Final Images

Here are my final images for Wild Kingdom. The images represent my theme of Native African - exploring the tribes of africa and america. I foucsed more on African tribes because I was more inspired by this, but I wanted to combine some more styles for an overall look. 

I am so pleased with my outcomes! I feel the are strong and represent my research that underpins the final designs. I also love how both images represent the themes in different ways. My editorial image leans more towards African tribes, whereas my Catwalk leans more towards Native American. However, both of them have areas that represent both tribes to complete my tribal mash up!

EDITORIAL

 CATWALK

Catwalk Preview!

Heres a preview of some images that I have taken for my catwalk look!

I am pleased with the outcome of the make up and the styling, but the camera, focus and lighting all need to be done properly in the studio, not just up against a wall! The quality just isn't right.

But, take a look anyway!

So, I yet again changed my mind for this look.

I tried the red across the forehead but it just didnt work. Basically, I had to design the look from memory and expectations of the head piece because it hadnt yet arrived. However, this didnt work in my favour because the front of the head piece came down so low, which meant the red was lost. I do prefer this idea for scarification though, because the scars look old as opposed to raw, which they are for my editorial shoot. I also changed my mind for the accessories. Originally the chest was going to be covered in a clay mud mask (to look like mud) and there was going to be etching into it. But when I put this look together I decided that I wasnt a fan of this because it looked to plain when combined with the head piece. Instead, I accessorised over the top of the mud with a fur neck piece and a wooden necklace. This look was much more successful because the outcome was more African inspired, where as before it didnt show elements of my chosen tribe, 'Native African' it just showed elements of native American. The animal print fur worked perfect for Africa as did the wooden beads, but the feathers represented the research I recevied when looking into Native American.

I am so pleased with the outcome and the fact I did a test run! Now I need to shoot this properly in the studio!!!

(the positioning of the ear needs to be corrected as well! this has bugged me more than the bad quality image!!)

Practice, Practice, Practice... Catwalk!

These images show my practicing for this shoot. I am pretty confident on my idea now, but I have experimented using different shapes, colours and sizes to see what I prefer. For example, I practiced the scarification under red, then plain foundation, and then clay. A lot of my practices were on paper just so I could get a rough idea of the technique, but some more important are on the skin.

Take a look!

But first, have a look at the face chart I am working from. This will help you to recognise the link between my idea and my outcome.

NATIVE AFRICAN / AMERICAN FACE CHART FOR CATWALK SHOOT.

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PRACTICE IMAGES:

CLAY OVER THE SKIN

ETCHING INTO CLAY WITH WOODEN STICK

SCARIFICATION ON THE FOREHEAD

These were three images taken from my practice shoot. The model used here is the model I intend to use for the actual shoot. This practice was very helpful for me. I learnt that the clay face mask I used wasnt right for me because it came out green, when I wanted one that was grey. Green was an olive face mask, which isnt right. It doesnt look like a muddy effect and it didnt blend with the skin or the rest of the make up well at all. I also learnt that the thickness of the glue for the scarification needs to be much larger because it didnt show up under the makeup or the lighting very well. The final thing I learnt was that the clay dries extremely quickly, so instead of applying it all over the body first, I should apply it section by section. I should etch into one side first and then apply and etch on the other side so the clay separates well and has the same outcome on each side.

Experiments for shoot - finalised ideas.

Catwalk FaceCharts

FACECHARTS

IDEA ONE - AFRICAN TRIBAL

IDEA TWO - MAORI INSPIRED

IDEA THREE - NATIVE SCARIFICATION

CLOSE UP OF TECHNIQUE FOR IDEA THREE

IDEA FOUR - NATIVE SCARIFICATION

CLOSE UP OF IDEA FOUR

Idea 3 and 4 are my favourite designs here. They are exactly what I want to pursue because they represent native tribal. The techniques I have focused on are to represent the idea of scarification, which is a popular thing within many different tribes. I also wanted to recognise the important of accessories because this is what is going to complete my look.

 

Make a Plan and Stick to it..!

I have done a lot more planning for the catwalk shoot than I did for the editorial. There are two reasons for this: 1) This look is a lot more complicated and significant and 2) The idea has been changed a lot of times and therefore has needed a lot more focus.

There are a few factors that I need to focus on a lot more, which I learnt from the previous tribal shoot.  Here's a list of things that I am being extra critical with:

TIME MANAGEMENT

 

This is something I have really found important. When creating the look for my editorial shoot, I was confident in what I was doing. However, because we were shooting in lesson time I forgot that I was also working around the schedule of others. We had 4 hours to produce the shoot, but really I needed to have done the makeup in 2 in order to have plenty of time for shooting. 

This highlighted a huge problem. The original model I wanted to use pulled out last minute so I had to find someone else. This was easy enough for me to do, but it meant working to a different models schedule, which in this case only gave me half the time to produce the shoot. I produced the shoot and was happy with outcome, but my time management could have been better.

So this is why I am planning my time management before the shoot, which I will make sure I do from now on.

CATWALK TIME MANAGEMENT

Makeup: 1 Hour and 30 Minutes.

Styling: 30 Minutes

Shooting Time: 1 Hour

Ending Shoot (taking off makeup, tidying up etc): 1 Hour

Due to my models schedule, I am shooting outside of lesson this time. However, I am giving myself the same amount of time because it gives me a timetable as opposed to allowing myself to go over because its my free time. I intent to stick to my time management plan by timing my shoot. I also think this will be a good way of allowing me to work under pressure and help me get a glimps of life in the industry.

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EQUIPMENT

Previously I have been known to take my whole kit with me. But this time, I have written a list of the equipment that I need. This means I am not carrying too much stuff but also means I am narrowing my ideas down. I can stick to the original plan without being side tracked by trying to add in more techniques and products that I come across. This idea links with time management, but also allows my organisation skills to kick in. It also shows that I practiced this look before hand because I will know what products to use, what colours to use and so on.

CATWALK EQUIPMENT LIST:

 

MAKEUP

- Illamasqua Foundation

- Illamasqua Powder

- Illamasqua Bronzing Pallette

- Tuplast

- Duo

- Screenface Pallette

-  Clay Face Masks

- Black Eyeliner

- Screenface Eye Palette

- Vaseline

HAIR

- Clay

- Hairspray

 - Cotton Wool

- Fake Hair Pieces

 

STYLING

- Large Feather Headpiece

- Feathers

- Wooden Beads

- Animal Fur Leather Bracelets

- Fur Neck Piece

- Wooden Jewellery

 

EXTRA PRODUCTS

- Cleanser

- Toner

- Moisturiser

- Cotton Pads

- Cotton Buds

- Sponges

- Full Brush Set

 

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 STEP BY STEP 

FOR CATWALK SHOOT

 

MAKEUP

STEP ONE:

Begin with the base of the makeup. Apply concealer, foundation and powder to smooth and blend the skin tones. Then, contour the cheeks using the bronzing palette.  

STEP TWO:

Apply a zig zag line of Tuplast glue across the forehead, producing quite a thick line. Allow to dry and then using the supracolour palette, paint over the forehead, down the nose and towards the edge of the brow. (If the red is too over powering, go over the glue with foundation to look like a scar and replace the red with the clay mask).

STEP THREE:

Apply black eyeliner around the eyes to give some definition.

STEP FOUR:  

Apply the clay to the lips and create a cracked effect. Line the inside of the cracked lips with vaseline to allow the camera light to pick it up.

 

HAIR

STEP ONE

Work out where the headpiece fits the head. You can then work out where to attach the fake hair using pins and kirby grips.  The hair needs to come down the two front sides of the face, but blend in with the feathers.

STEP TWO:

Smear clay through sections of the fake hair as well as bits of the models hair. Clump the hair up to suggest a dirty look. The hair might want to be put into a parting first which is sectioned down the middle with clay. This will allow the headpiece to fit perfectly. (Dont forget, the hair is so important when its a catwalk because realistically each front, back and sides would be seen. So even if the back isnt photographed, it should still be styled).

STEP THREE:

Rest the head piece in place and if needed secure with pins and kirby grips. Make sure they are not visable though.

 

BODY ART:

STEP ONE:

Smudge the clay over the models shoulders and sides of neck. Dont make the neck too visable though because it doesnt blend to the face properly.

STEP TWO:

Quickly, whilst the clay is wet, etch into it using a wooden stick. 

STEP THREE:

Allow the clay to dry and crack to give off a muddy technique. 

STEP FOUR:

Apply some scarification using tuplast across the chest of the model. However, dont over crowd - know where to stop.     

 

STYLING

Place wooden beads over the dry clay.

Stick the wooden beads over the dry makeup on the forehead (above the scarification).

Place fur around the neck.    

 

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Be Inspired...

I am currently trying to find some editorial shoots that inspire the concept of Native. Because I have created my own theme of Native African (as opposed to American) I am actually finding this quite hard. Some of the images appear too literal and not quite creative enough. Creativity is something I need to look in to because I am adding techniques to my work, such as scarification, tattoos, piercings and etching on the skin.

 It is also appearing difficult because, although I am creating a catwalk idea, I am shooting it as an editorial look. I therefore need to ensure I still focus on the brief as consider elements such as: practicality of accessories when walking down a catwalk, focus on the styling as opposed to make up and of course the focus of the hair.

Here are some examples of shoots I have seen

 Take a look.. they are amazing!

 

This shoot is from Numéro France’s December//January issue.  Its beautiful. The styling is perfect and portrays the idea of the shoot extremely well. The makeup is subtle but effective, and the hair hasnt been forgotten about. Although there is no visably structured style, it still helps to complete this native inspired look.

Photography: Miguel Reveriego | Styling: Pattie Wilson | Model: Abbey Lee Kershaw

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Feathers have become increasingly popular in modern editorial shoots. They are seen in headpieces, necklaces and embellished on clothing. I love feathers because of their texture, colours, sizes and shapes. They accessorize almost every possible outfit. I was inspired to use feathers for my catwalk shoot because it is the first thing I think of when considering the styling of Native. Although this seems like copying a tribal trend, I am meerly going to moderize it.

I absolutely love the head piece from the image above, it is bold, strong but beautiful. At of course, easy for a catwalk model to walk whilst wearing!

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This is a beautiful example of a native feather headpiece. I think in this images case, the styling says all. Amazing.

Make up: Kmkutsuma | Model: Kit Katrice Ang | Photography and Styling: Kune Delgado

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I love this shoot because it combines creativity and beauty. Something that I want to achieve. I love the make up here because its strong and effective. The black line is so bold and defines the need for no more makeup. The accessories compliment the make up, which is essential for tribal styling.

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As I have said for the image above. Effective, creative, simple and beautiful.

Make up: Amy Clarke | Photography and Styling: Bree Randall

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OH WOW. How incredible!? This is very editorial, but still amazing. I love this image so much that I am lost for words! The fishtail braids are a beautiful example of greating a deadlocked hair style. The colours combined show an effect use of creativity. The headdress is beautiful, strong and bold, Most of all, I love the way that the headdress blends into the hair and creates a whole images as opposed to separate details within a look. This is inspiration at its most, when I recreate my native catwalk look, this is what I will be focusing around. LOVE!

 Check out this whole webpage for this incredible inspiration:
http://pinterest.com/sadbettie/native-love/
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These images show my inspiration for contemporary Native tribes when it comes to female models. The looks for this still give me ideas for male models, although there will obviously be some significant differences. Here are some original images of native men, which will give me ideas for finalising the styling!

 
VICTORIA SECRET

Victoria Secret recently did a fashion show in which they used a Native American headpiece. The outfit was criticized as a display of ignorance toward tribal culture and history.
Historically, headdresses are a symbol of respect, worn by Native American war chiefs and warriors. For Great Plains tribes, for instance, each feather placed on a headdress has significance and had to be earned through an act of compassion or bravery. Some modern-day Native American leaders have received war bonnets in ceremonies accompanied by prayers and songs.
Victoria's Secret model Karlie Kloss walked onto the runway last week wearing the floor-length feathered headdress, leopard-print underwear and high heels. She also was adorned with fringes and turquoise jewelry during a segment meant to represent the 12 months of the year -- fireworks in July, rain gear for April and a headdress for November.
The idea behind this is regretted by Victoria Secret. They express that they didnt mean to offend anyone for their choice of styling, but can understand why it has. Many people complained to them saying that they were being disrespectful.

Here are images from the catwalk:

The below image shows one of the complaints Victoria Secret received after their choice of action:

Read more: http://www.foxnews.com/us/2012/11/13/victoria-secret-apologizes-after-use-native-american-headdress-in-fashion-show/#ixzz2EkeL7pit

After reading this article, this shows me what not to do when looking at my catwalk shoot. Its made me clear that I need to respect my tribal influences and not suggest them in any way they wouldnt be seen. Even though my images wont be going public like Victoria Secrets did, I still need to work as i they are in order to understand the importance of creating looks within the industry.

CATWALK MODEL

So, yet again there has had to be a change for my catwalk look.

I am experimenting the native look by using a male model as opposed to a female.

I will still do a female shoot eventually, but this cant be done in lesson time! This is something I will need to try and produce in my own time, but for the time being I will still make use of my time by shooting another idea. At least this gives me experience of the look and also another image for my portfolio!

MALE MODEL:

The poor boyfriend has been asked to model again for one of my shoots (even though he secretly loves it!). I have chosen him because he actually works well infront of the camera. Even though he is a last minute choice, its still practice and experience that I will be getting out of this shoot.

Here are some images of my previous shoots using this model:

Name: Edd Lockton

Age: 21

Occupation: Student. Studying Primary and Secondary School Teaching in Brighton.

FINAL EDITORIAL SHOOT

YAY! 

It's finally completed! 

Here are the best shots from my editorial shoot. Even though there was a bit of stress, I am so pleased with the final outcome and it was exactly as I hoped!

Take a look...

I love the contrasts on both the black and white background, but I have to say I think the white backdrop is my favourite! It really makes the image stand out strongly and draws attention to everyone aspect of the model. The accessories stand out beautifully, and the head piece is bold up against the background. I think its a much kinder background, and personally I think that it compliments the makeup better because white dots on the models cheeks become a lot more vibrant, but also help the whole image blend together.

I am so pleased with the outcome of this shoot. As you can see though there were a few changes. Such as, I got rid rid of the black line down the chin because it made the makeup look too harsh and mish-mashed. I also changed the lip colour from being dark to pale because the attention of the image wasnt all over the place. With the dark lips it seemed much too over crowded, in my opinion.

Practice Editorial

Here are some shots of the editorial shoot I am doing. I had a practice on a dolls head to prepare myself for the real deal. 

Head Wrap

I created the head wrap in my own way to make it more fashionable as opposed to traditional. 
Before wrapping the scarf, I styled the models hair up in a bun, using a doughnut. The doughnut was placed on the top of the models head to give volume underneath the scarf, otherwise it could look quite flat.
Step One: Place one edge of the scarf (the width) over the front hair line and bring the rest down around the sides to the back. Pull out tightly to get rid of any bumps or creases.
Step Two: Then, form the lentgh of the scarf thats left behind the back of a head into a a bunch - as if you were creating a low pony tail.
Step Three: Twist the top of the pony tail and fold it upwards to sit on the top of the head.
Step Four: Once the scarf is in place, bunch out the remains on the scarf that sits on the top of the head. Then, tie a hair tie around it as if you were creating a bun with normal hair.
Step Five: Finally, loosen out the rest of the scarf to form shape and volume on the top of the head.
And that was it! Sounds really easy and looks really effective (I think!).

This was the final look that I am hoping to use for my shoot (if all goes well). It obviously looks a little different on the dolls head as opposed to the real model, but its just a brief idea!

FACECHART

My face chart tries to express the makeup on the face and down to the shoulders.The makeup on the face is quite simple because I didnt want to overcrowd the look when it came to applying the jewellery and the scarification. Editorial is supposed to show beauty and creativity which I do think I will achieve with this look.

It was said that we had to include a technique within our makeup idea. My technique is going to resemble the african tradition of scarification. I want the scars to look really red and raw, as if they are new to the skin. I also want them to be in the style of african patterns, to bring in the influence of the tribal patterns I have previously looked at.
These are the pactice shots and makeup drawings for the tribal technique I will be applying to my look:

Practice Patterns on Paper

Practice Technique on Paper

Practice Scarification on Skin

The scarification is a really effective technique. I created this look by using Tuplast (a glue substance that is easy, and suitable, to draw with on the skin) and Supracolors (a face paint product that is suitable under light and creates amazing colours and blending techniques).