Victorian Hairstyles

Throughout the Victorian Era, hairstyles changed significantly. Women's hair was long, and very rarely cut, and was usually worn in a bun, called an 'Apollo's Knot'. There was little detail in the hair in the beginning of the Victorian age, apart from tight curls running to the chin, with a middle parting.    Sausage curls framing the face that would lie on the cheeks or cheekbones of the woman were the most popular hairstyle in the early Victorian years,  or plaiting/twisting the hair around the ear as decoration, with the rest of the hair pulls back into a mid bun. 

Victorian Hairstyles through the Period.
http://individual.utoronto.ca/beaujot/web2/bib.html

Victorian Woman with typical short, tight curls. Early Victorian Era.
http://www.victoriana.com/Jewelry/victorian-hair-jewelry.html

This period was all about simple hairstyles, and as the age went on, hairstyles became more ornate and demure, the attitudes change, and therefore so did the style. Around the 1840's, buns became higher, and curls became looser. The styles were much more romantic than they had been throughout Victoria's reign, not as sleek and tidy. The curls moved from the sides of the face to the back of the head, and the parting disappeared to create a full fringe, which would be pin-curled. Hair would have been styled with tongs in all different widths, and heated up in an oven or fire. Padding was used more as well as hair accessories and fake hair to make the style more elaborate.

Hairstyle used for the late Victorian Era.
 http://bizlocallistings.com/junytd/victorian-hairstyles-for-little-girls

Drawing of Hair accessories and fake hair used in the Victorian Era.
http://i.ytimg.com/vi/j1sRNMTyF8k/maxresdefault.jpg

The hair was considered the woman's 'crowning glory', and was looked after. The excess hair from brushes would be kept in a hair receiver, and used to create padding, or even create jewelerry. Soap was used to wash the hair once a month, the upper class women more regularly than the lower class. The Parisian hairdresser Marcel Grateau began the look of looser waves, when he used the curling iron upside down. This resulted in the wave being less severe, and very natural looking. The relentless use of hot irons damaged the hair to unbelievable extents, as the tongs are not like what we use nowadays. Metal rods would be heated in an oven, then once the rod had met very, very, high temperatures, the hair would be wrapped around. Ladies would sometimes even do this more than once a day, if their curls became too loose. Therefore, more and more padding was used to create volume, like the Elizabethan Era. Curled hair was a signal of a 'sweeter temperament', whilst straight haired girls were considered 'awkward'. Combs were used to decorate and help support the hair, much alike this one seen below. 

Faux Tortoiseshell Comb.
http://www.hairarchives.com/private/victorian1new.htm

Small sketch showing the change in hairstyles.
http://www.fashion-era.com/images/HairHats/original_hathair_images/5hair1872-79.jpg

(Michael Warner, 'Victorian Hair' (online) [viewed 30th January 2015] available from: http://www.hairarchives.com/private/victorian1new.htm)

Goth

It's not only in TV, Film and \literature that Gothic Horror has been received greatly, but fashion, art and architecture too. In Fashion, Gothic and 'Steampunk' have become a subculture in our society. This subculture evolved from the 1980's in England, after the decline in the Punk culture. This fashion consists of dark clothes, often mysterious with a unique vintage feel, styles are often borrowed from the Victorian Era. A typical Gothic look would consist of coloured black hair, pale complexion, black clothing, and black lips. It is a subculture often confused with 'heavy metal' and 'emo'. Researcher Maxim W. Furek noted "Goth is a revolt against the slick fashions of the 1970s disco era and a protest against the colorful pastels and extravagance of the 1980s. Black hair, dark clothing and pale complexions provide the basic look of the Goth Dresser. One can paradoxically argue that the Goth look is one of deliberate overstatement as just a casual look at the heavy emphasis on dark flowing capes, ruffled cuffs, pale makeup and dyed hair demonstrate a modern-day version of late Victorian excess". Gothic Fashion's origins clearly communicate Victorian mourning dresses and clothing. Style Icons include David Bowie, Theda Bara and Mortica Adams.

Gothic Fashion.
Pinterest

Gothic Fashion is also consistent within our fashion shows. Designers such as Alexander McQueen, John Galliano, Thierry Mugler and Jean Paul Gaultier, brought elements of Gothic Fashion within their designs, which has been named 'Haute Goth'. McQueen's Pre-Fall 2012 collection has direct links to the Victorian Era, this is clear within the sheer, floor-length gowns and the billowing arms. The line uses a dark palette of black, purples, burgundys and greens.

Alexander McQueen - Pre-Fall 2012
TrendHunter

(Gothic Clothing, 17th February 2012, 'History of Gothic Culture and Fashion' (online) [viewed 21st January 2014] available from: Gothic Fashion)

Gothic Architecture

Gothic Architecture favoured intricacy and is often linked to Cathedrals, Graves, Churches etc. In fact, Gothic architecture became popular in the late medieval era. It evolved from romanesque architecture, originating from the 12th Century lasting to the 16th Century. Emerging from France in 1140, the style quickly followed in England, being used in Westminster Abbey and Canterbury Cathedral, where the coronations took place. Characteristics of this architecture include pointed arches, the 'ribbed vault' and 'flying buttress'. Designs are intricate, although daunting, are especially beautiful. In England, plants were used heavily within the designs, to enhance the tree-like feel to the buildings. In many, such as York Minster, the pendants suspended from the canopies are decorated with leaves. The idea behind Gothic Architecture was to create and enjoy the extremes of emotions, or the sublime (sense of terror but acknowledging it's beauty). The buildings are terrifying but in the same respect very beautiful. 

York Minster Chapter House, York, Yorkshire, England, UK, begun about 1260.
Photograph © f0rbe5 on flickr

Tours Cathedral, France.
Completed 1547.

(V&A, Victoria and Albert Museum, 'Gothic Architecture' [viewed 21st January 2015], available from: V&A)

TV and Film Portrayals.

Miss Havisham has been portrayed many times over the years, in this post I will be looking at some of them, to see how effective they have been.

Florence Reed - Great Expectations 1934.

Directed by Stuart Walker, this film stars mostly American actors. It was not received greatly, and has been considered inferior to the 1946 version, directed by David Lean and made in England. Miss Havisham does not wear her veil at all times like in the novel, and her death is of natural causes, rather than the fiery suicide. I feel this is why the film was not greatly received, as these two small aspects are very important to the film. Also, using mostly American actors would lose the feel of the film as it is specifically set in London, England. The makeup artist has accentuated the lines of her face, which is most likely using theatrical makeup techniques, rather than TV. She is not wearing a white gown which is described in the book, and does not particularly look too withered and ghostly.

(Wikipedia (online), 'Great Expectations (1934) [viewed on 30th January] available from:http://en.wikipedia.org/wiki/Great_Expectations_(1934_film))

Martita Hunt - Great Expectations 1946
Daily Mail

Directed by David Lean, this film won two Academy Awards for Best Art Direction and Best Cinematography, and was nominated for three others, Best Picture, Best Director and Best Screenplay. It was received greatly, making it the third most popular box office in 1947. The makeup artist, hair stylist and costume designer have managed to accurately render Miss Havisham according to Charles Dickens novel, making her pale and ghostly, as well as portraying a sense of manic, especially through the hair and the costume. 

(Wikipedia (online), 'Great Expectations 1946' [viewed 30th January 2015] available from:http://en.wikipedia.org/wiki/Great_Expectations_(1946_film))

Margaret Leighton - Great Expectations 1974
Telegraph

This remake of Great Expectations was a film for television in the US, and TV for England, directed by Joseph Hardy. Unlike the previous two portrayals before it, the film used the same actress, Sarah Miles, to portray both young Estella, and old. This proved more difficult for the makeup artists, but the film was received well. Critic Brian McFarlane, who has studied all remakes and portrayals of Great Expectations, says of Leighton's work: ' there is a potent sense of the perverse pleasure she takes in watching Estella humiliate Pip, and , during a later visit, of real cruelty in her telling him, 'You've lost her'. Leighton injected 'a necessary bitterness into these scenes'. The makeup is clearing that of theatrical style, with the eyes hollowed out, and the face looking extremely skeletal. Her wrinkles have been enhanced, and the makeup is quite extreme, which enhances the eccentric style of Miss Havisham.

(Wikipedia (online), 'Great Expectations 1974' [viewed 30th January], available from: http://en.wikipedia.org/wiki/Great_Expectations_(1974_film))

Joan Hickson - Great Expectations Mini Series 1981
Telegraph

This TV Mini Series for the BBC stars Joan Hickson as Miss Havisham, and directed by Julian Amyes. Joan Hickson is renowned for her acting as none other than Miss Marple, and has starred in 12 Marple films. The hairstyle of this portrayal immediately caught my eye, as her hair is in tight curls that finish at the chin, a mid-bun and centre parting. Although it is extremely messy, I can tell that the film is set in the mid-late Victorian Era, as the hairstyles become looser towards the end. The hairstyle wold have been done in the early Victorian era, and not touched for the many years she has mourned her fiancé jilting her.

(IMDB, 'Great Expectations 1981', (online), [viewed 30th January], available from: http://www.imdb.com/title/tt0196254/)

Jean Simmons - Great Expectations 1989
Telegraph

Directed by Kevin Connor, this ITV mini series was shown on TV in Britain in 1991, whilst previously being aired in America in 1989. As a 5 part mini series, this allowed the director to go more in depth with Dickens' story, leading it to be more understandable, and characters to be analysed. Jean Simmons had previously played the young Estella in the 1946 movie, which to me, shows that this story is close to her heart. The makeup artist has enhanced her wrinkles and created a pale complexion whilst the hair stylist has frizzed her hair, portraying the manic nature of this woman. 

(Wikipedia, 'Great Expectations 1989', (online) [viewed 30th January 2015] available from:http://en.wikipedia.org/wiki/Great_Expectations_(miniseries))

Anne Bancroft - Mrs. Dinsmoor - Great Expectations 1998
Telegraph

This contemporary film adaptation of Great Expectations, by Charles Dickens, is directed by Alfonso Cuaron. The time period of this film is set in the 1990's New York. The film was received with mixed reviews, some people praising Cuaron's work, whilst some thought it was too far from the real storyline. Bancroft portrayed a much more quirkier character, with eccentric clothing and jewelerry; a Miss Havisham without her desperate sadness. The makeup artist has used bold makeup to make the look contemporary. If a viewer did not know that this was a contemporary remake of the film, I don't believe it would be easy to relate her character to Miss Havisham.

(IMDB (online), Great Expectations 1998, [viewed 30th January], available from:http://www.imdb.com/title/tt0119223/)

Charlotte Rampling - Great Expectations 1999
Fark

This adaptation of Great Expectations was a BAFTA Award-Winning television film directed by Julian Jarrold. It won the BAFTA for Best Costume Design, but came close to winning Best Design, Best Makeup/Hair Design, Best Photography/Lighting and Best Sound. Rampling's hair and makeup are neat, and simple, with the costume adding a more aged effect.

(Wikipedia, Great Expectations 1999, (online) [viewed 30th January 2015], available from: http://en.wikipedia.org/wiki/Great_Expectations_(1999_film))

Gillan Anderson - Great Expectations 2011
Telegraph

This three-part BBC Drama directed by Brian Kirk is my personal favourite out of all of the adaptations made. It has received four Creative Arts Emmy Awards, and was received greatly by many. The makeup artist and costume designer for me has created the Miss Havisham that I had created in my own mind, and very close to the novel. Her skin is porcelain, he hair is white, her eyes are sunken into her skull, the only colour in her face is her blue lips. She decays more and more throughout the film, her skin dries, curls fall out and the cuts on her hand from where she is scratching get worse and worse. The makeup artist I feel targeted contemporary ideas about the body, especially her lack of nutrition, which is shown through the health of her skin. The psychological damage that Miss Havisham has been target of has manifested itself in physical ways. 

Helena Bonham-Carter - Great Expectations 2012
Telegraph

This adaptation, directed by Mike Newell, stars Helena Bonham-Carter as Miss Havisham, alongside Jeremy Irvine as Pip. The makeup for Helena is pale and focuses on aging her face, although it is not as extreme as past portrayals. The hair, on the other hand, is crazy and frizzed, the ringlets have dropped out during her time mourning. This is a typical look for Helena Bonham-Carter, as many roles she has played are similar to this one. 

(Wikipedia, (online), 'Great Expectations 2012' [viewed 30th January 2015] available from: http://en.wikipedia.org/wiki/Great_Expectations_(2012_film)#Release)

Miss Havisham

'She was dressed in rich materials — satins, and lace, and silks — all of white. Her shoes were white. And she had a long white veil dependent from her hair, and she had bridal flowers in her hair, but her hair was white. Some bright jewels sparkled on her neck and on her hands, and some other jewels lay sparkling on the table. Dresses, less splendid than the dress she wore, and half-packed trunks were scattered about. She had not quite finished dressing, for she had but one shoe on — the other was on the table near her hand — her veil was half arranged, her watch and chain were not put on, and some lace for her bosom lay with those trinkets and with her handkerchief, and gloves, and some flowers, and a prayer-book, all confusedly heaped about the looking-glass.
It was not in the first moments that I saw all these things, though I saw more of them in the first moments than might be supposed. But, I saw that everything within my view which ought to be white, had been white long ago, and had lost its luster, and was faded and yellow. I saw that the bride within the bridal dress had withered like the dress, and like the flowers, and had no brightness left but the brightness of her sunken eyes. I saw that the dress had been put upon the rounded figure of a young woman, and that the figure upon which it now hung loose, had shrunk to skin and bone. Once, I had been taken to see some ghastly wax-work at the Fair, representing I know not what impossible personage lying in state. Once, I had been taken to one of our old marsh churches to see a skeleton in the ashes of a rich dress, that had been dug out of a vault under the church pavement. Now wax-work and skeleton seemed to have dark eyes that moved and looked at me. I should have cried out, if I could.'

'JCDR -Miss Havisham The Prequel.'
http://forum.drawmixpaint.com/discussion/2142/miss-havisham-the-prequel

This is the reader's first true description of Miss Havisham, by Pip. Miss Havisham evokes curiosity from her first mention in the novel, as she is a mysterious but eccentric character. For me, the greatest aspect of her character is how Dickens has allowed the reader to have their own take on the character by two extremes, some may say she is purely evil and vindictive, others will sympathise with her and see that she is a mentally ill woman. Her life revolves around one single event; being ditched at the alter. This experience has stopped time for her; 

'I felt as if the stopping of the clocks had stopped 
Time in that mysterious place, and, while I and
 everything else outside it grew older, it stood still. 
Daylight never entered the house', 

This has also made her to force her hatred of men onto adoptive daughter Estella. Miss Havisham is a wealthy lady, who is rotting away alongside her mansion, her clothes and time. She wears her wedding dress for the rest of her life, which is somewhat believable with this character. Her utter distraught created by her fiancé leaving her has made her dedicated to never moving on from her heartbreak. All clocks in the house are at twenty to nine, the single moment she knew Compeyson had left her, as well as wearing her wedding dress and one shoe, as she had not yet put on the other. She has a manic obsessive nature, which is undeniably cruel, but I feel sorry for her character.

'Time stands still yet everything turns to dust.' 

She raises Estella as a weapon to seek revenge on men, as it was not only her fiancé who deceived her, but her own brother too. She can only focus on her own feelings, which is why she cannot see she is hurting Pip and Estella throghout the novel. Towards the end of the story, she begins to realise she has broken Pip's heart in the same way her own heart was broken, begging for his forgiveness. She comes to the conclusion she cannot live with the pain of loneliness anymore, and sets fire to herself, alongside her letters and memories.


(Charles Dickens, 'Great Expectations' (paperback), Wordsworth Classics, (edition published:1992))

Great Expectations

Great Expectations is the thirteenth novel by Charles Dickens, written in 1860 and published in book form in England and America in 1861. Born in Kent in the year of 1812, Charles Dickens lived with his seven brothers and sisters, father, John Dickens, and his mother. For nine years they lived in Kent, then moved to London, where at the age of 12, Dicken's father, John, was taken to debtor's prison. His mother moved the family into the prison to live alongside their father, all apart from Charles. His mother found him work in a blacking warehouse, labelling bottles with other children. This part of Dicken's life was extremely traumatising for the young boy, not only living alone, but the job itself he considered himself too good for. When his father was released from prison, Charles went to school, eventually becoming a law clerk, followed by a court reporter, then his most famous position as a novelist. At the age of 25, he released his first novel, 'The Pickwick Papers', which led him to become one of Britain's most famous authors, not only in England but around the world. 'Great Expectations' contains many events that mirror the early years of Dickens life, such as the narrator 'Pip', who works a job that he considers himself too good for, as well as 'Wemmick' who is a law clerk. Dickens provides an insight on his own life through these characters, which brings the story to life, as well as making the novel a much more personal experience for the reader. 

Title page of Vol. 1 of first edition, July 1861
Charles Dickens

The novel is set in the early Victorian era, a time where the Industrial Revolution had made enormous changes to the social landscape, which led to manufacturers and capitalists developing huge fortunes. The divide between rich and poor was wider than it had been in previous times, and was no longer defined indefinitely by birth. Many people left their rural hometowns in search for opportunities in the city, which led to Victorian London being very busy. The upper class ladies and gentlemen were expected to have had a thorough education, behave accordingly. This defined the novel, and make themselves known through the setting, characters and narration. 'Pip' is a character that moves from the rural countryside to the big city, in search for an opportunity to become a true gentleman, making an extreme change to his social status. Pip is the protagonist in the  novel, and the story follows his journey becoming a gentlemen with the financial support of an unknown benefactor, whom he believes in Miss Havisham. Miss Havisham is a ghostly woman, whose life revolves around one single event; being jilted at the alter by her fiancé whom she was devoted to. In the time she has mourned her loss, she adopts a young child Estella, who she teaches to be cold-hearted, with no emotional bond to men. Pip is introduced to Estella, falls in love with her, and the story follows his journey to gain the heart of Estella, and discover his unknown benefactor. Estella is seen as Dicken's first truly believable woman character, showing a true bitterness for the social class she lies in. Alongside Estella and Pip is the other main character of the novel, Miss Havisham. It is Miss Havisham and Estella that I will be focusing on especially through this unit, developing my own idea of their characterisation, following up to my own creation of their looks. The novel was greatly received by many, leading to numerous TV and Film adaptations have been made, to continue telling the story through time. This has included 17 TV and Film adaptations, and 7 theatrical adaptations. The most recent TV and Film adaptation was in 2012, directed by Mike Newell, and stars Helena Bonham-Carter as Miss Havisham and Jeremy Irvine as Pip. 




(SparkNotes, 'Great Expectations:Context' (online), [viewed 28th January 2015], available from: SparkNotes.)

Gothic Horror

Alongside studying the Victorians, I wanted to research Gothic Horror, and all that surrounds it. As a genre of literature, it combines dark horror with romance. Titles such as Bram Stoker's Dracula and Mary Shelley's Frankenstein immediately come to mind with the words Gothic Horror, but infact it is believed to have been initially created by English author Horace Walpole, with his novel 'The Castle of Otranto' written in 1764. Walpole used exotic landscapes and distant times within his literature, but character that the reader can relate to. Ann Radcliffe's 'Mysteries of Uldolpho' also feature this. Dickens on the other hand, used contemporary landscapes such as the buzzing London City, with typical motives. More readers in this time could relate to these, which is why I believe Dickens was such a successful author. Gothic Horror creates this thrill of the horror that us readers feed off, making it a very popular genre. Characters include vampires, werewolves, zombies, fallen angels and the Devil himself. Typical motifs are:

• Strange Landscapes
• Clashing time periods
• Power and constraint
• A world of doubt
• Terror Vs Horror
• Sexual Power
• The Uncanny
• The Sublime
• Crisis
• The Supernatural and the Real

The sense of the unknown is what hooks readers into the books, I know first hand as Gothic Literature is my favourite, in particular The Woman in Black, by Susan Hill, written in 1983. This book has recently become subject to two films, starring Daniel Radcliffe, and have been very successful, as well as a TV Film in 1989 by Nigel Kneale, and has been adapted for the stage by Stephen Mallatratt, which has become the second longest running play in the West End.

The Woman in Black Promo 2012.

(Robert Harris, 20th December 2013, 'Elements of the Gothic Novel' (online), [viewed 21st January 2015], available from Virtual Salt)

Victorian Beauty Ideals

The Victorian Era began in 1837, when Queen Victoria came to the throne, following the end of the Georgian period with the death of King William IV. This era bought a rise in health standards of the people, which therefore brought a rise in fertility and improving life-expectancy. Families were growing fast, which meant women, men and children would be working in the day. The Victorians were notorious for their child labor, with the lower classes working long hours in ghastly conditions. Meanwhile, Queen Victoria became an icon through society, as she was renowned for her strict morality. 

This marked the decline in cosmetics, as due to religious beliefs cosmetics questioned ones morality. Wearing such makeup would lead to assumptions that a person would be a prostitute, or an actress, which came under the same category in the social hierarchy. Morals were dominant in this era, causing modesty and sexual restraint to be expected. But this did not mean that the higher classes did not wear any cosmetics. Natural tones to cover impurities in the skin were used, as the Victorians, much alike the Elizabethans, aimed for a pale complexion to show their nobility. The higher classes and nobles did not have to work outside, so would not achieve any sort of colour to their skin. A tan was looked down upon, and seen as 'vulgar'. Some women even drew on their veins to create a translucent effect on their skin, whilst some emphasised their dark circles using rouge tints on their lips and cheeks. The texture of their skin was supposed to look as natural as possible, so little powder was used to maintain a glow. Lemon and Vinegar were applied or consumed to keep a pale complexion, alongside keeping out of the sun at all costs. 

Queen Victoria in her Coronation robes. There is clear use of makeup here used to achieve a pale complexion, whilst carmine is used to create rosy cheeks and lips.
George Hayter - 'Queen Victoria, (1819-1901) Reigned 1837-1901'
1860, Oil on Canvas. 201.5(H) X 150.5(W)
National Archives

The cosmetics used on their faces were still poisonous, but a lot less poisonous to that of the Elizabethan Era. Zinc Oxide, a mineral powder, was used to achieve a paler complexion, whilst 'Creme Celeste', a mix of white wax, almond oil, rosewater and spermaceti (derived from an organ inside a sperm whale's head) became popular. This paste hid blemishes, as well as moisturising properties for a smooth complexion. As part of their daily routine, ladies would have high-plucked eyebrows, trimmed eyelashes and a coat of castor oil on their eyelids. Rice powder, Zinc Oxide or the most expensive Pearl Powder (Talc and Chloride of Bismuth) were used to achieve their pale skin, and hide freckles and blemishes. Clear pomade (beeswax) was used for a natural dewy lips, whilst some ladies discreetly used crushed flowers and cochineal to accentuate the rosy warmth. Cochineal was also used to massage into the cheeks, to achieve a healthy complexion, and not look washed out. The Victorians went even further to drop lemon or orange juice in their eyes to brighten them, however this was not all. Some ladies would drop poisonous belladonna into their eyes, which dilated the pupils but clouded vision. This was a treatment for cataracts at the time, Queen Victoria using it heavily during her health decline. 'Fallen women' used black or red eye paint (or eyeshadow), made of lead tetroxide, mercuric sulphide, cinnabar, vermillion, alongside many other ingredients, poisonous or not. Respectable ladies would secretly use black or red on their eyelids too, often using black as eyeliner, however to ask a lady if she was wearing cosmetics would be terribly insulting. Beeswax could be applied to the lashes, covered in a dusting of coal or soot to darken them. It was looked down upon so much that women would have secret compartments in their toilet chests, to hide their cosmetics. 

Left- Apothecary chest with hidden compartment. Right - Chest with concealed bottom for jars of cosmetics.
('Early Victorian Era Makeup; Cosmetics and Embellishments'. Kate Tattersall, 2011, (online) viewed 21st January 2015, available from http://www.katetattersall.com/?p=3735)

Hair was treated as a woman's pride and glory, as it was rarely cut. Women had long locks, and sometimes used false hair to add to their own. The hair was pulled back into a bun, often called an 'Apollo's Knot', with a middle parting at the front with each side forming long ringlets that reached the chin. The hair was sleek and tidy, often adorned with a slide-in clip to decorate. As the Victorian era moved on, women's hair became longer at the sides. After the death of her husband Arthur, The Queen descended into a life of mourning, only to wear widow clothes, and swapped her crown for a widow's cap. Men wore their hair much shorter than any other historical era, but kept their beards and moustaches. A woman's hair was a symbol of her beauty, security and sexuality. Locks of her hair would be cut only to give her lover, or as an ornament after her death. However, much alike everything to do with a woman, there were believed to have been some dark essence to their hair, and considered a web to entangle, a source of power, or snake-like and poisonous. 

Woman using her hair to trap a knight in armour.
John William Waterhouse - The Beautiful Woman Without Mercy.
1893 - Oil on Canvas.
112 X 81 cm
('The Beautiful Necessity, The Dark Side of Hair' (online)(8th March 2008) viewed 21st January 2015.
available from: http://thebeautifulnecessity.blogspot.co.uk/2008/03/dark-side-of-victorian-hair.html)

From my initial research I have come across the idea that women were looked upon as dark characters, referred to as 'fallen'. I am intrigued to find out whether this belief influenced the Gothic Horror literature, as the ideas I have come across are seemingly dark. The makeup is very similar to that of the Elizabethan era, which I am surprised about as I expected a bigger change in the time, but also it is unsurprising as I have never come across Victorian Makeup as being a new trend for the time, where the Elizabethan makeup was.

 ('The Beautiful Necessity, The Dark Side of Hair' (online)(8th March 2008) viewed 21st January 2015. 

available from: http://thebeautifulnecessity.blogspot.co.uk/2008/03/dark-side-of-victorian-hair.html)

 ('Early Victorian Era Makeup; Cosmetics and Embellishments'. Kate Tattersall, 2011, (online) viewed 21st January 2015, available from http://www.katetattersall.com/?p=3735)

(Victoria's Marriage, Wikipedia. Viewed 21st January 2015. Available from:  'http://en.wikipedia.org/wiki/Queen_Victoria#Marriage')