Miss Havisham / Cobwebbed Costuming - Bevel Jewellery 2011 Collection

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Miss Havisham is renowned throughout literature as an eternal bride due to being jilted at the alter and then living out the rest of her days in bridal attire. Within my interpretation for a TV adaptation of a younger Miss Havisham I wanted to recreate the bridal attire while combining elements of the "nun of the sex hostile realm" with the reoccurring theme of decayed trapping as the whole ideology behind her is this idea of living out her life at 8:40 on the day of her jilting. While searching for a way to embody this element of becoming cocooned in your own misery I came across these images by the Bevel Jewellery Collection of 2011 whereby tights were used to create a tight, almost cobwebbed costuming. This I felt was a highly interesting idea for Miss Havisham's costuming for the continuity assessment as it has that bridal element to it in the form of lace sleeves etc but retains a cobwebbed and somewhat constricting element that reflects the mental state of Miss Havisham.
Obviously I do not want to simply copy that style of costuming within these selection of images as that would not hold credit to the original creator (who unfortunately is unknown) however I have been heavily inspired by this concept and would like to use tights in a similar way to mimic the bridal sleeves while combining them with a subtle hint to the nuns habit. As I am creating my Miss Havisham for TV as opposed to theatre it allows me to have the makeup and styling slightly more simplistic in comparison to that of the dramatic textures needed to be seen from far away by audience. For this reason I feel that using tights to recreate the dirtied lace brides sleeves will be most effective, in addition to this by using tights I would be able to ladder the fabric to emphasis the concept of the delicate fabric being worn consistently and therefore damaged. Although my Miss Havisham is young as I am focusing her between the time of jilting and meeting Pip (roughly between the age of 21-31) I wanted to retain the youthfulness of the face but hint at the gradual self wrapping as she slips from bride to bridal phantom of her former self.

The Gothic - How is the Gothic depicted in Great Expectations?

Wright, B. (2011). Grotesque in Great Expectations - Pips First Encounters With Magwitch. Available: http://www.sooperarticles.com/art-entertainment-articles/grotesque-great-expectations-pips-early-encounters-magwitch-652194.html. Last accessed 30th Jan 2015.
Weiss, Z (2009). 'Seeing Double, Double Seeing'. United States of America: Brown University.

Within 'Great Expectations' there are many gothic elements to both the setting, characterisation and ideals of the book. Gothic is particularly resonant throughout the setting in regards to Satis House, Miss Havisham and the plot of her mental decay into the realm of insanity and spirit like haunting. Other gothic characters include that of Magwitch, Orlick and Bentley and all of these carry features prominent of the gothic villain. However the main character of focus within examining 'Great Expectations' as a gothic novel is that of 'Satis House' itself which creates an atmosphere so dramatic through its use of disgust in the audience that it has become an iconic location for many a readers key area of interest, Miss Havisham. Despite this probably the most interesting element of Dickens's 'Great Expectations' is the fact that it is not necessarily a simple gothic novel as it belongs to more than one genre, in many aspects it is a fairytale, a comedy and a melodrama. But throughout all of these the gothic elements and quirks push through to leave the reader with an almost chilling fairytale of modern realities, essentially a modern Brother Grimm supplying the reader with a heavy moral commentary on the dangers of love, jealousy and social ridicule. 

• How is the grotesque depicted in Great Expectations?

The term grotesque commonly refers to an idea of the world in which the novel is set being described in a both fantastical and exaggerated way that leaves the reader with an otherworldly impression. However unlike the modern fairytale, the uncanny embodies much darker tones with sinister themes becoming persistent throughout the novel in question. A key example of this concept within 'Great Expectations is the of the relationship between Pip and Magwitch, but also Magwitch's character traits in general that display a number of grotesque qualities. Throughout the novel Magwitch continues to shock and conflict the relationship between himself and Pip. This is something we come across immediately within the novel and leaves the reader with a dramatic view into how the domination of Magwitch's character will continue to rule over Pip throughout the novel, even without his awareness for Magwitch inevitably reveals himself to be the "mysterious benefactor" of Pip's transformation from boy to "Gentleman". Indeed our first glimpse into the behaviour of Magwitch builds this expectation for he commands Pip to "hold your noise", immediately constructing the sense of dominance and threat Pip feels when around Magwitch in such a way. 
Furthermore, Dickens also supplies a number of descriptive elements surrounding Magwitch that create an image more of beast than of man. Throughout his first appearance his behaviour is representative of a cannibalistic/barbarian nature, stating to Pip that he shall proceed to devour the boy in pieces, "You young dog what fat cheeks ya got. Darn me if I couldn't eat 'em". This concept of cannibalistic tendencies is immediately unsettling to the moral fabrics of society but supplies an insight into the very thought process his character. In turn the fact that he describes Pip as a "dog" rather than a child reflects how Magwitch has lost touch with his human side and succumb fully to  animal instinct. 
The heavy use of animal description and imagery again connects Magwitch's character to the grotesque features of the novel. Often he is likened by both himself and others to have the characteristics of animals and creatures, this is a concept most unsettling to the reader as it effectively blurs he very boundaries of the human anatomy. Magwitch becomes almost a hybrid of man and beast which during the times of werewolves and vampires was most discomforting to the readers imagination. A most common comparison is to that of a dog and this is seen in particular through Dickens's description of the manner in which he eats. Dickens writes that he took "strong, sharp, sudden bites" into the food and pie given to him by Pip, furthermore Pip himself even makes the connection that Magwitch is "very much like the dog" he keeps back at the house. This further enhances the sense of threat and mystery surrounding Magwitch as he appears to morphs from man to creature, twisting further toward the barbaric tendencies Dickens initially creates. 

• What are specific elements of the uncanny? How does Dickens give the uncanny a unique twist within the novel in terms of characterisation?

A key example of how the uncanny is created through the twisting of characterisation is that of 'doubling' and character representation. Both Magwitch, Compeyson, Mrs Joe and Miss Havisham are the stand out figures of doubling prominent throughout the novel, by doing so Dickens creates an uncomfortable familiarity within each character leading the reader to feel a deja vu sense of experiencing the fall and failings of each person previously. The first double presented within the novel is that of Compeyson and Magwitch, both are criminals charged with the same offence after their criminal acts however only one is innately evil. Compeyson abandoned Miss Havisham at the alter on the famed wedding day and eventually was caught forging signatures, however due to his education and gentlemanly nature was given a lesser punishment in comparison to his double Magwitch. Compeyson is of evil nature, he is knowledgeable and easily manipulative of those he has influence over. Magwitch however is (despite our initial impressions) of king hear, uneducated and easily fooled. Purely due to Magwitch's inability to articulate a defines he is inevitably charged with the same offence as Compeyson. This is where Dickens supplies a criticism of the division of the classes and Victorian social system, he makes apparent that the only reason Magwitch is given a longer sentence is a result of his social status therefore emphasising the flaws of a class ruled jurisdiction. As a result a great deal of sympathy is created in favour of Magwitch and we do not condemn him for the murder of Compeyson out by the Themes River. In fact there is a sense of unsettling satisfaction for the reader in knowing that a figure of corruption is succumb to a death lacking in dignity. 
Another example of doubles is within the comparison of both Mrs Joe and Miss Havisham. Weiss points out that both are women bound to their homes and both represent dominating "mother figures" to Pip despite behaving in an entirely selfish mentality. Mrs Joe is meant to be the older sibling of Pip and yet she resents him and continuously abuses him both mentally and physically, her statement that she "brought him up by hand" holds both a literal and metaphorical meaning. It is her abuse of Pip that makes him so weak to the manipulation of other women such as Miss Havisham and Estella, he even acknowledges himself that he is "morally timid" in the face of dominance. In addition is the description of Mrs Joe's costuming of which she is described as always wearing "a corse apron" a "square, impregnable bib". Mrs Joe is trapped within her own obsession with cleaning her home, stressing over the visible standards set by visitors to the home. Like Miss Havisham she has trapped herself in a cycle of obsession. However despite these similarities Miss Havisham is in many respects the counter double of Mrs Joe as she has left her house instead to decay in the remains of the wedding. Both women are bound to an identity created by their own misery and in many respects Miss Havisham's wedding dress is her very own apron. A symbol of mourning for a lost marriage. Their outfits have a similar concept reflecting the inability to let go, however the division of social status splits them from one another. Miss Havisham, a woman of class who has fallen into decay while Mrs Joe is a woman of low status dreaming of what life she could have if she hadn't married a blacksmith. 
Finally both women are dealt their fate at the hand of fire. Mrs Joe suffers a vicious assault from an "unknown hand" while her "face was turned towards the fire", similarly Miss Havisham is burnt alive at the hands of her own decayed home. Both women suffer as a result flame, reflective perhaps of a release from sin as they loose their manipulative grip on Pip and require forgiveness to move on. Both women are a double act in becoming the creators of their own misery. 

What is High Definition Broadcasting?

John Woodbridge. (2012). Tips: Make-up for HD. Available:http://www.bbc.co.uk/academy/production/article/art20130702112136285. Last accessed 30th Jan 2015.
Mosey, R. (2012). Tv to Stream 24 Channels for Digital Olympics. Available: http://www.bbc.co.uk/blogs/legacy/rogermosey/2012/04/since_the_start_of_our.html. Last accessed 30th Jan 2015.
West, D. (2008). Confirmed: ITV HD is Freesat Exclusive. Available: http://www.digitalspy.co.uk/digitaltv/a95312/confirmed-itv-hd-is-freesat-exclusive.html. Last accessed 30th Jan 2015.

HDTV generally comes in 2 formats:

1080p (1920x1080p) 2.07mp per frame / 1080i (1920x1080i) 2.07 mp per frame

720p (1280 x 720p) 0.92mp per frame

P = progressive seam 

I = interlaced 

History of HD in the UK

BBC initially began the HDTV process as a trial for broadcasting companies such as Sky and Virgin media, this trial was broadcast between 15:00 and midnight throughout the week. Successful trials then led to BBC1 HD begin launched at 19:00 on the 3rd November 2010 which meant popular television shows such as Eastenders could be enjoyed at a greater quality to those who possessed TV boxes from companies such as Virgin or Sky. During the summer of 2012 BBC operated 24 HD channels for the purpose of the London Olympics which were available for Sky, Virgin and for Freeview and Satellite. On July 16th 2013 the BBC announced five new HD channels for release in early 2014, these included BBC 3, BBC 4, CBBC, CBeebies. 

ITV arguably lead the BBC's steps into HD broadcasting by launching a new HD service on Freesat on 7th June 2008, however this could only be accessed by red button customers. On 12th March 2010 a full time ITV1 HD service began discussion and then was finally launched on 2nd April 2010 at 6:00am. ITV2 HD followed launching 7th October 2010.

So How Does This Affect Makeup Artists?

"To much makeup can appear really obvious in HD" - John Woodbridge 

Skin preparation is key to makeup application therefore cleansing, toning, moisturising and skin hydration really make the difference to how the makeup appears on camera. Conventional makeup can appear ashy, grey and highly visible on the camera and therefore isn't appropriate for HD, as a result alternative makeup techniques were created. 

One of these distinct cosmetic advantages is the development of airbrushing which compared to conventionally makeup works far more effectively. Micronized pigments that are far less detectable to the camera lense are used within the machine and a mini compressor expels compressed air mixed with the pigments to create the airbrush. The final look is much more lightweight than traditional makeup but gives an illusion of flawless skin without lines and unblended areas. In addition airbrushing makeup lasts significantly longer on the skin with less need for touchups and highlights, contours and blush can also be applied using the same method. Airbrushing is an essential makeup device for any makeup artist wanting to create a true flawless finish that appears natural on the skin in front of a HD camera. 

One problem that faces makeup artists when dealing with HD is that of setting the makeup. Traditional setting powders don't work well for airbrushing or HD and can make the skin look dull and ashy on camera, therefore HD setting powder was created to remove the skin from the skin without distorting the look of the makeup. 

One key piece of information for any makeup artist applying makeup for HD film/tv is that problems not visible to the naked eye become very apparent on camera. To get around this always ask to see your makeup through the lense before taking shots, use airbrushing techniques and refine the way you examine your makeup before putting your client in front of the lense. 

Technical - Cuts, Scratches, Bruises and the Perfect Black Eye

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Wash hands thoroughly before touching the clients face.

Allow liquid latex to breath before applying.

Products Used:

- Cleanser, toner and moisturiser

- Supracolour Palette - Red, Yellow, Purple, Blue, Black

- Liquid Latex

- Scar Wax

- Foundation Palette

- Wound Filler

- Fake Blood

- Stipple Sponge

- Tu Plast

- Non Flexible Collodium 

- Palette Knife

- Foundation Brush

- Small Brush

- Non Latex Sponge

Process of Creating a Black Eye

(Look the at images of real black eyes for inspiration)

Old Black Eye

1. Ensure the eye is clear of all makeup using the cleanser, toner and moisturiser before applying any makeup. 
2. Begin by taking some yellow supracolour on a makeup sponge and apply to the socket of the eye, blending out with the edges of the sponge to create a natural old bruise effect. 
3. Using a small makeup brush place red supracolour around the outside of the eye socket and down the natural fold underneath the eye where the skin often darkens when tired. 
4. Blend out into the yellow using the makeup sponge, blending the edges is essential to creating a realistic look rather than visible makeup settled on the skin. 
5. Taking the same makeup brush work some purple tones into the deeper sections of the eye socket focusing in particular on the lower flesh and bone areas where the bruising would have impacted the most.
6. Blend the colours out again using the sponge.
7. Black may also be applied to darken any desired areas however this must be blended also.
8. The colours and placement would change as the black eye heals therefore on set photographing your work across all stages is essential for consistency.

Evaluation
I feel that creating this black eye was successful as I wanted to create the effect of an older bruising than that of a fresh one. The feedback in class was that I should probably use more purple tones to create a more effective black eye however I wanted the bruising to appear fading, however I do understand why more purple would be necessary for a fresh bruise. In addition to this in future I will probably make the tones of yellow and red bolder and more apparent as despite being vibrant to the naked eye, appear slightly washed out on camera. In future I think it will be necessary to create black eyes through a variety of healing stages to develop my understanding of how the skin texture and tone changes throughout brushing. Despite this I feel my first attempt at creating a black eye was effective and I enjoyed the painterly technique used to apply the makeup to the skin.

Creating Wounds "All about moulding"

Wounds and Grazes

1. Warm Plasto wax with the spatula on the back of the hand to make more pliable to the skin.
2. Optional to apply a layer of spirit gum to attach the latex to the skin however this is not always necessary.
3. Create sausage shape, add to the hand and being moulding the sides down into the skin.
4. Cleanser makes the process easier and blends the edges nicely into the area of skin, it is ideal to use the fingers for this.
5. Cut threw the wax with a palette knife and use the spatula to separate the wax out slightly, rougher edges add for a more authentic look.
6. Apply liquid latex or sealer over the wax and set with a hairdryer on cool.
7. Keeping the area a bit shiny from the latex adds a realistic swollen effect to the wound.
8. Use cleanser again to blend away the edges a little more and this will prevent any harsh edges being created by the latex and makeup.
9. Apply base colour using a foundation that matches the skin tone.
10. Add redness and tone using the supracolour palette.
11. Wound filler may also be added to the inside of the wound - it is a fibrous material that creates the texture of flesh.
12. Apply fake blood with a baby bud to the centre of the wound. Dirt or pus may also be added.

Creating Scratches
1. Ensure the area of skin is clean.
2.Taking a red toned supracolour or fake blood dab some onto a stipple sponge.
3. Swipe the stipple sponge across the chosen area to create grazed effect.
4. This is particularly effective on areas of bone such as knuckles and joints.
5. Dirt may also be added for effect.

Scars
1. Ensure the area is clean.
2. Making sure the end of the Tu-Plast nip is clean, drag the nose across the area of skin.
3. Use a hairdryer on cool setting to set the Tu-Plast.
4. Using a pin create roughness (optional).
5. Makeup as usual.
6. Apply fixer spray.

Split Lip
1. Make sure the area of skin chosen is clean.
2. Apply foam barrier to the lip.
3. Paint Non-flexible Collodium onto the skin.
4. Using spatula to create dent in the skin and dry with hair dryer if needed.
5. Apply more layers if needed.

The Birth of Gothic - Sharon's Lecture

J, Watt. (2004). Gothic. In: Thomas Keymer and Jon Mee 'The Cambridge Companion to English Literature 1740–1830'. Cambridge: Cambridge University Press. p120.

Mulvey, L. (1975). III Women as Image, Men as Bearer of the Look. In: Mulvey, L 'Visual Pleasure and Narrative Cinema'. London: Oxford University Press. p808-809.

When we refer to the Gothic often we are referring to that of a genre of literature that combines horror and romance into format designed to appeal to a readers darker desires. Generally the term was believed to have been created by Horace Walpole the author of one of the first famed gothic novels "The Castle of Otranto" in 1764 which according to critics such as James Watts "has often been regarded as a manifesto for the modern Gothic romance". However gothic is also associated with the revival of a style of building from the medieval up to 12th century, designed as a backlash against the fashionable buildings of the period within Europe. Gothic buildings (much like the novels ironically) are designed for the purpose of extravagance and to create elaborate emotion amongst those who witness them. Within the Victorian period, the concept of Gothic became a quest for atmosphere, to embody the sublime (beautiful yet terrifying) into every element of their lives. It became fashionable to build decayed ruins just for the creation of atmosphere, these false runes often depicted castles, churches and other 2nd-12th century building styles that had been allowed to fall into decay. Often guests to houses would find pleasure in walking around the runes of their wealthy hosts as part of an entertainment activity. This concept of touring around environments of atmosphere became so prominent within society that middle class children were frequently sent on tours of Europe known as "The Grand Tour" to experience culture. Coincidently it was on such a tour of Europe that author Mary Shelley began writing the infamous gothic novel 'Frankenstein', while trapped indoors during a thunder storm. The Victorian period was a time enforced by torture, law and superstition. Authors used the gothic to address these contemporary fears which in turn moved on to a fear of the body. Early gothic novels such as Anne Radcliffe's 'The Mysteries of Udolphe' (1794) feature both the exotic landscapes of distant times common within gothic writing but also villains of religious and regal background, all for the purpose of disturbing the readers perceptions of the familiar. Later writers such as that of Dickens focused on a modern Britain, targeting the readers society. Commenting on social ills and a heavy criticism of those with power.

Other Late Gothic Writers: 
1790 - Bloom of Gothic / One that uses the supernatural
1890 - Modern Classic Gothic / One that explores the new world

All of these writers explore the mutation of the human mind, corruption, decay and the evolutionary medical steps of the period:
Mary Shelley - Frankenstein (1818)
Robert Louis Stevenson - Jekyll and Hyde (1886)
Oscar Wilde - Dorian Grey (1891)
H G Wells - Time Machine (1895)
Bram Stroker - Dracula (1897)

Key Motifs of Gothic
Strange places, clashing time periods, power and constraint, world of doubt, terror vs horror, sexual power, the uncanny, sublime, crisis, supernatural, the real, sexual power, violence and infection.
Dramatic backdrops and areas from a distant time period are often placed next to the modern world or times of social development creating an idea of the past corrupting the present. Often the past is embodied through concepts such as ghosts or phantoms of the past. Women are often the key figurehead of the situation, they are often portrayed as vulnerable and forced into situations of desire. Laura Mulvey's theory of 'The Male Gaze' comes heavily into this concept as it appeals to a male longing to overpower women, however the woman often becomes the object of sexual desire, the femme fatal created to lure in the weak sexual desires of man. A body of temptation, again violating the human moral to resist the sin of lust. In addition to this is the 'Final Girl Theory' by Carol Clover whereby the last woman standing is left to confront the monster. Within the Victorian period this idea would have been a depiction of pure fear as women were still viewed as weak beings in need of protection. Far from the modern interpretations of empowered women conquering evil.

The Uncanny
This is a key feature of the gothic novel as the uncanny is the idea of something new that reaches back to our own conscious, figures that are not entirely human like Miss Havisham who represents a half life of "skeletal waxwork". An unfamiliar being in both body and mind that creates a conscious sense of fear within the reader and those effected within the novel itself.

The Sublime
This refers to the environment in which the novel is set, a feeling of the environment being a place of terrifying, overwhelming emotion but that remains beautiful. Romantic poets such as William Wordsworth were amongst the first to embody this sense of a sublime environment within the descriptions of their work, it became a common place feature within the writing of many 18th - 19th century authors, the goal of each to produce a feeling of upmost ecstasy. Classic gothic is terror not horror, psychological and physical exploring the idea of doubles, madness, secrets and curses. 

Technical - Victorian Hairstyling (Plaits)

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Products Used:

- Apron

- Kirby Grips

- Sectioning Tail Comb

- Paddle Brush

- Small Hair Tie

- Sectioning Grips

Process of Creation

1. Brush hair through to remove all knots and tangles. 
2. Divide the hair into a centre parting.

3. Create another parting that divides from ear to ear.
4. Twist the hair at the back of the head into a mid height bun. 

5. If the hair is long enough this back bun may also be created through a plait as opposed to a twist.

6. Take the front section of hair at the front of the face and divide into a middle parting. 

7. Plait the front section into a plait of choice beginning from just below the eye. 

9. Repeat on the other side. 

10. Bring these plaits loosely backwards to hang just below the ear and looping back upwards into the bun behind. 

11. Fix with hairspray. 

Evaluation

This hairstyle was really simple to create but is an effective example of an early Victorian hairstyle worn by the Queen herself. I feel that this would be an appropriate hair design for my Estella as it is simple and could easily be worn by a young lady or a child which is where I am considering basing my version of the character. Although this design is highly simple it could easily be made more ornate by introducing different plaits to the style or decorating with jewellery/flowers, this is something to consider if I choose to complete such a style in my final assessment image. 

Technical - Victorian Hairstyling

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Products Used:

- Small Curling Tong

- Kirby Grips

- Sectioning Tail Comb

- Paddle Brush

- Small Hair Tie

- Sectioning Grips

Process of Creating Historical Victorian Hairstyles (Ringlets)

1. Place an apron around around the model to protect clothing.

2. Brush the hair through gently using a paddle brush to remove all knots and tangles before styling. 

3. Using a tail comb section the hair into a middle parting and then from the mid section of the head down to the back of the ears and pin out of the way using sectioning grips.

4. Using a paddle brush comb the back section of the hair into a ponytail and then twist into a bun, securing with a small hair tie. 

5. Divide the front section of hair into four sections on each side.

6. Taking the curling wand, roll the hair from the end in towards then face ensuring it wraps over itself rather than twisting.

7. This will prevent the ends from hanging outside of the ringlet.

8. Using the end of the tail comb support the curl as you release it from the curling wand.

9. Tuck any loose ends into the inside of the ringlet.

10. Repeat until you have four ringlets on each side of the head facing into the face.

11. To modernise the hairstyle slightly allowing for a more mid-Victorian style simply split the ringlets to soften the front of the style. 

Evaluation

Overall I feel creating this hairstyles went well as I was able to produce ringlets that were tightly wound and symmetrical on both sides of the face, which was an essential to the whole design of the look. That being said there were a few elements that I was not happy with in the finished look such as the bun and symmetry of the middle parting itself. I feel that if I had more hair on the doll I would have been able to create a more interesting bun that had more shape and body, realistically in Victorian hair styling the hair would be very long and therefore would be possible to plait and twist up into  bun. Furthermore I feel that by using real hair it would be easier to create a neat parting as the insert points on the dolls head are slightly unaligned and therefore make creating a perfect middle part difficult. This is something I can improve on in the future. 

In Depth Miss Havisham Character Analysis / "Nun of the Sex Hostile Realm"

Charles Dickens. (2003). Chapter 8. In: Charlotte Mitchell 'Great Expectations'. 2nd ed. London: Penguin Classics. p89-99.
Charles Dickens. (2003). Chapter 11. In: Charlotte Mitchell 'Great Expectations'. 2nd ed. London: Penguin Classics. p129.
Charles Dickens. (2003). Chapter 49. In: Charlotte Mitchell 'Great Expectations'. 2nd ed. London: Penguin Classics. p586-593.

Nicholson, M. (1999). The Scene of Male Envy. In: Nicholson, M 'Male Envy: The Logic of Malice in Literature and Culture'. United States of America: Lexington Books. p30.

Evidence from the novel of the concept of a half life, her presence is so trapped within her own realm that to the childlike mind of Pip she represents a figure that is in-between spirit and woman. The below image is my notes and ideas taken from my notebook of how I will develop my character of Miss Havisham through concepts surrounding her description, critical evaluations and historical realities.
When going through the process of creating Miss Havisham regardless of whether it is for tv, film or photographic work it is important to take into account the key descriptions of her character within the novel. Dickens's work is famous for its in-depth details regarding his key characters, Miss Havisham is a wonderful example of this whereby even the texture of her gown is articulated. It is from these descriptions and the consideration of Miss Havisham's age (which is around her early 30's when she meets Pip) that I feel previous adaptations of her as a haggard old woman are inaccurate, I will be basing my Miss Havisham between the time of her jilting and her first meeting of Pip therefore making her between the ages of 21 -31 (ideally 26 in my adaptation). Indeed she is distressing to look upon however the elements of her skin portrayed as a "waxwork" create a haunting mental image of self preservation, as if she has become cocooned in her bridal state through her lack of participation in the world outside thus influencing her structured form of insanity. Critics such as Mervyn Nicholson have compared her detachment from life itself as "like a nun, into a sex hostile realm of lost identity, where time has ceased, and with time, life itself". Although some may argue that this connection of Miss Havisham to that of the behaviours of a nun is rather distant there is actually significant biblical imagery both within her physical and mental descriptions that supports this. Firstly is that of her behaviour which I feel is the most prominent connection of herself to that of a religious dedication. Although she has not renounced her body to God as such, by her removing herself from the developments of society and establishing herself as a phantom of male ridicule. Miss Havisham has essentially become a committed woman to her own suffering, married not to God but to a past life of broken trust. Nicholson's comparison of Miss Havisham with that of a nun like detachment from conventional social behaviours and extreme celibacy is probably the most accurate interpretation of how a woman in her position would fit within Victorian society when the fairytale associations of a fairy godmother image are removed leaving her merely an abandoned spinster.
In addition to this concept of how she would behave morally is that of her physical appearance and within Dickens's descriptions there is a significant amount of bridal imagery that connotes a biblical connection. Features such as the "prayer book", "veil" and repetition of the colour "white" emphasise not only the connection to marriage but also a sense of purity, as Miss Havisham was never married that cultural standards of the time would render her still a virgin. This concept is enhanced further by the desire of her husband to reappear, she remains preserved as the virginal bride all these years in case of that one scenario. White carries a number of connotations that connect heavily with biblical imagery, it is a pure colour that suggests innocence and is therefore associated frequently with angels and divine spirits. It could be argued that this is why Dickens reinforces that she is "(unfit) for this earth" to enhance the angelic concept that surrounds a pure woman dedicated to a broken hearted miniature society, bringing us back again to Nicholson's concept of the nun trapped in a "sex hostile realm of lost identity", Miss Havisham is the bride to her own misery.
Continuing on from this is the development of her character from abandoned bride to spinster madwoman and how through Pip's acknowledgement of her changing costume the concept of her decay is created. Originally Pip notices her dressed in "bridal flowers" and "white" however from then on realises how the gown had "lost its lustre" becoming "faded and yellow". The imagery created through this depiction enhances a sense that Miss Havisham has somewhat lost her purity as a result of her hatred for men and determination for the punishment of love through her puppet Estella. Like the dress her purity has become muddied with jealousy, the "confused heap" of her prayer books and belongings much embodies her mind, reflecting a sense of confusion and madness that heavily effects her mind. As a result her eyes have "no brightness left" expressing how her darker purpose has consumed her internally, all hope has been lost and now she resembles "the witch of the place" set on punishing others for her own misfortune. In many respects Miss Havisham is like a fallen angel, her purer purpose becoming corrupted by the sins of others resulting in her own envy and decay. In many respects she is unfit for this earth in both emotional and physical form as the release of death would be her only escape from the unrelenting misery of her mind.
Miss Havisham's character is undoubtably tricky to pinpoint as either a villain or heroin, in many aspects she is both a wicked witch and godmother to Pip and Estella. Although she cares for both children, in particular Estella, she uses them a toys within a game of her own creation. To the reader although her motives are cruel by the time of her death we feel sympathy as even her most prized possession, Estella, cannot love her as a result of her corruption for she "stole away her heart and put ice in its place". Within her final scene Pip acts as a mirror for Miss Havisham to repent her sins, his love for Estella embodies that of hers for Compeyson and it is this realisation that opens her eyes to the wrongdoings of her insanity. Infact Miss Havisham's dramatic death at the hands of the flame carries many connotations both symbolic of her association with witchery and biblical repent of her sins as historically both within the reign of Mary I and the late Elizabethan period burning was considered the ultimate punishment for those charged with unholy beliefs and witchcraft. In a sense through her burning and repenting of her sins against Pip Miss Havisham is restored to the purity she is originally portrayed within upon the day of her wedding .

Mike Newell's 'Great Expectations' 2012 - Review

The 2012 version of 'Great Expectations' as adapted by Newell is probably one of my more favored interpretations of the novel. This is predominantly due to the fact that that character designs of figures such as Miss Havisham were more accurate to as how I saw them from reading the novel. That being said part of me felt that the beginning of the film dragged on for too long and as a result slightly lost my interest, because of this by the time it got to more interesting scenes of gothic drama (such as meeting Miss Havisham) I already felt slightly bored. That being said Helena Bonham Carters interpretation of Miss Havisham was more interesting than most previous creation as it was taken from a more fairytale perspective than realism. Also the character was not dramatically aged, an element that seems to appear rejected in many other adaptations of the novel despite not actually being fully described in the book. Regardless of this I felt that this version commented well on the social standards of the time, in particular the depiction of London, which despite being described as a gentlemen’s place of opportunity, still embodies an element of the bustle and urban grubbiness apparent within other Dickens classics like Oliver Twist. Of all the elements of importance the stress of social commentary and infliction of revenge is a crucial element to the accurate portrayal of a Dickens classic such as Great Expectation.

Technical - Theatrical Ageing /Creping of the Skin

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Wash hands thoroughly before touching the clients face.

Allow liquid latex to breath before applying

Products Used:

- Cleanser, toner and moisturiser

- Supracolour Palette - White, Mixing Green, Yellow and Red = Brown

- Thin Liner Brush

- Disposable Mascara Wand

- Non Latex Sponge

- Sectioning Grips

- Liquid Latex 

- Barrier Cream

- Stippling Sponge

- Plastic Bowl

- Kryolan Foundation Palette

- Foundation Brush

- Hairdryer

- Fixing Spray / Translucent Powder

- Powder Puff

Process of Theatrical Ageing

1. Place an apron around around the model to protect clothing.

2. Cleanse, tone and moisturise the face to ensure all makeup has been removed. 

3. Mix the Green, Yellow and Red from the Supracolour palette to create an appropriate brown shade to contour the lines of the face. 

4. Get the model to perform exaggerated expressions such as frowning, raising the eyebrows, pouting and smiling and fill the natural creases with a line of the brown supracolour using a thin brush.

5. Using a clean finger blend out the lines to create a more natural looking fold in the skin. 

6. Reapply supracolour into the creases to enhance the appearance of wrinkles.

7. It may help to look at the client through a camera first to see if more definition is needed. 

8. Taking a disposable mascara wand rub white supracolour through the ends of the brows and lashes to give the appearance of greying.

9. Using a stippling sponge and red supracolour, gently stipple onto areas such as the chin, nose and cheeks to create the illusion of broken veins. 

10. Apply a fixing spray or translucent powder once finished to hold the makeup in place (optional).

Evaluation

I feel that the process of ageing the skin in this way went well as it is a more artistic approach to theatrical effects makeup than using substances such as liquid latex or prosthetics. Although I was happy with how the makeup turned out in regards to making the model appear older than her actual age by far, I was told that for theatre the makeup would need to be far more dramatic to be seen properly by the audience despite being visible on camera. Personally the falseness of the ageing makeup is something I found difficult as you cannot afford to be delicate and subtle for the purpose of stage, instead the makeup needs to be very exaggerated. In future I know to enhance the natural creases of the face more and will probably use a darker shade of brown to achieve deeper visible lines and wrinkles. Overall however I was satisfied with how the makeup turned out. 

Process of Creping the Skin
1. Ensure the hands/area of skin that you are apply the latex to is clear from any dirt or cosmetics.
2. Apply a barrier cream to the area and work into the skin.
3. Pour the latex into a bowl and allow to breath for a few minutes.
3. Using clean hands stretch the area of skin where the latex will be applied.
4. Taking a latex free sponge dab a thin layer onto the area of skin. 
5. Allow to dry keeping the area stretched (a hair dryer can be used on the cool setting to speed up this process).
6. Apply a few layers ensuring there is no visible seam between the latex and the skin. 
7. Taking a foundation that matches the area of skin apply over the latex using a foundation brush to remove the visibility of the latex.
8. Powder or spray with a fixing spray if necessary. 

Evaluation:
Using liquid latex was a new experience for me as I had never used it previously, the first thing I noticed is that it smells vile and that really put me off using it on someone especially near the face. After airing the product this did reduce slightly however it still wasn't pleasant. I think it is cleaver how the latex causes the skin to wrinkle once stretched however this was a difficult thing to achieve on youthful hands as the skin is well elasticated and therefore doesn't stretch as far. Another problem was getting the foundation to match the skin tone as how it appears to the eye is not how it appears on camera therefore I will have to develop this better as the foundation seems to change tone on the latex. 

Victorian Hairstyling 1860-1890

Owen, P (1965). 'Fashions in Hair: The First Five Thousand Years'. London: Peter Owen Publications. p530-544.
Sherrow, V (2006). 'Encyclopedia of Hair: A Cultural History'. London: Greenwood Publishing Group. p156-157.

During the later years of Victoria's reign hairstyling had become heavily influenced by the fashions coming in from France. Although classic elements such as the middle parting had remained popular it became far more fashionable for the hair to be styled into tightly curled fringes or pulled fully back away from the face.

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In the words of Owen by 1864 "Chignons" of false hair had become the most desirable fashion accessory for hair styling, these "Chignons" were essentially the first hair extensions and allowed the wearer to create far more elaborate hair styles than previously attainable. These hair pieces could be styled and curled prior to being placed into the wearers own hair, this allowed for more elaborate yet quicker hair dressing. Smaller false curls were also used to insert additional texture where it was required. By the end of the 1860's hairstyling had developed even further with a popular style being that of the 'Marcell Wave', this style was created by French hairdresser Marcell Gateau to achieve this style hot curling wands were used to wrap the hair around, this is a contrast to the previous creation of ringlets as the style created more of a wave of hair as opposed to a direct curling ringlet. As the years progressed the use of the ringlet directly framing the face had become significantly less popular and instead the curls were focused more towards the back of the head with soft waves nearer the face. By 1870 the style had progressed even further with the introduction of short, tightly ringleted fringes that sat high above the natural fall of the brow bone. These fringes however were never cut into the hair but rather styled so to give the illusion of short length as it was considered in proper for a lady to cut her hair.
Hair was the most treasured of all beauty aspects during the Victorian period and therefore a woman was often judged upon the styling and upkeep of her hair. Due to this however there became an immense amount of pressure to keep hair pristine. As a result of the constant requirement for curl, straight hair was considered by many to be highly unattractive and strange, hair had become heavily damaged often being so dry that it would break away. In an attempt to prevent this the use of hair oil was introduced. Often these oils were made from vegetables or even a formula called 'bear grease'.
Another significant development between the period of 1860 onwards was that of hair colouring, Sherrow writes that the discovery of PPD (Paraphenylenediamine) that was used to dye materials and textiles and research into the development of coal based dyes lead inevitably to the development of hair colorants. The first of these was developed in France during the early 1900's by a chemist by the name of Eugene Schueller who developed and sold the hair colourant under the name "Aureole'. By 1910 the product had become successful and beta to become distributed under the new company the 'French Harmless Hair Company', later to become L'Oreal. Unfortunately due to the coal substance of this hair dye the only pigment available was that of a dark brown or black, therefore often the only method of covering grey was available to women of natural darker hair tones or those willing to completely alter their hair pigment. It was not until late 1917 that the concept of bleaching hair blonde became a fashionable concept marking the second step into hair maintenance.

Victorian Hairstyling 1830-1860

Owen, P (1965). 'Fashions in Hair: The First Five Thousand Years'. London: Peter Owen Publications. p524-528.

Throughout the early years of Victoria's reign the styling of hair was very much dictated by her own sense of fashion and was therefore relatively simplistic. Consisting predominantly of braids, plaits and ringlets all divided neatly down the centre of the head, traditionally the hair was placed into tight curls at the sides of the head, or if plaited was gently pinned back into the remaining hair that was often plaited into a large mid hanging bun. These two styles were considered extremely fashionable throughout the period, the plait in particular being popular for young ladies whose hair needed to stay neatly styled throughout their day. A particularly difficult element to uphold especially for Victorian children.
Daytime Wear:
"The whole head was parted at the centre down to the nape of the neck", another parting was then made across from the each ear so that the hair sat equally divided into four sections. The back two lower pieces of hair are then twisted around one another or plaited up into a bun at the back of the head, the front sections are then plaited. These two plaits are then dropped by the ears round to the back of the head to reconnect and wrap around the bun. The plaits at the side should begin below the ear allowing the front parting of the hair to sit smoothly against the face therefore framing the wearers features. This hairstyle was particularly popular among the young ladies of the home.

Grecian Plait          Cable Plait           Basket Plait 

Within this time period there were three types of plait in particular that proved most popular for creating more ornate styling than than of the traditional plait. At this stage the hair was also heavily decorated with flowers and silk fabrics to add elaborate feats. The use of gold ribbon and flowers was most popular with the most fashionable of flowers being the lily, adorned with pearls. Below are three examples of the most popular decorative plaits within early Victorian society:
Grecian Plait - This is essentially a basic fishtail plait, the hair was divided into two equal thin sections of hair, smaller outer sections were then taken from the outside edges and crossed over alternately to create a smooth, even braid resembling the tail bone of a fish.
Cable Plait - Three larger pieces of hair of equal sizing are taken, the left strand is then taken under the centre and back over to its original placing. The right side strand is then repeated on the alternative side ensuring the middle strand stays straight the whole time.
Basket Plait - Taking four sections of hair, weave the first lefthand pice over, under and then per the other three pieces of hair. Support strand as a new right hand piece. Taking the new left piece repeat the whole precess again until the braid is formed down the whole length of the hair.

Image scanned from Book Ref
"Fashions in Hair"

Styles of the Evening Attire
Throughout the Victorian period it became popular for attire to change throughout the day in accordance to meals and company. This is particularly true for the evening attire of ladies who would create elaborate hairstyles for the purpose of being the most fashionable and beautiful guest to the dinner. As it was not commonly place for ladies to cut their hair during their lives it allowed them to create incredibly long plaits and ringlets that could support a great deal of elaborate head decoration including feathers, flowers and a number of highly ornate hair extension pieces and jewellery. The below explained hairstyle is one of the more commonplace styles of the early Victorian ladies style for evening attire. Infront of the ears on each side of the head were roughly three ringlets on average, each of considerable length often falling to the shoulders or below the chin. Behind these would sit a number of smaller ringlets all positioned to fall behind the ear. The back of the hair was then divided into 5 sections. The centre piece being the longest is then twisted up to create the support for the rest of the hair which is then twisted up into  rounded bun called a rouleaux. The hair is then pinned and adorned with feathers and jewellery.

See images O & P for reference.