02/2015
Editorial
Commercial
After the talk was complete Jenny suggested to find some inspiration from some Indie magazines as to the design and creation of our extraordinary makeups. The suggested outline was to use henna and line work to inspire the design. The makeup that I chose to create went down a more tribal style, using lots of line work, with a slight suggestion of mehndi artwork. Magazines such as ID, Indie and Dazed and Confused. There are photographs below displaying the covers for some of these magazines. They each have a very different and unique style, The makeup is bold with some interesting fashion and acessories. The makeup deisgns contradict most used in commercial shoots as they stand out and make a statement creating a more interesting overall effect. In the magazine covers selected there appear to be quite a large focus on the eyes with the colour primarily focuse in these areas with exciting makeup to complete the look. These are a few examples among many that gave an idea as to the style and concept of creating a makeup design for an editorial shoot.
 Initial Extraordinary Makeup |  Initial Extraordinary Makeup |  Initial Extraordinary Makeup |
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 Initial Extraordinary Makeup |  Extraordinary Practise |
 Extraordinary makeup practical 1.jpg |  Extraordinary makeup practical 8.jpg |  Extraordinary makeup practical 9.jpg |
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 Extraordinary makeup practical 5.jpg |  Extraordinary makeup practical 7.jpg |
This was the primary makeup design for the extraordinary makeup, it involved tribal style lines and shaping, with red and black colouring around the neck and head area. The red colour did not show as prominently as intended and blended into the black creating a brown toned colour which did not work too well with the design. The line work of the makep proved harder than initially thought, as it was challenging to create a smooth yet thin line. The left hand side of the face (looking on) turned out more successfully than the right, the lines were more accurate and the deisgn followed the contouring of the face with symmetrical design. The eye area could be improved upon to create a smoother shape and line to surround the eye. The right hand side of the face worked well to balance out the amount of design on the face, however the lines could have been smoother with more structure, it would be worth using a thinner brush with a smoother product to create a better finish. The area on the of the makeup with the streaked effect did not work successfully,, it unbalanced the whole look, proportionally it would have been more successful to leave that area of the face blank. The neck however worked well as it made a slimming shape, elongating the neck, with a stronger colour it would be more effective. Overall it was an insightful practise at the makeup, creating a design that worked as a concept and applied in an editorial fashion.
I have included the original design for this makeup:
This final photograph shows some practise experiments to try and create thin and effective line work on the skin. A very fine brush with black greasepaint and a red creme makeup by Illamasqua was used. These products apply easily and smoothly onto the skin and therefore work effectively for this task. This practise worked successfully, allowing practise at very fine lines with differing shapes and structure. It was a small task but the result were particularly helpful, practise and experimentation works to improve skills in a very posotive manner.
These photographs show the final result of the extraordinary makeup task. For the final look the hair had to be completed in a style that suited and complimented the makeup. As the makeup was tribal in style, the hair was completed in a loose dutch plait with rough shaping. A quiff was created at the front of the head in order to add height and change the shape of the face. The makeup after the practise was simpler to create a more defined and powerful look. The eyes became a big focus of the makeup adding colour and shape to the face. The makeup kept to the same colour scheme as the practise makeup, however with more prominent colouration to create a stronger impact. As the model had blue hair the red colouring also worked particularly well with the final design. The eyebrows were also ombred to create a smooth look that combined all the elements of the makeup together. The graduation of the colours could have ben smoother spreading out the range. The design on the cheeks followed the structure of the model's face to add definition and create an effective final result. The eyes were successfully created blending the colours well to produce a smooth, strong effect, however the shaping needed to be matched perfectly to create a symmetrical result. Overall the final result looks successful, it fits the brief of an extraordinary makeup, with hair work previously untried. With more practise the application could be more successful, however this works well as a makeup in an area that is not well versed.
 Roshar MakeupThe inspiration for these makeups originated with Josephine Baker and her pet Cheetah. It is a 'sultry high glamour' series of makeups (Heister, 2013, pg 40) These makeups have a very powerful effect, with strong focal features drawing the attention of the eye. The cheekbones are the feature in this makeup creating a bold contrast with the colours of the rest of the makeup. |  Roshar MakeupThis makeup piece is powerful, clearly drawing inspiration from the 1920s with the shaping of the brows, eyes and hair. The spikes on the face add a powerful statement to the design creating structure on the cheekbones. The colours all compliment each other working together to create a bold effect. |
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Editorial Makeup and Hair
These makeups and hair are all an example of editorial work. The makeup is bold and out there, it has a wacky style with very obsure designs. This would never be used to try to sell a product as it would detract from the item itself (unless the item was the makeup that they were selling). Roshar is a famous artist who has created extraordinary makeups, with bold colours, patterns and styles. Thess photoshoots with various models displays a wide range of techniques for application and the use of the the face for artwork. It is very impressive and should therefore be used for inspiration when considering editorial makeup. Each image is extremely powerful individually but when put together one really appreciates the skill at making them all very individual yet link through their slight choices (the big hair is one of the focuses).
The first photoshootwas called Ghoulish Glamour, it focusees on the use of pale colours as the base, building up the layers with darker colours and in some cases a bright focal feature. The result is very powerful creating stirking photographs that stand out.
Editorial makeup sells a story.
The makeup found in any editorial shoot will be dramatic and bold, there is no simplicity unless that it the goal through minimalistic maeup. The face will be the focus, using bold colours and thick eyeliners. Almost anythng can be used in an editorial makeup shoot. The wilder the look the more powerful it will be on the viewer. Generally editorial will have exciting lighting and backgrounds unlike commerical.
Svenler (2010) Definition: What is the difference between Fashion Photography, Commercial Photography, and Editorial Photography?[Online] Available From: http://www.svenler.com/blog/definition-what-is-the-difference-between-fashion-commercial-and-editorial/ Date Accessed: 17/02/2015
Editorial Makeup (N.D.) [Online Image] Available From: http://www.amberlynnemakeupartist.com/p1042868637/h5427FC60 Date Accessed: 17/02/2015
Cara Delevigne (2015) [Online Image] Available From: https://au.lifestyle.yahoo.com/marie-claire/fashion/news/a/25903950/topshop-reveals-global-campaign-starring-cara-delevingne/ Date Accessed: 17/02/2015
Heiste.C (2013) Ghoulish Glamour, Makeup Artist Magazine, No. 104 October/November, Pg 40-45
 RosharThis makeup was based around the art movement of Pop Art, with surreal shapes and colours to produce a powerful result. The contrast in colours on the face help to make it stand out compared to the dark wig. This style reminds me of a very exaggerated 60s housewife, creating the height and shape through the hair. |  RosharThis makeup is inspired by Picasso's 'Portrait of Nush Eluard' It is based in the theory of cubism. Roshar mentions how it is difficult to turn the face into a 2D canvas through the use of lines to highlight the face. The hair although large helps to create cohesion in the makeup, the relatively plain colour adds an extra element that produces a powerful contrast. |  RosharThis makeup is based upon fashion designer, Pucci's kaleidoscopic prints. Turning a very geometrical design into a makeup is very challenging as the lines need to be very straight and precise. Producing a look of this nature would prove very challenging, however the pay off is exceptional, the colours on the face contrasted by the white hair works really well together. |
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 RosharThis makeup is based upon architecture, the use of structural lines on the face to produce a powerful image. This would be challenging due to the necessity to create a perfectly symmetrical makeup with angular lines that also highlight the face's structure. This makeup reminds me of the face chart created by Dr for the 'Perfect' face. Using the features of the face to create structure. Oppositionally in comparison the orange wig works well to highlight the monochrome colour scheme on the face. |  RosharThis makeup is based upon infrared colouration of the body, when the body is seen through infrared it produces a range of colours based on the temperature of the individual. The colours all work together to create a bold makeup that compliments each element. Roshar says he was excited to turn a digital art into something organic and see how it translated on the face. |
This photoshoot has very bold and impressive shapes and colours. This photoshoot's inspiration is drawn from digital art, abstract art, surrealism, cubism and pop art. This inspiration is clearly translated through the work. In exploration of extraordinary makeup try to recreate one of these makeup designs would prove extremely helpful in learning the techniques used for application and also improving on the skill it takes to create these pieces. It highlights the importance of hair to create contrast and highlight the makeup to create a cohesive final look that is effective. The results of these makeups are very powerful, utlising the model's facial features combined with extraordinary wigs to produce a well rounded design. Roshar's work is most definitly considered extraordinary makeup.
Heiste.C (2014) The Human Canvas, Makeup Artist Magazine, No. 111 December/January, Pg 80-86
