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Saturday, November 28, 2009
masquerade - Annual Dinner Party
A masquerade ball (or bal masqué) is an event which the participants attend in costume wearing a mask. (A masque is a formal written and sung court pageant.)
Such gatherings, festivities of Carnival, were paralleled from the 15th century by increasingly elaborate allegorical Entries, pageants and triumphal processions celebrating marriages and other dynastic events of late medieval court life. Masquerade balls were extended into costumed public festivities in Italy during the 16th century Renaissance (Italian, maschera). They were generally elaborate dances held for members of the upper classes, and were particularly popular in Venice. They have been associated with the tradition of the Venetian Carnival. With the fall of the Venetian Republic at the end of the 18th century, the use and tradition of masks gradually began to decline, until they disappeared altogether.
They became popular throughout mainland Europe in the 17th and 18th centuries, sometimes with fatal results. Gustav III of Sweden was assassinated at a masquerade ball by disgruntled nobleman Jacob Johan Anckarström, an event which Eugène Scribe and Daniel Auber turned into the opera Gustave III. The same event was the basis of Giuseppe Verdi's opera A Masked Ball, although the censors in the original production forced him to portray it as a fictional story set in Boston. Most came from countries like Switzerland and Italy.
The "Bal des Ardents" ("Burning Men's Ball") was intended as a Bal des sauvages ("Wild Men's Ball") a costumed ball (morisco). It was in celebration of the marriage of a lady-in-waiting of Charles VI of France's queen in Paris on January 28, 1393. The King and five courtiers dressed as wildmen of the woods (woodwoses), with costumes of flax and pitch. When they came too close to a torch, the dancers caught fire. (This episode may have influenced Edgar Allan Poe's short story "Hop-Frog".) Such costumed dances were a special luxury of the ducal court of Burgundy.
John James Heidegger, a Swiss count, is credited with having introduced the Venetian fashion of a semi-public masquerade ball, to which one might subscribe, to London in the early eighteenth century, with the first being held at Haymarket Opera House. Throughout the century the dances became popular, both in England and Colonial America. Its prominence did not go unchallenged; a significant anti-masquerade movement grew alongside the balls themselves. The anti-masquerade writers (among them such notables as Samuel Richardson) held that the events encouraged immorality and "foreign influence". While they were sometimes able to persuade authorities to their views, enforcement of measures designed to end masquerades was at best desultory.
Masquerade balls were sometimes set as a game among the guests. The masked guests were supposedly dressed so as to be unidentifiable. This would create a type of game to see if a guest could determine each others' identities. This added a humorous effect to many masques and enabled a more enjoyable version of typical balls.
One of the most noted masquerade balls of the 20th century was that held at Palazzo Labia in Venice on 3 September 1951, hosted by Carlos de Beistegui. It was dubbed "the party of the century".
A new resurgence of masquerade balls began in the late 1990s in North America and are still held today, though in modern times the party atmosphere is emphasized and the formal dancing usually less prominent. Less formal "costume parties" may be a descendant of this tradition.
The picturesque quality of the masquerade ball has made it a favorite topic or setting in literature. Edgar Allan Poe's short story "The Masque of the Red Death" is based at a masquerade ball in which a central figure turns out to be exactly what he is costumed as. Another ball in Zürich is featured in the novel Steppenwolf by Hermann Hesse.
"Regency" romance novels, which are typically about Britain's upper class "ton" during the 1800s, often make use of masquerade balls as settings, due both to their popularity at the time and to their endless supply of plot devices.
As mentioned before, Masquerades are the centers of multiple operas. The musical and movie The Phantom of the Opera has a very important scene in the story line take place at a masked ball. This scene (in the film) features inventive choreography and music by Andrew Lloyd Webber.
source: http://en.wikipedia.org/wiki/Masquerade_ball
Thursday, November 5, 2009
Grimas Cake Make-up
Grimas Professional cake makeup in fantasy colours
This range includes non-skin tones for body painting, clown makeup and special effects
Cake makeup is a very matt base makeup applied with a damp sponge. It is simple and fast to use making it ideal for large cast shows, dance and school productions. Because it covers large areas quickly it is excellent for making up arms, legs and torso etc. The matt finish is very useful for television, film and photography and as a base for for face painting with Grimas Professional face paints.
Cake makeup is available in 35 gramme containers. This should be sufficient to cover 50-60 faces. Skilled makeup artists usually get more coverage than this.
Grimas professional cake makeup comes in a very large range of colours including black, white, off-white, grey and skin tones from light to very dark.
Cake makeup covers best if the skin is not greasy. Clean it first with Grimas Cleansing Lotion. If the skin is dehydrated or sensitive, apply a thin layer of Grimas undermakeup base after cleansing and leave it 3-5 minutes to absorb before applying the Cake makeup.
Do not use any greasy creams under Cake makeup. They will make the makeup streaky. The makeup is water based and is applied with a damp sponge. Once the cake makeup has dried, which it does very quickly, use Grimas eyeshadow/rouge for highlight, shading and blusher.
001 White - 35g @ RM109
FREE DELIVERY within West Malaysia.
Please e-mail POSHIES STACEY - poshies@gmail.com to MAKE ORDER
Grimas Water Make up (pure)
Palette 6 x 2.5ml - RM149
12 colour A face painting palette
A-Palette 12 x 2.5ml - RM264
Product description & availability
Grimas Water Make-up (Pure)* is an unperfumed, gluten-free water-based make-up without chemical preservatives. It is intended for face-painting and body-painting. Water Make-up (Pure) is available in palettes of 6, 12 or 24 x 2.5ml cups. The colours are also available separately in boxes of 15, 25 and 60ml.
* Pure This means that the product in question does not contain any chemical preservatives (such as parabens) or halogenated organic compounds. The ‘Pure’ products, like all Grimas products, are gluten-free and unperfumed.
Colours
There is a range of matt Water Make-up (Pure) colours plus various Pearl shades. The colours can all be mixed.
Base
Water Make-up (Pure) can be applied directly onto the skin, but you can also first apply a layer of Grimas Cake Make-up. This has the benefit of allowing the colours to be applied more evenly and more vividly and also that they are easier to remove later. Cake Make-up dries quickly and should not be mixed with Water Make-up (Pure).
Procedure
Water Make-up (Pure) works basically the same way as watercolour paints. Use a brush or a make-up sponge (for larger areas of skin) and a little water to make the surface of the colour soft and pasty. Do not use it when too dry, but do not use too much water. The Pearl shades such as silver and gold are slightly more grainy in texture and need slightly more water.
Regularly change the water you rinse your brushes in, preferably working with two water dishes: one for light and one for dark shades. Water Make-up (Pure) can also be applied to hair, as long as it has not been treated (perm, dye, bleach, henna).
Removal
Water Make-up (Pure) can be removed with Grimas Cleansing Cream or with soap and water (shampoo can also be used). Massage it in briefly and rinse off with lukewarm water. Do not use Afschmink, as this contains waxes and oils which actually adhere the Water Make-up to the skin. If a trace of colour is left on the skin, it can be removed with Grimas Cleansing Lotion. If Water Make-up (Pure) gets onto clothing, wash it out first under the tap and then soak with a pre-wash detergent. Then wash as normal in the washing machine.
TO ORDER please e-mail POSHIES STACEY at "poshies@gmail.com"
Grimas Cream Make-up
B-Palette 12 x 2,5 ml - RM288
F-Palette 12 x 2,5 ml - RM288
L-Palette 12 x 2,5 ml - RM288
V-Palette 12 x 2,5 ml - RM288
K-Palette 24 x 2,5 ml - RM464
Grimas Crème Make-up (Pure)* is based on oils and waxes. It has good covering capabilities and is used for cosmetics, cosmetic camouflage and theatrical make-up. Crème Make-up (Pure) is available in palettes of 6 and 12 pieces and as individual jars of 2.5, 15 and 60ml.
* Pure This means that the product in question does not contain any chemical preservatives (such as parabens) or halogenated organic compounds. The ‘Pure’ products, like all Grimas products, are gluten-free and unperfumed.
Colours
Crème Make-up (Pure) is available in many colours, from white to black, various bright colours, silver, gold and a wide variety of skin colours. The colours can all be mixed. Only the bright colours of Crème Make-up Pure are suitable for colouring Grimas Latex Noses and Sets.
Removal
Crème Make-up (Pure) is based on waxes and oils and can therefore not be removed with water. Methods for removal include Grimas Cleansing Cream, Afschmink, Make-up Remover or Multi Remover. The last residues can then be removed with Cleansing Lotion.
FREE DELIVERY within West Malaysia
To order please send Poshies Stacey an e-mail "poshies@gmail.com"