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Pierce, C. (2015) Makeup artist Pat McGrath on the story behind Givenchy’s extraordinary face masks. Available at: http://www.vogue.com/13334646/givenchy-spring-2016-face-masks-beauty-pat-mcgrath-backstage-models/ (Accessed: 18 February 2016).

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Sephora (2016a) Sephora: Givenchy: Eye wardrobe clutch set: Eyeshadow-palettes. Available at: http://www.sephora.com/eye-wardrobe-clutch-set-P402941?skuId=1755891&icid2=brand%20content_undefined_brand:givenchy_p402941_image (Accessed: 28 March 2016).

Sephora (2016b) Sephora: Givenchy: Le Rouge: Lipstick. Available at: http://www.sephora.com/le-rouge-P377755?skuId=1589233&icid2=brand%20content_undefined_brand:givenchy_p377755_image (Accessed: 28 March 2016).

Sephora (2016c) Sephora: Givenchy: Mister light instant light corrective pen: Under-eye-concealer. Available at: http://www.sephora.com/mister-light-instant-light-corrective-pen-P129610?skuId=889576&icid2=brand%20content_undefined_brand:givenchy_p129610_image (Accessed: 28 March 2016).

Sephora (2016d) Sephora: Givenchy: Noir couture 4 in 1 mascara: Mascara. Available at: http://www.sephora.com/noir-couture-P375170?skuId=1442607&icid2=brand%20content_undefined_brand:givenchy_p375170_image (Accessed: 28 March 2016).

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Sephora (2016f) Sephora: Givenchy: Prisme Libre: Setting-powder-face-powder. Available at: http://www.sephora.com/prisme-libre-P390722?skuId=1661461&icid2=brand%20content_undefined_brand:givenchy_p390722_image (Accessed: 28 March 2016).

Sephora (2016g) Sephora: Givenchy: Teint couture blurring foundation balm broad spectrum 15: Foundation-makeup. Available at: http://www.sephora.com/teint-couture-blurring-foundation-balm-broad-spectrum-15-P397883?skuId=1726447&icid2=brand%20content_undefined_brand:givenchy_p397883_image (Accessed: 28 March 2016).

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Project Evaluation

When I entered this unit I was apprehensive as to whether or not I would enjoy this, as I felt I preferred character makeup and prosthetics. However, after completing this unit, I have realised that I have thoroughly enjoyed this, and would be happy to create fashion looks in my career. The shoots that I enjoyed most were the editorial shoots, as I was able to use the location to support my images and designs, and I felt like I could do anything that I wanted to. I enjoyed being able to take my own photographs and completing all of the post-production by myself. I feel that I have grown many of my skills within this unit, particularly my confidence with a camera. I think one of the most difficult aspects for me was to gather everyone together at the same time, as I was let down by models quite a few times. This made me realise that you do need to depend on people a lot within this industry, as without a model I cannot complete a shoot. I think that I will take this with me through my career and onto the next project, and I think that I will hire a model as then I can fully rely on them. I have enjoyed learning about the brand and now I feel like I can understand the fashion industry a little better than I did before. Overall, I am pleased with the images that I have created, and I feel that I have grown my skills of working on fashion shoots tremendously. Initially I was not very confident with beauty makeups, however I now feel like I can keep building my skills. I think I have worked well with time constraints, and have worked on my blog throughout the unit to keep up with the workload. I feel that I have researched thoroughly to understand the brand, and have used books, magazines, trips and the Internet to support my learning. Overall, I have enjoyed this unit and have worked hard to try and create imaginative images and 

Brand Evaluation

Givenchy has an extremely recognisable style for their brand, which was one of the main reasons I chose to study this brand. I knew that to fully understand the concepts behind the designs, styles and overall ethos of the brand, I needed to complete research not only into the founder, Hubert de Givenchy, but also his successor, Riccardo Tisci. Givenchy was in stimulated by his senses, the textures of materials moved him, and the structural complexities of buildings excited him. His obsessions of materials and fabrics awakened his inner creative, and led him to become one of the most famous and influential designers to this day. I had to understand how he felt about these elements, and to do this I began to look more intricately at fabrics, how they were woven together, their textures, as well as the buildings that stood around me. This influenced me heavily when it came to designing my looks, for example I wanted to mimic the stained glass windows from cathedrals in my editorial look, so I used multi-coloured jewels to do this. As well as this, I used location within my editorial looks to portray mood and emotion, as well as influence. For example, both shoots are completed within ruined areas. The first was shot in Netley Abbey, a ruined monastery, which to me resembled the Gothic nature of the brand. Alongside this, the model standing within the broken building portrays how they are innovative within their designs, bringing new to the old. The Gothic is an interesting element to Givenchy’s designs, as within many of their clothes, particularly their Haute Couture Designs, the Gothic is weaved into the clothes. They all contain and essence of the Gothic, whether that be in the colour palette, the size, the cut etc. I needed this to be shown within my work, so many of my designs have a shred of the Gothic darkness within them. I feel that by understanding the designer’s way of thinking, I could really understand their brand, and then move on to create my own looks and designs. Givenchy is continuing to expand their brand, recently gathering a younger audience, which I needed to keep in mind when creating my looks. I needed my looks to be versatile, so for example, I made one advert shoot very soft, which targeted an older audience, whilst the second was much more dramatic, aimed at a younger audience. My editorials were to be able to catch the viewer’s eye, whether they are old or young, so they had to be fresh, interesting and dramatic. I think that my designs cater for their target audience that Givenchy want. Overall, I am happy with the chosen brand, and feel that after this unit I have a much wider knowledge of the brand itself, as well as the way it works. The way the styles join up through the makeup, the catwalk and the clothes is really interesting and something that I have learnt within this unit.

Final Editorial Spread

This is my editorial spread that I have made for the Submission. I really enjoyed this part of the unit, as I was able to play around with images and how they work together. Each set of images is set against a white border to help keep the spread clean and fresh. I played around with the layouts out each image, whether or not they were to be in black and white or colour, and the placements of the logos. Below I have set them out in the order I would like them to appear if they were in a magazine. I have decided the first image as a combination of both shoots, both in black and white, with the logo strong across the two images, connecting them. I am really pleased with how well they work together,   as the tree trunk looks to separate them, as if they are all part of the same image. I wanted to include some close ups to show the makeup, as well as some full length shots, so that there was a complete mixture and it kept the spread interesting. I then decided that I would use one landscape image in the spread as this was one of my favourite images to shoot, and I didn't want to crop it. I ended the spread with the image of the two models side by side looking to the right of the frame, which has the logo on it. I decided that the logo would be in white and the background in black, in order for the last spread to be a little different, and end the spread. I think it works well as although it is different it still fits in with the style of the spread. I am really pleased with the outcome of these images and the spread, I feel like I was able to use many of my favourite photos whereas usually we can only pick one. I think my images look professional, and are diverse so that the viewer would not get bored looking at all of them together. I think I have made it clear what brand the images represent, and their style.  

Final Advertisements

 I have spent a while editing the advertisement shoots, and playing around with logos, products and colours to see what works best.

This image is one of my favourites from this shoot. I think that the colours grab the attention from the viewer, and I think if it were in a magazine it would stand out alongside all of the other advertisements. During my one to one with Kat she mentioned that I should crop the arms off more, so that it was just the model's torso, which I have done. I think that this places emphasis on the model's chest area, and the highlight that I have used when doing the makeup. This stands out really well, and with a couple of changes to the contrast it stands out. I think this shoot shows how Givenchy can be dark, but can be elegant and dramatic at the same time. I decided that I would place the logo on the centre of her chest, in white so that it stands out. I think it is important for the brand's identity to be shown within the advert as the viewer quickly knows where this shoot is from. I am pleased with this shoot, and would like to use the colourful image in my submission. The black and white is the outcome of just messing about on photoshop. I have noticed that a lot of Givenchy shoots are in black and white, so I wanted to see how this effected the image. I do really like the black and white image, however I want to show the viewer the use of colourful lighting, and the colours within the makeup. I also think it makes the highlight more subtle and pretty in colour, where the black and white looks quite harsh.

 This is the Advertisement Shoot that was the first shoot to be completed within this unit. I wanted this image to be in black and white as the colour softening the look a lot, whereas the black and white makes the model look more seductive and edgy. I put the logo boldly across the image to show where the image has come from, and I think that this works well. I think if I were to leave the logo small, it would not be as dramatic and interesting. I think I will use this image as the Submission, as it is seductive as well as beautiful. Although you cannot see the colours of the makeup, I am pleased with the coverage and the textures that are on the face, it looks fresh and dewy.

 Here I have played around with the placement of the product on the Advertisement Shoots. Initially I was unsure as to whether I will use this image or the image above, but I think that the image above is a little more interesting and Givenchy. I felt that I needed to test out whether or not using the product on the advert would work, so I decided to use Photoshop to test this. I feel that it works better without, as the focus is on the model. I didn't want the image to be cluttered with information on the product, so kept it simple with just the product itself and the title. I think it does work, but I personally prefer it without as it looks much more clean and simple.

Editorial Shoot 2

Here are the images from the second and last shoot for the Editorial section of this unit. Originally, I was going to take these photographs at the same location as the first shoot, Netley Abbey, but we couldn't get there. We had to think of somewhere close by that would portray the same mood and feel as before, so we thought of the old cemetery by Southampton Common. This graveyard is overgrown, with a chilling feel to it. I had to be careful with the models and the images as I did not want to be disrespectful. I took all of the images myself, as I felt more confident with the camera after the shoot before. I styled the models, and completed the hair and makeup for both models by myself. I didn't want to get an assistant for this shoot, as I wanted to challenge myself and work hard to keep inside the time limits. My models for this shoot were Lucy Allen-Baines and Laura Stew, who are very similar looking, which would work to my advantage. I wanted the images to be haunting and creepy, but also fashionable, edgy and stylish. I think I managed to create this, by taking advantage of the location. We took some photos in the front part of the cemetery which is well kept, and almost resembles something out of Alice In Wonderland with all of the bushes trimmed perfectly. These photos looked really good as they were edgy but mysterious at the same time. We moved around the graveyard, taking photos as we went, and using different parts of the location. This allowed me to get a range of images, rather than many of the same. My model's worked really well together and complimented one another. They almost look scary standing next to each other, as the makeup is quite dark and sinister. I think I found it most difficult getting the models in sunlight so the lighting was good, but not too much in their eyes as it would cause them to squint. I took many of the photos from below to help this, but to also enhance the feeling that these models are superior and stronger than the viewer, making them want to be the same and buy their products. This editorial is similar to the first due to the old, ruined locations contrasting the new, fresh, edgy models, and complimenting each other. I think that these photos work really well and I am very pleased with them. 

Editorial Shoot 1

Here are the images from my first editorial shoot. I am really pleased with the outcome of these photographs, I think the makeup works really well alongside the location and the styling, and it becomes the focal point to the viewer. These photographs were taken in Netley Abbey, a ruined monastery about 15 minutes away from University, over the Itchen Bridge. I chose this location because of the ruins. I wanted my images to be a contrast between the old and the new, but them still compliment each other. The makeup was heavily inspired by stained glass windows, which this monastery would have had a lot of. I felt that I could give back the colour to this ruined building, as it is so magnificent and large. Initially I was going to use a photographer for these images, but they were not free on the day of the shoot, so I decided that I would go ahead and take the photos to see how they came out, and I'm pleased that I did. Lucy was a really good model and listened to my directions, but also suggested poses and worked well with the camera. She was aware of the camera, which was good as she worked all of her angles. I wanted the model to look strong, like many of Givenchy's models look in their shoots, so I took many of the images from a lower angle. This subconsciously portrays the status of the model, and people should look up to her. I think that the gelling of the hair around the jewels works really well because it gives the look a modern twist which is quite urban. The shoot went well, taking just over an hour to complete once we were there. I did the makeup and hair and styling beforehand, so that we could take full advantage of the time whilst we were there. Luckily for us, it was empty when we arrived as we went during the day, so there were no people in the background of the image, which makes it look like the model was there on her own. I think this adds to the gothic style of the images, as well as the ruins that surround her. I was going to finger wave the hair, however when I went to do it, it all became too much. The hair took away the face shape as well as the focal point of the jewels, so I decided that I would gel all of the hair and slick it back, with a slight curve by the shoulders, so that the hair flicked out. I think my favourite images are the last couple of images, where the model is sat on part of the building and the magnificent arches stand tall behind her. I think that this is really effective, as not only does it include a lot of the location and show it off, but it also works well with the model, making it seem as if she thrives in a place like this as she is stronger than the pillars of this building. I am really pleased with the outcome of these images, and know that I have a lot of images for my portfolio. This has been my favourite shoot to complete within this unit. 

Technical File - Finger Waves

 During our last session with Lottie, we looked at creating Finger Waves. Finger Waves were a hairstyle predominantly worn in the 1920's, however, the style has been seen throughout the years, particularly within the fashion industry. Finger waves are one of the more difficult hairstyles to master.

An example of Finger Waves within the Hair.
Found on www.pinterest.com. 

Health and Safety -
Always make sure that products are clean and sanitised, ready to use. This goes the same for brushes and equipment.
Make sure your hair is tied back, with no jewellery that will interfere with the model/client.
Make sure you use a cape to cover the model/client's clothing.
Sanitise hands.
Always complete a consultation beforehand.


Products - 

Hair Gel

Water Spray

Double width Comb

Paddle Brush

Clips

Hair Tongs

Method 1 -

1. For this look we used gel or Water to complete our Finger Waves. I used Gel. 
2. Brush the hair thoroughly to ensure that there are no knots in the hair. 
3. Saturate the hair with gel, (Gel keeps the wave in place, and gives the hair a wet look. Water holds the hair in place less strongly, but can be dried into the hair). 
4. With your hand at the root of the hair, along the parting, brush the hair in the desired direction. I chose my first wave to be away from the face. 
5. Insert the comb parallel to the parting, wiggle to make sure it is in the hair, and push left and upwards, to create a ridge in the hair. 
6. Placing your first and middle finger on either side of the comb, apply pressure to hold the hair in place whilst you remove the comb, and pinch the hair between the fingers. If you were to complete the whole head, continue these steps around the head, then move on to the wave underneath. 
7. Brush the hair in the opposite direction to the following curl. 
8. Insert the comb parallel to the parting, wiggle to make sure it is in the hair, and push right and upwards, to create a ridge in the hair. 
9. Placing your first and middle finger on either side of the comb, apply pressure to hold the hair in place whilst you remove the comb, and pinch the hair between the fingers. 
10. Repeat these steps through the hair.
11. You can finish the hair off in an updo, or pin curls. 

First ever Finger Waves attempt 1. 

First ever attempt at Finger Waves 1. 

Attempt 2. 

 Method 2 -

1. This method consists of wetting or gelling the hair down, I decided to use water. 
2. Brush through the hair with a paddle brush to ensure that there are no knots. 
3. Spritz the hair thoroughly with water, saturating the hair. 
4. Using a comb, comb the hair in the desired direction (I decided to once again start with a curl away from the face).
5. Using your finger, hold the hair where you would like the curl to turn direction. 
6. Comb the hair in the opposite direction.
7. Slide a clip into the inside of the curl. 
8. Repeat these steps, (around the head if completing the whole hairstyle), and finish the hair in an updo or pin curls. 

How the hair looks with the clips in the hair. 

Once you remove the clips. 

Once you remove the clips. 

 Method 3 -

1. Brush the hair thoroughly to ensure that there are no knots. 
2. Using hot hair tongs, curl the hair in rows along the parting.
3. Clip the curls in to cool.
4. Once the hair has cooled, release the hair.
5. Brush through the hair gently.
6. Use your fingers and comb to work into the hair, manipulating and flattening the curls to create the 'S' shape in the hair. 
7. Spritz the hair with hairspray to hold.
8. Finish the hair in the desired style. 

Hair tong method.

Hair tong Method.

I really enjoyed this session with Lottie, and feel like I have gained a lot of knowledge from her teaching. I have enjoyed all of the sessions this year, and feel like I have a good range of hairstyles and looks that I now know and can use throughout my work. This session was only a starter, as the technique is very fiddly and I can only practice to make myself better. I am happy with the looks that I created on the dolls head in this session, particularly the second look as I feel that the end product was the neatest. I enjoyed the first method the most, however this was the most fiddly and hard to learn. I will be practising the finger wave technique as I know I can create better looks.

Catwalk Shoot 2

 Here are some of the images from the second Catwalk shoot that I have completed. My inspiration for this shoot was the Givenchy Catwalk for Spring/Summer 2016 Haute Couture collection, where Pat McGrath completed intricate masks made from the lace and detailing of the designs. Here, I have used pearls and lace to decorate the face and enhance the features, rather than conceal them. I am really pleased with how this look turned out, particularly the pearl details in the eyebrows, eyes and lips. I took the photographs for this shoot, as well as styling and makeup. I wanted the styling to be made from a string of pearls, which had lace trimming around it, which I thought would compliment the look. I originally wanted to make a top by running the beads around the body, however, I thought that this would be too much so decided on wrapping them around her neck and draping across the chest. I wanted a similar pose to the first catwalk shoot that I have completed, where the model is slightly turned and facing the camera, ready to walk onto the runway. For this look, I used stick-on pearls which were a bit of a nightmare applying. I used eyelash glue to stick the pearls onto the face, and had to be careful around the eye area. I was going to use Prosaide for the pearls as well as the lace, but thought that eyelash glue would be a little more delicate on the skin, particularly around the eye area. I used the Prosaide to stick the lace onto the cheeks and tucked under the hair. The pieces of lace are not equal on either side of her face due to the pattern, which I knew, but wanted to have a little bit asymmetry on the face as the look is very symmetrical. For the skin, I went with a soft glow and flawless base, which I brought down onto the neck and chest to make sure the final images were even. For the hair, I created a middle parting, combed the hair back by the ears, and finished it in a soft, twisted ponytail. I didn't want the hair to be too dramatic due to the intricacy of the makeup. I am really pleased with the images that I have created for this look. I think that for my submission I will use the first image, as I feel this captures the model's makeup and scenario that she is in.

Catwalk Shoot One

Here are the images from the first Catwalk Shoot that I have completed. I used a photographer, Amber, to help shoot these images for me. I wanted the images to be as if they were taken backstage, before the catwalk. I think that I have achieved this from the model's placement in the images. This makeup was the makeup that I completed for my timed assessment, which consists of a dewy, flawless skin coverage, glossy eyes and lips, bleached eyebrows and clumpy lashes. On the day, I had pre-clumped the fake lashes, which when applying became difficult. I realised that by using the MAC limpid in black would not set, and the lashes became less clumpy than I would have liked. I am pleased with the bleaching of the brows as I managed to keep the concealer that I used to create the bleached effect off the skin around the brows, so there was no discolouration around the brow bone. I think that I may have used a little too much concealer under the eye as it is slightly yellowing. I think my model had a good face shape for this look, I gently contoured the face as I tried to keep the look dewy as possible without making the face look oily or sweaty. I think that the lip colour compliments the model's skin tone, as it picks up the warmth in her skin. I think that I will use the second image down as my submission, however I particularly like the third image, but think that this pose would not suggest to the viewer that it is pre-catwalk. I chose to style the model in a couple of ways to give some versatility to my images. The third image to me has religious concepts due to the veil being over her head, which I did to relate to the Givenchy Men's Ready to Wear Collection. For the hair, I am conscious of there being a line of colour across the front of the hairline. I didn't want the hair colour to go onto the forehead, which is why there is a line there. I am pleased with the overall look of the images, and thoroughly enjoyed this shoot. I do find it difficult to do 'less is more', however, I think here I have achieved this.