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  • mhm.

  • Mhm.

  • Yeah.

  • Hi.

  • My name is Jenkin.

  • Today.

  • I'm gonna be getting ready into prosthetics and then a kind of Kabuki makeup lip.

  • I guess my kind of everyday look is this, like, highly theatrical, sort of like Ballet Russe dancer that's been dragged through the medieval Hellmouth.

  • And I've always kind of collected theater costume from, like, cheap costume Marco sales and online auctions.

  • Yeah, I kind of wear, like, head to toe the costume every day.

  • But today we're kind of shifting into this, like, more elevated inflatable latex muscular fantasy.

  • So for the first stage, I'm gonna apply my contact lenses off camera because I have very stubby, awkward fingers, and I'm also going to just pin back my awkwardly grown out.

  • Do I?

  • I looked down here.

  • Okay, so that's my eyes and hair.

  • Out of the way.

  • So fast stuff.

  • I'm gonna clean the area around my forehead, and then I'm gonna apply the silicone horns, so I do.

  • I do wear horns every day, and I've gotten into the bad habit of sleeping in horns now as well, which I feel like is a one way street street.

  • Um, I'm not gonna be able to get back from.

  • So I grew up in sorry to like to South African parents, Um, in this kind of quite leafy sleepy forest, the area I just had, like a really obsessive, entrusted the spooky and go anything like horrific.

  • So I guess, like all kind of spooky Children, I used any occasion as an excuse for fancy dress.

  • So weddings, or like friends birthdays will be some kind of excuse to get into a bog witch outfit.

  • And I would start by like, kind of like breaking into my mom's like bathroom and, like slathering on pseudo cram a centimeter thick all over my face and then setting it with talcum powder like fashioning women hood out of like whatever I could find in my mom's closet as I grew up like I became like, really lured in by fans in music people like early PJ Harvey like rid of Mira Nico, Grace Jones, um, Kate Bush, who all sort of used role playing their music to harbor these like, different like sometimes like violent, sometimes erotic, sometimes like hopeful fantasies that I think taught me in this idea that, like identity, could be something slippery and multiple.

  • Um so I'm gonna do this is next.

  • The first moved to London when I was 18 and moved that to do the foundation art course.

  • On the first day, when I was moving my bags in my flatmate, Alice was sat in the kitchen with her legs spread like wide open, pouring a slurry of like, mushy peas and re fried beans over her fanny.

  • And I was like, Oh, I've like, arrived at art school when you're like, thrown into this kind of like queer landscape.

  • The most important and like vibrant thing about queer culture is this idea that it's both optimistic but necessary, sort of like laboratory for the construction of new identities, whether they be sort of deviant or troublesome or vibrant, that even if something is like, really horrific, to approach it with a kind of lightness and playfulness is really important to me.

  • Art can be the best excuse for bad behavior, and it lets you kind of get away with things that can be like disruptive and subversive, because I grew up like I was really like groomed by the like filmography of people like Almodovar.

  • So I would like obsessively like re watch and rewatch and re watch his films.

  • And then people like John Waters.

  • I think I had, like, my first erotic experience watching Chicago and have ever since been in love with Velma Kelly, that heady mix of like hi fam and melodrama like really embedded this queer subconscious that I wasn't really even like, able to articulate or figure out in my own work.

  • Or I think that it was when I moved to London that a lot of these ideas will got consolidated its like, um, liquid later.

  • So you like triple this on to cover up my barb scissor marks like give slopes and texture and stuff.

  • So it's kind of like a Pinocchio, just a style like pop nose.

  • The nose is new.

  • I'm filling that up with spirit gum.

  • Mhm, I found, like when I moved to London that I was a lot of the like parties that I was going to either.

  • These like high kind of dress up like drag parties or like, really slippery like grimy basement corridors.

  • I think that's when I realized that, like my fantasies for like, wearing like five piece like heavy brocade like to to theater costumes didn't really like, line up with, like, club experience.

  • I much, much much prefer dressing up to do something really pedestrian or everyday, like going to a museum or like just making an occasion out of like, going to feed the Ducks.

  • I actually find like I find, like, dressing up to go to a club like at points like insufferably like painful and like, annoying and like.

  • I'm happiest going out when I'm wearing the least now that the prosthetics are and I'm going to start applying the clown white, um, and just cover everything we're doing this kind of bluish white.

  • It was only like, really in my final year, studying it on my B A that I kind of started the current trajectory of installation work that reconfigures and recycles debris and detritus from film and theatre sex.

  • And then, since then, I've kind of been working on this like trio with films this partially abandon like spaghetti Western film set in the south of Spain that we broke into and film this kind of like cowboy horror.

  • So it was this kind of process of like ducking and diving, hiding from like guard dogs.

  • I made this film learners that was sat in these huge game of throne fortresses that were decaying in the Atlas Mountains.

  • The most recent film that I made in vitro features.

  • The sex talk of ghouls that are breeding cakes in an underground bunker city made out of the husks of buried charter gels is thinking about this way in which capitalism and the universe in which these characters exist positions identity is the center of the universe.

  • And in this film, the characters kind of try and break free through a call for, like, multiplicity and proliferation.

  • So now I'm going to do the kind of face framing black painting around my neck, the ears and my hairline.

  • Mhm, mhm!

  • Now that the bases on, I'm going to set it up with a second holder.

  • Mhm.

  • Look at this week.

  • So these are just like highlighting.

  • Can you bright areas of the face with white holder.

  • Uh, I'm gonna go in with the blue powder contours, so I think like my favorite, my favorite kind of like costuming is this combination of, like, high pomp and like, hi, fam.

  • My favorite piece that I have is this like, slightly tacky matador outfit.

  • And I love to wear things like chain mail and armor and anything that, like blends, are like absurd with the fantastical.

  • Now I am going to kind of like add the blush, unlike pink areas of the face.

  • So I guess this is like a progression from the the blue Kabuki makeup that I've been doing.

  • But just like protruding, like all of the the point is parts of the face.

  • So we are.

  • We are.

  • We are the makeup.

  • Um, thanks.

  • Now I'm going to kind of start to map out some of the like graphic details on the eye and the chin and kind of like hair curls.

  • So for that, I'm just gonna use liquid eyeliner dot I'm just a big drag fan I love like old drag like Blackpool drag, I think, the best like drag queen and under the shower in the ground.

  • She's like good old friend and like icon, and I think that she mixes this like, perfect blend of, like, kind of really old school drag aesthetics with like insane humor and slag Penis, and I think it's like, really inspiring.

  • I'm going to carry on, like, kind of mapping that out through the rest of my face and then, like, color in all of the sections of the the I.

  • Yeah.

  • So now I'm just gonna add, like, some kind of highlight details to pick up bits of the ice, and then we're done with makeup.

  • I'm gonna do some lips.

  • A kind of course thing I'm looking at in my work is this idea of, like, having fun with things that hurt you.

  • And so a lot of the film's tease out this kind of like we're re enactment of those kind of masculine tropes in an attempt to sort of, like, blow them out of proportion and render them, like, ridiculous.

  • So I'm just gonna start kind of distributing pearls across the phase just to add some light dimension into these, like, hollowed out eyes.

  • Cool.

  • Yeah, I think, um, I'm gonna, like, release the hair and then set things in place.

  • Yeah, I guess.

  • Beauty.

  • For me, it should be like a joyful thing that, like, constantly surprises you.

  • It's always looking for opportunity to surprise yourself through, like the places that you can reach with it.

  • It's a case of realizing that approach yourself and the way that you put yourself together or something that's not static.

  • And it's always open to so letting desire surprise you.

  • So I'm done with the face.

  • I just need to kind of slick the hair around and get on some accessories.

  • Um, and then I'm gonna slink into my mission, man.

  • Inflatable suit.

  • Mhm.

  • Yeah.

  • Mhm.

  • Yeah.

  • Yeah.

  • It's important to take fantasy really seriously.

  • For me, like, fantasy is the only thing that helps make sense of the world that is so like, unceasingly nonlinear and harsh.

  • I think, like, kind of being able to, like, make opportunity for fantasy in the everyday.

  • It's really important.

  • Mm hmm.

mhm.

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B2 kind drag film fantasy queer makeup

エクストリーム歌舞伎メイク&風船コスチューム-ジェンキン・ヴァン・ジル | Extreme Beauty | VOGUE JAPAN

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    林宜悉 posted on 2021/03/22
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