Saturday, 1 November 2014
Creating a Fake Bob
Section the hair in the parting you want, and separate the front from the back. Use curling tongs to create barrel curls in the direction you would like the hair to 'wave' or curl (Parallel to the parting). Create pin curls in different directions at the top section of the back of the head to create volume and texture.
Backcomb the loose hair and put it in a low, loose pony tail. Roll the hair up towards the nape of the neck and secure with pins. roll up and secure the sides of the hair too.
Incorporate the back curls into the bob and secure the ends with bobby pins if necessary.
Let the front barrell curls down and brush through. Apply vitapoint (leave in conditioner) with your hands and work through the hair. allow the waves to form and if necessary push and encourage them with metal pins. Blend ends into the bob and replace metal pins with "invisible" clips.
Friday, 31 October 2014
Anita Berber- Continuity
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Otto Dix (German, 1891-1969). The Dancer Anita Berber,
1925. Oil and tempera on plywood. 47 1/4 x 25 9/16 in. (120 x 65 cm).
Loan of the Landesbank Baden-Würtemberg in the Kunstmuseum Stuttgart.
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We were asked to create a historical hair and make-up look which we were to create in 45 minutes on a partner two weeks in a row, to practice continuity. This was to be based on how we think she would have looked when this painting was created.
This was my face chart for this look. I chose to keep the look quite simple so I didn't struggle to complete it in the time given. I used supracolour on the eyelids to give a shiney, greasey finish to the look. I also chose to not cover the natural brows too much as when I was looking at Anita Berber I noticed that you can see her natural brows underneath those that she had drawn on.
The image on the left is from the first week, and that on the right was my recreation. The supracolour reflected the light differently when we used the studio lighting, and I had lost my phone so didn't have the images from the week before when I was recreating this look. These things considered, I think I did a good job at recreating the look. The eyebrows remained the same shape, as did the lips and the eye makeup.
Fraulein Kost Face Charts
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| Fraulein Kost design 1 |
For my first Fraulein Kost design I kept the makeup quite simple, wanting her to look natural. On the eyes I wanted brown shadow smudged along the lash line, and soft thin brows done with powder. The blush is stippled on to give a flushed look, and the lips are a matt red colour. As I am using myself as a model, and I want my Fraulein Kost character to be in her late 20s, I would like to contour and enhance a few lines on the forehead and cheeks slightly just to age me a little. I do not want this to be too theatrical though.
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| Fraulein Kost design 2 |
For this look I kept the make up simple again, but curved the brows a little more and decided to experiment with smudged, gradient lips to look a bit like red wine stains. I have made the lines and the blush more subtle so she doesn't look too aged, and I have added mascara which I want to be thick to look like she is constantly reapplying and layering it up between customers. This is my favourite look for Fraulein Kost, and I think this is the look I will use.
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| Fraulein Kost design 3 |
For this look I used more blush in a redder shade to look like she is again layering up her makeup, and applied a dark lipstick in a pout to fit with the fashion at the times. I have kept the mascara off one eye on this face chart just to show the brown smudged pencil on the lash line.
Monday, 27 October 2014
Scratch Wigs
We played around with wigs to see how they change the face shape and complexion.
To apply this you need a hair brush, hair grips and a hair stocking or pair of tights.
Scratch wigs are rougher on the inside, and are synthetic. They can be restyled by steaming.
To apply this you need a hair brush, hair grips and a hair stocking or pair of tights.
Scratch wigs are rougher on the inside, and are synthetic. They can be restyled by steaming.
- Start by parting the hair in a centre parting, brush through and French braid the hair, staying close to the ears.
- If the hair is very clean, add a little wax to the hair to hold the braid.
- Ensure the plait is tight against the scalp.
- When at the nape of the neck, plait to the end of the hair.
- Wrap loose plait around the head, secure with grips.
- Add the hair stocking, pin by the ears.
- Add the wig.
The darker hair on Megan makes her look younger, paler, and brings out her freckles.
The curls on the left make Meg's face look rounder.
The long blonde on the right gives Meg a warmer looking complexion, and the choppy bob on the left make her face look more ovular and her complexion look warmer.
The afro wig makes her face look rounder, and brings out her freckles.
Monday, 20 October 2014
Society in Weimar Berlin
I decided to look at society in Berlin at the time of the book, film and musical, as I felt it would give me a better understanding of the motives of each character, and also it would help me to develop my character further.
The Weimar Republic lasted from 1919 to 1933 in Germany. This began after the first world war when Germany found itself in a financial crisis, with many people going poor and the value of the currency rapidly decreasing while product prices soared. Cabarets opened up, prostitution reached a high and drugs and sex were everywhere. This ended when Hitler and the Nazi party came to power and brought in strict laws and regulations.
As Fraulein Kost is a prostitute, I decided to look at different types of prostitute to see what type I thought she would be as I understand there were many different types for different people and fetishes.
"Indoor Prostitutes
Chontes Polish-born Jews, also knows as Lublins, from the Polish industrial town of Lublin.
Demi-Castors Young women from good families who occasionally supplemented their allowances by working in high-class houses in west Berlin.
Dominas Leather-clad women who specialized in whipping, humiliation, and other forms of punishment, and worked in lesbian nightclubs that admitted heterosexual couples and free-spending male clients.
Fohses Independent prostitutes who advertised in newspapers and magazines as manicurists or masseuses.
Medicine girls Child prostitutes who were “prescribed” by pimps posing as physicians in phony pharmacies in west Berlin.
Minettes Exclusive call girls who enacted S&M fantasy scenes involving foot worship and forced transvestitism.
Race Horses Masochistic prostitutes who worked in “Institutes for Foreign Language Instruction” where the schoolrooms were equipped with bondage equipment.
Table Ladies Prostitutes who worked at expensive nightclubs often frequented by politicians and businessmen who paid “table money” for an evening of champagne and conversation prior to a backroom encounter.
Telephone Girls Child prostitutes, aged twelve to seventeen, who were made to resemble junior versions of theater or film starlets and were ordered by telephone.
Outdoor Prostitutes Boot Girls Dominatrices near the Wittenberg Platz whose sexual services were signaled by the colors of their boots, laces, and ribbons, sometimes worn in combination.
—Black boots: buttocks cropping (lying on bed).
—Brown boots: asphyxiation by boot or stockinged foot.
—Cobalt blue boots: forced feminization; penetration by female.
—Lacquered gold boots: bound feminization; physical torture.
—Poisonous green boots: psychological enslavement.
—Brick red boots: buttocks flagellation (tied to bed or cross).
—Scarlet boots: forced feminization; transvestite humiliation.
—Black laces: punishment with a short whip.
—Gold laces: defecation on chest.
—Maroon laces: verbal humiliation.
—White laces: collared like a dog.
—White ribbons on top of boots: a roleplay scenario in which the male customer begins as the dominant figure and ends as the submissive party.
Grasshoppers Lowly streetwalkers who performed oral sex in the Tiergarten.
Gravelstones Physically deformed women who worked in north Berlin.
Half-Silks Occasional prostitutes, often secretaries, shopkeepers, and office clerks supplementing their incomes after work.
Kontroll Girls Three defined classes of licensed prostitutes, whose health was certified by city physicians.
Münzis Pregnant women who waited under lampposts on Münzstrasse.
Nuttes Boyish teenage girls who framed their transactions with the protocols of dating, enticing their customers with lines such as, “Don’t you think we should have a coffee first?”
Tauentzien Girls Women wearing the latest fashions and hairstyles, often working in mother-and-daughter teams near the Kaiser Memorial Church."
I think that Fraulein Kost is a Foshe- an indoor prostitute who advertised in newspapers and magazines as a manicurist or masseuse. I think she is a Foshe because every time we see her she is in the house, bringing a sailor in or taking him out so I get the impression that she simply meets them at the door and walks them to her room. Also, the same sailors are seen a few times so she would have had a more personal and regular relationship with them.
CABINET // Inventory / Everyone Once in Berlin!. 2014. CABINET // Inventory / Everyone Once in Berlin!. [ONLINE] Available at: http://cabinetmagazine.org/issues/32/gordon.php. [Accessed 17 November 2014].
Weimar Republic - Wikipedia, the free encyclopedia. 2014. Weimar Republic - Wikipedia, the free encyclopedia. [ONLINE] Available at: http://en.wikipedia.org/wiki/Weimar_Republic. [Accessed 17 November 2014].
The Weimar Republic lasted from 1919 to 1933 in Germany. This began after the first world war when Germany found itself in a financial crisis, with many people going poor and the value of the currency rapidly decreasing while product prices soared. Cabarets opened up, prostitution reached a high and drugs and sex were everywhere. This ended when Hitler and the Nazi party came to power and brought in strict laws and regulations.
As Fraulein Kost is a prostitute, I decided to look at different types of prostitute to see what type I thought she would be as I understand there were many different types for different people and fetishes.
"Indoor Prostitutes
Chontes Polish-born Jews, also knows as Lublins, from the Polish industrial town of Lublin.
Demi-Castors Young women from good families who occasionally supplemented their allowances by working in high-class houses in west Berlin.
Dominas Leather-clad women who specialized in whipping, humiliation, and other forms of punishment, and worked in lesbian nightclubs that admitted heterosexual couples and free-spending male clients.
Fohses Independent prostitutes who advertised in newspapers and magazines as manicurists or masseuses.
Medicine girls Child prostitutes who were “prescribed” by pimps posing as physicians in phony pharmacies in west Berlin.
Minettes Exclusive call girls who enacted S&M fantasy scenes involving foot worship and forced transvestitism.
Race Horses Masochistic prostitutes who worked in “Institutes for Foreign Language Instruction” where the schoolrooms were equipped with bondage equipment.
Table Ladies Prostitutes who worked at expensive nightclubs often frequented by politicians and businessmen who paid “table money” for an evening of champagne and conversation prior to a backroom encounter.
Telephone Girls Child prostitutes, aged twelve to seventeen, who were made to resemble junior versions of theater or film starlets and were ordered by telephone.
Outdoor Prostitutes Boot Girls Dominatrices near the Wittenberg Platz whose sexual services were signaled by the colors of their boots, laces, and ribbons, sometimes worn in combination.
—Black boots: buttocks cropping (lying on bed).
—Brown boots: asphyxiation by boot or stockinged foot.
—Cobalt blue boots: forced feminization; penetration by female.
—Lacquered gold boots: bound feminization; physical torture.
—Poisonous green boots: psychological enslavement.
—Brick red boots: buttocks flagellation (tied to bed or cross).
—Scarlet boots: forced feminization; transvestite humiliation.
—Black laces: punishment with a short whip.
—Gold laces: defecation on chest.
—Maroon laces: verbal humiliation.
—White laces: collared like a dog.
—White ribbons on top of boots: a roleplay scenario in which the male customer begins as the dominant figure and ends as the submissive party.
Grasshoppers Lowly streetwalkers who performed oral sex in the Tiergarten.
Gravelstones Physically deformed women who worked in north Berlin.
Half-Silks Occasional prostitutes, often secretaries, shopkeepers, and office clerks supplementing their incomes after work.
Kontroll Girls Three defined classes of licensed prostitutes, whose health was certified by city physicians.
Münzis Pregnant women who waited under lampposts on Münzstrasse.
Nuttes Boyish teenage girls who framed their transactions with the protocols of dating, enticing their customers with lines such as, “Don’t you think we should have a coffee first?”
Tauentzien Girls Women wearing the latest fashions and hairstyles, often working in mother-and-daughter teams near the Kaiser Memorial Church."
I think that Fraulein Kost is a Foshe- an indoor prostitute who advertised in newspapers and magazines as a manicurist or masseuse. I think she is a Foshe because every time we see her she is in the house, bringing a sailor in or taking him out so I get the impression that she simply meets them at the door and walks them to her room. Also, the same sailors are seen a few times so she would have had a more personal and regular relationship with them.
CABINET // Inventory / Everyone Once in Berlin!. 2014. CABINET // Inventory / Everyone Once in Berlin!. [ONLINE] Available at: http://cabinetmagazine.org/issues/32/gordon.php. [Accessed 17 November 2014].
Weimar Republic - Wikipedia, the free encyclopedia. 2014. Weimar Republic - Wikipedia, the free encyclopedia. [ONLINE] Available at: http://en.wikipedia.org/wiki/Weimar_Republic. [Accessed 17 November 2014].
Christopher and His Kind
Christopher and His Kind was a TV movie released by the BBC in 2011, and is the most accurate on-screen representation of Christopher Isherwood's memoirs. It differs to Cabaret (Both the film and the theatre production) and Goodbye to Berlin in many ways, but the most obvious being that Christopher (Who can be likened to Cliff or Brian) remains homosexual throughout the story, and does not become romantically involved with Jean (the inspiration behind Sally Bowles). Jean however, like Sally, is an actress who works in a cabaret bar and dabbles in prostitution. Throughout most of the film she is courting a man named Bobby who is an American business man that promises to take her to Hollywood and make her a star, before departing leaving a pregnant Jean with no more than a letter.
The Cabaret and the club don't feature heavily in this film, as it is much more focussed on Christopher's love life and his pursuits, but the politics and the changes in government and society are very similar with the Nazi party rising to power, and a betrayal to Christopher when he discovers that Caspar is a Nazi, much like in the script when Ernst is revealed as a Nazi.
I can definitely see how Sally Bowles is an extention of Jean- with the green nail polish, her open, frank way of talking and how honest she is whilst being almost in her own little showgirl world.
Quite a few of the characters from Cabaret and Goodbye to Berlin are noted in Christopher and His Kind, for example Fraulein Kost is seen on a few occasions walking a customer out and receiving payment before going back upstairs, and Fraulein Thurau is Fraulein Schneider, very much a similar character, always about and taking care of the house and herself.
I think it was interesting to watch Christopher and His Kind as it gives a totally different perspective to essentially the same story, and the differences in the way in which the characters act and are portrayed helps me to muddle things around in my head and start to think of my own perceptions of the characters a bit more.
Christopher and His Kind, 2011. [DVD] Sax, G, United Kingdom: BBC.
The Cabaret and the club don't feature heavily in this film, as it is much more focussed on Christopher's love life and his pursuits, but the politics and the changes in government and society are very similar with the Nazi party rising to power, and a betrayal to Christopher when he discovers that Caspar is a Nazi, much like in the script when Ernst is revealed as a Nazi.
I can definitely see how Sally Bowles is an extention of Jean- with the green nail polish, her open, frank way of talking and how honest she is whilst being almost in her own little showgirl world.
Quite a few of the characters from Cabaret and Goodbye to Berlin are noted in Christopher and His Kind, for example Fraulein Kost is seen on a few occasions walking a customer out and receiving payment before going back upstairs, and Fraulein Thurau is Fraulein Schneider, very much a similar character, always about and taking care of the house and herself.
I think it was interesting to watch Christopher and His Kind as it gives a totally different perspective to essentially the same story, and the differences in the way in which the characters act and are portrayed helps me to muddle things around in my head and start to think of my own perceptions of the characters a bit more.
Christopher and His Kind, 2011. [DVD] Sax, G, United Kingdom: BBC.
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