關於 big five model ，我們在網路上蒐集到這些相關的討論、資訊與評價

Thank you for this personal interview @scmppostmagazine
Ankie Beilke was bullied as a child, but she did not let it stop her from becoming a top actor and model
Born in Germany, Ankie Beilke started acting as a child but only learned to love modelling later in life
She credits yoga with making her a healthier person who accepts and appreciates things more
Writing on the wall: I was born in 1980, in Düsseldorf, Germany. I’m mixed race – my dad is German and my mother is Chinese. My father was in advertising and my mother is an actress. My mum (Ankie Lau Heung-ping) travelled a lot for work. Shoots in the 1980s were much longer than they are now, and she was shooting all over the world. Looking back, I understand why she did it, but when I was young, I didn’t like it. I was bullied in kindergarten for being mixed race. My father and a nanny would look after me, and my aunt would come over from Hong Kong. When I was five, my mum showed me a film where she jumped off a roof and died. Even though she told me it was fake, I was so scared. I started acting with her when I was six. I played her daughter in a suspense television show called Derrick. Everyone on the set took good care of me and on the last day they gave me a Barbie, which I thought was amazing. My parents separated when I was seven and I moved with my mum to Munich. I used to write to my father, but it was like writing on a wall. It was hard trying to contact someone when they don’t reply. When I was 14, he got a new wife and a new life and I haven’t had contact with him since.
The Big Apple: In Munich, I first went to a public school. My mother was on TV and playing weird characters – one time she’d be a policewoman, another time she was being raped. Playing different roles is what being an actress is all about, but when you are a kid and people make fun of you in school it’s not really cool.

Read more...

https://www.scmp.com/magazines/post-magazine/arts-music/article/3116971/ankie-beilke-was-bullied-child-she-did-not-let

🖊 @hongkongkate

NGƯỜI CÀNG TIÊU CỰC THÌ NGUY CƠ BỊ CHÓ CẮN CÀNG CAO

“Cháu không hiểu lý do vì sao nữa! Những con chó luôn tìm cách cắn cháu bất kể mọi lúc. Thứ 3 vừa rồi, cháu đang vội đi ăn trưa với bạn thì bỗng dưng có con chó chăn cừu Đức (German Shepherd) của một người phụ nữ đi ngang qua bỗng cắn vào chân cháu."

Đó là lời kể của một thanh niên trẻ tầm 25 tuổi với GS.TS Stanley Coren, giảng viên khoa Tâm Lý Học tại đại học British Columbia (Canada).

Theo những gì TS Stanley thuật lại từ buổi trò chuyện - bằng kỹ năng quan sát và chẩn đoán tâm lý lâm sàng, ông nhận ra rằng nam thanh niên này có những hành động ngôn ngữ cơ thể của sự lo lắng và căng thẳng: mắt chớp liên tục, đôi môi luôn mím chặt và tay thì luôn siết lại với nhau; thi thoảng, cậu ta sẽ đưa tay lên xoa má một cách ngại ngùng và vuốt tóc liên tục.

Chính vì vậy, ngay lập tức đã có 1 ý nghĩ lóe lên trong tâm trí của TS Stanley, “đó là 1 người có tâm lý bất ổn (neuroticism)”. Lý do ông đưa ra kết luận này là nhờ vào bài báo được đăng tải trên tạp chí Journal of Epidemiology and Community Health của một nhóm các nhà nghiên cứu đến từ Đại học University of Liverpool (Anh) do nhà dịch tễ học Carri Westgarth đứng đầu, theo đó:

Dữ liệu của 694/1280 cư dân tại thị trấn Cheshire (Anh) cho thấy tỷ lệ những người bị “cẩu xực” vượt quá mức so với con số chính thức được lấy từ dữ liệu của các bệnh viện địa phương, và 55% vết cắn trong số đo được gây ra bởi những con chó xa lạ. Trẻ em dưới 15 có nguy cơ bị chó cắn cao nhất với 44% trên tổng số vụ, trong khi đàn ông có nguy cơ “cẩu xực” cao gấp 2 lần so với phụ nữ. Những con số mang tính chất thống kê này dần trở nên sáng tỏ hơn khi các tình nguyện viên quyết định thực hiện bài test Mô Hình 5 tính cách lớn (Big Five Personality Model) trong nỗ lực tìm kiếm sự liên hệ giữa việc bị… cẩu đuổi cắn với tính cách của cá nhân.

Từ kết quả bài test, các nhà nghiên cứu nhận ra loài chó có thể không có trí tuệ như con người, tuy nhiên chúng vẫn đủ “khôn” để cảm thấy khó chịu trước những phản ứng tiêu cực. Vì vậy, khi gặp phải một cá nhân nào đó “bất ổn”, có thể là chúng chỉ đang muốn đuổi họ đi càng xa càng tốt mà thôi.

Bà con ạ, tóm lại là càng tiêu cực thì càng dễ bị chó cắn!

-------
Bài viết sưu tầm từ Maybe You Missed This F***king News

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

Instagram: http://Instagram.com/fujiikaze
twitter: https://twitter.com/FujiiKaze

(If you wanna party, if you, if you wanna party)
Then put your hands up (put your hands up)
(If you wanna party, if you, if you wanna party)
Then put your hands up (put your hands up)

You got it, you got it babe
You got it, you got it babe
You got it, you got it babe
You got it, you got it babe

[Big Sean:]
Okay, this, this, this one for my number one girl
Who got the top spot title
Spent an hour in the bathroom
Walked out looking like a model
God! Doing what you do
Got me right there with Apollo
On the moon
Who needs genies in a bottle girl
If they already got you

[Ariana:]
Boy you make me feel so lucky
Finally the stars align
Never has it been so easy to be in love
And to give you this heart of mine

You know what I need
I know what you like
Put it all together baby
We could be alright
How can this be wrong
When it feels so right?
Yeah, I really love you
I really love you
And I'll never let you go

You should know
I'm never gonna change
I'm always gonna stay
When you call for me
I'm right there (right there)
Right there (right there)

'Cause you listen
And you care
You're so different
No one compares
And if you never change
I'm gonna stay right there
I'll always be right there

[Big Sean:]
Now if it all fell through
Would you catch me before the pavement?
If my Benz turned back to public transportation
Would you still be at home for me with the candles waiting
And get my mind back adjacent to the place of a young visionary?
A player too
You know I have some girls missionary
My black book of numbers thicker than the dictionary and Bible
I got it recycled
I love and I like you
Five course meals even though you don't mind a drive-through
That's why I got you

[Ariana:]
And I'll never let you go (I got you)

You should know
I'm never gonna change (I'm never gonna change)
I'm always gonna stay (I'm always gonna stay)
You call for me
I'm right there (I'm right there)
Right there

'Cause you listen
And you care
You're so different
No one compares
And if you never change
I'm gonna stay right there
I'll always be right there

Ariana Grande - Right There ft. Big Sean
https://www.youtube.com/watch?v=fhcpubAVdmc
'Rain Dance' by Jeff Lorber Fusion
https://www.youtube.com/watch?v=wNqfnZ24pSg
Mariah Carey - A No No
https://www.youtube.com/watch?v=lX6EFyB3TMI

今日は、YouTube見て
岐阜から鈴鹿で雨に降られて遊びに来てくれました、ありがとう
CB1300 Suparfoa (CB1300 SUPER FOUR,CB1300SF) is a motorcycle (Foreign countries are sold to the export vehicle by the name of CB1300) that Honda Motor Co., Ltd. has been selling since 1998.
Founder

One that is exhibited reference in held the 32nd Tokyo Motor Show, announced to the age as succession model of CB1000 Suparfoa on February 10 next year 1998 in 1997, and put on the market on March 2.

The one that - exhaust system and the ignition timing ..breathing in.. were changed is installed though the engine for X4 will ..engine.. be used.

The low-end model that omits equipment and those equipment is U 2 in 1999 as for an adjustment mechanism and a central stand etc. in the back of the suspension.

Three from which it equips with six jar caliper that is changed minor in 2000, and is adopted with HONDA and VTR1000_SP-1, and 5kg is lightened.

The car is in 2001, and the car is made of titanium in 2002 and there is a difference such as made of the carbons the silencer is though PRO 'S shop limited model will be put on the market in 2001 and 2002, and 2001 year is the WGP500 victory commemoration car of HONDA, and 2002 year is supposed to be installed after the muffler of both vehicles and Moriwaki registers the vehicle with the BIG-1 the 10th anniversary of its debut car.
The second generation
Four from which the first series was restyled in 2003. The fuel injection and the immobilizer, etc. were adopted centering on lightening, the storage space was enlarged, and overseas export was begun. It entered the endurance road racing of 8 hours in Suzuka of the same year, and running the whole distance was accomplished safely.

100 in DREAM shop CB1300R of Suzuka 8 specification that entered the war in the previous year was put on the market by the limitation in 2004. The model from whom ABS was installed in the age in motor cycle of held Germany show was announced, and it was published in the magazine of Japan afterwards.

Five that both doing minor change in 2005, Super Bold 'equipped with half caul or (Suparboldorl) joins lineup, and ABS model joins Suparfoa and Suparboldorl, too. The YAMAMOTO racing enters the war, and runs the whole distance Suzuka 8 in this age in the class victory.

KAWAII♥PATEEN SKILL-UP #13
Gothic Lolita HAIR STYLE TUTORIAL
by Misako Aoki, official Lolita Fashion Kawaii Ambassador
- 青木美沙子のゴシックロリータヘアアレンジ講座 -

Misako Aoki is known for flying all over the world promoting lolita fashion.
She is a fashion model from the magazine KERA and the official model of the lolita fashion brand BABY, THE STARS SHINE BRIGHT.
She works as a nurse inbetween her modeling and lolita brand producing activities, and released a new book in Spring, which photoshooting video can be seen here, including interviews :
https://www.youtube.com/watch?v=waoNw9Od9QA

—
Tokyo Street Fashion KAWAII♥PATEEN
_Have fun with Fashion!_
Everything kawaii, Street fashion snaps, makeup tutorials and reports on fashion events in TOKYO!!

On Facebook with tons of photos :
https://www.facebook.com/Tokyo.Street.Fashion.KAWAII.PATEEN
Official site : http://waoryu.jp

--------------------------
Today I'm going to show your two Gothic Lolita hairstyles.
First,　I'll show you how to do a cool hairstyle for Gothic Lolita.
We want a cool look, so I'm going to hide the bangs.
Pick up a section from the other side, bring it forward and create one full braid.
Take a little piece from the bangs and add it.
It is easy to secure if you braid tightly. Just keep braiding tightly.
If you want to change your hairstyle, you can try pulling up the bangs, and I'm sure you will get a fresh look.
This time actually we are going to create a flower braid.
Just roll the braid up,and pin it in place.
Gather your hair to a high ponytail a little high.
Done.
There are some red colored accessories here, and since I want to do a girly Gothic Lolita look.
I am going to apply this red lip gloss.
Apply it to the entire lip area.
Red lips will also suit for a witch makeup or a vampire makeup for Halloween.
And also perfect for a snow white style.
Wear lip gloss.
All over the lips with red lip gloss. Finished.
To match the red lips, I'm going to show you how to do a girly Gothic Lolita hairstyle.
Divide your hair into two sections, twisting both sides of you r hair.
Continue twisting the hair until it forms tight, and pin the twist into place.
Repeat on the other side.
Twist the other side of your hair until it begins to fold back onto itself.
Pin the twist into place.
Next we are going to create a fishbone braid.
Separate your hair into two sections, split it into three portions, take the back over the middle and then we're going to take the front over the middle.
Continue doing this.Braid tightly.
Fish bone braids are easy when you want to have the tips out, or want to make a little loose braid.
That's why I want to share this with you.
Braid your hair half way down. I'm going to stop right here.
It would be a little boring look if you braid the hair into a regular braid.
Stop here. Curl the rest of the hair hanging loose for a lovely Gothic look.
After that, I'm going to style a loose braid having the top sticking out.
Pull the braid so that it's uneven and loose.
Can you see that it looks like a little heart here? It looks cute.
I am going to wear hair barrette behind my head.
Add this ribbon barrette in the middle of the twist, and hide the rubber band.
And wear two ribbon hair combs easily sticking to the hair.
Put the big one above the small one for a good balance. Although this itself is cute.
I wear red lip and there are red patterns on my dress, so I'm going to put on this red ribbon.
If you are going to a fancy place such as a tea party four or five ribbons would be cute too.
Hope you like this tutorial for Gothic Lolita makeup and hair
Please give it a try.
I'm Misako Aoki. See you next time.