Historical Referencing - Male Elizabethan Hair (Sir Walter Raleigh)

Book Ref: 'The History of Hair', Ann Charles and Roger DeAmfrasio, New York: Bonanza Books, 1970
'Encyclopedia of Hair: A Cultural History', Victoria Sherrow, Greenwood Publishing Group Inc, 2006

Sir Walter Raleigh,
http://www.historylearningsite.co.uk/
sir_walter_raleigh.htm

Within the 16th century the male Elizabethan took as much pride in his hair as the women of the period with barbers dedicated to shaping, colouring and maintaining the beard and hair. Often men would use a starching powder the stiffen their hair to allow for the hair to maintain its shape for a longer period of time. The hair was commonly styled into small curls called 'lovelocks' which were created by wrapping the hair around thin iron rods that were heated to create the curl, however this style did not come into fashion until the later half of Elizabeths reign when longer hair became more suitable for the gentlemen. Before this hair was cropped more closely with the main focus being on that of the beard, but the concept of the curl remained a feature throughout the period. 

http://www.interviewmagazine.com/
fashion/guido-1#slideshow_69777.1

One example of the 'lovelock' is that of Sir Walter Raleigh, an Elizabethan explorer and writer who was favoured by the Queen during the early years of her reign. Raleigh's portraits are iconic due to the shape of his beard, pearl earring and most importantly perfectly curled dark brown hair. Raleigh offers an excellent example of the type of hair desired by the male gender within the Elizabethan period as it perfectly embodies the fashion of the time period. 
This image taken from Guido Palau's 'Hair' is a perfect contemporary demonstration of how the use of small tight curls used for this hairstyle is resonant of the male Elizabethan hair fashions of the time period. At the beginning of Elizabeth's reign the fashion for male hair was to be short and tightly curled to the crown of the head, and it was not until the early 17th century and end of Elizabeths reign that longer curls became fashionable. This use of tight curling is an excellent example of something that could be done for my own final hair design as long Elizabethan waves would be highly unattainable on my own short hair.

Practical - Elizabethan Hair Practice (Front of Hair)

Padding and Curls (Front of Hair) - Real Hair Practice 
Health & Safety: Always run a consultation with the client asking about their hair type, condition, coloured or natural, allergies, medication and any contraindications that may prevent you form  touching the clients hair. This should be done to lessen risk of transferal of diseases or infection.
Place a plastic wrap around the client to protect clothing. 
Products Used:

• Small Barrel Hair Curlers (with clamp)
• Small Hair Crimpers
• Kirby Grips
• Small Hair Pins
• Hair Slides
• Sectioning Comb
• Denman Brush/Paddle Brush
• Padding 

Process of Creating a Padded and Curls Hairstyle 

1. Using a sectioning comb begin by dividing the front of the hair from the ears forward and the back for heat styling. 
2. Style the front section into an even section of standing pin curls using the small barrel curlers, a comb can be used to keep the hot tongs away from the scalp if visibility is scarce.
3. Ensure all curls are even and change direction on each row from upwards to down. This should form a heart shape if done accurately. 
4. Frizz or crimp the back section of hair up towards the curled section. 
5. Taking a small section of crimped hair from between the curls and the rest of the hair, complete a french plait that follows along the scalp from right to left, finish the rest of the plait and pin back underneath the rest of the braid. This will work as an anchor point for the padding. 
6. Using small hair pins push the pins through the lining of the padding and ensure they are fully secured.
7. Pinch the pins and push them into the french plait to secure the padding to the hair.
8. Using the hair below the padding take it up over the padding, smoothing to fully cover the fabric. 
9. Secure again with small hair pins.
10. The rest of the hair can now be brought back over the padding and the curls removed and style as desired. 
11. Using the end of the sectioning comb the hair can be slightly separated and adjusted to cover any small gaps that may have appeared during styling that expose the padding.

Evaluation 

This was our first practise at creating a partial Elizabethan hairstyle on human hair, because of this there were additional challenges present than what had faced us while using our doll heads. The first challenge was creating a secure hairstyle without hurting the models scalp, for example when putting the french plait into the back of the scalp it was important to make sure the hair is secure but without hurting the model. Always reassure that the model is comfortable. In addition because of using hot tools on the models hair it is vital to check the temperature and how close the tools are to the clients skin. However by taking extra caution when practising on the doll I did not find this too challenging, the only element of this design that I found challenging was making sure the pin curls were evenly aligned across the whole head. Even curls are crucial for creating a design that is symmetrical on both sides as this is the purpose of using them for decoration. In future I hope to be able to create a design that is more symmetrical and I definitely need to work on creating styles that have minimal fly aways. 

Practical - Creating a Tall Symmetrical Structure

Creating A Tall Symmetrical Hair Style with Polystyrene 
Health & Safety: Always run a consultation with the client asking about their hair type, condition, coloured or natural, allergies, medication and any contraindications that may prevent you form touching the clients hair. This should be done to lessen risk of transferal of diseases or infection.
Place a plastic wrap around the client to protect clothing. 
Products Used: 

• Small Hair Crimpers 
• Kirby Grips
• Small Hair Pins
• Hair Slides
• Sectioning Comb 
• Denman Brush/Paddle Brush
• Polystyrene Ball
• Mesh Sock
• Padding
• Hairspray  

Process of Creating a Tall/Symmetrical Hairstyle 

1. Crimp the hair all over the head using the small hair crimpers to create  texture and body
2. Taking the hair from the centre of the crown of the head create a french plait that forms a circular spiral, this will be the securing  point for the polystyrene ball.
3. Place the polystyrene ball into a mesh sock and double wrap it to form a secure holding point.
4. Pin the polystyrene ball onto the centre of the twisted plait using small hair pins and ensure it is secure. 
5. Slightly tease the front section of the crimped hair at the roots to create body and fold the hair back over the polystyrene ball, pinning in place to secure shape.
6. Gently comb the front of the hair to smooth back and ensure an even surface. 
7. Taking a small back section fold over the end and pin into place to  fully conceal the ball. This should create a tall and rounded cone shape. 
8. Using the same method as before section the back part of the hair  into two, leaving a small triangle of hair at the bottom, and insert another sausage shape padding.
9. The hair should now resemble a heart shape from the side and a rounded triangle from behind.
10. Using the figure of 8 frizzing method wave the bottom triangular section left free however do not fully brush through as the waves should be left partially solid in structure. 
11. Finish the hair with hair spray to secure any loose fly aways.  

Evaluation

By using a polystyrene ball I wanted to make the style and process of inserting padding more intricate and challenging however the process of attaching the polystyrene ball was much more simple than expected. The objective for this hairstyle was to create a heart shape, although my style does not immediately appear to be heart shaped from the front like most Elizabethan styles. The heart shape is more visible from the side as a silhouette, also the focus on symmetry was important for this design and by creating a tall rounded structure this process became far more simple to produce. Overall I was relatively satisfied with the final outcome however I do feel that the waves at the bottom could have been neater as there was slightly to much fluffiness on the hair than originally desired. 

Hair Comparison Guido & Elizabethan

Portrait of an unknown lady, 
Style of Marcus Gheeraerts the Younger, 
Nostell Priory, National Trust Collections, 
Public Catalogue Foundation
http://nttreasurehunt.wordpress.com/2012/11/20/
it-girls-of-the-elizabethan-age/

When examining this image of Guido's in particular the link between his style and that of the historical link to Elizabethan hair design is highly apparent. The first image is taken from an Elizabethan portrait of an unknown lady, the hair within the image is highly padded and shaped into a tall circular structure, this choice of shape is rather unusual for the period as it was often the heart shape that was a preferred structure of padding. The hair itself is rather plain in comparison to other methods of Elizabethan decoration with a simple gold decor draped over the centre of the hair. Often hair was garnished with pearls, jewels and ribbon therefore the simplicity of this hair design in particular stands out from the rest. The colour of the hair represents another convention of Elizabethan hair design as it is a deep reddish blonde colour, this being a convention of Renaissance beauty enhances the beauty of the sitter within the painting.a and because of the black background and dress of the sitter all focus remains onto the hair and face. This portrait depicts probably the tallest hair style seen within all the Elizabethan portraits examined so far and because of its unusual shape is rather alien in appearance. Throughout Elizabethan hair design the link to alien shaping is a reoccurring theme through the reoccurrence of tall structures and rounded shapes. 

Guido Palau 'Hair:' 
http://pixgood.com/guido-hair-stylist.html

When examining Guido's hair design the connection between it and that of the Elizabethan portrait is heavy. The hair is again tall and round in structure following a similar shape, the only definite difference is that of the missing decor however with the simple adornment of the gold hair piece or even pearls the style would be immediately Elizabethan. Although this hairstyle is very similar to that of the Elizabethan portrait there are a few differences that bring the image forward into a more contemporary design. Within the original portrait the hair is visibly more frizzed however within Guido's version the hair is much smoother and sleeker against the padding and sides. In addition to this the shape of the structure is much more rounded at the top allowing the sides to sit far straighter at the sides of the head. This smoother version enhances that alienesque feel of the overall hair design but maintains that Elizabethan influence. This sense of extraterrestrialism that is found within contemporary takes on Elizabethan hair design is definitely something that needs to be featured within my own final design as it is such a dominating theme within my examination of Elizabethan styles. 

Guido Palau

Book Ref: 'Hair:', Guido Palau & Tim Banks, Rizzoli International Publications, Incorporated, 2014

Internet Ref: 'Guido Palau: Hair - In Pictures' September 25th 2014, http://www.anothermag.com/current/view/3944/Guido_Palau_Hair

http://www.anothermag.com/current/view/
3944/Guido_Palau_Hair

Palau's work has featured in a number of editorials from ID Magazine and Prada to Marc Jacobs catwalks becoming iconic for his outrageous and highly intricate runway designs that have featured at top shoes such as Milan Fashion Week. His work explores the stranger elements of historical hair design and takes artistic elements to construct his unique creations, the essence of combining the past and future dominates his work to produce hair styles that are completely of an era of their own.

http://www.anothermag.com/gallery
/3944/guido-palau-hair/2

This first image is a very modern take on Elizabethan padding, the hair is visibly incredibly sleek against the scalp and this look continues up into the hair piece. The models hair is most likely detached from the hair around the padding as the division between the two sections is very sharp, however the choice of colour gives the illusion of consistency. By smoothing the hair the image is immediately brought forward into a contemporary design however by simply being crimped or curled the whole look would changed to that of an extravagant Elizabethan hair style. This image is a wonderful example of the simplicity required to alter a historical hair style into a modern design and by changing the size and positioning of the padding used within the hair the whole style is almost alien. The large circular piece on the top of the head is somewhat symbolic of a spaceship, suggesting the link between the extraterrestrial makeup of the period and elaborately shaped hair design.

This second look is again a rather avant garde, futuristic take on Elizabethan hair styling but using braids and plaits to achieve a structure. This is a concept I would like to develop within my own final hair design as it includes Elizabethan features originally designed for practicality and decoration, completely reinvents them and turns them into a modern structured style that uses a simple method of creation. For this hair design the plaits at the top of the head have most likely been sewn together or secured using a thin wire to retain the vertical structure, this is a concept that I may take forward into my own design as it allows the hair piece to be more solid and manoeuvrable. The sides of the hair have been plaited flat against the side of the head using a french braid, by doing so it gives the image a slightly urban/modern edge however by wrapping the plaits around one another it maintains that sense of Elizabethan influence. The style that the plaits are sculpted into is heavily futuristic in influence as supplies and excellent visual example of Guido's passion to combine the historical styles of hair with that of futuristic styling and present day techniques.

Scanned from 'Hair:' - Guido Palau
Rizzoli International Publications Incorporated,
2014

This final image taken from Guido's book 'Hair:' is a example of a more masculine Elizabethan/Jackobean hair design but through its choice of colour carries a more Georgian essence. However the use of small tight curls used for this hairstyle is resonant of the male Elizabethan hair fashions of the time period. At the beginning of Elizabeth's reign the fashion for male hair was to be short and tightly curled to the crown of the head, and it was not until the early 17th century and end of Elizabeths reign that longer curls became fashionable. This use of tight curling is an excellent example of something that could be done for my own final hair design as long Elizabethan waves would be highly unattainable on my own short hair.

Internet Ref: Elizabethan Hair Styles - http://www.elizabethan-era.org.uk/elizabethan-hair-styles.htm

Ignacio Ortega - Elizabethan Futurism

These images are taken from Junes edition of ZINK magazine and created by hair stylist Ignacio Ortega. These images demonstrate an example of a futuristic taken on modern Elizabethan hair design that feature key techniques such as plaits, padding and curls. Ortega's designs also feature the use of modern takes on Elizabethan textile pieces such as ruffs.

Zink Magazine, June 13th 2014
http://www.zinkmagazine.com/the-profile/

This first image has a heavy Elizabethan feel through the use of costume and hair design however by alternating the shape of the hair to reflect something of a mohawk and use of studs to garnish the look it maintains a modern/futuristic twist. This styling is also an example of how padding can be used to create symmetrical shapes, within the Elizabethan period is was popular for padding to be used to create both circular and heart shaped designs however by changing the shapes used the designs of the era can be brought into a contemporary interpretation. This image is very reminiscent of a Vivienne Westwood punk inspired look through the use of a mohawk but through the choice of shape, plaits and colour the images is destructively Elizabethan in reference. By creating a structured plait over the top of the hair piece it adds that extra element of decoration that would have been done within the period through the use of ribbons, pearls and curls; however by creating a single freestanding braid over the top of the hair rolls it adds an alien element. The comparison between Elizabethan hair and that of futuristic science fiction design is very similar with the use of high rounded shaping being rather similar to that of alien skulls from modern films such as Alien (1979). 

This second image is less Elizabethan and far more nearer a contemporary look however it does possess elements that could be interpreted as historical. For example the sides of the hair are decorated with small french braids and act as a securing point for the rest of the hair, much like the decorative use for plaits in 16th century hair design. Upon closer examination it is also visible that the root of the hair that is curled at the back of the head is also crimped into shape and then shaped into large smooth curls, these are another two features of the Elizabethan period. Finally the colour of the hair itself is a deep red which is a modern take on the beauty conventions of strawberry blonde locks, the deeper colour emphasises that sense of development through time as colours naturally darken. Within the image there are other signifiers of the images link to 16th century beauty conventions, this is visible also through the pale skin and rouge lip, by featuring pale white skin in coalition with the red hair and lip the overall styling of the look is immediately reminiscent of the Renaissance beauty seen within 16th century paintings, through additional links the intended era reference to a hair style becomes more apparent. Overall presentation and design is as important as the final hair itself therefore although the hairstyle is not immediately visible as an Elizabethan design by examining elements of the style more closely the connection to that of the Elizabethan period is more visible. 

'Pump Up The Volume' Nicolas Jurnjack, Harper’s Bazaar Spain, March 2013

http://fashioncopious.typepad.com/fashioncopious/
2013/02/pump-up-the-volume-carola-remer-by-nico-for-
harpers-bazaar-spain-march-2013-editorial.html

http://fashioncopious.typepad.com/fashioncopious/
2013/02/pump-up-the-volume-carola-remer-by-nico-
for-harpers-bazaar-spain-march-2013-editorial.html

Jurnjack's work entitled 'Pump Up The Volume' presents how extreme padding and plaits can be used within modern avant garde hair design to create looks that a reminiscent of the Elizabethan period. Both of these styles were created using hair extensions and additional pieces thats were combined with the models own hair, by doing this the stylist is able to fully wrap the padding and create styles that use an unrealistic amount of hair and fully cover the design.
The first style is probably the most reminiscent of the Elizabethan period as it shape is closest the that of the tall heart shapes featured within many portraits, especially at the beginning of the 17th century nearing the end of Elizabeths reign when her wigs were most flamboyant. The fact that both hairstyles remain linked to the era despite the modern presentation of an all nude model emphasises the individuality of the Renaissance hair design and how it remains to this day an iconic piece of styling. The square shaping of this design reflects a modern take on the rounded heart shapes that were so fashionable at the time with the geometric structure of the hair implying a sense of modernism.
The second piece is not necessarily directly Elizabethan upon first impression but does feature elements of the period, in particular focusing on how plaits were combined to create buns at then back of the head. By placing the wheel of plaits at the front and larger in size the design creates an artistic interpretation of an Elizabethan style designed for everyday practicality. By changing the location of a style on the head it can effectively completely alter the degree of artistry surrounding the look.

Practical - Padding the Hair

Padding Hair
Health & Safety: Always run a consultation with the client asking about their hair type, condition, coloured or natural, allergies, medication and any contraindications that may prevent you form touching the clients hair. This should be done to lessen risk of transferal of diseases or infection.
Place a plastic wrap around the client to protect clothing. 
Products Used:

• Small Barrel Hair Curlers (with clamp)
• Small Hair Crimpers
• Kirby Grips
• Small Hair Pins
• Hair Slides
• Sectioning Comb
• Denman Brush/Paddle Brush
• Padding

Process of Creating a Padded Hairstyle 

1. Using a Sectioning comb begin by dividing the front of the hair from the ears forward and the back for heat styling.
2. Style the front section into an even section of standing pin curls using the small barrel curlers.
3. Frizz or crimp the back section from the nape of the neck upwards towards the curled section. 
4. Taking a small section of crimped hair from between the curls and the rest of the hair and complete a french plait that follows along the scalp from right to left, finish the rest of the plait and pin back underneath the rest of the braid. This will work as an anchor point for the  padding.
5. Using small hair pins push the pins through the lining of the padding.
6. Pinch the pins and push them into the french plait to secure the padding to the hair.
7. Using the hair below the padding take it up over the padding, smoothing to fully cover the fabric. 
8. Secure again with small hair pins.
9. The rest of the hair can now be brought back over the padding and the curls removed and style as desired. 
10. Using the end of the sectioning comb the hair can be slightly separated and adjusted to cover any small gaps that may have appeared during styling that expose the padding.

Evaluation
Overall I found the process of putting padding into the hair relatively easy, however creating a secure anchor point for the pins to sit is essential. This can prove tricky and uncomfortable for the model therefore it is important to get the hair in securely and quickly, the tighter the braid the more secure the pins will hold. Once the padding was in the tricky bit came from covering the material fully with the hair, if there wasn't enough hair then this would prove tricky however by selecting a padding that matches the colour of the models hair any gaps would be less noticeable. A second issue came from finding a good enough position for the hair padding to sit in as although it may appear high enough at first the padding may actually sit to low on the head which is not suitable for Elizabethan hairstyle. This can be adjusted by pulling the padding forwards or placing the securing pair higher than first thought needed.  

Portrait Symoblism

Book Ref: History of the Kings and Queens of England, David Williamson, January 11th 2011
Information based on notes from lecture
During her reign Elizabeth I was very particular about her portraits, often only wanted portraits that portrayed her as youthful, demonstrated her love for her country, her people and her own strength as Queen. Portraits from within this period are full of Renaissance symbolism and are almost legendary in the narratives that they depict, as a result of this within England their was 'The Cult of Elizabeth', a set in stone celebration of virginity that was heavily structured as the propaganda of her reign. Each portrait carried its own symbolism and narrative that enhanced her position of strength as The Virgin Queen.
The Sieve Portrait (1583) Quentin Metsys - Oil on Panel

http://www.thecultureconcept.com/
circle/wp-content/uploads/2013/02/
Elizabeth-1-Sieve-Portrait.jpg

The Sieve Portrait represents one of Elizabeths paintings where the theme of virginal purity is emphasised. The prop of the sieve used within this painting connotes purity through its connection with the Roman legend of Tuccia, a Virgin who proved her chastity by carrying a sieve of water from the Tiber to the Temple of Vesta, a task which was only completely by those unattained by the sin of lust. 
The roundels behind Elizabeth depict the story of Aeneas and Dido, the Queen is often compared to the character of Aeneas as she has been tempted by marriage but refuses and remains a strong female figure ruling her own kingdom. Elizabeths portraits were full of symbolism that drove home the idea of her purity. 
The use of a globe is another prominent feature within portraits of the Queen and was often used to depict defeated countries or allies of the British empire. 
Colour also emphasises her position of power through the choice of black and white, these were favourite colours of the Queen and as a result became highly fashionable to be seen in. Black fabric was highly expensive to produce and rare often corroding on items such as hats and headdresses which featured a significant amount of blackwork. 

The Armada Portrait (1603) George Gower - Oil on Oak Panel

http://imagecache2.allposters.com/
images/BRGPOD/68921.jpg

This portrait is one that emphasises the Queens power by depicting her defeat over the Spanish Armada in 1588. Just like her other portraits this painting is full of symbolism and carries a narrative within the fine details, as many could not read within Elizabethan society this was one of the only method of communicating the Queens success with her people. Like 'The Sieve Portrait' Elizabeth is depicted with her hand on a globe, if you look closely it is visible that she is covering the country of South America. This country was the main source of Spain's gold but after their defeat during the Armada Elizabeth was able to claim the land and its riches for England. The pearl necklace featured within this painting was the last ever present from Robert Dudley, it could be interpreted that the wearing of the necklace was a stab at her advisors who resented her admiration of Dudley however the pearl is also a symbol of virginity, emphasising her status as the 'Virgin Queen'. 

The Rainbow Portrait (1603) - Isaac Oliver - Oil on Panel

http://englishhistory.net/tudor/
monarchs/eliz1-rainbow.jpg

The dress is embroider with English wildflowers which allows her to portray Astraea. The cloak is decorated with eyes and ears implying that she sees and hears all that goes on in her kingdom, an image reused in Kate Blanchett's portrayal in 'Elizabeth' to imply her dream relation with Dudley. The crescent shaped jewel that hangs around her neck is a conniption to Cynthia, the goddess of the moon signifying Elizabeth's connection to other spiritual figures of feminine authority.
On her sleeve is a heavy ornate serpent, a symbol of wisdom. Within the snakes mouth is a heart shaped ruby, the ruby is a symbol of the Queens heart and with it being in the snakes mouth the image connotes how Elizabeth's heart has been captured by her country and her passions are controlled by wisdom. Within her right hand she holds an image of a rainbow,  the rainbow is a universal symbol of peace and prosperity therefore by Elizabeth holding the rainbow it suggests that as long as Elizabeth has hold of her kingdom there will be peace across her land. The rainbow also relates to the latin phrase "Non sine sol iris", which translates as "No rainbow without the sun". Elizabeth is representative of that sun.

Corrie Nielsen - Fall February 2011 Show by XXXX Magazine

Corrie Nielsen's fall show of 2011 takes influence from the neat plaits and frizzy curls of historical Elizabethan hair design and introduced to a world of contemporary fashion. This catwalk is an example of how historical hair design can be merged with fashion to create a dramatic artistic interpretation. Most of the models within the runway feature plaited buns that hold the hair back away from the face much like the Elizabethan practical styles, however the look is modernised by allowing the plaits to be slightly scruffier with textured hair pushing out through gaps in the plait. In addition to this is the two dramatic hair styles that feature at the end of the catwalk, these two models have large frizzed styles that are both full in body and messy texture. Although the style is not as curly as conventional Elizabethan hair the shape of the hair itself emphasises the Renaissance influence with a large heart shaped structure that lifts far from the hairline. This style creates the illusion of a taller forehead which was regarded in Elizabethan England as a signifier of wisdom and beauty. Through these hints at historical hair styling the contemporary design of Nielsen's fall collection is immediately transformed into a homage to Renaissance beauty emphasising the changes that can occur through carefully planned hair designs. This use of contemporary styling is excellent inspiration for the Elizabethan project as it demonstrates how shape alone can signify a specific period in time.

Image References: http://www.vogue.co.uk/brand/corrie-nielsen

Sarah Leaff - New Elizabethan Hair 2012

Image References: https://www.facebook.com/S.Leaff.MakeUp/photos_stream

Internet Ref: 'Inch Hair Designs', http://inchhairdesigns.com/members-view/sarah/

Sarah Leaff is a hair stylist from the United Kingdom who is renowned for her creative and unique perceptions of vintage and historical hair styling, working with companies such as the BBC and Disney she has specialised in productions such as The Lion King one of Broadways most renowned musical for makeup and hair design. These images taken from her online portfolio of work are examples of modern Elizabethan influence within hair styling, the hair itself is highly conventional of Elizabethan fashion however it is the choice of makeup and costume co operating with the hair that creates the impression of a contemporary look. All three of these hair styles have been created through a method of using a series of tight curls that have been frizzed out to create a compact level of volume over the whole head. These looks in particular feature the use of a wig or hair piece that allows the hair to be fixed and styled more securely before being placed onto the model, the hair itself becomes something more of a sculpture than hair design on its own. 

This use of wigs was something prominent within the late Elizabethan period as hair styles became more elaborate and highly decorated therefore making it more difficult to create such styles on the actual human hair. In addition to the desire for ornate hair was the impacts of both sickness and design on the hair of the period, these issues caused a high level of hair loss within the period resulting from illnesses such as smallpox and infections of lice. It maybe interpreted that through Leaff's use of wigs within this work she is attempting to recreate the authentic Elizabethan hair curl. The shape of the hairstyles within these images are also reverent of the period through the use of heart padding and harsh hairlines to emphasis the tall forehead, despite this connection to the historical the looks created by Leaff are highly contemporary and almost futuristic. The shapes madedespite being heart shaped are more angular than portraits of the 16th century and through this the hair appears much more modern and almost futuristic. Her work here is a wonderful example of who the use of shape within hair can manipulate its historical connection, the hair is admittedly similar to the original as historical recreation is the speciality of the stylist however through the tweaking of its overall shape to something more constructed the whole era surrounding the design is changed. Shape has a dramatic impact on how a style is associated, an idea useful to consider within my own final designs. 

Frizz Contemporary Examples

Contemporary Examples

Lorena Agnelli, Vivienne Westwood
Golden Label, Autumn/Winter 2014
http://www.pinterest.com/pin/479351954062637

This image taken from Vivienne Westwood's Gold Label is a beautiful example of an artistic take on a historical Elizabethan look. The softness of both the hair and makeup combine to create the illusion of the image being almost a portrait, similar to those seen within the galleries of the National Portrait Gallery. The hair within this image is much more bright yellow than the conventional red tones seen within other pieces however this probably a more accurate modern representation of the effects of Elizabethan hair colorants such as henna which on blonde hair would have turned a vibrant golden yellow. The type of frizzing within this image is extreme and highly voluptuous with a lot of dramatic shaping. It is wild and untamed in appearance like the frizz has been either slept on or messed up purposely, this gives the styling a heavy contemporary influence as it is not restricted in shape like the hair seen within Elizabethan portraiture, most likely the hair within this design is made from a wig as the hairline is very harsh as it would have been within the period. This style emphasises the hairline and forehead which has been pushed back further than it naturally would have been, this demonstrated a persons sense of wisdom and also class with the further back the hairline the more wealthy a person was considered. Although the use of decoration within this hairstyle is very minimal being only a handful of pearls the dramatic frizzing of the hair and subtle hints of jewellery further emphasis the styles link to a modern Elizabethan era.

'Persephone' by Mario Ville,
https://www.behance.net/gallery/17961729/PERSEPHONE

This image taken from Mario Ville's 'Persephone' is an example of a more ornate interpretation of contemporary Elizabethan hair design and features many connections with the Renaissance paintings from around Europe such as the flowers and apple. The apple is also a biblical reference to that of Eve and acts as an emphasis of the concept of Elizabethan virginity. The hair within this design is also decorated with butterflies and berries, although these are not specific links to the Elizabethan period their decorative effect created by being imbedded into the hair is reminiscent of the use of pearls and jewels within Elizabethan portraiture. The colour of the hair within this image is also heavily linked to that of Elizabeth I as it is a vibrant orange tone, a convention of idealistic beauty. The hair although down and loose is also heavily frizzed, by being loose this again enhances the concept of virginity and youth with long red hair being depicted frequently within Elizabethan and Renaissance portraiture.

Aydan Kermili, Russian Photographer
http://media-cache-ak0.pinimg.com/originals/de
/69/af/de69afeb89f5e9eeae498be123f7dd01.jpg

This final image is an example of how crimping can also be used to recreate Elizabethan hair styling through a contemporary influence. This hair styling is actually rathe simplistic in its design and is an effective example of how through folding the hair into different shapes a similar structure of ornate curls and twists from Elizabethan portraiture can be implied. This hair despite having no additional decoration such as pearls or beads like in the other images remains Elizabethan prominently through the choice of colour and texture. The hair is a more natural orange tone and is probably close to that of the natural hair colouring considered beautiful within the 16th century, however through the modern texture created by crimping the hair the look is brought forward into a modern era of hair design.

Frizz Elizabethan Example

Elizabethan Frizzing - 'The Rainbow Portrait' 1600

'The Rainbow Portrait' - Issac Oliver 1600-1602
Oil on Board
http://englishhistory.net/tudor/monarchs/eliz1-rainbow.jpg

This portrait of Elizabeth is probably one of the most famous paintings as it features a number of hairpieces, hats and headdresses that were iconic of the Elizabethan period including a crown, riding hat and sheet veil. However perhaps most prominent within this portrait within regards to hairstyling is the hair/wig itself which is a beautiful example of how frizzing was used to create structured hairstyles, but also the use of waves that draped elegantly around the neck adding feminine essence to the overall look. Most likely this hairstyle would have been created through a similar method of frizzing that was achieved using wrapping the hair around a pin and heating or setting overnight. By doing this the hair is also set into a small wave similar to that within the portrait that could be left down or put up into braids and other hairstyles.
This style of Elizabethan hair has been used within many contemporary hair designs as it creates a beautiful texture that can either be left to create large hairpieces or styled into shaped designs that can then be added to with additional hair or jewellery to give the illusion of height. This portrait in particular is an example of how frizz can be used effectively to create height and also make a secure base for additional decoration. Within the portrait it is evident that the hair is held back into a circular shape with jewels, a large hat and crown imbedded into the top, to support these garnishments the use of frizz would be more effective than curls as it creates a secure grip for the hair decorations to stand on.

Creating Frizzy Elizabethan Hair

Reflecting upon the practical class on frizzing I was not fully satisfied with the final result and as a result wanted to develop my ability with frizzing hair by completing some at home practise where I could spend more time polishing my ability to produce even waves.

To create this look I wrapped and heated half the head using the hair pin method which creates not only frizz but also effective waves. This technique despite its beautiful finish is a long winded process to create and it took me roughly 45 minutes to 1 hour just to complete half the head, therefore in the final assessment it would be unrealistic to attempt this style within the two hours alone as it would leave no time for styling. Once the whole head has been set with the hairpins the waves can be released, this leaves the hair resembling something of curly dreadlocks all over the head. The waves can also be separated slightly to create soft waves often featured at the bottom of Elizabethan hairstyles such as in the 'Rainbow Portrait' 1603, or brushed through to create voluptuous tight frizzing giving extreme body to the hair. This is effective for creating highly padded hair styles as used here, the style that I created for this practise featured no padding and was made solely by the volume of hair created from the frizzing. 
To create this hairstyle the hair was brushed out fully to release each frizzy curl, this left the hair in a large afro shape of hair that could then be easily formed and manipulated. I split the hair into three sections, one large at the front and two at the back, one beneath the other. The front section was rolled back over itself into a large standing pin curl, this created the effect that many portraits show of the front of the hair being a tall structure that stands up from the scalp. As you can see in the below images the section nearest the face remains flat and tall almost like a barrier around the hair, this section is traditionally very tall and for this reason I created as much height as possible before the shape at the front of the head was lost. The back two sections were then twisted around one another to create rounded buns, a conventional style to hold up the back of the hair. 

Practical - Creating Frizz (Crimping and Waving)

Health & Safety: Always run a consultation with the client asking about their hair type, condition, coloured or natural, allergies, medication and any contraindications that may prevent you form touching the clients hair. This should be done to lessen risk of transferal of diseases or infection.
Products Used:

• Small Hair Crimpers
• Small Hair Pins
• Kirby Grips
• Hair Slides 
• Sectioning Comb
• Denman Brush/Paddle Brush/Soft Brush

Crimping Hair

1. Brush through the hair to remove any knots or tangles.
2. Turn crimpers on and leave to heat to approximately 180 degrees c.
3. Using the hair slides secure the hair on top of the head leaving the lowest layer loose.
4. Taking a small/medium section of hair from the bottom layer place the crimpers (ensuring they are hot) at the root of the hair avoiding the scalp
5. Squeeze and hold for 5 seconds.
6. Move the crimpers down the hair ensuring the crimps are evenly spaced.
7. Leave to cool and do not touch as this will soften the crimp.
8. Repeat section by section all over the head until all the hair is crimped.

Frizzing Hair

1. Brush through the hair to remove any knots or tangles. 
2. Turn on the hair straighteners to roughly 180 degrees c.
3. Separate the hair using hair slides so only the bottom layer is visible.
4. Taking an inch wide section of hair wrap the hair in a figure 8 around the pin starting at the root.
5. Secure the end of the hair with a kirby grip. 
6. Taking the straighteners clamp the hair wrapped in the pin and heat thoroughly for 5 seconds.
7. Allow the hair to cool and repeat the same process on the next section of hair.
8. Once a section is cool release by removing the kirby grip and pushing the pin back out from the wave.
9. Separate the wave with fingers and brush through with a soft brush to create frizz. 

Evaluation

Although this method of frizzing the hair was rather fiddly the final result was highly effective as it created a dense amount of hair that was easily manipulatable when used to create padding and height within the hair. The texture of the hair once it had been frizzed using this method was very interesting as it made their hair courser and significantly shorter in length despite having no damaging effects when done correctly. The frizz also help very well and would not be removed unless washed out. The final effect was very pleasing and created a very convincing Elizabethan look

Contemporary Elizabethan Curls - Madame Peripetie

J'AME MAGAZINE - HYPNOSIS - MADAME PERIPETIE

When looking at contemporary hair designs that carry Elizabethan influence Madame Peripetie's collection entitled 'Hypnosis' was an iconic piece to examine as it stands our on its own by combining Elizabethan influences such as the frizzy curls with contemporary hair fashions such as bleaching and ombre colouring. The hairstyles within this collection are romantically Elizabethan with soft frizzy curls and decorative headpieces featuring large pearls, gold and jewels however the hair itself is soft and understated captivating a more free youthful essence to the styling. Because of the smaller nature of the hair design by Madame Peripetie here the link to Elizabethan portraiture is more prominent as within the period of the early 16th century e.g. the beginning of Elizabeth's reign, the hair was much simpler featuring mostly compacted curls and plaits. It wasn't until the later 16th century and early 17th century that extravagant hair with dramatic height and shape became immensely fashionable. On the other hand it can be argued that the Elizabethan influence within this hair styling is more linked to the choice of decoration  than the actual hair itself, for example if the heavy adornment of gold, diamonds and pearls were removed the hair would represent more of a contemporary take on a Edwardian powdered wig with the use of bleach blonde colouring. From this it is evident just how much impact the choice of adornment within the hair has on the final outcome of the overall looks connection to the time period. 

ALL IMAGES SOURCED
http://www.madameperipetie.com/J-AME-MAGAZINE-hypnosis

Elizabethan Curls - Historical and Contemporary Examples

Internet Ref: 'The Styling of Society', Chertsey Museum, http://chertseymuseum.org/hair, 17/10/14

Internet Ref: 'Playing Elizabeth I: The Hair Loss Monarch', The Belgravia Centre, http://www.belgraviacentre.com/blog/playing-queen-elizabeth-i-the-hair-loss-monarch/, 17/08/14

Within the Elizabethan period curly hair was considered a most desirable feature and because of this both hair of natural curl and that of straight was set into tight ringlets that delicately framed the face, a look however only attainable by the wealthy woman.

The Phoenix Portrait - 1570/1575
Nichollas Hillard, Oil on Panel
http://www.elizabethan-portraits.com/Elizabeth20.jpg

This portrait of Elizabeth I entitled 'The Phoenix Portrait' is a perfect example of how curls were used within the hairstyling of the period with the whole front section of the hair being separated from the back and set independently into a series of tight curls. These curls were either achieved through a series of tight pin curls or by wrapping the hair around hot iron rods that would mould the hair into place, much like the curlers of todays modern society. Curly hair became a symbol of fashionable wealth; the larger and more curly a woman's hair, the higher her status. Elizabeth's hair as a result was shaped into perfect curls that sat high over padding and wire frames to create complex regal styles. 

Sir James Melville described the young Queen's hair as "more reddish than yellow, and curled in appearance naturally", within this portrait however it is likely that the hair is in fact a wig. Elizabeth had suffered significant hair loss due to smallpox as well as Female Pattern Baldness, a result of stress from being the powerful female monarch that she was facing a mass accusation of bastardry and illegitimacy to the throne. 

Regardless of which the hair whether natural or Peri Wig remained styled into a series of tight curls that sat around the front of the head, Alison Weir describes the Queen's hair within her book 'Elizabeth, The Queen' as "from her father, she had her red and naturally curly hair" which she had maintained from childhood. It is understandable then how witnessing the growth of Elizabeth as a beauty icon would establish the standard for natural red curls to become a high state of regal fashion. 

Modern Interpretations
These two images below are examples of modern contemporary representation of the same Elizabethan curls seen within portraits. The first image is arguably the more historically accurate one as the curls are neatly structured around the face and formed over a large padding adding height to the overall hairstyle. Whereas the image on the right is more of an artistic interpretation, the curls themselves have been teased out to create volume, leaving the curls themselves frizzed and more wild in appearance. The two images represent how the curls can either be kept more historically accurate in recreation or amplified with artistic interpretation to create a more dramatic contemporary Elizabethan curl.

Image Sources

Left: 'Keith Kane Hair Design', http://media-cache-ec0.pinimg.com/originals/79/72/ab/7972ab931426cb794c578ee32ee1f402.jpg

Right: 'Orchis House', Kushiel, http://yukidoll.tumblr.com/post/22130134493/carmidoll-mert-and-marcus

Practical - Creating Tight Curls

Health & Safety: Always run a consultation with the client asking about their hair type, condition, coloured or natural, allergies, medication and any contraindications that may prevent you form touching the clients hair. This should be done to lessen risk of transferal of diseases or infection.
Products Used:

• Small Barrel Hair Curlers (with clamp)
• Kirby Grips
• Hair Slides
• Sectioning Comb
• Denman Brush/Paddle Brush

Process of Curling Hair (Tight Curls)

1. Brush through the hair to remove any knots or tangles.
2. Turn the curlers on to a setting of roughly 20/25 dependant on hair type.
3. Take the top section of hair and secure upward with hair slides exposing the lowest layer.
4. Using a sectioning comb take a small portion of hair and wrap the end around the barrel, facing towards yourself. Roll the section up the barrel.
5. Hold for as long as required 8-12 seconds.
6. Loosen the hair from the curler and gently slide out while securing curl with fingers.
7. Take a kirby grip secure the curl and allow to cool.
8. Taking the next section of hair repeat the process only face the front of the wand away from yourself and roll the hair in that same direction. 
9. Repeat alternating curls along each layer of hair until whole head is curled, the sets should resemble heart shapes when facing one another. 
10. For the front of the hairline ensure all curls are facing backwards. 
11. Once the curls are cool remove the kirby grips from the bottom upwards.
12. Gently split each curl into two to gently loosen and create more body.

Evaluation

On the whole I found the process of crimping the hair more challenging than that of curling it and overall did not like the final outcome that came as a result of the crimping as I felt that it looked sloppy and untidy. However the process of curling the hair was significantly more productive and the final result was much more effective and neater. My curls came out rather tight and this was suitable for creating a fully compacted head of hair that would be effective in mimicking the curls that frame the face within many Elizabethan portraits. In addition the sprint on the curls meant they were able to be manipulated over the crimping which could be shaped to create a padded structure for the curls to sit on.