Kevyn Aucoin

Kevyn Aucoin and partner Jeremy Antunes.

Kevyn Aucoin and partner Jeremy Antunes. 

Kevyn Aucoin is considered the world’s first celebrity make-up artist. He counted Naomi Campbell, Cher, Julia Roberts and Cindy Crawford amongst his roster of celebrity clients, and while make-up was his trade, it was his affable charm and charisma that secured his fame. “The best thing about him doing your make-up," Gwyneth Paltrow once said, "is that it allows you to spend time with him."

Aucoin also realised very young that he was gay, and that the deep south was the wrong place to be: he was threatened at school, and arrested because he wore purple jeans in town. Later, two teenagers tried to run him over with a truck. 

In 1982, he got a job doing make-up in a Baton Rouge shop, although he lost it by interpreting the company's dress code as allowing him to wear a red plastic coat and leopard-print tie. Worse, he wanted to help black women with makeovers. When he checked the newest products in the Godchaux department store, a security guard stopped him and said, "Upstairs or downtown" - meaning the store security room or police headquarters. Upstairs, he was stripped and beaten. 

Aucoin's break came when he went with a model friend to Vogue, and the beauty editor's assistant asked to see his book. Three months later, he answered the phone at a photographer's studio. It was the Vogue assistant: "We've been looking for you." Next day, the magazine asked Aucoin to work with senior photographer Steven Meisel, and he did so almost every day for 18 months, earning, initially, only $200 a cover.

Between 1987 and 1989 he did nine Vogue covers in a row, and an additional seven Cosmopolitan covers At his peak he would often be booked months in advance and could command as much as $6000 for a makeup session, working with hundreds of A-list celebrities. In 1993 he was hired by Revlon as Creative Director for their prestige Ultima II line of cosmetics. 

During the 1990s he published a series of books (The Art of Makeup, Making Faces, and Face Forward) in which he transformed models and celebrities to make them look like other celebrities or historical figures. 

Calista Flockhart channels Audrey Hepburn

Aucoin did not like the beauty industry much either, refusing to promote products, or to loan his name to a big company for a return of 5%. When he developed his own brand, he sold it through his website; his three best-selling books, Face Forward, Making Faces, and The Art of Make-up, shared the information he had had to discover for himself. 

After being diagnosed with a pituitary brain tumour in 2001, Aucoin went on working, as therapy. He then died in 2002. 

Reference: http://www.anothermag.com/current/view/4039/Remembering_Kevyn_Aucoin

http://www.themakeupgallery.info/various/photo/lookalike/kastars.htm

http://www.theguardian.com/news/2002/may/11/guardianobituaries.veronicahorwell

Self-portrait Of Who I Am Now

I found it quite difficult to fit everything about me into just one picture! My initial idea and the basis of all of these images is that it is based in my room at my student accommodation - this shows that I am clearly a student experiencing university life. I am smiling because I am very happy and enjoying this part of my life. The images include my laptop because this shows that I am working as a student, and it also represents my newly created sketch blog! The images also feature my make-up and hair kits because it shows what course I am studying and what kind of future I want to have. 

I have a friend's head peaking in the corner because it represents all the new people I am meeting and all of the new friends that I am making (I wanted to include this aspect because it is very important to me, but I did not want the image to be dominated and lose the concept). 

In the picture below you cane also see a few bottles of alcohol, which shows that I like to go out, have a good time and socialise, and enjoy uni life, as well as working hard! :)

In this image, you are able to some of my shoes lined up neatly, because in general I like to be quite tidy and organised (whether that be physically in my room, or mentally with my work). 

Basic Drawing Lessons

In today's lesson we learnt some basic drawing skills, for example, you should hold the pencil at the very top and move your arm as a whole, instead of moving your wrist.

We then tried simply drawing straight lines holding the pencil as described above - we tried vertical, horizontal and diagonal lines. This surprisingly was quite difficult because it is hard to keep your hand straight/in the same position across the whole length/width of the A3 paper. For example, I often found that it would start off quite straight, but then end up curving, or if you become slightly bored and found the task repetitive, meaning you lost concentration slightly, your line would go off course. 

We then tried drawing basic 2D shapes, such as circles, triangles and squares, again holding the pencil at the top, away from the led. I actually found the squares the easiest and the circles the hardest because it was hard to get them exactly round in shape.

We then experimented with the different shades you could create using one pencil, and we also tried drawing 3D shapes such as cubes and cylinders, and then incorporating this shading to make it seem more realistic (e.g. by making it look like it is actually on a surface). I found this quite hard to actually visualise in my head, but once I got my head around what areas had light and whereabouts had shadow, I think it was quite successful. 

Still Life Sketch
This is a quick sketch I created of an apple, I used different shades (by applying different amounts of pressure to the pencil) to try and create shadows and highlights. 

I think it went quite well because the apple looks quite 3D and you are able to see where the light is bouncing off the apple and where it has highlights, and where it is blocking the light to create shadows. The only thing I would adapt/improve is I would try to blend the outside of the shadow slightly because I feel it is not a smooth transformation. 

Alice In Wonderland Vs. Elizabethan?

I have recently came across these images, actually on Lisa Eldridge's blog... It shows her interviewing Valli O’Reilly, the designer of this make-up (taken from Tim Burton's Alice In Wonderland).

The reason I picked this image out is because I believe it actually features hints and an essence of the Elizabethan era. For example, it shows the queen looking extremely powerful (with what she is holding and the jewels/pearls on her clothing), she has very pale skiing with red lips and very thin, almost not there, eyebrows, she also has red hair with a very far back headline; all of which are aspects which are linked and related back to the Elizabethan period. 

In the interview, O'Reilly says "For the film, there were lots of concept meetings with the costume designer Colleen Atwood, who does pretty much all of Tim Burton’s movies, and a really short meeting with Tim where he basically told me to look at Bette Davis from the Queen Elizabeth movie that she did." She goes on to say "I took inspiration from that as well as Helena Bonham Carters face, she has a very heart shaped face and I sort of incorporated that into everything." This also relates to the Elizabethan style because women often wore headpieces which were heart-shaped or framed the face in this way. 

Reference: http://www.lisaeldridge.com/blog/26587/make-up-moments-off-with-her-head/#.VE6t5b7Z5hA

Halloween make-up

This is the halloween make-up that I produced in a limited amount of time. I think it works quite well as a whole, for example, the use of fairly intricate detail was successful and effective, and I feel the eyes work well with the yellow outlining the bold black circles. 

I must ensure that my base is totally even and that the face is symmetrical as possible, and if I had more time I would of liked to of straightened a few things up and made it slightly more precise and sharp as a whole. I would also of contoured the face quite a lot more and blended it down into the mouth more smoothly. But as a whole, in the time I had, I believe I did quite well and was fairly successful for a first attempt. 

I created this look using the Illamasqua white base and the Kryolan supacolour palette. 

Monochromatic Photoshoot (test shoot)

Although these images are not directly related to my brief, I feel it is beneficial to look back and reflect on my first real photoshoot... 

This is my monochromatic look (the colour being blue) and my general mood is quite cold and icy. I am actually quite satisfied with how the images came out and I like how in the image directly below you can see the full extent of the make-up (because in others the extremely long eyelashes cover the eyes/eyeshadow). 

Seven Photographs That Changed Fashion (BBC 4 programme)

'Seven Photographs That Changed Fashion’ is a documentary by a photographer called Rankin who was recreating his favourite images with his own style. Rankin took us through the history of fashion with 7 artists he felt changed the fashion industry, the artists Rankin used were Cecil Beaton, Erwin Blumenfeld, Richard Avedon, David Bailey, Helmut Newton, Guy Bordin and Herb Ritts. 

The first image that Rankin recreated was a take on Cecil Beaton's 'White panama hat' taken for Vogue in 1934 with model Elsa Schiaparelli. Rankin recreated this image with artist/model Sophie Ellis-Bexter using a digital camera instead of 10x8 camera (which shows the image upside down). I think by doing this it gives a very different feel to the image, one of the main factors being that Rankin has introduced colour, so it does not feel so traditional and classic. However, I think Rankin has done a good job on recreating the image with a modern twist, e.g. with the use of the hat and veil, but overall you are able to tell that the 2 images are definitely related. 

These images are actually my favourite images used throughout the programme.

The original image was for a Vogue Cover in 1950’s with Jean Patchett, taken by Erwin Blumenfeld. At the time, the image would of taken a lot of time and effort to create because technology was no where near as advanced as it is now. Surprisingly, the image was actually taken in black and white, and then the colour was edited in afterwards (even though this image was iconic for the use of colour at the time). Blumenfeld erased the majority of the image leaving minimal details such as the eye, eyebrow, lips and beauty spot. 

Rankin got Heidi Klum to recreate the image, and definitely modernises the image by allowing her cheeky personality to come through by the use of her tongue - I think this actually works very well and adds to the image. Rankin also keeps the models nose and and adjusts the colours slightly, which again changes the image in comparison to the original. I actually prefer the pose and composition of Rankin's interpretation, but I prefer the use of the eye colours which are used in the original because I feel the are more vibrant and make the image 'pop'. I loved the fact that Rankin said "the image should not work, but it just does" - I totally agree with this, because technically there is not much to look at, but yet it is so unique and different it still appears very eye-catching and unique. 

This Image (Dovima with Elephants) with Dorothy Horan by Richard Avedon in 1955 was recreated by Rankin using Erin O’Conner. Comparing the two images, I like how Rankin’s picture is bold and as Erin has a nice pale complexion, it makes her stand out more within the image. As modelling changes along the years you can see that in the original Dovimas body is more relaxed and its extremely elegant looking were as Rankin’s version Erin is sharp and more rigid. I feel both of the photographs work but with this particular image I prefer the original as it looks like Dovima was just caught in a moment, rather than actually posing for a picture. Furthermore, even the elephants give a different feel to the picture; the elephants in the original are distressed and look as though they are struggling to be free from the chains and it looks as if Dovima is almost naturally soothing them, whereas in the recreated one the elephants are not distressed at all and it appears to be the other way round - Erin looks less comfortable and the elephants look quite content. 

The original image with Jean Shrimpton (who was one of Bailey’s previous lovers) is a beautiful picture taken in the 1960’s by David Bailey.  The image is quite seductive; it shows Jean's feminine physique and her features extremely well, e.g. her jaw line is very apparent and everything looks perfectly placed. Rankin recreated his interpretation with his girlfriend Tuuli. The recreated version is still a lovely photo with the lighting and modernised look but I definitely prefer the original image, for a number of reasons, e.g. the lighting, the model herself, the clothing and the position of the model. 

I think that Rankin did a very good job in recreating this image by Helmut Newton - I especially like the fact that he travelled to France to go to the exact same spot and the modern twist/key difference is that there are now bollards at the side of the street. 

I feel Rankin changed this image more so than he has done with the rest of the images that he recreated. I feel like he made in into more of a fashion image, which the choice of clothing for the model, and the attributes of the model in his and Guy Bordin's image are very different. I also feel that the lighting appears quite different, e.g. in Bordin's image the reflection of the light is in a very small area of space but is quite bright, whereas Rankin has spread a less concentrated source of light over the background.

'Fred with tyres' was created by Herb Ritts in 1984. This image works very well and I think that Rankin has done a good job with recreating this image - the photo makes the model look quite at ease and natural. But I did actually find it interesting how Rankin said he felt less comfortable working with male models and felt that for this reason, his image may not be as successful, but I think that they actually both work very well. 

Overall, I found the programme quite interesting and it was intriguing to see a journey of how the fashion photography industry has ended up where it is today... 

Reference: http://laurynblackrosebarford.wordpress.com/2012/10/01/photography-seven-photographs-that-changed-fashion/

Wealth In A Modern Picture

Made In Chelsea Cast - Series 1

I have chosen this image to represent wealth - I think this simply screams it. The image shows cast members of the 'scripted' reality TV show 'Made In Chelsea'. The show focuses on a group of privileged twenty-something socialites around their daily lives in the exclusive London borough of Chelsea, following them from beauty salon appointments, to lunches in Michelin restaurants, to nights out in London’s most glamorous nightspots.  The characters all have a seemingly endless amount of money, presumably via daddy-sponsored trust funds, to spend on pure self-indulgence, and it makes for an hour of blissful Monday night escapism.  This escapism is a large part of its’ appeal ; we know it’s nowhere near our drab day to day lives, but maybe that’s why we love it so much.  The characters float around with never a perfectly styled hair out of place, casually carrying designer bags a regular girl could only dream of. 

This image shows wealth through a number of different elements within this image; for example, the setting/backdrop of the image looks like it is set in a very expensive location (e.g. due to the large portrait in the background and the posh-looking rug/couch they are on). 

Each and every model also looks extremely wealthy due to the clothes/shoes they are wearing - all of their dresses look very pricey, and the model on the floor has fur to top it off. All of the girls hair and make-up looks pristine and perfectly done, which would suggest they have had a personal stylist to do it for them, and furthermore, the actual look, made up of their facial expressions and poses, make the models appear wealthy because only one of them is actually smiling, and they are all stood/sat up straight, to the extent that they almost look comfortable! 

The first thing I notice when I look at the image is probably the couch and the girls on it because this is in the centre of the image, and the gold around the edge contrasts the most with the wooden background. However, the image is actually quite busy so your eyes carry on wondering in order to take everything in, so my attention turns to girls, and finally to the portrait and the actual backdrop. The image itself actually looks slightly staged, which may be a clue/relate to the nature of the programme. Everything in the picture looks real, apart from the poses of the girls - they almost look like they are dolls who have been arranged in that rigid position. 

The image is displayed almost like a traditional portrait, but the main difference being there are a group of them, and not just one main subject. The photograph manages to capture the feeling of the show and the fact that it is about a group of privileged young adults, but yet it does not necessarily feature many surroundings that suggest this, thus it is done in a clever way. The angle of the picture is looking directly at the group, which suggests that is how the show will be - it will allow you to directly look into their lives. 

The image does not necessarily remind me of a personal experience, it just makes me think of royalty. Even the colours used makes it seem as though the whole image has a 'wealthy filter' on it, e.g. the colours seem dimmed down slightly, and this adds to the whole feel of the image. 

Reference - 
Author: Anglea Lawless, 
Web adress:http://www.strathclydetelegraph.com/2011/12/flick-or-stick-made-in-chelsea/

Contemporary Elizabethan Styles

Both of these images are taken from a magazine shoot for Vogue Russia in December 2010.

Sharif Hamza - Photographer

Simon Robins - Fashion Editor/Stylist

Yannick D'Is - Hair Stylist

Asami Taguchi - Makeup Artist

Ashley Smith - Model

Reference: http://models.com/work/vogue-russia---6/34521

Although this images are clearly not strictly Elizabethan, you are able to see key traces and influences that the era has had on the styling of the make-up, hair, clothing and accessories. For example, both of the images show the model wearing some type of crown (in the style of Queen Elizabeth). The top image shows the crown being incorporated into the hair by the use of a bun, and then the crown has been attached within/over the top of the hair - this is similar to how they would put their hair in a bun and then put an item over it, e.g. a pillbox. Whereas, the bottom image shows a more realistic shape of a crown, however it has been put on at a slanted angle, to add a modern and quirky twist. Furthermore, if you look closely you are able to see that both images have incorporated plaits into the hair. 

The fashion garments and clothing clearly have an Elizabethan link; both of the images contain neck ruffles which were worn by both men and women during the era. The outfits within the images are much more daring and clearly reveal more skin and flesh than traditional Elizabethan items of clothing, but you are still able to see that the link is there. The top image uses an almost coral colour which contrasts with the dark background (like a traditional portrait would) but it is almost like the stylist has swapped a vibrant red for a more contemporary colour, which you now see used/worn much more in today's society, and this has been paired with a pearl bracelet, which were extremely popular amongst the wealthy in the Elizabethan period. In the second image, I think it would be fair to say that the item clothing the model was wearing could actually pass for Elizabethan, however they would have worn trousers/something to cover the legs, which clearly the stylist has decided not to do because it makes it modern and like a mini skirt/dress. 

The make-up on both of the models is not far from Elizabethan either - you are able to see that their eyebrows have been bleached out/covered and they both appear to have fairly pale skin on the face (not necessarily all over the body), although the eye make-up appears to be much darker than the Elizabethan's would have worn it, and in the bottom image the lips are dark, whereas Elizabethan's would tend to have red lips, but this just shows how times have changed and again, is just adding a modern twist to the look. 

The poses differ quite a lot between the 2 images - the top image is much more traditional; the model looks like she is sat/stood up straight, whereas the bottom images shows the model looking almost all over the place, which her hands waving around and knees facing in towards each other. 

Monochromatic extreme contouring

This look is created using the extreme contouring technique (step by step guide on a previous post), it is also based on the face chart shown in a previous post.

I find it very interesting to see the difference between the before and after pictures because you can see how the make-up actually changes the shape and structure of the face. The model worked especially well with my purple monochromatic theme because she in fact already has slightly purple hair and eyebrows. 

I think the look was quite successful and my skills/technique on extreme contouring are improving, however, the only thing I was not so happy with was the lips - you are able to tell that they are a different type of purple to the rest of the face, so it looks slightly odd and unbalanced, but I like the actual style of them where they are darker on the outside, just the lilac colour in the middle does not fit perfectly with the rest of the look. 

Other than that, I am happy with the final result because I was able to get the look completed in time and I managed to achieve what I wanted to. 

Before

After

Applying products to the lips

• This works if the lips are not dry and flakey, so try to get the model to prepare slightly before (e.g. by rubbing in lip balm)
• Blot this off if there are any products on the lips prior
• Scrape the product onto a palette and use an angled brush to apply
• Ensure you get the model to open their mouth and stretch their lips
• Work the colour in backwards and forwards
• Ask the model to rub their lips together
• Blot this, apply powder over the top and repeat process
• Continue until satisfied
• Apply lip liner if required (dot this around the lips and then join the dots if you are not comfortable drawing a line all in one go)

before

after

Equipment used:

Small angled brush

A puff

Translucent powder

Lip products (kryolan palette)

Palette and spatular

Creating the correct eye look for the eye shape

When creating an eye look, it is essential that you figure out what eye shape the model/client has, and then apply the appropriate style. To do this, I use this chart... 

My model has fairly small eyes

• Carry out a client consultation and be sure to find out if they wear contact lenses
• Cover the eye with base foundation and primer - make sure you powder well
• Then apply a lot of translucent powder under the eye to catch any fall out of eyeshadow
• Using a small rounded brush, start with the lightest colour and apply all over the eye area
• Build up the colours so you apply the darkest colour last
• Continue building and blending the look until you are satisfied 
• When finished, ensure you clean through the eyebrows to remove any eyeshadow
• Apply mascara so there is no pigment in the eyelashes (on males, use a dry mascara wand)
• Add eyeliner if necessary, using an angled brush
• Finally wipe away/blend in the powder which is under the eye

Before

After

After

Before

I found doing this very interesting, because I did not necessarily know of all the different eye shapes that existed and the different make-up styles that go with each one. After comparing the before and after, I loved the effect that adding the make-up had, because I felt it really made the eyes 'pop' and stand out, but yet there was no drastic style needed to do this. I think I completed the look quite successfully and I was satisfied with how it turned out. 


Equipment used:

A puff

Translucent powder

Primer

Palette and spatular

A gown and clips

A small rounded brush

Eye shadow (kryolan)

An angled brush