By the French Revolution of 1789 fashion changes developing since 1775
took effect. The new female hair fashion was to wear a wig of arranged
curling coils on top of the head letting the natural hair fall loosely
down the nape of the neck.
As the 18th century came to a close,
all things Roman were in fashion with cropped simple hairstyles. This
was soon replaced by a vogue for all styles Greek and the simplicity of
freshly washed hair copied from Greek vases was thought attractive.
Women
in the 19th century liked to be thought of as fragile ladies. They
compared themselves to delicate flowers and emphasised their delicacy
and femininity. They aimed always to look pale and interesting. Paleness
could be induced by drinking vinegar and avoiding fresh air. Sometimes
ladies discreetly used a little rouge on the cheeks, but make-up was
frowned upon in general especially during the 1870s when social
etiquette became more rigid.
Actresses however were allowed to
use make up and famous beauties such as Sarah Bernhardt and Lillie
Langtry famous beauties of the 1880s could be powdered. Most cosmetic
products available were still either chemically dubious, or found in the
kitchen amid food colourings, berries and beetroot.
A pale skin
was a mark of gentility. It meant that a lady could afford to not work
outdoors getting suntanned which was then considered vulgar and coarse.
Continuous work in sun and harsh weather coarsened the skin then, as it
does now. Parasols were de rigueur and used to protect the complexion.
Rooms were shuttered with dark heavy velvet curtains to keep out the
sun's rays.
During this time it was thought that a woman's
crowning glory was her hair. It was rarely cut, usually only in severe
illness. It was also supplemented by false hair depending on the current
fashion.
After 1886, Harriet Hubbard Ayer promoted face creams
and various anti-ageing products. Before that, little that was
satisfactory had been available.
Eugene Rimmel (1820-1887) was a French perfumer and businessman
responsible for manufacturing and marketing some of the earliest
commercially made cosmetics. The most innovative invention might be the
first commercial non-toxic mascara product. It became so popular that
rimmel is to this day the word for mascara in several languages
including French, Italian, Persian, Spanish and Turkish and German.
As photography steadily became more popular, from 1870 to 1900, so too
did cosmetics. An amateur photographer of the time referred to
photographs as “permanent mirrors,” while Oliver Wendell Holmes, upon
viewing Mathew Brady’s photographs of Civil War battlefields, called the
camera a “mirror with a memory.” Increasingly, sitters insisted that
their images be improved upon for the special occasion of a portrait.
Enameling—lacquering the face with white paint— therefore came into
vogue. “American women who ordinarily shunned paint requested it at
photographers’ studios,” according to historian Kathy Peiss. H. J.
Rodgers, in his 1872 manual of photography, advised women not just on
what clothing was most flattering in a portrait but also provided them
with many pages of cosmetic recipes. Clearly, women took advantage of
such concoctions, as the photographs themselves attest. In a series of
portraits from the 1880s, for example, Baby Doe Tabor, who married a
silver magnate in the Colorado town of Leadville, displays eyebrows
unapologetically darkened by artificial means. Stage actress Charlotte
“Lottie” Mignon Crabtree unabashedly wore kohl on her eyes (and rouge on
her lips) in the carte de visites she passed out liberally to her fans.
Photographer Henry Peach Robinson lamented the vanity of his clients.
“All kinds of powders and cosmetics were brought into play,” he said,
“until sitters did not think they were being properly treated if their
faces and hair were not powdered until they looked like a ghastly
mockery of the clown in a pantomime.”
1900-1907 several entrepeneurs started selling door to door mostly hair remedies and Sarah McWilliams made herself with persistence a Millionaire.
Other than that a lot of hair straighteners came around as well as permanent wave solutions and curlers.
By 1909 Selfridges opened in London's Oxford Street and they openly sold
cosmetics. Cosmetics displays were openly visible to the customers and
were no longer hidden under the counter.
Elizabeth Arden (December 31, 1878 - October 19, 1966) was a Canadian
businesswoman who built a cosmetics empire in the United States. Still
in 1909, Arden formed a partnership with Elizabeth Hubbard, another
culturist. When the partnership dissolved, she coined the business name
"Elizabeth Arden" from her former partner and from Tennyson's poem
"Enoch Arden".
In 1912, Arden travelled to France to learn beauty
and facial massage techniques used in the Paris beauty salons. She
returned with a collection of rouges and tinted powders she had created.
In an era when it was only acceptable for stage performers to wear
makeup, Arden introduced modern eye makeup to North America. She also
introduced the concept of the "makeover" in her salons.
Arden
collaborated with A. Fabian Swanson, a chemist, to create a "fluffy"
face cream. The success of the cream, called Venetian Cream Amoretta,
and corresponding lotion, named Arden Skin Tonic, led to a long-lasting
business relationship. This revolutionized cosmetics, bringing a
scientific approach to formulations. other innovations included creating
foundations that matched a person's skin tone; creating the idea of the
"Total Look" in which lip, cheek, and fingernail colors matched or
coordinated; and the first to make a cosmetics commercial shown in movie
houses.
The word mascara derives from the Italian maschera, which means
"mask" from Middle Latin masca or Arabic Maskhara or from Old Occitan
masco. Modern mascara was created in 1913 by a chemist named T. L.
Williams for his sister, Mabel. This early mascara was made from coal
dust mixed with Vaseline petroleum jelly. The product was a success with
Mabel, and Williams began to sell his new product through the mail. His
company Maybelline, a combination of his sister's name and Vaseline,
eventually became a leading cosmetics company that we know today.
Max Factor, Sr. (1877 - August 30, 1938), born Factorowitz or
Faktorowicz in Poland (then Russian Empire), was a businessman and
cosmetician who founded the Max Factor Cosmetics Company. He is known as
the father of modern cosmetics.
Factor’s father was a rabbi and
could not afford formal education for his ten children. Aged eight,
Factor was placed in apprenticeship to a dentist/pharmacist.
He
opened his own shop in a suburb of Moscow, selling hand-made rouges,
creams, fragrances, and wigs. His big break came when a traveling
theatrical troupe wore Factor’s make-up to perform for Russian nobility.
The Russian nobility appointed Factor the official cosmetic expert for
the royal family and the Imperial Russian Grand Opera.
In 1904,
Factor and his family emigrated to the United States. Factor made a new
start in St. Louis, Missouri, at the 1904 World’s Fair. He sold his
rouges and creams, operating under the newly re-spelled name Max Factor.
Factor saw an opportunity to provide make-up and wigs to the growing
film industry. He moved his family to Los Angeles, California, in 1908.
In 1914, Factor created a make-up specifically for movie actors that,
unlike theatrical make-up, would not crack or cake. Soon, movie stars
were filing through Max Factor’s make-up studio, eager to sample the
“flexible greasepaint” while movie producers sought Factor’s human hair
wigs. He allowed the wigs to be rented to the producers of old Westerns
on the condition that his sons were given parts. The boys would keep an
eye on the expensive wigs. Factor marketed a range of cosmetics to the
public in the 1920s, insisting that every girl could look like a movie
star by using Max Factor make-up.
Lipstick became widely popular after Maurice Levy's 1915 invention of
the metal lipstick container. It was available in salve, liquid, and
stick forms, and long-lasting, indelible stains were the most popular.
"Natural" lipgloss was also invented, which used bromo acid to create a
red effect as it reacted with the wearer's skin. Finally, flavored
lipstick was also popular, with the most popular variety being cherry.
In
the 1920s, different products were also developed that showed the
decade's preoccupation with shaping the mouth. Metal lip tracers, made
in various sizes to satisfy the wishes of the wearer, were developed to
ensure flawless lipstick application. Helena Rubinstein created a
product called "Cupid's Bow," that billed itself as a "self-shaping
lipstick that forms a perfect cupid's bow as you apply it." The
development of the mirrored lipstick container in the 1920s also points
to the importance of shaping the lips through the application of
lipstick.
The eyebrow pencil really took off in the 1920s, in part because it was
technologically superior to what it had been, due to a new ingredient:
hydrogenated cottonseed oil (also the key constituent of another wonder
product of that era, Crisco Oil). This likely helped the pencil glide
more easily and, just as important, kept it from “blooming” with
bacteria.
Greta Garbo wielded the eyebrow pencil skillfully and
in doing so transformed the face of America. When she arrived in
Hollywood, Garbo was an “unretouched Swedish dumpling” who had “the
shadow of a double chin, frizzy hair, and slightly buck teeth.”
The fair-skinned trend continued up until the end of the Victorian era.
Niels Finsen was awarded the Novel Prize in medicine in 1903 for his
“Finsen Light Therapy” . This therapy was to cure infectious diseases
such as lupus vulgaris and rickets disease. Shortly thereafter, in the
1920’s, Coco Chanel accidentally got burnt while visiting the French
Riviera. Her fans apparently liked the look and started to adopt darker
skin tones themselves. In addition, Parisians fell in love with
Josephine Baker, a “caramel-skinned” singer in Paris. These two French
women were two trendsetters of the transformation of tanned skin being
viewed as fashionable, healthy, and luxurious .In the 1940’s, women’s
magazines started using advertisements that encouraged sun bathing. At
this time, tanning oil and bathing suits that left little to the
imagination were coming out. In the early 1930's, South Australian
chemist, HA Milton Blake, experimented to produce a sunburn cream.In
1944, Florida pharmacist, Benjamin Green invented a suntan cream in his
kitchen that became "Coppertone Suntan Cream."
One “Mrs. Brown,” as she would later be referred to in a congressional
hearing, let herself be talked into having her eyelashes and brows dyed.
“Mrs. Brown’s laughing blue eyes have been blinded forever,”34 Ruth
deForest Lamb wrote in her American Chamber of Horrors, a 1936 book
detailing a number of horrific products consumed by the American public
in the name of beauty (including the depilatory Koremlu as well as
mercury-based skin “whiteners”).
Congress, urged on by Lamb’s book
and after numerous chest-thumping congressional hearings, finally acted
to regulate cosmetics in 1938. But the controversy over such products as
Lash Lure was widely publicized long before then.
The 1938 Food,
Drug, and Cosmetic Act brought cosmetics and medical devices under
control, and it required that drugs be labeled with adequate directions
for safe use. Moreover, it mandated pre-market approval of all new
drugs, such that a manufacturer would have to prove to FDA that a drug
were safe before it could be sold. It irrefutably prohibited false
therapeutic claims for drugs, although a separate law granted the
Federal Trade Commission jurisdiction over drug advertising. The act
also corrected abuses in food packaging and quality, and it mandated
legally enforceable food standards. Tolerances for certain poisonous
substances were addressed. The law formally authorized factory
inspections, and it added injunctions to the enforcement tools at the
agency's disposal.
Though the Depression cut into the beauty
business, it eventually proved a boon by getting more women out to work,
making them more conscious of their appearance. In World War II
Washington politicians foolishly talked of abolishing the beauty
industry for the duration to save materials. But wiser heads prevailed.
(When Hitler banned makeup, the women of Germany simply refused to
work.) The industry put its lipsticks in cardboard containers, found
substitutes for strategic materials. One substitute: a cream type of
hair tonic that is outselling the older oil type today. By war's end,
sales of cosmetics had increased 53%.
World War II has a dramatic effect on women's position in society. The
absence of men forces them to step into traditional male roles at home
and at work. Fabrics are scarce, and the austere mood is reflected in
practical clothes in muted shades. Max Factor introduces stocking cream
in response to shortages. Make-up fulfils an important role as an
instant feminiser and affordable morale booster, and is even produced in
shades to match air-raid shelters and gas masks. Red lipstick is seen
as a symbol of patriotism, as women defy hardship by maintaining their
appearance.
It was soon after World War II that Miss Bishop, a trained chemist who
had worked in a dermatologist's laboratory, developed a nondrying,
nonirritating, long-wearing lipstick. (Long-lasting types contain high
amounts of colorants called bromo acids that have staining qualities.)
In
1950, she formed Hazel Bishop Inc. to manufacture and market her
discovery. ''Never again need you be embarrassed by smearing friends,
children, relatives, husband, sweetheart,'' the early advertising said,
pointing out that older formulations tended to leave greasy marks on
glasses, cigarettes and teeth. And the new brand did not have to be
applied several times a day.
The brand found instant acceptance.
When it was introduced that summer at $1 a tube, Lord & Taylor
sold out its stock on the first day. The brand soon captured 25 percent
of the fast-growing lipstick market and locked horns with Charles Revson
of Revlon in ''the lipstick war.''
An explosion of colour – in everything from films and furniture to
clothes and make-up – epitomises post-war optimism. There is a renewed
emphasis on the family. A shortage of men encourages women to try to
look as beautiful as possible in the hope of 'catching' a husband. As
women return to domestic duties, technological advances result in a
whole host of new labour-saving devices for the home, giving them more
time to pamper themselves. A boom in the luxury beauty industry – led by
Elizabeth Arden and Helena Rubinstein – ensues. Avon calls for the
first time, and the door-to-door cosmetics rep remains the bored
housewives' best friend for the next 20 years.
In an era of increased political activity, the women's liberation
movement emerges, generating a backlash against the concept of prettying
oneself to please men. Women also realise that the beauty industry is
governed by and perpetuated by men, and eschew the defiant
lipstick-wearing of their suffragette sisters to denounce make-up and
embrace the natural look. The publication of Germaine Greer's The Female
Eunuch inspires an anti-establishment look. Boiler suits are donned,
bras are burned and women stop shaving their armpits and legs. Despite
the growing assertion of black culture – symbolised by the popularity of
the Afro hairstyle – major cosmetics companies continue to ignore the
need for a beauty range suited to darker skins. Iman, a Somali-born
diplomat's daughter, becomes the first black supermodel.
Materialism and consumerism are the buzzwords and
a super-glam look personifies the get-rich-quick philosophy of the
times. Vanity is celebrated and decadent; expertly applied make-up
symbolises the high-maintenance grooming of the trophy wife. The
'Princess Di' becomes the most popular hairstyle of the decade.
Paradoxically, the increasing profile of animal rights groups highlights
the vivisection inherent in the survival of the cosmetics industry.
Growing consumer unease is appeased by The Body Shop. Founder Anita
Roddick's aim of sourcing cruelty-free and natural ingredients from
ancient cultures and threatened communities, while highlighting global
issues, proves that conscience shopping can be a commercial winner.
Consumers become increasingly sophisticated. A desire to enhance one's
natural beauty with lighter, less visible formulas results in a
scientific approach to cosmetics that appeals to users. Cosmetics no
longer just cover-up but are 'light-reflecting' and 'wrinkle-defying',
too. The battle to rid the body of cellulite with expensive creams and
body-toners dominates, while the growing interest in celebrity looks
sees top make-up artists such as Bobbi Brown launching highly successful
independent ranges. Supermodel Iman, frustrated by the appalling lack
of ranges to suit women of colour, succeeds with her own make-up line.
Meanwhile, Isabella Rossellini, famously dumped by Lancome for being too
old at 43, launches her own Manifesto range, designed to suit women of
all ages.
As the population grows ever older, the urge to remain youthful blossoms
and the anti-ageing cream becomes king. Much cosmetic surgery is
increasingly accepted as risk free. Quick-fix treatments, such as
collagen lip implants and 'Botox' anti-wrinkle injections, can be
performed in a lunchtime; while other treatments, such as facial skin
peels and electric wave therapy, are increasingly popular.
Of course there is so much more , but I think this is a very good collection of how Makeup came around and where it went.
to find all these informations i read up in some books, wikipedia and xtimeline.com
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