Wednesday, 21 January 2015

'Love is Death'

Miss Havisham Character Portrayals

Miss Havisham on Film through the years-

Clockwise: Maxine Audley, Joan Hickson, Helena Bonham Carter and Charlotte Rampling as Miss Havisham
  • Florence Reed - 1934
  • Martita Hunt - 1946
  • Maxine Audley - 1967 (top left)
  • Margaret Leighton - 1974
  • Joan Hickson - 1981 (top right)
  • Jean Simmons - 1989
  • Anne Bancroft - 1998
  • Charlotte Rampling - 1999 (bottom left)
  • Gillian Anderson - 2011
  • Helena Bonham Carter - 2012 (bottom right)
http://www.bbc.co.uk/news/entertainment-arts-16047263


The actress Helena Bonham Carter who played Miss Havisham in the 2012 film 'Great Expectations' is interviewed by Hilary Oliver as she speaks about taking on the role as Miss Havisham, how she wanted to portray the character and what Miss Havisham was like. Carter went really indepth with finding out what the character would be like after years of no sunlight to the skin and not much movement. 

What Miss Havishams is described like- Quotes from book 'Great Expectations'
"She was dressed in rich materials - satins, and lace, and silks - all of white. Her shoes were white. And she had a long white veil dependant from her hair, and she had bridal flowers in her hair, but her hair was white. Some bright jewels sparkled on her neck and on her hands, and some other jewels lay sparkling on the table." page 57 


"I saw that everything within my view which ought to be white, had been white long ago, and has lost its lustre, and was faded and yellow. I saw that the bride within the bridal dress had withered like the dress, and like the flowers, and had no brightness left but the brightness of her sunken eyes. I saw that the dress had been put upon the rounded figure of a young woman, and that the figure upon which it now hung loose." page 57-58

"She sat, corpse-like, as we played cards." page 60

"I should have felt almost sure that Miss Havisham's face could not smile. It had dropped into a watchful and brooding expression - most likely when all the things about her had become transfixed - and it looked as if nothing could ever lift it up again. Her chest had dropped, so that she stooped; and her voice had dropped, so that she spoke low, and with a dead lull upon her; altogether, she had the appearance of having dropped, body and soul" page 61


All of these above quotes have been selected from the book itself 'Great Expectations'. While reading back through the book I wanted to find the part where Pip first met Miss Havisham and how he firstly described her when he first laid eyes on her. All of theses quotes are focusing on Miss Havisham's features, colour, clothes, bridal items, body positions and her tone of voice. I feel the way she looks and how she is, is because of being left at the alter and stood up on the day she thought she was going to be married. Therefore the way she speaks as she no care in the world as to her, her life is over. Physically she looks the way she does because of the lack of movement to the body and sun light to her skin. Even the fact that living in such a dark, dirty room causes the garment colour to change and decay. Below is a video clip of a scene in the 2012 film 'Great Expectations' of Miss Havisham and Pip. This scene shows the very room Miss Havisham was left at on her wedding day and you can see the room has been untouched for many years. This clip shows her personality through the way she speaks to Pip and you can see how old and decaying her wedding dress is and how pale white her skin and hair has become over the years. In a certain way see is described as cold hearted through the film as its know to be pasted on to how she brought up Estella (her adopted daughter) however I feel she seems quite vulnerable about the whole situation. 



https://www.youtube.com/watch?v=nCgbVNChs9I


Florence Reed - 1934
http://thecoolgirl.com/wp-content/uploads/2012/06/GreatExpectations01.jpg


  • Margaret Leighton - 1974
  • http://i.telegraph.co.uk/multimedia/archive/02062/Margaret-Leighton3_2062990i.jpg

    • Gillian Anderson - 2011
http://27.media.tumblr.com/tumblr_lv1kolo4PX1qdk0zgo1_500.png
Great expectations 1946- 


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







Sunday, 18 January 2015

'The Fashionable Lady in the 19th Century by Charles H. Gibbs-Smith'





The Fashionable Lady book has a complete guide of womens clothing through the 19th century. Its starts with the early 1800s and works it way through a variety of womens dress and the occasion it would be worn up until the 1900's. I think its very important to study the fashion in the era because it gives you the knowledge of the type of clothing that would be worn and what different classes of women would wear. I'm purely studying the fashion of the book between 1840-1900 of which was the reign of Queen Victoria.


1840
Another of fashion's abrupt and unheralded changed occurred in fashion in 1836, when the great
sleeves of the early thirties suddenly collapsed, and thus-a year before Queen Victorias accession - women's dress began to assume its typical 'early victorian' look: an appearance of prim sentimentality takes the place of the romantic exuberance, and the popular hairstyle of the ringlets is tyipical. By this year the skirts were still big and domed-shaped to the ground.; tight fitting bodice rises from a tight fitting waist. Emphasis on the shoulders were big and sleeves were narrower. The Ubiquitous bonnet is becoming smaller and rounder. The shawl in becoming popular.
Left- 1840 Ball Dresses. Top right- 1840 Corset. Bottom right- 1842, Hyde Park
1845, Evening Dresses, Corset. Bottom right- The Dansante
1850
Now, in 1850, and for the next 5 years, crinoline implies the whole typical dome-shaped skirt, other stiffening fabrics, in the outermost of the multiple petticoats; petticoats could number up to six until 1856. The bodice is still tight-fitting, the sleeves are still narrow, and the shoulders still droop. For daytime wear, the shawl and the various kinds of mantle and cloaks are universal. For the evening dress, the 'bertha' and the heavily flounced skirt are particularly favoured. Later in the 50's the sleeves  start to become fuller, bonnets even smaller and the general air of sentimentality of the previous decade is disappearing.
1850, Full evening dress. Lady wearing corset and corset.
Bottom right- The Great Exhibition 1851
1860
Another vital and sudden innovation had taken place in the invention of the so called 'artificial crinoline' in 1856. When skirts had apparently reached there maximum size, they expanded even more. The artificial crinoline consists of concentric whale-bone, wire of watch-spring hoops suspended on strips of material and the contour of the outline of the skirt had changed and movement is transformed. by 1858-60 the fashionable lady had become so gigantic that become any bigger is literally impossible. The front of the skirts is becoming flatter and the back to arch further out, the sleeves still becoming fuller and the off-the-face bonnet is still much in vogue. At the end of the 60's the skirt become it's fullest and largest (still becoming flatter at the front) and the bodice is tending to shorten, with a higher waist.

1860, Evening dresses. 1858, Corset and 1859 Scene at a fete.
1865, Evening dresses. Left corset 1865, right corset 1867. 1865 Women and a crinoline cage.

1870
The crinoline style began going out of fashion about 1865, and it disappeared so fast that by this year the first full bustle phase has arrived. The back of the skirt has become more bunched up at the back, the sides of the skirts are narrowing and tend to follow more closely the curves of the hips. Hats tend to be worn tilted forwards on the front of the head. Changes keep happening and later in the 70's the chief feature is now the suppression of the bustle by means of the tightly fitting 'cuirasse bodice', which is often similar to the current corsets. This gives the waist tight but gracefully designed curves and at this time extends only a short way over the hips and slightly dipping at the front and back.

1870, Full evening dresses. Left corset, 1870, right corset 1872. 1873 scene before a dance
1875 Full Evening dresses. Left corset and right is a bustle 1875. Scene at the seaside and travelling scene 1875.
1880
The bustle, which was subdued by 1875 has completely disappeared but strangely reappears later. The cuirasse bodice now encases the whole torso and gives a well defined waist. When coats are worn over the day dresses, they tend to imitate the bodice, tailor-made costumes in cloth first appear between 1875 and 1880. Also appearing during the 70's is the loose tea-gown, worn without a corset. Later in the 80's the bustle makes an appearance again and changes the shape by encouraging the bust the be thrown forwards and the head held back. The bodice is still closely moulded around the waist and bust.
1880, Dinner dress and evening dress. Left corset 1880, right corset 1878. 1880 scene at a milliners.
1885, ball dresses. Corset and bustle. Scene in Hyde Park. 

1890
The exaggerated bustle of the mid-80's has disappeared again and by this year a complete transformation had taken place. Although still keeping it's fullness the skirt has narrowed overall with no true bustle; its surmounted by  new conception of the bodice. The hip-line is made to closely sharply over the waist, and then the bodice rises long and slender to the bust and shoulders. Later in the 90s and transformation of style has happened. The leg-of-mutton sleeves have already swelled into enormous puffed sleeves close to the 1830's. The waist is narrow and in evening dresses it tight and stiff. In contrast, skirts had become simple and are more in line with the shoulders and hats have grown in size to match the shoulders.

Top left, 1890 corset and top right, 1891 corset. 1890 scene at Hurlingham. 
1900
The great puffed sleeves of the mid-decade have vanished as rapidly as they appeared. Sleeves have become tight about the whole arm, expect at the shoulders, where a slight fullness is seen. This tightness of the sleeves, and the still extreme tightness of the waist , serves to accentuate the two equally dominating features of this style, the bust and hips. The bust, thrown forward by the construction of the corset, the effect is exaggerated by the forward-leaning stance, the tight lacing and the tightness of the skirt over the hips: the tightness extends down almost to the knees and then flares to the ground sometimes with a slight train. Evening dresses follow the same line as the day dresses.

1900, ball dress. Top left 1900 corset and top right, 1901 corset. 1900 Prince of Wales at the Mansion House

Modern Day Corset Wearing: Women In the 21st Century
http://hub.contactmusic.com/news/miranda-
kerr-leads-victoria-s-secret-angels_3362229

Within the lingerie industry corsets are becoming more and more popular. In the 2014 Victoria Secret fashion show many beautiful corset are being modelled. In the photo to the right shows Miranda Kerr wearing a green velvet corset which holds her waist in, pushes her breasts up and sits beautifully over the hips and behind. Again on the right in the white is Candice Swanepoel wearing a body corset which falls over the sides of her hips and shit under her breasts. Corset even to this day are very popular lingerie as it holds you in and gives you the desired tiny waist that the Victorians had. Corsets are though as very sexy and tends to be worn more as a lingerie set rather than day to day clothing.



http://www.lapatilla.com/site/2013/11/14/asi
-desfilaron-los-angeles-de-victorias-secret-fotos
swarovski-sparkles-in-the-2013-victorias-secret
-fashion-show-7/
Another fashion that came in and became very popular in 2014 was waist training or otherwise known as body shaping. Many well-known celebrities started off using corsets and training their waist to become smaller and suck the stomach in. Celebrities like Kim Kardashian-West, Khloe Kardashian, Amber Rose and Holly Hagan all are know to wear waist training corsets to create that desired figure of a small waist. Such like the Victorians the ideal figure was to have a tiny pulled in waist, a large behind and pushed up breast as it is now and the only way to take a few inches of the waist is to train it with a tight corset holding you in.






Kim Kardashians Instagram of her showing off her black corset before a photo shoot. Posted Jan 2015
Another waist training photo uploaded by Kim K on her Instagram in Nov 2014
This modern photo of Kim K wearing a very modern interpretation of what I think Victorian wear was like. She has a white body corset which holds her waist in and covers her breasts and dips in the middle. The long silk coat cover her arms, clinging to her waist and dropping to the ground is very like the fashion between 1875-1880. The trousers fitted round the hips and loosely falling to the ground like the Victorian skirt would have; creates a modern day version of the era as women would not of worn trousers. Photo taken from Kim Kardashians Instagram in August 2014.






Saturday, 17 January 2015

Victorian Beauty Research

"Compacts and Cosmetics, Beauty from the Victorian times to the present day"
By style expert Madeleine Marsh

From the dawn of time women have removed their body hair, covered up their natural odous and plastered their skins with everything from white lead to soot in order to make themselves feel more beautiful. This book looks at the victorian period, when 'painted lady' was a euphemism for prostitue and a respectable girl was supposed to restrict herself to virtuous thought - and a dap of cold cream.

The period ideal of fragile, fainting femininity with the inventions of metal eyelets in the 1820's stays could be laced tighter than ever before, squeezing the waist with steel and whalebone. A tiny waist was set off by an enormous skirt, initially supported by heavy layers of petticoats, then from the 1850's by the crinoline - a literak cage of steel hoops

Victorian fashion print, 1850's

Unpainted Ladies:
Obvious use of make-up was consdered indecent an face paintin was dimissed as the preserve of actresses and streetwalkers. The classic image of Victorian beauty - a peaches and cream complexion, cherry ripe lips, a pair of sparkling eyes fringed by soft, fluttering lashes which was expected to be natural.








1887 advertisement for Poudre d'Amour by Picard Freres
Home-made remedies and secret make-up:

Without the concealing aid of make-up, a fine complexion became even more important and was an indicator of youth, health an social standing. Fair skin and lily-white hands distinguished a lady compared to the weather beaten working class. During this era home made remedies were very popular to use on your skin as it was frowned apon to buy shop-bought cosmetics. Things such as nuts, vegtables, fruits, herbs and water were made into juices to use on the skin for many things such as, wrinkles, freckles, greasy skin and many other skin causes that women didnt want. If you wasnt looking your best with a clear complexion and caked on too many products was a disgusting sight and only minimal make-up used with most delicate taste and not noticable to the eye of a gentleman.  As long as make-up was virtually imperceptiblel, worn only in evenings, and preferably home-made you could get away with a little bit of it.

Buying a perfect skin:
A collection of cold cream pot lids.
Skincare was a blooming industry. Cold cream was a long established cooling moisturiser. By the late 19th century cold cream was produced by everybody and the upper class got suppliments with 'delicately fragranced ' preparations. In 1872 patented Vaseline petroleum jelly was made which was originally going to be named rod wax. Vaseline was initally going to be sold as a medical product but it became a big hit when ladies started using it as a moisturiser, hair oil and lipgloss and was soon to be seen on every womans dressing table. New lines of vaseline starting being created and before you knew it vaseline could be used for anything in the 19th century from housing and shoe polish, hair products, soap, headaches and sorethroats, it was a big hit.
This book perfectly explains remedies and products they particularly used in the 1800's. Its provides what sort of ingridents they would use on there face and what it would help to do to there skin. Not many actual make up products was used in the 1800s as the desirable look was to be natural with lily-white skin and the use of skin and beauty products to help them achieve the desirable look without any noticing the use of product.


A collections of vintage vaseline containers dating from the late 1800's to the 1950's.
  
1881 Pomade Vaseline. “Will cure dandruff and make your hair grow when nothing else will”. There appears to be a trademark date of 1876 on the lid of each bottle.
http://www.cosmeticsandskin.com/companies/chesebrough.php


https://www.youtube.com/watch?v=Lh12XPiGOzc

In this youtube beauty video from the page of Lisa Eldridge she talks about the book 'Compacts and Cosmetics' and meets up with the author of the book Madeleine Marsh. Madeleine speaks about the history of beauty and provide viewers with antique collectable items from the 19th century. Madeleine goes in depth about what the fashion and beauty of the era was like and speaks about how beauty and fashion changes dramatically when it hits the 20th century. I find this video very useful when it comes to speaking about the book and Madeleine talking about fashion history and the knowledge she has through time.


Ideal beauty of the Victorian Era


A serene lady from the Belle Epoque, A French and Belgium era that began in 1871 and ended in 1914.  This photo appears to be late 1800's - early 1900's
A serene lady from the Belle Epoque, A French and Belgium era that began in 1871 and ended in 1914. This photo appears to be late 1800's - early 1900's
https://uk.pinterest.com/pin/515591857312059298/

Alice Regnault, Paris ca. 1880  A French actress, "her theatrical career began in 1871, but she was overall praised for her beauty. She became very rich, as a courtesan in Paris, and retired in 1881."
Alice Regnault, Paris ca. 1880 A French actress, "her theatrical career began in 1871, but she was overall praised for her beauty. She became very rich, as a courtesan in Paris, and retired in 1881."
https://uk.pinterest.com/pin/37928821832011155/

:::::::: Vintage Photograph ::::::::  Evelyn Millard circa 1800
Vintage Photograph Evelyn Millard circa 1800's Victorian Period
https://uk.pinterest.com/pin/181058847491188329/











Unit Introduction

Gothic Horror and the Victorians...
Miss Havisham (Great Expectations 2012 film)
http://www.bbc.co.uk/news/entertainment-arts-20021948
This unit aims to inform me of the processes and practices that are integral to makeup and hair design for the performed body. We will be reading the classic book Great Expectations by Charles Dickens and also the 2012 film. This consists of studying the characters through make up and hair and developing a wide set of skills through TV, film and theatrical make up. The era of the written book was in the 19th century therefore further knowledge of Victorian era will be studied in depth.




Queen Victoria
http://www.britroyals.com/kings.asp?id=victoria


During my previous work with make up and studying different eras I've never studied or created make up of the Victorian era. Therefore I don't have much current understanding of the era and what was the ideal beauty of the time. I'm very intreged to learn the era,  beauty trades and what the ideal woman was to look like. I'm very excited to start this unit and research about the Victorians in culture and beauty through in depth research through a variety of sources. The era we are studying and the book we have been allocated to read is "Great Expectations" which is during the same era, this brings together the characters and how they are portrayed in this particular time. 







Great Expectations 2012 film
http://www.impawards.com/2012/
great_expectations_xlg.html
Over the past few weeks I have been trying to read the novel Great Expectations during the period it was written I find the book quite hard to read and understand honestly. When starting to read the book I wasn't really understanding all the words and what was going on in the story. I then decided to watch the recent film of 'Great Expectations' which was directed by Mike Newell (2012). I think the characters are very interesting however its hard to keep up with what going on. After watching the film I starting reading the book again and I found it much easier to understand what was going on as I could picture the scenarios of the film in my head while reading. As I'm quite a slow reader I downloaded the audio version of the book so I followed the book while it was being read out (which is 18 hours and 30 minutes long). I found this much easier to understand and felt much more comfortable doing it this way.



What is Gothic horror?

https://eighteenthcenturylit.wordpress.com/contemporary-reactions/
Origins:
It’s a genre of literature that combines romance and horror. Its Believed to have been originally invented by author Horace Walpole, in 1764 with his novel The Castle of Otranto and is generally viewed as the first Gothic novel. Gothic horror started to be adapted into films in the 19th century, with such films as Frankenstein, Dracula and Dr Jekyl and Mr Hyde.Gothic literature is associated with gothic architecture of the same era. The first great gothic horror classic, was by Mary Shelley with Frankenstein in 1818. Dracula (1922).

Turn of the century:
Le Manoir Du Diable (The House of the Devil) is considered to be the world first ever horror film. The film’s plot is about a demon produces skeletons, ghosts, and witches from its bubbling contents before one of the summoned underworld cavaliers holds up a crucifix and Satan vanishes in a blast of smoke. This is in fact the entire plot to the film as the films running time is only 3 minutes.
LeLeManoir du diable (1896).


http://www.slideshare.net/apalmer28/gothic-horror

http://www.bl.uk/learning/timeline/item126941.html