Emilia Conroy

I chose to review Xiuyijian Jiang’s ‘blog post 3’ due to its correlation to my degree, ‘hair, makeup and prosthetics for performance’, and the interpretation of a character creation from the perspective of a non-performance student.

I thought it was really interesting to see a creative director’s perspective on performance makeup. Although fashion and performance makeup are similar disciplines, performance makeup serves a different purpose. Although artistic interpretation is a big part of it, there are certain techniques that are used for different performances.

Xiuyijian speaks about how the first image is surrounding the subject of painted illusion and distortion effects. I have covered similar techniques in class. The idea of using shading and highlights to change the shape of the face in multiple different ways to age the person, change their features, etc. This technique is often used for stage performances or character makeup and depending on the type of performance it is required for it will be more heavily exaggerated. Xiuyijian states that ‘Half face is joy; the other half is sorrow I think’ (Xiuyijian Jiang, 2020, blog post 3, internet blog). To me this image appears to present character ageing makeup, but without the full background I cannot be sure. I could see Xiuyijian was interested in the injustice of sweatshops, which highlights the importance of social responsibility through the look created. The questioning of sustainability within sweatshops is also approached through this look, especially within the torment shown in the woman’s appearance through the use of stitching and bruising. 

It would be interesting to hear Xiuyijian go into more depth about the perspective on sweat shops and why this makeup look is so imperative to displaying the three key themes within better lives. I also would of loved to hear more about Xiuyijian’s experience while experimenting with makeup, and observed to see if there were any correlations with their own course.

I thought it was really awesome that Xiuyijian was able to create the final design concept using digital effects. It really helps visualise the final idea and how the makeup would be presented on the model. It is also really visually identifying to include the sewing needles in the final look as a personification to the individual’s disruptive career. My only suggestion would be to maybe change these to stitches rather than sewing needles, in order for it to be a more realistic outcome.

In conclusion, I really enjoyed observing Xiuyijian’s final outcome from the perspective of a creative director on a performance-based craft surrounding issues within the fashion industry.

Reference:

Xiuyijian Jiang’s blog

Blog Post 3

I initially chose to take part in the Navigating Through Clothing course due to its correlation to my own practice. Costume designers and makeup artists tend to work closely in the industry, as both will play a role in a singular character creation. I felt costume design would help me in the character creation process, causing me to face other questions about not only the character itself, but the individual embodying this character that I may not usually think of when tackling the makeup alone.

Throughout Navigating Through Clothing, we were introduced to the well-known fairy tale of Hansel and Gretel. Analysing the text, we explored each character mentioned and any clues that may lead us to the Grimm brother’s visual idea of the character. Starting with a trip to the British Museum to aid in understanding our chosen concept in terms of location and culture, I stumbled across the Han Dynasty in ancient China. During this period, animals were worshipped by individuals, believing they had contact with the spirit world. Many individuals of great power coated their tombs with these jade sculpted animals, hoping it would aid them in the afterlife. These jade sculpted animals were seen to be even more powerful due to the jade stone being associated with immortality due to it being partially translucent and extremely durable. It was very rare for humans to be sculpted, especially in jade. It is unknown of the significance of human sculpts, possibly those of servants that could aid individuals in the afterlife. Later on, the human sculpts were used as ornaments. Due to this, I looked to the little pigeon in the story. Due to the fact there is little about him noted, this gave me leeway to interpret the animal in the way I would like. I wanted my character to stand out as a clear positive sign in a dark story, in jade.

It was interesting brainstorming a character costume when taking into consideration multiple aspects, including the better lives terms. Sustainability questioned the longevity of the outfit, how flexible it was, where would the material be resourced from. Social responsibility questioned how easy it would be to wear by the performer, while also working with the performance context in the best way possible. Diversity allowed the identification of the character, who would play them, and how would the character diversify the performance.

I decided on a simple look consisting of a skin-tight jade blue costume, and a jade blue beak nose in order for the performer to replicate the jade animals worshiped in ancient Chinese culture. I am aware that prosthetics are a no-go area with performers, especially opera and dance, but due to the little pigeon’s small, no-line role I did not deem this an issue.

I have really enjoyed taking part in the Navigating Through Clothing tasks during Better Lives. Everything I have taken from this course will aid me in my character creation in the future, especially within the thought process and approach.

References:

Department – Asia: China. London: The British Museum. Visited on the 2^nd March 2020

It’s interesting talking about the themes of diversity, social responsibility and sustainability in a time that requires us to use these themes in how we handle the current crisis, and how it carries on into the future. 

Addressing these issues in all industries is of great importance during the COVID19 crisis, especially sustainability and social responsibility. Individuals have always been aware of these subjects and why they highlight irregularities in our social, economic and creative industries. Prior to the pandemic, fashion industries had sustainability at the forefront of their minds, classing fast fashion brands as environmentally and socially irresponsible without the facility to be long term. Due to the speed in which we have had to proceed to a global holt, questions could arise as to how sustainable our world is, and can we proceed the way we are living long term? I think many of us know the answer to that question. Living in a disposable world has never been clearer, and now is the time to act.

The makeup industry has always followed trends throughout the years, each decade having its own red lip, winged liner, and rouge cheeks, but I feel present day is the most diverse makeup has ever been. Makeup used to create art by any individual, not just restricted to performers and artists. With the addition of social media, makeup is flourishing like it never has before. Therefore, social responsibility and diversity have never been better represented in the industry.

Participating in Navigating Through Clothing during the Better Lives course, I have seen many overlaps between costume design and my own course. Prosthetics being a performance-based craft holds many similar concerns as costume design in the process of creating a character. There are many other factors to consider: will the costume/makeup work with the style and movement of the performance? How will it be worn? Can the costume/makeup be used for multiple performances? Costume design has definitely aided me in reminding myself that these questions need to be addressed in my makeup work as well, especially those containing social responsibility and sustainability.

Carrying on, having the knowledge of these themes throughout my practice will definitely aid me in addressing issues within my work. Not only has the current crisis opened my eyes to how easily the world can shut down, but having been able to take part in a course which tackles a completely different material that I am used to, but with such a similar thought process and development will hopefully inform my work in a very positive way. It will be interesting to see how social responsibility and sustainability overlap in the future, as these two can only coexist if people understand the detriment we place ourselves in by living in a throwaway society, especially as social responsibility requires action that maximises benefit to those involved.

References:

AKHILESH GANTI

2019

Social Responsibility

[internet]

https://www.investopedia.com/terms/s/socialresponsibility.asp [Accessed on the 19/04/20]

A lecture that strongly stood out to me was cultural sustainability with John Lau. Not only have these lectures made sustainability itself a prevalent issue, but cultural sustainability and the western world. How do we adapt cultural traditions into western society while still keeping the ideal well represented? And how can we be sustainable humans in preserving our planet, while also sustaining culture?

So, culture as John Lau puts it, is associated around ideas, customs, and social behaviours, but he interestingly highlights two subcategories within culture: objective culture (visible); subjective culture (invisible). These two definitions allow the determination between physical customs, like clothing, décor, and food verses the ideals, values and attitudes. The elements of clothing that John spoke about in terms of culture I found intriguing as he touched base with not only the way clothes can be presented, but also their subjective meanings within culture. He used the famous Marie Antoinette as an example. Highlighting her exaggerated fashion sense, adapted from her French husband, ended up being her downfall. But in the present 21^stcentury, we adapt this cultural trend of the nobility in 18^thcentury France and use it to fuel creativity today. A perfect example being the recent Moschino Jeremy Scott directed show, evidencing elements from Marie Antoinette’s style and well-known exaggeration.

Not only did I find this influence of culture through clothing interesting, being a big fan of the time period, but also John’s mention of political stance within dressing. When he addressed the stark difference between fashion pre and post revolution in France, clothing’s cultural role switched. Not only did the French people want to make a statement about how the country had changed through minimalizing the fabrication of clothing, changing its subjective culture from hierarchy based to politically based, but also took influence from the Greeks. This realisation that individuals and nations have been using influences to build their own objective culture has always been happening. Especially speaking from a cultural sustainability standpoint, by the French taking influence from the Greeks, it allows a cultural ideal to live on. But it begs the question, do both objective and subjective cultural traditions then become claimed by other cultures?

We live in a society today where all elements of culture are celebrated, and often used as influences in design and style. Culture not only exists within nations today, but I feel exists on a much more personal level. Individuals today are able to take influences from other cultures to celebrate everyone and everything through creative outlets. Culture is something that not only can be expressed personally, but also as a community. This is something that will always be sustained, but I believe cultural will constantly be being adapted, with trends from history often reappearing over the years, especially in clothing. 

References:

Lecture by John Lau

2020

Cultural Sustainability