I was trying in vain to catch up on some beauty news many moons ago and came across this article at Who What Wear – yet another on the history of red lipstick. There were a lot of things that bothered me about it, but the number one offense was the doubling down on the myth of Elizabeth Arden handing out lipstick to suffragettes during a 1912 march in New York City. After recognizing this claim’s veracity was murky at best, the article’s author stated, “I wanted to know more, so I went straight to the source: Elizabeth Arden, the very same global beauty brand founded by the namesake cosmetics maven.” A brand can certainly be used as a source, provided there are legitimate historical records that serve as evidence for their claims. However, in this piece there were many statements made by Janet Curmi, VP of global education and development at Elizabeth Arden, without anything to back them up. “On November 9, 1912, 20,000 women took to the streets of New York to advocate for the right to vote. Elizabeth Arden, a dedicated suffragette herself, opened the doors of her New York spa to hand out her Venetian Lip Paste and Venetian Arden Lip Pencil, before joining the suffragettes marching down Fifth Avenue as a sign of solidarity. The most striking sight was the bold red color on the women’s lips.” The accompanying photo shows suffragettes marching at the May 4, 1912 event (not November)…with nary a one wearing visible lip color. Just for funsies I reviewed some news coverage on the November march.* As with the May march, they describe quite a few details, including the exact route and the women’s clothing, but lipstick is not among any of them.

Women's march May 1912

Women’s march, May 1912

I am very interested to know where Curmi got this information. Arden wasn’t, in fact, particularly known as a “dedicated suffragist.” The legend of her providing lipsticks to marching suffragettes goes back to at least 1999 and names the May 4 rally (see Lucy Jane Santos’s outstanding effort to unravel its history, along with my findings), so November 9 appears to be a new twist on the mythos. Another addition is the reference to Venetian Lip Paste and Pencil specifically being given to suffragettes. As far as I can tell, no particular products were mentioned in the Arden suffragette story until 2021, when author Louise Claire Johnson published a book entitled Behind the Red Door: How Elizabeth Arden’s Legacy Inspired My Coming-of-Age Story in the Beauty Industry. Johnson states that Arden provided Venetian Lip Paste and pencil to the crowds at the November march, but does not cite an exact source: “However, six months later, on November 9, 1012, Elizabeth could no longer sit idly by in silence. Shuttering the salon for the day, she took to the streets and joined 20,000 women, double the size of the previous parade, and advocated for the right to vote. The most striking sight was the bold red color on the women’s lips, as they vibrantly spoke their truth. Elizabeth weaved among the masses handing out her Venetian Lip Paste and Venetian Arden lip pencil in deep red – the original ‘lip kit’. In history, it is often the slightest gestures that become revolutionary. The red lip kits were small, yet mighty weapons – a red pout in place of a middle finger against the patriarchy. Red lips were still considered illicit and immoral, so the women wore them in unison as a rebellious emblem of emancipation. Makeup was no longer a sign of sin but of sovereignty.” (p. 63-64)

While it’s been confirmed that Arden had a line of “Venetian” skincare products by 1912, her lip makeup products were still in development. There was a Venetian Lip Salve advertised in Vogue, but I’m guessing it was a clear or slightly tinted balm and not “paint”, and I could not find any mention of Venetian Lip Paste/Pencil until 1919. Additionally, 2 pages after her claim of the paste and pencil being being handed out, Johnson seems to contradict herself by stating that “after the suffrage parade, [Arden] started introducing makeup products into her Venetian skincare line.” So if the makeup was not introduced until after the parade, how was it handed out? It’s entirely possible Arden was making a prototype of these lip items available through her salons – most likely she was mixing up limited, small batches of makeup to select clients who requested it – but no ads, trademark, etc. for Venetian Lip Paste and Lip Pencil prior to 1919 seem to exist, which leads one to believe that they were not being mass produced and able to be distributed to thousands of people. Perhaps any records relating to the origins of Venetian Lip Paste and Lip Pencil and for that matter, any records of Arden giving them out at a rally are in the mysterious “Elizabeth Arden papers”, which, as one historian explains, are scattered about across the U.S. and not readily available. Still, I find it curious that the company has never provided any documentation that Arden handed out lipstick, and specific products at that. I also reached out to Behind the Red Door’s author – twice – asking for her to clarify where she came across the story of the Venetian lip products and did not receive a reply.

Curmi further embellishes the tale by remarking that mostly because of Arden, suffragette leaders began to wear red lipstick as well. “While turn-of-the-century actresses like Sarah Bernhardt and Mary Pickford helped to bring red lipstick into vogue in 1912, it was Elizabeth Arden who gave it political power, elevating it to a symbol of rebellion and female empowerment…red lips were still considered illicit and immoral at the time, so the women wore them in unison as a rebellious emblem of emancipation and defiance. [Leaders] of feminist movements such as Elizabeth Cady Stanton and Charlotte Perkins Gilman began sporting red lips as a symbol of female empowerment. Since then, red lipstick has mirrored resilient femininity.” Once again, I’m going to direct you to Lucy’s article on the subject, where she points out that Elizabeth Cady Stanton died in 1902. Continuing to wear lipstick 10 years after one’s death would be quite an impressive feat, no?

Finally, anyone who has researched makeup’s rise in the early 20th century understands there were many other factors at play in terms of how lipstick and other makeup became socially acceptable. Yes, wearing obvious makeup was certainly a seismic cultural shift and viewed as rebellious, but it cannot be credited to any one person or movement. “One of the first female entrepreneurs in 20th century America, Arden remarkably turned a $6000 investment into a billion-dollar brand. She opened the Red Door Spa on Fifth Avenue in New York City in 1910 at a time when makeup and cosmetics were considered improper. She was instrumental in changing how the world thought about beauty—the ultimate influencer,” Curmi says. These statements demonstrate the pitfalls of letting a company executive guide the narrative instead of an actual historian, as a brand employee has a vested interest in presenting their business as groundbreaking rather than telling the truth. In this case, not only does Curmi offer no hard proof for the suffragette-related claim, she conveniently leaves out the contributions of other major “influencers” of the time, i.e. Helena Rubinstein, Max Factor and Madam C.J. Walker, to say nothing of smaller brands and figures, technological advances, and economic and political factors other than suffrage. Obviously these omissions make sense as her role is to promote the Arden brand and because the reporter reached out to Arden specifically and not other companies for this article, but they also make for a rather incomplete and biased snapshot of lipstick’s history.

Finally, the subject of makeup and political power is one for another time, but for the record, most early advertising marketed it as a way to better meet white supremacist beauty standards and continue enforcing compulsory heterosexuality rather than for any “empowering” purpose. Once again, nuance is wholly neglected in favor of pushing a feel-good story that serves primarily to buoy a company’s reputation.

I’m ending this post with several requests. For journalists, one: if you must interview brand representatives, please do not rely on them as a credible source for the stories you’re trying to get to the bottom of, unless they furnish documentation from the company’s archives or other legitimate pieces of evidence. Otherwise your article runs the risk of resembling a glorified ad rather than journalism. Two: please choose another makeup topic to cover besides red lipstick (or at least, an angle not focused on cis-het white women’s history). Maybe red lipstick’s fame and status as a “classic” means stories about it get more clicks, but makeup history is so incredibly varied and rich, many other subjects would be of interest to the general public. The last plea I’m making is for the Elizabeth Arden company to show the world a shred of historical evidence that their founder provided lipsticks to suffragettes. We’re still waiting.

*These were all from the New York Times: “400,000 Cheer Suffrage March,” Nov. 10 1912, p. 1; “New States to Lead in Suffrage Parade: Army of 20,000 Expected to Participate in Fifth Avenue Procession,” Nov. 9 1912, p. 22; “Torches in Hair to Guide Parade: Electric Novelties Planned for Tomorrow’s Big Suffrage Demonstration,” Nov. 8 1912, p. 7.

It's nice to see a makeup brand continue the long-standing tradition of collaborating with jewelry designers.  The most recent partnership was between MAC and Robert Lee Morris, whose name I admittedly hadn't heard of until now. 

Robert Lee Morris for MAC

Robert Lee Morris for MAC

Says Morris, “I am thrilled to be working with MAC, as I believe this partnership exhibits a true coming together of beauty, art and design…The collaboration is an exciting moment for both brands, as we are both leaders in cutting edge imagery and enhance one another. I have always been fascinated by the personal ritual we all experience while grooming and getting dressed each day; and the tools we hold should be as luxurious as possible. My pure and iconic aesthetic seamlessly translates to the shapes and forms created for MAC, and I have designed the collection with an ultra-modern focus; sleek, architectural lines and dynamic, like my jewelry.”  I'd say that's a fair description of what he came up with for MAC, particularly with the lipstick case, as it looks reminiscent of a modern skyscraper.  The compact looks simultaneously futuristic and organic, sort of like a UFO crossed with an egg.  I know that's a less-than-eloquent description, but arguably accurate. 

Robert Lee Morris for MAC

Robert Lee Morris for MAC

The shape and finish on this mirror reminds me of a smooth pebble you'd find in a serene yet opulent koi pond.

Robert Lee Morris for MAC

If you purchased the mirror, know that it swivels open – I nearly broke mine trying to open it like a regular compact. #curatingfail

Robert Lee Morris for MAC

I'd prefer not attempting to trace Morris's entire career since he is quite prolific, but here's the condensed version.  Born in Nuremberg, Germany in 1947, Morris was exposed to a variety of cultures on account of living in many different countries for his father's military career.  Entirely self-taught, after graduating from Beloit College in Wisconsin in 1969, Morris began making jewelry on an artist commune he established with some friends.  “Everyone on the farm made something different—pottery, sweaters, macramé…I decided to make jewelry.  I got a book called How to Make Jewelry by Thomas Gentile, which was easy to follow with lots of pictures.  I said to myself, I need a hammer and some wire, and I built a workshop in a tool shed.  I would listen to Led Zeppelin’s first album and worked until two or three o’clock in the morning in total ecstasy.”  Unfortunately, the farm burned down, and Morris moved to Vermont.  He didn't have to wait long to be discovered, however, as in 1971 a gallery owner who wanted to display jewelry-as-art at her space, aptly named Sculpture to Wear, asked to showcase and sell his jewelry.  By 1977 Morris had opened his own store in New York, and during the '80s became a favorite with both fashion designers (Calvin Klein, Michael Kors) and celebrities (Madonna, Jodie Foster) alike.  Among his most memorable pieces were the result of his work with Donna Karan, whose black knitwear soon seemed incomplete without one of Morris' signature gold baubles.

Robert Lee Morris for Donna Karan, ca. 1980s(image from 1stdibs.com)

I'll let Morris describe his style in his own words:  "My original idea was to create a body of work for an imaginary futuristic society that was post-apocalyptic and that the pieces would be a combination of savagery with high-tech gadgetry. Today, I'm probably in the exact same place, but I'm also thinking about what kind of jewelry people would wear who aren't from this planet. What would you wear on deck in a spaceship? What would you wear with your Mylar spacesuit? And seeing how all beauty is based on sacred geometry, I'm fascinated with taking jumbled, tribal pieces and finding the sacred geometry that's there."  Obviously I'm raising an eyebrow at the words "tribal" and "savagery", but they are apt in that Morris's earlier pieces definitely embody a romanticized notion of so-called "primitive" societies. 

"Gladiator" collar necklace by Robert Lee Morris, Vogue 1976
(image from stylewisetrendfoolish)

Robert Lee Morris with models, 1987(image from gettyimages.com)

Indeed, one news article describes his work as a "mix of ancient/primitive with Flash Gordon" and notes that Morris enjoys traveling to "exotic outposts such as Peru and Kenya, where he draws inspiration from ancient cultures".  Oy vey.  I don't think it's inspiration so much as cultural appropriation, but fortunately Morris seems to have outgrown that style.  Modern and sculptural with an organic quality to them, Morris's work nowadays seems to be more inspired by natural forms rather than appropriation of native peoples' body adornments.  These pieces in particular resemble the more futuristic/architectural items from the MAC collection (the compact, lipstick and mirror, respectively).

Ring-like-compact

Robert Lee Morris necklace

Pebble-necklace
(images from robertleemorris.com and bloomingdales.com)

I have no idea why MAC decided to join forces with Morris now, but I do know it's not his first rodeo designing makeup:  he created a refillable compact and lipstick case for Elizabeth Arden in 1992.  Called Rituals of Color, the collection reflects Morris' fascination with spiritual rituals and how beauty routines can be elevated to their own sort of ritual through beautiful packaging.  As this article shows, Morris was partially influenced by his mother's makeup routine and the importance of "presentation".

  Dec. 1992

Indeed, the Elizabeth Arden collection provides a lot more context for the MAC lineup as the concept is essentially the same, just executed differently.  "What women wear day in and day out becomes their statement of who they are, an extension of their identity.  Designing both [jewelry and cosmetics] is a very intensively intimate process," he noted in October 1992, explaining further: "'I'm a symbolist," the designer says. "'I believe packaging is very much a part of the ceremony we all go through in the morning to put ourselves together. People need to form an environment to heighten the experience of the ritual. Those who want to treat themselves better need the product and packaging to be very much a part of their beauty psyche.'" The first two pieces in the line are a lipstick case and compact, designed 'to look and feel organic, with a natural-looking shell for what's inside, like a clam or mollusk's shell.'"  Another article points out that he actually came up with the design in 1976:  "Taking two discs, I noticed they sandwiched as a clam." 

Both pieces are so fantastically '90s – as modern as they seemed back then, they look pretty dated now.  Then again, I definitely appreciate a fashion relic from my favorite decade, and I'm enjoying the luxuriousness and nod to natural elements in both pieces.  The compact does indeed look like a golden shell, while the lipstick case resembles a rather elegant bamboo twig.

Robert Lee Morris for Elizabeth Arden, 1992
(image from skinnerinc.com)

Robert Lee Morris for Elizabeth Arden, 1992
(image from ebay.com)

Robert Lee Morris for Elizabeth Arden, 1992
(image from doyle.com)

The idea of elevating a mundane task such as applying makeup through the design of the makeup itself – especially when that design is created by a jewelerisn't new, but it's always fascinating to see what various jewelry artists come up with.  In the case of Morris, it's particularly interesting since he's done two makeup collections spaced 25 years apart, so you can really see how his style has evolved.  His approach is the same, but the pieces are quite different stylistically.  I appreciate the Elizabeth Arden collection for being so representative of early '90s style, but I also like the more futuristic vibe and burnished gold finish of the items in the MAC collection.

Which iteration of Robert Lee Morris makeup do you prefer?  And had you heard of him before now? 

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

I'm counteracting yesterday's snow (!) with some oh-so-springy palettes from Elizabeth Arden.  These are the first Makeup Museum purchases from this company, and as far as I know, the first time sunflowers have been used as a motif in makeup packaging (save for some vintage compacts).  I was so excited to see these as sunflowers have been my favorite flower for as long as I can remember.

The New York in Bloom collection consists of a teal eye liner and nail polish, plus three palettes:  a bronzing powder and two eye shadow trios.  While I'm not crazy about the cartoonish flowers on the outer cases, I love the gorgeous embossed sunflower patterns on the inside.

Arden-ny-in-bloom-palettes

Here's the bronzer.

EA-ny-in-bloom-bronzer

Arden-spring-2013-bronzer

EA-spring-2013-detail

EA-bronzer-detail

Violet Bloom eye shadow trio:

EA-violet-bloom

Arden-violet-bloo-side

EA-violet-bloom-closeup

Viridian Bloom eye shadow trio:

Arden-virdian-bloom-spring-2013

EA-viridian-bloom

Arden-viridian-bloom-detail

EA-viridian-bloom-palette-spring2013

EA-viridian-bloom-palette

While I do think these are beautiful pieces, I couldn't find any information on the relevance of sunflowers to the Elizabeth Arden brand.  I do know of their Sunflowers fragrance, but other than that there haven't been any references to sunflowers – it's not integral to the brand's identity in, say, the way the rose is to Lancôme or the camellia to Shiseido.  But that's okay because it gives me a chance to talk about sunflowers in art instead!

We're all familiar with Van Gogh's sunflower paintings, but many other famous artists used this bloom as their muse too.  We'll start all the way back in the 1600s with Van Dyck's Self-Portrait with a Sunflower, in which the sunflower was generally seen as "an emblem connected with royal patronage" but could also signify "Van Dyck himself…the picture is to be understood primarily as an expression of the painter's devotion to the king rather than as an acknowledgement of royal patronage."

Self-portrait_with_a_Sunflower_Anthony_van_Dyck
(image from commons.wikimedia.org)

Fast-forwarding a few hundred years (hey, I can't include EVERY single sunflower-related work of art!) we have Pre-Raphaelite Edward Burne-Jones's fascination with sunflowers.  He wrote to his friend Frances Homer, "Do you know sunflowers?  How they peep at you and look brazen sometimes and proud – and others look shy and some so modest that up go their hands to hide their brown blushes…I could draw them forever, and should love to sit for days drawing them…it is so right to make them talk mottoes, they all look as if they were thinking."  These include a stained glass panel at Christ Church in Oxford depicting scenes from The Legend of St. Frideswide and a drawing, Childe Roland to the Dark Tower Came (1861):

EBJ-sunflowers5
(images from medievalmuse-arteffex.blogspot.com and magnoliabox.com)

There's also The Wine of Circe, based on a poem by fellow Pre-Raphaelite Dante Gabriel Rossetti:

Circe-Edward-burne-jones
(image from preraphaelitesisterhood.com)

Some more examples from around Van Gogh's time include Mary Cassatt's Mother Wearing a Sunflower on Her Dress (1905), while Paul Gauguin actually painted a picture of Van Gogh painting sunflowers in 1888.  How very meta.

Cassatt-mother-Wearing-A-Sunflower-On-Her-Dress

Gauguin_sunflowers
(images from marycassatt.org and commons.wikimedia.org)

Monet also got in on the sunflower game.

Bouquet-of-sunflowers-claude-monet
(image from gallerycache.wordpress.com)

While Gustav Klimt may be known best for The Kiss, he completed several lovely paintings of sunflowers (these are from 1905-1907).

Klimt-sunflowers2
(images from encore-editions.com)

There some great representations of sunflowers later throughout the 20th century.  Some highlights:

Edward Steichen, The Sunflower, 1920

The_sunflower
(image from nga.gov)

Tons of sunflowers by Emil Nolde (these range in date from 1920-1932).  I had a hard time narrowing it down to just these four works!  Nolde was a huge admirer of Van Gogh, and "it took considerable boldness for a painter who
admired van Gogh as much as Nolde did to paint
sunflowers, yet he often returned to them and added a new and rich
interpretation to the motif
."

Nolde-sunflowers2

Emil-Nolde-sunflowers3
(images from thearttribune.com, bonhams.com, christies.com and museumsyndicate.com)

Georgia O'Keefe, Sunflower, New Mexico, 1935

Georgia_okeefe-sunflower-1935
(image from infinityhouse.blogspot.com)

Diego Rivera, Girl with Sunflowers, 1941 and Sunflowers, 1943

Diego-Rivera-girl-with-sunflowers

Rivera_sunflowers
(images from polarbearstale.blogspot.com)

In the latter half of the 20th century we have abstract artist Joan Mitchell's take on sunflowers, which she painted early on in her career and revisited throughout – below is Sunflowers III (1969) and Sunflowers (1990-1991).

Joan-Mitchell-1969-Sunflower-III-

Joan-Mitchell-sunflowers1991
(images from joanmitchellfoundation.org and newabstraction.net)

If I were an artist, sunflowers would be my number one subject.  🙂

Anyway, I hope that this little survey of sunflowers throughout art history was an acceptable substitute for more in-depth information on Elizabeth Arden's use of sunflowers in the company's spring 2013 collection.  I found the palettes to be a refreshing change from the usual florals we see each spring (especially roses). 

What do you think of these palettes?  And what's your favorite flower?  Has it been featured on a makeup item before?