MODULE-3-DRESSING-THE-WEDDING-PARTY.Pdf

MODULE: 3

42 | P a g e DRESSING THE WEDDING PARTY

3.1. For the bride:

 The dress - Choosing the right dress  Video tutorial -Choosing a wedding dress to suit the bride's figure  Accesories  Video tutorial -The bride's bouquet 3.2. For the groom:

 Suit and accessories.  Dressing the groom - Body shapes  Video tutorial - The choice of wedding suit  Video tutorial - Make up for the groom 3.3. For the bridesmaids, best man, flower girls and page boys

3.4. Other things to consider when dressing the bridal party

3.5. Make up

 General tips  Foundation  Eyes  Video tutorial - How to apply false eyelashes  Video tutorial - How to remove false eyelashes  Eyebrow make up  Video tutorial - Eyebrow make up  Cheeks  Lips

43 | P a g e

 Video tutorial - Wedding make up  Video tutorial - Nude bridal make up  Video tutorial - Vintage bridal make up  Video tutorial - Make up for the mothers of the bride and the groom  Video tutorial - Make up for guests - Evening Wedding  Video tutorial - Wedding Make up for younger guests  Video tutorial - Home beauty tips 3.6. Hair colour and style

 Shades to enhance skin types  Which shape/style of hair suits which face shape  Video tutorial - Hair style for a bride 3.7. Nail care

 Video tutorial - Manicure  Video tutorial - Pedicure

44 | P a g e

3.1 Choice of the bride’s dress The bride’s dress is the central attraction at any wedding. The choice is a big one for any bride and her taste and style will determine the choice but, as the wedding planner, you can help advise her. A priority is whether the wedding is formal or informal, or if there’s another dress protocol to take into consideration. The time of year and whether it’s a morning or afternoon occasion also matters. If budget allows it may be useful to employ a personal shopper to pick out the most suitable choices.

Some guidelines: If the bride has broad shoulders you should avoid strapless dresses as they further accentuate the shoulders and can make the bride look masculine. The shoulders should always be covered for religious weddings, so if the dress choice leaves shoulders bare you’ll need to choose a jacket or shawl to cover them for the church. If, instead, you need to disguise the hips, don’t choose a dress that puts much volume in this area but one that falls limply. Tulle and bulky fabrics accentuate the hips. Fabrics that are often used are lace, tulle, silk, organza, wild silk and satin. Shades of white, ivory and cream are most commonly chosen. Hemlines are mostly full length, though some choose shorter. For night time weddings, the fabric is usually more stiff and formal and more soft and flowing for daytime.

The above guidelines would be typical for religious weddings of the Christian faiths. Weddings of other faiths usually have their own traditional or ethnic costumes. In civil weddings, the bride and groom feel freer to choose stylish clothes they may wear again and not feel restricted to the typical garments worn for a church wedding.

Choosing the right dress for the body shape: There are several body types, we'll go through the following in this section; inverted triangle shape, hourglass, oval, rectangular and triangular body shapes.

Keep these body shapes in mind when advising the bride on what wedding dress to choose.

45 | P a g e

CHOOSING A WEDDING DRESS TO SUIT THE BRIDE’S FIGURE Instructions  To choose the bride’s dress, take into account many factors, like the type of ceremony, the place the celebration will take place, the time and the season.  But, the most important consideration is that the dress helps the bride to look her absolute best. It must suit her figure, her height and her personality.  A figure hugging dress is a good choice to accentuate a curvy figure, since it follows the body contours. These dresses are usually fitted to the knee and then open out and widen. It’s an ideal shape for hourglass figures or rectangular shaped figures, but not recommended for women of small stature.  The Princess style of dress is the most sought after because it suits many body types. It hides the hips and tummy area and also balances a figure with very broad shoulders.  The empire style of dress is also very flattering for different figures and body shapes. It has an elegant Roman feel and is characterised by the seam just below the bust. From the waist down the skirt falls limply and is very graceful. It’s a good choice if the bride is pregnant.  The most spectacular of all is the Cinderella style of dress. The top is a tight fitting bodice which joins a spectacular, full skirt. It is highly recommended for women with a defined waist and wide hips, as it disguises the area of the hips and legs. It also looks well on women with broad shoulders but is not recommended for petite figures as it has the effect of shortening the figure.  Once the dress has been chosen, the accessories can be matched to this. Whether you chose a traditional headdress or a veil, it should follow the style and tone of the dress.  Shoes must also compliment the dress and accessories. It’s important to ensure they are comfortable as the bride will be on her feet for much of the day. New shoes may need to be worn indoors a few times to make sure there is no discomfort on the wedding day.

46 | P a g e

INVERTED TRIANGLE SHAPE In this shape, the shoulders are wider than the hips and sometimes the bust is also large. Therefore, the aim is to try to minimise the upper torso and create more curves and volume around the hips in order to bring more proportion.

 Avoid shoulder pads and dresses with prominent shoulders.  Choose V shaped necklines, preferably a narrow V.  Avoid wrap style or overlapped at the top.  Don’t wear short necklaces unless you’re slim and your neck is long.  Avoid dresses that bring attention to the shoulders and avoid narrow and halter straps.  Any jackets should be hip rather than waist length.  Define hips with a dress the nips at the waste

47 | P a g e

HOURGLASS SHAPE The hourglass shape has shoulder width in the same proportion to hips and a defined waist. Brides with this shape can wear most styles. Make the most this shape by emphasising the waist and suggest figure hugging clothes. Lingerie is important for this body shape to create smooth curves. The styles of the 40s 50s and 60s are ideal for this body shape. Avoid dresses that make your hips look wider.

48 | P a g e

OVAL SHAPE The oval body shape is characterised by being rounded in the central area, particularly the stomach region. The goal when dressing this shape is to hide the tummy and create a more slender, streamlined outline using the correct clothes and accessories.

 If the bride is wearing a jacket make sure it doesn't squeeze the torso.  There may or may not be a defined waist but it’s better to stick to straight lines.  Low V necklines are slimming for this body type  Look for empire line dresses (pulled in below the bust).  Wear heels to give height..  Accessories should be in proportion with this body type.

49 | P a g e

RECTANGULAR SHAPE

In this body shape, the torso is small and waist not so defined. The bust and buttocks also tend to be small. The most important thing to remember when dressing this shape is to create curves with the dress and accessories.

 Choose appropriate underwear to do their part in creating curves.  Look for a dress with a defined waist in the correct size.  Suggest soft, feminine lines  Add big, round accessories  Avoid dresses that have square necks and instead search for rounded or V shaped necklines.

50 | P a g e

TRIANGULAR SHAPE This body shape has narrow shoulders and hips that are wider. The goal is to hide the hip area and draw attention instead to the face.

 Suggest a dress with detail which draws the attention upwards.  If wearing a jacket is should be structured, defining the torso.  Any accessories that attract attention to the upper part of the body and the face are good –  Avoid a dress where the bottom half is skin tight– they make the hips look bigger.  Choose a dress with an A line shape at the bottom Knowing the body type of the bride will help you give the best advice when helping with the wedding dress.

51 | P a g e

Post Wedding Outfits Many brides now opt to wear a different dress or outfit after the banquet. She may be tired of the tedious weight and discomfort posed by some dresses, or may be a fashionista and while she has the spotlight for the day, want to show herself off in another glamorous outfit! It has been a tradition in many countries for the bride and groom to change into a different outfit to leave the guests and start their honeymoon. Now this is changing into an opportunity to wear a second wedding dress, showcase more fashion or wear something more appropriate for a night time party. It is also becoming more popular for the bride and groom to have a day after party. You can help the bride choose the right outfit for this occasion, while keeping in mind the tips for dressing the various body shapes you should also take into consideration the next section on colour analysis, when helping the bride pick out their post wedding outfits.

Colour analysis

Colour analysis is very important when considering the post wedding outfit or indeed when helping to choose the bridesmaids dresses. Colour analysis is used to determine what colours and tones best suit your clients according to their hair colour and skin tones.

Using these tones as your guide, you’ll see how the same shades of colour don’t work for everyone. Each colour has its warm and cool shades (winter/summer), depending on the depth of blue or red in

52 | P a g e

the composition and how they look. It may be the case for example, that a client will feel good in red,

but will only suit the cool tones.

On the colour wheel you can see the primary colours - blue, red and yellow, the section with a range of colours created from different combinations of the primary colours and finally, the tertiary colours which are a mixture of the previous two groups.

To use the colour wheel to create successful looks for your clients it’s helpful to distinguish two types of combinations:

 Supplementary colours – these are placed next to each other on the colour wheel and allow you to create very harmonious styling.  Complimentary colours – these are placed opposite each other on the wheel and allow you to create perfectly matching, dramatic looks. Colour is a powerful means of communication. Different shades can convey a variety of feelings and even arouse feelings or moods. They are associated with collective thoughts and ideas and each culture recognises colours in a particular way. Certain colours can signify a special occasion for the person wearing them. Depending on the hue, tone, brightness, colour purity and where it is worn, each chosen colour sends a subliminal message to the person wearing it. It also gives a message to people the wearer interacts with.

The upper body, from the waist up, is primarily concerned with the emotional body – our needs and wants. Garments worn here represent these aspects of people – blouses, shirts, sweatshirts, vests, scarfs etc.,.

The lower body, from the waist down, conveys information about the material and physical energy of the wearer -their strength when defending a position. Trousers and skirts represent these aspects.

Application of colours Determining your client's skin tone takes a little more work. You need to see her face without make up when it has been cleansed. It’s important that the light is natural.

53 | P a g e

See if the skin tends to look yellow, green or gold. If this is the case, it is a warm skin tone. If, instead, it tends towards pink, red or white, it is a cool tone. Another way to check is to see which blends better – gold goes with warm skin tones and silver goes with cool tones.

Once you’ve determined the skin tone you’ve made substantial progress towards excellent styling. Cool tones fall into winter or summer colour palettes, warm tones fall into the spring or autumn colour palettes. Next, we’ll go through the details of each colour palette.

Winter

Winter colour palette If your clients skin is either pale as porcelain or an olive colour, the tone of her face will be pink or blue. ‘Winter’ clients often have dark hair and eyes. Asian people fall into this group, although some Scandinavians with blond or almost white hair also can.

The colours that work best with this type of skin tone are intense, rich colours such as black, navy, red and pink. White or light yellow can also work. Beige, orange or gold should be avoided.

Summer

54 | P a g e

Summer colour palette As winter clients usually have dark hair, summer clients usually have blonde or light brown hair and blue eyes. Pale yellows, purples and mauves and pastel shades are the most suitable colours for these clients. In general, earth tones also work well. Orange doesn’t suit this skin type.

Autumn

Autumn colour Palette Autumn is a warm palette and these clients will have a golden skin tone. Many redheads and brunettes with brown eyes fall into this group. Some clients with golden skin tones can also have black or blonde hair. Earth tones usually work well, like caramel, beige, khaki, orange, gold and dark brown. Avoid black or white which will make these clients look tired. Avoid pastels too, they don’t flatter this tone.

Spring

Spring colour palette Clients with a spring skin tone will have creamy, white or peach skin - very light shades. They can have golden blonde, auburn or strawberry blonde hair. Their eyes will usually be blue or green. Freckles and rosy cheeks are typical of this group. The difference between autumn and spring

55 | P a g e groups is often the eye colour, spring clients have lighter eye colours. The most suitable colours are soft, like peach, golden yellow, golden brown, ivory, green and light blue. Some reds will also look great. Avoid dark and muted tones, like dark gray or black.

The Meaning of Colours Next, we’ll look at the meaning of colours which is very important as it can help identify which colours suit clients. The mood or message they want to project will greatly influence your choice.

Outer garments show what you want to convey. Underwear represents the clients more personal and intimate side.

RED The colour red is enigmatic and attracts attention. Those who dress in red on the upper body give the impression of boldness, a willingness to be adventurous and seek stimulating experiences. A person wearing red may be spontaneous, be sure of what he/she wants, and act on impulse without much forethought. Dark red gives a feeling of strength and personal power. When red is worn in underwear, it signifies a free and passionate sexuality.

ORANGE The colour orange brings energy and joy. It’s the perfect colour for holidays and therefore doesn’t work well in business environments where reliability and responsibility are essential. The person who wears it can be easily influenced. It can represent a time of change, transition and renewal of ideas. In underwear, it represents the release of sexual tension.

YELLOW People who wear yellow communicate a positive disposition and perspective to life, psychological freedom. It can mean the wearer is predominantly intellectual. In underwear, it represents personal relationships in which the emotional and sexual energies are guided primarily by the mind, the thoughts.

GREEN Green is a classic colour. If it’s dark, it speaks of a quiet, reserved or distinguished person of refined tastes. If it’s a bright or light green and worn on the upper body, the wearer may be going through a period of healing when there is a need to take time and rest. In underwear, it indicates that there is a need for healing - emotional, physical or especially sexual.

LAVENDER or PURPLE Purple and shades of purple are associated with luxury and sophistication and also intuition and spirituality. When you need to make a decision, try painting your nails lavender and see if the answer comes to you!

56 | P a g e

PINK Pink is a feminine, delicate colour, more usually worn by women. It communicates innocence. A woman wearing this colour is likely to be treated delicately by men as it awakens their protective side. As it can be related to young girls, an adult female wearing pink could indicate either emotional immaturity or a dreamer, a romantic.

It can also mean the wearer wants to communicate the desire for a serious relationship. A man who wears pink is connected with his feminine side. In underwear, light pink communicates the desire to connect emotionally and sexually in a delicate way. Stronger pink conveys more passion.

WHITE White dress portrays an energy that’s open and signifies purity and cleanliness. As it can enlarge, people who are overweight tend to avoid it. In lingerie it’s a common colour and shows the wearer just as she is.

BLACK Black represents the night, the mysterious, the hidden. It’s not a colour in itself, but the absence of light. Dressing in black may indicate that the wearer doesn’t want to connect with others, may feel alone or doesn’t see a way to communicate. In outerwear it reduces body size and helps the wearer look thinner so is often used by those who want to sculpt their figure.

In some cases it can indicate isolation, loneliness or depression. In lingerie, it may signal a lack of confidence in the ability to relate to others or a secret wish to be someone else.

GRAY Gray is an inconspicuous colour but can signify stability and success and inspire creativity. It allows all colours around it to take on their full characteristics without affecting them. It expresses elegance, respect, grief, the past or old age. Overuse could lead to uncertainty, discouragement, boredom or depression.

VIOLET Dressing in violet represents altruism, a view of life guided by the mystical or religious, especially the more purple tones. It is also a sexless colour, preferred by children, the elderly, pregnant women and people who decide not to engage in a sex life.

It communicates a disconnection from the material. It’s not advised for people who suffer from depression as it isolates and activates the imagination. In lingerie, it can represent an idealised image of people or fantasies that are not met in the material.

57 | P a g e

Accessories The Veil A veil is a tradition for church weddings. It’s often made from lace or soft tulle. It can be long or short, depending on the style of dress. Despite the tradition, many brides avoid veils and choose floral headdresses which are more comfortable to wear and are very current. A crown of small flowers matching the bouquet is a common choice.

Jewellery Many brides opt for pearls and it’s also very common for brides to wear jewellery inherited from ancestors - mothers, grandmothers or great-grandmothers. This is very sentimental and symbolic. It keeps a family tradition and guarantees something special and original.

Brides don’t usually wear a wrist watch, just bracelets and the wedding ring and in some cases also the engagement ring. A pearl necklace, white gold or yellow gold necklace and earrings suit most wedding dresses. Tiaras are also popular as a headdress.

Bridal Lingerie The bridal lingerie should suit the dress. A nude colour will go with cream or pink tones and pastels, depending on the exact shade of the dress. If choosing lace be careful that it doesn’t show through the fabric of the dress itself.

The idea of good lingerie is that the fabrics are soft and comfortable and at the same time elegant and sensual. Most brides will want to add erotic to the list of qualities too for their wedding night and honeymoon. It’s also fashionable to wear a corset as they can be very flattering to the figure and also erotic. Again, watch for how smoothly it fits under the dress and whether it will be comfortable for the whole day.

Footwear Shoes with a medium heel work best for comfort and to wear throughout the ceremony, banquet and celebration. However, current shoe fashions have introduced really high heels, many brides won’t be persuaded out of choosing them. If she does insist they are what she wants, advise her to have a second pair she can change into if they become too uncomfortable, especially when it comes to dancing. Footwear can be covered with the same fabric as the dress, which can be really useful for coordination, or made in leather to match. Some brides choose laced boots which are generally very comfortable.

Gloves

58 | P a g e

Gloves are not necessary or a particular tradition, but if you do suggest wearing them they are usually of lace, cotton, silk or nylon. There are many forms and models to choose from to suit different dresses.

The Bouquet

The bride's bouquet is another very visible essential on the day of the wedding. The choice must be correct and consistent with the bride, her height and size, and the shade of the dress, accessories and bridesmaids. If a bride is not tall it shouldn’t be a bulky bouquet, this could make her look shorter.

Bouquets are becoming more original and different, often being made with decorative motifs added to the flowers or in more unusual shapes. If the bride wants a particular flower bouquet, with greenhouses that grow flowers year round, every choice should be available.

59 | P a g e

Another thing to keep in mind is whether the bouquet should be round or cascade. A small round one will be more comfortable to hold. The cascading type could be in danger of staining the dress. The groom’s and groomsmen’s lapel flowers will need to be coordinated with the bride’s and also the bridesmaids’ bouquets. The same flower theme is usually used to decorate wedding cars and the church too.

THE BRIDE'S BOUQUET Trends: Glitter and Glamour Instructions  The bride's bouquet is undoubtedly one of her most important accessories. Current trends are for the bouquet to be a prominent focus. Many are works of art.  A combination of white feathers and beads with flowers is perfect for a satin dress.  As the bridal bouquet is held for a long time, a purse or handbag bouquet can be a very comfortable and practical style. As it's visually light, it may be a good choice for brides who are of larger build.  For brides who want a romantic or vintage look, another handbag style of bouquet is to combine ribbons in three colours with flowers in the same colours. .  Another trend is for cascading bouquets. These make a bold statement. A wire sculpture is used to create the shape and then filled with flowers and feathers. It's important to make sure all pieces of wire are securely tucked in so they don't catch on the bride's dress.

60 | P a g e

 The fan shape of bouquet works well with fitted dresses. These arrangements are usually created with a structure of palm leaves with beads at the tips. The tones of these flowers especially suit brown skin.  This delicate jewelled bouquet with bright gold and silver chains is light and appropriate for a bride of small build or to wear with a princess or empire style dress.

3.2 For the Groom Groom's Suit There are variations to the groom's choice of suit but not as varied and creative as the bride’s outfit can be. The choice could be a tail coat, a smoking jacket, something elegant or classic or, most commonly, a tuxedo. It will depend on the dress protocol for the wedding and how formal or not it is.

Suit The fabric of a non-standard suit will depend on the season and temperature. In cold weather, wool, flannel or thick fabric is good. In warm, linen or cotton will keep him cool so he can look poised and elegant

The men’s colours are almost always dark which looks very elegant. They can also be gray or blue. A smaller number of men choose paler suits - cream or beige - which can also look very sophisticated, especially in a hot climate.

To accessorise the suit, choose a tie that matches the suit and shirt. More and more men are choosing to wear waistcoats which can look very youthful and compliment a bride who is original. To

61 | P a g e finish off, a classic watch, gold cuff links or other precious metal and sometimes a tie pin can compliment and add flair. A belt should always be almost invisible i.e. a dark colour like the trousers and with a buckle as unobtrusive as possible. Shoes are usually oxford style, laced and worn with dark socks in linen, silk or wool.

Shirt The standard wedding shirt is white with a starched collar and a double cuff to allow for cufflinks. A plain shirt allows more scope for accessories.

Tie The most classic is a silk cravat type tie in grey or cream and knotted, though this option is more ceremonious and now people are being more original. A classic shaped tie is also common as is a bow tie.

Vest or Waistcoat The vest is a garment that has changed and you can now choose some daring designs to add style. They are worn closed and come in pique fabric, ottoman or similar to a winter suit.

Trousers Trousers are usually black or gray with black vertical stripes, depending on the colour of the tuxedo. The fabric is the same as the jacket, wool in cold, winter weather or cotton/linen in summer. The cut may vary, with or without tucks in the front.

Socks of Scottish yarn, shoe laces and patent leather gloves for this style are seldom used now but if they are they would be pearl gray. Hats are also rarely used but when worn, they are black or gray.

Like women, men also have different shapes that vary according to genes. As men have less curves, there are less variations in body type but it is still important to know them and dress each client accordingly.

In general, the aim when styling a male client is to portray strength and security with a well defined body. The silhouette is evaluated from the shoulders to the hips, leaving aside the waist.

Dressing the groom - body shapes CIRCULAR BODY If your client has sagging shoulders, love handles on the torso and the body outline lacks straight lines, it falls into the circular body shape. Your objective is to create an illusion of straight lines in the silhouette using clothing – helping the shoulders look straight and disguising the core area.

To achieve this, here are some points to consider when choosing garments:

62 | P a g e

 Clothes should flatter this body shape.  Avoid any details that create volume in the central area of the body – bright colours, prints, closed jackets and waistcoats.  Ensure that jackets and shirts have straight lines on the shoulders or details such as studs or designs that add volume.  Jackets should cover the buttocks and end just where they end.  Avoid high-waisted trousers and styles that are drooping as you don’t want to draw attention to the waist.  Also, avoid volume in the central area of the body and side pockets.  Use monochromatic combinations (a single colour in various shades).  Ensure the fabrics in the garments you choose are as smooth as possible.  Avoid anything bulky like knitted sweaters.  Search for straight lines in all garments you choose for this client's wardrobe.  Trousers should be regular fit or straight fit. Completely avoid slim fit and skinny jeans. RECTANGULAR BODY A rectangular shaped body is one in which there is no difference between the width of the shoulders and the hips. Your objective in dressing a client with a rectangular shape is to identify clothes that highlight this masculine shape.

 Choose tailored shirts.  Garments should have the same ratio in the shoulders and the hips.  You can use layers freely as this body shape can take volume.  If your client is slim, don’t use a monochrome look but if his shape is wide, do so.  Prints can work well with this shape.  Choose slim fit trousers that follow the shape of the body.

TRIANGULAR SHAPE This shape is characterised by small shoulders and most of the weight is in the hip area. Your goal in balancing this body shape is to give volume to the shoulder area and avoid adding to the hip area.

 Shirts must have a straight cut in the shoulder area. Details that give shoulder volume are suitable.  Choose shirts with pockets on the chest area.  Avoid any volume in the hip area like side pockets. Ideally clients with this shape should wear totally smooth trousers without pockets.  Never choose baggy styles.  The colours of jackets and trousers should not contrast. You should choose the same colour or different shades of the same colour range.  Jackets should cover the hip area.

63 | P a g e

INVERTED TRIANGLE SHAPE Clients with this shape have large shoulders and a narrow waist. It’s a shape typical of body builders and swimmers. Your objective in styling this type of client is to avoid any extra volume in the shoulder area and give volume to the hip area.

 Search for items with volume around the hip area.  Use double breasted jackets.  Choose jackets with pockets low down.  Avoid horizontal colours on the shoulders and chest or any detail that draws attention to this area.  Don’t choose ties with many colours.  Contrast jackets and trousers.  Shirts can be worn outside trousers.  For this shape, in general, choose jackets and shirts that add volume around the hips.

THE CHOICE OF WEDDING SUIT Instructions To choose the groom's suit, you must take into account several factors:  The type of ceremony, the season and the time of the celebration.  Another aspect that you need to pay attention to is the bride’s dress. According to tradition, the groom must not see the dress before the wedding. The advantage to employing a wedding planner is that she/he can see both outfits and make sure they harmonise.  For a classic celebration, choose a tuxedo. This consists of:  A black jacket, a white shirt with a double cuff suitable for cufflinks, a vest or waistcoat and gray or black trousers with vertical stripes.  A cravat can be worn instead of a tie. It’s much wider than a tie and the knot is bigger and longer. Another choice is a bow tie.  According to protocol, when the groom wears a tuxedo, the fathers of the couple and the groomsmen should also wear tuxedos.  A morning suit is the most suitable for civil weddings and daytime ceremonies. It’s simple and more casual. This kind of suit can have tails or not.  The colours black, dark blue and gray are the most usually chosen.  To give a touch of colour suits can be combined with a gray vest or waistcoat and a tie in vibrant colours.  The groom's shoes, no matter what type of suit is chosen, as a rule, are a classic black, laced and plain.

64 | P a g e

Make up for the groom Instructions  Concealer  Foundation – liquid or powder  Hairspray  Lip moisturiser  With the skin well cleaned and hydrated, start to cover dark circles with the concealer and a synthetic brush. Dab the concealer with your fingers to blend well.  If there are any areas of redness or pimples, cover these with green concealer and a synthetic brush.  Foundation can be liquid or powder and very similar to the groom’s skin tone. Apply a thin layer with a makeup brush. Be careful to avoid leaving a line of colour around the line of the beard, sideburns and eyebrows.  Apply translucent powder with a powder puff, so that the skin doesn’t shine in photos.  Comb the eyebrows, sideburns and beard. In this way you remove any dust that may have fallen in these areas.  Spray with a little lacquer.  Finally, moisturise the lips with a cream that’s not too bright, using a lip brush.

3.3 The Maid of Honour or Bridemaid's Dress(es) The Maid of Honour or Bridesmaids dresses should be special but never outdo the main character which is the bride. It’s important that they don’t wear white or ivory, or colours that compete with the bride. Besides that, the attire should be more simple than the bride's, and not use the same fabrics as the bride. Take into account size, age, height and figure when choosing an outfit.

Dress All females in the wedding party usually dress to harmonise with each other. Outfits are usually light or pastel shades of blue, green, ivory, pink or a similar colour. The length is never above the knee – either cocktail length, two fingers below the knee or full length. Current trends are for very simple, elegant lines.

Hats It’s a personal choice whether to include hats in the outfits. Some brides choose to wear a light, wide brimmed hat, others smaller types of hat and some choose headdresses.

Bouquet The bridesmaids usually carry a small flower bouquet in their hands which complements their dresses. Of course, this is distinguishable from the bride’s.

Shoes

65 | P a g e

Medium-high heel with a classic design like a court shoe is the most common and suitable choice for bridesmaids. The time of year the ceremony will be decisive in the type of footwear to choose from.

The best man The best man usually dresses to suit the groom. There is some scope to differentiate in small details from the groom and groomsmen

Flower girls and page boys Certain wedding customs change and modernise, but most people tend to follow a classic look and one way of seeing this is in the pageboys and flower girls outfits. The children’s costumes should fit the look of the rest of the wedding party. So, if that’s a more modern look then a traditional children’s costume theme probably won’t look right, or vise versa. The best option is to leave this choice until the other outfits in the party have been chosen and then choose a theme that matches. Summer colours should be light or pastel shades. The fabric is usually cotton, silk or linen. If the wedding is in autumn-winter, then velvet or fine wool in stronger colours like maroon, green, blue or brown can look wonderful. Shoes are usually closed for autumn-winter, and more open or possibly sandals for summer. For flower girls you can use more accessories, such as ribbons, bows, or flowers in their hair. For both boys and girls, a sash at the waist is very fetching. It is a feature that is rarely used in Spanish ceremonies, more so in Anglo-Saxon custom. But increasingly, style is becoming international.

3.4 Other things to consider when dressing the bridal party: In European weddings, it is customary for the guests to wear short hemlines, so the sponsor must wear a short length or cocktail dress. In America, for example, when guests wear a cocktail length, the godmother can wear a full length dress. Accessories look best neutral so the dress is prominent.

If the wedding is in a cold season it would be ok to wear a coat of the same fabric, a shawl, stole or pashmina. The handbag should tone with the suit, for example in satin fabric with sequins or rhinestones. The shoes shouldn’t be too high and are often covered with the same fabric as the dress. The use of sheer stockings always flatters and styles.

Hats suit shorter length dresses but not full length. To look elegant, the hat shouldn’t be wider than the shoulders. Traditionally, if a hat is worn, it’s kept on during the meal. If you use a hat it’s best not to use a shawl or pashmina and allow shoulders to be bare.

A comb and mantilla in ecru is traditional for a godmother who is single and black for married or widowed women. One-piece suits with long or French sleeves suit married or widowed women and hair is usually gathered under the hat or mantilla.

For an evening wedding with dinner, guests usually wear long dresses, short only when dinner is held outdoors and the occasion suits cocktail wear. The fabrics satin, taffeta, organza or with 66 | P a g e rhinestones are rich and ornamental and distinguish evening occasions from morning ones. Handbags and purses should be small, jewelled or embroidered. Sandals or high-heeled shoes are often ornate.

3.5 Make Up - General tips Plan a make over, not a fake over When planning your make up for your wedding day, plan to enhance your looks, not to show up as someone your husband-to-be doesn’t recognise. Changes that are too drastic, like a tan that’s too dark or a dramatic change of hair colour rarely work well. It’s much better to carefully experiment beforehand with extra make up techniques that are more special than you usually wear, but that don’t change you too much. He fell in love with the real you, keep yourself real.

Having said that, it is your very special day and you are the centre of attention. Your make up needs to last over a long day and to look perfect in your photos. Do apply more make up than usual. Start with a little and add more gradually. Lights and cameras tend to make you look a little paler; allow for that. It’s a good idea to have your picture taken with make up on beforehand so you see how flash photography reacts with your finish.

Swap current trends for timeless elegance Think about viewing your wedding pictures in 20 years time and be careful to create a look that won’t date too much in pictures. Trends in make up come and go. Try to wear a classic look that’s natural with a little touch of glamour.

Tan in moderation If you feel you need to wear false tan, be moderate. A golden glow beats a Caribbean bronze. If you’re applying a gel/cream tanning lotion or if you’re choosing a professional spray, complete it two days before your wedding day so it has darkened fully and there’s no danger of unwanted staining.

Take steps to avoid disasters If you’re getting married in a warm environment, as much as possible avoid oily make up products and take some blotting sheets to dab off oil in case you start to shine. Have your make up bag at hand to touch up during the day. Lip colour is most likely to need refreshing regularly. So you don’t have to keep running to a mirror, arrange with a bridesmaid or someone who’ll be close by to watch you closely and let you know when any touching up is needed.

Prepare for tears It’s quite likely that you’ll well up or shed a tear at some point throughout the day. Even if you usually avoid it, it’s a good idea to wear waterproof mascara for your wedding day. Keep some Q tips in your make up bag. They’re safer than wipes for cleaning up small imperfections.

67 | P a g e

Foundation  Good preparation is essential to have your skin at its best before applying your foundation. If you’re having facial treatments, don’t plan any close to your big day. Skin reactions are the last thing you need.

68 | P a g e

Be kind to your skin to make sure it’s looking fresh. Coming up to your wedding drink plenty of water, eat lots of fresh fruit and vegetables and avoid sugar and processed food.  Apply your make up in a position where there is very good natural light. If you wear contact lenses, remember to pop them in before you start. Thoroughly cleanse and moisturise your skin and allow moisture to penetrate before applying foundation. Next, apply your magic ingredient - primer. This creates a lovely smooth base for your foundation and gives it staying power for the day.  Match your foundation to your skin tone and check it in both daylight and artificial light. Make sure you have a good quality sponge or brush for applying foundation. With a sponge, use a dabbing rather than a wiping motion for a smoother finish. Make sure you give good coverage to the T zone; the nose and chin areas are most likely to need extra make up. If you’re wearing a low cut dress, think about how your neck and décolleté blend with your face.  If you feel you need concealer, wait until after you apply foundation. If you apply it before you may apply more than you need and look caked. The less you use the better. Finish off with a light dusting of powder, preferably translucent. Subtle use of highlighter on your cheekbones, around the inner corners of eyes and under eyebrows adds a nice special touch, but don’t overdo it.

Eyes  Just like preparing your face for applying foundation, it is also essential to apply primer on your eyes before applying eye make up. It helps powder glide on smoothly, avoid smudging and look well for many hours.  When choosing shades of powder, follow the usual rules; darker shades on the outer contours, lighter towards the inner. Make your eyes look big and beautiful but don’t go for shades that are too dramatic. Subtle, classic colours are more sophisticated, especially for day time. You can transform your eyes using more bold colours when it approaches evening.  To get a crisp look to your eyeliner, a gel works best and lasts longest. If you don’t have a steady enough hand, ask someone who has. Nerves are understandable!  False eyelashes have become such an acceptable addition to make up that they are pretty much an essential on a day as special as your wedding. Again, use restraint and choose classic, discreet ones. If you don’t want to wear a full lash strip you can find individual ones which are subtle. They really do enhance and add to the allure of eye make up.  Before gluing them on, apply mascara to your normal lashes and use an eyelash curler. Once they are glued on and dry, apply more mascara and curl again, lightly squeezing at the root, middle and tips. Make sure false lashes are the correct width – cut if too wide.  To frame your eyes well, pay attention to your eyebrows. Have them nicely shaped - plucked or waxed - at least a couple of days beforehand so any redness has settled down. Use an eyebrow pencil to fill in any gaps or sparse areas and to help them look thicker. Choose a shade slightly lighter than your natural hair colour. Anything darker will look too heavy and dark. If your brows are fair, don’t be tempted to dye them anything but a subtle shade darker.

69 | P a g e

How to apply false eyelashes Instructions  Carefully remove the lashes from the packaging so they don’t break.  Hold the lashes with a tweezers and apply the adhesive all the way along the edge. You have 30 seconds before the glue starts to set.  With one hand, stretch the eyelid to see the natural roots of the lashes.  Next, stick the false eyelash along the natural line of lashes. Use the tweezers to help join the false lashes to the natural ones.  When the glue is dry the eyes can be opened slowly.

How to remove false eyelashes Instructions To remove false eyelashes, you will need:  A bowl with warm water, make up remover sponges, tissues, cotton pads and an oil based or waterproof eye make up remover.  Firstly, wet the sponges in the warm water, squeeze out well and place them on the eyelids to soften the adhesive.  Next, take the eye make up remover and cotton pads.  Place some remover on the cotton pad, start above the eyelid and rub downwards.  Repeat this until you can easily peel away the false eyelash. The sides usually come away first and, gradually, the centre.  Finish by cleansing the entire face as usual.

Eyebrows - Introduction Eyebrows frame our face and have a big effect on facial expression. We’ll take you through how to expertly shape and fill sparse eyebrows using an eyebrow pencil. You’ll also learn how to reshape full eyebrows, correct drooping, short and long eyebrows to create a beautiful, alluring frame for the eyes.

Eyebrows in general The eyebrow has three sections. The body of the brow is from the inner starting point to the highest point. The tail of the eyebrow is the outer part and also the narrowest. The arch of the eyebrow is the highest point and unites the body and tail. Before shaping the eyebrows you can cover stray hairs outside the ideal lines with a white pencil to see how the eyebrows will look once plucked. Eyebrows should frame our eyes; fashionable eyebrow shapes have undergone several changes over time.

 Raised eyebrows create a happy expression. These are the ideal to aim for. If the natural eyebrows are too high, the top hairs can be waxed and the area slightly below the natural line can be filled in to bring the eyebrows closer to the eyes.  Drooping eyebrows can give the appearance of sadness. In these cases, pluck the hairs at the tail and with a pencil, fill in a higher line.

70 | P a g e

 Short eyebrows can easily be lengthened by applying pencil lines to the inside and outside edges.  Long eyebrows can be plucked to bring them into the ideal length according to the guidelines above.  Thick eyebrows can also be plucked to suit the ideal shape described above and to suit the characteristics of the eye.  Thin eyebrows can be augmented by filling in with an eyebrow pencil above and below the eyebrow line, emphasising the brow bone. Corrections for Eyebrows. Before waxing eyebrows, use these guidelines to create the ideal frame for the eyes:

1. Draw an imaginary line from the edge of the nostril to the inner corner of the eye, continuing directly upwards to the eyebrow. This is the ideal starting point of the eyebrow.

2. Draw another imaginary line from the edge of the nostril to the outer edge of the eye, extending to the outer part of the eyebrow. This point is the ideal end.

3. The third line starts at the corner of the lips, runs through the outer side of the iris and up to the eyebrow. This marks the ideal arch point.

Eyebrow Makeup Instructions Proportions of the eyebrows:

 Draw an imaginary line, beginning at the nostril, past the tear duct and continuing upward. This is the ideal point for the eyebrow to begin.  Draw another imaginary line from the corner of the mouth to the outer edge of the iris and upwards. This point marks the ideal arch of the eyebrow.  An imaginary line from the nostril to the outer corner of the eye marks the ideal end of the eyebrow.  Match the eyebrows to the hair tone using eye shadow and a bevelled brush.  There are brands that manufacture specific shadows for eyebrows with stencils that help to shape the brows. When choosing the tone for eyebrow makeup, always use the hair tone as a guide. The result should be as natural as possible.

Cheeks  You can afford to apply more blush than normal on your wedding day. Peachy pink shades suit most skin tones and look classic and beautiful. If you have normal or dry skin, choose a cream blush. If you have oily skin, use a powder. Use a good blush brush. Do a fish face to make the apples of your cheeks stand out and apply blush where you would naturally blush. It should be no lower than your nostrils and no closer to your nose than your pupil.

71 | P a g e

Lips  Your lips will be doing a lot of smiling, kissing, eating and talking. They are also one of the main focuses of attention so need to be perfect. To get them really smooth, try this trick: rest a toothbrush in a glass of ice and then brush your lips to remove dead skin. Apply lip balm to make them extra smooth. Your lip colour will both look better and last longer. Another good trick for long lasting colour is to use a lip pencil over your whole lips and then apply lip gloss.  As with the other elements of your make up, avoid fun shades or passing new trends. Classic, timeless, sophisticated shades will look best both on the day and in your photos.

Wedding make up You need:  Liquid foundation  Concealer  Translucent powder  Eye primer  Black eyeliner  Eye shadow palette  Black mascara  Blusher in various shades to make corrections  Lip liner  Lipstick Instructions:  On clean, moisturised skin, begin to correct the imperfections. Apply concealer on dark circles with a flat, synthetic brush.  On areas of redness and pimples apply green concealer.  Choose a foundation of the same skin tone as the bride and apply with a brush from the centre of the face to the sides, so most product stays in the T zone and you avoid a mask effect on the contour of face.  Set the foundation with translucent powder, which doesn’t add colour, but mattifies and avoids glare on photos and videos.  Apply eye primer on the eyelids. This product smoothes the wrinkles on the eyelid, making it easier to apply shadow. More importantly, it ensures that the shadow remains bright and long lasting so the bride’s make up can look perfect throughout the day.  Outline the eyes with black pencil. Draw a thin line on the upper lid, and on the bottom lid, draw a line only on the outside of the lashes, from the centre to the outside edge of the eye.  Draw a V shape on the end of the eyes. Draw first on one eye and then the other and compare to make sure they are the same. Rectify if necessary until the result is uniform.  Blur out the two lines with a flat bevelled brush.

72 | P a g e

 Choose a brown shade, and apply with an angled brush just above the line of the pencil, giving depth to the roots of the lashes.  With a synthetic brush, blend the shadow towards the temples.  Highlight with shades of the same tone, but that have a shiny finish. Use brown and nude with a sable brush.  Apply black mascara. You can also use false eyelashes, depending on the look the bride wants.  Choose a shade of blusher that most flatters the bride, that’s in keeping with the tone of the lips and even the bouquet. Use a round brush.  Subtly mark the line of the cheekbone with darker blusher and a straight brush.  Profile the lips well, starting at the centre and moving towards the corners.  Blur out the profiler with a lip brush.  Lighten the centre of the lips with a highlighter or concealer.  Lipstick should be matte or shimmery, but avoid gloss.  With a large brush and compact powder, unify the colour of the face and neck.

Nude Bridal Make Up Instructions  To begin, the skin needs to be well hydrated.  Choose a beige concealer to cover dark circles.  Use green concealer for redness, pimples and irritations.  Apply a very smooth and moisturising foundation, close to the tone of the skin, with a foundation brush. Work from the centre of the face to the sides so you apply more product in the T-zone, less on the sides and avoid a mask effect.  With a powder puff and translucent loose powder, set the base on the face and eye lids. To create this look, don’t add colour, but mystify and avoid the appearance of brightness in combination and oily skin.  Take a natural hair brush and a very neutral shade eye shadow. Draw a curved line in the crease of the eye socket and blend towards the rim.  Next, make up the lashes with a very fluid mascara, making sure that no eye lashes are caked or lumpy. For blondes and red heads, use a brown shade. It looks more natural than black and nicely blended.  Blusher should be in a natural tone.  To achieve a flushed effect, use a round brush. Ask your model to do a forced smile and put the blush on the cheek bone area that stands out the most.  On the lips, just apply a lip moisturiser using a cotton swab or lip brush. If the lips are very dry, use a lip balm.

73 | P a g e

Vintage Bridal Make Up You need:  Tinted moisturiser for foundation  Illuminator  Translucent powder  Eye liner  Mascara  Blusher  Lip liner  Mattelipstick, intense colour

Instructions:

 Apply the tinted moisturiser foundation from the centre to the outside of the face with a foundation brush.  Choose a medium tone illuminator and cover dark circles and imperfections.  Mattify the foundation with the translucent powder and a powder puff.  Now, for the eyes: take the eye liner brush and with the eye brow lifted slightly, trace along the line of the lashes. Raising the eye brow allows you to see the lash line more clearly.  Finish the line with a slightly upward angle.  Apply several coats of black mascara, focusing more product at the outer edges of the eyes.  With a round brush and burgundy blusher, highlight the cheek bone.  Outline the lips with a bright red lip pencil and blend thoroughly.  The lip stick for this look should be permanent. Permanent lip application has two phases: liquid lip stick and moisturiser to finish. Like the make up for the 20s age group, for the 30s age group we also need a make up look which is quick to apply and gives great results. We choose a pin up style which is ultra-feminine and very quick to create.

Make-up for the mothers of the bride and the groom You need:  Primer  A warm, bright eye shadow palette  Eyeliner  Mascara  Illuminator  Fluid foundation

74 | P a g e

 Bright blusher  Copper lip colour

Instructions: This make up look is inspired by Michelle Pfeiffer.

 Apply primer on the eyelids to prepare them for shadow.  Choose a palette of warm, bright shades. Take a sable brush and cover the entire eyelid with a medium tone shadow. Illuminate the brow bone with the lightest colour.  With the eye liner, draw a thick line on the upper eyelid and a very thin one on the lower lid.  Apply two coats of mascara.  Cover dark circles with a medium tone illuminator.  Choose a shade of foundation that’s similar to the skin tone.  With a round brush, apply a bright pink blusher.  Avoid lip liner. Apply a copper shade of lipstick directly with a lip brush.

Make-up for guests - Evening Wedding You need:  Liquid foundation  Concealer  Translucent powder  Black eyeliner  Eye shadow palette  Black mascara  Various shades of blusher to make corrections  Lip liner  Lipstick  A synthetic brush for blending corrections on imperfections Instructions:

 Apply the liquid foundation with a brush. You can also use a latex sponge or your fingers to remove any streaks left by the brush.  Using a powder puff, apply translucent powder. This doesn’t add colour, but secures the make up base and removes shine.  Outline the eyes with a black pencil, making a thin line on the upper lid. On the bottom lid, draw a line that goes from the centre to the outside edge of the eye.  Smudge out the two lines with a flat brush.

75 | P a g e

 Choose a brown eye shadow and with the angled brush, apply just above the pencil line, emphasising the roots of the lashes.  With a nude eye shadow and a natural hair brush, highlight the eyelid and under the brow bone.  If necessary, correct the shade of the eye brows with matte shadow and set with a little hair spray.  Define the lashes well with black mascara. It needs to be in perfect condition to avoid lumps and caking.  Correct any imperfections with dark compact foundation. Use two different brushes, one straight and the other rounded. The straight brush is to mark the cheek bone, the round one for the temples and jaw line. Your corrections should be nicely blended.  Apply the peach toned blusher in a C shape.  Outline the lips, starting at the centre and moving outwards to the corners.  Smudge out the lip liner with a lip brush.  Apply matte lipstick with a lip brush.

Wedding Make-Up for Younger Guests You need:  Liquid foundation or moisturising foundation base; for oily skin - a compact powder.  Illuminator  Brown pencil  Palette of natural eyeshadows  Palette of natural blusher shades  Brown mascara  Natural lip liner  Moisturised lip colour  Latex sponge Instructions:

 Prepare the lips by applying lip moisturiser.  If the under eye area has dark circles, apply illuminator fluid and blend very well.  Next, apply a very light foundation using a moistened latex sponge.  Apply eyeliner in a natural earth shade from the middle to the outside edge of the eye, which gives a warm look. For day make up, very neutral tones work well.  With an angled brush, blend the line towards the temples. On that same line, to emphasise the roots of the lashes, apply a tan shadow with the angled brush.  For day time make up, use a brown mascara for a more natural look.  Choose a shade of blusher that matches the skin tone. A trick for finding exactly where to place the blusher is to ask your model to smile exaggeratedly. This clearly shows the cheekbones.  Outline the lips with a tone very similar to the natural lip colour. Follow the natural outline. For day time make up, there’s no need to correct the outline.

76 | P a g e

 Finally, apply the moisturising lip colour. Avoid excessive gloss, brightness or intensity of colour on the lips.

Home beauty tips Instructions

 To look your best, you don’t need to spend large sums of money on cosmetics.  It’s very popular to use natural ingredients for beauty care. More and more Spas and beauty salons are using natural products and techniques.  Make a natural scrub by mixing salt and almond oil, prepared in a non-metallic bowl.  Rub all areas lightly in a circular motion to exfoliate.  Emphasise the elbows and knees and avoid sensitive areas such as around the eyes.  Rinse with warm water.  The result will be smooth and nourished skin with a healthy sheen.  You can also make a very nourishing mask that will serve to moisturise and soften the skin on your face, give shine to hair and prevent frizz.  Take a very ripe avocado. Cut it in half, remove the stone and scrape the flesh into a bowl.  Mash, and if you have very dry skin add olive oil.  With a soft brush, apply the mask all over your face, avoiding the eye area and lips.  Allow to be absorbed for 20 minutes to take effect. If you notice itching or any other reaction, remove it immediately. Some natural products can also cause allergies.  You can apply the same mixture to your hair.  Remove the mask with warm water.  If you’re prone to dry lips from being in windy or cold weather, rub them with a toothbrush to exfoliate, removing dead skin. Then apply honey with a lip brush and leave on for 20 minutes. When you remove the honey your lips will be nourished and healthy.

3.6 Hair colour and style When advising the bride and groom on the hairstyles and hair colour for the wedding day, keep in mind the following:

Which shades enhance which skin types & which colours don‘t work

Colours not only make life beautiful, they also bring change. This applies especially to hair color. If you want to get a new look, there are many possibilities. However, not every hair shade suits every type of colouring.

77 | P a g e

Spring colour type  Skin: The skin is bright and clear, it shimmers golden-yellow or peachy. The spring type has slightly red cheeks and is very often prone to freckles.  Eye colour: The color is bright and ranges from light blue to green, often with golden spots in the iris.  Hair Colour: The hair is usually blonde, but there are also dark-haired or red-haired spring types. A spring type inherently has a golden glow in the hair. The colours that suit spring types:

 Choose warm colors. Golden blonde, honey blonde, golden brown, copper, golden red and warm bright reds like strawberry blonde or warm, light to medium browns are ideal. The colours that don‘t suit spring types:

 Avoid ash shades  Don’t choose dark colours

Summer colour type  Skin: The skin of the summer type looks bright and delicate and has a bluish to purple skin undertone.  Eyes: The eyes are blue, blue-green, blue or gray-green and brown tones with a light blue, gray or green glow.  Hair Color: By nature, the summer type is blond or brunette with an ashy tone which sometimes seems a little lacklustre. The colours that suit summer types:

 Cool colours like ash blonde, ash brown or platinum blonde  Red colours should have a bluish undertone, such as bordeaux or violet This colours that don‘t suit summer types:

 Don‘t use warm reds such as mahogany, copper or golden hair shades.

Autumn colour type  Skin: The skin may be very bright but also has a dark bronze shimmer and always has a yellowish- golden undertone. This skin type often has freckles. The autumn skin type is comparatively rare - but is also found in people of African, Asian and Southern European descent.  Eyes: The eyes are brown with tones of all shades of green, blue or turquoise. Rarely, clear, bright blue eyes occur in this type.  Hair color: It is characterised by light to dark brown hair tinged with red or red hair with shades from copper to mahogany. The colours that suit autumn types:

78 | P a g e

 Hair color with warm red and copper tones  Also suitable are all warm shades of brown, like auburn and chestnut  If the your client has blonde hair, choose a golden blonde  You can also choose highlights in blonde, gold or copper red The colours that don‘t suit autumn types:

 All ash tones  Clear blond colour or highlights look unnatural

Winter colour type  Skin: The skin can be dark to very bright, often with a slightly greenish shimmer through the veins. In most cases, the skin has a cool-bluish undertone. The winter type is a particularly common colour type globally. Many Africans, Asians and Southern Europeans belong to this group.  Eye colour: clear eyes in dark brown, gray, ice blue or deep green, clearly defined from the white of the eye.  Hair Color: The natural hair color is black to blue-black, dark or brown. Colours that suit winter types:

 Blue-black, mahogany, aubergine or ash shades Colours that don’t suit winter types:

 Yellowish-golden shades  A lightening of the hair would lead to an unattractive, yellow-copper tone.  Also, do not use highlights as these are usually reddish. Colour type determination

Find out skin tone by taking the hair back and putting a white towel around neck and shoulders. Look in the mirror: is the clean face yellowish? Then you have a warm complexion. If it looks slightly bluish, it's a cool shade.

Which shape/style of hair suits which face shape? The shape of your client’s face and head are unique. Use your observation skills to identify their individual features. You should take these factors into account when you are helping a client to choose a hairstyle. Here are some examples of how you can use particular cuts to disguise facial features:

1. Oval: The Ideal of all face shapes in men and women. Both soft and blunt. Oval faces are characterized by the fact that they are slightly wider at the cheekbones than the forehead or chin line. Most hair styles suit this balanced shape of face and it can carry either short or long styles. One good hairstyle for the oval face is a short crop which does not to work so well with other face shapes.

79 | P a g e

2. Square: The square face has a wide forehead and a pronounced, wide jawline. Narrower faces appear a more stretched shape, wider ones more square. In the latter, longer hair suits, with more volume on top and less on the sides. They can also wear a side pony and light, inward moving waves around the chin to give softer contours. For narrower faces, curly hairstyles can give the face more balance. 3. Triangle: Triangle faces have a narrow forehead and wide chin or a strong jawline. This face shape is well suited for shorter hairstyles with lots of volume. Short, wedge hairstyles with curls and volume on top balance out this face shape 4. Inverted Triangle: This face shape is characterised by a wide forehead and a narrower jaw line and chin. A hairstyle with front or side bangs and blunt-cut hair that ends at or just below the chin suits this face shape. Curls or waves can help the face to look wider at the narrow places of the face. 5. Round: A round face has little or no defined lines, full cheeks and softer "corners" along the jaw line and the forehead. With this face shape, it is important to stretch the face. A stepped section with maximum volume on top and minimum volume on the sides is a great way to make the face appear longer.

Instructions

 Traditionally, many brides wore their hair in a bun. Today, many still do, but there’s a wide range of styles that are also very flattering for a bride. It’s important to style the bride’s hair to suit her and to match the dress, the wedding party, theme and overall style of the event.  Here, we’ll show you how to create an informal hairstyle with a headdress for straight hair. This style can also be created with curly hair for a more romantic style.  Firstly, prepare the hair by smoothing it with a dryer and a round brush, giving volume to the roots.  Part the hair on the top and sides. Clip the top portion with a grip.  Apply lacquer on the sides so the hair has more body and the style will last longer.  With a boar brush, take back the left side and secure it with hair clips the same colour as the hair. A boar brush is an essential tool when doing up styles.  Do the same with the right side.  Once the sides are pinned back, start back combing the crown area, layer by layer, applying lacquer to each section.  Brush all the hair to the left side, over the shoulder and clip well at the neck so that it remains in place.  With a hot ceramic straightener, smooth each strand to close the hair cuticles and create shine.  Use the straightener also to create soft curls with the fringe pieces.  Now that you’ve created the style, finish it with strong lacquer. With the boar brush and wet fingers, put the finishing touches.

80 | P a g e

 Place the headdress on the side and secure with hairclips.  This is an attractive, simple hairstyle for a bride who doesn’t want to wear her hair up. It especially enhances the features of a round shaped face.

OTHER TIPS The following are a few expert hits and tips when it comes to make up and hair care:

 To keep the face bright, here’s a really good natural tonic. Place slices of cucumber on your cleansed face, preferably using a cucumber that’s straight out of the fridge. It will add water and the coolness will activate the circulation in the face. You’ll find the skin smooth and soft all day.  For lips - take a toothbrush with medium bristles, insert it into iced water for 30 seconds and then gently brush the lips. This will remove dead skin and also improve circulation. To finish, apply lip balm or cocoa butter.  On the run up to the wedding if your client has bags under their eyes, here's a useful tip to do from the comfort of their own home. Place slices of cucumber on their eyes and let them sit for several minutes to reduce puffiness and dark circles.  For hair – it’s important to nourish it well. You can make a mask with honey and yoghurt which will moisturise it naturally. Apply all over your hair, allow to penetrate overnight then wash normally with warm water. If you can tolerate cold water, all the better as it increases shine!

3.7 Nail care Photos of the big day are going to be kept forever, keep in mind that there will be photos taken of the bride and groom's hands to show their new wedding bands. A manicure is something that most brides will think of but the groom should also take care of their hands prior to the wedding. Here are some recommendations for caring for hands:

DRY SKIN Dry skin is characterised by the lack of elasticity in the skin especially on the back of the hands. Symptoms are peeling on the knuckle area or the spaces between the toes. Often, especially in winter, small cracks appear that can become painful. It is advisable to drink lots of water, moisturise the skin and protect it from the cold.

LOOSE SKIN Loose skin is a typical feature of old age. You’ll notice a slight excess of skin on the back of the hand. It has a soft feel and look. It is advisable to do hand exercises and apply creams that improve elasticity. It’s unusual to find loose skin on the feet as they are more likely to swell and retain fluid.

PIGMENTED SKIN

81 | P a g e

With age, spots can appear on our skin, both on the hands and the feet. Sun exposure or the use of chemicals can also encourage the appearance of dark pigmentation such as freckles or spots of considerable surface area. It is advisable to apply sunscreen with a high protection factor when in the sun. There are skin lightening creams that soften these spots.

SENSITIVE SKIN The skin on our hands and feet may be sensitive to sun exposure or to repeated use of chemicals which can lead to allergies, sometimes quite annoying ones. Sensitive skin is a thin skin.

Red spots may appear. This is due to the rupturing of superficial capillaries. Stress and poor circulation is usually behind this tendency. Sensitive skin may also have small bumps caused by contact allergies. It is advisable to apply sun protection creams when in sunshine.

THICK SKIN This skin type usually occurs in manual workers. The hands look rough. Corns and calluses are typical in thick skin. On hands, you’ll see it at the base of the fingers and on feet at the heels, on toes and on the ball of the foot.

Weathered hands are usually caused by many years of manual work and a lot of sun exposure. We can smooth the rough edges or file with a pumice. Moisturisers are recommended.

Manicure Instructions

 We start by filing and cutting the nails. Here you see a glass nail file, emery board and manicure scissors.  Cut the nails with the manicure scissors. If you want a nail with a square end, cut straight across the nail and then trim the edges. If you want a nail with a round finish, trim the nail starting at one side and making a semicircle. Cut each nail one by one.  File the nails to soften and shape the edges. The correct way to file the nail is from the edge into the centre of the nail. Glass nail files are perfect for soft, brittle or scaly nails. For stronger or hard nails you can use a granulated file. Here we’re using a glass one.  Place your hands in a bowl of neutral pH soap and warm water. Soak your hands for about 7 to 10 minutes. If the nails are brittle or soft, reduce the time by 5 minutes. Dry your hands with a towel.  With an orange stick, remove excess filing powder, product or debris that may be under the nail. Clean the orange stick with the towel.  Apply cuticle product that will make the removal easier. Leave on for two minutes. You can do this holding the orange stick sideways.  With the orange stick, gently draw the cuticle back, nail by nail. Remove excess cuticle product with the towel. If necessary, trim the excess skin of the cuticle, removing it with the manicure scissors.

82 | P a g e

 Apply moisturiser on the cuticle and leave on for about two minutes, massaging the cuticle area.  Polish the nails with the 4 sided polisher. On each face of the prism there is a number. Start with the side marked number one and finish with the side that says 4. It consists of several files with different size grain, 1 to 3, and a smooth surface for polishing and shining on number 4.  With the first three sides, file the surface of the nail, working in one direction only, not in circles, from side to side or up and down. These three faces of the polisher help to leave a smooth, uniform finish without striations on the nails. With side 4, polish with a firm, rapid motion to enhance the natural shine of the nail.  Apply more hand cream and massage the hands.  Remove excess cream from the nails with the towel and add polish to the nails. Apply polish on the nail from the centre to the sides.

Pedicure Instructions

 Place the feet in a bowl of warm water with PH neutral soap. Soak for 7-10 minutes. Dry the feet with a towel.  Cut the nails straight with the pedicure pliers. Toenails are thicker than fingernails and pliers help you cut straight and smoothly. If you cut them rounded, the nails tend to cut into the skin on the sides and this is uncomfortable and painful.  File the nails with a coarse file, using a sideways movement.  With an orange stick, remove excess filing powder, products or dirt that gathers under the nail (from underneath the white part of the nail).  Apply a cuticle remover product that will make it easier to remove. Leave for two minutes.  With an orange stick, gently push the cuticle back, one nail at a time.  If necessary, trim the excess skin of the cuticle, removing it with small pliers or nail scissors. Remove excess cuticle product with the towel.  Apply moisturiser on the cuticle and leave on for about two minutes while massaging the cuticle area.  There are areas of the feet that are dry and rough. They usually appear on the ball of the foot and the heel. There are also thick areas of skin on the lateral side of the foot.  These areas need to be smoothed. For this you use the metal sandpaper and go over the parts that have roughness or thickness. You do this by performing lateral movements.  You also go over these areas with the file.  Take the pumice and wet it. Again, go over the rough or thick areas of skin energetically.  Polish the nails with the four sided polisher. On each face of the prism there is a number. Start with the side marked number one and finish up with the side that says 4. Each side has a different grit size, 1 to 3, and a smooth surface for polishing and shining - number 4.

83 | P a g e

 With the first three sides, file the surface of the nail and file only in one direction, not doing circles, from side to side or up and down. These three sides of the polisher help to leave the nails smooth and uniform without striations on the nails.  With side four of the polisher, do a strong and rapid friction to bring out the natural shine of the nail.  You can also smooth the top layers of the nail with a low power lathe. You start with the thicker file head and finish with the finest. You need to be careful and not let the lathe head rest on the nail. Do a smooth and uniform motion from side to side on the nail.  Next, apply a foot cream and massage the feet.  Remove excess foot cream with a towel and put the toe separator in place. This helps to paint the nails without smudging.  Apply nail polish. In this case we use transparent polish.

If dealing with nail disorders keep in mind the following recommendations for your clients:

SLOW GROWTH OF THE NAILS A normal nail grows between 3mm and 4mm per month. This is a little slower in childhood than in adulthood. Factors such as poor diet lead to slow growth. By filing and buffing you activate growth, so it is usually recommended to file nails regularly. You can also apply a gel activator. It's like a clear enamel. This gel will help the nail grow faster.

BRITTLE OR SCALY NAILS This type of nail layers and is characterised by a longitudinal split or flaking off in thin layers.

It’s usually caused by dehydration in the nail – a low moisture content alters the condition of the nail.

The nails absorb water quickly, but also lose it quickly, particularly those who work with their hands in water often. Therefore it is advisable to use gloves. It is a typical symptom of housewives, waiters, cooks or cleaners. It helps to drink lots of water and apply specific moisturising products. The ingredient ceramide protects nails and prevents breaking.

DISCOLOURED OR SPOTTED NAILS Spots are usually produced because of materials used in the workplace or from habits like smoking which causes nails to turn yellow. Nail polish is usually recommended with 4-sided polishing to remove the top layer of the nail that is discoloured. Vitamin C also performs the function of antioxidant and even restores natural colour. It is a good idea to eat foods rich in this vitamin.

BRITTLE OR SOFT NAILS Brittle or soft nails are thin and bend easily. This may be due to a lack of keratin or from aggressive cleaning products in the work environment. For these nails, apply a layer of product containing nail

84 | P a g e keratin which you’ll find in the pharmacy. This treatment will help the nails to thicken and become more resilient. Polishing is not advisable for this type of nail.

Exercises Match the following types of wedding to three typical styles of dress worn:

Which body shape would you give each of the following tips to when choosing a wedding dress?

True or false?

True False

- Complimentary colours are placed opposite each other on the colour

85 | P a g e

wheel.

- Cool skin tones are best suited to the autumn colour palette.

To determine your client’s skin colour it’s best to examine the skin in - bright artificial light.

- Warm skin tones are best suited to winter colour palettes.

Exercises Complete the following sentence about choosing the best suit for the groom:

If your client has a circular shaped body ensure that jackets and shirts have ______or details such as studs or designs that add volume.

A ) choose tailored shirts B ) horizontal colours on the shoulders and chest C ) straight lines on the shoulders

Complete the following sentence about choosing the best suit for the groom:

If your client has an inverted triangle shaped body avoid ______or any detail that draws attention to this area.

A ) tailored shirts B ) horizontal colours on the shoulders and chest C ) straight lines on the shoulders

Complete the following sentence about choosing the best suit for the groom:

If your client has a rectangular shaped body______

A )choose tailored shirts B )choose horizontal colours on the shoulders and chest C )choose straight lines on the shoulders

86 | P a g e

Answer the following questions on advising a bride on make up for her wedding day:

Exercise 4. Choose the correct answer:

Gloves for the bride are not mandatory or necessary, but if used, what fabrics can they be from?

A )Lace, cotton, silk or nylon B )Cotton, tulle, organza C )Lace, silk and rayon

87 | P a g e