Did People Wear A Lot Of Makeup In 1920

Here's our guide to women's 1920s makeup. Wearing makeup really took off again later being in the wilderness for some time. Lots of new makeup products came onto the marketplace throughout the decade and items became more than affordable. The stars of cinema were highly influential on fashion and magazines offered makeup advice.

Influences on Women's 1920s Makeup

Society's Attitude

Makeup had been deemed inappropriate for many decades and only worn past a certain type of woman (tarts and floozies!) and stage performers. In contrast, skincare was birthday a different affair and it was acceptable to look afterwards one's complexion and hair. In fact, not doing then was deemed irresponsible.

While manyVictorian and Edwardian womendid use makeup, information technology was used very discreetly to remain socially appropriate. Information technology wasn't until the 1920s that makeup came back with a vengeance.

At the showtime of the decade, makeup was even so on the more than cautious side, especially the wearing of lipstick. However, by themid-1920s, makeup was openly worn and applied in public.

By thefinish of the decade, not but was wearing makeup stylish and respectable, it wasde rigeur.

Excerpt from "The Etiquette of Beauty" (published about 1927).

Picture Stars

Cinema and its leading ladies had a tremendous influence on women. Not only did actresses and their on-screen personas influence makeup and pilus fashions, only they likewise demonstrated how modern women could at present comport.

Actresses were seen as glamorous stars and, consequently, the faces of women such asClara Bow,Gloria Swanson, Louise Brooks,Greta Garbo were much admired and copied.

Moving picture fan magazines, likePhotoplay and Motion Film Magazine, followed the individual lives of the picture show stars. They were also full of adverts for various cosmetic products.

Cosmetic manufacturers were quick to see the lure of the argent screen beauties. As a consequence, film stars were used in adverts to promote the products. Magazine advert increasing dramatically throughout the decade.

The average woman may not accept had such an adventurous lifestyle as portrayed by the leading ladies in films, only they could at to the lowest degree attempt to emulate how the stars looked.

Post War Boom

The economic system of many adult/Western nations apace recovered after Earth War I and started to bloom by the early on 1920s. This prosperity leads to a massive increment in manufacturing.

The increase in manufacturing coincided with a fresh interest in makeup. Information technology resulted in a huge number of new brands and cosmetic products condign bachelor as the decade progressed. However, makeup colours were yet limited to basic shades.

The section storealso influenced an increase in makeup sales. Concatenation stores, such as Woolworths, apace expanded across Britain and the United States. They offered women the take chances to audit and try corrective products in the flesh. Subsequently, women flocked to the stores to see what it was all well-nigh – and sales increased dramatically.

As sales increased, information technology encouraged manufacturers to improve packaging and quality. The compact was a bang-up way to have portable makeup and a vanity case could incorporate all manner of makeup items. Quality connected to meliorate equally the decade progressed.

Experience & Makeup Advice

The initial wait of women making upward their faces in the 1920s was non great. Showtime of all, colours were limited, and products could be waxy or chalky. There was also no 1 to pass on experience in colourful and assuming makeup application.

Home lighting was not as clear and bright as today – and we all know the importance of good lighting when doing makeup.

Things improved, withal, equally the decade progressed. Amend quality makeup products and more colour options came to market.

There was also makeup advice galore to exist establish in trivial booklets that came with the products. These advised women on how to use the products and what shapes were adequate.

Egyptian Art

Howard Carter discovered Tutankhamen's tomb in 1922. This had a huge influence on art, architecture, manner, films, and jewellery. Egyptian art featured dramatic kohl-rimmed optics making dark eyeliner seem exotic.

Moving picture Studio Makeup Artists

Max Gene, Cecil The netherlands, and theWestmore family were the chief Hollywood makeup artists of the twenty-four hour period. They were instrumental in creating the movie stars looks.

Max Factor, in particular, revolutionised screen makeup. Theatrical greasepaints did not work well for film, and so he gear up nearly creating products that did work. He consistently adult new products, which afterward became bachelor to the public. He is also by and large acknowledged every bit the creator of the cupid's bow lip shape , as seen on Clara Bow .

In 1920, Max Factor began referring to his products equally makeup, taken from the phrase "to make upwards one's face". Until then, the broad term "cosmetics" had been used in polite society.

Archetype 1920s Makeup Look

Theclassic 1920s makeup look has a smooth, natural complexion with a rosy cheek. Lipstick created a nicelip shape, and thin eyebrows were film star fashionable. The eyebrows were sometimes drawn curving beyond the natural brow line.

W omen wore obvious makeup during the day. However, bolder colours and a heavier application were saved for evening events. In particular, a dark smoky eye – oft seen as essential 1920s makeup – would not accept been worn by the boilerplate woman during the day.

A smoky eye and heavy makeup was also the "motion-picture show star flapper" wait. It is worth remembering that motion picture makeup was exaggerated to create dramatic characters and features.

Faces from 1920s magazines, showing the flushed rosy cheeks and smooth complexion.

1920s Makeup Elements

Complexion

Thecomplexion was considered the most important attribute of beauty, as information technology had been in previous decades.

A huge variety of skincare products were on the market, including those to remove wrinkles, build tissue, retain youth, whiten peel, remove blemishes, and vanquish freckles. Practiced old cold cream was a best seller throughout the decade and its creamy texture helped create a smooth base onto which powder was practical.

Face Pulverization Base

Face powder was the most important 1920s makeup detail for women after cold cream.

Information technology came in limited colours  – and the names were not much more than adventurous . The lite pink shades were unremarkably named "flesh" or "natural", whatsoever the brand. Similarly, a darker sandy-orange was often known as "brunette".

Jonteel face and rouge powders in White, Flesh, Light, Medium, Night, Outdoor and Brunette.

Powders could exist mixed to personalise color . Similarly, women might utilise different shades around the face – an endeavor at contouring, perhaps. A dab of powder would too conceal a blotch.

Confront pulverization was applied with a pulverisation puff or chamois and used liberally. It was best to rub it into the peel to create a base of operations, rather than simply pat it on.

Extract from Princess Pat's booklet "Devoted to Dazzler" (1926).

Eyebrows

Long and thin eyebrows were fashionable in the 1920s. Brows would exist plucked and shaped to a smooth bend or left adequately direct.One look was to describe the ends of the brows slopping down  beyond the end of the natural forehead.

Clara Bowhad this look for some of her career. Her pencilled brows were also drawn on lower than her natural brow line, curving downwardly towards her cheeks. This created a mournful doe-eyed await.

However,the average woman may not accept plucked their brows as thinly every bit seen on the pic stars or in adverts. For instance, portrait photographs show ordinary ladies with eyebrows that tend to exist slightly thicker and more natural than the film star. Women could use a dab of Vaseline to status and shine their brows, rather than pencil them in.

Eyelashes

Eyelash products wereknown in the 1920s as eyelash beautifier, eyelash darkener, masque, cosmetique, or something similar. These p roducts darkened the lashes and added polish.

Eyelash makeup came in liquid, paste and cake class. The solid cake blocks came with a minor apartment application castor. Ladies would spit onto the block and rub it around with the castor before applying the resulting liquid to the lashes. These products could also be used on eyebrows.

Colour options  were mainly black, dark brown and dark-brown.

Kurlash produced the firsteyelash curler in 1923. It was a big success, despite being expensive at the fourth dimension. Nil much has changed since its invention – today's clench curlers look very like.

Eyeliner

Brow pencils were used as eyeliner rather than having a separate type of pencil. Colour options were basic, mainly limited to browns and black.

A line could be drawn on just the upper lashes or effectually the whole centre. Either fashion, the eyeliner was applied to simply follow the natural lash line and eye shape.

It could also be smudged out with a finger to create a smoky look and to add a sultry drama to the optics. However, cat optics or long flicks were not fashionable at this time.

Eyeshadow

The smoky expect seen on film stars was to emphasise their eyes for the movies or add a little drama.

The look was created past blending eyeshadow over the eyelids with a finger. A rounded shape was fashionable (rather than a winged look) and faded up towards the brow.

An ordinary adult female would vestureobvious eyeshadow for evening functions or formal parties but not during the day. Whatsoever due east yeshadow worn during the day would exist very muted. For example, a darker-coloured face powder could be used.

Eyeshadow in the 1920s came inbasic colour options, such equally grayness, black, plum, and chocolate-brown.

Lipstick

Lipstick came in shadesof red, pink and coral orange. Products used color descriptions like poppy, rose, scarlet, cerise, raspberry, and crimson. Yet, many brands also named their lipsticks but as light, medium and dark.

Beauty books and magazine manufactures advised women to match their lipstick and rouge colours – or at least to be from the aforementioned tonal family. For example, a coral cheek colour would work best with coral lipstick.

Lip pomade came in piffling pots and could also be used on the cheeks. It was now possible to purchase lipstick in a button-up tube made from metal or Bakelite. It was invented by Maurice Levy in 1915.

Extract from a booklet called "The Subtle Art of Make-upward" by Coty (1929).

Thelip shape most associated with 1920s makeup is the cupid'south bow.This was created by drawing a curvy bow shape on the upper lip, even going outside the natural lip line. Likewise, lipstick was applied to the middle role of the lower lip. This created a rounded, dolly-like mouth.

Other lip shapes were too seen in the 1920s, all of which full-bodied on the middle part of the lip. Lipstick was never applied to create a full mouth to the corners – this was considered to be vulgar.

Lip pencils were available for outlining the lips. They were as well used to subtly color the ear lobes and outline the nostrils.

Rouge

Rouge came in three types of formulation – dry powder, liquid and cream. Liquid and cream rouge was applied earlier powdering, whereas the pulverization rouge was more for touch-ups.

Rouge was applied generously to the apples of the cheek – where colour would occur naturally afterward exercise. Every bit a result, women had a warm, glowing and flushed await to their cheeks. This was an essential office of the classic 1920s makeup expect.

Rouge came predominantly inshades of pink, from the paler pastel pinks to dark rose.Coral orangeswere considered suitable for women with a gilt pare tone or tan – once a tan became adequate later in the decade.

Initially, brands named their colours very evidently, such every bit "light", "medium" and "dark". A darker rose colour was sometimes known as "brunette" simply because it was considered the right shade for those with dark pilus. Later on, names started to become a little more adventurous.

Rouge could as well be put under the eyes. Information technology was believed this created a youthful glow by roofing up dark circles. It was also practical nether the eyebrow or even to the tips of the ears!

Smash Polish

Nails had been coloured, buffed and shined for thousands of years using pastes, powders, liquids, and waxes. This method of tinting and creating polish would proceed throughout the 1920s until a new product started to sally – namely, liquid boom polishes.

Nitrocellulose-based liquid blast smoothen started to be manufactured more than successfully in the 1920s. It was the commencement of the modern boom polish industry, although the early on solvent-based polishes didn't always adhere well and shortly wore off.

The first polish products were made in soft translucent pinks or clear, creating a natural-looking colour reminiscent of the blast waxes used at the time. More obvious colours would exist available by the stop of the decade. Female parent of pearl (made from fish scales) also started to be used to create a sheen.

A little artistry could create more colour options. For case, gold, silver or pearl powder was mixed with clear polish to create metal furnishings .

Some brands also used this concept. Cutex, for example, had a clear smoothen that came with a separate tube of tint. The tint was used showtime to create varying strengths of colour and sealed with the articulate topcoat.

The concept of matching nails to wearing apparel colour  came almost in the late 1920s. It swept across Paris and London with manicurists offering their clients this nail-to-apron mix and friction match service.

Nails were filed to anoval tip – some even had quite a sharp point. One pop manicure was thehalf-moon manicure, where the moon and nail tips were left blank or whitened. Awhite nail tipwas created with products likeNail White by Cutex.

The Beginning of the Suntan

For centuries, having a tan was non fashionable – and this trend connected into the 1920s. It was non fashionable because transmission labourers working outside would exist tanned. Later on, the middle and upper classes did not desire to have the "common confront of labour".

Whitening products (like bleach cream), diverse lotions, and pale powders wouldbe used to remove any sign of a tan.

The ascension of the tan started in the 1920s. Coco Chanel  is often credited with popularising a suntan among the wealthy. The story goes that she inadvertently burnt during a trip to the French Riviera. Notwithstanding, her pare had turned a golden brown color by the time she got home, thereby gaining the admiration of her followers.

Josephine Baker was adored in Paris and rapidly becoming a major film star in Europe. Her dark skin was idolised and further contributed to the tan'southward rise in popularity.

The cosmetic brands were quick to recognise this new trend. Magazine articles were suddenly devoted to the suntan and new tanning products  became bachelor. Additionally, established m akeup products were updated to take into account the suntan'southward rise in popularity and new colours became available. Imitation tan products were also available.

Observe Out More than

• Vintage Makeup Color Charts & Brochures – guides and colours from the 1920s to perfect that accurate vintage wait.
• Women'south 1920s Hairstyles: An Overview.
• Beauty adverts from the 1920s.

Sources:

Cocks, D. (c.1927).The Etiquette of Beauty. New York, George H. Doran company.

Corson, R. (2004).Fashions in Makeup: From Ancient to Modern Times. Peter Owen.

Drowne, Grand & Huber,P. (2004). The 1920s (American Pop Culture Through History). Greenwood Press.

Hill, D. D. (2002). Advert to the American Adult female, 1900-1999 . Ohio State University Press.

Peiss, K. (2011). Hope In A Jar: The Making of America'southward Beauty Culture. First University of Pennsylvania.

Sherrow 5. (2001). For Appearances' Sake: The Historical Encyclopedia of Good Looks, Beauty and Grooming. Greenwood.

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