Fenty Beauty, the brand founded by musician Rihanna in 2017, had possibly its most adventurous releases in 2022. In August that year the company launched a set of 6 packets containing a mystery substance produced by cheeky Brooklyn art collective MSCHF (which I hope to cover eventually), and in December, a $500 crystal-studded lipstick case to celebrate the brand’s 5th anniversary. While I’ve been using Fenty since its inception – the matte foundation, cheek stix, and lipsticks are excellent – it’s the limited-edition products with special packaging that go into the Makeup Museum. However, having skipped this year’s holiday lineup, a collab with video game-inspired animated series Arcane, today I’m looking back at 2022’s Navy collection. Illustrated by L.A.-based cartoonist Obi, the Navy set is a nod to the nickname for Rihanna’s fan base, which in turn comes from one of her song lyrics, 2009’s “G4L”: “We’re an army / Better yet, a navy / Better yet, crazy”
Before we delve into the set, let’s take a peek at the work of the artist behind it. First generation Nigerian-American Obi Arisukwu was born and raised in Houston, Texas. Strongly influenced by cartoons and superheroes, particularly the Teenage Mutant Ninja Turtles, he began drawing at the age of 3. He earned a Bachelor’s degree in Visual Design and went on to become the lead graphic designer for ConocoPhillips, doing illustration on the side. After 4 years in the corporate world, however, he had enough. “When I was working at ConocoPhillips, I loved it at first. Then slowly and slowly, it became the same mundane pattern of going to work, being in a cubicle, and never being able to express my creativity. My talents weren’t being utilized the way they should have been. For instance, I was the head graphic designer there, but I was doing PowerPoint presentations. After a while it was kind of, “What am I here for? This is not really what I want to do. I really want to get into cartoons.’”
This was also a period of rapid growth for Instagram, where Obi would be inspired by other artists’ work as well as their ability to quickly cultivate large audiences. At the age of 30, he quit his job and moved back in with his parents to pursue illustration full-time. Obi acknowledges the first 6 months were difficult, as he had to learn to set up a business and earn clients, but ultimately his talent and perseverance paid off. “Living with my parents, they’re really great. They’ve always supported me and it’s like a really good Airbnb. It’s definitely tough because when you first quit and go on your own, you’re going to go through that period, that downfall, of where you’re not getting any business or no clientele because you’re still working on your service, still working on getting yourself out there. Then, for me, after like six months, I started getting a lot more projects. I really stopped doing graphic design work to focus more on illustrations. This is one of those things where you don’t give up.” Yay for supportive parents! (Side note: His mother’s only request was for Obi to buy her a Chanel bag after he had achieved success.)
In December 2017 Obi posted a comic strip loosely based on his life as a millennial. This proved enormously popular – it was the most engagement he had ever received on his Instagram posts – and he began posting a new comic each Friday. “The comic strip parodies real life situations like dating, friendships, politics, etc. Even though I’m the main character in the strips, I’ve taken on the role as the ‘every man’ so that the comic strips is relatable to everyone who reads it. [The strips were just the everyday things that we go through [as] millennials…Whatever it is and kind of making it to where people can just resonate,” he explains.
It’s a gentle humor that doesn’t stray into corny “dad joke” territory. I’m not too up to date on my comics and cartoons, but Obi’s work seems to be a breath of fresh air in an age of sarcastic, “edgy” or even offensive animated series (South Park, Family Guy) or the nonsensical (Aqua Teen Hunger Force and other Adult Swim programming). While I’m partial to the likes of Archer and Metalocalypse, I also appreciate Bob’s Burgers and Home Movies, or comics such as the Far Side. A light-hearted, softer type of humor is not a bad thing!
Obi continued with the comic but also drew Black pop cultural icons, athletes and other important figures. “There’s a lot of awesome things happening in the Black community, so I like to showcase that in my art,” he says. In 2018 Obi’s illustration of Childish Gambino from his “This Is America” video went viral, earning over 30,000 likes in 24 hours. Obi followed that up with another viral post featuring Will & Jaden Smith.
While these viral pieces may have led to the collaboration with Fenty and other opportunities, it was Obi’s “every man” comic that landed him his own animated series on HBO. The news was announced in early 2021, but it’s unclear as to when the show will actually debut. It will have the same vibe as his comic – a show about day-to-day life as a Black millennial man. Obi expands on his vision for the show as it pertains to race: “This cartoon is not just about me, it’s about society as a whole. It’s just kind of through the lens of a Black person. But it’s definitely a cartoon that everybody can watch…My biggest thing that I want to do when it comes to bringing diversity, especially with my Obi cartoon, is that I want to show the world that we live in as Black people, that’s not all about us getting shot by the police…we’re more than just victims all the time. I want to have four Black main characters who literally are just living life trying to make it in this world…OBI is the daily experiences we all can relate to, it’s just from the Black perspective. We always see us getting shot. We see slavery and racial injustice all the time. Sometimes we [Black people] need to escape from that. We’re more than the racial shit that happens to us. We have other things going on too. This cartoon will have moments where it does address being Black, but it’ll still have the comedy element to it. We’re more than our racial injustices…This show is about all the day-to-day, societal issues that go through as Black people that other races can relate to as well and laugh at with us.” This is a really important point that I think sometimes gets lost, especially in conversations regarding racial justice. Black people are more than their trauma and while it’s critical to acknowledge racism and work towards dismantling it, highlighting everyday life is also essential. Indeed, Obi rarely explores instances of racism, but when he does, it’s still done with the same humor.
Now, time for the makeup! The Navy set consists of a zipped canvas bag, a refillable lipstick in a limited edition blue case, a navy blue eyeliner and a cute little mirror. The lipstick shade is MVP, a classic red. (As I didn’t want to break the seal on the refill I don’t have pictures of it, but hopefully the stock photo will show you how pretty it is.)
I spent a good hour searching for photos of Rihanna as she is shown on the set – one with her hair down, green patterned sunglasses perched on her forehead, and lots of jewelry – and the other depicting her with Bantu knots, a green fur coat, white tee and blue cargo pants. Then I watched Obi’s Instagram video about the set and realized that, being an artist, he used his imagination to create these images rather than blindly copying her actual outfits. As someone who does not have any sort of creative flair, it didn’t occur to me that this would be his process! Anyway, there are a few images of Rihanna that can be seen in the video.
The collection was generally well-received, and the retail price of $58 for the set was quite reasonable given that it was adorned with original artwork and the practicality of the items included. Everyone can use a makeup bag, mirror, navy eyeliner and red lipstick, no?
However, some Instagrammers took issue with the depiction of Rihanna’s forehead. Between Fenty Beauty’s account and Obi’s, there were roughly 100 comments accusing Obi of making her forehead too large.
Normally I don’t address meritless criticism such as this – I try to “ignore the haters” as they say – but the reason I’m bringing this up is because I am massively confused. I think her forehead appears totally normal-sized. And while marketing teams sometimes slip up and let mistakes happen, even major ones, I would think that if it really was out of proportion the set wouldn’t have been allowed to be sold and Obi would have had to go back to the drawing board, literally. Beauty brands, particularly celebrity lines, fiercely protect the images of their founders and must show their them in the best possible light at all times.
This is just one of many things I’d like to chat with the artist about! I would have emailed Obi for an interview as he seems incredibly down to earth and approachable, but the week between Christmas and New Year’s isn’t really the best time to reach out to people, so in the end I decided not to. I am still wondering how the collab came about, what the process was like working with the company, if he got to meet or interact with Rihanna at all, and why he chose the images he did as inspiration when creating the artwork for the set. I’d also like to hear what’s happening with his HBO show as I am eager to watch it, and, of course, if he ever purchased a Chanel bag for his mom.
What do you think of Obi’s work and the Navy collection? I really enjoyed it and hope to see more collabs with Black artists. As I’ve pointed out, the cosmetics industry is seriously lagging behind in this regard. I do have one regret, which is not entering Obi’s giveaway contest – he provided signed sets to 5 lucky winners. Obviously I’d love to have a set personally signed by the artist. 😊
I was doing some digging on Ultra Sheen cosmetics after purchasing a great vintage display for it and stumbled across the name Bill Pinkney, who had a brief stint as a marketing executive for the company. As it turns out, Captain William Pinkney is the first Black man to circumnavigate the globe solo via the five Great Capes. While this is an astonishing feat that very people have accomplished, obviously I'm more interested in how he shaped Black makeup history – specifically, his significant contributions during the late '60s and '70s, one of the eras that witnessed an explosive growth of brands for Black customers. (Another era would be the early-mid '90s, a history I'm still working on.)
Pinkney was born on September 15, 1935 in Chicago. He joined the Navy after high school and discovered sailing while visiting Puerto Rico after being discharged in 1959. He held a variety of jobs during this time, including elevator mechanic, limbo dancer (!) and X-ray technician. As much as he understood the importance of a steady job, boredom crept in.
Around 1963, he began pondering what he could do as a creative outlet that would also pay the bills. Pinkney's friends suggested makeup artistry. In his own words: "Since 1963 I had been working as an X-ray technician at Queens General Hospital. Although it paid well, it was hardly creative, and the creative impulses of my youth were resurfacing: I also longed to sail. As much as I wanted to be an artist, I was following my family's advice to have a good, steady job. Keeping that in mind, I began to look at my possibilities. I still had time left on my G.J. Bill and I wanted to find a job that would be creative yet practical. In the Village one night, I expressed my dilemma to some of my old friends in fashion photography. They unanimously agreed that I should become a makeup artist! I laughed at first – me, a make-up artist? Bur they insisted that it was creative and quite lucrative. If I did well at it, I could also make connections with celebrities. So I decided to take a stab at the beauty industry."
Pinkney attended Queens Beauty Institute during the day and continued working as an X-ray technician at night. After passing the New York state exam to become a licensed cosmetologist, he began practicing makeup on any willing participants (mostly friends and family.) Looking to break into film and TV makeup, he found a job for a non-union picture. While it didn't pay much, he was promised both extensive experience and a credit as makeup artist. Pinkney was a bit taken aback when he got to the set and discovered the, ahem, particular type of movie he would be doing the makeup for. "[The job] was in film, all right – soft core skin flicks. The films were shot in black and white, and the make-up wasn't critical, but I got a chance to experiment. I mostly covered blemishes and scars and attached false mustaches and sideburns, which were in vogue at the time. The first film showed in Times Square, and while it was hardly pornographic by today's standards, a group of my friends furtively crept in, wearing turned up collars, hats pulled down over their eyes, and sunglasses. They roundly applauded the credits when my name came up."
The first TV commercial Pinkney worked on was for the American Tuberculosis Association. Upon realizing he had no suitable makeup on hand to match one of the actresses, he chose to let her go with the makeup she was wearing. "A Black woman came in and I didn't know how to make her up. There were no products with which to make her up. Luckily, she had makeup on already, so I didn't touch it. I just said, 'Beautful makeup, luv.' I was lying, but what could I do? Right then, I realized the need for a color-oriented cosmetics line." The fact that even a Black makeup artist struggled to make up a Black actress demonstrated that the cosmetics geared towards Black customers that existed in the mid 1960s (Posner, Overton's, etc.) were still not meeting their needs, nor was much advice offered in beauty guides. He noted that Max Factor's darkest shade at the time was "meant to make whites look like Blacks," a statement that is backed up by the origin story for Max Factor's Egyptian shade. Pinkney made it his mission to learn about makeup for those with deep complexions, which, as we'll see, proved to be the thing that allowed him to realize his sailing dreams. "If I learned anything that day, it was that I knew very little about makeup. Undaunted, I made it a point to study make-up for Black women, a decision that would eventually serve to get me into the business on a big scale." He joined the National Association of Broadcast Employees and Television union and had more than 150 films and commercials under his belt by 1969. At this time he began working for Astarté, a brand by the very short-lived Spectrum Cosmetics. While he initially got into makeup as a creative outlet, by 1970 Pinkney's outlook shifted towards makeup being more "psychological" than artistic: "Makeup is fascinating because you're working with psychology rather than art…if anyone tries to define beauty, he's opening a can of worms. It's an indescribable thing. It's really a feeling within the individual…ideally, I want to make a woman see how she really is inside – I want to relate to her, to feel what's behind the surface. I'd say I do that kind of makeup job one out of every 50 times. But I shoot for it every time."
There will be a full history of Astarté and its place among the proliferation of Black-focused makeup brands of the time shortly, but for now, some basics: Astarté was a higher-end line catering to the "ethnic" customer and sold in department stores. While the emphasis was on providing quality makeup for women of color, there was a range of foundation shades available – 22, to be exact – that were meant to match every skintone. Twenty-two shades seems like a paltry amount these days, but back then this was a big assortment. Not only that, Astarté organized its foundations from darkest (Nuit) to lightest (Aurore), which, to this day, is still the opposite of how most brands arrange their shades. The brand was also intended to "highlight [the] natural beauty" of Black women in keeping with the "Black is Beautiful" spirit of the late 1960s and early '70s. As noted previously, the vast majority of cosmetics, including non-complexion products like lipstick and eyeshadow, were formulated for white customers and tended to look either completely unnatural or at the very least, unflattering on non-white women. According to Pat Evans, the model who starred in the campaign, most makeup "turned Black women's mouths into neon signs, turned their skin ashen, made their eyes recede."
Pinkney served as Astarté's National Director of Makeup, crisscrossing the U.S. to train salespeople and provide consultations and makeovers at counters. It's a bit of a chicken and egg scenario in terms of Astarte's focus and Pinkney's approach towards makeup – was Astarté influenced by Pinkney's natural aesthetic or vice versa? A 1970 article featuring a makeover of a Detroit resident presented Pinkney as a champion of understated cosmetics. "'A good makeup means nothing about it is obvious. It's a group of subtleties which combine to make you,' he stressed. For this reason he's against shadowing the face to change features such as making the nose seem longer or the lips seem narrower. 'It just won't work except for a model who's being photographed in controlled lighting. Women are seen in many different lighting situations and shadowing just makes them look phony,' he went on." The article continues with more of Pinkney's tips for no-makeup makeup, including using a powder brush rather than a puff for a seamless finish.
It's not clear when Pinkney's relationship with Astarté ended, but Spectrum filed for bankruptcy in 1971. Pinkney continued working as a makeup artist, doing magazine editorials such as this spread in Essence. By this time he was also sailing as much as he could.
Incidentally, the products used here were from Ultra-Sheen.
In 1973, "Revlon made me an offer I couldn't refuse," Pinkney said. The company hired him to oversee the marketing for the new line they were planning for Black customers called Polished Ambers. It doesn't seem as though Pinkney was involved in creating the extensive advertising campaign, but he was responsible for ensuring Polished Ambers was well-represented in the media and stores across the U.S. Most importantly, he was Revlon's first Black marketing executive. Polished Ambers hit shelves in early 1975.
Pinkney used his knowledge and experience with Astarté to promote the Polished Ambers line. Echoing the comments of Pat Evans from some 5 years prior, he noted that Revlon carefully formulated the Polished Ambers lipsticks and eyeshadows to avoid the usual pitfalls of products made for deep skintones. According to one article, "Pinkney claims frosted lipsticks need a special formulation for Blacks because the ones on the market give a 'mirrored, chalky effect.' Eyeshadows were given gold undertones for life and vitality, and colors were given depth to to complement dark eyelids." As we'll see in the upcoming history of the brand, Astarté's lipsticks and eye colors were formulated more or less identically.
In the fall of 1977 Pinkney was recruited by a headhunter to join Johnson Products to market their new Moisture Formula line within the Ultra Sheen brand. While this was a lucrative opportunity to work for a Black-founded and owned company, that wasn't the only reason for Pinkney's departure from Revlon: working for Johnson also meant that Bill would finally be able to own his own boat. He recalls, "I had met the head of the company [George Johnson] when I last lived in Chicago; his huge yacht was tied up next to Art's [Dickholtz, Pinkney's sailing mentor] slip at Belmont Harbor. One of the inducements to go back to Chicago was the lure of Lake Michigan and the chance to sail with Art again – and get my own boat. A perk in my contract with Johnson was that they would obtain a mooring if I bought a boat. The chances of procuring a mooring in Chicago harbors were less than winning the lottery." Pinkney subsequently purchased his first boat with the profits of the sale of his Revlon stock.
Pinkney was unceremoniously forced out of Johnson in 1980 after the Moisture Formula failed to produce the profits Johnson anticipated. As told by the Chicago Tribune in 1992: "'It didn't succeed' is one way of putting it,'' says George Johnson, then the company president. 'We were trying to sell an upscale line in drugstores, and it didn't work out.' Johnson rates Pinkney as 'a good guy,' yet not only didn't his line succeed but, Johnson says, he ran afoul of marketing vice president Lafayette Jones, who fired him. 'I got caught in a Friday-afternoon shootout,' Pinkney says."
Still, Pinkney maintains the firing was a blessing in disguise. Reflecting in 1999, he said, "Coming through Revlon, one of the best marketing companies in the country, I had the best training ground. But as I worked for Johnson, I got further away from what I liked, which was creating makeup…I could have stayed in the industry and worked. But I decided it was time to break free." He took a job with the city government in Chicago.
The rest, as they say, is history. After reflecting on the legacy he wanted to leave behind for his family, particularly his two grandchildren, at age 50 Pinkney "decided he would attempt to sail around the world alone to encourage them to think and do the impossible." Five years later, on August 5, 1990, Pinkney began his adventure from Boston Harbor, returning in June 1992. He continues sailing and has racked up numerous awards and honors, including a lifetime achievement award from the National Sailing Hall of Fame.
I'm so curious to know if Bill ever picked up a makeup brush again after leaving Johnson, or what he would think about makeup for Black customers these days. I also wonder whether, despite his varied interests and intense determination to succeed at anything he tried, his skills at both makeup artistry and beauty marketing specifically allowed him to pursue sailing full time. Could it be said that his dream was fulfilled via the makeup industry? I would reach out for an interview but at the same time feel like I should leave an 87 year-old man in peace!
What do you think? And have you ever been sailing? Despite being a mermaid, I haven't quite found my sea legs – I've gotten sick every time I've been on a boat. Ah well. In any case, stay tuned for histories of Astarté and Ultra Sheen. 🙂
Update, September 1, 2023: I am sad to report that William Pinkney passed away on August 31, 2023. Rest easy, Captain.
Sources
Bennett, Bev. "Test of Time." Press-Dispatch, 25 Apr. 1999, p. 5-7.
Bernardo, Stephanie. The Ethnic Almanac. New York: Doubleday, 1981, p. 341.
Gabriel, Joyce. "Beauty Is Indescribable Thing, Says Executive in National Cosmetics Firm." Kitsap Sun, 23 Oct. 1970, p. 5. (This is a syndicated article that appeared in multiple papers…I don't know how to cite it.)
"The Beauty Part," Women's Wear Daily, 25 Jun. 1976, p. 10.
Over the past 4 years or so there has been an explosion of new Chinese makeup brands. Parts 2 and 3 of this post will more fully explore the how's and why's of this growth, along with a variety of brands, but in the meantime I wanted to focus on one called Florasis. Florasis (花西子, Huaxizi1) was founded in 2017 and celebrates traditional Chinese beauty and culture. It was certainly a breath of fresh air, since, as we've seen, makeup is rife with cultural appropriation when it comes to China.
What I love about Florasis is the artistry behind their collections. According to their site, the company hired master craftspeople to help design the packaging.
There are quite a few collections inspired by various aspects of Chinese culture, so I'll be presenting very brief summaries of each as detailed histories are far beyond this post – they could be (and some are) entire books!
First up is the Miao collection that was released in late 2020. The collection celebrates the silver work and embroidery that have been centuries-old traditions of the Miao people, one of 56 officially recognized ethnic minorities in China.
These two necklaces are at the Bowers Museum, whose guide to their Masters of Silver exhibition provides a good summary of Miao silver artistry: "Male silversmiths create a variety of ornaments through casting, smelting, repoussé (a reverse hammering technique), forging, engraving, knitting, coiling, cutting, and other methods. Concepts such as beauty, unity, fortune, and pride are expressed as visual abstractions and geometric motifs. Silver itself is symbolic of light, the moon, fertility, and protection against evil, but it also represents a woman’s wealth and plays a role in courtship. Families spare no expense in adorning their daughters, purchasing additional pieces as they are able. Worn mostly in large festivals, the headdresses, combs, earrings, necklaces, breastplates, bracelets, rings, ornaments, and the counterweights on display here can weigh up to twenty pounds. The fine work aims to attract suitors who look at each garment as measures of the wearer’s qualities. In marriage, silver acts a woman’s dowry and is eventually passed down from mother to daughter." The necklace on the right is actually a bridal collar. While the traditions surrounding Miao silverwork reflect a rather sexist patriarchal structure within their culture, some of the craftsmen are using it as a way to lift their community out of poverty and ensure the practice does not go extinct.
The Miao produce intricate embroidered garments in addition to silver jewelry.2 As the National Museum of Asian Art explains, "Because the Miao people do not have their own written language, their embroideries often take the role of documenting their history and culture. Their embroideries reflect their world view, values, history, religions, and the social changes they have experienced over the centuries. Working with silk and cotton thread, as well as with horsehair, embroiderers adorn cuffs, sleeves, collars, and tunic fronts with designs of mythical animals (dragons and phoenixes) and ordinary insects, fish, and flowers. Vibrant colors—such as scarlet, pink, purple, dark blue, and bottle green—are frequently used." The box set from Florasis opens to reveal three drawers adorned with patterns in the style of Miao embroidery.
This beautiful example is also from the Bowers Museum. The butterfly is a common motif in Miao embroidery, as part of their folklore centers on the tale of the "Butterfly Mother" from which all Miao people have descended. The legend says that the Butterfly Mother laid 12 eggs, one of which hatched to become the Miao people, and the rest hatched into other earthly creatures so that the Miao would not be lonely.
Florasis named their Miao palette the Butterfly palette and claim the pattern consists of butterflies, although I can't say I see any. It looks more like a floral design to my eye.
Next up is the Impression of Dai collection, which also uses the art and traditions of another ethnic minority in China, the Dai people. According to this site, "the Dai are closely related to both the Lao and Thai peoples, having a closely intertwined history and a relatively close geographical position. There are over one million Dai living in China, primarily in the southern Yunnan province."
For the Dai, peacocks symbolize "beauty and peace, and are said to be a good omen." In fact, peacocks are so significant in Dai culture that they created a whole dance! This traditional folk dance goes back thousands of years and mimics the bird's graceful movements. In 2006, along with Miao embroidery, it was added to China's national intangible heritage list. Also, if you look closely at the background of the ivory side of the powder, there's a gorgeous embossed pattern. The Florasis site states that the collection was inspired by Dai brocade. Once again, there are entire papers written about Daibrocade so I can't go into much detail and I couldn't really find a brocade that resembled the pattern, but it definitely looks like fabric.
For some reason I completely spaced on getting the Impression of Dai lipstick. I think I thought I had purchased it and then realized I forgot when the package arrived. Ah well, I'll pick it up another time but I need to do it soon as it's limited edition. The lipstick features exquisite carving that's as intricate as the Miao one, but with a peacock motif. The Florasis site indicates that the lipstick formula contains essences of dendrobium nobile (a type of orchid native to southern China) and lotus flower, and claims these ingredients are used by the Dai. I can't find any hard evidence of that claim, but orchids and lotus flowers have been used for centuries in Chinese medicine and cosmetics so it seems plausible.
Not only does Florasis use artists to design the packaging, for the Dai collection they also worked with Fang Langlang, an artist who recreated the collection using sand.
Next in Florasis's little trove of treasures is the Eastern Beasts face palette. Each section depicts an animal associated with one of the Four Symbols that are based on constellations, also known as the Four Auspicious Beasts (why Florasis is calling the palette Eastern Beasts is not clear).
First is the Green Dragon, representing spring. (I think they may have meant Azure Dragon…maybe they mistranslated azure as green and not blue.)
Then Vermilion Bird, symbolizing summer:
White Tiger, which corresponds to autumn:
Finally, there's the Black Tortoise who represents winter.
While I love the patterns and overall concept, it's driving me a little crazy that the Four Auspicious Beasts are out of order when one considers they are also seen as the guardians of the 4 cardinal directions. The Black Tortoise is associated with the north and the Vermilion Bird with the south so those should be reversed. The same goes for the Dragon and White Tiger (east and west, respectively). They should have been arranged in the palette as in this photo.
As with the Dai lipstick, I failed to purchase the Phoenix palette, the Blooming Rouge lipsticks and the Fairy Peach Blossom powder, so stock photos will have to suffice for now. I plan on adding them to the Museum's collection gradually – considering the lipsticks alone range from $29-49 each they're not inexpensive so I can't buy them all at once, alas. In the meantime, let's take a peek at these gorgeous pieces.
The palette's design is inspired by Chinese folding screens, and the engraved patterns depict scenes from the myth "All Birds Paying Homage to the Phoenix". According to the legend, the phoenix carefully gathered fruit and seeds while the other birds mocked him for being greedy. But one day there was a drought and the birds had nothing to eat. The phoenix opened his den to the other birds and shared the food he had saved. To show their gratitude, each bird plucked out their most colorful feather, made a crown out of them and presented it to the phoenix. Every year the birds return to the phoenix to thank him. The story inspired much vibrant visualart, but perhaps the most well-known influence of the legend is a musical arrangement by Chinese composer Wang Jianzhong (1933-2016), which you can listen to here. It really does capture the birds' liveliness and movement.
I'm particularly struck by the gold scrollwork along the edges, as it's a small but significant detail in making the palette truly resemble a folding screen.
The original Fairy Peach Blossom powder (not the peacock-embossed Dai version) is inspired by the ancient Silk Road, a network of trade routes connecting China to the Middle East and Europe. As robbers were common, traders often banded together in large caravans with their camels and other pack animals.
Now let's look at the lipsticks. Some of them feature embossed dragons, phoenixes, azalea, and peony patterns, all of which are deeply symbolic in Chinese culture.
But some of the designs tell a more specific story. The Porcelain lipstick is a tribute to the Ding kilns, which produced beautiful white glazed ceramics for many centuries. According to this site, the kilns were "built during the late Tang Dynasty (618-907), flourished in the Northern Song Dynasty (960-1127) and declined in the Yuan Dynasty (1271-1368)". The sites of the kilns were lost until about 1934 and finally excavated in the early 1960s. Florasis decorated the lipstick case with lotus petals, which resemble ones found on some plates produced by the Ding kilns, and sculpted the lipstick itself with images of kiln workers (I think?)
This lipstick depicts the legend of the white snake. While the story circulated during the Tang Dynasty (618-907 CE), the first written version did not appear until the early 17th century and there have been many alternate versions. I'm greatly oversimplifying here, but basically the myth describes a shape-shifting white snake who assumes human form under the name of Bai Su Zhen and eventually marries a man named Xu Xian. He discovers her true form years later but they remain in love. Bai gives birth to their son, Xu Mengjiao, but is then imprisoned in a pagoda by her long-time enemy Fa Hai (another shape-shifter between tortoise and man.) Twenty years later, Bai is freed by her friend and fellow snake lady Xiao Qing. She reunites with her husband and son. As with "All Birds Paying Homage to the Phoenix", the story has inspired countless artistic creations, including traditional and modern operas as well as a TV series. Unsurprisingly, the star of the show, Ju Jingyi, was tapped as Florasis's first celebrity endorser in 2019.
The inspiration for what Florasis calls Blooming Flowers on the Way Home is not quite as clear, but I think it might refer to a love story about Qian Liu (852-932 CE), the founder and first ruler of the Wuyue kingdom (907-978 CE), writing a love letter to his wife. Each spring Qian Liu's wife would go out of town to visit her parents for a few days. One year he penned a letter to her letting her know the flowers had bloomed and were waiting for her at home just as he was: "Flowers by the path are now in full bloom, and I’m here expecting you to come back soon" (I don't know how accurate that translation is but it makes sense).
This one is probably my favorite of the Blooming Rouge Love Lock lipsticks. The embossing shows Zhang Chang, a government official during the Han Dynasty (206 BCE-220 CE) painting his wife's eyebrows. He would do this each morning as hers were damaged in a childhood accident. Painting eyebrows became a symbol of commitment and a loving relationship.3
Florasis cleverly spun the traditional story to be used in a Valentine's Day promotion for their eyebrow pencils.
Finally, there's this exquisite palette, which depicts scenes from the poem "The Nymph of the Luo River". The poem was written by Cao Zhi (192-232 CE) and painted on a massive scroll originally by Gu Kaizhi (ca. 344-406 CE). In a nutshell, Cao Zhi visits the Luo river with his servants and happens upon a beautiful nymph. They have a brief and ultimately unsuccessful love affair.
I'm not entirely sure the palette reads left to right, as the original scroll painting by Kaizhi is right to left, but Florasis may have arranged it that way for Western customers. Based on the copies of Kaizhi's painting, one of which hangs in China's Palace Museum, the two panels at the bottom and the second one from the left show the horses that escorted Cao Zhi to and from the river. The light gold color is embossed with the nymph.
Towards the right of the palette, we see Cao Zhi observing and falling in love with the nymph. The far right panel I'm not sure what it could be – if the palette does indeed start on the right, then it would be Cao Zhi and his servants arriving at the river, but if it starts on the left, he would be leaving.
In any case, here are some details from Gu Kaizhi's painting.
So far Florasis's practice of highlighting traditional Chinese culture while leveraging the latest online sales tactics has proved fruitful. By 2020 sales reached approximately $442 million. That same year it was the top selling beauty brand on Douyin, an app nearly identical to TikTok. There are a few reasons for the brand's popularity. As many Western makeup buyers have not been previously exposed to many aspects of Chinese art and culture (myself included), Florasis's products represent something new and different; they go beyond stereotypes or cultural phenomena such as Lunar New Year celebrations that are now well-known in the West. Learning more about China's cultural heritage via makeup is very appealing to Western audiences. As Juliette Duveau, a co-founder of the marketing consultancy The Chinese Pulse remarks, Florasis has both "a super interesting brand identity and storytelling for Western countries."
The novelty of foreignness is the other side of the same coin for Chinese customers. Florasis is proving popular there as well precisely because the culture is familiar. The various artistic traditions and folklore are things they grew up with and are a source of comfort and national pride, particularly as the appetite for guochao in China (literally "national trend") grew in 2020. "Part of the wave Florasis has caught is a resurgence in reverie for culturally Chinese brands and products…sentimental resonance has been cast inward by many Chinese consumers and accelerated in a post-pandemic landscape in need and want of a little more local," writes Alixanne Hucker for The Challenger Project.
Another reason for Florasis's success is the relatively small product range and price point. While it can't be categorized as affordable, it's not a luxury line either. The product range is small compared to other brands, many of which seem to churn out new collabs and collections each week. The overall effect helps shed the "made in China" stigma of cheap, poorly made goods and delivers quality products at a reasonable price.
Finally, packaging is key to Florasis's popularity. Other C-beauty brands such as Maogeping, Zeesea and Flower Knows (stay tuned for posts on these!) incorporate eye-catching design and celebrate Chinese culture, but none have quite the level of detail of Florasis. Nor do any of them, to my knowledge, use master artisans to assist in the creation of the product designs. As one article notes, the products "have an 'instantaneous heirloom' quality about them. They sit comfortably in opposition to the Western giants that have previously dominated the market, and the wider category’s fixation on functionality."
I have two slight critiques of Florasis. First, I would like to see more of the proceeds being diverted to organizations that support the cultural heritage of China. Their website states, "We proudly sponsor activities in disaster relief, poverty assistance, female empowerment, and intangible cultural heritage to create value for society." The only evidence of their "social responsibility" I could find was the donation of 1 million yuan (roughly $150,000) to the Wuhan Charity Foundation in 2019, and the launch of the Miao Girls' Educational Assistance Program, a charity project run in conjunction with the China Foundation for Poverty Alleviation (but I can't find any solid proof of as it was only mentioned in one article). While these initiatives are certainly better than nothing, it would be great if they did this for all their products, such as giving a portion of the profits from the Impression of Dai collection to an organization that helps the Dai people. If a Chinese brand (or any brand, for that matter) is going to profit off of a particular culture, even if it's one's own, they need to do their part in giving back to that community.
Second, as with most C-beauty, K-beauty and J-beauty brands, Florasis needs to greatly expand their base shade range if they want to be more fully accepted in Western markets, especially in the U.S. Explains one consulting firm: "While many Westerners do enjoy the design and aesthetic of Florasis packaging, the skin tones and the color preferences are different. China’s beauty preferences are reflective of the homogeneous society whereas the West has much more diversity. Westerners are used to beauty brands that increasingly cater to a wide variety of skin tones, which means Chinese beauty brands [that] enter the West will need to adapt to the diverse preferences." Not only is a comprehensive shade range necessary to profit in the U.S., it's important from an optics standpoint. Any brand that doesn't participate in this, even if they don't believe their main market requires a vast shade range, is generally not perceived as diverse by conscious consumers in the U.S.
What's your favorite object here? I love all but my favorite is probably the lipstick portraying Zhang and his wife. It's too perfect for a Chinese heritage-focused makeup line!
1The name was inspired by one of the "four great beauties" of ancient China, Xi Shi, as described by poet Su Dongpo (Su Shi).
3For information on eyebrow styles and makeup more generally throughout the Tang Dynasty, this paper was great.
Today the Museum celebrates Indigenous People's Day with several beautiful collections from newcomer Prados Beauty. While I would like to examine the traditional cosmetic practices of Native Americans and other Indigenous people around the world1, I'm still debating whether that would do more harm than good, so I thought highlighting a new brand was the way to go.
Prados Beauty was established in 2018 by makeup artist and entrepreneur Cece Meadows, whose background inspired her to create the line. The oldest of four children, Meadows was raised in a small farm town in Arizona. "We didn’t have a lot, but we had each other. School was my safe haven, so I thrived there and ended up being the first in my family to graduate from college," she says. Meadows excelled at a career in finance in her early '20s, but suffered a cancer diagnosis at 27. The U.S. healthcare system being what is, insurance only covered a small portion of necessary care, and Meadows found herself broke and homeless shortly after going into remission. But her passion for makeup and drive to create a space for Indigenous people within the beauty sphere led to a cross-country move to cosmetology school in New York City. In 2018 Meadows became the first Native American makeup artist to head a show backstage for New York Fashion Week. She established Prados Beauty the same year and began selling the products online in 2019. "I grew up in a negative environment, but there was always a spark in me that wanted something better. As an adult, that has helped me get myself out of places when I’ve been stuck. I’ve always dreamed of owning my own cosmetics line. My passions are doing makeup and doing philanthropic work, so I figured out a way to make those two things go together."
Meadows, who identifies as half Chicana, half Native American (Yaqui and Comanche), explains that the lack of representation in the beauty industry was a key factor in starting her own brand. "Growing up as a Xicana and Indigenous girl, I never saw representation of my people in an accurate light," she says. "When I became a professional makeup artist and would show up in some of my traditional regalia to NYFW or professional photoshoot, I was shocked at the lack of education and awareness from models and designers of Indigenous people…It wasn’t until I was 30 years old that I saw an Indigenous woman in the public spotlight without being oversexualized. It was in 2015 when a First Nations Cree woman, Ashley Callingbull, was crowned Miss Universe in 2015. It was an emotional, yet exciting moment for me. I remember watching the crowning while holding my young son and thinking, 'we not only have been robbed of our lands, our culture, our beauty, our stories and our people but now we have to compete for a crown that we have always worn.'"
For Meadows, starting her own beauty brand was a way to reclaim Native culture and make it visible within the industry. "I have watched companies and clothing brands appropriate our culture and designs for years and I wanted to take that back. I wanted to create a brand that was 100% inclusive, but highlighted the beauty and story of who we are today. Our brand is about being really proud of who we are and telling our story through makeup. In public schools, you, unfortunately, aren’t really taught the truth about the events that truly unfolded in the United States against Native Peoples. So when my people don’t see ourselves in the mainstream, we make our own way. We support our own, we hype up our own, we become this secret society of creativity and artistic talent that the world fails to see. But we see, we know, and the acknowledgment of our own becomes enough. Because I mean what else are we going to do? Disappear? Never. Our generation has become a fierce generation, filled with hunger and audacity to believe and know that we are worthy of conquering spaces we have been told for hundreds of years we didn’t belong in. This is why I created Prados."
Accessibility and education of non-Native people were also priorities for Meadows. Individual products are priced around $40 and under. "It is always important for me to have affordable price points. One thing I remember growing up as a kid was not being able to afford things that I felt I needed to have as a budding makeup artist," she says. Additionally, being an inclusive brand with an outward focus on Native American pride encourages customers to learn about Native people's heritage, or at least be more mindful of it. Says Meadows, "Every time we gain a new follower, I get excited because it’s one more person who learns about our beautiful culture and our stories. [Prados] has inspired consumers to learn about Indigenous culture. They know that we’re not just a false Pocahontas story, and we can remind people that we’re more than a genocide in a history book. We’re still here."
Meadows' goals are identical to those of Steven Paul Judd, the Kiowa-Choctaw artist responsible for the designs on several Prados Beauty collections. Like Meadows, Judd noticed a dearth of authentic Native American figures across all areas of pop culture and understood the necessity in carving out a space for Native representation through art. "[I] make things that I want to see. So I like cool pop stuff, right? And I like movies and music, and I'm also Native American. I grew up on a reservation when I was a kid, went to an all-Native college. I like my Native stuff, obviously, but I still like things that other people like. I live in the same world that other people live in, and I just found that there wasn't what I felt was cool, pop culture stuff made for me—stickers, toys, action figures—I didn't feel like they were necessarily speaking to things that I saw or that my family saw, so I decided to do my best to try to make my own…Imagine growing up and in every movie, television show and ad featuring people who looked like you and your family, they were only shown in historical context. It would be like white people were only portrayed as Pilgrims. [The] only Native Americans I was able to see on TV were Iron Eyes Cody—he did those trash commercials, and he wasn’t even Native, he was Italian—and Ponch on Chips, but he wasn’t Native American, and we had Tonto, Jay Silverheels, on old reruns, but besides historical Westerns, I didn’t see any Natives anywhere in popular culture at all."
Judd is a prolific filmmaker and writer, but he is perhaps best known for his witty mashups of pop culture icons with Native American imagery. Everything from comics and toys to TV and movies are re-envisioned with Native historical figures and traditions. Ultimately, says Judd, "I wanted to make the stuff I never got to see as a kid."
By giving cultural mainstays like Superman and The Incredible Hulk a Native American spin, Judd deftly upends the dominant narrative. The juxtaposition of Native Americans with easily recognizable cultural references, or the entire replacement of these figures with images of Native Americans and symbols results in an amusing yet profound commentary on the erasure of Native populations and offers a way for them to reclaim their space.
While most of Judd's work appears lighthearted on the surface, there's an underlying poignancy in some of his projects that makes the viewer think on a deeper level. Take, for example, his Star Wars series, which recast some of the characters as Native American, thereby creating a new narrative that represents the struggle for freedom among tribes. Judd also makes a point of showing the appropriation of Princess Leia's iconic bun hairstyle, which most likely originated from photos of women from the Hopi tribe.
Judd's take on the popular "Space Invaders" video game that was developed with graphic designer Elizabeth LaPensée, in which the players are Native Americans using bows and arrows to ward off an alien invasion, is also a bit weightier than the likes of the artist's PowWow Rangers and Mindions. "You can read into it," he explains, "someone is trying to invade where you are living, you know, peacefully. I tell people it’s the only time you’re allowed to play Indian and not get in trouble." As this article neatly summarizes, the game "is archetypal of Judd’s work, which provocatively combines the ongoing history of subjugation of Native Americans (especially the violation of land treaties) with the mundanity and ephemera of day-to-day life. Judd’s work challenges stereotypes about Native Americans and dehistoricizes the atrocities of the past."
What's especially interesting about his love of pop culture is that Judd grew up in a home that was less than well-off financially, with no access to television until late childhood. His first encounter with TV was during a hospital stay. Judd's work is also extraordinary considering he is entirely self-taught. For photographic imagery in particular, he quickly realized he would have to get acquainted with the proper techniques and software in order to make his ideas come to fruition. "Any of the graphic design stuff I’ve done, I learned how to do it on Photoshop…learning Photoshop is tedious, but I wanted to learn because I couldn’t get these ideas in my head. I couldn’t make them unless I learned. No one’s going to make a vintage boxing poster with Sitting Bull and Custer unless you make it yourself," he states. And he's right: I can think of zero Indigenous artists who are remixing cultural touchstones in this manner.
Judd's unique re-imagining of pop culture references has drawn apt comparisons to Andy Warhol. Like the legendary pop artist, Judd cleverly skewers mainstream American culture, except instead of mindless consumerism Judd's critique mostly focuses on the overwhelming lack of Native American figures and traditions. Judd is flattered by the comparison, calling himself "Andy Warrior-hol", while simultaneously acknowledging that the American pop art tradition – including the deification of artists like Warhol – is largely devoid of Native voices. Case in point: a cheeky remix of Warhol's famous cow wallpaper.
Judd's emphasis on accessibility and education through art also parallel Meadows' prioritization of these areas. While a recent painting of Judd's sold for nearly $20,000, variouswebsites offer stickers, t-shirts and other items showcasing his work at affordable prices. And like Prados Beauty, much of Judd's oeuvre provides an approachable means of educating non-Native viewers. By framing it as "cool stuff" that the average 12 year-old would be interested in, Judd makes his history more palatable to non-Native Americans. "[I] want people to see the images and realize on their own that they had something to learn…Honestly, I’m creating art for my 12-year-old self. I wanted cool stuff, too – skateboards with Native imagery, action figures, sneakers – what 12-year old doesn’t? [But I want to] educate people on some things without talking down to them or yelling at them. They can laugh at it, like ‘Oh wait, did that really happen?’ and they can learn from it, starting from a humorous point," he says. This is not to suggest that the atrocities committed against Indigenous populations should be made easily digestible for white people, but humor is one of many useful tools in learning difficult subject matter. Plus, as Meadows noted earlier, it demonstrates that the histories of marginalized groups are so much more than genocide and stereotypes.
Given how the perspectives and missions of Judd and Meadows align so closely, an ongoing collaboration is no surprise. As Meadows remarks, "I feel like his art is a perfect fit for our brand because he takes everyday things like cartoons, television shows and movies we grew up watching, and indigenizes it. My boys love that poster I have hanging in their room because they identify with it. I feel like he always tries to create art that we can associate with and see ourselves in." Prados Beauty approached Judd to create artwork for the packaging of a new eyeshadow palette in 2020. As Judd wanted the image to look modern and reflect the shades in the palette, he came up brightly colored, mosaic-like portraits of Pretty Nose and Stampede. I don't know about you, but as soon as I laid eyes on them I had to look into their histories. Educating people through makeup and art absolutely works!
Pretty Nose was an Arapaho (some sources say Cheyenne) warrior chief who fought in the Battle of Little Bighorn in 1876. The Stampede portrait is based on a photo of a Dakota chief taken around 1900. Sadly there was not much more readily available information on either.
The style is reminiscent of a work he created a little later for a display outside the Arthur Ashe Stadium at the 2021 U.S. Open. Judd explains the inspiration for the piece. "When most people think of Native Americans, they think of them as a monolith. But there are over 500 different tribes in the US alone. Each with their own unique culture. From their music and food to their songs and language. I wanted to do a mosaic, each beautiful color representing the many different tribes across the land."
Once again, Judd's vision lines up with that of Prados Beauty. A colorful mosaic is a way of bringing all the tribes together while recognizing their individuality. Says Meadows, "When I think of Indigenous beauty, I think of amplifying the voices of not just one particular tribe but all of us together. Using vibrant seeds of color like turquoise and yellow and orange helps accomplish that."
Just last week, Prados released their new collection entitled Matriarch. According to the website: "For this collection we wanted to put together something beautiful, colorful and powerful! We wanted to honor all the matriarchs in our lives by showing up and showing out!" It's a great theme as many Native American tribes were matriarchal and matrilineal.
I must disclose that I received the entire Matriarch PR box by mistake. It was meant to go a media contact, but somehow ended up at Museum headquarters. I was really looking forward to receiving what I had actually ordered, which was the Steven Paul Judd 2.0 palette, highlighter and collector's box, so you can imagine my shock when I opened the package to see roughly triple the products I had ordered, with beautiful images on the packaging I didn't recognize. I emailed customer service and offered to send it back (even though I didn't want to, LOL), and within a few hours I received a reply from Cece Meadows herself! She generously allowed me to hang onto the whole box of goodies and, per the included instructions, requested that I not reveal anything until the collection officially dropped. It was all very exciting, for a second I felt like an influencer! I was absolutely flabbergasted that the Museum could keep everything. Plus, my original order arrived a day or two later.
The collection includes an eyeshadow palette, three face palettes, 5 lipsticks, an eyeliner and eyelash glue, two sets of false eyelashes, and a cute little LED mirror.
The imagery Judd created for the packaging for the Matriarch lineup is more varied than the previous collection. As a collector, I appreciate that different images were used on different products.
Aren't these lipsticks delicious looking? Love the hot pink cases too. Another great thing about Prados is that a whopping 50% (yes, you read that correctly) of profits go to Indigenous communities and people in need, including veterans, single parents, and children with special needs. "Both personally and professionally, I remember every disappointment when I just needed support to get me through tough situations. So I always promised myself during my prayer times that if I ever found myself in a position where I could live comfortably and my family was taken care of, I was going to help people — especially right now during the pandemic. I have raised over $20K to purchase PPE for Native American communities all over the US, Mexico and Canada…In addition, we buy kids shoes for back-to-school season, clothes, jackets and school supplies. We pay rent for single moms, college tuition and living expenses. We even threw a baby shower last year," says Meadows. She also recently launched the Prados Life Foundation to help facilitate donations.
Prados Beauty lipsticks from the Matriarch collection. Left to right: Jingle Dancer, Chola Vibez, Mirabella, Guerrera, Taos
I'm really enjoying Prados, and I'm not just saying that because they accidentally sent me an amazing PR box and allowed the Museum to hang onto it. After reading more about Meadows and her mission, this is definitely a company you can feel good about buying from, with gorgeous and inspired packaging to boot. I also love Judd's work as it provides food for thought without being preachy, and well, you know how I much I adore fresh takes on traditional pop culture. If he referenced some '90s TV shows or movies I would lose my mind. Finally, I can't think of a better collaboration between a brand and an artist – these two were a match made in heaven. As someone who researches makeup and grew up on a steady diet of mainstream American TV/movies/etc., I can think of only a handful of Indigenous makeup brands, makeup artists, influencers and models, and the scarce portrayals of Indigenous people in pop culture were largely either stereotypes or downright racist.2 There is a dire need to make space for and raise the visibility of Native American and other Indigenous cultures, and both Meadows and Judd are doing a tremendous job helping to fill that void through their respective crafts.
What do you think?
1 While sometimes used this way, Indigenous is not totally interchangeable with Native American. Indigenous refers to those populations living together prior to European colonization. These populations exist outside the United States and on every continent, therefore, while Native Americans are Indigenous, not all Indigenous people are Native American. Check out this site for more information.
2A personal anecdote. The district in Pennsyltucky (excuse me, Pennsylvania) where I attended junior high and high school was named for a local Native American tribe that presumably white people had wiped out. The school's mascot shares its name with a certain Washington football team. As a teenager it finally dawned on me just how awful it was, but any time I brought it up I was told that it wasn't offensive in the slightest and that I was being "oversensitive". As far as I know my former high school STILL thinks it's okay to use it. Thank goodness for Meadows, Judd and shows like Reservation Dogs. It's from the same brilliant people who brought us the hilarious What We Do in the Shadows, so definitely check it out.
"My work always aims to grow through an honest contact with people. I love feeling emotions and being able to create something that can touch people’s hearts. My work is about the symbolic things we put into our daily lives, and I’m always curious to see how everyone sees the world. As I mentioned before, I see art as a parallel, innocent language that leads me to different opportunities and challenges to keep growing as a person." – Jon Jacobsen
Last fall, I remember being very excited to see the launch of a set of Lisa Eldridge lip products in a beautiful velvet pouch. When I saw that the pouch was the work of multimedia artist Jon Jacobsen I knew I had to have it for the Museum. In case you need a refresher, Lisa Eldridge is one of the top makeup artists in the world and launched her own line in 2018. She is also a makeup historian, having written the excellent Face Paint, and she also possesses what is widely considered to be the best collection of vintage makeup in the world. I can only dream that the Museum's collection will compare to hers someday!
As for Jon Jacobsen, he is a 32 year old Chile-born, Portugal-based photographer, filmmaker and all-around master of digital art. He designed the gorgeous floral pattern for the pouch. The rich shades of the flowers against a black background are dramatic and moody, perfect for a fall release.
The bag is obviously velvet to coordinate with Eldridge's splendid Velvet lipstick line. Look at that texture! I'm still flabbergasted every time I see it. (And I really need to order some of these to actually use.)
The partnership is not a surprise. I'm guessing it came about as a result of the pair having worked previously on the Sunday Times' Style beauty feature back in May of 2020. As the world was in lockdown, makeup artists, fashion designers and photographers found themselves unable to work in the flesh, thereby forcing their processes to go virtual. (See also Harris Reed's 2020 graduate collection.) While "digital makeup" is not new, the pandemic forced a higher level of creativity.
Jacobsen was a natural choice to handle the project, given his unique approach to digital art. (And no, digital art is not just making silly filters for social media apps.) For Jacobsen, digitally altering images isn't about simply enhancing what's already there but adding an element of fantasy to produce surreal effects that challenge viewers' perception of the physical realm. In the case of the Sunday Times feature, Jacobsen deftly "applied" makeup designs created by Lisa Eldridge onto their model's face. The resemblance to real makeup is shocking. When combined, Eldridge's and Jacobsen's techniques yield an incredibly true-to-life effect that is nearly indistinguishable from physically applied makeup, yet still appears magical.
In an Instagram post, Jacobsen explained the role of each artist working on the feature. "The process behind each look was very unique and fascinating: With Lisa Eldridge in London, our lovely model Yumi Lambert in Maui and myself in Porto, we had to come up with an idea to bring all places together having technology on our side. With this in mind, Lisa designed and applied a variety of textures and colours onto her own skin which I later 'brushed', twisted and blended using a variety of digital techniques over the portraits that Yumi provided from a shoot that I directed from home. This was new territory for all of us – including for our lovely editors who trusted in us 100% (thank you) – so for several days Lisa and I connected over zoom meetings, experimenting and finding the right harmony, light and combination of textures to achieve something realistic with a hint of fantasy. This was a very meticulous process and I enjoyed every second of it! I might be quiet about this but I do love make up, not only from the fact that you can build endless characters and emotions, but also from how its composition changes through history." Every single texture and placement – from individual blush powder particles, the sheen of gloss with color concentrated in the center of the lips and shimmery eyeshadows in variety of shades – perfectly mimic makeup applied in the flesh. As Jacobsen notes, "real textures [were] translated to pixels."
The Sunday Times Style magazine, May 2020. Makeup: Lisa Eldridge. Photography and digital art: Jon Jacobsen. Model: Yumi Lambert. Beauty director: Sarah Jossel. Creative producer: Leila Hartley. Photography assistance: Guillaume Rasquier
His appreciation for makeup is abundantly clear, most likely stemming from his interest in the concept of transformation and questioning the boundaries of the human body, along with his passion for portrait and still life genres. All of these themes are inseparable from makeup. "Beauty shoots are definitely my favourite ones, it literally feels like eating dessert. My team and I always shoot knowing that I might add something on post-edition. Once the photos are taken, I lock myself in the studio to analyse the images and find the right universe of shapes. This a very experimental part of the process that I enjoy doing alone. There I imagine myself as a scientist, a musician, or a cook trying to find the right flavour, the right sound – it's hard to explain, but it is a blissful moment. Once they are done, I share it with my team and we celebrate…creating feels like making a puzzle that has no shape, but with the help of instinct, a good team and honesty, I can sense once it's finished."
FX 2019 masterclass. Makeup: Marcelo Bhanu. Photography: Jon Jacobsen. Model: Javiera Chandia. FX makeup: Carla Gasic.
Makeup/Hair: Nico Ampuero. Photography: Jon Jacobsen. Styling: Santiago Herrera. Model: Erlande Augustin
FX 2019 masterclass. Makeup: Marcelo Bhanu. Photography: Jon Jacobsen. Model: Lauren Skye. FX makeup: Carla Gasic. Assistant, FX makeup: Gaby Paz Olivo Pozo. Photography assistant: Javiera Allende. Styling: Esteban Pomar.
His photos are even more impressive when you discover that Jacobsen is entirely self-taught, citing the Internet as his primary teacher. At the age of 15 he took his first photo. After graduating college with a degree in graphic design, Jacobsen vowed to pursue art full-time. In an interview with Retouching Academy, he describes his journey to becoming an artist. "I started creating images at the age of 15, experimenting with any kind of camera that I could borrow. At that time technology was slowly becoming more accessible and I was curious to know how far I could get with it. I became obsessed with the idea that I was able to create infinite, surreal artworks from the comfort of my own room. My artistic journey began when my art teacher from school, Andrea Reyes, saw some of the images I had posted on social media. She pushed me to keep honing my skills by assigning me extracurricular activities such as additional homework, PowerPoint presentations and giving me quick art history classes during the school breaks. This was a key moment in my development as an artist as it was my first professional encounter with Art. I slowly became obsessed with creating visual metaphors with my images. The Internet also played a very important role in my development as an artist: It was (and still is) my main school. I watch tutorials every day and learn more and more about art. I keep sharing my work on social media, such as Instagram and Facebook, to maintain a close relationship with my audience and to learn from other talents. It wasn’t until I moved to Santiago (at the age of 21) when I decided to turn this ‘hobby’ into a full-time job. I graduated from university as a graphic designer but decided to present myself as an Image-maker, in order to be more flexible and work in all my fields of my interest: from being an artist who exhibits his work, to creating fashion editorials and films for magazines, and working as a high-end retoucher.I became interested in mixed media as a way to find an organic result through digital art. I am constantly creating textures, collecting images from my daily life and working with different kinds of materials depending on the requirements of each artwork…Last but not least, being able to sustain myself by doing this job feels like a big achievement. I come from a middle-low class family, with no art background. Choosing a life as an artist was a huge decision which I don’t regret. It has opened many doors and presented me with great opportunities so far."
Much of his oeuvre entails futuristic visions of the human body that combine realism with fantasy elements. The artist has been fascinated by photography's creative potential since childhood. "Since I was a kid I always wanted to add an extra layer of fantasy to things, and photography wasn't an exception," he says in an interview. "I loved the idea of bringing something I registered to a computer, a flower for example, and twist it enough to create a completely different result. As much as I appreciate photography as the closest way to capture reality, I find there are many voids to be filled, especially in terms of the emotional aspects. Conventional photography registers light and shows a result based on the norms behind the human eye, but what about the emotions myself and my subject feel at that moment? How can these be shown? Digital art brings endless questions, and I get obsessed with the vast amount of answers I can find. There, I found a space of free will that I can link with my daily life, connecting the real with fantasy."
He often works with other artists from a variety of fields for his projects, citing the importance of familiarity with other disciplines for one's own artistic practice. "Working on digital is really fun because it's pretty versatile, but it can also be daunting when you're spending days in front of a screen. As a digital artist I crave for tangibility and the desire to use my hands/body to explore other media to keep evolving as an artist. Even if your plan is not becoming a sculptor, try doing it at least once and see what happens, or try out a new cooking recipe… a little bit of the unknown is enough to find a HUGE amount of answers. That's how I got into dancing, swimming, contemporary jewelry and music. Even if I'm not an expert in those disciplines, I learn a lot and include this new knowledge into my creative process, for example, while tracing the composition before starting a piece, or by creating models/small sculptures, textures and volumes to be used in future projects. Exploring new media also expands your knowledge and brings new contacts to your life: Win-win situation!"
Indeed, Jacobsen's endeavors are amplified through collaboration. For 2015's "Ínsula", for example, he worked with Columbian sculptor Daniel Ramos Obgregón and dancer José Tomás Torres. Jacobsen photographed Torres in different stances and sent the images to Obgregón, who supplied photos of his surreal series of ceramic body accessories and prosthetics. Jacobsen edited the images so that the ceramic pieces became technological-based appendages rather than human. Digitally slicing the dancer's body to reveal veins coursing with electric currents and smoke-like swirls in place of blood and muscle, Jacobsen presents his vision of the digital age's impact on human evolution. The official project description: "The digital era is no longer the futuristic set of a sci-movie. It has become our present reality where all digital platforms, computers, mobile phones, and tablets are now prosthetic elements of our daily lives, which work as extensions of our bodies and minds. We invest so much of our time into these objects that we have started to detach from our physical bodies making us now mind-based digital beings – androids in the becoming. Internet and social networks have created a complex social fabric where it is possible, through avatars and alter egos, to interact with the rest of the world – erasing any geographic border that might exist. By questioning this reality and how it affects our body limits 'Ínsula' starts as an observation of this behaviors to explore and interpret the evolution from a human into a digital Homo Sapiens."
While the distorted, grey-skinned figure appears grotesque, Jacobsen maintains his conception of virtual humanity is not dystopian; he's merely exploring what our digital selves might look like. The lack of normal human skin tone and organs expresses Jacobsen's notion of our online bodies. "I call it a projection, what we do on Facebook or Instagram, or the Internet in general. A part of ourselves is not physical anymore," he tells Wired. For Jacobsen, the digitization of the human body, with a smartphone as an additional appendage of sorts, means having access to unlimited knowledge that wasn't as readily available to previous generations. "You also have your phone attached to your body all day. It can become a vessel of eternal knowledge if you use it wisely. It makes me happy to observe these new generations having technology so intrinsic to their bodies. They grow up playing with apps since day zero and there is so much to reinvent." I can't say I fully agree; while I acknowledge the Internet provides a tremendous wealth of information and allows me to connect with people I otherwise would never "meet", I resent being tethered to my phone 24/7 (which, by the way, I refer to as the "nightmare rectangle".) I certainly would never want it to physically take over any part of me. Jacobsen's vision may not be dystopian, but for older generations it certainly can be interpreted as unsettling.
Still, the animation makes a huge difference – the images become less sinister when viewed as fluid motions. Additionally, "Ínsula" is notable in that it was created with the artists situated in different countries. Nowadays that's not surprising, but 5 years before the pandemic necessitated remote work, it seems even more ahead of its time.
Similar ideas are explored in "The Great Barrier", a 2018 series of photos that simultaneously recalls the beauty and destruction of Australia's Great Barrier Reef. The centering of a human body – this time fused with marine flora and fauna instead of tech gadgets and electrical signals – depicts "an abstract vessel interacting with the environment," mirroring either the vibrancy or decay of its surroundings and perhaps serving as a commentary on humanity's role in saving or destroying the planet. "The Great Barrier" was also the result of a remote collaboration between Jacobsen and Australian performer/movement director Paul Zivkovich.
In my opinion, Jacobsen's most refined examination of the body and its boundaries is "Digital Flesh", which incorporates the style and subjects (flowers, fruit, etc.) found in traditional still life painting and combines them with tendons, muscles and internal organs. "These still lifes focus in finding human shapes in the everyday objects, for they carry the symbolic meaning through our senses and time. Either in their natural state or digitally manipulated selves, these forms float in harmony," notes the project description.
The one titled "Uncertainty" is my favorite of the series, as there's something vaguely aquatic about it. The large pink flower towards the left seems to be emanating light, illuminating its surroundings like a bioluminescent creature of the deep ocean.
I also like "Digital Flesh" because it's the most stylistically similar of Jacobsen's works to the Floral Fantasy pouch. The artist created a short video that alludes to makeup's tactile properties. The flowers appear to represent makeup colors and the pollen is reminiscent of delicate powder particles.
Overall, I enjoyed this collaboration. I do think Jacobsen tamped down the weirdness too much; I would have liked to see something more surreal or at least something that spoke more literally to the theme of evolution as in his 2017 film Die Verwandlung ("The Metamorphosis", based on Kafka's work), since makeup can be such a powerful agent of transformation. And while I enjoyed the video he created for the collection, it may have been interesting to do a makeup version of "Ínsula" or "Digital Flesh" since the same themes apply to makeup, i.e. showing how cosmetics can become one with, or an extension of, the human body. (Think about all the tips for "melding" a product with the skin rather than having it sit on top of it.) Alas, something really bizarre probably would not have been as marketable. Of course, for me, the stranger the better!
What do you think about Jacobsen's work and the design he made for Lisa Eldridge?
Here's a bit of luxury to start off your week! (Yes, I backdated this post.) Hermès, historic French purveyor of fine leather goods and other accessories since 1837, debuted a lipstick line back in March. Once I saw the modern color-blocked tubes I knew some of them had to make their way into the Museum's collection, so I picked up a few of the limited-edition ones and one from the permanent line. I'm not going to spend any time discussing the merits of the Birkin bag vs. the Kelly or anything else related to Hermès fashion and history, as there are any number of resources out there. Instead, I'll talk about the house of Hermès in passing only as it relates to the lipstick.
I love the canvas pouch and signature orange box each are housed in. The tubes were created by Pierre Hardy, creative director of Hermès jewelry and shoes.
The caps are engraved with the ex-libris emblem chosen by Émile Maurice Hermès for his personal library in 1923. "The top curves inward a bit like a fingerprint, giving it a little softness…an anticipation of the gesture to come," Hardy explains to Wallpaper magazine.
I adore the color combinations and the material is equally impressive. Though the tubes may resemble some sort of plastic, they are entirely free of it and are also refillable. The brushed metal on the tubes used for the permanent shades is a nod to Hermes's "perma-brass" fixtures on their bags. I'll let Wallpaper expand on the design: "Each lipstick tube is made of 15 different elements by partner workshops in France and Italy. Refillable, they are meant to be kept as precious objects, like jewels. The modern graphic design of the tubes contrasts with the classic ex-libris on the cap. The top half of the tube is white, or what Hardy calls 'the image of purity and simplicity'. Hardy will play around more freely with the colour blocks of these tubes, finding ‘harmonies’ with each individual shade. For the first edition, an intense purple lipstick comes in a tube with bands of red and cornflower blue, while a coral shade is offset by emerald green. The overall effect is very Memphis Group…Prior to this, Hardy had no experience with beauty products, and neither, really, did Hermès. He says there were advantages in approaching the design with a blank slate. ‘I thought, let’s act as though nothing else existed. I will try to create the quintessence of an object that is feminine, pure, simple. One that is immediately desirable but will stand the test of time, and that can convey the Hermès style: luxury and sobriety.'"
A couple of points here: first, the very old idea of makeup containers as jewelry or art objects is obviously still going strong in 21st century. Second, I had to google the Memphis Group (they're a design collective from the '80s, FYI) but the resemblance in terms of color-blocking is striking.
Third, the article says that Hardy had not designed makeup before. This is not exactly true, as he collaborated with NARS on a collection back in 2013. Do you remember the adorable little shoe duster bags for the nail polish duos? I'm almost positive this charming design touch was Hardy's idea.
In addition to makeup as jewelry, Hardy brings up another age-old idea: makeup as art, specifically painting. Regarding the lip pencil and brush he designed for Hermès in addition to the tubes, he remarks, "I studied visual arts, and these materials – brushes, pencils – resemble what we used back then. It is interesting to approach the question of femininity like a painter: what can we offer a woman so she can be an artist of her own beauty?"
Now let's talk about the lipsticks themselves. Jérôme Touron, formerly of Dior and Chanel, was hired as the creative director of Rouge Hermès specifically to oversee the shade selection and textures. Each of the 24 colors (the number based on the house's address at 24 Rue du Faubourg Saint Honoré) is inspired by the roughly 900 leather colors and over 75,000 silk swatches from the company's archives. While it was difficult to narrow down the initial lineup, Touron enjoyed the "pure freedom" of digging through the archives. "It’s like a carré [square]; there is a profusion, an infinity of possibilities, and at the same time, a frame, that is clear and precise. Make-up works exactly the same way; there is an infinity of options in terms of colours, textures and types of application and at the same time it has to meet a certain function." The matte Orange Boîte, shown below, is a direct reference to Hermès's orange boxes, while Rouge H is from a color released in 1925 that I may have to buy. As Touron explains, "[Emile] introduced at the International Exhibition of Modern Decorative and Industrial Arts in Paris, with a truly pioneering spirit: he was the first to ask his tanners to create an exclusive 'signature' shade for leather. This colour immediately became a signature colour for Hermès because of its unique and singular hue: different (darker) from the Art Deco bright red of the time."
The lipsticks are allegedly scented with a custom fragrance concocted by the brand's perfumer Christine Nagel with notes of sandalwood, arnica and angelica, but I couldn't detect any scent. (Hopefully I'm not developing COVID.) There are 10 with matte finishes and 14 with satin, representing the various finishes of leathers, Doblis suede for the mattes and calfskin for the satins. However, Elle magazine reports that the satin texture is inspired by the company's silk scarves, so who knows.
Hermès lipsticks in Orange Boite, Rose Inoui, Violet Insensé and Corail Fou
Hermès plans on releasing limited edition shades every 6 months, so I purchased the three fall 2020 colors. I really will try not to buy all three each and every season because it might not be the best use of the Museum's budget, but the color-blocking is just so irresistible (even if we have seen it on lipstick before). And as a collector there's a compulsion to have them all.
Also, all of the shades of the limited-edition lipsticks are inspired by an 1855 book Touron refers to when creating colors: The Principles of Harmony and Contrast of Colours and Their Applications to the Arts by Michel-Eugène Chevreul (that's a mouthful!)
Hermès fall 2020 lipsticks in Rose Ombré, Rose Nuit and Rose Pommette
I'm still scratching my head over what exactly Touron does. I thought for sure he was a makeup artist since most lines have a makeup artist involved, but apparently he is a "product developer" according to the Wall Street Journal. The article reports that the decision not to hire a makeup artist or celebrity face was intentional. "'The idea of one makeup artist giving all the rules was not ours,' says [President and CEO of Hermès Parfums] Agnes de Villers. Touron is a product developer. He used makeup artists to help him test and develop products, but no one is signing a product group or telling anyone how to wear anything. For [artistic director Pierre Alexis] Dumas, that approach infantilizes customers. 'We've always relied on the good sense and intelligence of our clients,' he says. There will be no Hermès 'face of the season' or step-by-step inserts with line drawings. As Dumas puts it: 'Lipstick is not a status symbol, nor a sign of submission to an order, but an affirmation of the self.'" It's certainly a unique approach and only time will tell whether it pays off.
I have to say I wasn't impressed with Touron's reasoning for starting with a lipstick or its meaning. "I think the lipstick is special because it has the ability to reveal personality in a few seconds, in a single gesture, in just one application. Instantly, it reveals the colour of the personality. In a way, it exemplifies our conception of beauty: to reveal, not to transform. Hence the desire to start the Hermès Beauty with a lipstick collection. Also, perhaps because a lipstick concentrates in a very small size, our whole approach to the object, the colour, the material and the gesture in other words, some of the great fundamentals of Hermès." Eh. I wish he had been honest rather than trying to spin it into something more profound than what it is: good business sense. Nearly all major cosmetic lines start with one product and it's usually lipstick because it's the most profitable makeup item and a good way to test the waters. Lipstick is really a barometer to see how the line is received and whether there's interest in a full collection. As for the "gesture" nonsense it's really just the brand's tagline of "beauty is a gesture", and I also think makeup can absolutely be transformative, even as it's "revealing" one's true colors. I did, however, enjoy the beautiful boxed set he came up with for the holiday season and his description of the relationship between color and music. The Piano Box set contains all 24 permanent shades. "Laid out in a line with their black and white lacquering, the lipsticks looked just like piano keys…for me, colors are like musical notes; they can be combined to create harmonies and resonance. More fundamentally, color, like music, is at the same time a precise system—like a frame, and something free, artistic, and deeply emotional." That could explain why there are so many music-themed makeup objects!
Anyway, what's especially interesting is that nearly every article claims this is the first time Hermès released lipstick. That is not true and I have the photos to prove it. A very kind Museum supporter on Instagram sent me images of a previous lipstick by Hermès. She's not sure exactly when they came out, but according to newspaper articles it debuted in early 2001 in the U.S., selling for $25. The Wall Street Journal cited earlier reports that artistic director Pierre Alexis Dumas had suggested lipstick back in 2000 but that the company turned out not to be ready for a full line. "'I think I was the one who suggested to my father [Jean-Louis Dumas, the late chairman and creative director of the house] that we should register the name for lipstick.' They didn't do it then—instead just once making a single shade of red lipstick in limited edition. They needed to think it through some more." However, this photo shows a number on the lipstick which implies there were more shades. Perhaps in Europe, where this online friend of mine is based, offered more colors and in the U.S. we only got one.
In looking at the older lipstick and comparing it to the 2020 version, I must say the new line is far superior design-wise than Hermès's previous attempt at makeup. It makes sense, since Touron, Hardy, Nagel, Dumas, along with Bali Barret, director of Hermès Women, spent 3 years bringing the cosmetics line to fruition. There wasn't nearly as much fanfare or press for the earlier release, which leads me to believe it was more of a quick money grab led primarily by their marketing department without any real thought put into it – one can tell top executives and designers were not too hands-on. I'm all for minimal style, but the slim, plain packaging reads as very uninspired and not at all distinct from other brands, nor does it really capture Hermès's vision. This could also be the reason why the line failed within a year – I saw no mention of it after March 2002 – and why nearly all the coverage for the new line omits any reference to their earlier foray into cosmetics. In hindsight, the company may see it as a mistake and prefer that it stays buried in newspaper archives…unfortunately for them, beauty aficionados don't forget!
Anyway, as with other luxury makeup, many people will want to know whether Hermès lipstick is worth shelling out a significant amount of money for. On the surface, $67-$72 is an absurd price for a single lipstick. But as I noted with Louboutin nail polish, you're not just paying for the product; you're paying for the Hermès name along with all of the thoughtful details outlined above, not to mention that they are more affordable than nearly any other Hermès item (the leather cases for the lipsticks start at $340). Having said that, there are plenty of other quality lipsticks to choose from if you're not into forking over some 70 bucks for the name or packaging. Most reviews have indicated that Hermès performs well although not necessarily better than other high-end brands, so splurging on one (or several) because of the luxurious feel makes sense. But I don't believe any of the ingredients or technology in the product by itself warrant the price tag – beeswax, shea butter and mulberry extract are not that special, after all. Bottom line: if you're wondering whether it's worth it to buy these, yes, but only if you're really into all the luxurious bells and whistles, a collector or if you love the brand. Again, if you just want a lipstick that performs well and don't care about the label, pretty orange boxes and colorful tubes, there are many comparable lipsticks out there.
To conclude, I'm really enjoying Rouge Hermès despite the fact that I haven't swatched any of the lipsticks I purchased (although it is very tempting!) You know I admire attention to detail when it comes to makeup packaging and design, and these tick every box. I also think these tie into the company's aristocratic history but look much more approachable than I was expecting. I always perceived Hermès as a sort of blue-blood, old-money type brand – I mean, they started as a company that made fancy leather horse saddles and harnesses for people wealthy enough to consider equestrianism a hobby – but the modern and colorful design of the lipsticks proves they may not be as stuffy as I thought. Still, I'd like to see more adventurous shades and textures, i.e. their Malachite green or a glitter finish. And obviously they need more diversity in their advertising. I can't say I've seen any, ahem, mature-looking models or anyone resembling a gender besides cis women, so hopefully they'll branch out a bit while still keeping true to the brand's heritage. A full makeup line is planned to be in place by 2023, so fingers crossed we'll see some other interesting limited edition items…maybe a Birkin-embossed highlighter or one of their scarf patterns printed on the outer cases. ;)
What do you think of Rouge Hermès? Would you or have you tried them?
Apologies for the back to back artist collaboration posts. I was hoping to have a February recap in between but work has been sapping my spirit even more so than usual, so I ended up abandoning Curator's Corner last month. I don't think you'll mind too much though, once you see the positively amazing porcine-themed brush from Chikuhodo, who teamed up with illustrator/graphic designer Mochichito (a.k.a. Steph Fung) to celebrate the Chinese New Year. You might remember how smitten I was with Chikuhodo's Moon Rabbit brush, so as soon as I saw this one I knew I had to add it to the menagerie. If I remember I'll try to update this post with comparison shots to that brush so that those of you who actually intend on using it can see how the size and shape compare. I will say that as with the Moon Rabbit brush, the quality of the bristles of the Mochichito one appears impeccable – super soft and fluffy.
The detailing and craftsmanship are simply stunning. The handle has a scene depicting two piglets resting on fluffy silver clouds and a gold crescent moon, while silver and pink cherry blossoms bloom behind them.
Naturally I had to take tons of close-up shots so you can appreciate the beauty, but I'm not sure if they do it justice…it's much more charming than my pictures were able to capture.
As with the Moon Rabbit brush, there's a touch of iridescence on the silver portion.
Just when you think they couldn't possibly get any cuter, Mochichito ratchets up the adorable factor by giving the piggies tiny silver dimples.
So who is the woman behind all this preciousness? Fortunately I didn't have to do much digging, as Beautylish has a brief but informative interview with the artist posted online. Mochichito is the brainchild of Steph Fung, a graphic designer who began focusing more on her illustrative pursuits several years ago. Fung earned her BFA in Digital Media from Otis College of Art and Design in 2011. While she is an accomplished designer, the Mochichito project allows her to indulge her love of anything kawaii and handmade crafts. A lifetime doodler – "I loved drawing in notebooks when I should have been taking notes," she says – the Mochichito brand is a natural progression of Fung's passion for illustration. Interestingly, Fung is primarily a digital artist, i.e. what you see is not made by hand on paper and then translated into a digital format – her illustrations are originally drawn on a screen. Adobe Illustrator is her favorite tool, as she claims she's "never been very good at traditional mediums." I find this fascinating since I believed it would actually be much more difficult to be creative with digital illustration techniques given their limitations, but the ingenuity displayed in Mochichito shows that if you're a true artist, the medium doesn't matter – you'll find a way to uniquely express your vision.
Fung's subject matter consists largely of animals and flowers, with some playful critters that don't actually exist in nature. Yes, there are mermaids! She explains: "I would probably describe my style as kawaii cute! I always try to have fun with word play or convey a fun idea or concept in my art. I love bright colors (but also pastel), animals, and cute faces (is that weird?)". Nope, not at all!
Fung finds inspiration in a variety of places. "I’m very much influenced by anime, stationery and lovely packaging, fashion, music, and other people’s art—there is so much to see at your fingertips these days." Indeed, Fung is mindful of what her fellow artists are up to, and seems to enjoy participating in 100 day Instagram challenges with them. My favorite are these cheeky illustrations she completed for #100daysoflittledudes, which also show her aforementioned love of word play.
The Mochichito store offers an array of stickers, pins, and more recently, acrylic toys based on the illustrations Fung created for the "100 days of tiny terrariums" Instagram challenge. I hope to see stationery or even stuffed animals some day!
Speaking of which, I think another reason Mochichito's work resonates with me so much is the fact that she has a stuffed teddy named Little Bear that accompanies her on her travels.
As for the Beautylish collab, previously Mochichito was responsible for designing the store's Lucky Bags, which are essentially Japanese fukubukuro – a custom for the new year where bags are filled with mystery contents offered at a much lower price than if you purchased them individually. For example, a $75 Beautylish Lucky Bag typically has full size items worth $150 or or more. In 2018 Fung took inspiration from the Japanese legend of the Seven Lucky Gods who are said to grant good luck (shown top to bottom, left to right in the illustration below): Bishamonten, Daikokoten, Hotei, Benzaiten, Ebisu, Jurojin, and Fukurokuju.
This year, Beautylish tapped Fung again to come up with an illustration for a Chikuhodo brush to celebrate the lunar new year. Fung shares the creative process behind the adorable end result: "Since the design was for the Lunar New Year, I knew I wanted to include a moon. 2019 is the Year of the Pig, so I thought making a large, gleaming moon as the pigs' playground would be so cute. Incorporating some floral elements into the design would add some soft, delicate touches to frame the scene. The story behind the design is really up to the viewer! I wanted to keep it kind of open-ended. You could think of the pigs as two lovers, a mama or papa pig and their piglet, or just two frolicking friends."
It was Fung's first time designing a brush handle, and I think she translated the design to suit the handle beautifully. "It was definitely different from anything I’ve worked on in the past. I had to keep in mind the shape and curvature of the brush and make sure all of the important parts of the artwork would be seen from the front of the brush, but also how I might continue the artwork around the sides and back of the brush, while also keeping in mind how it would photograph." I agree that you have to think differently about how an illustration would work in 3D versus on a flat surface, and Fung executed it perfectly.
Overall, obviously I'm in love with this brush and all of Mochichito's work. Art with a more serious style or message is great, but sometimes your eyes and brain just need cute things. And it could be because I've just discovered it and have been watching it nonstop, but Mochichito's characters remind me so much of those from Adventure Time, a truly whimsical kids' cartoon that I can't seem to get enough of lately. There's just something so comforting about cuteness! As for Chikuhodo, the designs on their brush handles tend to be more elegant and sophisticated, so going the kawaii route was a refreshing change of pace.
What do you think of this brush and Mochichito?
This was such a nice surprise from Avon. I tend not to pay any attention to this brand as I'm more interested in their vintage products and ads, so imagine how delighted I was to see the company had reached into their archives and used some of the old ads I love so much for part of their extensive holiday collection. Called "Once Upon a Holiday," the only information from their end that I could find was from the description of this brief video. "Avon has always known the importance of holiday traditions. That's why we've created a limited-edition iconic collection, inspired by our rich heritage." I would have liked to know more about why Avon decided to use their vintage ads and why they chose the ones they did, but I will say I think they selected some of the better ones.
We'll start with my favorite, the 1945 angel ad illustrated by the Ukrainian-born Vladimir Bobri (1898-1986). You might remember this one from the celestial-themed holiday 2014/winter 2015 exhibition. I really hope to get around to writing a full post on Bobri and diving into all the ads he did for Avon, but briefly, he was sort of a jack of all trades – illustrator, author, costume designer, composer and classical guitar historian. In addition to Avon, he did illustrations for The New Yorker, Vogue and Harper's Bazaar. This ad is seriously one of my all-time favorites, holiday or otherwise. I always interpreted the beautiful angel as a harbinger of peace, keeping watch over a quaint small town on a snowy Christmas night (and making sure the townsfolk get their gifts!) As you can see, this illustration was used on one of the five lipsticks included in Avon's holiday 2018 lineup.
The lipstick itself is a festive red shade, reminiscent of the one the angel is delivering.
I couldn't resist picking up the ornament with this illustration!
Next up is another by Bobri, this one from 1946. The scene depicts a Victorian-era couple, with a dapper gentleman on ice skates giving a sleigh ride to his equally well-dressed female partner. Above them a pine tree garland filled with ornaments and Avon gifts festoons a starry night sky. You simply don't find this kind of charm in today's advertising.
The ad was used for the packaging of Avon's eyeshadow palette.
Here are 3 of the other lipsticks. (In my excitement to order I neglected to add all 5 to my cart. #curatingfail) I didn't see the original ads for sale anywhere so I will keep hunting, but I was able to find images of them.
The packaging of the lipstick on the left features an ad from 1942, which ran in Vogue. A woman in a red cloak with a sprig of holly in her well-coiffed hair dashes around New York City to get her Christmas shopping done. I can't make out the signature – it looks something like Stahlut or Stahlest – but I know it's definitely not another illustration by Bobri.
The woman in the green dress on the lipstick in the middle is from a rather patriotic 1943 ad, which makes sense as the U.S. was fully entrenched in the second World War by then. As the Avon blog notes, this ad was actually part of a series intended to lift women's spirits during wartime. "Amid the trials of the World War II era, Avon’s 'To the Heroines of America' campaign debuted as a morale-booster depicting present-day women reflecting on brave female icons of the past. Noting 'the brave color of her lips and cheeks,' the series encouraged women to stand strong like their predecessors." This one is unsigned as far as I can tell, and although he did illustrateseveralother ads in this series, this doesn't really look like Bobri's work. A mystery for the ages!
The lipstick on the right is from a 1947 ad for Avon's Wishing fragrance, which depicts a woman wistfully gazing (and presumably wishing) upon a bright star. A source for this image indicates it's from the June 1947 issue of Good Housekeeping so technically it's not a holiday ad, but it works pretty well in my opinion. Once again I'm not sure who the illustrator is.
My only gripe with the Avon collection is that the images weren't printed on the palette or lipstick caps themselves, only on the outer packaging. Still, the inner packaging was adorned with stylish prints: tortoiseshell for the palette and leopard, houndstooth, chevron and plaid for the lipsticks.
I wasn't able to track down the ad used in the packaging for the final lipstick, which I accidentally left out of my order and didn't realize until I went to take pictures for this post. Whoops. However, the font is identical to one used in other Avon ads from the early '40s so my best guess is that it's from 1940-1942.
There were a few other items in the "Once Upon A Holiday" collection; however, since they did not feature any additional vintage ads I skipped them. Overall I'm really pleased that Avon came up with a nostalgic, vintage-themed collection using their old ads and I hope they do this again next year with different ones, as there's no shortage of adorableChristmasads in their archives. It's a great way to highlight the company's history while delivering fully modern products that meet the needs of today's makeup wearers. I wish more companies would do this! Lancôme, Shiseido and Bourjois have been known to occasionally celebrate their heritage by modernizing some of their iconic packaging or incorporating significant design elements from their vintage products into new ones, and obviously fashion houses (Chanel, Dior, Armani, YSL, etc.) look to their fashion archives for inspiration, but I'd love to see more brands take a look back and pick out some vintage ads or other items to feature. Estée Lauder, I'm looking at you.
What do you think? Which vintage ad is your favorite?
This was one of the few acquisitions I actually researched before buying. Not because I didn't love it at first sight but because I wasn't spending $134 on a single item unless I could get a blog post out of it. Fortunately Chikuhodo's Moon Rabbit (Tsuki No Usagi) brush gave me something awesome to write about. The notion of a rabbit on the moon sounds pretty crazy, but as I discovered, the moon rabbit is a fairly big part of culture and history throughout East Asia. I will be focusing on the Japanese version of the story since Chikuhodo is a Japanese brand.
Let's admire the stunning gold and silver design on the handle.
I absolutely adore the iridescence of the moon!
Here's the brush head. If you plan on buying it I can assure you it's just as soft as a bunny itself (although it's actually made from squirrel and goat hair.)
The concept of the moon rabbit has its roots in variety of cultures, most notably Chinese, Aztec and other indigenous American ones. The folklore comes from particular markings that can be seen when the moon is full, which resemble a rabbit using a pestle. More specifically, "The rabbit's head is formed by the Mare Serenitatis (Sea of Serenity); its ears by the Mare Tranquillitatis, the Mare Fecunditatis and the Mare Nectaris (the seas of Tranquility, Fecundity and Nectar); and the body and legs by the Mare Imbrium (the Sea of Showers) and the Oceanus Procellarum (the Ocean of Storms). A small, puffy bunny tail is formed by the Mare Nubium (the Sea of Clouds)."
In East Asia, the tale originated in China and spread to other Asian cultures. While in China the rabbit represents a moon goddess pounding the "elixir of life", in Japan the rabbit is making mochi (sweet rice cakes). Here's the Japanese version of the story. "Many years ago, the Old Man of the Moon decided to visit the Earth. He disguised himself as a beggar and asked Fox (Kitsune), Monkey (Saru), and Rabbit (Usagi) for some food. Monkey climbed a tree and brought him some fruit. Fox went to a stream, caught a fish, and brought it back to him. But Rabbit had nothing to offer him but some grass. So he asked the beggar to build a fire. After the beggar started the fire, Rabbit jumped into it and offered himself as a meal for the beggar to eat. Quickly the beggar changed back into the Old Man of the Moon and pulled Rabbit from the fire. He said 'You are most kind, Rabbit, but don't do anything to harm yourself. Since you were the kindest of all to me, I'll take you back to the moon to live with me.' The Old Man carried Rabbit in his arms back to the moon and he is still there to this very day exactly where the Old Man left him. Just look at the moon in the night sky and the rabbit is there!" While no one knows the exact origins of the story, it may be based on a Buddhist fable, or could be a bit of wordplay: "The rabbit pounding mochi is also a play on words…the word mochitsuki describes the act of pounding mochi, while the word mochizuki refers to the full moon."
In any case, it's a charming tale, and one that's heavily ingrained in Japanese culture. Images of rabbits frolicking in the light of the full moon are quite common in Japanese art.
Additionally, each fall there are entire festivals throughout Japan to view and celebrate the harvest moon. The moon-viewing, or tsukimi ("tsuki" means moon and "mi" is watch) is held on the 15th day in the evening of the eighth lunar month. These gatherings date all the way to the 9th century and, like the moon rabbit story itself, were introduced by the Chinese. "The O-tsukimi festival began in the Heian era (794 to 1185). During this period, Japanese aristocrats gather themselves and recite poetry under the light of the full moon. In the Japanese lunisolar calendar, this gathering usually falls on the 8th month. They believed that the 8th month is the best month to look at the moon because the positions of the Earth, sun, and moon further illuminate the night sky. Later on, the event is not only centered on poetry reading. Decorations were made. Japanese pampas grass (susuki) was put into place. Tsukimi ryore, sake, and other food were shared by everyone viewing the moon. People who attend the gathering also begin to thank their moon god and pray for another bountiful harvest. Hence, the O-tsukimi festival tradition as we know it today. Even when the moon is not visible or there is rain, O-tsukimi festival is still being held. The Japanese call it Mugetsu (no moon), or Ugetsu (rain moon)."
Little moon-shaped dumplings called dango are made especially for the season. And the pampas grass is so pretty…I'm wondering if the curved lines on the Chikuhodo brush are meant to represent it. I think they could, given the prominence of stylized grass in the art I included above. The grass also symbolizes a bountiful harvest and is believed to ward off evil.
I couldn't resist sharing these fairly elaborate bunny-themed treats. Needless to say, if I ever make it to Japan, I will have a tough choice whether to go during spring or fall – the former has fantastic cherry blossom festivals but, as I'm learning, the autumn moon-viewing festivals are amazing too!
In addition to festivals, the moon rabbit story figures prominently in Japanese culture in other ways, most notably in the popular anime Sailor Moon (whose human name is Usagi Tsukino – literally "rabbit of the moon" ) and a rover designed to explore the moon named Hakuto ("white rabbit"). Given all of this I feel fairly embarrassed that I was completely unfamiliar with the moon rabbit story and the festivals and other cultural touchstones associated with it. But at least Chikuhodo provided a beautiful way for me to become aware.
What do you think of this brush? Had you heard of the moon rabbit story before?
In honor of the 20th anniversary of her cosmetics line, Anna Sui debuted a new collection featuring the iconic dolly heads that have become synonymous with both the fashion and beauty brands. As soon as I saw these three little gals – Marion, Bea, and Sally – I knew they belonged in the Museum. The cases can house either lipstick or eye shadow (they twist off at the bottom.)
There were also three corresponding coffrets sporting little vignettes of each lady's lair. I limited myself to one since holiday collections are a comin', but obviously I'd love to have all three for the Museum. I chose Bea since she seems to be the most badass. The rock 'n roll details on this tin just spoke to me.
I also really liked the colors it came with.
Here are the other two coffrets. How cute is the owl on Sally's tin?!
So who are these ladies and why are the dolly heads so prominent in Anna Sui's branding? Let's start with the individual dolls in the collection, all of whom were inspired by real or fictional women.
Marion was inspired by Marion Davies, a popular 1920s and '30s screen siren.
Bea, as I suspected, is a rock star. Her hair was inspired by another old-school actress, Louise Brooks, while the eye patch is a nod to the "space pirate" iteration of David Bowie's Ziggy Stardust persona. (A more modern interpretation might also be an homage to Elle Driver from Kill Bill…but probably not since Elle was not exactly any sort of role model.)
Now let's explore the origins of these dolly heads. Fortunately I didn't have to do a lot of digging to find out the full scoop. In an interview with The Thick, Sui explains how the dolly heads came to be. “I first noticed papier-mâché dolly heads like this while watching the ‘60s-era British TV series, The Avengers, as a kid. I found this one years later at a New York City flea market, right before I opened my first store on Greene Street in 1992. The back of its head was cracked open, so I could see how it was constructed, and I thought, I could make this.’ So, I and friends of mine like [stylists] Paul Cavaco, Bill Mullen, and [illustrator] Tim Sheaffer started to make our own, which I used to decorate my store. And, over time, papier-mâché dolly heads kind of became symbolic of Anna Sui.” Like Benefit and Stila, who in their early days used mannequin heads and illustrations, respectively, the dolly heads' initial creation was primarily a cost-saving measure. "I found a space on 115 Greene Street, and while I was waiting to hear whether I'd gotten the lease, Bill, Paul, Tim Scheafer, and I would sit around making dolly heads out of styrofoam and papier-maché because I had absolutely no budget for decor. We competed against one another to see who could give our heads the most character: big noses, high cheekbones, prominent chins," Sui notes in The World of Anna Sui (p. 14-15).
Sui was also inspired by the work of papier-mache artist Gemma Taccogna. It's quite the coincidence she mentioned this artist and the lipstick tubes she made since I've spotted a few during various vintage searches and have been meaning to write a post about them. Sui reflects on the artist's influence: "[Taccogna] made everything: dolly heads, jewelry, compacts, desk accessories, and more. I love how she drew; you can recognize a lot of her stuff by the eyes…at one point, I would go to the flea market on 6th Avenue in New York City every weekend to look for Taccogna pieces. I have so many now, I can’t even count them. Taccogna works weren’t expensive when I first started collecting them, but recently I’ve seen some for as much as $500 on eBay…Carolyn Murphy gave me my first lipstick tube. She saw it at a flea market and said it reminded her of me." She's not kidding – even the knockoff imitation Taccogna lipstick tubes go for several hundred dollars. I'd love to have some of Sui's collection for the Museum!
By 1994, a mere two years after the opening of the Sui's first store, the dolly heads – along with black lacquer, roses and butterflies, and extensive use of purple (her favorite color) – had become synonymous with the brand. Together these design elements formed a cohesive aesthetic that represented Sui's whimsical vision. Store spaces brought these motifs to life, allowing customers to be fully immersed in the designer's unique world: "Externalizing my aesthetic clarified it. Everything became more iconic. Macy's and Galeries LaFayette opened a shop-in shop for me with all the decorative elements that defined 113 Greene: the dolly heads, the art nouveau butterflies and roses, the Tiffany glass. It wasn't about authenticity – the Tiffany glass was plastic – it was about the Look, so recognizable that it made my brand successful." (The World of Anna Sui, p. 15)
By the late '90s, so easily recognizable as a key aspect of the brand's identity were the dolly heads that they received their own full-body mannequins from renowned designer Ralph Pucci, as well as recreations of the original papier-maché heads. Says Sui, "We did them in blue, yellow, lavender, and ivory ‘skin,’ and Michele Hicks, my favorite model for a long time, was the body model. I still use them in my stores."
As a natural progression, the mannequins took on the personalities of the dolly heads. An In Stylearticle detailing the 2015 Ralph Pucci exhibition, a show in which Sui's mannequins were prominently featured, demonstrate the significance of the dolly heads and their full-sized counterparts for Sui's design and branding. "'I’ve always been fascinated by mannequins,' Sui said. 'They give you a chance to create a character, or a symbolic person for your brand. It’s so important to show clothes with a head on top, so then you get a scale of the person. Even though the head is not you, you can picture it. And then, why not make it stylized? It’s your fantasy person…All of the idiosyncrasies of my dolly heads went into the mannequins,' Sui said. 'Through the years, the black lacquer furniture, and the purple walls and red floors of my stores, all became icons of the brand, but so did the dolly head – to the point we did a perfume bottle based on that.'" Interestingly, Sui is so taken with mannequins and their power to convey various personalities that she has one in her home. "[Sui] has a mannequin, a giant doll really, modeled after Diana Vreeland, given to her by the artist Greer Lankton. She dresses Diana up in vintage Courrèges, and poses her with guests who have passed by, from supermodels to Marc Jacobs to Liza Minnelli."
Given their iconic status, it's not surprising that the dolly heads have appeared before on Anna Sui's cosmetics packaging. Previously Russian doll-inspired versions of lipsticks and mascaras were released in the spring of 2011. Sasha, Vlada and Natasha adorably complemented Sui's fall 2011 fashion collection.
You could even buy your own dolly head as decor thanks to Sui's 2017 collaboration with Pottery Barn Teen. Personally I think they're kind of creepy – I much prefer them in cosmetic form.
Anyway, getting back to the fall collection, I'd say it was well done and quite appropriate to use such a meaningful design element for a 20-year anniversary. These dolly heads represent a significant part of the brand's DNA; they were there from the very beginning and still help define the Anna Sui identity today. I also liked that the dolly heads were recreated in miniature form and used to house lipstick and eye shadow rather than just appearing on the tins, as it's a way for Sui to put her own spin on the tradition of doll-shaped cases (in addition to Gemma Taccogna, there were also the lovely Revlon Couturine cases.)
What do you think? Which of the three dollies is your favorite?
(images from obiaris.com)
