Fraulein Kost Design Two

My second design for Fraulein Kost uses the colour purple. I thought that this colour could be seen as seductive to. The eyebrows are in keeping with the 1920's. Everything else is in reference to the club kids and club culture in particular Princess Julia from the Blitz Kids. I wanted the look to be colourful and to stand out like Princess Julia did Therefore everything is purple including the eyebrows. To create this look, the materials needed are: 

- Illamasqua Cream Foundatiion CF 135 or Kryolan ultra foundation.

- Kryolan Dermacolour Camoflague Concealer

- Illamasqua Satin Primer

- Pritt Stick

- CrownBrush UK Eyeshadow palette

- Makeup Revolution purple heaven single eyeshadow.

- Maybeline Eye Studio Casting Drama Ultra-Violet Gel Liner.

- Eyelure false eyelashes in Definition. 

- Vichy Dermablend Powder.

- Illamasqua Powder Blusher in Morale.

- Illamasqua lipstick in Kontrol. 

The idea for this design is to block out the eyebrows using glue to then draw them back in using gel liner. 

To block out the eyebrows: 

- Brush the hairs upward with an eyebrow brush. 

- Use a pritt stick to smooth the hairs. Glue in an upward motion. 

- Take a spatula with a small bit of glue on the end to smooth over the layer of glue. Make sure all the hairs are covered and are smooth. 

- Powder with a powder puff over the top of the glue to seal. 

- Take a white foundation, I used Illamasqua Rich Liquid RF 100, and stipple the colour over the brow hairs. If your hairs are quite dark there will need to be layers of white to cover this.

- Stipple on the foundation with a stipple brush. 

- Using the foundation used for your base, stipple the skin colour over the white brow. 

- Powder to seal.

Above is the outcome of my design. Now that I have practised it I think I can develop my skills to make the eye stronger and the brows further blocked out. I think also that the face should be contoured a bit to give extra structure to the look. This is something I can develop.

Jackson Pollock

The late Jackson Pollock was heavily involved with the 1930's artistic movement. His work mainly consisted of drip paintings with the use of multiple colours. I have chosen to look at Jackson Pollock's work for the inspiration for my contemporary cabaret character. 

Jackson Pollock. Viewed 26/11/14

The colour palette reminds me of that seen in Alexander McQueen's Last Show in 2010, almost 70 years later. I think that my character of Fraulein Kost would have hues of blue incorperated into her makeup to show that she is a cold character. Pollock created the look by flicking the paint onto the canvas, perhaps this could be a technique when applying the colour makeup onto the skin. 

Jackson Pollock. Viewed 26/11/14

The painting Pollock created make me think of the emotional state that he was in during the creation of them. I enjoy how there are multiple shades of the same colour. Leading the eye through multiple stages of the piece to the centre where the lightness comes out. The whole painting makes me feel cold as though this is a beautiful but sad piece. I could portray this feeling into the design for Kost as she must be lonely going from man to man. 

Jackson Pollock struggled with alcohol through his entire life. Perhaps the paintings he created signify the emotional state that he was in. The Great Depression saw Pollock fall further into alcoholism where he created some of his best pieces of work. The colour palette has definitely inspired me to try out blue colouring within my design for contemporary cabaret character, along with purple shades inspired by Princess Julia. 

Princess Julia Blitz Kid

The inspiration behind my final makeup design comes from Alexander McQueen's 2010 Last Show and also Princess Julia, the original Blitz Kid in the 1980's. Princess Julia came to fame in the 1980's as part of the club culture known as the Blitz Kids. Her style was in keeping with the time, very out there and experimental. 

Princess Julia. 1980's. Viewed 26/11/14

Extreme, colourful makeup playing on the shapes and structure of the face. Her makeup was experimental, in keeping with the makeup styles seen in the 1980's like Leigh Bowery. Princess Julia made her way onto the 1980's club scene to become a DJ, something continued today. The whole styling of clothes and makeup made Princess Julia an interesting character. For example in the image above, she is covered, very conservative. However, in many other images she is seen exposing herself. Perhaps she liked the contradiction of characters that could be created through the medium of makeup, hair and styling. 

Princess Julia. Blitz Kids, 1980's. Viewed 26/11/14

The image of Princess Julia made me think straight away of Fraulein Kost and what she would have looked like in the this era. The dark lips and heavy eye make the look seductive, which is one of the main attributes of Fraulein Kost. The colour palette here also inspiration to me as it looks mysterious. To expand on the colour palette seen here I looked at Alexander McQueen's 2010 Last Show and the colour palette and textures used on the clothes. 

Alexander McQueen 2010 Last Show. Viewed 26/11/14

The mixing of the purple with the blue creates a subtle palette that can be mixed to create a makeup design. I definitely feel inspired by the colour palette seen here as the purples add a mysterious aspect with the blues bringing the cold. I think this represents the character of Fraulein Kost, because she is mysterious and then appears cold when confronting Schneider. Therefore I would like to incorporate blues and purples into my design.

The face chart above shows the hair and makeup look I have designed inspired by Princess Julia and Alexander McQueen. The design incorporates the colours of purple and blue with green around the eye. The eyebrows are thin to keep in keeping with the 1930's style.

Alexander McQueen Last Show 2010

The inspiration behind my Fraulein Kost hair design comes from Alexander McQueen's Spring 2010 Last Show. The hair featured in the show was of futuristic qualities with large structures. My inspiration came from the braiding. I thought that I could contemporise Fraulein Kost by including a braid down the centre of the hair to change the structure of the hair, much like McQueen has featured here. I didn't want to braid the whole hair because the hair design still had to be in keeping with the 1930's style.

Alexander McQueen. 2010. Last Show. Viewed 26/11/14

Alexander McQueen. 2010. Last Show. Viewed 26/11/14

As seen in the image above, the braid is down the centre of the hair creating a divide between the two structures. This has inspired me to create a braid down the centre of the hair to divide the hairstyle created. I think that this will add a contemporary twist on to a 1930's bob. The texture of the bob needs to be different to take it away from a traditional 1930's look. Therefore I think I will take the textured sideburns seen in the first image and apply this to the structure of the bob to create texture. The frizzy hair can be made larger to create an alternative silhouette as the 1930's bob was very sleek, therefore I want to create the opposite. The Plato's Atlantis Last Show has really inspired me in terms of textures of the hair and the structures created. I think I can take this forward and interpret it into my idea for a contemporary Fraulein Kost.

In response to the inspiration, I have decided the above hair chart. This incorporates the braid from Alexander McQueen's Spring Last Show 2010 to bring the style into a contemporary state. I have kept the sleekness of a 1930's bob on the side of the hair before the texture comes back in to play expanding out create a different silhouette. The hair will still be styled in a 1930's bob but will be made contemporary by the textures and structure.

Fraulein Kost Design One

My first design for the character Fraulein Kost consists of the colour red. I have decided to use red in this design as it is the colour of seduction, and Kost is the character of seduction. The idea was to have a heavily contoured face using a red colour. The lips and brows would be in keeping with the 1920's. The brows would be thin and the lips would be shaped. Around the eye area is heavy shading using a red blusher, this was to bring out the contour and highlight the bone structure. To create this look the materials used are: 

- Illamasqua Cream Foundation in CF 135.

- Kryolan Dermacolour Camoflague Concealer.

- Crownbrush UK eye shadow palette

- M.A.C Chromographic Pencil in Basic Red.

- Ben Nye Dark Brown Eye Pencil

- Illamasqua Cream Blusher in Libido

- Ben Nye Wk-8 Old character, lightest colour

- Illamasqua lipstick in Encounter 

Above are the images from my test of the design. The red blusher blended with the cream highlighter to create a pink tone instead of the desired contoured effect. I think this happened because both products were cream based. The look was a lot less subtle than I had planned. Therefore I will not be using this design to create my Contemporary character. 

Fraulein Kost Moodboards

Above is the moodboard for my hair inspiration for the character of Kost based on the 1980's club kids. To make the look contemporary I thought about adding a braid into the hair. The hair itself would need to be big, with lots of volume. There would need to be another colour to make the hair stand out. So my idea is all about the colour and texture that can be created in the hair, following my research into the club culture of the 80's. 

My makeup moodboard once again focuses on the use of colour. Many 1980's figures rarely went without lots of colour on the face. Leigh Bowery for example was always seen with multiple colours on the face and the brighter the better. From the research conducted, I found that the makeup structured the face and was always a tone of one colour. 

The scenery moodboard is the same for Fraulein Schneider's work. The scene I have chosen to work on for Kost is set in Schneiders living room. The furniture is dated and old. Everything in the room is dull apart from Fraulein Kost's personality, which I think needs to reflect in the look that I design. 

What does the character want?

Fraulein Kost wants to continue living at Fraulein Schneider's whilst still being able to see the sailors. She gets her way by manipulating Schneider into thinking that Kost will leave if she cannot see the sailors anymore. If Schneider didn't allow her to stay then Kost would have left and found somewhere where this would be allowed, leaving Schneider out of pocket. Kost knows exactly how to play Schneider because she knows that Schneider needs the money. Therefore she can threaten to leave and Schneider would let her do anything. Ultimately Kost gets her way. 

Where have they come from?

There is no reference in the script as to where Fraulein Kost has come from. I think that she has come from a poor background, which is why she sleeps with sailors in order to get money. If she had come from a background of money her parents would support her. Therefore I think she has been doing this a while. This harsh environment where she has to fend for herself could explain why and how she knows to manipulate people. 

When is it?

From the script we learn what time of year it is as Fraulein Kost mentions that she hasn't had a sailor since new years eve and it is now April. Therefore the scene is set around spring time.  

Where are they?

The scene I have chosen to focus on to create my contemporary character is Act One, Scene Seven. This is the scene where Fraulein Schneider catches Kost with a German Sailor and they exchange words in which Kost threatens to leave, leaving Schneider out of pocket. I have decided to focus on this scene because it shows just how manipulative Kost is in order to get her own way. 

From the stage directions in the script we know that they are in Schneiders living room, which is furnished with dull heavy furniture, with a sofa, end table and gramophone. This sets the scene as a dark, dull place with neutral tones. 

The moodboard above shows what I think the scene would look like. The furniture is dark and bulky. The painting is also a dark colour, coming off the wall as Schneider would not be able to afford to keep the house in tact. 

Who are they?

For my contemporary character I have chosen to focus on Fraulein Kost. In the cast of characters we learn that Kost earns a living by offering favours to sailors. She is renting a room in Fraulein Schneiders house. The connotations we get from the script is that Kost is offering sex to the sailors in return for money, which is how affords her rent. How Kost became to live like this isn't clear, perhaps she always has lived like it. In the 1920's to 1930's it was very common for women to offer up their looks in return for money during the hard times. I think that Kost would be doing the same, using her good looks to pay for her rent. The character is also quite flirty, offering herself up when Herr Shultz is pretending to look for money on the floor. I think that Kost uses this flirtation with men to get what she wants. Much like the other young lady characters in the play. 

Moodboard Contemporary Culture

The moodboard above shows the many characters of the 1980's to 90's. These characters pushed what was the norm to the extreme, taking art to new levels. To me they are extremely fascinating because of the makeup and hair looks created. Obviously not everyday looks but they work so well in attracting the attention, which was the whole point. The makeup and hair was an idea of self expression, if they felt like painting their whole face and wearing wigs, they would. The main thing about club culture is the colour and the sheer amount of it. The more colour the better. The brighter the better, the clashing of colours doesn't matter. That's what makes contemporary club culture so fascinating, ANYTHING goes. 

Wigs

To apply wigs you will need: 

- Pintail Comb 

- Paddle Brush

- Wig

- End of Tights

- Grips 

Health and Safety

- Ask if the client has any allergies or anything contagious on the scalp. 

- Be sure to ask if your client is comfortable. 

- Be gentle with the models hair when applying the tights and wig.

Brush the hair to free of any knots. 

Create a middle parting. 

Make a french plait from either side of the parting. Take the plait around the back of the head, to the side and secure using grips. 

Make sure your model is comfortable. 

Get your model to hold two fingers at the ears, essentially in a 'bunny ear' mannar. Pull the end of tights over the head with the help of your models fingers.

Make sure the model is comfortable.

Get your model to hold two fingers at the ear again. Pull the wig over the tights and position until it fits naturally. 

Brush through the wig hair and style. 

Contemporary Club Culture Pinterest Link

http://www.pinterest.com/naomihalfacre/contemporary-club-culture/

Timed Assessment - My Design

My idea for my chosen character of Fraulein Schneider was to create incredibly aged skin with latex used to create wrinkles. I thought that this would reflect on the scene that I had chosen, Act one, Scene three where the impression given was that of a hard life. I knew for my design to be understandable for my partner I would need to provide a lot of information. 

I started by drawing out where I expected the contouring to be placed and where the latex should be placed to create the wrinkles. My partner understood the design above after I walked her through the areas that needed to be made into old age. 

I made sure that the work station was set up neatly so that the stylist could see every product that was needed. I also made sure to include shades of the products so that there would be no confusion on what colour to use. My partner read through these thoroughly before starting to recreate my design. My partner was professional at all times, making sure the model was okay and new what to expect. I marked my partner down for the cleanliness part because at one point she coughed onto the brushes used by mistake. At all other points everything was clean and precise and very professional. The stylist handled the assessment well and didn't struggle with any parts of my design. She knew to ask questions if she required any direction but this was rare. 

The stylist found my hair design easy to understand after we prepped before the assessment. I briefed the stylist on how the hair should be created and Sandra had no problem with this. 

Sandra filled out a consultation form to understand everything about the model. Before starting the assessment it was noted that there was a rash by the right ear. This was written down so that the stylist and designer knew that the rash was not created by any product used.  Overall, I am happy with how Sandra carried out my design. I think she understood it well and knew what to do. She was professional and created the look I was after.

I am pleased with the result of the design, however the flash has taken out the dark lines and highlight used to create the contouring old age. Therefore I think this needed to be a lot thicker, especially if the design was going to be used for T.V and film. 

Timed Assessment - Partners Design

For my partners timed assessment, Sandra decided to work on the character Fraulein Schneider. The idea for the make-up was to make the skin look fairly old, dark circles under the eyes and thin eyebrows. I hadn't seen the design before walking into the studio as my partner was confused as to who was creating the design the night before assessment. Therefore it was crucial that there was enough information there for me to be able to create the look that Sandra envisaged. When I saw the face chart I thought the look would be fairly simple, subtle lines to create the old age skin and barely there makeup like shown on the face chart. The work station was set up well so I knew there was everything there that I could need according to the instructions set. 

I understood the step by step for make-up easily, however it didn't say anywhere the shade of products used. The only part that caused me to be confused was the part where white foundation needed to be mixed to create a contouring effect on the forehead. Looking on the face chart I didn't see where this came into the design as it wasn't drawn on clear. When creating the desired contouring on the forehead, I was told to add more foundation to make it stand out, which I did. When I had finished the look I was told that it was too much and needed to be worked on  more. For the eyebrows I was told to follow the models natural brow as they are thin, the designer at the time said she liked the eyebrows I had created and then at the end said they were uneven. Therefore, I think if this part of the design had been better thought out on the face chart then I would have understood more what the designer wanted. The lack of information on the makeup step by step caused me to be stressed as I didn't know what shape the designer wanted the lips, what shape the eyeshadow should be in, how detailed the foundation on the forehead should be and how the eyebrows should have been.

Above is the make-up look created from the face chart and step by step provided. I think the make-up reflects the face chart well, but the old age skin could have been worked in more around the mouth to make her look older and not so fresh faced. 

Next was the hair. Once again I hadn't seen the design before so I needed to rely on the instructions left. The hair chart shown made me think that the hair was more of a 50's look with a side parting and volume at the front. 

The step by step for hair was a lot more confusing than the make-up. I think it would have helped to see real life instructions of Sandra's practise showing each stage as she went through it because I didn't quite follow the curling diagram top left. I spoke to the designer throughout the process asking her questions to which she was very helpful and explained fully what she expected. The idea was to create barrel curls and turn the hair into a bob at the back. I think the directions needed to be more thorough because I didn't understand at all the idea of sectioning and which way the curls needed to be curled. This meant that the hair took longer than expected. Because the designer was watching at all times I was able to ask and be directed every time I got confused with what the step by step said. I think that I executed the hair well through all the confusion, the only part I see that has gone wrong is the parting. It should have been a side parting but I made it into a middle parting through my confusion.

Above is my partners test of her design. The images were quite dark which meant it was hard for me to see what the hair should look like. However the images helped me kind of see what was expected from the hair and make-up. 

Consultation notes were filled out so that I knew all the details about the model. I knew her hair type so knew how to handle the hair and I knew about any allergies she has. 

Overall, I hope that I have managed to create the look that the designer was after through the given information. Although I struggled with understanding the step by steps, the designer was there on hand to give guidance.