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Delemar, P (2003) The
complete makeup artist: working in film, fashion, television and theatre. 2nd
edition. Illinois: Norhtweston University Press page 163
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As my project is fashion/editorial, a lot of hair work would be involved in my makeups and in my designs. I would be making hair pieces for all of my looks. I needed to buy hair and for this I wanted very long hair as this would be an exaggerated princess type look I would need a lot of length to work with. Due to budgeting I couldn't afford to buy the amount of hair I needed in human hair therefore I had to but synthetic. However due to the fact I would need to use heat on the hair I needed a high quality synthetic hair that could withstand low heat so it could be styled with the normal hair. I ordered pre-made wefts that I could chop up and alter in 24 inches so I'd have enough length and a quality that could withstand 180 degrees heat so it could be styled. When the hair came I was very happy with the quality as it felt very soft and looked a lot like human hair.
I ordered 4 different shades of blonde ranging from white blonde to very dark blonde for Rapunzel and Cinderella as I wanted a very mixed blonde shade for their looks. This would be split between the two hair pieces and wouldn't matter if the hair colour didn't match the models as for both I wanted a very mixed blonde look with different colours coming through it different places.
I ordered the same hair type and length in dark brown for Beauty as I needed a colour similar to my models. For this look I wanted all the hair to be the same colour as the hair piece wouldn't be spread and hidden throughout but right at the front of the head as a wefted plait.
This is the colour match between my models hair and the hair I bought for the weft. I was very happy with the colour as it is practically identical to the models hair and will blend in very well.
As my pieces would need styling in some way I wanted to test different ways of curling the hair. First I tried curling them with GHD's.
Next I tried wetting the hair and plaiting it:
Again the hair didn't curl much but it did gain more of a natural hair texture.
Next I tried plaiting it and using lots of hairspray whilst plaited:
This worked the best out of all the methods tried and although the hair wasn't really wavy it had enough texture to make it look natural when incorporated with the real hair. This is the method I will use for the Rapunzel and Beauty hair pieces whereas Cinderella's will be incorporated into the heated roller set done on the natural hair.
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Botham, M and Sharrad, L (1982) Manual of Wigmaking. 3rd
edition. London: William Heinemann ltd. page 24 & 25
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| Botham, M and Sharrad, L (1982) Manual of Wigmaking. 3rd edition. London: William Heinemann ltd. page 26 & 27 |
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| Botham, M and Sharrad, L (1982) Manual of Wigmaking. 3rd edition. London: William Heinemann ltd. page 28 & 29 |
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| Botham, M and Sharrad, L (1982) Manual of Wigmaking. 3rd edition. London: William Heinemann ltd. page 48 & 49 |
Rapunzel
This was measuring the length of the silk and wire I would need for the chignon. The chignon template I made was very big because Rapunzel has the most exaggerated, large hair and as my models hair is already very thick it would be easier to hide a larger chignon.
I decided not to pre mix the hair as it would be just as easy to pull whatever strands I wanted from the boards as I was weaving. These are the four blonde colours all together.
Once everything was measured out I began weaving in a flat weft/once in method for the length of the outside circle so it was thicker and sat flatter.
This was the finished chignon. Unfortunately I made a mistake whilst sewing it up and started sewing it whilst it was still attached the block meaning a lot of hair got caught up in the stitches. This means it looks very messy from the top and has a lot of flyaway hairs. Although this is still usable and because of the hairstyle it won't make too much of a difference with the flyaway hairs, next time I will make sure to sew it up off the block so as not to get so many loose hairs.
Cinderella.
These are the two templates for Rapunzel and Cinderella. I made the Cinderella template slightly smaller because the models hair isn't so thick and because I'm doing an updo it would be a lot harder to hide a larger chignon.
This is the finished chignon. It was done in exactly the same blondes as Rapunzel and the same method of a flat weft for the outside circle then a wig weft for the rest. I corrected my previous mistake and sewed it up off the block meaning the piece is a lot neater with a lot less flyaway hairs. There was a slight mistake in the measuring of the piece meaning there is an overlap in the outside edge and this means I need to be more careful with my measuring but hopefully this won't make much of a difference to the overall piece.
These are the two finished chignons side by side to show the difference in thickness and the correction in the sewing up method.
Beauty
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| Botham, M and Sharrad, L (1982) Manual of Wigmaking. 3rd edition. London: William Heinemann ltd. page 34 & 35 |
For my Beauty design I had a large plait going across the front of the head and the rest of the hair tightly curled and backcombed. To try something different instead of a chignon I wanted to create a hairpiece for the plait so the rest of the models natural hair could be saved to curl and so that no heat would have to be used on the synthetic hair. To do this I created one long weft with three silks and flat wefted all the way along. I then folded this weft up into a Marteaux and sewed this into place.
I then backcombed the hair to give it some texture before plaiting it
I then plaited the hair and expanded the plait by pulling at the sides. This not only made the plait bigger and more exaggerated but also made it flatter so therefore easier to sit on the head.
I then pinned it into my models hair to see if it worked how I wanted it to.
I was happy with how it looked in the hair and how it looked natural with the models hair. I will probably keep it in the same plait to use for my assessment.
