Blended accounts - the importance of personality

Active account management on Instagram plays a huge role in the career development of a makeup artist, but only if all the nuances are taken into account. One of these important points is the presence of personality on Instagram. In other words, maintaining blended accounts, that mix personal and professional content (Sihi & Lawson, 2018). As almost all informants noted, such an Instagram tactic has significant advantages. They identified several reasons why the personality of the master is important on Instagram.

Firstly, by showing self on Instagram, the makeup artist gives a potential client an visual representation of himself, which can significantly increase the chances of choosing the service of this particular master.

Informant 12 (30 years, work experience 8 years): “I combine everything, because I believe that people go to the person. If, for example, I choose the nail master, if there are only nails there and I don't see a person's face, I don't want to go to him.”

Secondly, the manifestation of some emotions, the expression of one's thoughts - all this can build certain “parasocial” relations between the master and the client, in which the client will have a feeling of personal acquaintance with the makeup artist (Toffoletti & Thorpe, 2018). Such a demonstration of personality helps to build customer confidence in the master and his activities.

Informant 8 (20 years, work experience 3 years): “For some clients it is really important to see what their master looks like, to understand whether they want to go to this person.”

Moreover, many informants noted that an open demonstration of personal life positively affects statistics. People are interested in observing not only how a person builds his business, but also what is happening in his life “On the Other Side of the Business” (Sihi & Lawson, 2018).

Informant 6 (29 years old, work experience 4 years): “It is very interesting for people to look not only at work, at some different faces, they certainly want to understand what kind of person stands behind all this and does it all.”

This approach to maintaining account provides an opportunity to obtain the status of an Opinion Leader (Zhao, et. al., 2018), which will positively affect the formation of a personal brand and, in general, on a career path formation.

Informant 1 (22 years, work experience 3 years): “There you are as a person and you as a makeup artist on one page. So that people perceive you as a opinion leader. Not just some boring works; there are a million of them on the Internet. It's important for people now to feel the person.”

However, some informants nevertheless noted that the demonstration of their life and themselves as individuals should be within reasonable limits. There are areas of life that makeup artists would not demonstrate in their blended accounts for some internal and moral reasons. These areas include showing love relationships, parenting, friendships, and so on. For such purposes, some informants maintain small closed accounts on Instagram, the subscribers of which are only close friends and relatives.

Informant 2 (25 years, experience 1 year): “Yes, I do not show a lot of family, children. I just do not want, because it is my personal. I do not want to rise using my daughter or something else. This is separate.”

Content creation

Doing Instagram involves the regular creation of quality content. In the case of blended accounts, makeup artists have two tasks at once - the creation of personal and professional content, each of which has its own nuances.

Informants emphasized that since the beauty industry and Instagram are quite competitive niches today, the makeup artist should create content that would distinguish it from others.

Informant 16 (27 years old, work experience 5 years): “You need something unusual. People don't like something just beautiful, but simple anymore.”

Selling content must combine entertainment and information functions, and must adhere to specialized topics so that the subscriber clearly understands why he is following this account (Duffy & Hund, 2015). Therefore, informants emphasized that it is important to adhere to a narrow range of topics from the beauty industry. However, they also noted that at a certain point, when a personal brand is already formed, makeup artist can deviate from the topic without the risk of losing the interest of the audience.

Informant 5 (23 years, work experience 2 years): “Makeup artist should not deviate from her topic, I don't understand makeup artists who write constantly about makeup, and then bang - and she has a post about discussing abortions… You need to understand that you can discuss different topics only if you are already a well-developed blogger. You are already interesting; you have already created your brand.”

Basically, informants identified such types of content as educational videos on makeup, reviews on cosmetics, analysis of celebrity makeups, as well as photos and videos of their work on non-commercial models. Interestingly, although many makeup artists noted that they consider all the girls as beautiful, some informants emphasized that creating a beautiful selling picture with a client is often impossible, so they mainly post TFP - work on models, rather than commercial orders. It becomes noticeable how the aesthetic preferences of makeup artists form the appearance of their accounts on social networks.

Informant 17 (30 years, work experience 2 years): “Customers are often of such non-Instagram appearance, let it sound strange.”

Despite the fact that visual information plays a central role in the Instagram (Marwick 2015), textual information is also important aspect of this social network, especially in the informational content. Therefore, many informants emphasized that both should be of high quality. Although many also noted that for them writing texts is difficult, as it requires special copywriting skills. Moreover, creating a beautiful picture also requires certain skills. Thus, it turns out that often the makeup artist must have knowledge in many areas, in addition to his main activity.

Informant 5 (23 years, work experience 2 years): “The quality of the image is still playing an important role. Even if a cool make-up is done, but a photo is taken on some Samsung... I see color rendition...”

Informant 16 (27 years old, work experience 5 years): “I'm also not a big fan of writing posts, and, in principle, making some notes for photography. It is difficult for me."

The quality and quantity of content required to effectively create a personal brand requires the employee to have high self-organization skills and time management (McRobbie, 2002). Many informants noted that they can take up to 4 hours a day to complete all of the above post-production tasks. Moreover, this process does not include the generation of ideas and direct shooting, which can take up most of the time.

Informant 7 (25 years, 1 year work experience): “Well, when you live in this, you constantly generate content, you cannot move away from Instagram.”

Informant 1 (22 years, work experience 3 years): “Sometimes I can turn on some series and just take photos all day, edit them, write something, think about the content. It really takes a lot of time. ”

A separate topic for discussion is the content for the story, as it is significantly different from the content published on the Instagram feed. This is a kind of “vanishing” content (publications are not available for viewing after 24 hours). Despite the temporal speed and ephemeral nature of such content (Handyside & Ringrose, 2017) informants noted that they pay even more attention to this type of content. They noted that in this way is most comfortable for showing personality. This allows not overloading the account by self, however, to maintain the interest of the audience to the person.

Informant 2 (25 years, 1 year work experience): “Olya Buzova is the engine of progress on Instagram. Why did people love her so much? Because she began to show life, her endless streak of stories. She introduced such a “Dom2” (Rus. Reallity Show) in Instagram. People love to peep. I see my stories are even shared to someone, i.e. it's also a kind of promotion, so story is very important.”

It should be noted that the temporal features of content in story even more upset the balance between life and work, which has already been described above. Many informants have emphasized this.

Informant 7 (25 years, 1 year work experience): “I probably don't think about Instagram only when I sleep. You constantly think that you need to post a story.”



Makeup artist's image on Instagram

Many informants emphasized that it is difficult for them to maintain a unified style of their Instagram account due to their versatile activities and obvious differences in the types of models. Nevertheless, most makeup artists try to maintain a single color scheme, as well as alternate types of content to form a stylish account. This to some extent demonstrates the presence of taste, and therefore professionalism of the master, which also positively affects the personal brand.

Informant 4 (26 years, 1 year work experience): “I have a color scheme; I realized that green photos are not suitable for my Instagram.”

The aesthetics of the make-up artist's personal brand is also created by his appearance. In previous chapters, it was proved that in the offline world the role of advertising the activities of a makeup artist is played by a well-groomed face, not makeup. As many participants have noted, it's difficult for them to appear on Instagram in front of a large audience without makeup.

Informant 9 (29 years old, work experience 7 years): “First I bring myself to a well-groomed look, and then I go either to the story.”

Informant 6 (29 years old, work experience 4 years): “No - no, no natural beauty! I'm not shooting myself without makeup.”

Firstly, the willingness to show oneself without makeup depends on the trust that has already been formed between the master and the audience - those who have a high level of trust can easily show themselves (Zhao, et.al., 2018).

Informant 2 (25 years, 1 year work experience): “I always try to look presentable on Instagram. I don't lay out at home with a mess hair, in pajamas, but to be honest, I'm thinking “Why not?” In the future I would like to be so frank with my audience that I could show myself unpainted.”

Secondly, many noted that sometimes demonstrating a face without makeup is required by the creation of content: shooting training videos, makeup artists are forced to initially appear in front of an audience without makeup. The more noticeable the changes and the better the makeup will be - the more trust to the professional will be formed among the potential client. This is also a kind of demonstration of the back side of a business (Sihi & Lawson, 2018).

Informant 3 (27 years, work experience 3 years): “I can show myself without makeup unhindered, but if it is logically required: if I do makeup video...”

Informant 7 (25 years, 1 year work experience): “I go in Stories without makeup and show you how to turn a pumpkin into a princess.”

It should be noted that maintaining a blended account implies significant emotional costs from the makeup artist. Here, as in the offline world, some emotions should still remain outside of Instagram. For example, many noted that the audience does not like when the master carries negative content. This implies not only avoiding discussion of negative topics, but also hiding personal emotions (Hoshchild, 1983; Bolton, 2000).

Informant 7 (25 years, 1 year work experience): “When I am not in the mood, I try not to go out at all. Because I don't like to broadcast a bad mood and I don't like to look at sad people.”

However, it is important to emphasize that if a make-up artist sometimes allows himself to post some negative content (complain to an audience about an unsuccessful situation with a client, some negative comments received in offline or online world), subscribers begin to actively support the master. This indicates the formation of close parasocial relationships with the audience (Toffoletti & Thorpe, 2018).

Informant 5 (23 years, work experience 2 years): “My audience attacks the offender, they just hound him harshly, it even makes me uncomfortable. My audience protects me as much as possible, I just have to upload a screen of comments... They (negative commentators) are being blown to pieces...”

Another example of parasocial relationships is the fact that people often turn to makeup artists for not only advice regarding makeup, but even for psychological help. Such trusting relationships are formed through a well-formed personal brand and subsequently acquired opinion leader status (Zhao, et.al., 2018). The symbolic capital and authority of the master in this case allows him to instruct people.

Informant 1 (22 years, work experience 3 years): “A lot of people write, take off their photos of work, ask what are the mistakes. There is even one woman who writes to me as a psychologist. She is 38 years old, she left work and decided to go into this area. She writes to me all the time. I think: “Wow, am I so cool already?”

Many informants noted that they did not encounter negative in social networks, as they managed to create the most loyal audience. If someone ever received negative comments, then it was either from people who are far from the sphere of beauty, or from strangers who often wrote anonymously. Anonymity in this case is a protection for the Buller (Subrahmanyam & Љmahel, 2011). It should be noted that the negative is directed not only against the activities of the makeup artist, but also against its incorporated characteristics (behavior, voice, etc.)

Informant 2 (25 years, experience 1 year): “There was a strange situation: “You have a nasty voice.” The girl wrote anonymously to me from an empty account… Well, this is nonsense.”

Informant 1 (22 years, work experience 3 years): “Once, a woman, about fifty years old, wrote on my photo:“ What is it? ”. And there is a fashionable minimalistic bunch, but it's clear that grannies will say: “What is it? There's nothing to do here.” I just deleted this comment and live on calmly.”

Interestingly, the negative received on social networks, unlike offline negative, does not cause a strong emotional response and further negative consequences for the makeup artist. This indicates a possible decrease in the importance level of the opinion, expressed by people with whom the makeup artist is not connected by any relationship, except for instant online communications. In addition, the ability to block the abuser acts as a way to protect and relieve stress.

In general, make-up artists noted the need for everyday communication with the audience, conducting interactive programs, since all these actions significantly increase activity on the master's page. Improved statistics help create a personal brand faster and more efficiently. However, such a mandatory daily online communication requires a huge aesthetic work of the master, which in the future can even lead to emotional burnout and a lack of desire to make a blog (Schultz & Sheffer, 2008). And this, in turn, will negatively affect the personal brand of the master, since in this area he needs to constantly “remind himself”.

Informant 12 (30 years, work experience 8 years): “People have to be forced to activity, this is hard work. If I disappear for a week - there will be peace and quiet, and as soon as I appear - I need to actively maintain an account for at least a week to make them to get out.”

Maintaining a blended account for a personal brand requires the development of a certain image, as well as a message that the master wants to convey to the viewer. Since the makeup artist's account is mainly aimed at a female audience, many makeup artists noted the idea that “absolutely all the girls are beautiful” as the main message of their accounts. Thus, the psychological aspect of the makeup artist, which is present in offline work and was discussed above, is also transferred to the online world.

Summarizing all of the above, it should be noted that the online aspect of the makeup artist's work implies significant aesthetic work of the master. This requires a thorough approach to the generation and creation of content, regular interaction with the audience, and maintaining oneself as a commodity person (Liu, Suh, 2017). The appearance and behavior of the make-up artist play no less role here than in offline space. Properly selected tactics allow creating and maintaining a personal brand, which in turn provides the worker with a continuous flow of customers. Therefore, despite the difficulties of maintaining blended accounts, it becomes obvious the need to perform this work.



5. Conclusion

This work was aimed to understanding the concepts of aesthetic work in the modern digital world. Using the example of makeup artists in St. Petersburg (as representatives of a service sector), the importance of the incorporated dispositions of service workers in the online world was examined.

The main theoretical gap, that this work tried to fulfil, is that previously aesthetic work was studied mainly in organizations (Bolton, 2000), but the current situation with a shift towards self-employment (Strebkov & Shevchuk, 2016) makes it necessary to study this phenomenon in the absence of organizational requirements and the need of matching a specific brand. And in this work the aesthetic labor of self-employed workers was examined. The need for self-brand construction and turning self into commodity person using aesthetic tactics were considered (Liu, Suh, 2017). The incorporated dispositions and soft skills of a person play a huge role here. In addition, in order to create and maintain his reputation, a freelancer must always stay in touch (Gregg, 2011) and be prepared to convert any new acquaintances into a potential client base.

Today, these tasks are becoming easier to accomplish using various online platforms. In addition to their availability and widespread use, they helps to stay in touch and to build a personal brand. This helps the employee demonstrate the process of creating his own business for a wide audience (Sihi & Lawson, 2018). And this is another theoretical contribution of this work: it tried to investigate why this online promotion is so important in beauty industry and how the freelance service workers represent their aesthetic labor through online channels.

In the course of this study, firstly the aesthetic work of makeup artists in the offline sphere was studied in details: its modern features and consequences for the employee. The importance of promoting and creating a personal brand through online channels - blended accounts on Instagram (Sihi & Lawson, 2018) was also examined. Finally, the most important point of the study was the aspects of aesthetic work required from makeup artists to create a personal brand on Instagram: what is included in this aesthetic work and how it will help in creating a professional personal brand. Moreover, it was studied which aspects of offline aesthetic work are transferred to the online space.

Regarding aesthetic work offline, it should be emphasized that there are significant emotional costs, and this is largely due to constant interaction with clients (Hochschild, 1983). In their career, makeup artists use tactics of positive (purposeful manifestation of positive emotions - jokes, smiles, etc.) and negative (purposeful concealment of negative emotions) surface acting (Brotheridge, 2003). Moreover, as a result of the study, it was found that the makeup artist is often perceived as a psychologist, as people come not only for makeup services, but also to discuss problems or get rid of complexes about their appearance (Gimlin, 2000).

Another important aspect of the aesthetic work of makeup artists is their appearance. As it was found out, there is a certain stereotype that a makeup artist should be beautiful and this will help him attract new people (Etcoff et al., 2011). However, many noted that beauty in this case implies a more pleasant, neat appearance, rather than innate physiological facial features. As previously suggested (Harvey, et. al., 2013), appearance plays the role of advertising the makeup artist's activities. Therefore, it makes sense to talk about the third shift (Mears, 2014) of makeup artists - the time spent working on their appearance. However, it was found that professional complex makeup on the face of the makeup artist does not play the role of advertising, rather, on the contrary, it can negatively affect the work with the client.

Also an important point of aesthetic work is the presence of taste and style. A make-up artist must constantly study fashion trends, makeup himself and his clients according to them in order to remain in demand (Entwistle & Wissinger, 2006). In a certain way, the presence of taste and style, as two internal dispositions, reflect habitus (Bourdieu, 1990) and demonstrate the master's high professionalism, distinguishing him from colleagues and other people (Quintanilha, 2019).

The study also determined the importance of promoting and creating a personal brand in online spaces. All informants noted that today the most effective way to promote is Instagram, which today acts as a full-fledged market field (Yadav, et. al., 2013). This social network allows sharing “selling” visual information, which is the most trusted by the audience (Marwick, 2015), and is also most important for the beauty industry.

A daily demonstration of business helps to build trust with audience. However, the high level of competition and overcrowding of niches force makeup artists to generate unique content and invest significant amounts of money in promotion, as well as constantly stay online, which negatively affects their work and life balance. Older informants noted certain difficulties in learning Instagram functions and selling themselves through social services. This fact clearly demonstrates the concept of digital migrants (Prensky, 2001)

Aesthetic labor plays a crucial role on Instagram. It should be noted that the makeup artist must not only show his business, but also demonstrate himself as a person, maintain a blended account (Sihi & Lawson, 2018). This will help to more effectively create personal brand and maintain the interest of the audience in his activities and in himself, as a person. Self-organization and employee's management skills play an important role here (McRobbie, 2002) since the regular content creation process requires significant time and energy costs.

As in the offline world, on Instagram the makeup artist demonstrates a distinctive sense of taste and style, building a single color scheme in the account, mixing different types of content. Aesthetic preferences and visions of the master form his image in a social network.

Another important aspect of aesthetic work online is the representation of one's appearance. It should be noted that unlike the offline world, in the online space, makeup artists appear mainly with professional makeup. The appearance without it seems to most informants uncomfortable. Willingness to show self without makeup depends on the degree of trust between the master and the audience -- the higher the level of trust -- the easier it is for a makeup artist to show the face without makeup. Sometimes the creation of content requires the makeup artist to do that (the creation of training videos). However, in general, the "presentable" appearance of the makeup artist plays an even bigger role on Instagram than in the offline world. Because on Instagram, the make-up artist shows himself to a larger number of people, among whom there may be his potential future clients. Therefore, both appearance and makeup play the role of advertising of a professional on Instagram (Harvey, et. Al., 2013).

As in communicating with offline clients, on Instagram, the master is forced to avoid discussing negative topics, as the audience does not like negative content. The same applies to the expression of negative emotions. Thus, it makes sense to talk about emotional labor, in particular, superficial action -- the targeted concealment of negative emotions (Brotheridge, 2003). It should be noted that in rare cases, if negative emotions are still manifested by masters, audience provide significant support, which also indicates the presence of parasocial relationships (Toffoletti & Thorpe, 2018). Another example of such a relationship can be the fact that often on Instagram, makeup artists maintain communication with strangers, not only giving them advice about makeup, but also providing psychological support. Thus, the psychological aspect of the makeup artist's work is transferred from the offline sphere to online. This can also be confirmed by the fact that many informants noted the phrase “All women are beautiful” as the main message of their Instagram accounts, which also indicates the psychological component of the makeup artist's work online (Gimlin, 2000).

It is important to note that many makeup artists managed to create a loyal audience and did not faced with negative in social networks. However, those who did noted that often the negative came anonymously or from people outside the beauty industry. It is important to note that the negative received on social networks does not require special emotional work and does not cause negative consequences for the makeup artist, in contrast to offline negative.

Thus, one of the most global conclusions of this work is that today in the makeup artist profession the representation of aesthetic work online plays an even more crucial role than in the offline world. Here he represents himself to a much wider audience, which can later be converted into a client base. This representation require significant emotional work (Hoshchild, 1983), demonstration of soft skills (Nickson, et. al., 2012), and working on own incorporated dispositions in “third shift” (Mears, 2014). From the offline world, the following aspects of aesthetic work are transmitted to online spaces: hiding negative emotions (surface acting), avoiding negative content, maintaining oneself as a commodity person (Liu, Suh, 2017). Appearance and makeup play more important role as advertising online. Equally important here is an open demonstration of such internal dispositions as a sense of taste and style (Bourdieu, 1990). And also the psychological aspect of the work is transferred to the digital space - constant communication with the audience, the provision of professional or psychological assistance. This requires a significant manifestation of employee soft skills (Bolton, 2000).

Undoubtedly, this work has its limitations. Firstly, it, as most works in this field, is aimed at studying the aesthetic work of women, however, it was previously emphasized that men should not be deliberately excluded from the sample, since their aesthetic work should not be underestimated (Rooijakkers & Holla, 2019) The absence of men in this sample may be explained by geographic limitations and capabilities of the researcher: In St. Petersburg, only a few men who openly represent their makeup activities on Instagram were found. However, these men did not fit the selection parameters, as they were primarily beauty bloggers, and not representatives of the immediate services sector.

Another limitation of this work is the lack of content analysis on Instagram accounts of makeup artists. It should be noted that this is an extensive base of visual empirical material, from which more extensive conclusions about the aesthetic work of makeup artists in online space could be drawn. In this work, the lack of content analysis is explained by the time constraints and capabilities of the researcher. But it is important to emphasize that this is one of the most obvious directions for the development of this work, and in general, future research in this area.



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Appendix

Appendix № 1 Interview guide

Блок 1. Знакомство.

Задачи:

Получить описание бэкграунда респондента,

Определить субъективное отношение к некоторым жизненным аспектам (семья, учеба),

Выявить характеристики личности (общительность, усидчивость и т.д.)

Здравствуйте! Спасибо большое, что согласились принять участие в данном исследовании.

Для начала, хотелось бы немного лучше узнать Вас. Давайте поговорим о вашей жизни.

1. Сколько вам лет?

2. Откуда Вы?

· Если не из СПб, то:

· Где жили до этого?

· Опишите свою жизнь в другом городе: с кем жили?

· Насколько вам нравилось место, где вы живете?

· Когда и при каких обстоятельствах переехали?

3. Родители. Кем они работают? Связаны ли их профессии с творчеством? Занимаются ли они какой-либо творческой деятельностью помимо работы?

4. Где учились (о школе)? (выявить условия учебы, уровень полученных знаний) Как учились? Как относились к процессу обучения?

5. Много друзей было в школе? (выявить предрасположенность к широкому социальному кругу) Опишите отношения с близкими друзьями.

6. Был ли лучший друг\подруга? Как долго вы общались(или общаетесь до сих пор)?

7. Какое было хобби? Была ли возможность заниматься этим? (субъективно - наличие свободного времени, постоянное желание; объективно - наличие кружков, секций, и др. возможностей для развития)

8. Есть ли высшее образование? На кого учились? Где? Нравилось ли?

9. Сейчас где живете? Нравится ли место, где живете? С кем живете? С родственниками\друзьями\любимым человеком?

10. Много людей, с которыми хорошо общаетесь? Просто знакомых? Лучших друзей? Есть ли молодой человек\девушка\муж\жена?

11. Работаете ли вы сейчас где-то, кроме визажа? Где? Кем? Нравится ли?

12. Расскажите о своих увлечениях и хобби на данный момент (кроме визажа).

Блок 2. Мэйкап бэкграунд

Задачи:

Определить первоначальные цели и мотивации к занятию визажем.

Получить описание процесса обучения.

1. Когда пришла идея заняться макияжем? В каком возрасте? При каких обстоятельствах? Когда приступили к ее осуществлению?

2. Когда, где и какие частные курсы\мэйк-ап школы посещали? Как и почему выбрали именно эти курсы\школу?

3. Уроки были индивидуальными? Групповыми? Были ли в вашей группе мужчины? Если да, то как женская част группы относилась к ним? К их выбору? Делились ли они своими эмоциями ? Почему они решили выбрать данный путь? Как окружающие относятся к их увлечению? Планируют ли они дальше развиваться в этой сфере? Если да, то как?

4. Были ли полезны уроки? Насколько, в целом, удовлетворил курс?

5. Опишите преподавателя (лей). Кто это был(известные ли личности)? Как сложились отношения с преподавателем? Опишите особенности преподавания.

6. Дорого ли стоило обучение?

7. Посещали ли Вы мастер-классы? Опишите самые запоминающиееся. Какие это были мастер-классы и где они проводились? На какую тему? Кто вел? Какая длительность мастер-класса была? Платный или бесплатный? Включал ли мастер-класс в себя практическую часть?

8. Через какое время начали активно красить других людей? Было ли это на условиях ТФП или сразу платно? Если начали с тфп, то потом перешли на коммерцию? Сколько времени прошло, прежде чем вы стали работать платно? Что вы чувствовали в период работы на условиях ТФП?

Блок 3. Организация рабочего процесса визажиста и текущая работа.

Задачи:

Описать процесс организации рабочего процесса визажистов

Получить описание текущего рабочего положения

Выявить личное отношение к практикам оказания услуг в сфере красоты

Определить основные направления деятельности респондента в данный момент

Описать work & life баланс визажиста

Оценить степень сложности деятельности для физического и морального состояния

1. Макияж это хобби или основная работа? Если макияж - это полноценная работа, то из чего она состоит? Что еще входит в рабочие обязанности профессионального мейк-ап мастера помимо непосредственного нанесения макияжа клиенту?

2. Участвуете ли вы в съемках? Каких? Как часто? Коммерция\тфп?

3. Доводилось ли вам участвовать в масштабных коммерческих съемках? Что вам это дало (навыки, эмоции, контакты)?

4. В целом, оцените доход, который вам приносит именно работа визажистом. Достаточно ли это, чтобы визаж стал основной профессией?

5. Работа визажистом - работа в удовольствие или сложный ручной труд? Что мотивирует Вас заниматься визажом?

6. Визажист-ваше единственное направление или вы связаны и с другими направлениям бьюти-сферы (грим, работа с волосами, бровями, ресницами)? Расскажите.

7. Есть ли в визаже такое понятие как «рабочий день»? Если да, то как долго в среднем длится ваш рабочий день? По длительности - какое самое большое количество часов вам доводилось работать? Где? При каких обстоятельствах? Опишите свое физическое\моральное состояние после длинных рабочих дней.

8. Работа визажистом зачастую имеет ненормированный график. Как удается совмещать личную жизнь и профессиональную деятельность? Сложно ли это? Бывает ли такое, что работа неожиданно врывается в график личного времени и приходится откладывать свои дела? Закончив «рабочий день» вы откладываете все дела связанные с макияжем? Или в свободное личное время делаете какие-то рабочие дела (например, ищете идеи для макияжа, идете в магазин за косметикой и тд.)

9. Остается ли время на себя? На бытовые и повседневные дела? На общение с друзьями\семьей?

10. С тех пор, как макияж стал работой - эта деятельность осталась такой же привлекательной и интересной для вас? Не возникало ли эмоциональных выгораний, нежелания заниматься визажом?

Блок 4. Эстетический труд в профессии визажиста оффлайн.

Задачи:

Определить существующие стереотипы относительно внешнего вида, поведения и других инкорпорированных диспозиций представителя бьюти-индустрии

Определить, насколько эстетический труд визажиста важен в конструировании оффлайн селф-бренда

Выявить эмоциональные и другие последствия эстетического труда

11. Есть ли в бьюти-индустрии какие-то стереотипы относительно того, как должен выглядеть визажист?

12. Можно ли сказать, что Ваша внешность, ваш макияж - это реклама вашей деятельности? Или это не обязательно так? Почему?

13. Красота - растяжимое и неопределенное понятие. Что для вас красота в принципе? Какого человека можно назвать красивым? (если отвечают, что каждый человек красив по-своему). Какой типаж людей кажется вам наиболее притягательным?

14. Должен ли визажист разбираться в моде, следить за последними тенденциями?

15. Опишите свой стиль, которого вы придерживаетесь в повседневной жизни?

16. Опишите свой вкус в макияже. Какие макияжи вам нравится делать себе\другим?

17. Чем вы вдохновляетесь для создания различных макияжей?

18. Какими чертами характера должен обладать визажист, чтобы построить успешную карьеру? Какие черты характера могут помешать мейк-ап мастеру в достижении успеха?

19. Как должен себя вести визажист для наиболее комфортной работы с клиентом?

20. Приходилось ли вам скрывать какие-то личные эмоции для поддержания комфортной атмосферы общения с клиентом?

21. Возникали ли у Вас когда либо трудности с клиентами? Если да, то какого характера? В чем заключалась причина? Чем заканчивался конфликт? Вызывало ли это какие-то негативные последствия для вашей карьеры? Если да, то как вы их преодолели?

22. Как вы ведете себя в ситуации, если попадается «неидеальный» клиент? Стараетесь ли сохранить с ним хорошие отношения?

23. Всегда ли клиент доволен результатом? Часто ли просят что-то переделать? Как Вы на это реагируете?

24. Часто ли клиенты просят сделать что-то «на свой вкус»?

25. Если вкусы клиента не соответствуют вашему вкусу, как вы реагируете? Пытаетесь ли переубедить? Что ощущаете внутри, если все -таки беретесь за этот заказ?

26. Возникало ли у вас негативное чувство (опустошения или отвращения) к занятию визажом после долгого рабочего дня? Если да, то как справлялись с этим?

Блок 4. Эстетический труд в профессии визажиста онлайн.

Задачи:

Описать роль аккаунтов в социальной сети Инстаграм в карьере визажиста

Определить, насколько эстетический труд визажиста важен в конструировании онлайн селф-бренда

Выявить последствия эстетического труда

Получить описание онлайн-отношений между визажистом и аудиторией

27. Как давно вы завели Инстаграм аккаунт в качестве профессионального визажиста? С какой целью вы это сделали? Почему именно Инстаграм?

28. Сколько у вас подписчиков? Считаете ли вы свое количество подписчиков достаточным? Насколько подписчики активны? (оставляют лайки\комментарии\сохраняют посты). Можно ли записаться к вам на макияж через инстаграм?

29. Что Вы делаете для «раскрутки аккаунта?» Используете ли хэштеги? Таргетинговую рекламу? Покупали ли когда-либо рекламу у инфлюенсеров? Какие результаты это приносит?

30. Есть ли блогеры\инфлуенсеры, за которыми вы активно следите? Из какой сферы эти люди? Опишите их аккаунты- стиль, что они выкладывают, как часто, как они общаются с подписчиками.

31. Есть ли у вашего аккаунта свой стиль? Есть ли у вашего аккаунта отличительные персональные черты, личный почерк автора? Чем ваш аккаунт отличается или наоборот схож с остальными в этой сфере?

32. Как часто вы выкладываете фото\видео в ленту? Что в основном выкладываете? Себя? Работы? Информационные посты о косметике, уходе и тд. Пишите ли вы длинные посты? Если да, то о чем они? Выкладываете ли вы туториалы с макияжем? В каком формате? Как реагируют подписчики? Снимаете ли Вы обзоры на косметику? Если да, то на какую (масс-маркет\проф. средства? Уходовая\ декоративная\ лечебная косметика)? Выкладываете ли вы фото\видео своих клиентов? Например, преображения «до\после». Как клиенты реагируют на это? А аудитория?

33. Почему выкладываете именно это?

34. В вашем аккаунте больше вас или работы? В каком соотношении совмещаете? Какой на ваш взгляд идеальный баланс между личным и профессиональным контентом?

35. Показываете ли вы в Инстаграм свою обычную жизнь? Есть ли какие-то стороны\темы вашей жизни, которые вы не показываете в Инстаграм? Почему?

36. Какой должна быть «идеальная» страница профессионального мейкап мастера? Почему?

37. Какой образ вы стремитесь создать через свой аккаунт в инстаграме? Какой основной посыл публикуемых фото\видео? Что вы хотите донести до зрителей?

38. Сколько времени вы выделяете на создание контента? Насколько сложен этот процесс?

39. Если выкладываете себя, то делаете ли вы макияж? Прическу? Как много времени уходит на это?

40. Обрабатываете ли фотографии? Сколько времени уходит на это?

41. Ваш контент - это чаще профессиональные съемки или вы сами фотографируете и обрабатываете фото\видео?

...