Bibliography

Books 

• Ann Charles & Roger DeAmfrasio, (1970), ‘The History of Hair’, New York: Bonanza Books 
• David Williamson, (11 January 2011), ‘History of the Kings and Queens of England’, National Portrait Gallery
• Georgine De Courtais, (1973), ‘Women’s Hats, Headdresses and Hairstyles With 453 Illustrations, Medieval to Modern’, Dover Publications
• Guido Palau & Tim Banks, (2014), ‘Hair:’, Rizzoli International Publications, Incorporated
• Jean Keyes, (1967), ‘A History of Women’s Hairstyles 1500-1965’, Methuen 
• Victoria Sherrow, (2006), ‘Encyclopedia of Hair: A Cultural History’, Greenwood Publishing Group

Internet 

• Another Mag, (25 September 2014), ‘Guido Palau: Hair - In Pictures’, http://www.anothermag.com/current/view/3944/Guido_Palau_Hair
• Chertsey Museum, 'The Styling of Society', Chertsey Museum, http://chertseymuseum.org/hair
• ‘Inch Hair Designs’, http://inchhairdesigns.com/members-view/sarah/
• L.K. Alchin, (16 May 2012), ‘The Meaning Of Colour - Within Elizabethan England’, http://www.elizabethan-era.org.uk/meaning-colors.htm
• Micheal Palmer, ‘Ask The Expert - Indira Schauwecker’, http://www.salonsdirect.com/blog/indira-schauwecker/
• Paris Modes TV, (2013), ‘Alexander McQueen Fall/Winter 2013/14 in Paris’, http://www.parismodes.tv/alexander-mcqueen-collection-femme-automne-hiver-201314-a-paris/?lang=en
• The Belgravia Centre, ‘Playing Elizabeth I: The Hair Loss Monarch’, http://www.belgraviacentre.com/blog/playing-queen-elizabeth-i-the-hair-loss-monarch/

Films

• Ridley Scott, (25 May 1979), ‘Alien’
• Shekhar Kapur, (October 2 1998), ‘Elizabeth’

Assessment - Self Evaluation of Role as Hair Stylist

I feel that the assessment overall was successful and I was able to create a hair style that reflected the design Grace had given me prior. In particular I felt that the final effect of the frizzing and use of pearl decoration within the final design was particularly successful and added an effective finishing touch to the hair style. Within the assessment I made the decision to increase the amount of frizzing used at the back of the hair as Grace desired more volume behind the pin curls. The problem that I came across in the assessment was getting some of the pin curls to sit properly flat against the face, this was not something that had happened in practice sessions but I feel this was probably due to not being under a time limit. 
Preparation was an essential part of getting this look completed within the hour time limit as due to the length of Grace’s hair, getting it crimped and into rick rats alone took an hour and this made up the whole back of the design. I feel that time management was my biggest success in enabling me to complete the hair style on time and effectively to the design, in addition practicing the look over before the assessment meant my technique was more polished in the final assessment. Overall I feel the assessment went well and I was able to complete the style on time and to the brief.

Assessment - Grace Donnelly's Final Images (A) - Hair Stylist Charlotte Logue (B)

Assessment - Evaluation of My Design Final Images (B) - Hair Stylist Grace Donnelly (A)

Grade Given - B2
I felt that overall Grace executed my design well during the assessment and was calmly prepared with all the tools required to create the look. The main challenge with my design was to create the small tight curls at the top of the head which involved a great deal of tiny sections and an agile curling technique, regardless Grace did a good job executing the small curls that remained relatively symmetrical across the whole head with even the baby hairs hidden. The hair piece itself was also attached securely despite having small fiddly anchor points, this meant that I was able to move from one room to another relatively comfortably. I feel that this was mainly due to practising of my design inside and outside of class time where we were able to communicate and deal with any issues that would arise when attaching the hair piece. Despite executing my final design well there were elements that could be improved, mainly her use of time management. As I was unable to communicated during the assessment I found it challenging when Grace appeared to be spending to much time fiddling with pieces of hair that didn't require any additional attention. I felt that as a result the final tweaks of the hair piece itself were rushed. In future Grace needs to focus on completing the design in a comfortable time limit that wasting time fiddling with unnecessary elements of the design that don't require amendment leaving other elements rushed. 

Assessment - My Design Final Images (B) - Hair Stylist Grace Donnelly (A) / Designer Charlotte Logue (B)

Assessment - Grace's Practice of My Design Part 2 (B)

I feel that this practise was more successful than the last as the incorporation of the hair piece and spray created a more polished example of my intended final design. The creation of the curls went much smoother on this practise compared to the first attempt as a smaller barrel was used on a higher heat setting. This enabled the curls t be more symmetrical and even which was essential for my design, however we did encounter some issues with baby hairs and realised that a wax would have to be used (like on the sides) to push them up into the curl so they remain hidden. The silver hairspray used to colour the top section of the curls was also successful and helps with blending the metallic texture of the hairpiece into my own hair. From this practise Grace and I realised that in order for the hair piece to remain secure it would have to be placed slightly higher up on the head as where it was sat within these images it started to slip from the back of the hair. Also the hair was slightly too short to plait securely therefore we decided that backcombing the small strips of hair would create a securer pinning point for the hair piece. 

Assessment - Grace's Practice of My Design (B)

Assessment - Notes For Grace (A) of Tools and Instructions For My Design (B)

Equipment List

• Small Barrel Curlers
• Sectioning Comb
• Dark Kirby Grips
• Protective Cape
• Sectioning Clips

Products

• Silver Hairspray
• Gel/Wax
• Strong Hold Hairspray
• Pre-made Hairpiece 

Step by Step

• Place a protective cape around the client to protect their clothes from any heat or product.
• Run a consultation to ask about any contraindications/allergies/medications and general questions about the clients hair type etc.
• Gently comb the hair through to remove any knots and tangles.
• Turn on curlers.
• Divide the longest top section of hair from the sides going back into a triangular shape towards the back of the crown.
• Working from the back of the head curl the hair using numerous small sections and ensure each curl is symmetrically rounded.
• DO NOT BRUSH OUT THE CURLS.
• Work towards the front of the head positioning the curls to create a harsh hairline.
• Once the curls have been completed take a thin section at each side and gently backcomb the hair.
• Then twist the hair into two small anchor points for the hairpiece.
• Attach the hairpiece ensuring that it sits high onto the triangle shaped hair. 
• Pin securely into the anchor points using kirby grips.
• Once secure, spray the front of the hair with hairspray to hide any fly away or baby hairs.
• Spray the curls with silver hairspray.
• Finish the sides with a gel or wax to create a smooth finish. 

Assessment - Creation of Hair Piece - Futuristic Hair Veil

Divide the synthetic hair into three thick strands 

Create two plaits about a metre long each

Using craft wire create a heart shape with two
over lapping twists at the top to connect to the
hair of the model.

Wrap the plait around the wire frame adding
silver chain to weave between the heart.

Alexander McQueen Spring 2010 - Giger Inspired (Alien)

Vogue - "Then the models’ tight, snake-like plaits were freed and their hair stood straight up behind them, their faces built up at the bridge of the nose and forehead and their alien status confirmed by iridescent beaded leggings and swathes of petrol printed organza swept around their upper body"

The connection between this image of a Xenomorph form Giger's collection of Alien drawings and the hair designs for McQueens Spring show of 2010 is most apparent within a side by side comparison of these two images in particular. The use of tightly wound plaits pulled backwards into a fin shape at the back of the models head is resonant of the tall ridged skulls of Giger's creations, the ease of a plait to create a rigged texture is highly effective here and it is through this that the futuristic, machine like texture is created through completing a smooth tight plait. Despite the contemporary connection to that of futuristic sci-fi there are still elements of Elizabethan influence within this hair style through the ornate plaits and voluptuous frizzing. In addition to this is the makeup which is pale and brow less, by doing so the styling for McQueen's show demonstrates how effortless the link is between Renaissance beauty stylings and that of contemporary avant garde. 

Alexander McQueen Spring 2010
http://www.pinterest.com/pin/527765650056619602
Giger Alien
http://www.wired.it/play/cultura/2014/05/13/giger-morto/