Evaluation of Final Quentin Images

In general I was satisfied with the way my Quentin images turned out. Originally my plan was to make my Quentin character very normal and contrasting to my Claudia character. However after I practised the look I concluded it was much too basic for the project. Therefore I tried to think of ways I could make his look a bit more interesting whilst still being fairly subtle in comparison to Claudia. For my final images I have made Quentin very pale with dark under eyes. I feel like this helps relate him to Claudia's character a bit more, as well as the brief. I feel his final look is quite basic but eery which I am pleased with. I pushed my technical skills with my Claudia character so for Quentin I wanted to tone it down a bit. I think the pale skin looks realistic and the dark eyes give him a scary edge. My thinking behind these new elements of the look were that as Quentin is a figment of Claudia's imagination he should bare a small similarity to her as he is representative of what she has been through and who she is today.

Final Quentin Shots

Evaluation of Claudia Final Images

Overall I was extremely happy with my final images for Claudia. When I presented my brief and ideas to my group and tutor my feed back was to make it more obvious that the character had been dead for many years. Therefore I took this on and began experimenting with different ways I could do this. In the end I decided to create a look that made the character appear to have skin peeling off her face. I experimented with lots of different ways I would be able to achieve this look, and I decided on using a single-ply of tissue paper and PVA glue. I feel that this looked extremely effective in making the character look scary and making it look like it was an actual chunk of skin falling off.
As well as this my model had quite tanned skin so I was pleased that I was able to make her skin paler without it looking to heavy or fake.
One of the technical skills I have struggled with the most is creating effective dark eye makeup, I lacked the confidence to create dark eyes as I didn't feel I was very good at blending the colour enough. However I decided to overcome this for this part of the project as I felt it would be an effective look for Claudia's character, and I was pleased that I did because in the end I think I did quite well in accomplishing it.
In the end I feel that my character brief and overall result fit perfectly with the TV series I chose as well as the assessment requirements, I am pleased with my Claudia.

Final Claudia shots

Quentin Moodboard

Quentin Brief

Quentin’s character in the series is as Claudia’s imaginary boyfriend, only appearing in the scenes she is in. However due to Claudia’s warped imagination he socialises with the other teens and acts as the basis for her jealousy and her plot for revenge on her old school friends.

As he is a part of Claudia’s imagination I want him to look like her idea of the perfect boyfriend that everyone wants.

So I would have him looking clean and flawless, the idea of a classically handsome modern day young man. Therefore I would use natural looking makeup with his hair swept to the side. This look is likely to appeal to the younger female demographic watching the show.

Red Rose

I chose this as Quentin’s keyword as a bright red rose is a symbol of love, representing Claudia’s love for him. However a wilted red rose shows a loss of love or that the love is over. Quentin represents both the bright healthy red rose and one that’s wilted, depending on Claudia’s mood and imagination at various times.

Claudia Moodboard

Claudia Brief

For Claudia’s character for ‘In the Flesh’ I am going to have her as one of the characters that suffers with ‘PDS’ (partially deceased syndrome). At the age of 17 Claudia died (I have not identified a specific cause) but 4 years later in ‘The Rise’ when many rose from the dead in an apocalypse so did Claudia. Where many were treated in special institutions for their cravings for flesh and trained to live within a normal society, Claudia’s neighbor Mrs. Laderman collected medication for her and trained her herself. Making Claudia’s three everyday necessities that were brought to her; an injection to stop her turning back in to a zombie, special cover up makeup to hide her pale lifeless skin, and contact lenses to make her eyes look normal (they use these in the series). Claudia stays in her house as she is scared to venture outside where others may not accept her and her experience in the rise has led her to become obsessed with the idea of a supernatural life. However a group of young people that she used to go to school with break into her house on a regular basis to hang out and experiment with drink and drugs. When she starts to picture her imaginary boyfriend Quentin hanging around with them and flirting with the other girls she becomes jealous and begins to plot how to gain revenge.

She will appeal to the audience demographic as she is part of what the series is based upon .. Those with PDS but she also offers a more exciting and slightly unnerving twist to the plot as she is so unpredictable.

SPIRAL

I chose this as Claudia’s keyword because she twists things using her warped imagination and you never know how she is going to react or who she is going to turn on next as she lets her imagination ‘spiral’ out of control.

All Claudia’s scenes would be based in her house as she never leaves, so it would be a dull dark house with little around to occupy her. However because she died at 17 and those who used to be her own age are now 21 and experimenting with various substances and sex, she desperately wants to experience these things too but is afraid of being rejected by the others.

I would have her styled in something dark to show her personality but skimpy to represent Mrs. Laderman’s desires for her. Mrs. Laderman would have fetched her the outfit so she could change out of the one she was buried in.

This outfit wouldn’t be an issue living in her old abandoned house because she is technically dead so she cant actually feel the cold.

In the Flesh

I have chosen ‘In the Flesh’ as my TV series for Claudia & Quentin as when I carried out my research on the various TV programs that were  available this one appealed to me the most as straight away I began to come up with ideas for the characters of Claudia and Quentin. I found the whole concept of series intriguing and interesting and felt it would allow me to create the perfect back-story for the characters.

The series was set in  a fictional town called ‘Roarton’ in the north-west of England in Lancashire (however it was filmed in Yorkshire). The general demographic for the ‘In the Flesh’ series are those between the ages of 15 and 23. However there is also a smaller demographic for homosexuality. The main character Kieran has a romantic relationship with Rick an ex-soldier and they face having to hide the relationship they previously had before ‘the rise’ which sympathises with a common issue the homosexual community still have to deal with in todays society.

The series also makes reference to the Christian beliefs, the character of Vicar Oddie tells the character of Bill Macy that there will be a second rising and only those God deems to be ‘good’ will rise again. Bill’s belief was so strong that it resulted in him murdering his only son who had come back in the first rising as he was sure he would come back pure.

Gothic Literature (Images)

https://theteemingbrain.files.wordpress.com/2011/09/city-gothic.jpg

https://cultureandanarchy.files.wordpress.com/2013/08/the_monk.jpg

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https://ebooks.adelaide.edu.au/l/literature/gothic/gothic.jpg

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The Castle of Otranto

'The Castle of Otranto' was recognised as the first novel of Gothic Literature. Written by Horace Walpole, the novel was not very well written but did include all the elements of gothic literature that then encouraged other famous novels such as 'Frankenstein' (Mary Shelley - 1818), Dracula (Bram Stoker - 1897), and 'The Turn of the Shrew' (Henry James - 1898) to be written and published. These were elements such as; a haunted castle, the supernatural or inexplainable events, omens/visions and the threat to a woman from a more powerful source. Due to the Victorian era being so controlled and never having faced anything of this type before, Walpole claimed the novel was a translation of work originating from the Naples in 1529 in order to prevent himself from receiving any kind of backlash. However what he didn't expect was how the Victorians took to the feeling of fear and anxiety when faced with the novel, in a world where so much was going on (the french revolution and the introduction of industrial sites leaking black smoke and polluting the air) the gothic novel provided society with a way to express their deepest secrets and fears.

The novel tells the story of Manfred, the prince of Otranto, who is keen to secure the castle for his descendants in the face of a mysterious curse. The novel begins with the death of Manfred’s son, Conrad, who is crushed to death by an enormous helmet on the morning of his wedding to the beautiful princess Isabella. Faced with the extinction of his line, Manfred vows to divorce his wife and marry the terrified Isabella himself.

"The Castle of Otranto blends elements of realist fiction with the supernatural and fantastical, laying down many of the plot devices and character-types that would become typical of the Gothic: secret passages, clanging trapdoors, hidden identities and vulnerable heroines fleeing from men with evil intent. The novel was a success all over Europe, and the poet Thomas Gray commented in a letter to Walpole that it made ‘some of us cry a little, and all in general afraid to go to bed o’nights.’" - http://www.bl.uk/learning/timeline/item126941.html

Information from: The Art of Gothic: Liberty Diversity Depravity - BBC Four

Project Evaluation

For the first part of this unit I didn’t have any previous knowledge regarding Charles Dickens’ Great Expectations so I knew I was going to have to carry out in-depth research in order to understand the novel and its characters to produce effective character recreations.

I began by reading the book; this took a while as I struggled to understand Dickens way of writing. I highlighted any mention of the characters descriptions; this allowed me to draw up character profiles – the beginning of my development for my make-up interpretation. I went on to watch film adaptations to see characters had in common throughout time and how different producers recreated their own version of the characters. I also looked into the Victorian era the book was set in and how different classes of people were defined by appearances. This research combined gave me a good foundation to create my looks for the characters of ‘Miss Havisham’ and ‘Estella’.

During the makeup we learnt different techniques for ageing, dirtying the skin, cuts, scabs and dry/peeling skin. I enjoyed learning all of these, finding that I was quite successful in creating them. When it came to creating my characters make-up I didn’t use many of these techniques so did not face any challenges with materials.

I found the project brief straightforward and enjoyed the challenges of consistency. The biggest challenge was that I used DUO to create the appearance of cracked lips and peeling skin, which was difficult to repeat. Overall I found this part of the unit a good test of my skills for consistency.

Estella Assessment

Evaluation:
Overall I feel my final Estella assessment went very well. The makeup and hair turned out exactly how I wanted it too and how I had practised it. I feel that the character look would fit well in a film adaptation of Great Expectations as its realistic and fits with the idea of a young Victorian girl - basic and innocent. However after looking at my final images I feel that the hair is very similar to my Miss Havisham character so I feel I could have experimented more to come up with a more elaborate and interesting hairstyle that would have shown off the technical skills I have learnt this term. I am however pleased with how I achieved the flawless looking skin and how I blended the blusher and eyeshadow to highlight the face, I also feel all the colour on the face (lips, eyes and cheeks) goes extremely well with the pale skin tone and ginger hair.
In the future I think I will try to push my technical skills further so I can develop skills I am less comfortable with as well as consider an entire look including clothing to develop the character further rather than just the hair and makeup.

Final Estella Notes

Products Needed:
Sectioning Tail Comb
Paddle Brush
Curling Tongs
Kirby Clips
Sectioning Grips

Illamasqua Matte Primer

Illamasqua Skin Base Foundation

Kryolan Ultra Foundation Palette (Alabaster)

Kryolan Dermacolor Camouflage Mini Palette (D2, D4, D6)

Illamasqua Translucent Powder

Gosh Giant Sunpowder Bronzer

Kryolan Viva Brilliant Colour Medley Eyeshadow Palette (Ginger)

Kryolan Lip Rouge Mini Palette (LC142)

Maybelline New York 'The Colossal Extreme' Mascara (Leather Black)

Step By Step - Makeup:

1. Begin by cleansing, toning and moisturising the face.

2. Take a small amount of Primer and brush it lightly all over the face.

3. Mix together the skin base foundation with a small amount of Alabaster Kryolan foundation and apply all over the face, ears and neck, then blend it in so its not thick on the face.

4. Take a small amount of D2, D4 and D6 from the camouflage mini pallet and apply it under the eyes and over any contraindications on the face, blending it in, making the skin look flawless.

5. Next lightly brush some translucent powder all over the face and neck to set the base.

6. Take the 'Gosh Sunpowder' bronzer and, using a large brush, lightly brush it over the cheeks, creating a light glow (remember to blend the edges so its not bold).

7. Using the 'Ginger' shade from the eyeshadow palette, cover the both eyelids, and blend up to just over the brow bone in a 'cat-eye' like shape.

8. Using a disposable mascara wand, apply the mascara all over the top lashes but NOT the bottom

9. Then using LC142 from the lip palette, apply the colour all over the lips.

10. Finally apply a small amount of vaseline all over the lips, down the bridge of the nose and on the cheek bones to create the appearance of 'dewy' skin.

Step by Step - Hair:

1. Begin by carefully brushing through the hair with a paddle brush to remove any tangles.

2. using the sectioning clips, separate the hair into small sections that will make it easier to curl (recommend splitting the hair into a bottom, middle and top layer to ensure all the hair is curled and making it easier).

3. Using the curling tongs, curl the hair section by section until the whole head of hair is complete.

4. Take a small section of hair at the front of the head near the temple on either side and plait them two thirds of the way down the hair.

5. Pull the plaits towards the back of the head and secure them with one or two Kirby grips (depending on how thick both the plait and the hair is), however make sure the plaits are not pulled back tightly but are able to hand with a light curve over the ears.

6. Finish of with hairspray all over the hair to set the curls.

Miss Havisham Practice

 

Evaluation:
Overall I was very happy with the final result of my makeup practise for Miss Havisham, I feel that the final look was effective for the character. However when I completed the practise I didn't realise that the hair would take me as long as it did so I spent more time on the makeup detail meaning when it came to completing the hair I didn't have enough time. Therefore I need to keep practising so I can complete the make up look in as much detail as I have here but in a shorter period of time so I have more time to do the hair, I also didn't have any dry shampoo to hand so I couldn't practise making the hair look dusty.
The only other issue I will have to practise with the makeup is making sure that the peeling skin I created using Duo at the top of the head and around the mouth looks exactly the same each time I do it so its the same in the continuity assessment, however this is just something I am going to have to keep practising before the assessment.

My Continuity Designs and Notes

List of Products Needed:
Illamasqua Matte Primer

Illamasqua Skin Base Foundation

Kryolan Ultra Foundation Palette (Alabaster)

Kryolan Dermacolor Camouflage Mini Palette (D2, D4, D6, D14, D16)

Illamasqua Translucent Powder

Kryolan Glamour Glow Palette (Bronzing Summer)

Kryolan Viva Brilliant Colour Medley Eyeshadow Palette (Anis)
Kryolan SupraColour Palette (white & red)

Duo Glue
Metal Spatula
Disposable Mascara Wands 

Step by Step:

1. Begin by cleansing, toning and moisturising the face.

2. Take a small amount of Primer and brush it lightly all over the face.

3. Mix together the skin base foundation with a small amount of Alabaster Kryolan foundation and apply all over the face, ears and neck, then blend it in so its not thick on the face.

4. Take a small amount of D2, D4 and D6 from the camouflage mini pallet and apply it under the eyes and over any contraindications on the face, blending it in, making the skin look flawless.
5. Take a small amount of Duo and dab it on to the top of the forehead, near the hairline as well as on and around the lips and leave it to dry.

6. Next brush some translucent powder all over the face and neck to set the base and make the face look powdery (dusty).

7. Take the 'Bronzing summer' shade from the glamour glow palette and begin applying it around the eyes (on the eyelid as well as under the eye to create the appearance of bags under the eyes).

8. Then use the 'Anis' shade from the eyeshadow palette and apply it in the creases around the eyes and the mouth to give more depth (bend the colours so there are no harsh lines).
9. Using the same shade of eyeshadow contour the nose and blend the colour to make the nose look more rigid.
10. Take a small amount of the D14 shade from the camouflage mini palette and apply it all over the lips. Then use the D16 shade on the corners of the lips to make the edges slightly darker.
11. Using the metal spatula, drag it along the Duo glue applied to the forehead to rip it so it looks like peeling skin, also do this to the skin around the mouth. Then get the model to press their lips together so the glue on the lips goes tacky and looks like dry skin.
12. Take a tiny bit of red supracolour and lightly apply it to the rips in the glue on the forehead and then blend it out so it makes the skin look sore.
13. Use a small amount of white supracolour and apply it to a disposable mascara wand, then use the wand to apply the white to the eyelashes. Repeat this same step for both eyes and also the eyebrows (use a clean wand to comb the supracolour through the eyebrows further).
14. Finally use a brush covered with some translucent powder and brush over the whole face including the lips so nothing on the face is shiny and the whole look appears dull and dusty.

Face & Hair Charts

Continuity Image Notes:

Continuity and its importance in the TV & Film Industry

Continuity is the consistency in a film or television programme. This can include a number of things from the appearance of the characters to objects throughout a scene. Often a scene is recorded in a number of takes and from different angles and sometimes across a number of days/weeks, the continuity in the scene is the idea that it should look exactly the same each time it is recorded.

Often when filming productions, the scenes are not recorded in a chronological order and therefore most productions have someone assigned to the specific role of making note and analysing the scenes to ensure that everything is recreated to be exactly the same as it has been previously. The continuity in the film and TV industry is crucial in making the scene appear realistic, if a characters makeup is done for a day of filming and then it is recreated at a different point in time in order for the scene to be effective and realistic the makeup, hair, props etc. must be placed in the exact same way it was when previously recorded, this is simply part of making an effective production for the viewers watching.

Here are some examples of discrepancies in continuity in various productions ... 

Pictures courtesy of Google Images

Although most viewers watching these programmes/films for the first time are unlikely to spot these mistakes unless trained too, it shows a poor level of production and professionalism. Consistency in recording is important in helping the viewer to become engrossed and feel a part of what their watching and by having mistakes or a lack of continuity in a piece it can restrict the audience and make them more aware that they are watching something that is not real.

Estella Ideas

For my first idea for my Estella character I wanted to keep her look angelic and innocent as if she has been left untouched by life and free from any harm so that her appearance and her personality are a complete contrast. For this I would have her face relatively pale with flawless skin, I also want to use makeup in colours that are natural and feminine so I would have her eyes and lips a peach colour and a small amount of brown just highlighting her cheeks to give her face some shape. When I imagine the face with this kind of make-up I also imagine ginger hair as I feel this would compliment all these colours and would also make Estella stand out from your typical brunette or blonde girl as ginger hair is rarer. To accentuate her angelic appearance as well as the colour of her hair I would have the hair curled into ringlets with two small plaits either side of her head from near her temples around to the back of her head, this would keep the hair off her face as well as reinforce her girly appearance.

For my second idea for the portrayal of Estella I was thinking of doing her makeup dark to match the personality Miss Havisham has manipulated her into having. For this I would use a colour scheme of dark purples, greys and blacks. I would still make her skin relatively pale but I would make up her eyes into a smoky black look with eyeliner and mascara on her lashes. I would pair this with dark contouring around her nose and cheekbones to define her face more and dark purple lips. I would then have her hair loosely curled with a side parting so the hair hung loose and shaped her face, preferably I would like the hair to be a dark brown or black for this idea. This kind of look would be controversial of the era that Great Expectations was set in as heavy makeup was often associated with prostitutes, however this type of look would also make Estella stand out from other girls her own age, again leading the opposite sex to be intrigued and show a great deal of interest in her and the danger she possesses.

For my third, and final idea for Estella's character I was thinking of creating quite an ordinary look for her so she's more intriguing to the audience as she appears normal but her behaviour and her living arrangements are from from that. For this I would still create flawless skin but focus less on how pale she is, making her more of a natural skin tone. I would then use a small amount of pink to accentuate her eyes and then a light pink lip colour with some gloss or vaseline on top to make them shiny and irresistible. I would then use a light blusher to give her rosy cheeks. For her hair I would like to use either a blonde or light brown haired model with quite long hair so I could then pull the hair up into a perfectly neat ponytail and then curl the ponytail in to just one single curl/ringlet, for extra effect I would tie a pink ribbon around the ponytail. I do like the idea of this perception for Estella's character but my only concern is that it's not challenging enough, the idea is quite basic and doesn't have any elements that are pushing me out of my comfort zone regarding the look itself or even the timing.

Havisham

Beloved sweetheart bastard. Not a day since then
I haven’t wished him dead. Prayed for it
so hard I’ve dark green pebbles for eyes,
ropes on the back of my hands I could strangle with.

Spinster. I stink and remember. Whole days
in bed cawing Nooooo at the wall; the dress
yellowing, trembling if I open the wardrobe;
the slewed mirror, full-length, her, myself, who did this

to me? Puce curses that are sounds not words.
Some nights better, the lost body over me,
my fluent tongue in its mouth in its ear
then down till I suddenly bite awake. Love’s

hate behind a white veil; a red balloon bursting
in my face. Bang. I stabbed at a wedding cake.
Give me a male corpse for a long slow honeymoon.
Don’t think it’s only the heart that b-b-b-breaks.  - Carol Ann Duffy

Miss Havisham Ideas

For my first idea for my Miss Havisham character I wanted to focus on ageing the skin, making the character look old and withered. Although its hard to portray in a face chart my idea is to use theatrical ageing techniques and old age stipple to create wrinkles in the skin and then shade the face so the character looks as if her face is sunken from malnutrition.
My first thoughts on this idea is that as the character is for television and not theatre, I'm not sure if theatrical ageing of the skin may be too much for TV. Also ageing the whole face may take quite a bit of time and I only have 2 hours for the assessment, including styling the hair, so this is something I will have to consider and practise to see how long it takes me and whether its viable. For the hair I would make it completely grey from age and stress over her past using dry shampoo and the supracolour palette and style it in a bun at the nape of her neck with strands coming out everywhere where they've fallen out of the style over the  years.

For my second idea for Miss Havisham's character I wanted to focus more on the literal descriptions of her character found in the book. For example a number of her portrayals in film adaptations have been played by old women but in actual fact she was around 27 when she was jilted at the alter so in actual fact when it comes to the time the film was set she began around the age of 45 and by the end was around 54 so in actual fact she would not have been as old as she was portrayed. Out of all the adaptations of her character Helena Bonham Carter's portrayal in 2012 was my favourite as this was one of the factors she also considered. Therefore this idea for my character is less focussed on the techniques of ageing but more what a woman who hadn't left the house for 20 years would look like. Therefore I've designed a look that shows dark bags under her eyes from her exhaustion of holding on to what happened on her wedding day. Her lips will be dark and dry from staying in the same room full of dust and lack of moisture and her skin is peeling and cracked on the top of her head and around her lips from biting them and scratching her head in distress. As she is only middle aged I wouldn't make her hair completely grey but I would do some streaks of grey and perhaps use some dry shampoo to look like it's covered in dust from years of sitting in the same place for so many years. I may url the hair for this and then pull the curls so they fall out and look loose as if they have dropped over the years. I don't think I would struggle with timing for this particular look as it doesn't have any very complicated processes involved, however recreating the dry skin around the lips and at the top of the head to look exactly the same for the continuity assessment may be a struggle, but again, this would just be a case of detailed photos and notes as well as practise.

For my final idea for the character I was inspired by the film adaptation in 2011 where Miss Havisham was portrayed by Gillian Anderson. I like the idea of making her character appear more ghost like, with pasty white skin and hints of blue on the lips and around the eyes. This would help to represent how Miss Havisham has been affected by her past and how she has become a ghost of the woman she once was. I like the idea of her appearance having a deeper meaning that the audience would have to think about and consider. If I were to do this I would prefer to find a model or have a wig that makes the hair a whitish-blonde colour and quite long in length. I would then straighten it so its completely straight, falling either side of her face, helping to emphasise the ghost theme. As another reference to her characters past I would also like to dress the model in a perfectly white lace veil and top/dress highlighting how in the novel it describes how Miss Havisham never changed out of her wedding outfit when she heard she had been abandoned on her wedding day. I do quite like this idea for my character the only issue I have is that it may be too similar too Gillian Anderson's portrayal and I would like my design to be fresh and a new take on the character. Also this design doesn't include any of the new special effect techniques we have learnt this term (i.e. peeling skin, bruising etc.) which I would quite like to be able to portray and experiment with in this part of the unit).

Estella (Character Analysis)

Portrayals of Estella played by a various number of actresses throughout the years.
(images courtesy of Google Images)

Estella has been played by a number of different actresses throughout the years since the publication of Charles Dickens' 'Great Expectations' in 1860. Her younger self at the beginning of the film is often played by a younger child actress and as she gets older towards the middle/end of the film her role is taken on by a more experienced actress. Different adaptations of the novel have resulted in her character being modernised in some of the portrayal, and obviously each actress has a different skill set so will focus and emphasise certain things about the character. However, despite this, there are a number of common factors that most, if not all, the actresses that have played Estella have channelled. 

Estella was raised by Miss Havisham, a lonely, bitter old woman who got rejected by her husband to be on the morning of their wedding. As a result of this she has trained Estella to hate the male species and lure them in, only to break their hearts. As a result of this the portrayals of Estella so far have shown her to come across as an extremely beautiful young lady who would be seen as attractive to any boy or man (depending on her age throughout the film) that comes across her. However the actresses that have portrayed her have done so as her having a beautiful outer layer but having a deceitful, spoilt and rude personality. In all her adaptations she is shown to be manipulating Pip into loving her so she can eventually break his heart. Her behaviour towards him is deemed as if she believes she is better than him, criticising his lack of money and appearance to her guardian in front of him where he must listen to her insults.

As a result of this consistent perception of Estella's character I would like to include these ideas as well as add some of my own thoughts into the mix. My first thoughts on how I will portray Estella are that I would like her to have pale flawless skin, this is due to the fact that I would like her outer appearance to be one that appears angelic and untouched by anyone or anything - no freckles as the sun hasn't damaged her skin, no cuts or bruises where she's been hurt, just a pale blank canvas, an eerily beautiful look. I would like both her hairstyle and her makeup to be simplistic enough to allow the idea of her 'natural beauty' shining through. To this I think the best colour scheme for her makeup to go along with her pale skin would be pinks, plumbs or light browns.

Her hair will be simply styled into ringlets, as to a head of ringlets is often used to represent sweet innocent young girls and was also a common element used in the styling of hair in the Victorian era.

I would expect Estella to walk as if she is gliding, staying at one level, even as her younger self is portrayed where she may usually bounce around like a young girl does, as this makes her appear angelic. Her head held up high, with her shoulders back when she is both walking and interacting with others (i.e. Pip) also helps to highlight her status and her belief she is better than those she is surrounded by. These small characteristics, although appearing to be simplistic are very effective in portraying her attitude and personality to the viewers despite its contrast with her appearance and will hopefully result in it making it difficult for the viewers to make their mind up on her - her appearing so young and angelic but acting so pompous and cruel, providing the viewers with a love-hate relationship for her character.

The Paradise (2012)

The paradise is a British television drama, written by Bill Gallagher, that launched its first series in 2012. The programme is based in 1875, during the mid-late Victorian era and portrays the lives of those working, trading and shopping in the first British department store. The series is focussed around the life of a young woman - Denise Lovett (played by Joanna Vanderham), and how she becomes engrossed in a society that is being modernised more and more everyday.

The series includes many woman, all varying in age which makes it ideal to show how, as the Victorian era progressed, the style of both clothing and hair was adapted and became more modern than its previous strict regimes.

In the early Victorian era (1830's - 1860's) hairstyling for woman of all ages was made up of three simple elements - middle partings, plaits and buns, however as time progressed the hair became more adventurous and, although these elements were still a big part of hairstyling for the Victorian women, the styles became less 'pristine' and more exciting.

For example, Young girls began to wear the beautifully long hair, they'd never cut, loose with a parting on the side, creating the appearance of a side fringe and allowing the younger generations to feel more free and actually act young rather than like mini versions of their parents. However, these were not the only changes. Women started to loose the perfectly drawn middle parting they had and began to have curls overlapping at the front of the hair, providing more volume and depth to their hair. They had perfect pin curls covering their whole head with out a plait or a bun in sight, don't get me wrong, the mid-late Victorian era still had plenty of plaits, but rather than being tight to the head and covering their ears they began to pile them into big buns on the top of their heads for a more sophisticated but youthful look. In the space of just 10 years the Victorian women's hair had gone from being tight with a not even a hair out of place to even the oldest generation of woman loosening up the curls and having it carelessly pinned back with a few even hanging out at the front or the back (sometimes both!).

I think the new looser hairstyles that came about in the later years of the Victorian period and therefore those that are seen in 'The Paradise' episodes are a result of the growing independence women were gaining throughout the years. It was becoming more and more normal for women to get jobs (just as Denise Lovett did in the series), only a few years before it would have been unheard of for a young girl of her age to be working like she was. The looser hair shows the looser strain of rules the Victorian society once faced. 

I really enjoyed watching this series as, after seeing films etc. based in the early Victorian era it was refreshing to watch something that was in the same era but yet had so many differences after just a few years. The way the woman's behaviour and  hairstyles change was intriguing to me. I found that I do prefer the hairstyles I saw represented in 'The Paradise' simply because, although they used many of the same techniques they had in the early years of the Victorian era, they did lots of different things with them and rather than all the females of similar age groups having the exact same hairstyles, the characters in this series all have different hairstyles throughout the film that change, overall I felt it just made them more interesting and easier to differentiate between.

Jane Eyre (2011)

The story of Jane Eyre was a heart-wrenching tale originally published by Charlotte Bronte in 1847. It tells the story of a young girl who flees home to become the governess of Thornfield house, only to be faced by the cold and abrupt master of the house - Mr. Rochester. Throughout the novel the pair become closer and Jane breaks through her masters icy exterior, however his troublesome past comes back to haunt them.

The novel is set in the earlier Victorian era and the 2011 adaptation directed by Cary Fukunaga depicts the early Victorian hairstyles perfectly.

   

The first image is of  actress Mia Wasikowska in her role as Jane Eyre. Her character is a young woman in the early Victorian era and her hair throughout the film is representative of this. He hair is perfectly parted down the middle with the front of her hair brought round to the back, covering her ears and then plaited into a low bun at the nape of her neck - all elements described in my post about early victorian hairstyles. Her role as a governess meant that she had to look after and educate her masters children, therefore her hair had to be in a practical style that prevented it from getting in the way when she was working. This style helps to represent her as sophisticated and respectable as well as being efficient for her job.

 

 The second image is of Tazmin Merchant playing the role of Mary Rivers, Jane's cousin and also working as a governess. She is seen as a role model for Jane - young, independent and confident. Her hair throughout the film is, like Jane, a portrayal of how young women wore their hair in the early victorian era - away from the face, neat, professional but also representative of her class and age. The hair is parted in the middle then plaited and then wrapped into two buns either side of her head.

The third image is a completely different take on the woman of the early Victorian era. This is the character of Mrs. Reed, played by Sally Hawkins, who is Jane's 'evil' Aunt. She always despised Jane bringing her up as she felt her husband showed more love for Jane than their own children. Her appearance throughout the film is an obvious representative of both her wealth as well as her age. The character wears her hair up in extravagant styles with various accessories to go with her extravagant outfits. This was common in older Victorian women as they attended many dinners and court dances where they would all compete to be the best and most beautiful. The use of the middle parting, plaits and buns as well as having her ears covered were all common in early Victorian hairstyling.

I included this image of Jane Eyre and Mrs. Fairfax (Judi Dench), the housekeeper of Thornfield House, as it is representative of how different head wear represented different parts of the life of a Victorian woman in the early era.  Mrs. Fairfax's lace headpiece was commonly worn by married women to cover the back of their hair. It could be worn out under a bonnet and often the upper class wore various colours to match their outfits. Jane's bonnet with a frilled edge was often worn out to keep the hair in place when out and about. The detail of the bonnets differed between classes but often Mistresses would pass down old bonnets to their workers to help them appear more presentable when representing their family.

The last two images are of male characters from the 2011 film adaptation of 'Jane Eyre'. The first is of Mr. Rochester himself  (played by Michael Fassbender). His character is that of a wealthy, middle aged Victorian man. The second image is of  actor Jamie Bell who plays the role of St. John Rivers, another of Jane's cousins but also her benefactor, providing her with food and shelter. John acts as the Minister of Morton making him too, reasonably wealthy. Both men are well dressed throughout the film and sport the same hair that most men across all social classes in the early Victorian era had, short back and sides with the hair on top combed over and oiled. The men also often had long sideburns that merged into facial hair that went around the jaw of the mans face. The males hair throughout the early Victorian era is no where near as complex as the women's, it remained very simplistic but evidently effective in attracting women and wealth.

I like the hairstyles seen throughout this remake of Jane Eyre as they are a precise and realistic representative of those that would have been found in the early Victorian era. I feel that the film makes you feel like your in the era when watching it as they carry off the style and looks so effectively.

http://www.bl.uk/romantics-and-victorians/articles/the-figure-of-the-governess

http://www.katetattersall.com/early-victorian-womens-hats-part-1-concerning-bonnets/

http://www.imdb.com/media/rm417839616/tt1229822?ref_=ttmi_mi_all_sf_2