ASSESSMENT- 1960's Modern Hair Design (Putting on Partner)

1960's modern wig on wooden head

Above is the final photo of my wig on the wooden block right before I put it on my model. I styled it a little more in the time frame of my final assessment where we put our wigs on each other. I decided since I had more time I wanted to re-do the plait at the back. I was much happier with it this time when creating the plait because it was much more secure and didn't have drag at the sides. I also gripped more bits of hair up and hair sprayed it again to stay in place. The accessory I used in the hair was ab chunky necklace which through the holes of the chain I gripped it to the head however I did this once I had the wig on my model. 

Make-up:

• Laura Mercier primer
• Revlon concealer light
• Double wear light foundation intensity 1.5
• Ben Nye banana powder
• Estee Lauder bronze goddess light
• mac pink nude highlighting powder
• collection black liquid eyeliner
• rimmel black mascara 3D lash
• rimmel brown brow pencil
• vaseline
• sleek matte lipstick vamp red
• rimmel lip liner black tulip 

I applied the make-up before putting the wig on so I knew it was all set when I would apply the wig.  I started with creating a warm flawless base, I started with applying the primer, concealer, foundation and powder, bronzing the whole face to give it a slightly golden look and then concentrating on the cheekbones giving them definition. I then applied a pink to the cheeks for warmth, large black winged eye liner however smaller than the historical look and then applied mascara and filled in the brows slightly for definition. For the lips I wanted to go with something a little brighter and bolder for the modern look so I applied red. I started with applied Vaseline to the lips and then lining them with black tulip and filling them in with sleek red vamp colour.

Equipment:

• Wig 
• hair brush 
• pin tail comb
• grips
• clips
• stocking cap
• hair spray
• hair accessory (necklace)
• Scissors

1. 
   
2. Once the make-up was done I started on the hair which I brushed through first to get any knots out, I then center parted the hair and then starting pin curling the hair. I did one pin curl either side of the parting, one either side of the ear, two at the back at the bottom of the
   
   neck and one large one at the back at the top of the crown.
3. Next was to apply the stocking cap, which I asked my model to put her fingers up at the front of her forehead and she held onto the front of the stocking cap while I pulled it securing over the back of the head. I then used the large grips with the bobble on the end so it could pierce through the cap, I attached it through the cap and gripped it down to the hair. I placed two at the front of the head, one either side of the ears, two at the bottom of the head by the head and one at the top. 
4. Once the stocking cap was on I took the metal pins out of the wig which was holding it onto the wooden head. I then carefully took the wig of the head and held my hand inside the wig to support the rat inside as it was large and heavy.
5. I then asked my model to hold her fingers at the front of her head and she held onto the front
   
   of the wig while I pulled the back over and did the elastic clip up. I then sorted the ears out and made sure the wig was on the head straight. 
6. I grabbed a few grips without the bobble at the end so it can pierce through the wig and pinned it through the wig to hold onto the pin curls in the stocking cap. I put two pins at the front of the head, one either side of the ears and two at the bottom of the wig by the neck making sure it was on nice and secure. 
7. Finally was putting the accessory at the front of the beehive. As it was a necklace it had a long chain which I tucked into the hair I then placed grips through the metal loops in the neck and pinned it into the beehive, I used 5 pins in 5 holes to hold it on securely. I used my pin tail comb to tuck the chain further into the hair.
8. As the fringe was a little longer from the previous design I wanted it shorted like how it was on my hair chart. I got the scissors and with some help from Lottie I cut the fringe into a shorter side fringe. 

Above is the final up close images of my final modern 1960's hair design. I double checked the hair to make sure it was all perfect and gave it a final spray with the hairspray once the accessory was in the hair. 

Evaluation 

I think that putting the wig on my model this time was harder than the historical hair design I think this is because there was so much more going on at the back, the height of the beehive was much larger and the rat was larger and heavier. When taking the wig off the head I was again worried it might not stay, the height and the fact the hair was looser and more casual where it wasn't so firm because of the style it did loosen a little when putting it on my model. When actually putting the wig on the plait kept folding inwards which made it harder for me to get onto the head however when my model was holding it at the front I un-tucked the back and gripped the end of the wig down. Once it was on it was okay, I just had to restyle it a little as a few things loosened when putting on which was annoying. I did get a little stressed with this design I must admit as it was such a hard beehive to achieve with such little and short hair for the amount of volume I was going for. Once I finally finished styling it I put a few gripped in the plaits to cover the lace under the plait and then completely sprayed the hair to stay put. Surprisingly the hair accessory which was a necklace was quite easy to put in, I thought because its quite heavy and the hair is so sold it wouldn't stay but it did first time which was a success. I was pleased when it was on because it did look very natural on and didn't show any of her hair or anything unnecessary.

ASSESSMENT- 1960's Modern hair design (setting/creating design)

Hair Chart 

Out of the designs I created for my modern 1960's hair style I decided to go with the hair chart above number two. I decided to go with this one because I love the idea of a chunky plait going up the center of the back of the beehive. I think creating a large more volumised beehive will be a challenge since I did struggle covering the rat for the historical beehive and I want this one to be much larger and messier with the back combing. I also like the large accessory at the front of the hair which makes it look more high fashion. I think plaits are very current and wouldn't of been worn in a beehive in the 60's so this is a modern interpretation of it.

Equipment:

• Wig
• Rat (couch roll, tights, crepe hair)
• Hair extension
• Hair brush
• pin tail comb
• hair spray
• grips
• clips

1. When getting my wig out from the previous style I was going to roller it and steam it again however I felt the wig still had a lot of volume and kept the shape. I thought instead of steaming it again I will work with what I have got and structure and style the hair into the design. I started with the wig and gave it a slight brush through. 
2. I then section the hair off by clipping the fringe out the way. I then took a front section of the hair just behind the fringe and back combed it thoroughly to make sure it stays in it place and keeps its shape. 
3. As I was using a rat again however this time bigger I kept the one I used from my historical hair design and just filled it with extra couch roll to make it larger. 
4. Its the same technique with attaching the rat so I french plaited across the hair and gripped it and the did another one a few inches down and placed the rat on top and securely gripped it down.
5. I then starting bringing hair over from each side starting to cover the rat, this was slightly harder as the hair didn't completely reach the top and cover over. I then used the hair extension piece and clipped it to the front and brought it over to cover the rat. 
6. Once the side were covered I started with bringing the rest of the hair up the sides, backcombing it first for volume and hair spraying it down and gripping it to the top, I did this for both sides and the front. 
7. I then twisted the head round nearly 180 degrees and started the bottom of the wig creating the plait and working my way up incorporating the rest of the hair at the backs and sides that were left down. I plaited the hair around three times until I was happy with it making sure it was sturdy, the right size and not too loose and baggy. 
8. Next I used my pin tail comb to direct the hair from the sides to make it blend in with the rest of the beehive and then grip it down. I then used large grips to pin through the plait onto the hair to make sure it was nice and secure and then hair spraying the hair completely.
9.  I then went back to the front of the hair and un-clipped the fringe and formed it into a side fringe sweeping it across and spraying it in place. I then used the end of my pin tail comb to pull a bit of hair out from each side by the ear section leaving it hanging down. 

Final Hair setting

 

Above is the photos of when I finished styling the wig. The rest I will do in the assessment when I will be putting the wig on my partner because I will then need to further style it and also add the accessory at the front of the head when my model has the wig on.

Evaluation

I found creating this hair style much harder than the historical hair design because of its height and largeness. The beehive needed a lot of volume which I gave it however when it came to covering it with the hair it was difficult because the layers at the top of the hair just wasn't long enough to cover it so I really had to work with the hair and give it good structure to stay. The plait was also more difficult than I thought because it kept getting loose at the sides and had to re-do the plait a few times to try and make sure I was pulling the side of the hair tight enough so that it doesn't drop. It was again also hard because of the layers in the hair and where the wig is acrylic its super soft and slides a lot even with hair spray and back combing. The design overall took me two hours which was the same time as my historical hair design. I'm happy with how the design came out overall and what a challenge with the length and type of hair however I'm pleased with how it looks, I'm excited to see what it will look like on my model and doing the final styling and adding the hair accessory.

Modern fashion 1960s Hair Design and Mood board

Modern/ contemporary 1960's inspiration Mood board

This is the mood board that I created for my modern 1960's hair style. I gathered images that I felt was relevant and what styles I like. I put together these photos which contains messy beehives to catwalk styles. For the modern contemporary hair style I want to stick with creating a beehive however I want to make it large and not as neat as the historical style. I like the variety of photos I have chosen and like how each is different however all uses the large beehive as the main structure to the design. I think a big impact can also be a fringe, if its a full front fringe, side or even none at all. In fashion shows today hair accessories are quite big, decorating the hair with different things and seeing what it can do and look like. 

Contemporary 1960's Hair charts

Design 1

The first hair design I drew was a half up half down beehive. The bottom half of the hair would be curly, back combed and large with volume. The top is up in a fluffy large beehive and joins in the center at the back. The fringe is in a center parting and swept to both sides, at the front of the beehive I have section three strands of hair, curled them and pinned it to the top of the beehive and put gems dotted down the hair following the curl. 

Design 2

Design two is a complete up do beehive, I want the beehive to be very large and bouffant at the top. At the back of the head there is a french plait going up the back to the peak of the beehive. The style will be large and so will the plait and doesn't need to be super neat. The front of the hair is on a side parting and two flicks of hair left down by either sides of the ear to make the style look more casual. At the front of the hair between the beehive and the fringe will be a large diamante accessory in the center at the front of the hair.   

Design 3

Style three is a large complete up do beehive with lots of volume however a little neater style. The front is a straight block fringe and at the top of the hair between the beehive and the fringe will be a large bow made from hair. Strands of hair from each side of the ear will be left down, 

Christian Dior Fall 2011.. the colour of the 60's

Christian Dior Fall 2011 Couture

JULY 5, 2011 4:46 PM

by SARAH MOWER

http://www.vogue.com/fashion-week-review/863216/christian-dior-fall-2011-couture/

The cataclysmic events surrounding the exit of John Galliano from Christian Dior need no rehashing. Their aftermath has effectively left the house empty of direction, and a team, led by Bill Gaytten, Galliano’s longtime righthand pattern-cutter, charged with the task of putting on a haute couture show to the best of their ability. There was certainly no scaling back of the pomp surrounding a Dior couture event: It was held, as has been the practice since last summer, in a huge tent pitched in the garden of the Musée Rodin. Last year, sunlight streamed in through transparent windows. This time, the tent was blacked out. If it didn’t exactly give a deliberately somber cast to the proceedings, it still felt as if this show—inevitably an interregnum—was a case of marking time before the new designer is announced, which will apparently happen at some point in the fall.

Meanwhile the team had chosen a couple of conceits to carry them through. One reference was the postmodern Pop patterns the Italian designer Ettore Sottsass invented for his Memphis Group furniture and product design collective in the eighties; another took inspiration from the work of the interior designers Jean-Michel Frank and Jean Dunand; a third was derived from Jean-Paul Goude. All of that—meaning pastel color and jazzy pattern, followed by darker marquetry and malachite prints—was deployed in a team effort to give the spirit of the show a certain brave energy and optimism. Inevitably, though, the lack of a designer’s overarching vision couldn’t be concealed. The fact is that fashion at this much-scrutinized über-level can only be pulled together by the conviction of a strong, inspired, and couture-accomplished visionary. It was hard for anyone present not to feel empathy for the predicament of Gaytten and all the other people Galliano left behind, but equally, this show only served to illustrate the unavoidable fact of great fashion: that a house as important as Christian Dior can’t be led by a team alone.

How I feel it relates to the 60's 

When looking through the 38 looks of the Christian Dior Fall 2011 I felt a modern vibe of the 60's. The hair was large and up in a bouffant on the tops of there head and the bright block colours and graphic lines felt like a modern, extravagant version of the 60's with definitely a high fashion runway look. Certain looks more than other I felt represented and had aspects of the 60's with the bold graphic pattern clothes, full hair with lots of volume and bounce and large winged liner. 

Some of my fave looks.. 60's inspo

These are my 7 favourite looks from the show and which I personally feel have elements of the 60's. The first two looks have large volumised hair that is a causal modern beehive of some sort and the hair and height sitting on the top reminds me a little of The Ronettes hair which sat very tall. The clothing is skirts which was often worn by women in the 60's with pastel colours and bold patterns on the skirt, this element of wear was during the end of the 60's pushing onto the 70's when fashion starting changing a lot and people starting taking risks with there clothing. The next five photos the hair changes, its down however still with super volume and uplift in the roots, with either a center parting or completely lifted of the face and back combed backwards. These styles reminds me more of Brigette Bardot's lushious thick bouncy locks from the 60's and again going into the 70's. The long patterned bold dressed were definitely late 60's and Christian Dior's show definitely has taken some factors from the late 60's-70's and given it a bold modern take with striking looks and bold colour makeup with a few graphical lines and shapes as hair accessories.  

Photos from the 60's for comparison of the Fall 2011 catwalk

https://s-media-cache-ak0.pinimg.com/736x/5b/94/75/5b94759ebcfa3f4a9afa68333cb8138b.jpg

https://s-media-cache-ak0.pinimg.com/236x/32/3b/af/323baff50dea5ec75ab1093697a73252.jpg

As you can see from the two photos above which are from the late 60's the hair had volume and the colours got brighter and graphic patterns came in. Pushing onto the 70's it went a little hippy and the hair became straighter however the colours got brighter and wilder. I think the Christian Dior Fall 2011 can really bring a new take to my modern/contemporary design and help with influence my final idea creating a hair design from the 60's with a modern twist. 

Pre-Fall 2013 Chanel

PRE-FALL 2013

Chanel

LINLITHGOW, DECEMBER 4, 2012

by TIM BLANKS

http://www.vogue.com/fashion-shows/pre-fall-2013/chanel

"Dressed to kilt." Get real, how else was Karl Lagerfeld going to define the collection he showed for Chanel outside of Edinburgh tonight? The tweeds, the knits, the cardigans, the man-styled essence of Chanel all came from Scotland and the time that Coco spent there with her lover the Duke of Westminster. But tonight's venue was Linlithgow Palace, where Mary, Queen of Scots, was born almost exactly seven centuries ago, and her tragic life gave Lagerfeld the perfect opportunity to gloss Chanel's easy pragmatism with an element of doomed romance. It was a fantastic combination.

Maybe that's because it was kind of personal for the designer. The first French poem he ever learned, at the age of six, was all about Mary. Then there's that umbilical connection between Scotland and France, which history recognizes as the Grand Alliance. And in Lagerfeld's team tonight, he had Sam McKnight on hair and Stella Tennant on all-round fabulosity. In other words, there was something quintessentially Scottish in the air. "Barbarian romance," Lagerfeld called it.

Model: Esther Heesch

Model: Cara Delevingne

Model: Sara Blomqvist

Even though the theme throughout the 2013 show is based on the Scottish tweeds, the knits and the cardigans its know to have elements of the Elizabethan Era between the hair, garments and colours. However in certain aspects of the hair style I feel it can represent a modern 60's beehive. The style is sturdy and high, slick at the sides and volumised at the top with waves and finished with accessories.

http://news.sammcknight.com/wp-content/uploads/2012/12/PC040167.jpg

Above is a backstage photo of the back of the hair design, braids are very in right now and modernize styles such as this one. I really like the braids going up the back of the head and think it looks really good and creative, I'm really into braids as well at the moment and love incorporating them into hair designs. The french braids in the photo go up the back of the head and then turn into normal plaits and join the rest of the hair into a beehive. I feel and element like this could be used in my design to give it a modern contemporary look. The make-up in the Chanel show was very simple with natural flawless faces, nude/pink lips and occasionally graphic eyeliner which is also a close look to the 1960's style and the hair is modernized with large jewellery and hair pieces.

http://41.media.tumblr.com/tumblr_melkq11oGu1qbz3xno1_1280.jpg

I think this close up of the pre-fall 2013 look to me looks very modern 1960's the hair is up in a wavy beehive and the graphic black liner which was very popular in the 60's, the jewels give it the modern/fashion vibe. In the 60's they did tend to have a fringe of so sort, either a middle parting or swooping side with some volume however I think having all the hair up off the face in a beehive is very modern and current. 

Amy Winehouse 1960 inspiration

Remembering Amy Winehouse

JULY 25, 2011 11:11 AM

by LYNN YAEGER

http://www.vogue.com/873832/remembering-amy-winehouse/

Photographed by Bruce Weber

“The more insecure I feel, the bigger my beehive gets,” Amy Winehouse once confessed. Winehouse, who died on Saturday at the age of 27, was, like so many great artists, a heartbreaking mix of genius and sadness: at once seemingly supremely confident in her extraordinary talent, but fearful and desperate in so many other aspects of her young life.

The authority of her vision captivated from the start, not just the scope of her musical gift, but her embrace of the striking, take-no-prisoners style made famous by the girl groups of the 1960s: towering, ratted coiffures, tight dresses, Cleopatra eyes, offhand cigarettes dangling from louche crimson lips.

(So accurate was this homage that Ronnie Spector, ex-wife of the notorious Phil and front-woman of the Ronettes, admitted that when she first saw a photograph of Winehouse in the New York Post, she exclaimed, “ ‘That’s me!’ But then I found out, no, it’s Amy! I didn’t have on my glasses.”)

Winehouse’s fashion acumen was sufficiently dazzling to entrance Karl Lagerfeld—the designer accoutred models in his 2007 London Chanel pre-fall show with high hair and dramatic eyes in her honor. “She is a beautiful, gifted artist,” Lagerfeld said at the time. “And I very much like her hairdo. I took it as an inspiration. Because, in fact, it was also Brigitte Bardot’s hairdo in the late fifties and sixties. And now Amy has made it her own style. For me, it was a double clin d’oeil. It is Brigitte Bardot and Amy Winehouse.”

If the singer can be credited with lending a fresh eye to the sexy street styles of the early sixties, Winehouse also paid tribute to the extraordinary soundtrack of those years. Her embrace of soul-infused R&B ushered in a new generation of haunting British female artists, from Duffy to Adele.

But it is Lady Gaga, another performer who combines a searing gift with a rule-breaking personal presentation, who best summed up Winehouse’s power of reinvention—the ability, in art, as in life, to compel your audience to accept, appreciate, and eventually adore you on your own terms. “I will always have a very deep love for Amy Winehouse,” Gaga has said. “She’s a different kind of woman—because of Amy, very strange girls like me go to prom with very good-looking guys.”

In a cri de coeur at the start of her brief, mesmerizing career, Winehouse sang, “I told you, I was trouble. Yeah, you know that I’m no good.” Would that the people who loved her could have convinced her just how wrong she was, before it was too late.

http://imagenes.es.sftcdn.net/es/scrn/76000/76118/amy-winehouse-wallpaper-01-700x525.jpg

http://assets.rollingstone.com/assets/images/artists/amy-winehouse.jpg

http://i.dailymail.co.uk/i/pix/2008/01_02/winehouseSP_228x481.jpg

Amy Winehouse is know to of loved the 1960's girl groups and found her main inspiration from the 60's. One of her inspirations was Ronnie Spector from the 60's girl group The Ronettes who was the main lead singer, Amy is also known to mix her style with Bettie Page and Brigitte Bardot and creating this completely unique look. Amy's beehive over the years got larger and larger and was filled with more and more hair. Amy's modern look of the 60's Brigette Bardot and Ronnie Spector and provides her own modern twist to the dramatic large beehive. I think Amy Winehouse is a great example of a modern 60's inspiration and how even Amy herself and on fashion catwalks the modern looks can get bigger and messier in our generation and sometimes without a question.

Inspiration- Ronnie Spector

http://cdn5.salihughesbeauty.com/wp-content/uploads/2013/04/Ronnie-Spector.jpg

As you can clearly see from this photograph of Ronnie Spector from the 60's where Amy got her inspiration from, with the large beehive standing on top, bit of a fringe and hair flowing down the back. Ronnie was the lead singer of girl group The Ronettes along with her sister and cousin who were extremely popular in the 60's. 

http://www.spectropop.com/gallery/d/172-3/Ronettes+6.jpg

https://upload.wikimedia.org/wikipedia/commons/0/04/The_Ronettes.JPG

Above is photos of the girl group the Ronettes and there style back in the 60's. There hair is full of volume and some extreme height....

Brigette Bardot

Model/actress Bridget Bardot was also a huge inspiration to Amy and her overall look. 

https://upload.wikimedia.org/wikipedia/commons/e/e1/Brigitte_Bardot_-_1962.jpg

Bridget's blonde hair is large and fluffy and pulls off a variety of styles from down bouffant thick hair to a casual messy beehive and a middle parted fringe. Bridget was known for her elegant beauty and her unique style bringing new things into fashion.

Music from the 60's

The Ronettes - Be My Baby released 1963 - live

https://www.youtube.com/watch?v=jrVbawRPO7I

Little Eva - Loco-motion(1962)

https://www.youtube.com/watch?v=eKpVQm41f8Y

The Marvelettes- Please Mr. Postman (1961)

https://www.youtube.com/watch?v=425GpjTSlS4

The 60's Comeback Chanel A/W 2005-6

AUTUMN/WINTER 2005-6 COUTURE

Chanel

From Camilla Morton, our dedicated follower of fashion, in Paris

BLEARY eyes or not, no one can afford to miss Chanel – even from behind dark shades. In couture's new and somewhat depleted state, Dior and Chanel are the two main hitters that stay standing – and Chanel is one with order books bulging. 

Just up the road from where Hedi Slimane showed his Dior Homme show earlier this week - well they are friends, oh and look there is Mr. Slimane sat next to Stephan Gan front row supporting Lagerfeld - even from the outside the venue pulsated chic chic chic. We were drawn in, past the swarms of eager paparazzi who apparently use the first press show as a way to test out their flash guns and play a fun game of 'how many editors can we blind on their way in'. Luckily the Jackson 5 medley at Galliano's aftershow party the night before meant nothing penetrated the steel-plated shades of this intrepid reporter… Until I got inside.

From an old derelict-looking building on the outside to a stark, crisp, white sphere-like podium with the circles getting smaller to the centre and seats around its orb. Easy listening music wafted over the sound system to prepare us. 

A procession of girls, head to toe in black, started to circle the set, circling and climbing the layers of the steps, following the bouffant backcombed beehive, decorated with black bows of a girl whose full-frilled cape, with high ruffled collar, billowed round her in a very mystical way, as if silver glitter sparkles danced around her eyes.

Capes, gowns, coats, and macs - all in black - all trailed and mounted the layers of the set as if it were a massive life size wedding cake – and yet they were all widows to the world. Been working in fashion too long then eh? Bouffants and bows, a satin tuxedo, feathers, embroidery and beading, but all restrained in black, following the opening high priestess. Audrey Marney in a classic Coco Chanel-style quilted coat, black tweeds, and 60s PVC style macs. Yep, black was back.

But is it? Lagerfeld is far too clever to make it that simple. So once his widow cake was full and everyone was in place, they all opened their coats, capes, unbuttoned the top layer (flashers beware: you could be in Vogue before you know it), and, as if from under a black cloud came bursts of pinks, pastels, acids and embroidery. The girls slid out of their top layer to reveal sophisticated day suits and, as the circle unspiralled, the girls came down in day-to-cocktail-to-night-to-black tie and beyond. The lining of the top layer coordinated exactly with the butterfly that has come out of her cocoon: proof from Mr. Lagerfeld that you must never judge a book by its cover. Shift dress and frayed tweeds, salmon pinks and piped pastel sculpted blue jackets brought in a new palatte and the softer mood was lapped up by onlookers. As day went to dusk and dark leopard print was embroidered, burnished silver sequin signature camellias were sewn on the bust or strewn over long dresses, the true craftsmanship of the flou and tailleurs atliers became apparent. Waists were waspish, and the feel was soft and feminine with sequined in black or lemon yellow or a dress of black lace and puffs of hot pink satin. 

(July 7 2005, PM) Article from http://www.vogue.co.uk/fashion/autumn-winter-2005/couture/chanel

Photos from the show

Photos at VOGUE.COM

Large beehive with swooping short side fringe.

Large beehive, long side fringe and hair partly down and brought over to one shoulder

Large beehive, hair down at the back and bow at side of the head

Large messy beehive, short straight side fringe and loose messy bits of hair

Beehive, slightly messy at the bottom bit of hair coming loose, side fringe with now at the side

Messy beehive with full front fringe

Large bouffant beehive, slightly of center parting long thin fringe, hair parting down at the back to one side. 

Large messy beehive, swooping side fringe and hair by the eras down, bow on left hand side when parting is and bow on top of the beehive. 

Large beehive, short side fringe slightly neater style. 

http://www.vogue.co.uk/fashion/autumn-winter-2005/couture/chanel

Above I chose a few of the different looks from the A/W 2005-6 Chanel Catwalk which I felt shows us the variety of different hair styles from the show. The inspiration of the show you can obviously see it takes elements from the 60's and Chanel gives it a traditional modern twist to the looks. The hair ranges from complete up dos, half up half down beehive with side fringe, middle partings and some are quite neat and some are large and messy accessorised with black bows. The bows are each placed in different areas and some of the beehives are in the center and some are more to one side. I love the contemporary 60's beehive inspiration as you can get really created with the look adding asseccories into the hair and back combing it more messy and loose. I feel these looks can help influence my modern design and help create my own unique 60's inspired fashion hair style. Element that make it modern can be size, style, structure, accessories and many more however having aspects of the era is important to show evidence of the chosen decade.