Historical Hair Design Final images and Evaluation

| Final Images |

Final Historical Evaluation

Overall I'm very happy that I chose the 1960's as my assessment decade because I feel the Historical hair design came out how I planned and I feel represent the era well and would have been traditionally worn in the 60's. After creating my first complete beehive a few weeks back I really enjoyed creating the hair style and knew I wanted to create it again for my assessment I do it even better. I like the neatness of the style and how sophisticated it looks and was worn by many icons in the 60's such as Audrey Hepburn, Raquel Welch and The Ronettes. On the other hand I also liked the thought of having to create a modern fashion version of the 60's as well which gives you freedom with the look. I chose the beehive because I like how classic the look is the body and structure that goes into the hair style. I feel getting the structure, height. body, neatness and folding in pleat is quite difficult however I wanted to achieve the style I created on the chart and visualised. I think I chose the up do because I waned the challenge of the pleat at the back, when I first created the beehive my pleat wasn't so neat and was bumpy and bulged at the back so I wanted to be able to create it again but better. I feel with the historical hair design I have definitely learnt more about structure and creating height, I liked the challenge of trying to get the look slick and neat at the sides and back and really working on the style. I did re do the beehive three times which all together took me a total of two hours to create the hair design. I know the timing is a little long and in improvement areas I need to work on timing however I felt I wanted to take my time to make sure the final style was perfect and just how I wanted. I think the most challenging part was covering the rat as the hair at the top was layered and it was hard to cover which then made me try and improve by bringing in brown hair extensions and placing it in the hair hiding the grips and covering the rat. The pleat was a challenge as I must admit the first time I created a pleat it wasn't so good, however this time I am really pleased with the outcome and was such an improvement to the first time I created it. I still think in an Ideal world (because I am a perfectionist) that the pleat could of been a little neater, just a bit flatter and also work on my grip placement to make sure it securing the hair and also hiding at the same time. I think what would of make the style easier to create would be if my wigs layers weren't so short which made it hard to create height and cover however I feel I worked well with what I had and used a rat for height and crepe hair to wrap round and extensions to cover over the top and to blend so I feel I overcame the issue. Maybe next time I could get a longer wig to work with and one without layers in. However I'm extremely pleased with the outcome of my historical 1960's hair design on an acrylic wig and enjoyed creating the style and putting it on my partner to see the final look. Obviously the wig isn't made to fit my models head however securing grips helped hold it in place. As for my final images I'm very happy with how they look and how they came out, in Photoshop I changed the filter to black and white and a soft look which complete the look of the images to make them seem from the 1960's which a black and white filter. 

ASSESSMENT- 1960s Historical Hair Design (putting on partner)

1960s style wig on wooden head

Above is a picture of my wig before putting it on my partner. After creating the style I left it in the cupboard until the assessment however it got slightly knocked so I had to back comb and grip bits down. I also brought the brown hair extension with me and the lift the front hair up and then clipped it at the root just above the fringe and under the hair and then swept it over the rat to completely cover it and then I placed the hair back over it. 

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
• rimmel lip liner 050 tiramisu
• smashbox lipstick nylon nude

To complete the 1960s look I applied makeup to my partner so the make-up is in contrast with the hair and the decade. In the 60's the liner was dark and bold and the face was light and flawless with a a slight bronze and the lips tend to be nude. I started with creating a flawless base applied the primer, concealer, foundation and powder, bronzing the whole face slightly and then concentrating on the cheekbones giving them definition. I then applied a pink to the cheeks for warmth, large black winged eye liner, mascara and filled in the brows slightly for definition. The lips in the 60's tended to be nudes so I applied Vaseline to the lips to hydrate them first, lined them with a light pinky nude colour and then applied the nylon nude colour over the top to create a subtle look.

Putting the wig on

Equipment:

• Hair brush
• pin tail comb
• brown grips
• stocking cap
• large grips
• wig
• hair spray
• brown hair extension  

1. I started with brushing through my models hair and then creating a center parting, I then created two pin curls each side of the parting which will be anchor points for the wig. I then did one large pin curl at the top of the head, two each side of the ears, wrapped the rest of the hair round the back and then pin curled the two sections also for anchor points as the back/bottom for the wig. 

1. I then look my brown stocking cap, asked my model to hold her fingers at the top of her forehead to hold onto the cap while I pull it over the back of the head. I then adjusted the cap and used grips to secure it to the hair. I put two grips at the front two by the ears, two at the back bottom of the head and one at the crown of the head. 

My wig before putting it on my partner

1. I then took the metal pins of the wig which was holding the wig to the head which left it loose and able for me to take off. I then took it off and put my hand in the wig to hold the position and weight of the rat in the wig as I didn't want anything to happen to it.
2. I then asked my model to put her fingers at the front of her forehead and while she held onto front I pulled the back over. Under the wig is two elastic bits which have a clip which you can clip it up at the back of the head so its more secure. I did them up at back and adjusted the wig and also checked the ears parts to make sure they are in line with my models ears to make sure the wig on straight. 
3. I then got the large grips without a bobble on the end (so it can pierce through the wig) and gripped the wig either side at the top of the head, each side at the front of the ears and then two at the back at the bottom of the head and then one at the center of the front of the head.
4. Between the parting of the fringe to the beehive you could see the lace underneath from the base of the wig so I used the end of my pin tail comb and brought the hair forward slightly and gripped it inside the hair so the grip is hidden and the lace also. 

Final look on model

Above it the final look of the wig on my model which shows all angles of the hair style. After putting the wig on used my comb to neaten it up again, take out any unnecessary grips and place ones in where needed to be. I then combed the fringe to each side and hair sprayed the whole style completely.

Evaluation

 I think the application of the wig was okay I was more worried about taking the wig off the wooden head, I did obviously secure the rat to the head with pins and also plaiting at the root to make it extra secure however I was still worried it wouldn't stay and would fall when taking it off. However when taking the wig of the head it stayed completely upright and secure which I was very happy about. I had to neaten it up slightly where when it was in the cupboard it got knocked however I just took the grips out, back combed the roots again, brushed over it and placed it back down, gripped it in place and sprayed it again to stay in place. I was really happy with outcome of applying the wig to my partner and think it looks very natural and doesn't show her real hair underneath at all.

ASSESSMENT- 1960's Historical hair design (creating design)

Hair Chart

I brought my hair chart with me so I can study the design I drew for when creating the hair design. After setting the wig with rollers and steaming it I left it for 6 days to dry (can be less) and the styled the hair in my own time the day before putting in on my partner.

Equipment:

• Hair brush
• pin tail comb
• brown grips
• couch roll
• tights
• brown crepe hair
• hair spray
• clips

1. Firstly I started with taking the rollers out of the hair, as I used large rollers the hair didnt come out curly however came out with body and volume ready to create my beehive. 
2. Next I sectioned the fringe off as it wont be put up with the beehive so I clipped it out of the way at the front.
3. I then grabbed the front section just above the fringe and started back combing the hair to give it structure and height. The main part of the height will be formed with a rat this is couch roll in a pair of tights and wrapped with brown crepe hair to hide it. To attach the rat to the head I created a french plait going across and gripped it down. I then created another french plait around 3 inches below the first one.

Once the rat was attached and gripped securely to the plaits I started bringing the closest hair to it and wrapping it over the rat to cover it and build on it. I then starting creating the structure and bringing the top front section over the top and wrapping the side sections round the back. 

As the back will turn into a pleat I started with the right side and pulled it all back and gripped it down first to the center of the head. I didn't mind the grips showing as the other side will be brought over then twisted in and will cover the grips which will fold into a pleat.

Above is the photos of the final look after styling it. As you can see the top covers the rat and follows the direction of how I set the rollers and the sides fold in at the center which I placed the rollers inwards to the center of the head at the back. As you can see I pulled the right side back first and the grips are all covered and then I pulled the left side back and folder it inwards I then gripped it where the pleat is quite discretely. I then used my comb to neaten it up and put any grips where needed to be and sprayed it with hair spray to hold. Finally I center parted the fringe, back combed it at the roots for volume, swept it to the side and sprayed it in place. On Friday I will have the assessment of putting it on my model creating a complete look and then finishing styling the wig once it is on my model. 

Evaluation

This is the first beehive or actually any style that I have created on wig. Creating the style on the wig was quite difficult as the hair is acrylic is super soft and slides very easy. Steaming and rollering the hair definitely helped it give it direction and volume to support my design. I also included a rat which is couch roll in tights and wrapped it dark brown crepe hair, this definitely helped give the design the height that I needed to create the design. At the front of the hair I had to super back comb it to make sure it would stay up, giving it height and strength which held very well after back combing the roots, however the style I still wanted to look neat so after back combing I combed the top of the hair to neaten up the surface and sprayed in place. Some of the layers in my wig is very short so I was a challenge to completely cover the rat. On the day of the assessment i'm going to bring in a strip of brown hair extension to put at the front of the root and lay over the top giving extra coverage and length to work with. Creating the pleat was hard as I feel I'm stronger creating the beehive than creating the pleat. I really wanted the style to be neat, slick and flat so I was trying to fold it over and grip it down as neat as possible while hiding the grips. Overall I'm extremely happy with how the beehive came out and  feel I did achieve the look I wanted. I did take, time control and patience especially working with such a difficult wig however I feel the outcome looks really good and I'm excited to see what it will look like on my partner. 

How to set acrylic wig and setting my Historical hair design

In our lesson before the assessment we had to set our wigs. Setting an acrylic wig is slightly different as its not real hair but can take some heat. The way we are setting our wigs is with steam, we create the design with rollers in the direction we want it going and then steam the wig and wait a few days for it to dry.

We were first shown a demonstration by our lecturer Lottie of how to steam our acrylic wigs and what it can do. She got one her quite old acrylic wigs and then filled the steamer up with water and turned it on. Then face the steam towards the wig and start brushing it through, you can style the wig using this technique and also get knots and bumps out of the wig.

Chosen Hair Design 

Above is my chosen design. I have decided to go with the complete beehive up do with the middle parting and pleat at the back. I decided to go with this one because I love the tradition up do beehive as I think it looks very classic and Audrey Hepburn. I think for the modern design I could do something a little different for that. 

Setting my Acrylic wig

I started with sectioning the hair off in the direction I knew the rollers needed to face and what was to be rollered where. I started with parting the hair in the center and clipping it to the side.

I then clipped the side back and pulled all the hair back that I wanted rollered at the back.

I wanted a lot of volume at the top of the head at this part will create the beehive. I used the largest rollers which are the red ones and used the white pins to hold the rollers in place. 

Once I had done the brick work half way down the head as the top half will be coming backwards and then I started on the side with the pink rollers which are slightly smaller and they are facing the side as the sides will be slick backwards. The back then all rolls to the center which will form the pleat at the back of the head.

This above is the steamer, I filled it with water till just below the full line and then waited for it to boil until the steam starts coming out the funnel. 

I also put too large rollers in the fringe to give it volume and a slight flick. Once the whole head was rollered I used the steamed and steamed the head twice over. 

I think the technique is very good and the rollers should give it the volume I need for the beehive and help shape the style overall. I found the rollering very hard as the hair is very smooth so it keep sliding out the rollers and some of the wigs layers are shorter which also made it hard to roll around the roller. The steaming was good and you just had to rotate the head and hold it close to the hair and make sure you get every section. I put the rollers in, in the direction the hair need to go/face which will help direct the hair. 

Equipment:

• Hair brush
• pin tail comb
• clips
• roller (different sizes)
• white pins
• steamer
• grips

Health and safety:

• Be careful with the white pins for the rollers as they can be sharp
• The steamer becomes very hot
• When the steam comes out its just like a kettle so be extra careful and do not put your hand over it. 
• Do not run in the studio
• Keep work area tidy and neat

Historical Hair Design charts and Mood board

Historical 1960's inspiration Mood board

I am basing my 60's design around large hair at the top so either a beehive or a large quiff. I have chosen a variety of photos from the decade showing historical hair designs. I have chosen these particular images because this presents visual aspects of what my final historical design will look like. I have really draw to the beehive as when creating it in the class a few weeks back I really enjoyed creating a beehive, I like the decade, style and volume/height of the hair. In the mood board above you can start to get an idea of what the 60's were like and the styles they wore during the decade. Each photo is a slightly different style however all creating the traditional beehive.

Three 60's Hair designs 

Design 1

The first design I created for the historical 60's was a complete up-do. The front fringe is a middle parting, the beehive sits tall and neat, the sides are scrapped back and the back turns into the center into a pleat. To create the height I might need to make a rat to create the volume at the top and then style the hair over to cover it. The style will sit neat and tall and be quite a sophisticated design. 

Design 2

                                           

Design two is a half up half down style. The top half is pretty much the same as the first design, neat and high at the top and turns into a pleat. The fringe however now is a side fringe sweeping across the face and the bottom half of the hair is down however still with a lot of volume and turns up at the ends like a flick. 

Design 3

The last style was completely down, the top isn't in a beehive but has a lot of volume and height still. The hair is completely down and the ends turn up in a flick, the fringe is on the side and has volume at the root and falls over to the side turning up into a flick, the whole style is thick and fluffy and isnt flat anywhere at all.

60's Book research

ICONS

60S FASHION 

VINTAGE FASHION AND BEAUTY ADS

Ed. Jim Heimann

Above is a few photographs of the pages of the book. The book shows a variety of advertisments for beauty products for women such as tan, make-up, hair products, clothing and swinwear and also mens such as clothing, shoes, underwear, hair colouring and products. Its really interesting looking at the Ad pages for things such as max factor, Avon and many other brands are very different than today and contains more text on persuasion of why you should get it. The top left photo is a Max Factor ad for lipsticks in 1961 the photo shows the new product being a matte lipstick which is the new in things for the summer, the range is of pastels and vibrant colours ready for the summer. In the corner of the ad it goes through why you should buy it and how its the 'new look' for the summer and has a variety of photos. In the top right photograph its for an ad for colouring your hair, throughout this book there is many ads for dying your hair for men and women and also lots of hair products. This hair colouring consists of the new colouring product which is foam so there is no mess and easy to apply and stay in the hair after multiple washes to keep your hair looking young, branded by Du Barry, 1963. The image on the bottom left is for a clothing ad by Wrangler, 1966. Its consists of jeans for women which advertises the W at the back of the jeans quoting 'You have to look for the W because its silent' as on the back if the jeans is a large stitched W. In the image on the bottom right is an ad for hair, which quotes 'The in hairfashions that go on when you go out' which is by David & David, 1966. The hair is particularly wigs and hair pieces to attach to your hair, which is really natural human hair, wigs, demi-wigs, chignons, wiglets, postiches, ponytails, pouf curls, drop curls and looks for every occasion and then provides you with images of examples of there hair pieces. I found the content of the book really interesting and loved looking at the different posters advertising different things and products during the 60's and seeing how it was done what it looked like and the colours that were in. I think the book gives me an idea of the different products and brands used and how the fashion and hair styles were in the 60's. 

Social Evolution & Hemline Revolution by Laura Schooling

The decade was known as the swinging sixties, and its easy to understand why. There was the summer of Love, the sexual revolution, and the whiskey A Go-Go-America first disco. The world was experiencing a cultural and political shift, swinging from the conservative stronghold of the 1950s to a youth-led counterculture revolution. The unimaginable became reality, resulting in a collective gasp as a man walked on the moon and a president was assassinated. As the western world struggled to define itself, the fashion world seemed to do so with whimsical ease, In a decade that produced panty hose, the topless bath suit, and the miniskirt, it is clear that above all else fashion was in full swing. 

Icons in the 1960's

1960s Fashion Icons: Meet Women Who Shaped The Swinging Decade

Alice Watt 09:50 | 22 Apr 2015

Read more at http://www.marieclaire.co.uk/blogs/547967/the-fashion-moments-that-defined-the-1960s.html#EXQEBu7WV1gtG0TL.99

We chart the style icons and key trends that influenced the 1960s fashion scene… 

From Brigitte Bardot's beehive to Mary Quant's geometric prints, every 1960s fashion icon contributed their own signature style to the decade. It was the era of the girl group, the gamine supermodel and the original IT-girls and the Sixties still provides designers today with an endless source of inspiration. Edie Sedgwick, Jackie O, Jane Birkin - these women were some of the greatest fashion influencers of all time, let alone the decade. 

1. Edie Sedgwick
The wealthy socialite, toast of the New York art scene and a certain Andy Warhol's muse, Edie Sedgwick was the original IT girl. The essential ingredients of her good-girl-gone-bad aesthetic were lashings of eyeliner, chandelier earrings, mini mod dresses with sheer black tights and a crop of platinum hair - one day to be celebrated by Sienna Miller in the film Factory Girl.

2. Twiggy
No 1960s fashion round-up would be complete without Twiggy. One of the greatest beauty muses ever, Twiggy rose to supermodel fame thanks to her paint 'em on thick eyelashes and the boyish pixie crop that celebrity hairdresser Leonard chopped for her in 1966. Almost overnight she became the face of the decade - instantly recognisable, she's been immortalised on everything from Andy Warhol screen prints to Marks and Spencer shopping bags.

3. Anita Pallenberg
The biggest style influence on the Rolling Stones, archetypal rock chick Anita Pallenberg also just happened to have flings with half the band members. Her quintessential rock chick look of thigh-high boots, fringing and skin-tight prints still serves as a source of inspiration for the band and all our wardrobes.

4. Mary Quant
Not only was Mary Quant a style icon in her own right, she brought the era's greatest trends to the wardrobes of the masses from her shop on the King's Road. The mini-skirt, hot pants, coloured tights and plastic macs - we owe them all to design pioneer Quant.

5. Jackie Onassis
Before Michelle Obama and Samantha Cameron, there was Jackie Onassis. The original fashionable First Lady managed to maintain her impeccable style throughout her time in the White House, even as she lived through tragedy. Jackie's prim skirt suits, pillbox hats and super-sized dark glasses made her the style inspiration for women across America.

6. Audrey Hepburn

  How do we love Audrey Heburn’s 1960s style? Let us count the ways… First it was that 1961 Breakfast at Tiffany’s LBD, teamed with movie star shades and top-handle bag which won over our hearts. Then came the off-duty style game - a champion of chic capri pants and ballet pumps. Oh Audrey...

7. Ursula Andress
One of the most iconic movie moments of all time (certainly the most memorable swimsuit moments ever) was Ursula Andress’ role in the 1961 Bond movie, Dr No. Stepping out of the Caribbean sea and into the fantasies of the world over, that knife belt was the perfect finishing touch.

8. Jean Shrimpton
In 1960, Jean Shrimpton brought the fashion world to a halt. Unlike the more voluptuous models of the 1950’s that came packaged with stiff aristocratic poses, this leggy British brunette broke the modelling mould entirely with her super slender frame. Jean paved the way for fellow free-spirited waifs such as Twiggy and Penelope Tree and eventually Kate Moss and co.

9. Dusty Springfield
Big eyes, big hair and an even bigger voice, Dusty Springfield rocked a blonde wig and a column dress like no other. Altogether now, 'the only one who could ever reach me...'

11. The Supremes
Long before Destiny’s Child made fashion and music collide, there was The Supremes. From all-sequin gowns to matching skirt suits (not to mention those incredible beehives) their impeccable matching style led the way for girl-groups and musicians the world over.

12. Raquel Welch
Pin-up Raquel Welch may be best-known for her fur bikini in the 1966 film One Million Years B.C, but off screen she worked an even more glamorous look, with pantsuits, Pucci prints, and sex kitten hair.

18. The Ronettes
There were a million girl groups in the 60s but The Ronettes were by far the coolest and sexiest of the bunch. At the heart of their look was the standard-issue mascara-and-miniskirt uniform but taken to new extremes. Skirts were tight and eyeliner was flicked so high it disappeared into their bangs.

25. Veruschka
Shot by Avedon, Irving Penn and Helmut Newton, Veruschka is the splashy German model who landed her first major magazine cover in 1963. All legs, eyes and lips, she exuded sex and lead a new direction in 60s fashion by pioneering a new skinny chic ideal.

BLOW UP 1966

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

Blow-Up (1966)

 "Blowup" (original title)
Not Rated | 111 min | Drama, Mystery, Thriller | 18 December 1966 (USA)
7.7
Ratings: 7.7/10 from 38,739 users
Reviews: 252 user | 100 critic
A mod London photographer seems to find something very suspicious in the shots he has taken of a mysterious beauty in a desolate park
Director:
Michelangelo Antonioni
Writers:
Michelangelo Antonioni (story), Julio Cortázar (short story "Las babas del diablo") (as Julio Cortazar) , 3 more credits »
Stars:
David Hemmings, Vanessa Redgrave, Sarah Miles

http://www.imdb.com/title/tt0060176/

Twiggy: Rare Photos of a Sixties Icon

On Twiggy's 65th birthday, LIFE.com celebrates her career and her enduring style with a series of rare pictures by LIFE photographer Ralph Crane.
Sept. 18, 2014

London in the 1960s was as central to the look and feel of that fabled era as any place on earth. The music that emerged from England (the Beatles, the Stones, the Who, Cream and countless others) was, in large part, the soundtrack of the Sixties. The street scenes, especially along Carnaby Street in Soho, with Mods and hippies parading their utterly distinctive gear, provided youth culture around the world with exemplars of cool that are still embraced today.

Finally, the fashions that emerged from London, as well as the models who made those fashions both hip and famous, still echo through pop culture. Jean Shrimpton, Penelope Tree and, of course, the extraordinary woman known as Twiggy (born Lesley Hornby) were, for several years in the mid-1960s, the heavily made-up faces of Swinging London itself. 

Today, Twiggy remains not only a fashion touchstone—with any slim young thing who sports short hair and liberal eye shadow inevitably pegged as “Twiggy-like”—but has also, incredibly, managed to stay relevant and productive for decades. Rather than simply and endlessly recycling the elements of her appeal that made her famous in the first place, Hornby went on to act in films and on stage (not just in set pieces, but in classic plays by heavyweights like Shaw and Noel Coward); recorded—and continues to record—as a singer; appeared on TV shows (like all great stars, for example, she took a turn on The Muppets); and wrote several books, including a well-received autobiography. 

It sometimes astonishes people—or people outside the UK, at least—to learn that the skinny, blonde, mop-topped, teenaged model who took the fashion world by storm in the Sixties actually survived those crazy years, grew up and, incredibly, is still around.

Here, on Twiggy’s 65rd birthday, LIFE.com celebrates her career and her enduring style with a series of rare pictures—shot in California for a feature that never appeared in the magazine—by long-time LIFE photographer Ralph Crane. Captured at the very height of her fame as one of the first-ever supermodels, and during her first visit to the U.S. when she was all of 18 years old, the Twiggy in most of these pictures seems remarkably cool and sophisticated for one so young. (Perhaps not surprising, considering that she’d been one of the most famous figures—and had one of the most famous figures—in the world for the previous whirlwind year.)

In other shots, meanwhile, she looks refreshingly like a teen who is still thrilled that her life has taken her to these sorts of places, with these sorts of people. There are other Sixties icons here, after all—Sonny and Cher, for example, and Steve McQueen (wearing a shearling coat in the Beverly Hills sun, and somehow looking cool doing it).

Throughout it all, the vibe of all of these photos is distinctly, unmistakably that of the Sixties—specifically, that brief period in 1966 and 1967, before MLK and Bobby Kennedy were assassinated, before Altamont, before the Manson family murders, before the decade died out entirely, when people might have been able to convince themselves that the Age of Aquarius was really just around the corner. Or, if not the Age of Aquarius, then at least a pretty groovy garden party at a mansion in Beverly Hills.

http://time.com/3880963/twiggy-rare-photos-of-a-sixties-icon/