I forget what I was looking for when I stumbled across beautician and stylist Eddie (Eadward) B. Deason (1921-1976). Like Blanche Hunter, Deason's story is incomplete. But the few things I could find are definitely worth highlighting.

Deason opened several successful House of Charm salons throughout the Los Angeles area in the late 1940s and early 1950s. According to features in Jet and Tan, he had pioneered new styling techniques for Black hair, including a less time-consuming process for pin curls. He also lent his name to advertisements for a hair styling brand called K & K Hollywood in the mid-1950s.

Feature on Eddie Deason from Tan Magazine, 1956

The man was a quadruple threat: he sang, styled hair, designed dresses and emceed fashion shows, many of which were benefits for the local Black community.

Eddie Deason emceeing an event, 1940s

Eddie Deason at the opening of his salon in Pasadena, August 1948

He also threw elaborate parties at the homes he shared with his business manager and romantic partner, Frank (Franklin C.) Jackson. Deason's relationship with Jackson presumably dated back to 1939 and lasted at least until 1964.1 Frank is all the way on the left in this photo from 1948.

Frank Jackson and Eddie Deason at the opening of his salon in Pasadena, August 1948

I believe Frank is also shown here, seated 2nd from the right below/between the two blondes.

Eddie Deason and others at a birthday party for Walter L. Gordon, Jr.

The text on this photo reads, "A girl who came west to go into pictures (?) stopped by office — and met Eddie Deason. He made a date (?) with her but affair was doomed. He had Frank [Jackson]." 

Eddie Deason dancing with an unidentified woman, 1940s

Obviously, neither Deason nor Jackson escaped persecution. Deason was arrested in 1947 for being in the "wrong" neighborhood after returning from a fashion show in broad daylight and then falsely accused of smoking marijuana. He was arrested again in 1949 for being "caught in a compromising position with a man in a men's room of a service station" and again in 1951 for sitting in a parked car (and subsequently shot at by police – fortunately he was unharmed.) Both Deason and Jackson were arrested, along with 7 others in a 1959 raid on one of their homes for narcotics possession.2 All of these point to how dangerous it was for Black men to merely exist in the 1950s, made even more so by virtue of being gay.

As the Museum focuses on makeup and not other grooming categories (hair care, skincare, etc.) you might be wondering why Deason is being featured here. Among his many accomplishments, one of the most important ones was Deason's alleged status (at the time) as the first and only Black person to study in Max Factor's studio. He reportedly trained with makeup director Abe Shore and studied cosmetic chemistry at the University of Southern California. He then became the first Black cosmetology student at the Frank Wiggins Trade School (now known as Los Angeles Trade Technical College). In 1941 Deason was appointed the lead makeup artist for the performers in Duke Ellington's all-Black musical revue, Jump for Joy. Interestingly, Ellington forbade the performers to darken their skin tone with makeup3. Deason is not mentioned by name in any of the anecdotes about that and I wonder if he was responsible for the makeup of only the female performers. As one article states, "Uniform 'luscious brown' of Jump for Joy's girls is laid to the cosmetic artistry of the young Factor expert."4

It appears Deason wanted to use this experience as a stepping stone to ultimately "get the makeup concession for all [Blacks] in the motion picture industry".  This might explain Deason's role as an extra in 1942 for the film Hers to Hold, which was released a year later. 

Eddie Deason and others, 1940s(images from library.ucla.edu)

In any case, Shore was invited to attend the grand opening of Deason's salon in Pasadena in 1948, along with the director of the Frank Wiggins Cosmetology school. In December 1952, Jet reported that Deason was offering his makeup services to Los Angeles studios for free as a way to start his own company specializing in TV makeup for Black actors. It doesn't seem that his original plan for entering the makeup business came to fruition, as articles after 1952 only highlight Deason's work as a hair stylist and fashion designer.

Eddie Deason featured in Jet Magazine, April 22, 1954

Eddie Deason featured in Jet Magazine, April 22, 1954
(images from books.google.com)

I really wish I could have found more about the makeup artist side of Deason and more biographical details. UCLA lists his birth and death dates, which I couldn't find anywhere else, so that leads me to believe they may have more information in their archives that hasn't been posted online. I also wonder if the University of Southern California, the various Max Factor archives or Los Angeles Trade Technical College would have anything about Deason.5 It's both frustrating and saddening to witness such a dearth of history about another successful Black beauty entrepreneur, especially one who was possibly the first Black makeup artist to have trained in the predominantly white, though prestigious, space that was the Max Factor studio.

What do you think? If there are any professional researchers, historians, archivists, genealogists, etc. who are willing to help find more information, please let me know!

 

1The earliest mention of Jackson and Deason attending a social event was from the Victorville Daily Press, January 27 1939 – perhaps they met there? The latest mention that listed both was from the California Eagle, January 9, 1964. The last mention of Deason at all I could find in newspapers was a snippet about an art auction to benefit affordable housing, which was hosted at his home (The Valley News, July 23, 1971)

2As reported in the California Eagle, November 24, 1949; San Bernadino County Sun, June 1, 1951, and the Oakland Tribune, January 31, 1959. This last article gives Deason's age as 34, which doesn't make sense – if he was actually born in 1921, he would have been 38 in 1959. Deason may also have been arrested in August of 1949, but again, the birth date would be off.

3Some Black entertainers – especially comedians – used blackface to adhere to the prevailing racial stereotypes of the time. Obviously colorism in makeup is a huge topic that goes beyond this post, but as it's relevant to Deason I wanted to mention it.

4California Eagle, August 28, 1941

5There is another place that may offer a tiny grain of additional information – this collection has one frame from archival footage showing Deason.

Today the Museum is featuring a flash-in-the-pan brand from the 1940s. Shem el Nessim was a very short-lived line, lasting only about 6 months during the second half of 1946. I couldn't find much info, but one thing I can say is that it's not related to the fragrance of the same name by British perfumer Grossmith. The collection consisted of a lipstick, lipstick set with 2 refills, face powder, and a face cream.

Shem el Nessim lipstick, 1946

Shem el Nessim lipstick, 1946

Shem El Nessim ad in WWD, October 18 1946

Let's talk about the cultural appropriation aspects first. Shem el Nessim appears to be an incorrect, or at least outdated, spelling of Sham el Nessim, a roughly 5,000 year old Egyptian festival/holiday that is celebrated the day after Orthodox Easter (which, this year is today…yes, I've been planning this post for a while). The day marks the beginning of spring and is accompanied by several traditions, including dyeing eggs and enjoying picnics and other outdoor activities. Shem el Nessim loosely translates to "smelling the breeze". Why Grossmith spelled Shem with an "e" is beyond me, but it seems this new brand did too. And while Grossmith engaged in cultural appropriation to market this fragrance and others, they came relatively close to understanding the holiday and translating it correctly. The Shem el Nessim cosmetics line, meanwhile, claimed it was Arabic for "bloom of youth," which is totally off. Also, the name of one of the three lipstick shades appears to be nonsense. "Garfoz" does not seem to be an actual word in any language.

Shem el Nessim lipstick, 1946

Shem el Nessim lipstick, 1946

Next, the face cream container is shaped like an "Aladdin lamp"?! No information turned up about the brand's founder, but I'm going to go out on a limb and say that Shem el Nessim was started by a white American who wanted to capitalize on Western fantasies of the "exotic" Middle East. It's certainly an eye-catching design for a face cream , but completely inappropriate for a brand with no roots in or discernible connection to Egyptian or Middle Eastern heritage. Not to mention that if the entire jar was filled, it would be cumbersome to dig out product from the pointy front part of it.

The Post Standard, November 14, 1946

In addition to using an existing product name, Shem el Nessim may have been looking at Amor Skin's lamp-shaped face cream, which debuted in 1927. It seems Amor Skin's lamp was originally a "Pompeiian" design, but by 1929 they were largely marketing it as an Aladdin Lamp.* Additionally, in the fall of 1946 Amor Skin heavily increased their advertising for the lamp and emphasized the Aladdin aspect, perhaps as a direct response to Shem el Nessim. Of course, the uptick in advertising may have been a simple coincidence, as Amor Skin had just returned to the market in the fall of 1946 after temporarily shutting down production during the war.

Amor Skin 1927 and 1929 ads

Amor Skin ad, Pittsburgh Post Gazette, November 25, 1946

Amor Skin, Vogue, December 1946
(image from archive.vogue.com)

Lastly, the collection, or at least the lamp, was allegedly designed by a "Viennese sculptor" named Peticolas.

Shem el Nessim cosmetics ad, 1946

After a fairly exhaustive search, it seems this artist did not exist. There was a Sherry (Sherman) Peticolas who lived in L.A. and was active in the 1930s-40s, but as far as I know he was American, not Austrian. Additionally, his style was markedly different from the pieces in the Shem el Nessim line, and I couldn't find a record of Peticolas designing cosmetics.

So while it's certainly possible Peticolas was involved in the design, there's no concrete evidence to confirm. As of July 1946 Shem el Nessim had hired advertising agency Klitten and Thomas, so I'm wondering if the claims about the meaning of Shem el Nessim and the Peticolas design in the ad copy were entirely their doing. In any case, there doesn't seem to be any mention of Shem el Nessim after December 1946. I'm guessing Grossmith put a stop to the company very quickly, as the Shem el Nessim fragrance was most likely trademarked, and perhaps Amor Skin also told them to back off. Or it could have happened in the reverse: Shem el Nessim's owner(s) were unaware of either the Grossmith fragrance or Amor Skin lamp when creating the line, quickly realized their missteps and abandoned the business. What's interesting is that the Shem el Nessim Sales Co. did not seem to change names, they simply disappeared. Oh, if only all businesses that ripped off existing brand names (knowingly or not) would go away forever…the world would be much better off, yes? I also suspect the price points for a fledgling brand that was not an offshoot of a fashion/perfume house or other well-known entity were too high. A more established brand, or one started by a big fashion name or celebrity might have had better luck charging the 2022 equivalent of $110 for a lipstick. Per the ad copy, Shem el Nessim was intended to be "exclusive" and not mass market, but that may not have been a profitable tactic to start with.

Sherry Peticolas, Power of Water, 1935
(image from ahbelab.com) 

Sherry Peticolas, Juan Bautista de Anza, 1939
(image from commons.wikimedia.org)

Cultural appropriation and unoriginal name aside, the Shem el Nessim lipstick case remains a unique specimen of makeup design. The style recalls both classical busts and Surrealist art, with a dash of Camille Claudel in the graceful tilt of the head, dreamy, far-away expression and rendering of the hair. It could also be considered a more sophisticated and artistic precursor to the doll-shaped lipsticks that would prove popular some 15-20 years later.

Shem el Nessim lipstick, 1946

Finally, while I haven't seen actual photos of the other items, the lipstick looks to be the most elegant, albeit impractical, design – certainly more visually appealing than the powder urn (the poor woman looks decapitated) and lamp (overtly culturally appropriative and the figure's silhouette and pose are a bit tacky).

Thoughts? If anyone can contribute any other information on this brand I'm all ears. 🙂

 

*While nearly all of the newspaper ads between 1946 and 1950 referred to the Amor Skin lamp as Aladdin's, a handful of them along with the November 1946 issue of Drug and Cosmetic Industry used the previous Pompeiian description.

Color coordination is just one of many facets of the vast and complex makeup-fashion relationship. This post will attempt to outline the trajectory of this concept from the 1920s through the early 1960s and examine how it was being marketed, with particular attention being paid to the notion of a lipstick wardrobe. The usual disclaimer applies: it won't be as thorough as I'd like given the limited access I have to certain resources, but hopefully will give a cohesive picture.

In the nascent cosmetics industry, color harmony usually referred to coordinating makeup shades to one's skin tone, hair and eye color. (It must be noted that women of color, particularly Black women, were completely left out of the "types" developed by Max Factor and others.) But as makeup became more acceptable and even expected, outfits began to take on importance in terms of coordinating makeup. The rise of ready-to-wear fashion and designers releasing seasonal collections also played a significant role. By the late 1920s beauty columns were advising women to select their makeup with the color of their "costumes" in mind in addition to the original three pillars of color harmony.1

Color complexion chart, Woman's World, 1925
(image from flickr.com)

Cincinnati Enquirer, May 1, 1927

Beauty columnists also advised a bit of color correcting through the use of mauve or green-tinted powders (which, you may recall, was pioneered by Shiseido), as this would enhance the complexion depending on lighting and the color of dress.  The racist/colorist goal of "heighten[ing] the effect of whiteness" via makeup persisted throughout the 20th century. While most articles weren't quite as blatant about achieving whiteness to coordinate with various clothing colors, the sentiment was implicit in many color coordination guides.

St. Louis Star and Times, June 15, 1927(images from newspapers.com)

While makeup shade selection was still sparse, cosmetic companies began using dress colors as a marketing opportunity. Elizabeth Arden led the way, declaring in 1931 that "any woman can wear any color". Cosmetics and Skin explains, "Unlike clothing fashion colours, that changed from season to season and year to year, lipsticks, rouges, face powders and nail polishes were sold in the same shades over long periods of time. Although limited, the colour ranges available in the 1920s and 1930s generally included vivid colours for evening wear and enough shades to enable women to make some allowances for different outfits and/or accessories like brightly-coloured jewellery. In the 1930s, recognising that make-up, like hair dyes, could change a woman’s ‘natural’ colouring, Elizabeth Arden and others went further, suggesting that make-up could enable women to wear a greater range of fashionable colours than her natural colouring might otherwise suggest." By the end of the '30s, "Women began buying new make-up items simply because of a change in colour, thereby increasing sales."

Tussy lipstick ad, Vogue, October 12, 1929
(image from archive.vogue.com)

Cosmetic companies and beauty columnists seized on the idea of choice that color coordinated makeup supposedly allowed. Women no longer had to fear certain dress colors; they could wear them with confidence provided their makeup was aligned. With a change of outfits and harmony between makeup and clothing shades, women could also express various moods and personalities. The ad copy for Elizabeth Arden's lipstick ensemble claims one could be the "The same woman…but with infinite variety" and equipped with "the power to change your personality to suit your mood – or your gown."  Columnist Antoinette Donnelly expanded on the concept, suggesting that by frequently switching up makeup and clothing combinations and breaking free from their set type, the average woman could become whoever they wanted. "[Witness] the manner in which makeup is worked out so that the woman can change her dress color to one that will put her in an entirely different category than that she is occupied in the somber shades, let's say. Or, with the help of certain makeup colors, she can be a stunning black-frocked siren, pale-cheeked and red-lipped, whereas before she may have been only a negative personality…these are frequently the type, who, rebelling, finds in an entirely new makeup scheme just that transforming note that lifts them out of the nondescript class…our interesting beauties are getting away from type classification. They're going in chiefly for being that something different which is always welcome, and particularly welcome in a world now filled with good-looking women. Makeup is the avenue over which you travel to get that difference and the crowning achievement will be reached when you know your makeup colors and what dress colors they should be associated with…the point is that this new makeup occupation of playing color successfully against dress colors is going to permit you a more dress-color latitude and will supply your audience with a woman about whom it can't be said: 'She always looks the same.'"2

Elizabeth Arden ad - Vogue, June 15, 1931

Ad for Elizabeth Arden lipstick ensemble, Vogue, January 15, 1932
(images from archive.vogue.com)

Still, there was a lot less flexibility than beauty columnists and ads cared to admit. Any woman can wear any color, perhaps, but only by following the prescribed advice and buying particular colors. Couched in the language of freedom and excitement, a variety of makeup shades may have offered new possibilities in terms of dress, but there were rules dictated by self-appointed experts and businesses who overwhelmingly encouraged women to wear what was "becoming", not necessarily whatever color combination one desired.

Nevertheless, the industry wanted to make it easy for women to buy multiple shades and the notion of sticking to one color or ensemble seem antiquated. As one 1933 article encourages, "Don't say, 'I can't wear grey'- or blue, or green as the case may be. It's hopelessly old-fashioned. Smart women these days merely change their complexions to suit their costumes, and find that there are no longer any forbidden shades…when you know your makeup story, it's all so simple."3 In addition to this sort of rhetoric that emphasized simplicity and modernity, cosmetic companies boosted sales by creating ensembles that made choosing colors less daunting for customers. The assumption was that by eliminating confusion regarding what beauty products went with what fashion color, pre-made sets detailing appropriate shades would appeal to shoppers who would otherwise be intimidated by makeup-dress color coordination (or those who merely didn't want to be bothered spending time picking out the "right" shades), normalize the idea that women should own more than one color, and introduce shades customers may not have considered otherwise. Matched makeup products and sets existed – most notably by Max Factor and Richard Hudnut – but without the fashion component, instead focusing on the original three tenets of color harmony (complexion, hair and eye color). Elizabeth Arden's lipstick ensemble and color harmony boxes may have been the first official sets designed to take the guesswork out of makeup-clothing color coordination.

Ad for Elizabeth Arden Color Harmony boxes, The New Yorker, June 1932

General guidelines on color coordination proliferated and more companies began releasing pre-made sets.

Harpers Bazaar, January 1935 article on lipstick tips and color matching

Newspaper ad for Lucien Lelong's Tic Tac Toe lipstick trio, October 1939
(image from newspapers.com)

Elizabeth Arden may have also been the first to collaborate with department stores on showcasing new colors that went with the latest fashions. In 1931, a fashion show held at Lord & Taylor demonstrated not only new dresses, but the Arden products that went along with them. "How the new striking colors of the season may be worn by all women if the proper makeup is utilized was illustrated by various feminine types wearing the proper cosmetics with the colorful gowns chosen for them."4 Five years later, makeup companies were advertising their seasonal shades alongside the latest fashion colors in department store windows. Primrose House, Helena Rubinstein and Charles of the Ritz displayed their new tawny shades in next to white sportswear collections.5

Elizabeth Arden continued to lead the way by introducing "color capes" at counters and salons where customers could try on little capes in the season's latest fabrics and decide what makeup went best with them.

Elizabeth Arden "color cape" ad, Vogue, October 1, 1936(image from archive.vogue.com)

Generally speaking, color coordination guidelines were to stick to either warm or cool tones (i.e. don't mix a warm-toned brown dress with a blue-red lipstick) but still wear colors that allowed for maximum contrast between skin and dress. While dress and accessory shades needed consideration, one's own coloring was the most important in terms of picking out makeup. If your outfit had two or more contrasting shades, the makeup should be matched to the dominant color or the one closest to your face. One should own at least three lipsticks: a "clear" or true red (what I suspect has neutral undertones), a blue red (cool-toned) and an orange red (warm-toned). Finally, coordinating lip color was more critical than face powder for a harmonious look, if one had to choose between the two. Some rather harsh color coordination advice from the decade6:

  • "There are shades of rouge and lipstick and powder that are unequivocally antagonistic to other colors in close juxtaposition. This is seen in makeup colors themselves. Such as a bright orange face rouge and a purplish or deep raspberry lipstick. This combination is really ugly. Extend the idea to apparel. Take a blue eyeshadow with a red or flame colored dress. Just wrong, that's what it is."
  • "You must change the lipstick and rouge cases that you carry in your pocketbook as regularly as you change your frock, if you want a pleasing ensemble."
  • "Remember always that your lips supply the most outstanding color to your face. If they are wrong, your whole face might as well give up."

In terms of individual colors, the prescriptions were as follows. It's very interesting to see the roots of makeup color theory, especially considering how advanced it is today. Some of the advice is debatable, most likely due to the fact that there simply weren't many shades back then. And once again, these sorts of color-specific tips were intended for white women only. While some of the principles could theoretically be applied to BIPOC skin tones, it's obvious that the industry was focused on a white audience. Racism and colorism were on full display, particularly in the advice given for black dresses.

Red:

  • "Keep rouge and lipstick in the tone of the costume color – red geranium for an orange red or vermillion dress, red raspberry for the purple-reds, the rich wine shades and fuchsias."
  • "When wearing red, violet or blue-violet, it is very important to have the same basic tones in rouge, lipstick, and costume – no clash of orange with blue-red. That's bad!"
  • "If your dress is red, your lipstick leans toward purple and your rouge is borrowing its tones from orange, you will look as flamboyant as a circus poster."
  • "Red is a danger color in makeup. If the costume color is a bright shade of red, it should be matched as closely as possible with lipstick and rouge. The smartest crimson frock could be ruined by proximity to orange rouge and mandarin lipstick."
  • "If you wear red, particularly the bright, slightly off shades, the lipstick must match your costume exactly. Your rouge must be properly toned with your lipstick."

Beige and brown:

  • "Rouge and powder should have a touch of yellow. Green eyeshadow is stunning with beige."
  • "For wheatstalk and other beiges, use a vivid note: peach makeup base and peach powder, red geranium lipstick, rouge and nail polish. Green eyeshadow and blue-green mascara."
  • "If you are wearing browns that let orange supply their gaiety, you will want a touch of orange in your makeup."
  • "A warm terra cotta or russet makeup base, terra cotta or russet rouge and lipstick and a faintly mauve shade of face powder. Use bronze shadow and brown mascara."

Grey:

  • "All shades of grey needed a decided contrast."
  • "It is advisable to accentuate lip and eye makeup and subdue grayish pallor by using a deep peach rachel powder. When cheek rouge is used, it should be of a dark red or true blood tone, never a light orange shade."
  • "For grey, a vivid makeup is recommended for contrast: peach makeup base, a light shade of pinkish tan powder, red coral rouge and lipstick and matching nail polish. Blue eyeshadow and blue-green mascara."
  • "If you emphasize the pinkish tones in your skin and use a warm, bright rouge and lipstick the color will be more becoming."

Purple:

  • "The new purple shades are difficult colors to wear, so be sure to use a double application of pale peach foundation to give the skin an extra smooth texture and even coloring. Red coral rouge and lipstick have the clear quality that you need with difficult costume shades. Use blue eyeshadow if your eyes are blue, blue-green if they are brown."
  • "If you're in purple, lipstick and rouge ought to have bluish tones under the red."
  • "For lilac, mauve and violet, makeup base with a brownish undertone, a light shade of pinkish tan powder, red raspberry rouge, lipstick and nail polish. Black mascara and blue eyeshadow."

Green:

  • "For costumes of green – the vivid shades – a bright flame rouge and lipstick with pale rachel powder and green-gray eyeshadow could be tried out with effectiveness assured."
  • "For deep green costumes, use the same rouge, powder and lipstick shades, but use blue-green mascara and shadow according to the color of your eyes."
  • "For greens, from pale green to emerald and vivid green, makeup base with a brownish undertone, light shade of pinkish tan powder, red geranium lipstick, red strawberry rouge with a blue undertone, red geranium nail polish. Jade or emerald green eyeshadow, and blue-green mascara."
  • "Greens and yellow-greens are trying, but if you bring out the warm rose tones in your coloring you will stand a better chance of wearing these colors successfully. If these colors make your skin appear sallow, blend a little mauve face powder with the color you normally select to match your skin. Use a dark rosy lipstick to give your mouth a definite outline and a brown or grayish purple eyeshadow."

Blue:

  • "For blue apparel ensembles the 'blue' idea is stressed. The powder should have a good deal of purple pink in it, the rouge and lipstick with a purple cast. And blue eyeshadow by all means."
  • "If your favorite gown is in one of the bright new blue shades, use a soft peach shade of makeup base and powder and raspberry rouge and lipstick."
  • "For guardsman blue, dusty blue and other spring blues, peach makeup base, peach powder, red strawberry lipstick with a blue undertone, matching rouge and nail polish. Blue mascara and blue eyeshadow."
  • "Blue has a way of throwing bluish or purplish shadows on the face. Use a creamy tinted powder to soften this effect and use a lighter color of rouge and lipstick, yet one that is vivid and bright."

White:

  • "White requires little rouge – the amount that is chic with black is blatant with white – and the paler tones are more successful."
  • "White, like black, takes either a dark or a fair makeup, but nothing is more striking than white worn with the darker powders. Golden skins, tawny skins, make a gorgeous contrast with white."

Black:

  • "Black requires a more brilliant makeup to complement it than a color does. A powder as light as your skin tone permits, and the bright shades of rouge and lipstick, those on the geranium cast, prove most effective."
  • "Black is most striking and flattering when the skin is fair, pearly and transparent-looking. Black is not becoming with sun-tanned skin or sallow, yellowish skin. If your new fall costume is to be black, then you must get rid of your leftover tan and get your skin as freshly pink and white as possible…powder with a warm pinkish or peach cast, rouge and lipstick that are a blush rose or a frank red – those are good to wear with black."

Pastels:

  • "Shades which have a suggestion of blue in them call for a rouge with a blue cast. Shades with a hint of yellow look their best when the face is made up with rouge and lipsticks with an orange cast."

Vogue also offered general color coordination guidelines in their October 1, 1938 issue.

Vogue makeup color guide, October 1, 1938.

Another development in the 1930s was the recognition of the win-win situation offered by color-coordinated makeup and clothing. As early as 1932 both industries acknowledged the opportunity to profit through various types of partnerships. According to the December 30 issue of WWD that year, "Clothes-stylists and cosmetic experts are in a strong position to help each other today, with the result that more clothes and more cosmetics can be sold."  The end of the decade marks the point at which cosmetic companies began creating makeup shades based on seasonal fashion colors and/or formally collaborating with fashion houses on colors.

Ad for Dorothy Gray Sierra Gold, Vogue, November 1939
(images from archive.vogue.com)

Perhaps in an effort to outdo Elizabeth Arden, in the fall of 1938 Helena Rubinstein collaborated with noted milliner Marion Valle to produce the "vanity box of hats" series, a collection of 6 hats "based on the colors of six Rubinstein products."  The hats and cosmetics were displayed together in department store windows.

Newspaper ads for Helena Rubinstein/Marion Valle "vanity box of hats", October 1938

Newspaper ads for Helena Rubinstein/Marion Valle "vanity box of hats", November 1938
(images from newspapers.com)

To further emphasize the connection between fashion and cosmetics, it was around this time that companies began referring to color coordinated makeup using fashion terminology. Gone was the "ensemble"; enter the "wardrobe".

Germaine Monteil lipstick wardrobe, Global Cosmetic Industry, June 1938
(image via archive.org)

Article on lipstick wardrobe, Chicago Tribune, February 5, 1939(image from archive.lib.msu.edu)

In short, the 1930s witnessed the solidification of clothing/makeup color coordination, mostly due to cosmetic and fashion companies realizing they could have mutually beneficial relationships in terms of sales, but also due in part to the greater trend of accessory coordination and the growth of the cosmetic industry more generally. The 1940s strengthened the notion of color coordination. The sales tactics, accessory coordination, and pre-made sets remained more or less the same. Advised a 1946 issue of Chain Store Age to salespeople, "Lipsticks must also harmonize with costume colors so women need a vari-colored lipstick wardrobe. Point out to your customer that she should have one for daytime, one for evening, one when her skin tans, etc."

"Making Up to the New Fabrics", Harpers Bazaar UK, February 1940

Newspaper ad for Lucien Lelong Pif Paf Puf sets, May 1940

Makeup and accessory coordination advice,The Atlanta Constitution, June 2, 1940
(images from newspapers.com)

Maybelline ad in Hollywood magazine, 1940
(image from archive.org)

In the spring of 1947, U.K. company Gala of London presented a similar idea to Arden's color capes by encouraging customers to visit their "Colour Room" with swatches of their dresses in hand. It's not clear whether they were inspired by Helena Rubinstein/Marion Valle partnership some 9 years prior, but Gala also collaborated with Gertrude Harris on several creations based on lipstick shades. 

Gala lipstick/hat collab, Harpers Bazaar UK, July 1947

Seasonal colors really came into their own in the 1940s. Primrose House released a shade called Maraschino, a "cherry red designed for wear with summer clothes," while Revlon came up with Pink Lemonade and Red Punch for summer 1940.

Revlon Pink Lemonade ad, 1940

Dorothy Gray continued introducing colors to go with the latest fashions, a tactic they had begun in the the late 1930s, but launched sets in addition to individual coordinated colors. The company was one of the first to present sets as a cost-effective way to have the necessary variety of colors on hand. "To offset the disadvantage and expense of various makeup colors to match costumes, there is a new 'Portrait Make-up' package at a nominal cost, which will harmonize with any color scheme milady might have for spring."7

Ad for Dorothy Gray Portrait makeup set, April 1941
(image from archive.vogue.com)

Formal collaborations between cosmetic and fashion houses also continued in the '40s. Elizabeth Arden, still the runaway leader in fashion/makeup color coordination, began partnering with a collective named Color Affiliates in early 1940.

Elizabeth Arden Color Affiliates ad, Harpers Bazaar, February 1940

Elizabeth Arden Color Affiliates ad, Life magazine, September 9, 1940
(image from books.google.com)

Ad for Elizabeth Arden and Color Affiliates, Harpers Bazaar, February 1941

As a side note, some companies had a more literal interpretation of the lipstick wardrobe idea. Gala's set, most likely released during this decade, consisted of an outer box featuring an illustration of a wardrobe and slid open to reveal four colorful dress silhouettes with corresponding mini lipsticks.

Gala of London lipstick wardrobe, ca. 1940s. Collection of The Makeup Museum.

Tussy's Kiltie Red was obviously named for the Scottish garb and the bottom of the tubes adorned with a plaid kilt-like ribbon.

Tussy Kiltie Red ad, Vogue, 1941
(image from archive.vogue.com)

While Elizabeth Arden was the preeminent expert in color coordination, in 1945 Helena Rubinstein introduced her "color spectrograph", which detailed makeup-dress coordination for five types.

Helena Rubinstein Color Spectrograph, 1945
(image from repository.duke.edu)

Helena Rubinstein Color Spectrograph, 1945(image from tmagazine.blogs.nytimes.com)

Rubinstein introduced several products relating to the color spectrograph, including lipstick wardrobes in a pouch, Four-Cast lipsticks and Keys to Beauty sets. These were all basically the same concept but packaged differently. (Keys to Beauty had been launched previously in 1940, but was not marketed as a color-fashion coordinating set. Rather, there was only one set of three shades meant to be worn at different times of day.)

Helena Rubinstein lipstick wardrobe ad, Harpers Bazaar, October 1945

The lipstick tubes for the Four-Cast and Keys to Beauty were cleverly correlated to the outfit color family, i.e. the lipstick in the pink tube would go with pink or pastel outfits, while the shade in the green tube went with green or similarly colored outfits. (I would have taken these out to demonstrate but sadly, they had not an insignificant amount of mold.)

Helena Rubinstein Four-Cast lipstick set, ca. 1947. Collection of The Makeup Museum

Helena Rubinstein Keys to Beauty set, ca. 1948-1952. Collection of The Makeup Museum.

Helena Rubinstein Keys to Beauty set, ca. 1948-1952. Collection of The Makeup Museum.

Ad for Helena Rubinstein Four-cast lipstick set, Vogue, March 1948
(image from archive.vogue.com)

The idea of being able to pull off any color also continued as a selling point for makeup, although by this time fashion salespeople were officially in on the concept. As noted earlier, it was a win-win situation: if the only thing holding back a customer from buying an outfit in a hard-to-wear shade is makeup, it benefitted fashion companies to have their sales force advise buying the appropriate cosmetics. And voila! New outfit AND new makeup purchases means profits for designers and cosmetic companies alike. Echoing the commentary from 15 years prior, one department store buyer remarked in 1947,  "A wide-awake ready-to-wear salesperson who has a customer who feels she cannot wear fall's vivid green or wine, can so easily suggest that the woman consult with the cosmetic department about a makeup which will alter her skin tone enough so that she can wear one or both of those colors, and wear them well! Toilet goods people can also suggest complete new makeups for customers who may mention that fall colors are difficult to wear." Additionally, the department store window cosmetic tie-ins that had begun in the early '30s had become de rigueur for the big makeup companies by the late 1940s.

Women's Wear Daily, September 5, 1947

 The trend of selecting colors to go with one's clothing continued throughout the 1950s and early '60s, with more or less the same marketing tactics and new seasonal shades. Lipstick remained the key to color harmony.

Coty spring color chart ad, Vogue, March 1, 1950

Coty fashion right colors ad, Vogue, October 1, 1950

Coty check list for fall ad, Vogue, October 1, 1951

Ad for Dorothy Gray Carillon Colors, Vogue, October 1, 1951
(images from archive.vogue.com)

Women's Wear Daily, March 20, 1953

Revlon jewel lip kit, December 1954. Collection of The Makeup Museum.

Elizabeth Arden ad, Vogue, September 15, 1958
(image from archive.vogue.com)

Pre-made lipstick wardrobes continued to flourish, usually in sets of 3, 4 or 5 tubes.

Cutex lipstick wardrobe, ca. 1950s

Cutex lipstick wardrobe, ca. 1950s

Of note is Charles of the Ritz's lipstick wardrobe containing single-use matchsticks, which was introduced in 1952 after the company had success with an individual matchbook released in 1948.

Ad for Charles of the Ritz lipstick matches, The New Yorker, September 25, 1948

Charles of the Ritz lipstick wardrobe, ca. 1952. Collection of The Makeup Museum.

Charles of the Ritz lipstick wardrobe, ca. 1952. Collection of The Makeup Museum.

Charles of the Ritz lipstick wardrobe, ca. 1952. Collection of The Makeup Museum.

In looking at these ads and guides, it seems being a woman back then must have been absolutely exhausting. Not only was one expected to wear makeup regularly, nails and clothing needed to coordinate with it. And not just a dress, but one's bag, shoes, hat, scarf, gloves, hosiery, etc. also had to "harmonize". According to the ads and advice at the time, it was simply a matter of planning ahead, but the process seemed extremely labor-intensive.

Makeup matching article, Redbook, October 1959

Yardley lipstick wardrobe, The Evening Standard, Feb. 11, 1957

Possibly the strangest take on the makeup-clothing color coordination trend was a Pond's Angel Face campaign that ran from about 1959-1962. Their claim that using different tints of face powders would allow every outfit to be flattering no matter one's complexion. It wasn't a new idea, as Pond's actually offered a different powder in 1940 that advertised roughly the same notion.  Pond's essentially took the color correcting/enhancing concept described in the 1927 news column by Lucille Buchanan a (questionable) step further. While swapping out lipstick shades to better coordinate with clothing makes sense in the abstract, trying to change one's entire complexion to suit a particular fashion color is a fool's errand. A dusting of bronzer, color correcting or translucent powder is fine; wearing the completely wrong shade of powder or base makeup will look odd, to say the least. Given the excessive number of ads (which mostly ran in Life magazine), it seems Pond's was set on convincing women they could in fact change their skin tone through powder rather than lipstick. I guess we should give them credit for going against the conventional wisdom that lipstick is the most important factor in makeup-outfit color harmony.

Angel Face by Pond's ad, 1959

Angel Face by Pond's ad, 1959

Angel Face by Pond's ad, 1960

Angel Face by Pond's ad, 1960

What's especially amusing about the ads is that Pond's wasn't actually applying differently colored face powders or even clothing to the models – it's very obvious it's the same series of photos artificially colorized.

Angel Face by Pond's ad, 1960

Angel Face by Pond's ad, 1960

Angel Face by Pond's ad, 1960

Angel Face by Pond's ad, 1961

Angel Face by Pond's ad, 1961

Angel Face by Pond's ad, 1961

Angel Face by Pond's ad, 1961

Ponds 1961

Angel Face by Pond's ad, 1962(images from ebay.com)

Companies were still not finished with the lipstick wardrobe concept in the late '50s and early '60s. However, the shade ranges expanded considerably as cosmetic chemistry and technology improved. Compare, for example, the range of Coty's shades in 1961 vs. the lineup they offered a decade prior.

Coty lipstick ad, Vogue, April 1961
(image from archive.vogue.com)

Pastels, corals, bright pinks, orange and iridescent shades were now considered as essential as different reds were in the 1930s and '40s. "Lipstick wardrobes should contain pale pastel tints, brilliant vibrant tones, medium shades and iridescent colors," notes one 1961 article. Another from 1962 states, "Every woman should own a lipstick wardrobe that includes a shade of coral that best becomes her, one of the pink-to-rose tint, and a clear red, which is the safest choice when in doubt" and a year later, "One color is never right for every costume. The lipstick wardrobe should always include at least an orange, a pink and a pure red lipstick."8

Seventeen, April 1962

With more colors to choose from for both eyes and lips, pre-made wardrobes now included 5-10 mini lipsticks in addition to the usual 2-5 item sets. Experimentation and play also became a bigger part of the makeup-clothing color conversation. Whether this was due to the increased volume of available colors for which the established coordination rules didn't apply, or companies trying to shift away from rules so that customers felt more emboldened to buy a multitude of colors, or simply feeling the need try a new(ish) marketing tactic is anyone's guess.

Beauty Ideas magazine, spring 1960. Collection of The Makeup Museum.

The copy for Revlon's Colorkins, Tussy's Lipstack and Pond's Angel Face lipstick wardrobe utilized traditional color coordination sales tactics (i.e., the need to have a variety of colors conveniently on hand) as well as encouraged the customer to experiment. They also were proponents of mixing shades. 

Revlon Colorkins lipstick set, 1962. Collection of The Makeup Museum.

Revlon Colorkins lipstick set insert. Collection of The Makeup Museum.

Revlon Colorkins lipstick set insert. Collection of The Makeup Museum.

Pond's Angel Face lipstick wardrobe, ca. early 1960s

Pond's Angel Face lipstick wardrobe insert, ca. early 1960s
(images from twitter.com)

Tussy Lipstack ad, McCall's, May 1961(image from archive.org)

Mixing colors to suit one's outfit was not a new concept, of course, as our good friend Antoinette Donnelly explained in 1956:

The Daily News, September 1, 1956
(image from newspapers.com)

Despite these developments, some of the advice remained much the same as twenty years prior. The March 1961 issue of Glamour contained a feature on how to coordinate with the seven "happy colors" of spring. (Apologies for the wrinkled condition of these pages…not sure how they managed to get crumpled while sitting in storage.)

Glamour, "7 Happy Colors" article, March 1961. Collection of The Makeup Museum

Glamour, "7 Happy Colors" article, March 1961. Collection of The Makeup Museum.

Glamour, "7 Happy Colors" article, March 1961. Collection of The Makeup Museum.

Glamour, "7 Happy Colors" article, March 1961. Collection of The Makeup Museum.

Glamour, "7 Happy Colors" article, March 1961. Collection of The Makeup Museum.

Glamour, "7 Happy Colors" article, March 1961. Collection of The Makeup Museum.

Glamour, "7 Happy Colors" article, March 1961. Collection of The Makeup Museum.

Glamour, "7 Happy Colors" article, March 1961. Collection of The Makeup Museum.

Glamour, "7 Happy Colors" article, March 1961. Collection of The Makeup Museum.

The color chart at the end of the feature is simply mind-boggling – even more complicated than what was outlined in the Redbook article. With the consideration of no fewer than 6 accessories along with makeup and outfit, were women really free to experiment? Obviously these were intended just as suggestions – indeed, as all makeup advice should be – and it's highly doubtful any woman followed this chart, or for that matter any other color-coordination advice, to the letter. As with the faux pas of not blotting one's lipstick properly on special lipstick tissues or handkerchiefs, clashing colors were not as big of a misstep as the marketing for such color coordination would lead one to believe. Yet I find it troubling that a chart detailing how to organize the colors of 8 different components was even conceptualized. Perhaps if women were kept busy figuring out what to wear with what they wouldn't notice how few rights they had, or be too exhausted to take action if they did. I'm not suggesting makeup-outfit color coordination was a nefarious plot devised by the patriarchy to distract women from fighting for equality, but there is a strong implication that they were expected to put at least a moderate amount of effort into their appearance.  As we'll see in part two of this post, charts like this don't exist in mainstream magazines these days.

Glamour, "7 Happy Colors" article, March 1961. Collection of The Makeup Museum.

In conclusion, it seems that the attempts of both the fashion and cosmetic industries in the first part of the 20th century to ensure color harmony between makeup and clothing was little more than a cash grab. First, the shades from the 1930s through the early '50s really weren't all that different. Colors were more or less recycled from year to year, just given different names. Secondly, some customers were genuinely curious to learn what colors suited them and switched makeup based on their outfits purely for fun, in which case the advice and pre-made sets were of use to them. But the main narratives surrounding color coordination pushed by both industries – that women needed more than one shade of powder, lipstick and blush in order to really pull off any fashion color, and that they also needed to change seasonally – are false. Given the cost of owning multiple shades and outfits, it seems doubtful many customers bought into the hype and scrupulously followed the prescribed makeup-fashion color guidelines. If pre-made color coordinated sets were popular, most likely it was due to the simple appeal of being able to grab several shades conveniently packaged in one set rather than hours of careful outfit planning – at least one color from the set is bound to work, right? Perhaps also back then, with a limited selection of shades, it was more important to select the few colors that went best with one's coloring and wardrobe. These days, with the literally thousands of colors on the market and an array of custom-blending options, it's far easier for consumers to buy just one lipstick/powder that can be worn with all different color outfits. No one needs 10 lipsticks or powder (or any makeup, for that matter, but that's a whole other story) specifically for various clothing colors when a "my-lips-but-better" lipstick and translucent powder will suffice. This is to say nothing, of course, about the fact that there is no need to color coordinate between clothes and makeup at all. If you want to wear a cool purple lipstick with a warm red dress, go for it.

I don't know when part two will be arriving as I've neglected to follow up on a couple of other posts that need a second act, but stay tuned for more on fashion-makeup color coordination, which will cover the mid-1960s through today. In the meantime, what are your thoughts? And how many lipsticks do you own?

1Not all that significant, but worth mentioning is that in 1924 Bourjois disguised ads for their Peaches and Peaches and Cream face powders under the headline of "Does Your Makeup Match Your Costume?" and being appropriate for "the real outdoor girl" and to "give a 'health, vim and vigor' effect," respectively, making it possibly the first time a cosmetic company advertised dress-specific makeup.

2"Possibilities in Makeup," The Baltimore Sun, August 16, 1931.

3"Blonde or Brunette Can Try New Shades: Just Change Your Make-Up to Suit the Frock is Timely Hint to Timid Shopper," The Akron Beacon Journal, April 5, 1933.

4"Cosmetics Style Show Demonstrates Color for All Types: Lord & Taylor and Elizabeth Arden Collaborate in Costumes and Makeup in Special Blends," Women's Wear Daily, November 18, 1931.

5"Arnold Constable Promotes Vivid Makeup for White Summer Costumes: Coordination of Costumes and Cosmetics Stressed in Window Series Devoted to White Sportswear Accented by Bright Sun Tan Makeups," Women's Wear Daily, May 15, 1936.

6All of these tips came from the following articles:

  • "Match Makeup to the Costume!", Viola Paris (syndicated column), July 1930.
  • "Make the Tale Your Mirror Tells Please You," Helena Lundh, Winnipeg Tribune, May 31, 1931.
  • "A New Makeup Scheme for Winter: Smart Cosmetic Aids Must Blend Harmoniously with the Color of the Costume," Antoinette Donnelly (syndicated column), November 1931.
  • "Makeup Should Match Costume to Give Effect," Alicia Hart (syndicated column), September 1932.
  • "New Makeup Tone Said to Suit All Types," Jacqueline Hunt (syndicated column), October 1937.
  • "Match Makeup with Costume," Juliet Shelby (syndicated column), March/April 1938.
  • "Let Makeup Blend with Your Dress Colors for Spring Wear," Jacqueline Hunt (syndicated column), February/March 1939.

7"Beauty Expert Gives Spring Beauty Hints", March 28, 1941

8"Lipstick Hue Is the Key to Beauty," Abilene Reporter-News, June 9, 1961; "Key Lips, Nails to Fall Colors" by Alicia Hart (syndicated column), October 1962; "Say It With Lips" by Solange Bertrand, Baltimore Sun, March 31, 1963.

I was skimming through vintage copies of Ebony magazine at archive.org, hoping to find some interesting and not widely known-about Black beauty pioneers.  I struck paydirt with the February 1949 issue, which profiled a TV makeup artist named Blanche Hunter. 
 
Article on CBS makeup artist Blanche Hunter, Ebony magazine, February 1949
Article on CBS makeup artist Blanche Hunter, Ebony magazine, February 1949
Article on CBS makeup artist Blanche Hunter, Ebony magazine, February 1949
Hunter worked at a library in Harlem before starting her role at CBS as "wardrobe mistress" in 1943. After a year she became the head makeup artist. While the Ebony article and one in the Baltimore Sun from the same year detail Hunter's exceptional skills, there was almost no biographical information.  So off I went in search of her personal background and to hopefully find out what she did after her time at CBS. According to this book she worked there for 11 years, but her career after CBS is unclear.  I also wanted to know if she was the first Black head makeup artist at a national TV network. What follows now is a summary of the research by me and another lovely Museum volunteer, Professor Melissa! Melissa is a bona fide professor and reference librarian in New York, and she did much of the legwork contacting various archives.
 

The Baltimore Sun, December 4, 1949

 
Hunter was always referred to as "Miss" in the articles but in this image she appears to be wearing a band on her left ring finger, so Hunter may possibly be her married name. The round flat containers could be Max Factor. Given the packaging, the articles' mention of Hunter's fondness for pancake makeup, and the fact that she came from a theatrical background so would be quite familiar with Max Factor, it's as good a guess as any.

Blanche Hunter, November 1, 1948

It's impossible to tell how old she is in the Getty/CBS archive photos, but I'm guessing Hunter was born about 1905-1910. My assumption was that she was born and raised in New York City so looking at city-based databases and archives made the most sense. I started with the NY Genealogical Society. The research consultant there couldn't tell me much unless I could pay an unaffordable fee to an actual genealogist, but she did suggest some leads.

1.  The Schomburg Center at the NYPL; check out the city directories they have.
2. Check both the NY state and federal census from about 1905 through 1940. (I did see an entry for a Blanch May Hunter born in 1903 in one of those ancestry sites, but there was an E missing from her first name and again, it's not certain whether Hunter is her married name. I don't think any marriage records or obituaries showed up. I also found a mention and photo of a Blanche Hunter in the Baltimore Afro-American from February 1950 attending the funeral of her brother, but the picture is far too blurry to see if it's the same Blanche Hunter.)
3. CBS archives: I looked at their online archives and in addition to the photos there were 1 or 2 mentions of Hunter, but it just indicated the shows she worked on…not much info.
4. The last few places the consultant recommended: the NY state municipal archives, NY Times obituary project, and any New York land records.

Blanche Hunter, November 1, 1948(images from gettyimages.co.uk)

 
I was completely overwhelmed, but fortunately Melissa enthusiastically stepped in to follow up on these suggestions. She reached out to no fewer than 6 archives and organizations. Here are the results.
1. Museum of the Moving Image – no mention of Blanche Hunter in the archives
2. NYPL Schomberg Center – had some CBS clips, including the Bob Howard Show, but there were too many clips and would require paying their research fee. While it would have been interesting to see the clips, they didn't primarily focus on Hunter; we were looking more for interviews with her rather than clips of the TV shows she worked on.
3. Library of Congress – recommended contacting the Paley Center
4. Paley Center – no information
5. NY Historical Society and WBSS Media – no response
 
The only other mentions we could find online were either irrelevant (such as a 1946 issue of Billboard magazine and the 1947 issue of a publication called the Decisions and Orders of the National Labor Relations Board), provided no additional or visible information, or were located in books that were impossible to get a copy of, such as this one – Melissa could only find a single copy, which currently has a price of $283 on Amazon. There may be some copies in university libraries near Museum headquarters, but without library privileges I can't get my hands on it. Another book, Radio Live! Television Live! contains a brief anecdote regarding Hunter's work on The Garry Moore Show. Prior to a special taping in Florida, Moore tried to ensure the two Black employees working on the show would be treated the same as the white ones. While Hunter and the other Black employee, production assistant Alfreda Diggs, were not harmed, they recalled being "fearful" of leaving the hotel they were staying at. It also seems like they were forced to eat separately from their white colleagues. (I think the author might be greatly underestimating the level of racism in 1957 New York. It may not have been as egregious as the South, but the statement that "color wasn't a problem" in NYC rings very false to me.)
 
Page 60 of Radio Live! Television Live!, 2003
Page 61 of Radio Live! Television Live!, 2003
Also, the date of this story conflicts with the earlier timeline of Hunter's tenure with CBS. If she had started in 1943 and stayed 11 years, it would mean that she stayed with the network until 1954. The above anecdote is allegedly from 1957, so how long was Hunter actually working for CBS? This is further confused by a mention in this book published in 1957 which states that Hunter had been with CBS for 13 years.

Blanche Hunter on p. 178 of America's 10th Man

My only parting thought on Blanche Hunter is that she was amazingly talented. A Black woman working as the head makeup artist on a national TV network and garnering press in the late 1940s must have been highly unusual. As we know, Black women have to work twice as hard to get half as much, so for Hunter to succeed at such a high level during that era demonstrates truly outstanding ability. Unfortunately, like so many other Black luminaries, her story is not complete.

I'd like to give a big HUGE thanks to Professor Melissa for her excellent work on this. Given her research prowess, I'd be shocked if anyone else is able to obtain additional information for Ms. Hunter, but if you do, please send it my way!

Update, February 2023: Lo and behold, a smidge more information! I'm so grateful to game show historian Matt Ottinger, whose eagle eyes spotted Blanche during the 4th anniversary episode of I've Got A Secret, which aired on June 13, 1956. You can also see her waving goodbye at the end of the clip. The sign around her neck says Wardrobe, which sort of makes sense given that her official title during most of her time at CBS was wardrobe mistress, but I am curious to know who the mystery makeup man is. He sits down next to Blanche around the 2:57 mark.


There's a very good chance it's Bob Jiras1, who is credited for establishing the first formal makeup department at CBS and was appointed its director shortly after his arrival. A profile of Jiras from April 19502 discusses one of his first tasks for CBS, which was the tricky makeup for Dr. Jekyll and Mr. Hyde on the show Suspense. That particular episode aired in September 1949, so we can assume Jiras arrived at CBS well after Hunter. If that's true, it seems racism and sexism were at play: it's certainly possible CBS offered the job of makeup department head to Blanche which she turned down for whatever reason, but given the era, most likely it was the case that a major TV network would not allow a Black woman to be the head of makeup, even though she had been there some 6 years longer than a white man and had the exact same skill set and experience (if not greater). Granted, Jiras was a seasoned pro, having come from Hollywood and working with Dick Smith so he was especially good with special effects, but there doesn't seem to be any discernible reason Hunter couldn't have been in charge. Especially since, by all accounts, she was CBS's resident makeup expert at the time.

Anyway, Matt kindly scanned and sent me the pages from Ladies and Gentlemen, The Garry Moore Show: Behind the Scenes When TV Was New, the original source for the previously mentioned anecdotes about the trip to Florida and confirmed it did indeed take place in 1957.

Excerpt from Ladies and Gentlemen, The Garry Moore Show: Behind the Scenes When TV Was New by Herb Sanford, 1976.

He also pointed out that the book did not in fact make the claim that New York wasn't racist at the time but instead indicates that Florida was far more overt in terms of segregation. So between the I've Got A Secret episode and confirmation from the book, now we know Blanche was with the network at least until 1957. Thank you for these new findings, Matt! By the way, his current project is a very deep dive into the history of I've Got A Secret, which grew out of his incredibly extensive archive on Bill Cullen. It's all super fascinating, so go check it out!

1It's impossible to tell for sure from old newspaper photos, but there is a strong resemblance between images of Jiras in various newspaper articles and the footage from this episode – it could very well be the same man.

2 John Crosby, "Makeup for Video Actors Big Problem," The Oakland Tribune, April 21, 1950, 36.  The article was re-printed with different headlines in several papers throughout the U.S.

This post has been in the making for literally years. I finally conceded that I couldn't find a complete history of either Benefit's Glamourette compact, released in 2002, or the vintage compact it was based on, House of Platé's Trio-ette (ca. 1944-1947). But I did turn up a few nuggets of information, so figured I'd share the little bit that was readily available.

House of Platé Trio-ette compact (ca. 1944-1947) and Benefit Glamourette compact (ca. 2002-2003)

House of Platé Trio-ette compact (ca. 1944-1947) and Benefit Glamourette compact (ca. 2002-2003)

The House of Platé company was established in 1944 by Robert T. Plate in Detroit. From what I was able to piece together from various archives, it seems Plate was born in 1897 in Lima, Ohio and received a Bachelor's degree in mechanical engineering from the University of Michigan in 1923. Specializing in automobile design, his first job was draftsman for the Willys-Overland Company in Toledo. Beginning in 1932 Plate worked for General Motors, and in 1938 he was doing business as the Plate Manufacturing Company. In 1945 he trademarked the Trio-ette compact under Curly Lox Products.  The biggest mystery for me is why Plate decided to market cosmetics. I'm assuming it was a side hustle to earn a little extra cash, or maybe he thought he could become the next Max Factor. (As a side note, Plate moved quite frequently throughout his life, bouncing around from Ohio to Michigan to New York to LA…if it's the same Robert T. Plate, I'm not sure whether he was trying to help his business take off across the country or moving for engineering jobs.)

Trio-ette trademark registration

The design of the compact was based on a "quaint Victorian rose cameo hand mirror" according to one ad. This one is reproduced in Roselyn Gerson's book Vintage and Vogue Ladies' Compacts (2nd edition).

Trio-ette ad, House and Garden, 1946

It's really fascinating to see how a mechanical engineer who designed cars approached makeup. Compacts with powder, rouge and lipstick had existed for years, but few had the novelty and charm of the Trio-ette's design. (However, one can definitely tell an engineer also thought of the rather unimaginative House of Platé name. I guess Plate thought adding an accent over the "e" would make it sound vaguely French and therefore instantly appealing.) I'm so disappointed that I wasn't able to find patent drawings despite having the serial number. But maybe the trademark is different than patenting the actual design.

Trio-ette compact box

Trio-ette compact

Trio-ette rouge

Trio-ette compact open

Trio-ette compact outer mirror

Trio-ette compact lipstick

The name on the handle is such a sweet little detail.

Trio-ette compact handle

Trio-ette ad in the Californian, October 1946
(image from archive.org)

As the Trio-ette was conceived and launched during WWII, it was made of plastic, specifically tenite, instead of metal. Tenite apparently is the trade name for a cellulosic plastic created by Eastman Chemicals in 1929. (I wish I knew the difference between tenite, bakelite, and celluloid. Alas, I have no clue.) The Trio-ette was also refillable. This snippet from Drug and Cosmetic Industry shows the refill kit, but the really interesting thing about this blurb is that the journal was not falling for the Trio-ette's hype, claiming it was nothing more than a "gadget" and citing the more "streamlined" designs from established big-name brands.  It's true: companies had been making triple compacts for a good 20 years by that point.

Trio-ette - Drug and Cosmetic Industry, January 1945
(image from archive.org)

Whether it was a novelty or a truly handy compact to carry, the Trio-ette seemed popular, or at least, it was readily available across the entire country in department stores as well as drugstores. Plate, though not a businessman by trade, understood the importance of advertising. In late 1945 he hired NY-based firm Norman D. Waters and Associates to oversee a national campaign they would launch early the following year. The Trio-ette allegedly reduced "bag fumbling" and "makeup fatigue".

Advertising Age, February 1946

As with lipstick mirrors, it was considered a social faux pas to be digging through one's purse to look for your makeup, mostly because it was a potential inconvenience for men. Ladies, with the Trio-ette he won't mind waiting for you to touch up since it won't take long at all – all your makeup is in one place so you won't waste his time searching for it. *eyeroll* These ads certainly paint a picture of gender norms, don't they?

Green_Bay_Press_Gazette_Mon__Apr_8__1946_

There were other products from House of Platé, including a double-ended lipstick called the Duo-ette and the Vista, a lipstick with a built-in mirror (again, you can see my post on those.)

House of Platé ad, 1946

The Trio-ette came in a variety of colors as well as black ones with a pink rose or a rhinestone border.  According to collector's guides, the most valuable colors are blue, pink and green. Personally, while I love all the shades, my most-wanted would be the rhinestone version followed by the green and mock tortoiseshell.

Trioettes and Duo-ette lipstick
(image from pinterest)

Trio-ette compact with rhinestones
(image from etsy.com)

The Trio-ette was quite short-lived. I'm not sure why exactly; it could be that Plate had run into a trademark issue with Curly Lox, or maybe after the war a return to metal compacts was all the rage and plastic fell out of favor. Or it could also be that a copycat was released around the same time. In the UK, a company named Jason released a nearly identical compact in late 1947. The only difference I can see besides the name is that the front of the compact is plain instead of bearing a sculpted rose.

Trio-ette by Jason, ca. 1947-1949
(image from antiquesatlas.com)

According to the British Compact Collectors Society, the Jason Trio-ette was also known as a "three-in-one" and available in blue, green, ivory, black and tortoiseshell and could be ordered by mail from Targett Tools Ltd., London. It's not clear what, or even if, there was a relationship between House of Platé and Jason.

Jason Trio-ette, Board of Trade Journal May 1948

What's undeniable is the impact the Trio-ette had on future compact designs for the bigger brands. Volupté launched a compact with powder, lipstick handle and outer mirror in 1951 within its Demitasse line, and by 1953 it was advertised as the "Lollipop".

Volupte Demitasse Lollipop compact, ca. 1951-1954

Volupte Demitasse Lollipop compact, ca. 1951-1954
(images from etsyc.com)

Volupte Lollipop ad, Hartford Courant, June 1954

Around 1952 Coty launched its Parisienne vanity, similar to the Volupté Lollipop, but with no mirror on the outside of the compact.

Coty Parisienne compact, ca. 1952-1959

Coty Parisienne compact, ca. 1952-1959
(images from etsy.com)

Perhaps another reason for the Trio-ette's brevity was simply that Plate couldn't compete with the more well-known brands, who in addition to name recognition, also had a far bigger advantage in terms of marketing savvy. Coty's Parisienne, for example, was somewhat misleadingly advertised as a "4-in-1" even though it actually only contained two products – the mirror and puff were considered the 3rd and 4th items. While some ads describe the design as a miniature hand mirror just like the Trio-ette, some others claim the Parisienne to be a "replica of a Cartier-designed original," which sounds way fancier than a Victorian hand mirror. Maybe if Plate had hired an agency with sneakier copy writers to advertise the compact differently, it might have had some longevity. As I noted earlier, he was educated as a mechanical engineer and not a businessman, so navigating the world of ad agencies and cosmetics marketing was a tricky prospect.

Anyway, House of Platé dropped the accent over the "e" and inexplicably shifted to making plastic toys by mid-1948, which continued through 1951.

House of Plate ad in The Billboard, 1949
(image from archive.org)

Unfortunately Plate was no longer running a legitimate business at that point. According to a 1951 FTC ruling, essentially the House of Plate was mailing people products they did not order and then demanding payment. It's a common scam that persists today in the form of "free trials" of various products. (A few years ago my own mother was the victim of one of these schemes in the form of a trying out a "free" face cream she was sent.) In 1951 the company was officially dissolved. Plate passed away on December 10, 1966 in Athens, Greece.

Now let's investigate Benefit's Glamourette. First, a little background. Founded as a San Francisco boutique called The Face Place by twin sisters Jane and Jean Ford in 1976, the company was renamed to Benefit in 1990 and launched at Henri Bendel in 1991. The cheeky names and retro vibe quickly made their products best-sellers across the country. In 1997 Benefit made its international debut and was acquired by LMVH in 1999. Using vintage mannequins as their mascots and creating packaging inspired by everything from '20s face powders to '70s lip glosses, Benefit was widely recognized as a fun brand that lightheartedly saluted beauty products of yesteryear.

Benefit ad - Vogue, May 2000

Benefit ad - Vogue, May 2000(images from archive.vogue.com)

The company had firmly established its playful kitschy take on cosmetics by the early 2000s, but why they decided to draw on the Trio-ette specifically is unclear. None of their other products seemed to be literal remakes of a particular piece of makeup from earlier times. As with the Trio-ette, I wish I could hunt down the patent drawings for their version of the compact. I also wish I could find anyone who worked for Benefit during that time and see if they have any inside information as to what inspired the company to update the Trio-ette.  We know that the Ford sisters were vintage collectors, so maybe one of them came across a Trio-ette and thought it was the perfect compact to use in their line, but why?

Benefit Glamourette trademark filing

Benefit Glamourette box

Let's compare the Glamourette with the Trio-ette. I would have done a smackdown because they are nearly identical but pitting a spry 20-year-old against a 70+ relic didn't seem like a fair fight.  Obviously the formulas for the makeup itself were updated with newer ingredients.

Benefit Glamourette compact (ca. 2002-2003) and House of Platé Trio-ette compact (ca. 1944-1947)

The lace pattern on the inside of the lid is a nice nod to the pink floral pattern that appears on the insert included with the Trio-ette.

Benefit Glamourette box

Instead of a rose on the lid Benefit used an abstract squiggle design. Also, I don't think the Glamourette was offered in other colors; to my knowledge, only black plastic was available.

Benefit Glamourette

Benefit Glamourette outer mirror

The lipstick mechanism appears to be the same between the two compacts, but Divine's rosy brown hue is unmistakably '90s/early 2000s. Instead of the company's name on the cap there's a sticker saying "lipstick". I would have strongly preferred Benefit's name rather than a totally unnecessary sticker. I know people are dumb but it's pretty obvious it's lipstick…no need for a sticker.

Benefit Glamourette lipstick in Divine

Benefit Glamourette blush in Divine

Interestingly, the powder and blush are reversed from the Trio-ette, i.e. the blush is on the inner part of the compact and the powder is on the outer side. You could also swap out the powder for Fancy Lady cream highlighter.

Glamourette Fascinating Finish face powder

The shade range for the face products had not improved since the 1940s. In fact, I suspect the Glamourette's was even worse. I'm not 100% sure, but it's my understanding from reviews that Fancy Lady didn't come in any other shades besides a pale ivory/champagne. And while I can't make out this tiny photo, it looks like Fascinating Finish powder, appallingly, also only came in one very light shade.*  I know it was 2002, but I was pretty into makeup by then and I distinctly remember just about every line having at least 3 options for face powders and tinted moisturizers by then: light, medium and dark. It's absolutely inexcusable that Benefit didn't offer the bare minimum for face powder shades in the Glamourette compact.

Benefit Glamourette ad
(image from amazon)

Getting back to comparing the two, unlike the Trio-ette, the Glamourette came with a wristlet that could be used as a storage pouch. It's a very sheer piece of organza that I don't think would have been too helpful in terms of preventing wear and tear, but interesting to note.

Benefit Glamourette wristlet

Obviously the advertising for the Glamourette was similar to its 1940s counterpart. Both touted ease of use, refillable products and chic, vintage-inspired packaging. Bag fumbling was still presented as a tedious time waster for the new millennium's busy modern woman. Perhaps as a sort of snooty counterpoint to the golden age of trashy reality TV and super glossy, frosty makeup finishes that appealed more to teens than adults, the Glamourette was also described as "discreet" and something a "real lady" would carry, whatever that means.

Benefit Glamourette ad in the Orlando Sentinel, November 2002

Daily_News_Thu__Aug_8__2002_

The Glamourette was generally well-received. There are a few reviews on Makeupalley gushing over its cuteness and convenience while acknowledging it was a gimmick. One reviewer mentioned she would pass it on to her 11 year-old daughter in a few years, so Benefit helped rekindle the notion of makeup as a keepsake. While most MUA'ers felt the amount of product was a bit stingy for the price point, overall they loved the style and found the compact practical for a night out. Several reviews also pointed out the similarity to the black plastic packaging of Anna Sui's line. 

Speaking of product amounts, I don't have the exact numbers for the Trio-ette, but if they were the same as the Glamourette, the latter was actually a better deal. The Trio-ette retailed for $5.50 in 1946, and according to an inflation calculator it would have cost about $51 in 2002 when the Glamourette was being sold. Glamourette's retail was $38 ($55 CAD and £32.50 in the UK). I also find it amusing that the reviews commented on how streamlined and tiny the compact was when Glamourette is actually a smidge larger than the Trio-ette, which was described as "bulky" in the Drug and Cosmetic Industry article. As we know, makeup packaging gradually got bigger over the years, so the Glamourette demonstrates how both design and consumer expectations changed. 

Benefit Glamourette compact (ca. 2002-2003) and House of Platé Trio-ette compact (ca. 1944-1947)

Despite the amount of press and good reviews, the Glamourette was a limited edition item that did not return to the market after its brief two-year stint. Even against the backdrop of '90s/early aughts' nostalgia for mid-century styles (see also Too-Faced's Quickie Chronicles) maybe the Glamourette was too retro for most customers. I know when I laid eyes on it I thought it was cute but overly vintage-looking for my taste. It could also have been the type of products included. While there absolutely was and will always be a demand among those sticking to simple polished looks and makeup classics in neutral tones, in the early 2000s traditional lipstick, face powder and blush weren't the most wanted product categories among the younger crowd. Says one Makeupalley reviewer, "It has powder and blush which I never use to touch-up, so I'd never carry this with me. And it also has lipstick, and I'm not a fan of lipstick. If they replaced it with concealer, bronzer, and lipgloss, I'd sell my soul for it!!"  Perhaps a tiny sifter of body glitter may also have been more palatable for a Y2k audience. Finally, the lack of shades for anyone whose skin was deeper than mayonnaise obviously eliminated a good portion of the market.

Benefit Glamourette compact (ca. 2002-2003) and House of Platé Trio-ette compact (ca. 1944-1947)

I still can't wrap my head around why Benefit chose this exact compact. I'm just spitballing here, but maybe it's precisely because House of Platé wasn't a well-known brand that's still sold today. Perhaps Benefit didn't want to risk running into copyright issues that may have occurred if they chose to release an updated version of, say, Revlon's Futurama cases. The patents for those designs may have expired, but the companies are still around and significantly larger than Benefit was – although it was owned by LMVH by that point, Benefit's rivals had the potential to take legal action if the company tried to update an iconic product from their archives.

Even though there's a 55 year age gap between the Trio-ette and the Glamourette, their advertising and reception were remarkably similar. So much had changed between 1947 and 2002, yet the design appealed to totally different audiences. As Drug and Cosmetic Industry noted with the Trio-ette, people love a novelty product even if the underlying concept – in this instance, having three makeup products in one attention-getting case – has been done before. It got me thinking about how a third iteration of the compact would be marketed and received today. The small sizes and refills would be attractive to today's makeup consumers, but the compact would have to be made out of sustainable packaging; plastic won't play well. Maybe the products could be even smaller to make space for brushes rather than puffs. There would probably have to be some kind of emphasis on "wellness" and "self-care" or at the very least, "clean" (sigh), vegan and ethically-sourced ingredients. Most importantly, the shades would need to accommodate all skintones. One parting thought: I'd also be curious to see what would happen if a company released it not today but 55 years after the Glamourette. I wonder how makeup customers in 2057 would react.

House of Platé Trio-ette compact (ca. 1944-1947) and Benefit Glamourette compact (ca. 2002-2003)

What do you think of the designs of these compacts? Do you have a preference for one or the other? And do you like having your makeup all in one place? I could see using something like this for touch-ups, but it would still fall short. Until a product is developed that combines concealer, powder, blotting sheets and lip color all in one, I'm destined to dig around in my bag.

 

*There was an article in Global Cosmetic Industry from 2002 that lists the following colors for Glamourette blush and lipstick refills. It doesn't make any mention of multiple shades being available for the highlighter and powder. "Rouges in Divine, Fickle and Coy, Fascinating Finish Translucent Powder and Fancy Lady Highlighting Creme are priced at $11.00 each. The line offers Lip shades priced at $9.00 each in Keen (champagne pearl), Vain (vibrant red), Divine (rich plum), Swell (dusty rose), Prim (pink-cocoa pearl), and Coy (mocha apricot) varieties." I cannot for the life of me locate the article now but I know it existed!

From 1947-1949, the Dorothy Gray brand ran a series of ads featuring portraits of "fascinating women".  I don't know why I'm covering them given that they're all white, upper-crust socialites who for the most part didn't do much besides existing while rich, but I guess my insatiable curiosity about vintage advertising got the better of me. I was determined to find out more about these ladies and the artists who painted their portraits in the hopes of figuring out why Dorothy Gray embarked on this campaign. So with that, here are brief bios of 6 of the women and the artists, along with a couple of examples of their other work. Stay tuned for part 2 to see the other five women featured and some theories about the campaign.

We'll start with the ladies that I couldn't find much info on. First up is Mrs. John P. Labouisse (1911-1984).  Near as I can figure, Mrs. Labouisse's maiden name was Olive May Moore. Both she and her husband came from prominent New Orleans families.  They had one child in 1935, who passed away in 2005.  I'm not sure if it's intentional, but I find it interesting that the ad copy mentions that the packaging can accommodate "the most regal boudoirs," while Olive is portrayed what appears to be a fancy peignoir or dressing gown, more suitable for the bedroom than daytime wear. Then again, I'm no fashion historian so I might be completely off base.

1947 Dorothy Gray ad featuring portrait of Mrs. John P. Labouisse (Olive May Moore)


Alexander BrookAlexander Brook (1898-1980) was a New York-based Realist painter known for his portraits and landscapes.  While recovering from a bout of polio at the age of 12, he became interested in art. A few years later he enrolled at the Art Students League, and by the 1920s he was exhibiting at what would become the Whitney Museum.  Brook was one of the most highly renowned American painters of his time, having multiple solo exhibitions across the country.  Personally, I can't say I'm fond of his work. There's a sadness about his subjects that I'm not sure comes from the way he chose to paint them or if they were melancholy on their own. 

In any case, Brook would often paint his first impression of his sitters to capture a truer likeness. "When I do a portrait, whether it is one of my own choice or a requested commission of someone I hardly know, I find that my first impression of the proposed sitter is usually the one I strive to paint…whenever I hold closely to  my original, instantaneous observation or try to emphasize even more the qualities I saw in my first conception, I paint with greater ease and the result is more satisfactory to me. To be able to retain and paint the spirit of what was seen in my first glance gives me a freer rein to achieve a more individual result than would a careful analytical conclusion." (quoted in the Daily Oklahoman, May 29, 1949)

Alexander Brook, Southern Belle, 1946
(image from pinterest)

But perhaps what I'm interpreting as sadness is actually "sensitive character study and introspective mood," according to a 1981 re-evaluation of Brook's work in the New York Times. The article also notes that the once tremendously popular genre of World War I figurative portraits had gone out of style once abstract expression rolled in after the second World War, but made a comeback in the late 1970s and early '80s as a result of the rekindled interest in realism. Hence Brook's oeuvre being re-examined then.  To my knowledge there has not been a third massive exploration of his work since the early '80s. 

Alexander Brook, Morning Light, 1936
(image from whitney.org)

Alexander Brook, Portrait of Emily Wilson, 1954
(image from americanart.si.edu)

I really don't care what the Times or other critics say, these murals in the Clinton Federal Building are objectively somber due to both Brook's style and the subject matter.  In 1939 Brook was commissioned to paint several murals under one of the New Deal art programs. These are titled "Writing the Family Letter" and "Reading the Family Letter," which depict families who were separated due to relief efforts in the Great Depression and who depended on letters to keep them emotionally connected.

Alexander Brook, Writing the Family Letter, 1939

Alexander Brook, Reading the Family Letter, 1939
(images from gsa.gov)

Overall, while I appreciate the no-frills approach and quiet dignity with which he painted all his subjects, I didn't find Brook's style all that enthralling. But if you're so inclined you can buy his monograph.

Next we have Mrs. Stanley G. Chamberlain, formerly known as Esther Carolyn Nice.  Esther was born around 1906, so that would make her about 43 in 1949 when the ad was released. I'm amused by the fact that Dorothy Gray not so subtly paired an over-40 woman with ad copy discussing how one could maintain the "precious bloom of youth" in her 40s by using their products. I wish I had some details on Esther's life besides the fact that she and Stanley had three children.  Esther passed away suddenly on November 23, 1968.

1949 Dorothy Gray ad featuring portrait of Mrs. Stanley G. Chamberlain (Esther Nice)

There was plenty of information on the artist behind Mrs. Chamberlain's portrait, however. William Coffield Fields, III was a highly successful portrait artist, consistently painting and exhibiting his work from the early 1940s until the 1990s, when he increased his focus on local history and genealogy. A native of Fayetteville, North Carolina, Fields graduated from the fine arts program at the University of North Carolina in 1938 and later studied at the Museum of Fine Art in Boston – probably how he got the attention of the Boston-based Chamberlains. But for most of his career he divided his time between New York City and Fayetteville.  In 1951 he spent 7 months in Italy, painting portraits of Pope Pius XII, Prince Ludovico Chigi, and the Prime Minister during World War I, Vittorio Orlando.

Fields-The_News_and_Observer_Sun__Nov_30__1952_

Fields believed that a good portrait didn't necessarily require technical skill; a rapport with the sitter was more important in conveying their personality. "A portrait should be an encounter. You should know something about that person when you look at it," he stated in 1980. Though he painted many well-to-do women and other notable people throughout his career, Bill seemed fairly down to earth, teaching regularly and volunteering for a number of local arts organizations. He thought being referred to as an artist was pretentious, and preferred to be called a portrait painter. Plenty of middle-upper class families commissioned him for portraits, which makes me think he charged more affordable rates than his peers or worked on a sliding scale. Coupled with the fact that there were no mentions of Esther in the society pages, I'm guessing the Chamberlains kept a low profile or perhaps were not as astronomically wealthy as some of the other ladies in this series given their choice of artist. Fields passed away in 2007, having left a vast body of historical work on Cumberland County, NC as well as his portraits (none of which I could find online, alas.)

Next we have Brooklyn-born Gertrude Gretsch Astor (1923-1999), who married multimillionaire John Jacob Astor in September 1944.  While she was technically a debutante, having made her debut at a grand party in 1941, she was also described as "non-social".  

1949 Dorothy Gray ad featuring portrait of Mrs. John Jacob Astor (Gertrude Gretsch)
(image from periodpaper.com)

Bridal photo of Gertrude Gretsch, 1944

After 6 years of marriage to Astor and one child, a nasty and drawn-out divorce ensued, with Gertrude citing Astor's "innumerable and shameful associations with a variety of women" as the impetus for divorce proceedings. It was, as you could imagine, quite scandalous at the time. But don't feel too bad for Ms. Gretsch, as ultimately she was provided with $3,000 (or $28,000 in 2021) per month in alimony.  She eventually got remarried to Italian director/playwright Sonio Coletti in 1968. Gertrude passed away on January 16, 1999.

Walter-klettWalter Charles Klett (1897-1966) was primarily known not for portraits but for his figurative paintings and commercial work for magazines such as Collier's, including this racist gem of a cover. Born in St. Louis, he attended the School of Fine Arts there before heading to Chicago in 1925.  Three years later he and his wife moved to New York, where he remained until his death in 1966. 

Klett published a very well-received guide to figurative paintings in 1948.  Said one critic, "The artist declares he is a painter of women, and he definitely prefers glamorous women, and this predilection, he believes, damns him in the eyes of contemporary painters whose brushes are moved by anything but beauty."  Klett's women are indeed glamorous, but there's also a sensuality about them that borders on classic pin-up style.

 

Walter Klett, illustration for Collier's magazine, 1947
(image from amazon.ca)

Walter Klett, illustration for Collier's magazine, 1947
(image from ebluejay.com)

Walter Klett, Sono Osato, 1946
(image from amazon.co.uk)

Turns out, Klett did illustrate a pin-up for Esquire.

Walter Klett, illustration for Esquire magazine, 1947
(image from thejumpingfrog.com)

Later in his career Klett experimented with pastels and watercolors, lending a softer, airier feel.  This 1959 painting reminds me a bit of Matisse.

Walter Klett, Composition #60, Butterflies, 1959
(image from invaluable.com)

Up next is Mrs. John A. Morris, formerly known as Edna Brokaw.  Edna, a statuesque (she was 5'10"!) beauty with a wicked tennis game, made her debut in 1928 and married John, a Harvard graduate/stockbroker on May 27, 1942.  The wealthy Morris family was known for thoroughbred horse-racing and breeding, with their all-scarlet racing silks dating back to 1840. Dorothy Gray used Edna's portrait to advertise a fairly simplified, no-nonsense skincare routine, which seems fitting for her. And the mention of "grooming" makes me think they were possibly referencing the grooming and care of the Morris' horses, which was a priority in their lives – the family actually established an equine research library at the University of Kentucky.

1947 Dorothy Gray ad featuring portrait of Mrs. John Morris (Edna Brokaw)

While she certainly enjoyed the perks of being rich, such as growing up in a mansion on 5th Avenue in New York, Edna was not interested in the socialite lifestyle.  "I didn't want to be a deb. I wanted to go to college so much, but for girls like me it just wasn't done. My mother would have none of it," she said in a 1985 interview. I know, I know, let's break out the world's smallest violin, but for someone like me who, for the most part, abhors social gatherings, being forced to attend them daily as a career of sorts is my idea of hell. Before she got married, Edna worked as a nurse's aide and attended secretarial school. She refused to marry John until she had secured a job, as she needed to prove she could be self-sufficient.  She was also consistently active in fundraising efforts for Girl Scouts from the 1950s until her death in January 1997 at the age of 88. I enjoy this photo from the 1985 interview in which she's wearing the same pearl necklace from her portrait nearly 40 years prior.

Edna Brokaw in 1985

Jerry Farnsworth (1895-1983) was born of meager means in northern Georgia. Growing up he didn't have any real exposure to art until the age of twenty, when he attended an art exhibition for the first time. From that point on he knew he wanted to be an artist.  He married Helen Sawyer in 1925 when both were art students under Charles W. Hawthorne, founder of the Cape Cod School of Art.  In looking at both of their work I can definitely see the influence.

Jerry Farnsworth, Portrait of Lucia Seated in a Green Room(image from christies.com)

Jerry Farnsworth, My Cousin
(image from invaluable.com)

Like his contemporary Alexander Brook, Farnsworth was best known for his portraits and his style didn't change much over time.  One of his personal favorites was his portrait of Martha Truman, mother of the 33rd President of the United States, Harry Truman. 

Jerry Farnsworth, Portrait of Martha E. Truman, ca. 1944-45
(image from trumanlibrary.gov)

Farnsworth was also recognized for his magazine covers such as this depiction of Hitler with a dog, which appeared on the cover of the March 13, 1933 issue of Time magazine

Jerry Farnsworth, Adolf Hitler, 1933
(image from npg.si.edu)

While I think his style is a bit livelier than Brook's, Farnsworth is not my favorite of this bunch. Still, I admire his dedication to arts education – he taught at many colleges, and he and his wife set up a summer art school in Massachusetts.

Coming in at portrait no. 5, here's Mrs. Farrell Steele, formerly known as Helen Fairfax Farrell.  Helen was a textbook example of a Southern belle/debutante, coming from extreme wealth on both sides of her Nashville-based family. 

1947 Dorothy Gray ad featuring portrait of Mrs. Farrell Steele (Helen Fairfax Farrell)

Just to give you an idea of the kind of money we're talking about, Helen was the heiress to the Maxwell House coffee fortune.  In 1925 her father purchased an English Tudor house situated on a 2,000 acre estate and named it Crieve Hall after his family's home in Northern Ireland. The family also had their own box at horse shows, and in 1940 Helen had $2,800 worth (or $52,600 in today's currency) of jewelry stolen from the family's summer home.  I'm still trying to wrap my head around having that kind of cash.  

photo of Helen Fairfax Farrell, 1944

Anyway, on October 7, 1944 at Crieve Hall, Helen married George S. Steele, a Yale graduate who worked for the Foreign Economic Administration in Washington DC.  Exactly a year after their wedding day, the couple had a daughter. But the marriage would not last; just a few months later, in February 1946, Helen filed for divorce, citing "mental cruelty." While initially I had zero sympathy towards Helen and her family, I do feel bad that she was shipped off to boarding schools far away from her family growing up and then had to endure a marriage, however brief, to a possibly abusive husband. As you know, divorce back then was fairly stigmatized, especially among the wealthy whose every move was recorded by the press. I'm guessing many of the marriages between rich families were business mergers more than anything else, and they probably saw it as important to keep the money in the family for future generations. The fact that Helen got out of there so quickly and the official reason makes me think George was not a nice person.  Of course, this is pure speculation and I hope that wasn't the case, and it's not my intent to go spouting baseless accusations. But something seemed off.  Fortunately Helen got re-married to Theodore Mentis in 1971 and remained married to him until his death in 1982. Helen passed away in 2006.

Channing ("Uncle Bunny") Weir Hare was a noted society painter shuttling between his home base in Ogunquit, Maine and Palm Beach, Florida, so it stands to reason he captured Helen's likeness. Described as the "crown prince of society portrait artists," charging $3,000-$10,000 per portrait (or $44,000 – $146,000) as well as "flamboyant," Hare was known as much for holding elaborate parties for other artists and top socialites as he was for his art. Hare was also gay, though not legally out of the closet for most of his life – he separated from his wife, whom he married in 1929, but never divorced her, remaining married (on paper, anyway) until her death in 1966.

Channing Hare, Self-Portrait

Hare bristled at being called a society painter, though society portraits allowed him to make a good enough living to eventually purchase a grand Mallorcan palace with a butler, chef and 16 servants.  As Palm Beach portrait artist Richard Banks remarked in 1990, "Channing Hare could be vicious and cruel, but he was also a terribly funny guy who would just woo those ladies. He had bought a place in Majorca and when he knocked off a portrait, he'd say, 'Well, there's another bathroom for the house.'" He was also somewhat picky about who he chose to portray.  "Please don't call me [a society painter], because when they call you that, they don't take your work seriously. Besides, I'm in too many good museums…often I paint people who just interest me," he noted in 1970.

Channing Hare, Friend of Dorothy
(images from americangallery20th.wordpress.com)

Like Fields, Hare painted many people of note, including members of European royalty and the Vanderbilts in the U.S.  He also did not work from photos unless it was absolutely necessary, preferring to paint from the memory of his experience meeting the sitter. Perhaps the reason he was able to command such renown was the fact that he often embellished the attractiveness of his sitters, painting them in the most flattering way even if it meant stretching reality a bit.  "Channing's gift was to make people look their very best…he was very elegant himself, and a teensy bit snobbish. He was a portraitist, but he once told me, 'I don't like people, but I like some people'…with Channing, you never knew if he was telling the truth," reminisced former Palm Beach art dealer James Hunt Barker in 1997.

Portrait of Princess Eugenie of Greece, Boston Globe, 1955

While portraits were his focus, Hare occasionally dabbled in still-life and Surrealism.

Channing Hare, Surrealist Portrait of a Woman

Channing Hare, Peggy Thomas, Model, 1948
(image from christies.com)

Channing Hare, Ringmasters Dressing Room, 1944
(image from invaluable.com)

Hare passed away on February 12, 1976, leaving behind his adopted son Stephen "Stevie" Hare, who also became a painter.

Last one for today! Speaking of flamboyant, I wonder if Dorothy Gray chose to feature their "Flamboyant" shade to complement the bold red dress and lip color worn by Mrs. John W. Eiman, formerly known as Daisy Biddle.

1949 Dorothy Gray ad featuring portrait of Mrs. John W. Eiman (Daisy Biddle)

On June 4, 1948, Daisy married John, a doctor (pathologist) who graduated from Princeton. Having grown up near Philly I can tell you the Biddles are very old money, and the places mentioned in the news coverage on Daisy (Bryn Mawr, Haverford, etc.) are part of what's known as the Main Line, a.k.a. one of the wealthiest areas in the U.S.  But Daisy was not just your average rich socialite. She attended the prestigious Moore College of Art and Design, and later in life had her paintings included in several local exhibitions. I'm so disappointed I couldn't locate any photos of her work! While she hasn't updated her Facebook page since 2014, I couldn't find an obituary so I'm hoping she's actually still alive, enjoying her retirement in Vero Beach, Florida. 🙂

Daisy Biddle Eiman

Born in Chicago in 1899, Roy Spreter arrived in the Philadelphia area in 1926 and remained there until his death in July 1967. While he was largely recognized for commercial illustration, later in life his talent as a portraitist was better acknowledged. Spreter created heartwarming, family-oriented ads and covers for the likes of Log Cabin syrup and the Woman's Home Companion, very much in the Norman Rockwell vein of illustration.

Roy Spreter, cover for Woman's Home Companion, 1933
(image from atticpaper.com)

Roy Spreter, Children on Christmas Morning
(image from americangallery20th.wordpress.com)

Roy Spreter, Log Cabin syrup ad, 1931
(image from monroestreetbooks.com)

Roy Spreter, ad for Wyeth, 1944
(image from Life Magazine, 1944)

Spreter's likenesses of women by themselves, I think, are much more skillful and sophisticated than the domestic scenes he created for brands.

Roy Spreter, Ladies' Home Journal cover, 1934
(image from pinterest)

Roy Spreter, Smiling Woman's Head, 1949
(image from artnet.com)

Interestingly, here's a 1927 portrait of Joel O. Cheek, grandfather of Helen Fairfax Farrell.

Roy Spreter, Portrait of Joel Cheek, 1927

While I find Spreter's portraits to be much less saccharine and more visually appealing than his commercial work, I think it would have been very interesting to have Daisy paint a self-portrait and use that for the Dorothy Gray ad. 

There are 5 ladies left which I will feature eventually. Right now I'll continue pondering why Dorothy Gray launched this campaign, how they chose the women they did, why they didn't use Hollywood starlets like other brands, etc. Obviously Dorothy Gray was trying to appeal to upper class customers and define good taste by linking their products with fine art and well-to-do ladies, but there must be more to it than that. 

Here are some questions for you: which woman of these 6 would you liked to have lunch with, if any? And which artist would you commission to paint your portrait? While I think the vast wealth gap would make it impossible to befriend any of these women, I like to think I'd get along with Daisy since we could talk about art. And while I enjoy Hare's portrait style the most, I'd hire Bill Fields since he seemed the nicest.  🙂

Stay tuned for part 2, when I'll discuss the rest of the ladies' portraits and some lingering questions about the series.

I am forever grateful for those who approach me with makeup they no longer want or that they feel belongs in the Museum.  While 2020 was another hellish year for me personally and the Museum, as well as basically the whole world, I believe a record number of donations were received.  Here's a brief overview of what was graciously bestowed upon the Museum this year. 

First up is a mint condition Max Factor gift set.  A very nice woman in Canada donated it, noting that it was a birthday present from her father to her mother one year.  According to newspaper ads it dates to about 1948. I love the suggested use for the box lids as "party trays"!

Vintage Max Factor gift set

December 1948 ad for Max Factor gift sets

December 1948 ad for Max Factor gift sets

Next up is a slew of awesome ads and postcards from the '80s and '90s, donated by an Instagram buddy from Argentina.  Such a sweet note too!

MM donation note

Revlon Rich and Famous and LA postcard, 1986-1987

Revlon Wall Street and Tea Silks postcards

Revlon Counterpoint postcard

Lancome postcards, 1986-1987

Lancome postcards, 1987-1988

Lancome L'Art Nature postcard, 1992

Helena Rubinstein postcards, 1988

This next one is super interesting.  Normally the Museum does not include hair products, but the donor is a fellow collector and very knowledgeable about Russian culture, having lived in Moscow for several years.  This vintage hair dye was made in East Germany and exported to the USSR.

Florena hair dye

Next up are some lovely Elizabeth Arden objects. These were donated by a woman in California whose mother worked at the Elizabeth Arden counter at a department store.  Here we have the Napoleonic compact which was introduced around 1953, Faint Blush, the famous Ardena patter, and some Color Veil (powder blush) refills.

Makeup Museum donation - Elizabeth Arden

Near as I can figure, the Faint Blush was a sort of foundation primer, but it seems like it could also be worn alone.  I love the plastic pink rose packaging, as it's very much of its era (ca. 1963-1973).

Newspaper ad for Elizabeth Arden Faint Pink, February 1964

I think the patter and the Faint Blush are my favorites from this bunch.

Makeup Museum - Elizabeth Arden donation

Then, another very kind Instagram friend and fellow collector sent a huge lot of vintage powder boxes and compacts.  The Museum did not have any of these…some I hadn't even heard of and some I had only admired them from afar.  I just about died when I opened the package!  Clockwise from top left: a 1930s eyeshadow by a company called Quinlan, a 1920s Harriet Hubbard Ayer Luxuria face powder, a powder dispenser by Cameo (probably from around the '30s), a '20s Marcelle compact tin, an extremely rare Red Feather Rouge tin (ca. 1919), an unmarked lipstick and floral powder tin, a Princess Pat compact from about 1925, a Yardley English Lavender tin (ca. 1930s) and a Fleur de Glorie face powder compact (ca. 1923-1926).  In the middle is an amazing pink plastic 1940s Mountain Heather face powder case, a line manufactured by Daggett and Ramsdell.

Makeup Museum donation

I love each and every piece, but my favorites are the eyeshadow compact, and an adorable Mondaine book compact (with the original box!) that was also included. Bookworm that I am, I want a whole "library" of these designs.

Vintage Mondaine book compact

Not all of the donations were vintage.  I was so happy to have received these two nail polishes from another IG friend. They were the result of a 2016 collaboration between Cirque Colors and the Met in honor of the latter's Manus x Machina exhibition.

Cirque Colors Raven and Moon Dust

I'm sure you remember the kindness of makeup artist Amelia Durazzo-Cintron, who shared her memories of working for Kevyn Aucoin back in July.  For some reason she felt the need to thank ME instead, and did so by donating a really cool Black Swan makeup kit.  How nice is her note?!

Black Swan makeup kit

Black Swan makeup kit

Another Instagram friend and lipstick fanatic has been making lipstick swatch books.  These are kind of a new trend and in my opinion, far easier than taking photos of your lipsticks.  Once again a sweet note was enclosed.

Lipstick swatch book by Satin Matte Sheer

This lipstick swatch book is particularly lovely for its sprinkling of cosmetics trivia and important dates.  (It also reminds me that I never started working on my daily makeup history calendar, sigh.) If you want one of your own you can purchase it here.

Lipstick swatch book by Satin Matte Sheer

And that wraps up MM donations in 2020! I'm so incredibly grateful for these kind souls generously helping to build the collection.  And while physical objects are amazing, it's the notes and messages that come with them that mean the most.  :)  Also, if you have a makeup object you think is historically significant, an object from the Curator's wishlist, or anything else you'd like to give, please check out the Museum's support page.  I'm always looking for old fashion/women's magazines too, along with ads and brochures and such…I can never have too much paper memorabilia!

Which one of these is your favorite?  What's the best gift you've ever received?

I'm still a bit wiped out from the spring exhibition and it's been ages since I've shared some inquiries that made their way in the ol' Makeup Museum Mailbag, so here's a quick review of some questions that have been sent my way. 

First up is this lovely compact with a six-pointed star in blue rhinestones – perhaps a Star of David? – and matching lipstick, submitted from a reader in Australia.  Her grandmother's brother had brought it back to her grandmother during the second World War.  Without any logo or brand markings I can't pinpoint the company that made it, and after looking online and through all my collector's guides I can say I've never seen a vintage compact with this design. Obviously it was made in France, but I'm not quite as familiar with objects across the pond, as it were.  It's a beautiful set and I wonder whether it has any wartime or Holocaust significance.

Vintage (ca. 1940s) rhinestone Star of David compact and lipstick

Vintage (ca. 1940s) rhinestone Star of David compact and lipstick

The second inquiry I have to share today was another head-scratcher.  Someone had messaged me on Facebook (which I set up earlier this year but rarely use) asking about this little lady.  It's a Revlon Couturine lipstick, but her identity remains a mystery. 

Revlon Couturine lipstick

As I've noted previously, allegedly the Couturines were supposed to be modeled after actresses and other purveyors of style.  But this one doesn't seem to match any of the ones that have been identified.  The only other actress whose name I've seen mentioned is Shirley MacLaine but it's not her either, according to this photo. 

Revlon Couturine - Shirley MacLaine
(image from worthpoint.com)

Finally, I received an inquiry from someone asking for proof that suffragettes wore lipstick as a symbol of emancipation.  I swiftly directed this person Lucy Jane Santos's excellent article outlining how there really is no solid evidence that the ladies fighting for equality in the early 1900s regularly wore lipstick to rallies, or at least, to the big one in 1912. As she outlines in her article, it appears to be a persistent myth that most likely began circulating in the '90s both in Jessica Pallingston's book and Kate de Castelbajac's The Face of the Century: 100 Years of Makeup and Style (1995).  Just for kicks and giggles I took a peek at newspaper archives (I'm finding they're just as fun and informative as magazines) and dug up a couple of interviews with British suffrage leader Emmeline Pankhurst and a profile of her daughter Sylvia.  Their views on makeup are positively fascinating!  As it turns out, Emmeline had no moral issue with cosmetics, she just didn't find a made-up face aesthetically pleasing:  "Don’t think I am actually censoring the young girls nowadays…the very brief skirts and the overdone makeup are by no means an indication of loose morals.  They are, in often rather a pitiful way, an indication of groping toward greater freedom and they are still more a groping towards beauty…the impulse to make one's self look as well as possible is a perfectly sound impulse. It has its root in self-respect.  It is quite wrong to think that the use of short skirts and rouge are based on any violent desire to attract the opposite sex. The use of these aids [is] based on the legitimate desire to look one’s best. A woman dresses more for other women than for men.  But the too-red lips and the extremely short skirt – I must confess that I dislike them.  I dislike them because so few girls look well thus arrayed, and because older women, when thus arrayed, usually look rather ridiculous.  But let me point out one fine fact behind all this makeup.  It is not added with any idea of deception.  The woman today who powders and paints does it frankly, often in public without one iota of hypocrisy. And this, I think, is a splendid gain.” (emphasis mine)

Emmeline Pankhurst profile -Apr_18__1926_

Her daughter, Sylvia, on the other hand, did not approve of makeup at all.  "I still don't approve of lipstick and makeup.  It's horribly ugly, destroys the value of the face.  I've never used it, never shall."  Her obituary also states that she thought makeup and lipstick were "tomfooleries". 

Sylvia Pankhurst profile, Aug_3__1938_

I did also see this 1910 ad from Selfridge's.  This is what I believe to be the only reference to suffragettes wearing lipstick. I'm wondering if this is part of how the myth was generated, since even with this ad there doesn't seem to be any concrete proof that suffragettes wore lipstick.  Selfridge's advertised and sold it; whether it was widely worn by suffragettes is still up for debate in my very humble opinion.

Selfridges ad, 1910(image from @selfridges)

If you have any additional information about the things I've shared today, please let me know! Which one do you find most interesting?

Makeup Museum spring 2020 exhibition

Introduction
Welcome the Makeup Museum's spring 2020 exhibition!  "Soaring Beauty: The Butterfly in Modern Cosmetics" explores the many ways butterfly imagery is used across all aspects of beauty culture.  For 100 years the butterfly has been an endless source of inspiration for makeup artists and collections, ad campaigns and packaging.  As the butterfly is perhaps the ultimate symbol of transformation, there is no motif more appropriate to embody the metamorphosis that makeup can provide. Like flowers, various butterfly species are a favorite reference for makeup colors, textures and finishes.  More broadly, butterflies represent springtime, rebirth, hope, and freedom.  With "Soaring Beauty", the Makeup Museum seeks to embrace this optimistic spirit and provide a peaceful oasis in the midst of a very uncertain and trying time.

The exhibition focuses on 5 main elements of butterfly makeup, which I will examine briefly before getting to the main show.  Hover over the image for information, and additional details (when available) are listed in some of the captions.

I. Color
The vibrancy of butterflies' coloring and their wings' gossamer texture figure prominently in the beauty sphere. Makeup shades and artist creations include every tone from earthy moth browns and greens to bold blue and orange hues to slightly softer pastels.

Vogue Portugal September 2016, makeup by Michael Anthony

Vogue Portugal September 2016. Makeup: Michael Anthony; Photography: Jamie Nelson; Model: Zuzana Gregorova; Styling: Melaney Oldenhof; Hair: Linh Nguyen

Blanck Digital magazine, December 2016
(image from blanckdigital.com)

Makeup by Sheri Vargas

Editorial: "Ephemeral", spring 2013. Model: Lola; Hair & Makeup: Sheri Vegas; Photographer: Clara Copley

(image from designscene.net)

Makeup by Sheri Terry for Glamour New Zealand
(image from sheriterry.com)

Elle Ukraine, August 2012, makeup by Lloyd Simmonds

Elle Ukraine, August 2012, makeup by Lloyd Simmonds

(image from pinterest)

Quality Magazine, makeup by Hannah Burkhardt

Quality Magazine Germany. Hair and Makeup: Hannah Burckhardt; Photographer: Marco Rothenburger; Models: Krista Tcherneva and Alena N.; Styling: Jennifer Hahn

(image from pinterest)

As butterflies are largely synonymous with spring, rebirth and rejuvenation, the vast majority of butterfly-themed collections are released then and feature bright, fresh colors.

Revlon Butterfly Pink ad, 1958

This ad is racist AF but I thought it was important to include.

Artdeco spring 2013
(image from magi-mania.de)

However, some color stories reflect different seasons via butterflies' natural habitats. Chanel's summer 2013 collection featured rich greens and blues reminiscent of the tropical morpho butterfly, while Anastasia Beverly Hills and Colourpop's fall releases opted for warmer tones inspired by monarch butterflies and their migration in the cooler months.

L'été Papillon de Chanel, summer 2013

L'été Papillon de Chanel, summer 2013 - makeup by Peter Philips
(images from popsugar.com)

ABH Norvina 3 palette

Colourpop fall 2019
(images from anastasiabeverlyhills.com and ulta.com)

II. Texture and Finish
The delicate, lightweight nature of butterflies and the softness of their wings is repeatedly referenced in early 20th century advertisements for face powder.

Icilma advertising postcard, 1920s
(image from maudelynn.tumblr.com)

Lancome powder ad, 1935

Poudre Simon, ca. 1930s-1940s
(image from lesanneesfolles.ocnk.net)

Poudre Simon ad, 1941
(image from hprints.com)

Yardley ad, 1948
(image from wikimedia.org)

For Australian brand Lournay, the "butterfly touch" was an integral part of their marketing for two decades.

1940s Lournay ad

Lournay ad, 1950

Lournay ad, 1952

Lournay ad, 1955

As for finishes, butterfly-themed makeup excels at imparting an iridescent, pearlescent or metallic sheen that reflects light similarly to that of a butterfly's wing.  New technology is being developed to artificially yet seamlessly recreate the iridescent butterfly wing effect in cosmetics, among other areas.

Model Joan Smalls at Jean Paul Gaultier spring 2014 couture show, makeup by Lloyd Simmonds(images from vogue and stylecaster)

Emily Rogers butterfly lipstick, ca. 1965
(image from pinterest)

Lipstick Queen Butterfly Ball lipstick

"Inspired by the beauty of a butterfly's wing, these moisturizing lipsticks shimmer with a flash of turquoise iridescence that lights up the complexion and makes teeth appear whiter. In soft and whimsical shades of pink that flutter and float over lips, this collection of lipsticks brings a butterfly radiance to your entire look."

(image from lookfantastic.com)

Harpers Bazaar Netherlands, October 2015. Makeup by

Harper's Bazaar Netherlands, October 2015. Makeup Artist: Gina Kane; Photographer: Felicity Ingram; Model: Amy Verlaan; Creative director: Piet Paris; Hair Stylist: Anna Cofone

(image from pinterest)

The fascination with butterflies' iridescent quality is also expressed in "morpho" compacts of the 1920s and '30s.  These were made with real morpho butterfly wings or foil and commonly depicted tropical locales.  Popularized by jeweler Thomas Mott at the 1924 British Empire Exhibition, morpho designs were also used in jewelry and other accessories. 

Morpho compacts(images from etsy and pinterest)

III. Movement
Butterfly beauty products embraced the notion of flight and the insects' graceful motion, at times linking them to dance or music to more fully capture the joyous, free-spirited movement of a butterfly soaring through the air.  K-beauty brand Holika Holika simply titles their butterfly embossed blushes "Fly", while jeweler Monica Rich Kosann named the compact she created for Estée Lauder "Butterfly Dance".  Pat McGrath's "techno butterflies" look at Dior's spring 2013 combines pastel "wings" with rhinestone details to impart a rave-like vibe.

Holika Holika Fly blushes

Butterfly Dance compact by Monica Rich Kosann for Estée Lauder
(image from neimanmarcus.com)

Dior spring 2013, makeup by Pat McGrath
(images from beautyfw.com)

But the fluttering movement of a butterfly is best captured in makeup via the eyelashes. 

Paperself deer and butterfly lashes
(image from paperself.com)

Vogue Portugal September 2016

Vogue Portugal September 2016. Makeup: Michael Anthony; Photography: Jamie Nelson; Model: Zuzana Gregorova; Styling: Melaney Oldenhof; Hair: Linh Nguyen

L'Oreal Butterfly Effect mascara ad
(image from pinterest)

Manish Arora spring 2020, makeup by Kabuki
(image from buro247.sg)

IV. Design
Butterflies proved to be a popular design element in general. As far back as the 1900s, jewelers created exquisitely detailed butterfly compacts made with fine glass and sterling silver, and many compact manufacturers incorporated the motif in their offerings.  The butterfly's more whimisical side is expressed in Max Factor's acrylic "Butterfly Kiss" set and more recently, in a Jill Stuart Beauty lip gloss filled with iridescent butterfly-shaped glitter.

Max Factor holiday ad, 1974
(image from pinterest)

Butterfly makeup design

  1.  Austrian sterling silver and glass compact, ca. 1920s
  2.  Lady Wilby compact, ca.
  3.  Jill Stuart Butterfly lip gloss, spring 2019
  4.  Vantine powder box, ca. 1923
  5. House of Sillage lipstick case (in collaboration with the film The Aeronauts), fall 2019
  6. Nacon compact, ca. 1982
  7. Volupte compact, ca. 1946-1952

V. Mood and Metamorphosis
Whether it's subdued or taking a more literal approach, butterfly inspired makeup is a universally recognized symbol for spring and transformation.  Many companies release items embossed with butterflies or incorporate them in the advertising for their spring campaigns to express the larger ideas of hope, joy, freedom and rejuvenation.

Lubin "Butterfly Bouquet" face powder, ca. 1920s
(image from worthpoint.com)

Guerlain ad, 1965
(image from hprints)

Clinique Fresh Bloom ad, spring 2007 - collection of the Makeup Museum

Shown here are Pop Beauty, Mark and Paul & Joe blushes/bronzers/highlighters from spring 2012 and a spring 2016 Clinique GWP bag with a Vera Neumann butterfly print.

Spring butterfly makeup, collection of the Makeup Museum

The theme of metamorphosis is reinforced through the fusing of faces and butterflies. By adhering butterflies to the cheeks, lips and even eyes, the effect is a physical transformation intended to turn the mundane into the magical and capture the essence of the butterfly as it emerges from its cocoon.

Lady Gaga on V Magazine, 2011
(image from fashionista.com)

Schon Magazine, Issue 19

Schon Magazine, Issue 19 (fall 2012), makeup by Elias Hove

(image from trendhunter.com)

Giambattista Valli, fall 2012

"The Garden of Eden theme continued with the make-up – glitter eyes beneath net masks to look like delicate mythical creatures, and butterflies on the models’ lips as though the insects had just landed there for a moment." – Jessica Bumpus for British Vogue

(image from vogue.com)

An outstanding example of this concept is the spring 2020 runway show by Manish Arora.  Makeup artist Kabuki was responsible for the dazzling, otherworldly looks.  Some of the models were drag queens, emphasizing the transformational nature of both makeup and butterflies.

Manish Arora spring 2020

Manish Arora spring 2020

Manish Arora spring 2020(images from buro247.sg)

As noted in part 1 of the introduction, butterfly-inspired makeup usually features an array of colors found on various butterfly species. However, when combined with butterfly application directly to facial features, barely-visible makeup speaks to butterflies' undomesticated environment and conveys the human bond with nature. 

Dazed magazine, June 2012

Dazed magazine, June 2012. Makeup: Peter Phillips; Hair: Syd Hayes; Photographer: Ben Toms; Model: Elza Luijendijk; Stylist: Robbie Spencer 
Dazed and Confused magazine, June 2012

Dazed magazine, June 2012. Makeup: Peter Phillips; Hair: Syd Hayes; Photographer: Ben Toms; Model: Elza Luijendijk; Stylist: Robbie Spencer 

(images from fashiongonerogue.com)

 

Exhibition
All of the above elements are well represented throughout the objects in the exhibition.  So let's get to it!

Makeup Museum spring 2020 exhibition

Makeup Museum spring 2020 exhibition

Makeup Museum spring 2020 exhibition

Makeup Museum spring 2020 exhibition

Makeup Museum spring 2020 exhibition

Top row, left to right.

Let me just say that the story of Lucretia Vanderbilt makes Tiger King look tame by comparison.  I tried to summarize it the best I could, but for the full story head over to Collecting Vintage Compacts.

Lucretia vanderbilt

Lucretia Vanderbilt compact

Lucretia Vanderbilt powder box

Makeup Museum spring 2020 exhibition label

Possibly my favorite pieces in the exhibition and one of my all-time favorites: Chantecaille Les Papillons eyeshadows and Garden in Kyoto palette.

Chantecaille Les Papillons and Garden in Kyoto palette

Makeup Museum spring 2020 exhibition label

I had to do several labels to cover the Mamechiyo and Chinese New Year collections for this shelf.  I was also going to include the Lisa Kohno collaboration, but given the lack of space and the fact that there's another Shu collection in the exhibition I left it out.

Shu Uemura Chinese New Year 2016 and Mamechiyo collection

Butterfly kite by Zhang Xiaodong

Makeup Museum spring 2020 exhibition label

Shu uemura mamechiyo beauty

Makeup Museum spring 2020 exhibition label

Shu Uemura boutique ceiling by Mamechiyo

Makeup Museum spring 2020 exhibition label

I'm hoping to dig up more information on the artist behind the design on this Stratton palette, which may be tricky as his archives are located in the UK.

Stratton butterfly compact by Holmes Gray

Dior makeup ad, spring 1985, makeup by Tyen

Dior makeup ad, spring 1985

Makeup Museum spring 2020 exhibition label

Second row, left to right.

I couldn't find much information on the inspiration behind Marcel Wanders' compact for Cosme Decorte.  I'd love to know how he came up with the design.  All I know is that the model in this video is wearing a dress made with the same pattern.

Cosme Decorte Marcel Wanders Romantic Butterfly compact

Cosme Decorte Marcel Wanders Romantic Butterfly compact

Slightly better shot of the powder so you can see the lovely little butterfly details.

Cosme Decorte Marcel Wanders Romantic Butterfly compact

Cosme Decorte Marcel Wanders Romantic Butterfly compact

Cosme Decorte Marcel Wanders Romantic Butterfly compact
(promo images from cosmedecorte.com)

Makeup Museum spring 2020 exhibition label

Anna Sui butterfly makeup

Anna Sui butterfly blush

Anna Sui (runway images from vogue.com)

Makeup Museum spring 2020 exhibition label

MAC Madame B pamphlet, spring 2005

MAC Madame B pamphlet, spring 2005

Gucci Sunstone Illuminator

Makeup Museum spring 2020 exhibition label

I wish I could have found a little more info on the Hampden brand and DuBarry's Vanessa face powder.  I remember adoring the 3D butterfly in my brief history of DuBarry but could not find any reference specifically to Vanessa.

Makeup Museum spring 2020 exhibition label

Hampden and Dubarry Vanessa face powder

Hampden face powder, ca. 1931-1945

Dubarry Vanessa face powder

Dubarry Vanessa face powder box detail

Third row, left to right.

Lancome Butterflies Fever, 2011

Alexis Mabille

Makeup Museum spring 2020 exhibition label

You might remember I featured the La Jaynees powder box in the spring 2016 exhibition.  I managed to scrounge up a rouge box. No rouge, but the box is lovely on its own.  Once again Collecting Vintage Compacts did an amazing brand history.

La Jaynees face powder and rouge box

La Jaynees face powder and rouge box

Makeup Museum spring 2020 exhibition label

Recent acquisition, which you can read more about here.

Sulwhasoo x Antoinette Poisson, spring 2020

Makeup Museum spring 2020 exhibition label

I wish I could have cleaned up this Avon palette a little better, but I was afraid of damaging it.  However, one in better condition and with the original box popped up on ebay, so get ready for new photos!

Vintage Avon butterfly palette

Vintage Avon butterfly palette

I wonder if Sears has archives that I could look at to find out anything about their cosmetic line.

Sears makeup ad, 1968

Bottom row, left to right.

I have the lipstick somewhere but am unable to locate it at the moment.  What I really regret is not buying the accompanying Météorites powder or pressed powder compact, but they were so pricey and at the time I just couldn't afford them.

Guerlain Midnight Butterfly eyeshadow, holiday 2008

Guerlain Midnight Butterfly promo and bottle

Makeup Museum spring 2020 exhibition label

More Shu!

Shu Morphorium palettes, spring 2011

Shu Morphorium palettes, spring 2011

Shu Morphorium promo, spring 2011

Makeup Museum spring 2020 exhibition label

I was unable to find any information at all on this powder box, but yet again Collecting Vintage Compacts had everything on the Jaciel brand.

Geo. F. Foster powder box

Vintage Jaciel compact

Jaciel ad, 1928
(Advertisement image from Collecting Vintage Compacts)

Makeup Museum spring 2020 exhibition label

Some more items that were included in the spring 2016 exhibition.

Paul & Joe spring 2016 palettes

For the life of me I couldn't get decent pictures of them on the shelves so here are the images from my original post on them.

Paul & Joe spring 2016 palette

Paul & Joe spring 2016 palettes

Paul & Joe spring 2016 palettes

Paul & Joe spring 2016 palettes

Paul & Joe spring 2016

Makeup Museum spring 2020 exhibition label

There was one more item I wanted to include, but couldn't fit it so I'm using a photo from when I wrote about it.

Urban Decay Alice Through the Looking Glass palette, spring 2016

Makeup Museum spring 2020 exhibition label

Exhibition Notes
I had been wanting to cover the butterfly theme for about 8 years now.  An article on butterfly compacts called "High Fliers" in the February 2017 issue of the BCCS newsletter also inspired me. I wish I could have written a deep think piece on the idea of makeup as metamorphosis or was able to do more research besides what's online, but given the current situation I kept it simple and decided to save my energy for different topics that I can tackle when the libraries reopen, which will hopefully happen in the summer. (I discovered some local university libraries may have the resources I'm looking for, but I cannot access them remotely as I'm not a student or faculty member.) But access to certain archives might have allowed some examples of runway/editorial butterfly makeup that's older than 2012 and more images featuring models of color.  And I know it seems like I included every instance of butterflies in makeup that is at my disposal, but I promise it was thoughtfully edited (curated, if you will.)  There were actually even more looks that I wanted to include but got frustrated at the lack of basic information about them like the makeup artist or year.  As for the objects themselves, I don't think any of them are vegan or cruelty-free, even though some of the companies that made them are now cruelty-free/vegan, such as Chantecaille.

Decor Notes
The husband did an amazing job of "butterflying" the Museum's logo for the exhibition poster and labels.  I was going to buy a paper butterfly garland or use the mini paper butterflies I had gotten for Instagram props in the exhibition, but in the end decided it was too gimmicky (and the garland reminded me too much of a baby shower for some reason.)  I figured given the current space the focus should be more on the ads and objects.  But if the Makeup Museum occupied a physical space, here is some art I would include as decor.  It would be like stepping into a very artsy butterfly garden!

Paper butterflies by Rebecca Coles
(image from rebeccajcoles.co.uk)

Eiji Watanabe(image from mymodernmet.com)

David Kracov, Gift of Life
(image from eden-gallery.com)

Merle Axelrad, Butterfly Effect, 2015
(image from axelradart.com)

Christopher Marley, Exquisite Creatures

Christoperh Marley, Exquisite Creatures
(images from @omsi)

And that wraps it up!  Remember you can participate in the exhibition – find out how here.  In the meantime, one easy way to weigh in is to tell me what your favorite objects, looks or ads were (either in the intro or main exhibition or both) and why. 🙂

As with lipstick holders and tissues, another piece of makeup ephemera has seem to gone nearly extinct:  the built-in lipstick mirror.  Sure, there are still some run-of-the-mill fabric and leather lipstick cases with mirrors inside, and some contemporary companies have recycled the basic designs, but no current lipstick mirrors are as novel as their vintage counterparts.  Today I'll take a look (haha) at the various vintage contraptions and mechanisms that allowed for a quick lipstick touch-up.  As usual this exploration is not intended to be a comprehensive history of lipstick mirrors, but a brief overview and theories as to why they have mostly disappeared from the beauty milieu as well as the reasons they were even produced in the first place.

The simplest design consisted of a mirrored tube, favored by the likes of Avon and Flame-Glo.

Vintage Avon mirrored lipstick tube
(image from etsy.com)

Flame Glo mirro-matic ad, July 1959

The second most basic and inexpensive option was the humble lipstick clip, which attached directly to the lipstick tube.  The adjustable design meant that it could fit virtually any tube and was easily removable. 

C-lip lipstick mirror ad, September 1946

C-Lip lipstick mirror clip on advertisement, July 1947

Vintage Lip Vue lipstick mirror clip on(image from ebay.com)

Coty24 ad, Feb. 13, 1957

I purchased a couple of these clips for the Museum's collection.  Here we have the "Looky" mirror, which was patented in 1957, and Compliments, which most likely dates to around the same time.

Vintage Looky and Compliments lipstick mirrors

Vintage Looky and Compliments lipstick mirrors

The only design flaw with these types of mirrored tubes and clip-on mirrors was that they would be easily smudged since the mirror was exposed.  Enter the folding lipstick mirror and clip!  Elizabeth Arden's Rolling Mirror lipstick debuted in 1959, and while I couldn't find an exact date for Stratton LipViews, they probably were released around the same time and continued to be sold until the early '90s.

Elizabeth Arden Rolling Mirror lipstick ad, Dec. 1960

US3159163-drawings-EA-1960

Elizabeth Arden Golden Rolling lipstick mirror ad, Dec. 1960

Stratton lipview

Stratton lipview
(images from etsy.com)

Avon also made a far less elegant plastic version.

Avon clip on lip mirror

The mirror could also be protected from smudges and scratches via a sliding mechanism instead of a folding one, as shown in this fan-shaped Stratton lipstick holder.

Vintage fan-shaped Stratton lipstick mirror

Stratton fan-shaped lipstick mirror

These next few will put a spring in your step.  Spring-loaded, sliding cases in which the mirror popped up when the lipstick was opened were also quite popular.  Shown here is Volupté's Lip Look, which dates to 1949-1950.  Elgin, Elizabeth Arden and Kotler and Kolpit offered similar cases.

Vintage Volupté Lip Look lipstick mirror

Vintage Volupté Lip Look lipstick mirror

Elizabeth Arden "Looking Glass" lipstick ad 1936

US2121221-drawings-1936

Elgin lipstick mirror ad, Dec. 1953

Vintage Stratton lipstick mirror

Given how many came up in my search for lipstick mirrors at Ebay and Etsy, it appears that the most widely available model of the spring-loaded variety of lipstick mirrors was a silver carved case accented by gemstones.  They're unmarked, meaning no particular company patented the design and choice of metal.  I believe they were mostly sold in department and jewelry stores.

Vintage sliding case lipstick mirror

Vintage sliding case lipstick mirror
(images from etsy.com)

Despite the silver cases' ubiquity, I'd say the most recognized name-brand spring-loaded lipstick mirror was Max Factor's Hi-Society, which was heavily advertised from their debut in 1958 through approximately 1965.

Max Factor Hi-Society lipstick ad, 1959

You might remember I featured these in the Museum's holiday 2016 exhibition.  I'm still hunting down all the designs, which actually isn't difficult given how many the company produced. 

Max Factor Hi-Society lipstick cases

Max Factor Hi-Society lipstick case ad, 1959

Max Factor Hi-Society lipstick cases

US2830602-drawings-1958

Next up is a more complex version of the folding mirror.  Instead of a tube clip, this was an entire folding hand mirror with the lipstick hidden within the handle.  Here's an unmarked, super blingy version.  Stratton also made a bunch.

vintage folding lipstick mirror

folding lipstick mirror ad, May 1, 1953

Here are some rather dainty petit point and floral versions by Schildkraut.

Vintage Schildkraut folding lipstick mirror

Vintage Schildkraut folding lipstick mirror
(images from ebay.com)

Vintage Schildkraut folding lipstick mirror
(images from ebay.com)

Schildkraut's represent possibly the earliest form of lipstick mirrors, judging from the patent.

US1439749-drawings-page-1

The folding model's popularity continued well into the 1960s, as evidenced by Kigu's "Flipette".

Kigu Flipette lipstick

Kigu Flipette lipstick

Kigu Flipette lipstick
(images from etsy.com)

Kigu Flippette lipstick ad, 1964
(image from vintage-compacts.com)

Finally, there are the handle inserts.  This item from Revlon would appear to be a regular hand mirror, but the lipstick is cleverly hidden in the handle.  It was introduced in 1950 as the "biggest news in lipsticks since swivels were born".  How very exciting.

Vintage Revlon lipstick mirror/wand

Vintage Revlon lipstick mirror/wand

Revlon lipstick mirror ad, March 1950

Of course, Max Factor upped the design ante with their "Doll Set" lipsticks, which were introduced in 1967.

Max Factor doll lipstick ad, 1967

Max Factor doll lipstick

Max Factor doll lipstick
(images from pinterest)

Now that we have a good sense of the types of mirrors that were available, let's spend a little time thinking about why they were made, or at least, why the advertising claimed they were the greatest things since sliced bread.  The first reason built-in lipstick mirrors were a necessity – again, according to the advertising at the time – was the ease provided by a fused lipstick and mirror.  Presumably women who wore lipstick also would have also carried around mirrored powder compacts, which could be used for lipstick touch-ups.  Fumbling around in your purse for a mirrored compact when you just needed to touch up your lips and not your face powder, apparently, was too difficult to handle on a regular basis.  As this 1935 newspaper blurb states, "Keeping lipstick and mirror together is the biggest trouble."  Oh, the horror!  (Bonus points for the blatant racism at the beginning of the piece.) 

Detroit Free Press, Aug 13, 1935

Such a "harrowing experience" to not be able to find a mirror!

Volupte Lip-look ad, Oct. 1, 1949

The second reason was that the lack of digging around for a mirror meant lipstick could be applied more discreetly, you know, for "when you want to sneak a look while the boyfriend's back is turned." (More bonus points for the weight/food shaming piece below the lipstick article.)  Much like lipstick tissues, lipstick mirrors were meant to be used to avoid an etiquette faux pas.

The Atlanta Constitution, Oct. 4, 1939

This 1940 column takes the idea of discretion a step further.  As we've seen time and time again, a woman's makeup habits are dictated by what men think.  "We suspect that the bold-face manner of applying lipstick is due for a set-back as a table pastime.  Recently we heard more than one rumor that men are expressing a dislike for the practice.  And it is a smeary, messy looking operation for a beloved with his own dreams about a natural beauty.  Better keep him, if not guessing, then not too much in-the-know about your coloring source."  Heaven forbid a man actually see a woman mend her lipstick!  Ladies, please keep your silly frivolous face painting to yourself so as not to ruin TEH MENZ' unrealistic expectations of so-called natural beauty.  I can't roll my eyes hard enough. 

NY Daily News, Feb. 23, 1940

Thirdly, one can't be seen with a beat-up compact.  Women should always present the prettiest possible cosmetic cases when in public.  Seriously though, at least this 1956 clip is straightforward in proclaiming that a lipstick mirror is merely aesthetically pleasing instead of a necessary accessory in the battles against flaunting your makeup application and a messy purse in which no separate mirror can be easily unearthed.  Just a little dose of "extra glamour".

The Journal News, Feb. 10, 1956

And of course, let's not forget that as part of their goal of making a healthy profit, beauty companies are forever trying to invent another superfluous gadget or product and declaring it the next must-have.  Perhaps lipstick mirrors were the mid-century version of vibrating mascaras.  In any case, despite the lack of popularity for the built-in lipstick mirror as well as the cynicism of modern-day makeup wearers like myself, several brands forged ahead with attempting to resurrect the lipstick mirror over the past 20 years or so.

In late 1999, with much fanfare, Givenchy introduced their Rouge Miroir lipstick designed by by sculptor Pablo Reinoso. Reinoso became Givenchy's Artistic Director for their fragrance and beauty line shortly after the lipsticks' release. 

The March 2000 issue of Vibe magazine proclaimed the sleek, futuristic design to be the height of convenience: "No more knives or rearview mirrors".  Wait, who uses a knife to apply lipstick?!

Givenchy Rouge Miroir
(image from amazon.com)

A year or two later, Estée Lauder launched their Pure Color lipstick line.  I believe these mirrored cases came out in the mid-2000s when Pure Color lipsticks were at their height.

Estée Lauder Pure Color lipstick
(image from amazon.com)

Some more recent examples I found include this mirrored tube from Kailijumei, a brand best known for their "flower jelly" lipsticks. 

Kailijumei
(image from kailijumei.com)

Guerlain's Rouge G series was introduced in the spring of 2018 and comes in a variety of collectible cases (and, duh, I'm working on acquiring them all).  The mechanism is similar to Stratton's in that they won't close unless there's a lipstick bullet inside.  While practical, it makes for quite the hassle to take photos of the cases only as they keep popping open.  I have to tape them closed, which is a less expensive option than buying lipstick bullets to go in each case.

Guerlain Rouge G

Guerlain Rouge G open

Finally, I spotted this folding lipstick mirror from J-beauty brand Creer Beaute, which was included in their 2018 Sailor Moon-themed collection.

Creer beauty sailor neptune

Creer Beauty Sailor Neptune folding lipstick mirror
(images from alphabeauty.net)

Still, these designs are not nearly as common as their predecessors from the early-mid 20th century.  Why did the popularity of the built-in lipstick mirror fade over time?  One theory is that lipstick packaging with built-in mirrors is more expensive than non-mirrored packaging, and therefore, not as appealing to consumers.  Guerlain's Rouge Gs, for example, cost $55 ($33 for the bullet and $22 for case) while their KissKiss lipsticks are priced at $37.  Going further back in time, Elgin's spring-loaded mirrored case by itself was $5.50, while the price of an average lipstick was $1.10.  Why pay for a mirrored lipstick case if you (most likely) already have another mirror available?  Yes, you might have to dig around in your purse a bit, but at least it won't be lighter for having spent money on a lipstick/mirror combo.  This theory could also explain why clip-on mirrors were seemingly everywhere, as they were the cheaper route to fusing lipstick and mirror. 

Another theory for the continuing disinterest in built-in lipstick mirrors could be that for the last 5-10 years there's been increasing demand for less, or at least recyclable, packaging.  While some higher-end brands are refillable, most lipsticks sold with a built-in mirror don't appear to have a refill option, and consumers may be less likely to buy a mirrored lipstick tube knowing yet another packaging component will eventually end up in the ocean.  Plus, while the new designs are relatively slim, they're still bulkier than lipsticks without built-in mirrors.  The majority of beauty consumers, myself included, don't want anything taking up more room in their purse or makeup bag. 

Finally, I believe beauty consumers are savvier than they were in the early days of the industry and are less susceptible to marketing and gadgets.  A built-in lipstick mirror may have been considered revolutionary in the '40s because swivel tube lipstick had been invented just a few decades prior, but by the '70s these mirrors may have seemed old hat.  So certainly by the 21st century we know these designs are not truly a breakthrough, nor are they anything that would be considered a necessity.  I featured no fewer than 6 Kailijumei lipsticks in the Museum's spring 2017 rainbow-themed exhibition, and just now noticed there were mirrors on the tubes.  The fact that the mirror didn't even register with me, a person who enjoys re-applying her makeup and has spent countless hours poring over product packaging, until now when I'm actually discussing lipstick mirrors shows just how unnecessary a built-in lipstick mirror is.  And again, the majority of beauty consumers is likely to be carrying a compact mirror anyway, rendering a lipstick with a built-in mirror redundant.  We also know that makeup companies update older designs and market them differently to see what sticks.  To cite Guerlain's Rouge G, the description at the website highlights how the user can select both the color and case to suit their individual taste.  "Every woman is unique…choose your lipstick from a wide range of shades to match your look: from the most nude to the most extravagant.  Choose your case from an array of styles – from the most timeless to the most trendy".  Rouge G has the same basic mechanism as the spring-loaded lipsticks of yore – it's especially similar to Max Factor's Hi-Society with the array of designs – but the marketing focuses on the customizable aspects (a concept that has spiked in popularity over the last two or so years…I've been meaning to write something about the craze for name engraving/customization) rather than the newness and convenience of a dedicated lipstick mirror.

What do you think of the built-in lipstick mirror?  Would you consider it a must-have?  While I certainly appreciate the aesthetics, it's nowhere near a necessity for me.