I shot tungsten for years with no model problems. I did crank up the AC in the (Dallas) summers. But I was using agency girls, they may have been used to it - but I doubt the makeup people would have liked me baking the models! I never had to stick the lights that close to the girls. Generally I've found them to be cozy, not uncomfortable. They're great for nudes for that reason, too.
Tungsten is especially great because you can use dimmers - flo units need to have dimmers built into the ballasts.
My go-to tungsten lights then (and still today) were twofold:
Open faced - watch ebay/etc for used theatrical open-faced lights, the rectangular ones. They're essentially "work lights" with real spuds (stand adapters) and barn doors. They take the cheap work-like bulbs from 100 to 1k, so a wide range of output without dimming. I use these for bounce or shine them through diffusion. And though I have many big panels of "real" diffusion, I also have piles of fabric-store stuff - rip-stop nylon, cotton, sheer-ish curtains, etc. Just don't get them too close...
Fresnels - I have some higher-end Arri-style stuff, but I started with used theatrical fresnels... 6" lens with 500 - 1k globes, 3" with 250 - 300 watts, and 2" with 100 - 150. They give a soft but directional light. Lots of fresnels out there used. They're perfect in a soft scenario for hair and that hotter side-of-face/cheekbones look, or to get patterns on backgrounds. Or pop out the lens and you have another open faced fixture. Cool-Lights (google) is a US lighting designer that manufactures in China, decent fresnels, great service.
There are hundreds of low-priced Chinese Arri knockoff fresnels on eBay - many people report good experiences for the money, but I'd check the wiring first! About the only way to reliably and affordably find a very small (150, 2" lens) fresnel, which is a hella-handy fixture to have. (The most dangerous fixture I've ever owned? The Photogenic mini-spot. B&H still sells this POS).
If you can find a used LTM pepper for a good price, grab it though.
For flos, there are plenty of chinese-made Kino knockoffs out there, using the 55w biax lamp - a 4-bulb unit puts out about 1k worth of daylight (while pulling 250 watts) and Amazon usually has them for under $200, and they're all over eBay. They're already fairly "soft" but usually can stand more diffusing. I have several quads and duals and they've held up very well, but I use them for video work mostly. Go that route and you'll still need fresnels for the fresnel look - and if you shoot color, you'll need CTB gels to match things (and most flos still need some minus-green and/or 1/4 CTO to get even close to the richness tungsten has in color work). BTW, a 4-bank quad up close does put out some heat, and their throw is weak - they always seem to be in much closer than an adjusted - equivalent tungsten fixture.
Harbor Freight sells "router speed control" boxes that are great dimmers, $15-$20 or so and they'll handle 1k - a household dimmer is usually rated for 600w, and I've found they burn out with much amperage.
Having shot a lot of commercial fashion over the years, I still feel a pack/head setup or monolights give me the most control, unless I want to use very fast film. If you go that route, you should look for something that can adequately hold a big softbox, and stands that will work for that. A softbox for tungsten is pretty expensive, cheap for strobes, and there are some looks that are very difficult to get with diffusion and cards but instant with a softbox.
But I get it if you have a thing for tungsten and shooting more "WYSIWYG" than strobes, there are times I much prefer it myself. Tungsten is really simple light, but I'd avoid the "work lights" for open-faced - there are usually dozens of various studio and theatrical open-faced units on eBay, with "real" spuds and workable barn doors.
