Producing A Make-Up Look For Fashion Shows by Carol Brown
Fashion Show make up design
I recently blogged a summary of the Spring Summer 2010 fashion show make up looks which you can see on the following link (see the article here). Shortly after completing the article I asked myself why go to all that trouble when it’s just as easy to look on Style.com and get backstage photographs. Especially when, in the case of something like the Galliano show, there are times when only a picture will do the look full justice.
Looking through the online backstage pictures, the biggest surprise, although it shouldn’t be because I’ve seen it happen, is the difference in standards of application depending on which assistant or MUA has worked on a model. (Remember though that most of the show photographers are allowed backstage access between the walk through and the call to get changed into first outfits so it could be that some of these images will have been taken before final checks.)
So, back to the reason to write all the notes and the subsequent article on the show looks. Well, I find it useful, and a good discipline, to make notes on the looks because it’s all too easy to look at a picture and copy something, but by referring back to it’s source you can give it your own interpretation; for example Antonio Berardi and Marc Jacobs both showed ballerina eyes – stylised theatrical eyeliner, which directs me to research classic ballet/theatrical/opera pictures.
To produce a MU look for a show is the result of several meetings and a run through with the designer. The original thought process might be inspired by a fabric sample, the designer might be keeping a mood board, it may be a natural progression from the previous seasons… it might just be something as simple as just wanting the girls to look pretty for the summer. Sometimes there is a very definite “thing”, a good sound bite for those backstage interviews – a few years ago I worked on a LFW show where the clothes were very fluid black jersey and we wanted to do something dance inspired, not too scary but still with a bit of impact / strong but wearable and I brought along a book on Martha Graham and the ideas progressed from there. Know some names, know some references, take along photocopies or print outs from websites when you go for preliminary meetings just to be able to throw some ideas around. Have a photocopy of a natural head shot and draw on it if that helps to clarify your concept. I keep scrapbooks – a mixture of magazine tears, photocopies, website printouts, postcards, fabric scraps or any bits of colour combination ideas, and I think it can be so useful to have something to show and to consider.
My longest relationship has been with Antoni & Alison and it’s a privilege to work with such a creative team; sometimes they have a very specific vision, sometimes they give me the theme for the show and let me make suggestions – I’m always inspired by what they do and it’s wonderful to have such a good working affinity.
If there is a run through for hair and MU it’s often, in London, a day or two before the show, depending on how organised everybody is. I will already have ordered product from a make up company (because they have to order stock from a warehouse which can take a few days to arrive) based on the decisions that have already been made, plus slight variation allowing for skin tones (the models don’t get confirmed until the last minute depending on a number of reasons: the pecking order of the big designers holding provisional bookings, who is in town often dependant on if they get enough bookings to make it worth their while and fitting together a good schedule.) Even though I will have established look to work on, I have to be prepared for a slight variation when we see it comes together with hair; and although I’ve never had any designer completely change their mind (which can happen.) I like to be adaptable and cooperative, in any good working relationship there has to be some give and take. Ultimately it’s my responsibility to get the job done and produce a look that’s appropriate for, and liked by, the designer and stylist. To have a look that complements the hair and make sure it is something that can be completed in the time for the number of models with the number of assistants. (Hence why I aim to pick a team to make the whole thing as stress free as possible for everyone concerned.)
By the time I arrive to start work on the show I must know exactly what I’m doing and that it can be done!
Next I’ll write about how to apply for an assistant MUA position on shows and what to do if chosen.
