Monday, April 14, 2014

Jazz Age - Fashion / Makeup - from your Dramaturg

1920s Makeup and Fashion
by Constance Semponis


The fashion of the 1920s may very well have been the biggest fashion statement in world history. Until then, women always wore their hair long with corsets and skirts that never showed their feet (that was considered risqué). Men always had spiffy ties and coats with well fitted trousers. That all changed once 1920 came along and rebellion of the Victorian era was high. Woman cut their hair almost as short as the men’s, lost the corset and not only cut those skirts above the knees, but lowered the neckline and lost the sleeves. 

Prior to the 1920s the Victorian women wore makeup that merely covered their skin, with possibly some rouge and a bit of lipstick. Later on in this very era this style would change drastically and eventually lead to the bright and heavy colors of the Flappers with the woman we now call the Gibson Girl. 

Today the Gibson Girl is a staple in historical fashion. She is considered high class, adorable, and very much like a girl next door would be in the 1900s. She’s very sweet looking and welcoming, so it’s no wonder that Disneyland has an ice cream parlor dedicated to her. However, this is a very modern view of this lovely lady. When Charles Dana Gibson first drew her, she was not considered a lady at all! Back in the 1900s older generations despised these sketches that had the younger generations excited. Her makeup very heavy for the time (check out those eyes) and she wore revealing bathing suits and dresses that showed off her perfect curves. Her hair didn’t make anything better. It was seen as lazy and too relaxed for a lady of the day. But this relaxed style caught the eyes of the public, who started copying it to the point were there was nothing the older generations could do about it. 
But the Gibson girl was only a glance at what was to come not much later with the Flapper. She took the Gibson girl’s style and exceeded it. All of a sudden not only her clothes, but her makeup was essential to this rebelliousness. Eyes were now heavy with mascara and darkened deeper with eyeliner while lips were dark red almost to a purple. With how much heavier makeup was getting, the application now became very important. 

“Lipstick, the favorite product of the 1920s, was first applied with the fingers, using two fingers for the upper lip and one for the lower, creating a pursed, full effect. Gradually, application of what in France was known as raisin was perfected and the style called for the outer corners of the lips to be covered, using brushes or pencils,” (Castelbajac, 36)

In her book, The Face of the Century: 100 Years of Makeup and Style, Kate De Castelbajac continues to describe some very fascinating ways that makeup was applied in the 1920s. Now the most basic form of makeup to us, foundation and powder took quite some work to get correct back then. “Powder was applied over a cold cream base with a hoop of feathers or lamb’s wool, or it was used with a puff, moistened and applied wet to form a paste that was thicker than powder. As early as 1921, matching the correct shade of makeup to hair and facial coloring was popular.” (Castelbajac, 36)

Of course, we can’t forget about the rouge. “Rouge became available in various forms: cream, powder, liquid, and rouge papers.” (Castelbajac, 36) She then explains that rouge became as popular as lipstick, most of which had one color that went with any skin tone. But some companies, such as Trejur and Bourjois, made various colors. One company called Healthglow even had a color known as the “color of rich glowing blood.” 

Makeup was on the rise, but one product that would go to change the course of cosmetic history arrived in 1925. It is known as nail polish. According to Castelbajac, nail polish itself was commercialized in 1917, but the first liquid form that had pigment was introduced in the 1920s (Fun Fact: the first color produced for nail polish was bright pink and only applied to the middle of the nail). The popularity of manicures boomed while products such as polishes, cakes, powders, and even orange cuticle remover were all just basic products used during these manicures. No true Flapper went without one!
With makeup there was much style that had to accent it. One such style was women’s hats, known as the Cloche. They were short and shaped to the head so that her short hair could still be shown. Even though the hair was cut short, that didn’t mean that women stopped spending time styling it. In fact, they would spend ours at home and at the beauty parlor finger-waving it and getting permanents for that lovely curl. Straight hair was most unfashionable. 

Although the men were not as ostentatious as the women, their style still made a big mark in men’s fashion. Bootleggers and gangsters style had become extremely popular with expensive suits, hats, and what we now know as Bling. They had rings, watches, and belts that were encrusted with jewels such as diamonds, rubies, and sapphires among the golden chains. Another popular item among the younger men was  the Oxford pants. These pants were often too long and too wide for the legs, which may look ridiculous now but were quite wild back then. 



The fashion of the 1920s arguably set the scale for the rest of the Twentieth and Twenty-First centuries. The Gibson Girl was the inspiration for what would later become the wild and party-loving Flapper, going from a period of high collars, corsets, and extremely long skirts to one of low necklines, no corsets, and very short skirts. Makeup would become even more popular and change the way women looked and regarded themselves. Even the men’s fashion would change to one of ultra conservative to the more outlandish gangster style. Fashion was at it’s peak along beauty products and the love for showing off what had been restrained for so many years.

Monday, April 7, 2014

Welcome


Once, during Prohibition, I was forced to live for days on nothing but food and water.
W.C. Fields  

And so begins our work on 12th Night, the season opener at the Kingsmen Shakespeare Festival.  As you may have heard, we'll be setting our production in the late 1920's in a country that - curiously enough like our own - had declared prohibition on the manufacture, storage, and sale of alcoholic beverages.  At the top of the list of reasons for this staging choice would be the potential it creates for the music, mostly performed by our clown, Feste.  This allows him to be a kind of vaudeville performer, a professional crooning comic, wise to the ways of show business.  Additionally, this time period - nearing the end of prohibition - enables us to frame Malvolio as a "dry", in direct opposition to the "wet" Sir Toby.  Their quarrel takes on a rivalry rooted in politics and religion - what better things are there to fight about?



As with previous "high concept" productions, we need to be careful about assuming the play is set in the United States; obviously, it 'aint.   Doing that would require too much manipulation of the script, and making some changes that we don't really want to make.  Illyria is a strange place to Viola, and one that she spends some time getting to know.  So to will our audience will spend time discovering the similarities and differences between the land of Duke Orsino and the land of (someone like) William Hale Thompson, the mayor of Chicago in 1928.  Here's a difference:  Probably unlike Orsino, Thompson had a wicked sense of humor.  He once coordinated and participated in a live debate between himself and two caged rats, which he referred to by his opponent's names.  Politics is less fun nowadays.

We are aided by the exemplary and thorough work of our Dramaturg, Constance Semponis, who fills my inbox with fantastic pictures from, descriptions of, and commentary on life in the latter part of the 1920's.  I know that - much like Bourbon - there are all different types of Actors, each with their own style of preparation.  For those of you who like a lot of research, this blog is for you, and I'll keep it updated with images and text that might be helpful.  For those of you who don't care much for this type of help, Constance and I won't be offended in the least if you don't look at any pictures.

The blog will also be a way to stay in contact with you through the month of May as the cut script gets finalized, music gets composed, fight weaponry get decided, and my boys - ages 6 and 4 - do something adorable that warrants me to share a picture.  You should also feel free to contact me:  kevinpkern@gmail.com with questions, comments, suggestions, or even if you just feel like talking about the show.

12th Night holds a special place for me, and I am thrilled to be coming back to Kingsmen to direct this production.  Working in close quarters on a shortened schedule with professionals is always thrilling to me, and I am particularly excited to tell this story with all of you.

With all best wishes for a restful spring!

Kevin