Bibliography

Online Resources:

• Admin. (2013). Creating Makeup for Catwalk Shows. Available: http://virtualbeautyacademy.com/172/. Last accessed 25th Jan 2016.
• Blanks, T. (2015). Alberta Ferretti Ready To Wear Spring/Summer 2016.Available: http://www.vogue.com/fashion-shows/spring-2015-ready-to-wear/alberta-ferretti. Last accessed 16th Feb 2016.
• BoF Team. (2016). Top 10 Campaigns of the Season. Available: http://www.businessoffashion.com/articles/opinion/top-10-campaigns-spring-summer-2016. Last accessed 1st Feb 2016.
• Brown, S. (2014). The Beauty Report: Futuristic Metallic Brows at Dior .Available: http://www.vogue.com/867212/the-beauty-report-futuristic-metallic-brows-at-dior/. Last accessed 2nd March 2016.
• Chiu, S. (2014). nyfw : nicholas k ss14. Available: http://schonmagazine.com/nicholas-k-ss14/. Last accessed 4th March 2016.
• Evans, J. (2015). London Fashion Week S/S16 Beauty Round-Up. Available: http://www.harpersbazaar.co.uk/beauty/beauty-shows-trends/news/g35521/london-fashion-week-s-s16-beauty-round-up/?slide=6. Last accessed 26th Jan 2016.
• Foley, B. (2015). Givenchy RTW Spring 2016. Available: http://wwd.com/runway/spring-ready-to-wear-2016/new-york/givenchy/review/. Last accessed 26th Jan 2016.
• Givenchy Beauty. (2016). La Revelation Originelle . Available: http://www.givenchybeauty.com/en/make-up/la-revelation-originelle/range_1. Last accessed 11th Feb 2016.
• Givenchy. (2016). Givenchy | Fall Winter 2016 Mens Show Collection.Available: https://www.givenchy.com/en/collection-men-fall-winter-2016-show-collection/inspiration. Last accessed 9th Feb 2016.
• Givenchy Official. The History. Available: http://www.givenchybeauty.com/en/history. Last accessed 1st Feb 2016.
• Hirschmiller, F. (2015) Backstage at Erdem Spring 2016. Available: http://wwd.com/runway/spring-ready-to-wear-2016/london/erdem/backstage-beauty/. Last accessed 26th Jan 2016.
• Jones, A. (2015). Your Spring Makeup Guide. Available: http://www.glossybox.co.uk/magazine/2015/03/26/changing-faces-your-spring-make-up-guide/. Last accessed 19th Feb 2016.
• Merril D. Smith Ph.D. (2015). The World of the American Revolution: A Daily Life Encyclopedia. Santa Barbara: ABC-CLIO. p264-265.
• Milligan, L. (2015). Erdem Spring/Summer 2016 Ready to Wear. Available: http://www.vogue.co.uk/fashion/spring-summer-2016/ready-to-wear/erdem. Last accessed 26th Jan 2016.
• Mower, S. (2015). Alexander McQueen Spring 2016 Ready to Wear.Available: http://www.vogue.com/fashion-shows/spring-2016-ready-to-wear/alexander-mcqueen. Last accessed 25th Jan 2016.
• Mower S. (2005). Riccardo Tisci Fall 2005 Ready to Wear. Available: http://www.vogue.com/fashion-shows/fall-2005-ready-to-wear/riccardo-tisci#review. Last accessed 12th Feb 2016.
• Murphy, A. (2015). The New Definition of Beauty. Available: http://www.harpersbazaar.co.uk/beauty/make-up-nails/news/a36751/the-new-definition-of-beauty/. Last accessed 14th March 2016.
• Muse Beauty Pro. (2014). Backstage Spring Summer 2014. Available: http://www.musebeautyproblog.com/tag/fashion-makeup/. Last accessed 2nd March 2016.
•  N/A. (2010). Advertising vs Editorial . Available: http://www.fashionphotographyblog.com/2009/12/advertising-vs-editorial/. Last accessed 25th Jan 2016.
• Okwodu, J. (2015). Lara, Joan, Lea, and Mariacarla: Riccardo Tisci on the Models He Adores and the Careers He’s Made. Available: http://www.vogue.com/13266964/riccardo-tisci-interview-top-models/. Last accessed 18th Feb 2016.
• Roff C . (2011). Hubert de Givenchy Biography, History and Famous Quotes. Available: http://www.vogue.co.uk/spy/biographies/hubert-de-givenchy-biography. Last accessed 1st Feb 2016.
• Rupert, A. (2014). Nicholas K SS14: Daniel Martins Tribal Makeup.Available: http://hooked.heyheygorgeous.com/nicholas-k-ss14-daniel-martins-tribal-makeup/. Last accessed 4th March 2016. 
• Sheeba Magazine. (2015). What is Editorial Fashion Photography?.Available: http://www.sheebamagazine.com/read/what-is-editorial-fashion-photography/. Last accessed 25th Jan 2016.
• Shulman, A. (2016). Coach Spring/Summer 2016 Ready to Wear.Available: http://www.vogue.co.uk/fashion/spring-summer-2016/ready-to-wear/coach. Last accessed 15th Feb 2016.
• Soloway, S. (2010). Fashion: Riccardo Tisci . Available: http://www.wmagazine.com/fashion/2010/09/riccardo_tisci_givenchy/. Last accessed 12th Feb 2015.
• Tilbury, C. (2015). Milan Fashion Week: Etro SS16. Available: http://www.charlottetilbury.com/uk/blog/2015/09/milan-fashion-week-etro-ss16/. Last accessed 19th Feb 2016.
•  Vogue. (2015). Makeup Artist Pat McGrath on the Story Behind Givenchy’s Extraordinary Face Masks. Available: http://www.vogue.com/13334646/givenchy-spring-2016-face-masks-beauty-pat-mcgrath-backstage-models/. Last accessed 26th Jan 2016.

Book References:

• Mort, F (1998). The Givenchy Style. New York: Vendome Press. p1-20.
• Steele V (2010). The Berg Companion to Fashion. London: Bloomsbury Academic . p483.
• Trevelyan, A (2015). Miskwabik, Metal of Ritual: Metallurgy in Precontact Eastern North America. Kentucky: University Press of Kentucky. p118-120.
• Tungate, M. (2011). Branded Beauty. Kogan Page Publishers. London. 2011.
• Wood, M (1981). Native American Fashion. United States of America: Van Nostrand Reinhold. p94-97.

Film References:

• Chanel. (2015). The One That I Want. Baz Luhrmann.
• ModEyes. (2015). Givenchy Creative Director Riccardo Tisci Interview English. Available: https://www.youtube.com/watch?v=bcQkkUP-t1M. Last accessed 1st Feb 2016.

Article References:

• Klemesrud, Judy. "Fighting a War on Behalf of Indians." New York Times (October 24, 1970): 20.

Self Evaluation

For this unit the project was entitled Beauty and the Brand and within the criteria we had to select a fashion house or cosmetic brand and build a portfolio of images surrounding that brands aesthetic and dictated by the trends of Spring/Summer 2016. ­My initial impression was a mixture of emotions, the idea behind this unit was interesting as it allowed us more creative freedom however the concept of creating a look that embodied both the ideology of a brand and the current season trends seemed a challenge. Another first impression that slightly alarmed me was making a decision on what brand to use, the second semester I always feel flies by so quickly and therefore I felt it was important to make my choice as soon as possible so I could begin researching. The most enjoyable element of this unit was for me also the hardest and that was the final shooting of the images. I enjoyed this particularly as it gave us the opportunity to test out a variety of different photographic techniques and build a greater understanding of how makeup translates onto camera settings. Organising shoots is a challenging experience as trying to organise multiple people into one room is hard, however even when people don’t appear, from the skills learnt within technical sessions I was able to carry on regardless and produce final images that I was pleased with. In regards to new techniques I feel that I have acquired a fair amount of knowledge in regards to photography work, setting up a studio and orgnaising a shoot more effectively this year. Photography sessions have been of great benefit to me in supplying me with the confidence to take the techniques learnt in class and apply them to my shoots. The most beneficial technique that I have acquired in regards to shooting is that of working tethered, previously I did not know how this piece of equipment worked as I was unable to grasp the concept in first year, however this time round it made more sense and I found that by having my images on the computer I was able to produce a much better quality shoot.
Hair is still an element that I find most difficult in regards to this course although it is something that I am improving at. Due to my difficulty with hair I know that I need to put in additional practice so that I am able to create more finished styles with confidence but also test elements that previously I have shyed away from. That being said I feel that my hair skills have come on within this unit and I have produced more set styles within my final images than I would have previously attempted. In comparison to my other work which featured a lot of wrapping the hair, this unit showed I was able to create a few different styles including sleek ponytails, French twists and chignons. Although these are only basic styles I am proud that I was able to produce them to a standard that I’m willing to submit. Research dominated a large majority of this project and this was essential in gaining enough understanding of the areas that had to be covered in order for us to fully execute our final designs. I began the unit by focusing intensely on the original history of the house of Givenchy and then following it onwards to the modern recreation under the eye of Riccardo Tisci and the creation of “Tisci Black”. Gaining a knowledge of the Givenchy aesthetic was important to making sure that my images followed the visual connections of the brand, in addition by understanding the differences between the two versions of the house I could either choose to embrace either aesthetic. Once this base understanding was in place I was able to go on and analyse the creations from the Spring/Summer16 season and gain knowledge of how lead makeup artists such as Pat McGrath, Val Garland and Lucia Pieroni went about creating the looks for both Givenchy and other brands across the catwalk. For inspiration I tried to make sure I took small pieces of influence from both Givenchy and other brands so that I was able to create a fully rounded final body of work that was from a wide range of influences. Two trends that stood out to me in particular from this unit were the tobacco eyes of Val Garland at Erdem and glowing skin for Givenchy Ready to Wear by McGrath. These were the key looks that were taken and interpreted in my own work.
The biggest issues that I faced within this unit were a combination of struggles with collaboration and the impact that this had an impact on my confidence going forward with my final images. The main issue was that of organising a shoot and having no one turn up, this happened to me around 5 times within the course of the unit with a few incidences of even my model not appearing. I have come to realize that relying on fellow university students is taking a risk as without some form of payment or favor people are very happy to agree to commitments they don’t intend to fulfill. Despite these problems however I worked hard to overcome this issue each time it arose by taking on board the elements that were taught to us in class and organising more shoots myself. Overall I am pleased with my images despite these difficulties and feel it was down to my research and understanding that I was able to pull it together. That being said in future I would like to retry the collaboration process and would hopefully have better luck. There is always the likelihood that I may have been able to produce better quality images with the assistance of a photographer.

Brand Evaluation

The Givenchy that we see walking the runway and dominating the fashion world today is slightly different from that of the fashion house established by Hubert de Givenchy in the early 1950’s. At the age of 24 the couture establishment of La Maison Givenchy had been debuted, the house featured an array of floor length skirts and blouses created from the ornate French fabrics that Hubert de Givenchy had adored so much, with the influence of his mother, as a child. By 1954 the house had become the first to present its own ready to wear line, this line featured the main garment templates and fabric textures that would go on to become the mainframe for Givenchy’s aesthetic for the next 50 years or so. By 1995 Givenchy had handed over his role as Creative Director to a series of successors including John Galliano and the late Alexander McQueen who began to construct a new course for the fashion house. The biggest changes occurred however when the house was passed over to the current Creative Director Riccardo Tisci, a leader of particular taste who began to reshape the classic aesthetic of the brand. Leading on from the roles of Galliano and McQueen, Tisci has worked resculpt the aesthetic of the house into a new direction. Tisci believed that Givenchy, a brand previously best known for its designs of the little black dress back in the 1970’s, required a new tone of influence. As a graduate from Central Saint Martins, Riccardo Tisci had but two collections to his name but was approached to step up to the role of Creative Director at Givenchy. While focusing on aiming to bring in a darker influence and level of sensuality to the brands designs the maintenance of the house’s chic background was crucial. His aims, to reinforce the modern gothic as a way of empowering both men and women but also establish his own identity within the Givenchy name. In the beginning this new concept of the “goth-gamine” was heavily criticised by previous advocators of the house, however it has been in the past 5 years of his influence that the dark romanticism of his aesthetic has won the hearts of other designers. For example Pierre Berge of Yves Saint Laurent commented that the Givenchy Fall/Winter Ready to Wear Show of 2010 demonstrated how Tisci as truly “of all the designers in the world today, he is the most talented”.

Consistency is an upmost occupation of the Givenchy aesthetic with the brand working solely to a monochromatic colour scheme of blacks, white, wash tones and gold. This very fixation on the darker tones lead to many refereeing to the tones as the “Tisci Black” whereby Riccardo reinforces that “I didn’t invent black color, but people related so much black to me, which is a very beautiful thing”. This preoccupation with the modern gothic ideology has consequently lead to an infiltration of darker concepts across the fashion industry as a whole. The new Givenchy marks a house alongside others such as McQueen, to test the boundaries of fashion. Embracing an element of modern gothic and historically established sophistication.

Gaining an understanding of the history and development of aesthetic was crucial to being able to produce images that were in keeping with the houses style. In addition to the historical work and ethos theory is that of the visual analysis that took place, this visual work demonstrates the connection between the written ideology of Tisci and the final works that are seen within both the catwalks and editorials.  Givenchy is a brand that embraces consistency, producing editorials as a means of storytelling for the more extravagant looks that dominate the runways. As a result the styling of the editorials was often sleek, simplistic and with a darker tone that runs across the photography and styling. The best example of this is the use of black and white imagery that immediately constructs a defined mood for all of Tisci’s representation of the house, this technique when added to the images produced for this project created an immediate association with the brand, which was aided through the styling and makeup. Even within their cosmetic advertising there remains a dominating presence of visual continuity, although their adverts differ widely from the aesthetic of the burn out editorial and runway looks. A clean finish and ethereal tone is apparent within every advertisement, this contrast gave a different outlook on the brands ethos and also supplied to opportunity to create a completely different style of image within the same project. Overall an understanding the history of Givenchy, brand development, aesthetic and styling was crucial to being able to produce final images of the same ethos.

Cat Parnell - Bridal Tips

http://www.catparnell.com/bridal-beauty/
yjc5cgfffcihrv8dsax80mjyvwdr09

A Bridal Hair and Makeup artist should be:


- Versatile


- Speedy


- Skilled

- Calm


- Organised


Bridal Trials:


- 2-3+ hours


- Test a few hair/makeup ideas.


- Really talk to them about what is realistic to achieve with their hair type.


- Listen to them. Don’t do something totally different to what they’ve asked. It’ll save you lots of time. Any photos the bride may have of her dress/accessories are also helpful to see to give an idea of a suitable look for both hair and makeup. 


- Write up a face chart/list of products used for the wedding day.


The Wedding Day:


- Remain a calming influence on your bridal party.


- Always be on time, don’t make anyone late!


- Arrive and set up 30 mins before starting to ensure you’re ready. Prepare a schedule in advance so everyone knows exactly when they’re needed.


- Make everyone feel like a VIP for the day! They will recommend you to friends/family.


Prices:


- These prices are for those beginning in the bridal industry but have all the necessary qualifications.

- Bridal Trial


- Hair and Makeup £100+


- Wedding Day


- Bride Bridesmaid


- Mother of Bride


*These prices will go up in time as your experience level gets higher and vary on location. London higher than other areas as a general


Terms and Conditions:


- Make sure you give yourself Terms and Conditions to the bride to ensure you don’t get messed around. Take a non-refundable deposit (£50- 100). Take this even before the trial to secure the wedding date, this is then taken off the final wedding day fee.


- Ask for full fee 28 days before the event.


- Always charge for your travel (unless the event is within 10 mile radius)