Face Charts. . . .

Bit late in my blog but here it is. ..

During the part of any design devlopement for me is face charts. Although they are an important aspect and I feel that the are a good way to get your ideas across and the image you have of a look in your head, I do believe for me I find it better to get my ideas across by practising on either myself or a model. The difference between paper and skin is incredible, as the textures are different and can not create the same shading and tones as you can on both. I think as well practising on yourself is always good because as you start your design, you realise what works and what doesn't.

For my 3 final looks I shall do the bottom 2 face charts as I feel that these represent visually exactly the look I want to achieve. Using techniques I learnt from seeing Alex Box, layering on different shades and blending out the colors more instead of just applying more I feel that I will create 2 skillful looks. 

Styling. . .

So the styling of my shoots, I have collected different garments which I shall style either on myself or my model to see what works well with what. As my 3 final images will be of 3 different stages of Daisy throughout the book, I aim to have at least 2 different outfits to show the story progress through imagery. I think what will make my styling something exceptional is the fact that I am collaborating different pieces from a varies of shops/brands instead of just going into one shop and getting everything from one place. By this I think my final shoots will have that extra something because it will show my styling skills using different sources. 

So looking through my collection of clothes, I found these little beauties for my shoots. Its amazing looking at how fashion now is still so heavily influenced by 1920s fashion! I felt these certain pieces would work well as due to similar materials that would of been used and the tassels because this reflects back on the 20s but still with a contemporary feel, to represent my interpretation.

So this dress is going to be for my first shoot as I feel that although with the heavy embroidery and quite low neck line, it could still be considered a day time dress as it is not too over the top. As this is see-through my model shall wear a plain black camisole underneath. The picture underneath is a close up of the neck line to show the detail clearly at how beautiful the embroidery is. I love the combination of using different types of beads to create such a stunning design.

The final image and outfit for my 2 last shoots is this stunning number underneath. This dress I bought for a shoot months ago but never ended up using it, forgot to take it back and im glad i did as I feel this dress is perfect for my final images. Although many of the 1920s fashion I have looked into have been covered in tassels and sequins but I love the pleats in this dress and with the floatiness and detail of the fabric roses around the neck line I think this is the perfect choice for the evening dress for my 2 final shoots.

3 Points. . .

So referring back to the project brief, (which is what I need to do more often to keep me on track), I have to pick 3 different character points from my book and create 3 shoots, showing the progression and transformation of my characters emotions and state of mind through hair, makeup, lighting etc.

Project Brief:

"You will select one of the books from the ‘Book List’ (please see below) and take one character to study in great detail. From this, you will produce an in-depth analysis of the character. This analysis should be taken through all the stages of the book and observations made that detail changes in your character’s development.

Your in-depth research, analysis and narrative/character deconstruction will culminate in you producing a contemporary fashion version of your character.

In collaboration with a BA (Hons) Fashion Photography student, you will produce three images of your character - a head and shoulder, a mid length and full length shot. Your images may be studio or location shot and you will make use of hair and make-up design, styling, accessories, lighting techniques and a consideration of image composition. Each image will depict your character at a pivotal moment in your book and therefore, demonstrate how your character changes/develops across a period of time.

You are expected to provide practical solutions that are realistic and in keeping with your chosen narrative and character. Your job is to produce a well-rounded, totally believable character and understand his/her development within the narrative".

Look 1.

For my first look I am going to show Daisy Buchanan's flirtatious side. She was a socialite and majority of the time she got her own way by using her charm and her beauty on her side as an advantage. Although Fitzgerald does make her a character worthy of Gatsby's unlimited devotion, in the end she reveals herself for what she really is. So for my first look I want to really capture Daisy's flirtatious characteristics by strongly directing my model Lauren to practice similar emotions so she can really get into character. Perhaps looking down over her shoulder with a cute, smug smile as if she had just got what she wanted by using her charm. She herself is a great fan of the book and the story line so fingers crossed she will be able to pull it off. Also due to the fact that Gatsby is totally and utterly besotted by her. This picture of Drew Barrymore comes to mind...

I think for my first look, this will be my beauty shot.

When thinking of a way to visually describe the image I want to create for my first look, the character Merly Streep plays, Miranda, in The Devil Wears Prada is a good representation of this. The ruthless and cynical character reminds me a lot of Daisy as she is sweet when she wants something but deep down she comes across as quite the bitch. For when I do the final shoot I shall use this as an example to tell Lauren so she can get more of an idea of the expressions I want her to pull.

Look 2.

Despite her beauty and charm, Daisy is merely a selfish, shallow and in fact, a hurtful women. Gatsby loves her or at least the idea of her with such vitality and determination that readers would like, in many senses, to see her be worthy of his devotion. Although Fitzgerald carefully builds Daisy's character with associations of light, purity and innocence, when all is said and done she is the opposite from what she presents herself to be. So for my second look, I want to keep my focus on showing Daisy's 'true colors', with the facial expressions as if she has just been caught out but also hiding her feelings for Gatsby. As if she constantly has that sinking feeling which you see more of this throughout the book unlike your first impressions of her. To show as well that she constantly has a guilty conscience at the back of her mind. For my second look think this will my full length shot, to fully show how she is fealing by how my model carries herself by the way she is positioned and posing for the shoot.

This image of the imfamous Lindsey Lohen is a perfect example of the scene I want to create for my 2nd shoot. This is that part of the story where Daisy is fully aware that her husband is having affairs, yet she knows that because she has married a man with power and money and with the life that she has had, if she leaves him she will lose so much and her life will change dramatically. With this shoot I wanted to capture Lauren looking anxcious, nerves and quite uneased. Showing that she feels that she is stuck with what to do with her life.

 

Look 3.

For my third and final look, I want this to be the more intense image, to give more of a story through expression and to put my skills to the test through hair and make-up. For someone who was used to always getting their way, to then feel as if everything she was used to is crumbling around her, THAT is how I want my model to feel, so she can fully understand and get into character. I want this image to be after Daisy has hit and left Myrtle to her death. So to create such an intense final image and to round off my overall shoots for my project, I shall talk to my model, Lauren, about situations shes has been in the past where she gets anxcious and worried/distraught, and try capture this through imagery. Also the fact that her husband has money and power, she will be worried at anxcious at this point that from this revelation that she could potentially lose all of her belongings and her luxury living.

For my final look, this is the going to be my head shot so as the image will be smaller, I really want create a big impact with which I shall focus on the eyes. The make-up itself wont have changed much, apart from smudging and water applied to create a tear effect but with the camera angle being slightly lower than a front on head shot, with Laurens chin slightly raised so she is looking down more I think this will create the 'worried' look I want. 

Flapper Head bands. . .

During the daytime flappers wore a cloche hat but in the evening there was an amazing variety of exotic head dresses to chose from including beaded and feathered headbands and close-fitting caps. As a show of wealth, many of the more expensive headpieces were full of beads, feathers and more elaborate materials to show that they could afford the best.

If I could, I would totally make a headpiece like this but I wouldn't have a clue where to start. And I think as well, something like this might be a bit too much!

If anything I want to create something like these pieces. Simple yet with full effect, including the main aspects in traditional 1920s headbands. With either a fabric or peal band for the base, to then add feathers and maybe some form of large diamonte or if I can find one, a unique vintage looking broach for the main focus piece. 

Jewellry. . .

Bling Bling Bling!

Costume jewelry became popular in the early 1920s when the new fashions for women were casual as well as sporty and were not very well suited to the formal nature of precious stones. The Art Nouveau movement had already shifted the public's focus to appearance rather cost. Following the war there was a major trend towards non-precious jewelry.

As jewelry started becoming more popular within the 1920s, used more to give a statement and to show wealth, it got to the stage where the more diamonds, the better! Jewelry wasn't just narrowed down to necklaces and bracelets, it broadened to glitzy earrings, stunning headbands and sparkling hairpieces which were normally attached with hair clips/slides. 

Pearls were big news. The influence of the orient figured greatly during in the 1920s and with that great lustrous pearls became one of the must have items in jewelry. Strings of pearls, often worn in long strands or hand knotted pearls, known as 'rope length' pearl necklaces were either worn as a single loop or wrapped around the neck several times. These extravagant necklaces were often teamed with pearly stud earrings. As an alternative, long dangly earrings, particularly pearl earrings, were also hugely popular, typically worn when no necklace was accessorizing the outfit.

A still image from the upcoming film being released in May, of Daisy relaxing in a club where I got an clear idea of the jewelry she wore. Including the head band which I pan on creating my own for my final shoots, and hand accessories which include the fingers and wrists. 

Collaging. . .

In the early stages of the project, in one of our seminars we spent the afternoon looking through magazines to collect images to create collages/mood boards. This was a good chance for me to look and understand how current photographers/make-up artists work when referring different aspects to 1920s. Whether it is the way the model is posed, or the certain shades used on the lips. As well as looking at the make-up and styling of the hair, I also looked in patterns, materials and colors.

After finishing these collages, I feel that this helped me understand more the modern day feel and interpretations of 1920s hair and make-up. I found this task incredibly helpful with my project and I think in the future this is something that I shall definitely consider in the future. Although some of the poses and colours used on the make-up is quite dark, sometimes a Gothic feel, I feel that this will help me think of the mood and facial expressions I want my model to have when in the final shooting stage.

Practice Make-Up

I think one thing that I should consider for my blog was to show more development of my design process by practicing more on myself and blogging about it. As this shows skills, techniques and will help me when doing my final shoots to refer back to, to remind myself and clear my mind at what I am trying to achieve. Plus it gives me a chance to have a play around with products and to gain confidence within myself. So here it goes...

I started off with prepping the skin by cleanse, tone and moisturize then concealing the skin, then used Illamasqua 200 Rich Liquid Foundation and 001 Loose Powder to finish the base. Although the foundation was a shade slightly darker for my skin, as I am so pale I didn't want to create a porcelain look with pale pale skin. After the base was done, I contoured the skin using 'Disobey' then used my new 'Naked Rose' Powder Blush in a circular motion to give the cheeks a slight color. As an extra factor, I them applied my new product, 'Gleam' on the top of the cheek bones to highlight and give a slight dewy look. I think Gleam is my new favorite product! All these products are from Illamasqua!

Once the base was completed, I covered the lids of my eyes with Naked Rose as I thought for the base it was the perfect shade, that's what I like about Illamasqua products, the fact that they can be used all over the face/body. After the Naked Rose, I built up the color by layering different shades but mostly used Powder Eye Shadow in Livid. After the shadow was done, I experimented with my new products from the Alex Box show, I used Pure Pigment in Berber, a strong royal red which when blended, gives a gorgeous sheen and really brought out my eye color. For something a little extra, I applied Liquid Metal in Electrum on the center of the lid and the inner corner to really give the eyes something special.

In 1920s, major plucking took place to get rid of as much of the brow hair as possible. All that was desired was a thing line that curved downward towards the temple. A grease pencil then was used to darken the bizarre line. For my interpretation of the signature drooping brow, I used clear mascara and combed out my brows then concealed over. Using a black powder and a right-angled brush I tried to recreate a similar style brow. 

For the lips, I used a black pencil to line the lip and to really enhance the cupid-bow shape that was seen a lot in the 1920s. Once the liner was complete, I used a dark, dense purple to fill in the lip and then used a separate lip brush to blend the two colors together. Overall I think my practice session went well and I have noted what to focus on as I now know what is more time consuming as when it comes down to my final shoot I have to work at a steady pace. I think when my models hair is all done, the outfit is on and with this make-up look on, she will look stunning and I hope it all comes together well.

- The Finished Look -

Here is the face chart where my initial idea came from. I find with face charts although it is a good method of getting your ideas across, I think it is always best to practise either on yourself or model because the difference between paper and skin is important. 

Reflection

After practising this look on myself, I have learnt that to create and have the effect I want I need to apply darker tones on the eyes and layer up to really show depth in the make-up. One thing that I have learnt from shoots in the past is that when the make-up is first applied it looks good but behind camera, the flash tends to drain out alot of the colour. So I have to bare in mind that I will need to apply more to keep the density. I learnt as well that when I used the Illamasqua Pure Pigment, it was quite messy as although I applied the power on the upper eye lid, it tended to fall on top of the cheek bone and this made it look quite unkept and messy. So when it comes down to final shoots I will take note to place tissue under the eye when applying the powder so it came easily be removed when finished.

Alex Box Make-Up Show @ Selfridges.

On Thursday 25th April, I travelling to London to attend an exclusive make-up show by Alex Box inspired by David Bowie. As soon as I had the opportunity I bought a ticket because I couldn't of missed this amazing chance to see my idol do her thing. I find Alex Box an inspiration not just as a make-up artist, but an artist herself and as a person and the fact that when I met her, she recognized me made me the happiest girl!

♥ ♥ ♥ ♥ ♥

As I had the chance to attend the show, although Bowie isn't anything to do with my project as it is set in 1920s, I decided to take the chance to do a post about the show as firstly it was incredible, so inspiring but also because from watching Alex do her work, I noted down her techniques and picked up on different things that I had learnt from watching her. Even down to how she held her brush and positioning of the brush/hand when applying make-up. It is a dream of mine to work for Illamasqua, and in my mind the final designs for my shoots could be referred to the Illamaqua style as this is something that I am teaching myself. The ticket was £100, (totally worth it), but the ticket after purchased became redeemable, which basically meant it worked a as a voucher as we were given the chance to instead of receive a goodie bag of products, we were able to pick £100 worth of products from the new Bowie collection which hasn't even been released yet. These are the products I picked...

Overall, one of the best nights I have had in years. It was such a fun, friendly and inspiring night, I have come away motivated and driven to do even better in this project, and to achieve my dreams!

Hair Practise. . .

During one of my practical lessons when I had already learnt how to finger wave the traditional wave, I tested out these 3-pin tongs as to see if they could create the same effect, but just be more time efficient. With finger-waving, and especially as I am planning on doing my shoots on location, I wanted to try out if using this tong it would create a similar effect but just be a lot more quicker, also as well with finger waving, if it doesn't go right then I worried I wouldn't have enough time to do it al again and then wait for it to set.  

To create my desired look, faster and more effective, I used these Babyliss 3-pin tongs. Absolute god-sent but one thing that I learnt from my first practise on Emma, is that when sectioning the hair I have to keep the same line when gripping the hair otherwise the waves will be un-even which will result in it being hard to maintain that 'S' shape that I want. 

Below are the pictures of when I practiced this technique on my model, Lauren Hannan. As Lauren has the perfect length hair for what I need, I made extra sure that I tried my best to get the line right at the root of the hair so all of the waves will fall together to create the 'S' shape. Still getting there but practice makes perfect!

This is an image I found on Pinterest and is pretty much the exact style as I want Lauren's hair. Still think and not totally sleaked down, but with the signature 1920s waves. This is a style that I think I shall use for atleast 2 of my final shoots.

My Model. . .

My chosen model is a dear friend of mine called Lauren Hannan, my beautiful Irish darling! She has a delicate pixie like face with big light brown eyes, short blonde hair and is 5ft 5in tall. When I started thinking about my model for my final shoots, I asked around my friends who would be 'ok' for the job but when I thought of Lauren, instant light bulb. She has quite an idyllic face, seductive bold eyes and with the length of her hair, and how I want the hair to look in my shoots, I thought instantly that she would be perfect.

Hair Flare. . . .

As well as make-up, the hair was a massive aspect of the overall look for women in the 1920s. When I first think of 1920s hair I immediately think of finger waves. The finger wave method is something that I learnt during one of my technical sessions, it is a method of setting the hair into waves which really started in the 1920s and was also popular within the 30s and then in the 80s in Europe and North America. The process involves pinching the hair between the fingers and combing the hair in alternative directions to make a wave shape, sometimes I call it an 'S'. Whenever I do it I always apply a lotion, usually a serum to help train the shape.

From looking on the internet this is a collection of some of my favourite 1920s finger waved hair styles, from when I have practised this, I have learnt that there are many different techniques to add onto the basic style, such as curls coming onto the face and tidying hair the hair back, each style always gives an elegant finish which is one of the reasons why I love it so much!

For me, I think this style works best on short hair, and during the 20s this was a popular length, it was quite rare that you would see a female with long hair. Luckily my model, (which I shall talk about later in my blog) is perfect, as she has short blonde hair! Its the best feeling when you find a model and you just know that they will be perfect for the job, and the fact that she is one of my closest friends is a bonus!

During the iconic era, this was the time where hair accessories became incredibly popular. They added flare and a sparkle to really enhance the wealth of the women, some of the designs and pieces were absolutely amazing. There is a variation of accessories in todays market for hair, but nothing like the 1920s, I would love to of worn these sort of pieces during my everyday attire. In a way, similar to diamonds, the bigger, more flamboyant a hair accessory was this kind of showed your wealth the more lavish it was. 

Christian Dior 2009 A/W Collection

Fall fashion is an electric mix of new and old; however the latter is more so prevalent on the catwalks that graces Fashion Week. One-shouldered dresses, 80s inspired spandex and towering shoulders, lace, leather and clingy dresses were in when this collection was released and still is now. This collection is a mixture of old 1920s/30s fashion and the 1980s. I am not so much interested in the pieces that reference to the 80s as such, more into the 20s but all of the garments were amazing, the detail and mediums that were used and how they all worked together is so inspiring. But what interests me more is the 'Jazz Age' inspired look found between the lines of bad 80s clothes. Draping fabrics that are soft tot ouch and quite elegant looking, feathers in the hair and of course the makeup! This collection was referred to quite a few times as the 'Jazz Age Collection', which is why I find this an exciting collection to look into.

The Jazz Age look is mostly darker colours for the eyes; perfect for day-to-night smoky eyes, plums, silvers, purples and dark lips. From this collection in 2009 and still to this present day, darker shades for lips is still very much in fashion. However, most designers dared to be bold with black lipstick as it immediately falls in the category of 'goth'. With Dior, they give you a more acceptable palette of colours to choose from: dark plums, rich reds and glittery mauves. All of these will compliment the already jazzed up eyes. Something that I have realised since I have been studying this course is that the Dior Jazz Collection is a higher brand of make-up, so you instantly expect greatness from such a product. The colours are gorgeous and if I had millions, I would buy it all within a flash!! They give you a hint of shimmer to make your eyes really pop and to modernize the look. With a typical or modern twist on the 1920s look the things you need are shimmery greys and blacks, as well s taupe's plums, dark purples, mauve and whites. These colours are perfect o make a day look for work than can easily transition into the night for some partying and play. Blush should be kept on the lighter side, as they main focus os on the eyes and the lips. 

I find that from looking at traditional styles of 1920s make-up and researching into the fashion side of the era, I find it amazing how even decades after, the modern day fashion world is still very much influenced by this fabulous and frilly era. The main reason why I find this collection so interesting, as well as the fact that the clothes are stunning, but the makeup is outstanding. The modern-day high fashion interpretation is the key aspect which I am looking into this, the colours which are used and the way it is applied is something which inspires me for my final shoots. It still includes the same shades and colours that were used back in the day but I think the fact excessive  false lashes have been used, they really give the look something else and really make the eyes pop which is something that I want to include. Even if it means experimenting with long false lashes but bulking them up with mascara, I think I shall have a play and see what I can create. Also as well, including oranges and pinks to contour and highlight the face with is something else that I shall experiment with. With the hair I think I am going to stick with traditional finger waving unlike in this collection, I feel although my project I am to show my interpretation of the look, I feel the hair styles in this collection is something that would be a bit too extreme and would seem to much of replicas of this collection.

Modern day interpretation - MAKEUP. . .

As I have already looked into 1920's make-up from the time and noted down the key features and referenced them in my blog, as well as looking at the traditional style of make-up I wanted to concentrate my focus on fashion-like styles and colors which have been used to create a similar, but more 'wacky' look. Using different techniques and tones, layering color to create iridescent shades and applying 'outside the box', I want to focus my final looks more into a high fashion/couture style look instead of just sticking to the traditional style because I feel that it would be too easy and as our project is to show our interpretation of our chosen books, I feel that practice my ideas and blogging them, hopefully my ideas will work out!

I found this image on Pinterest and the key aspect which I think brings this image together as a whole are the eyelashes. With the extra length on the outer lids and the hint of green at the base, really compliments the shadow and with the metallic green this really brings out the plum purple on the lips. This is an all-over really strong 20s inspired look and from this I shall take into consideration when I think of the final colors that I shall use for my final images, adding color onto the lashes to really make the eyes bop!!

Ideas. . .

Collecting my images that I have looked into so far in regards to 1920s make-up, the best way I work sometimes is to visually see my ideas infront of me instead of just a list of words and pictures scattered around. So i created this small mood board just to give me some sort of idea and for me to refer to so to remind me of the kind of theme that I am sticking to, concentrating on the key aspects of the era in regards to makeup.

Icons. . . .

I thought as considering I am doing my project on a subject which is based in the 1920s, and looking into haie and makeup of the era, at some point I needed to consider the female icons of the period. Edith Paif, Clara Bow, Marlene Dietrich and Louise Brooks are all renowned icons of the most stunning era and these women really knew how to work it. They were models/actresses which were not only known for their talent behind the lens, but also for their sheer beauty and even to this day are consider some of the most beauty and significant women to walk the earth. There flawless skin and perfectly sculpted features made them be remembered as they are today, with their cupid-bow lips and their drooping eyebrows, their cold, yet seductive looks made them given an everlasting impression so I thought I needed to include them in my blog in someway.

Absolutely stunning.....!

Make-Up Bliss. . .

Cosmetics in the 1920s were characterised by their use to create a specific look: lips painted in the shape of 'Cupids Bow', kohl-rimmed eyes and bright cheeks brushes with bright red blush. I personally think the signature look of the 1920s regards to makeup is the dark eyes, where I feel the 'smokey eye' look originated from. I think the overall is quite cold, yet sultry at the same time, bringing attention and focusing on the eyes and lips where this is normally a woman best features, and what men are most attracted too.

The heavily made-up look was a reaction to the demure, feminine Gibson girl of the pre-war period. In the 1920s, an international beauty culture was forged and society increasingly focused on novelty and change. Fashion trends influenced theater, films, literature and art, which were all incredibly popular in high society Long Island in the 20s where the character Daisy was based from. Woman also found a new need to wear more make-up. A changed postwar sex ratio created a new emphasis on sexual beauty. Additionally, as women begun to enter the professional world, publications such as the French Beauty Industry encouraged woman to wear more makeup so to look their possible best when competing with men for employment. 

Blush - 

During the 1920s, the messy elixir blushes of past years were replaced by powders, creams, liquids and rogue papers. Powder blushes were extremely popular after the invention of spill-proof containers and the compact. It's amazing to think something which is yet popular nowadays was invented so long ago now. The progression of make-up and development over the years is unbelievable. 

Lips - 

Became popular after Maurice Levy's 1915 invention of the metal lipstick container, whereas before it was normally kept in a pot, similar to shoe polish. It was available in salve, liquid and stick forms and was also long-lasting, indelible stains were the most popular. As the product worked as in staining the lips, it never smudged and hardly wore off which was one of the factors that made it so popular especially during the flapper parties, no-one likes to having to constantly reapply makeup when all you want to do is party!! 'Natural' lipgloss was also invented, which used bromo acid to create a red effect as it reacted with the wearer's skin. 

Mascara - 

In the early 1920 many women fulfilled their desire for darker, fuller lashes by resorting to the use of common household products to achieve this. Petroleum jelly, or as we know it Vaseline, was mixed with soot or coal. Then this was applied to the lashes using a fine brush. During the middle of the decade, mascara was available in cake, tube, wax and liquid form and applied with a brush. Surprisingly enough, there were even waterproof formulations available back then also. 

Miami-Revue. . .stunning!

"Retro is in for the latest Vogue Germany. Georgina Stojiljkovic is featured in this 1920s inspired shoot by Alexi Lubomirski.


This shoot is absolutely stunning, breathtaking and so inspiring!! The images were set on location and wherever it was, probably some beautiful european setting, it was gorgeous. The images have been digitally enhanced for the setting of the era in which the photograph wanted to recreate. Sharp quality is expected from the digital image, however the soft tones and gentle contrast between the highlights and shadow create a gentle mood. Adding to the mood is a shallow depth of field which focuses on the model enhancing the model within the image. Which lets you focus on the hair and makeup and all the detail that has gone into producing the final images.

Link -
http://fashiongonerogue.com/miami-revue/

After lookin through the website linked above the image, especially for my first shoot where I want to capture Daisy's innocence, I feel that using this sort of lighting would be perfect. Creating an image that shows happiness, my model being content and representing the fact that Daisy has anything and everything she could of possibly dreamt of.

Mila Krasnoiarova by Huga Arturi - Lighting

Mila Krasnoiarova by Huga Arturi for Fashion Gone Rogue

The Baroness - photographed by Huga Arturi and stylist Jenni Hensler connect for a story influenced by German fashion and cinema circa the 1920's and 30's. Mila wears a mix of vintage and contemporary pieces for the perfect marriage between retro and modern style which is something I am aiming to achieve, my own personal twist on the classic flapper style for Daisy Buchanan. Hair stylist Gregory Alan is responsible for Mila's sculpted coif while makeup artist Christine Cherbonnier offers beauty techniques from the early twentieth century in the form of dark berry lips and rouged cheeks. 

Comparing this to the Angelo D'Agostino collection I looked at earlier on in my blog, the lighting in this shoot is very similar. Although the only difference is that these images are in colour and natural lighting itself is used more, creating more of a soft, natural feel. The make-up is amazing! So inspiring and helping me think outside the box instead of just sticking to a more traditional 1920s style. 

                                     

If I decided to follow through and do either all 3 of atleast one of my final looks on location, I feel that using this sort of technique for lighting will work especially well for either of my final 2 shoots. As with the scene I want to create, focusing the light so it focuses on the eyes will work incredibly well as this will emphysize more the emotion behind the eyes and create more of an emotion for the over all picture.