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Lady Violette

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Posts Tagged ‘Vintage Makeup Design’

Suzy Parker’s Gorgeous 1950s Hair & How You Can Achieve It!

Saturday, October 29th, 2011

Suzy Parker Shows Us Her Head Full Of Rhinestones Encrusted Pin Curls While Demonstrating How To Do a Classic Fifties Pin Curl Set.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Fifties hairstyles, like Suzy’ Parker’s, were usually achieved through the arduous process of a pin curl set. They didn’t have blow dryers. As demonstrated by Suzy one divided, rolled and pinned the hair, then sprayed it with good old fashioned toxic aerosol hairspray to hold the set. It was a very tedious process that took hours to dry at home. In salons one could go under a hood dryer to hasten the drying process. These were awful ~ loud, hot, and uncomfortable. You were sure to come out with a terrible headache. Most women set their hair at home when they knew they were going to be stuck there for a while. Some women could roll their hair up in pin curls very efficiently on their own. You were really lucky if you lived in a household with other women who could help you. I remember my mother and aunts getting together on Friday nights or very early in the morning on Saturday’s and rolling each others hair so they could get it done speedily. They would let it dry while they read, had coffee, put on their makeup, got the kids fed and dressed, and got ready to go downtown.

Diagram of a pin curl set

I do not remember them having a head full of jeweled bobby pins though! They used regular bobby pins. They had a few of these fancy jeweled ones for styling their hair after they removed the curling pins and brushed it out into soft fancy curls. It looked absolutely gorgeous when they were finished.I doubt that many women set their entire heads with jeweled pins because these were very expensive! You also would not want to spray them with hairspray (usually Aqua Net) because the chemicals in it would coat the stones and damage them very quickly. I think Suzy just used these dressy rhinestone bobby pins for the demonstration photos so that she could look as glamorous and pretty as possible while showing us how to do this.

Here she sprays the set!

You have to make sure your hair is completely dry before removing the pins and brushing out the set. If  you don’t your curls go flat immediately and the whole process has been a waste of time. If your hair took a long time to dry you would roll and set it the night before, cover the entire production with a sturdy hairnet and sleep on your pin curls or rollers. Attempting to sleep on rollers or pin curls was living hell. It was terribly uncomfortable and you got very little sleep. I have tried it and I cannot do it. As far as I am concerned it isn’t worth the effort! It hurt my neck as I wriggled around trying to get comfortable enough to sleep and I had terrible dark circles under my eyes in the morning from not getting adequate rest! I did not look beautiful after that experience. Thus I recommend doing this when you are going to be at home while the pin curls are doing their thing.

This is what she looks like after removing the pin curls and carefully combing out her hair,. Note that she is using one of the jeweled hairpins to hold it and accent the style.

During the Fifties some women (certainly not Suzy Parker & Dorian Leigh! who were far too elegant to do anything like this,) tied a scarf over their heads, with the pin curls or rollers underneath and went out shopping and doing errands. I suppose this can be done in a pinch or emergency if you really have to run out to get something or rescue someone. However, I think it destroys the elegant look I want to present by going to all this effort to run around town in the curlers. I advise against it.

When your hair is dry, you simply remove the pins, carefully, one by one so the curls don’t get tangled. I recommend spraying each curl again with hair spray to really hold the curl. Let the spray dry, then style your hair, and, finally spray it again to hold the set. If you are going to put a jewel or accent in your hairstyle do so at the very end and don’t spray the hair decoration. Spraying your hair accessories, bows, ribbons, combs, barrettes, will ruin them.

Your set should last a couple of days if:

1) you keep steam and water off your hair by wearing a shower cap when bathing or showering.

2) you sleep with a hairnet on, (not very attractive)

3) you avoid getting caught bareheaded in the rain. Remember those funny plastic rain bonnets they used to carry around in their purses and put on if it started to rain?

4) You don’t go swimming and get your hair wet!

I think these hairstyles were darling looking, but very restrictive. And so much upkeep!It required a tremendous amount of self-discipline to take care of your hair like this consistently. You also had to have it cut and colored every month. I read an interview with Vidal Sassoon who did Suzy’s hair for important shoots in the 60s. He said her hair was naturally stone straight. So she was curling it all the time. Literally, because she was never seen or photographed with straight hair.

I remember reading an interview with Suzy in a magazine that was done after she had married, retired, and had three children. She was living with her family in California. She was asked how she maintained her beautiful hair. It still looked exactly the same as it did while she was modeling. She said that she went to her local hair salon twice a week and had her hair washed and set by the same lady who had been doing it for years – ever since she moved to California which was sometime in the 1960s! She also maintained the auburn color throughout her life.

This was a woman who was truly incredibly disciplined about her hair! She also talked about her years of modeling in the 50s when the models were expected to do their own hair and makeup for all their jobs. She was perfectly adept at doing it herself. She certainly did a beautiful job! Her hair looked amazing throughout her career no matter who did it! Unlike the models and actresses today the professional models and many other women were very well dresses and turned out whenever they went out in public during that time period. They took their looks very seriously.

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Violet / Lavender Face Powder ~ Who Wore it First? John Singer Sargeant’s Muse, Madame X, of Course!

Sunday, October 23rd, 2011

Madame X by John Singer Sargeant 1884

It is always amusing to me to see who claims to have devised beauty treatments and colors first. I know for a fact that Revlon was not the first to come up with the idea of lavender or violet tinted face powder. Incidentally, both of these names refer to the same thing/color ~ a light purple. Whichever name is used is whichever appeals more to the creator of the face powder under discussion and works best for marketing it. The color and concept has been around for a very long time in France, England, Italy, Spain and the United States and there are many references to it in women’s literature and antique beauty manuals. Revlon claiming to have invented the color violet for face powder and cosmetic use in 1946 for their Ultra Violet campaign was simply a marketing ploy.

Lavender and Violet face powder ? … You may wonder, what is it’s purpose?

Well, originally it was considered an exotic makeup color, which it is, and it was scented delicately with violet or lavender perfume.

A Photograph of the Original Painting as Sargeant Displayed it in the Paris Salon of 1884 with Madame X Jeweled Strap Slipping Off Her Shoulder Which Caused a Scandal. He Repainted the Strap on Her Shoulder as We Know the Painting Now in an Attempt to Appease the Social Critics of the Time and Salvage His and His Subjects Reputations

Cosmetic and makeup specialists told women it would tone down a yellow complexion, making it much more attractive and desirable, giving it a more balanced white and pink look. Thus it was recommend as a color corrector. There is quite a bit of it available on the market today from various companies claiming to do this. Honestly, I do not know if it works. I cannot prove it by trying it out on myself because I do not have a yellow complexion. If someone out there has experience with this, please let me know how this works for you.

Study for Madame X

Next, it was marketed as an desirable colorful look in makeup as well as a delicate attractive floral scent. Honestly, I do know that this works! I have several violet and lavender colors of eye shadow powders, blushes, lip sticks and glosses, nail lacquers, and a luscious violet tinted loose face powder from Borghese which I love for its exotic color effect as a finishing touch to a violet themed face makeup.

 

 

 

 

I personally believe that John Singer Sargeant’s Muse, Madam X, who was Madame Virginie Amilie Avegno Gautreau in real life, used it this way and brushed it over her famous decolletage and white shoulders as well. I enjoy thinking about her doing that when I am applying the powder myself. I find the rituals of applying makeup very interesting and satisfying and filled with historical references. Women have always adorned themselves and I love getting inspiring ideas from history and literature on beauty and makeup. I have long been on the lookout for references in art and literature to use as inspiration.

Currently, purple, violet, and lavender is a very popular makeup color, and is offered in every conceivable shade and variation by many respectable cosmetic lines. These range from the most delicate hint of light violet to the darkest deepest almost black purple hue and every shade and variation of formula in between. Purples and violets and lavenders are made in nail polishes, lipsticks, eye shadows, blushes, mascaras, eyeliners, and powders of every imaginable type. I am always exploring these offerings because I love the color! The violet is my personal flower and violet is my personal color as well. As Lady Violette it is also my name, and it follows, of course, that violet should be foremost in my personal makeup palette.  And, as I have explained before having a personal flower and a personal color gives a woman a theme to explore in her dressing and grooming and the creation of her personal signature look. This is very useful as it gives one a starting point. I think Madame X would have loved all these modern purple these cosmetics!

Study for Madame X Sargeant 1883

Interestingly, there is no color on the current market that comes across as the ruby red infused with violet glimmer that Revlon’s Ultra Violet of 1946 claimed to be! I will be first to know if one comes out! And I’ll post that information immediately! I have not seen the 1946 Ultra Violet by Revlon in person. It came out way before my time! And I have yet to locate a vintage example, but I am looking for one! I deduce that the color so named was the color of the nail lacquer and the lipstick and the powder was a very softly, lightly violet tinted face powder sold to compliment the lips and tips that were done up in Ultra Violet.

 

Madame X Unfinished 1884

My own favorite wearer of this shade of face powder historically was Madame X ~ Virginie Amilie Avegno Gautreau, the Parisian socialite painted by John Singer Sargeant. She wore lavender face powder and prided herself on her appearance. Her use of this shade of cosmetic face powder was written about and documented as early as 1880. She was well known for wearing it in Paris. I doubt she actually invented it, or was the earliest person to wear it, but she became famous for her beauty and her use of this daring color was unusual at the time. Personally, I love Madame X and Sargeant’s drawings and paintings of her. And yes, I have seen many of them in person and they are masterpieces in my opinion. I am grateful to both the sitter and the painter for creating them. I am an ardent admirer of Sargeant’s art work and of Virginie Gautreau as a woman of great interest and beauty. I recommend seeing the painting in person if you get the chance. I also recommend reading about Madame X ~ there are several good biographies on her and several good books on Sargent the artist as well. They are both great inspiration to me ~ as people and as artists. I consider the great beauties of her type to be artists. Isn’t a beautiful woman, after all, a living moving work of art? A living sculpture? I think this way because I am a classically trained dancer and dancers are trained to think of themselves this way in relation to line, space, volume, form and color.

Madame X with champagne in an oil sketch by Sargeant

I, personally, first became consciously aware of violet and lavender face powder when I learned that Madame X had worn it so famously in Paris in the 1880s. Thus, for me, she is the person I know of who wore it first. When I ask the question, ” Who wore violet or lavender face powder first? ” her name immediately pops into my mind as the answer. So, you see, as far as I am concerned, just for me, she wore it first! Since no one really knows who dreamed it up initially, this answer will suffice for me! She is beautiful, exotic, mysterious and intriguing so her association with the color is perfect from an imaging standpoint.

Following is from the Wikipedia entry on The painting The Portrait of Madame X.

Portrait of Madame X

John Singer Sargent, Madame X (Madame Pierre Gautreau), 1884, oil on canvas, 234.95 x 109.86 cm, Manhattan: Metropolitan Museum of Art.

Madame X or Portrait of Madame X is the informal title of a portrait painting by John Singer Sargent of a young socialite named Virginie Amélie Avegno Gautreau, wife of Pierre Gautreau. The model was an American expatriate who married a French banker, and became notorious in Parisian high society for her beauty and rumored infidelities. She wore lavender powder and prided herself on her appearance.

Madame X was painted not as a commission, but at the request of Sargent.[1] It is a study in opposition. Sargent shows a woman posing in a black satin dress with jeweled straps, a dress that reveals and hides at the same time. The portrait is characterized by the pale flesh tone of the subject contrasted against a dark colored dress and background.

For Sargent, the scandal resulting from the painting’s controversial reception at the Paris Salon of 1884 amounted to the failure of a strategy to build a long-term career as a portrait painter in France.[2]

Background

Renowned for her beauty, Gautreau represented the parisienne, a new type of Frenchwoman recognized for her sophistication. The English term ‘professional beauty’, referring to a woman who uses personal skills to advance to elite status, was also used to describe her.[3] Her unconventional beauty made her an object of fascination for artists; the American painter Edward Simmons claimed that he “could not stop stalking her as one does a deer.”[4] Sargent was also impressed, and anticipated that a portrait of Gautreau would garner much attention at the upcoming Paris Salon, and increase interest in portrait commissions. He wrote to a friend:

” I have a great desire to paint her portrait and have reason to think she would allow it and is waiting for someone to propose this homage to her beauty. If you are ‘bien avec elle’ and will see her in Paris, you might tell her I am a man of prodigious talent.”[5]

Although she had refused numerous similar requests from artists, Gautreau accepted Sargent’s offer in February 1883.[6] Sargent was an expatriate like Gautreau, and their collaboration has been interpreted as motivated by a shared desire to attain high status in French society.[7]

Studies

Little progress was made during the winter of 1883, as Gautreau was distracted by social engagements, and was not by nature inclined to the discipline of sitting for a portrait. At her suggestion, Sargent traveled to her estate in Brittany in June, where he commenced a series of preparatory works in pencil, watercolors, and oils.[8] About thirty drawings resulted from these sessions, in which many poses were attempted. Like the eventual portrait, an oil sketch entitled Madame Gautreau Drinking a Toast (Isabella Stewart Gardner Museum), shows the subject’s profile and bare arms against a dark background, but is of a more freely brushed and informal character.

Just as she had been in Paris, in the country Gautreau was bored by the process of sitting; here, too, there were social engagements, as well as the responsibilities of tending to her four-year-old daughter, her mother, house guests, and a full domestic staff. Sargent complained of “the unpaintable beauty and hopeless laziness of Madame Gautreau.”[9]

Execution

As in his previous entries to the Salon, The Daughters of Edward Darley Boit and El Jaleo, Sargent chose a canvas of dimensions large enough to ensure notice on the crowded Salon walls. The pose proved to be different from any of those tried in the preliminary works. It necessitated that Gautreau stand with her body facing the artist while her head was turned away, her right arm extended behind her for support, her hand on a low table; the result was to create tension in the neck and arm as well as to emphasize the subject’s elegant contours.[10] For painting the artificial tone of Gautreau’s pale skin, Sargent used a palette composed of lead white, rose madder, vermilion, viridian, and bone black.[10]

Even when composition had been decided upon and painting started, work progressed slowly. In a letter to a friend Sargent wrote “One day I was dissatisfied with it and dashed a tone of light rose over the former gloomy background…The élancée figure of the model shows to much greater advantage.”[11] On September 7, Sargent wrote “still at Paramé, basking in the sunshine of my beautiful model’s countenance.”[11] By the fall, Sargent’s interest in the venture was nearing completion: “The summer is definitely over and with it, I admit, is my pleasure at being at Les Chênes (Gautreau’s estate).”[12]

Description

There is an assertion and showiness in the expanse of white skin — from her high forehead down her graceful neck, shoulders, and arms. Although the black of her dress is bold, it is also deep, recessive, and mysterious. She is surrounded by a rich brown which is at once luminous and dark enough to provide contrast to the skin tones. Most disconcerting is the whiteness of the skin, an overt contrivance of “aristocratic pallor”; by contrast her red ear is a jarring reminder of the color of flesh unadorned.[7]

Sargent chose the pose for Gautreau carefully: her body boldly faces forward while her head is turned in profile. A profile is both assertion and retreat; half of the face is hidden while, at the same time, the part that shows can seem more defined than full face.

Sargent in his Paris studio, ca. 1885

The table provides support for Gautreau, and echoes her curves and stance. At the time, her pose was considered sexually suggestive. As originally exhibited, one strap of her gown had fallen down Gautreau’s right shoulder, suggesting the possibility of further revealment; “One more struggle”, wrote a critic in Le Figaro, “and the lady will be free”. (Perhaps unknown to the critic, the bodice was constructed over a metal and whalebone foundation and could not have possibly fallen; the shoulder straps were ornamental).

The image’s erotic suggestion is of a distinctly upper-class sort: unnaturally pale skin, cinched waist, severity of profile and an emphasis on aristocratic bone structure all imply a distant sexuality “under the professional control of the sitter”, rather than offered for the viewer’s delectation.[7]

Classical sources, such as the figures in a fresco by Francesco de’ Rossi (Il Salviati), have been suggested as inspiration for the pose.[13] The painting features several subtle classical references: sirens of Greek mythology adorn the table’s legs, and the crescent tiara worn by Gautreau symbolizes the goddess Diana. The latter was not contrived by the artist, but was part of Gautreau’s self-display.[11]

Reception

Antonio de La Gandara, Madame Pierre Gautreau, 1898.

While the work was in progress, Gautreau was enthusiastic; she believed that Sargent was painting a masterpiece.[14] When the painting first appeared at the Paris Salon under the title Portrait de Mme *** in 1884, people were shocked and scandalized; the attempt to preserve the subject’s anonymity was unsuccessful, and the sitter’s mother requested that Sargent withdraw the painting from the exhibition. Sargent refused, saying he had painted her “exactly as she was dressed, that nothing could be said of the canvas worse than had been said in print of her appearance”.[15] Later, Sargent overpainted the shoulder strap to raise it up and make it look more securely fastened. He also changed the title, from the original Portrait de Mme ***, to Madame X — a name more assertive, dramatic and mysterious, and, by accenting the impersonal, giving the illusion of the woman archetype.

The poor public and critical reception was a disappointment to both artist and model. Gautreau was humiliated by the affair, and Sargent would soon leave Paris and move to London permanently.

Aftermath

Sargent hung Madame X first in his Paris studio, and later in his studio in London. Starting in 1905, he displayed it in a number of international exhibitions. In 1916, Sargent sold the painting to the Metropolitan Museum of Art, writing to its director “I suppose it is the best thing I have ever done.”[16][17] A second, unfinished version of the same pose, in which the position of the right shoulder strap remained unresolved, is in the Tate Gallery.[17]

Seven years after Sargent painted Madame Gautreau, Gustave Courtois painted her. As in the earlier painting, the portrait shows her face in profile. She wears the same style of dress, with Courtois’s portrait showing a bit more skin. The strap of her dress hangs off her shoulder much as it had in Sargent’s portrait. This time, however, the portrait was well received by the public. In 1897 Gautreau posed yet again for a standing portrait, for what would be her favorite version, by Antonio de la Gandara.[12]

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Revlon’s Amazing 1946 Ultra Violet Ad with Beautiful Dorian Leigh Photographed by Sir Cecil Beaton

Sunday, October 23rd, 2011

The Lovely Dorian Leigh Photographed by Cecil Beaton for Revlon’s 1946 Ultra Violet Lipstick & Nail Polish Ad Campaign

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Everything about this 1946 Revlon Ultra Violet ad is amazing. First the color was really unusual and new at the time. It was a ruby red infused with a heavy dose of violet glimmer. They made an Ultra Violet trio of lipstick, nail polish and violet tinted face powder. The ad featured luscious Dorian Leigh, draped in a violet colored sheet and covered with bunches of violets. It was photographed by none other than Cecil Beaton. But that wasn’t only the beginning!

Time Magazine Monday Sept. 23, 1946 published this report on the Ultra Violet advertising launch: Remember, as you read this that this was in 1946!

ADVERTISING: Such a Color!
Monday Sept. 23, 1946
Violets, who’ll buy my violets? Take these cupid eyes of blue. Let them lead you for diversion On a little spring excursion From the old love to the new. On the peculiar workings of the advertising mind—as represented in New York’s McCann-Erickson agency—this saccharine ditty from the 1926 hit parade recently had a cataclysmic effect. For weeks the agency had been searching its accounts for a product that could be used as a tie-in to promote a lipstick and nail polish called “Ultra Violet,” put out by Manhattan’s Revlon Products Corp. It had also been worrying over the same sort of thing for Columbia Recording Corp.’s Dinah Shore. Then several of its geniuses remembered the old song. It was a natch. Lyric writers changed the first line to ‘Who will buy my ultra violets?” and substituted “fall” for “spring.” Dinah Shore recorded it. Admen hastily readied a $100,000 campaign for Dinah which mentioned Revlon and a $500,000 campaign for Revlon which mentioned Dinah. Copywriters rose to inspired heights: ‘Words can but weakly designate [the color] as ‘an unearthly violet fired with rubies! . . .’ Never before—perhaps never again—such a color!”
Within a fortnight the ultra violets will burst into full bloom on records, on the air, in ads everywhere.
For Revlon, which sells more lipstick and nail polish (other products: powder, rouge) than anyone else, all this was just new gilt on an old lily. When they founded Revlon in a $25-a-month office in 1932, Brothers Charlie, Martin and Joe Revlon decided to capitalize on names, beginning with their own. They had another cardinal principle: a woman’s most important points, unless she’s in a bathing suit, are her eyes, lips, hair and hands.
They started with nail enamels, soon did so well that they moved into their present smoke-grey quarters on Fifth Avenue, where they now promote two different shades a year (Charlie first decides on the name of the shade, then tries to get a color to fit it).
The Ultra Violet campaign is the costliest that Revlon has ever launched, may swell the company’s 1946 advertising bil to over $3 million. What Revlon expects in return, like all other figures in the industry, is a closely guarded secret. But largely on the sale of dollar lipsticks and 60¢ nail polishes which cost the makers about 10¢ to manufacture, Revlon this year will gross “well into the eight-figure bracket.”

Read more: //www.time.com/time/magazine/article/0,9171,777163,00.html#ixzz1bafRkblG

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The Lady Violette Look of Vintage Haute Couture ~ Dorian Leigh

Sunday, October 23rd, 2011

Dorian Leigh in Amazing Violet Ensemble

Today I found this vintage Revlon makeup ad and I fell in love with the Beautiful Vintage Violet Hat and Gown, the Jewels and the Makeup!

Isn’t this gorgeous! This is Suzy Parker’s glamorous older sister Dorian Leigh who also modeled for many famous Revlon cosmetic ads. I love everything about this Vintage Violet Garden Party Ensemble ~ the hat, the gown, the makeup, the amazing earrings, her hair, and her fabulous attitude! She has it down! It being the Lady Violette Look of vintage haute couture.

I think this ensemble would be fabulous to wear to a contemporary wedding or any amazing formal outdoor garden party.

And the makeup is, again, just beautiful. She is wearing violet eyeshadow. And take note, her natural nails are filed to almost points ~ very long and graceful nearly pointed ovals! I love the combination of the violet eyes and bright 1950s red lips and fingertips. And the matching “lips and tips” of course!

Gorgeous delicate technicolor influenced color overload! Revlon was incomparably sophisticated back then! Women strove to look like this! It was high maintenance, but so so worth the effort!

Dorian Leigh was a brilliant woman as well as a great beauty. She had a degree in engineering, was a math wizard, an award winning chef who opened several successful restaurants in Paris, an author of several books, and opened and ran a modeling agency in Paris. She lived to the ripe age of 91. Not only did she look like this, she was also extremely well educated and accomplished. Her biography is titled Th Girl Who Had Everything.

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Suzy Parker’s Trademark Makeup Circa 1950s ~ How To Achieve Her Vintage 50s Look ~ Recreated by Lady Violette de Courcy Using Cosmetic Products Available in 2011

Saturday, October 22nd, 2011

Suzy Parker in Her Trademark Makeup Circa 1950s

Suzy Parker’s Trademark Makeup was gorgeous in the 1950s. In those days models did their own hair and makeup most of the time. I have the same natural coloring as Suzy so I have always wanted to recreate her look to the best of my ability using products available today. I achieved this successfully today so I am going to share how I did it and what products I used.

Pre~Makeup: Start with a clean, conditioned face. The exact steps and products I used follow:

1) cleanse ~ MyChelle Honeydew Cleanser

2) tone ~ Lancome Tonique Radiance

3) apply serum ~ Elizabeth Arden Bye Lines

4) moisturize ~ Lancome Absolue Pemium RX

5) apply eye cream ~ Lancome Absolue Eye Premium RX

6) apply primer ~ Smashbox Photo Finish

MAKING UP: Step 1 ~ 10

1) Concealer ~ Estee Lauder Smoothing Cream Concealer, color Smooth Ivory -01C, applied with brush, to cover dark circles under eye to lash line and innermost corner of the eye, then blend with fingers.

2) Foundation ~ Nars sheer glow liquid foundation in color Siberia (the lightest foundation on he market that I know of) pat over the entire face with fingers.

3) Powder ~ Chanel Plein Jour in color Daylight Perfecting Pressed Powder – dust over entire face with a Kabuki Brush ( This is in a compact which you can carry in your purse, 50’s style for touch ups!)

4) Blush ~ Paula Dorf “Tootsie” color blushing powder, apply to cheekbones (see photo) with a blush brush. Also brush a bit over chin, into hairline, and over earlobes.

5) Lipstick ~ Chanel #70 Rouge a Leveres Red Coromandel, apply carefully directly from the tube as they did in the 50s. You can do so, perfectly, with a little practice. I recommend learning to do it this way so that you can skillfully reapply your lipstick, using the mirror in your powder compact, in public, like they did in the fifties and 60s. This is such a charming feminine vintage gesture, fascinating to behold and it drives men wild! ( Practice at home until you get it down skillfully as you don’t want to fumble with all eyes glued to you in a restaurant! or other public place.)

A vintage trick to keep your red lipstick from rubbing off on your teeth: Apply a generous coat at home, blot with a tissue, then stick your finger in your mouth, pucker up, and pull your finger out of the center of your mouth dragging it over your lips to remove the excess color that would otherwise come off on your teeth. Like magic, you have removed the exact right amount in the right place to avoid staining your teeth! This really works and doesn’t remove the color from your lips! When you reapply your lipstick in public you will just be touching up. You don’t need or want to do this move in the public eye! It would look awful and you would have lipstick all over your finger too! It is necessary to clean it off your hand after this maneuver. This should only be done at home before you leave the house. You can blot, later in the day, in the ladies room, if necessary, never in public!

If you need to define your lips with a pencil or keep them from feathering you can use a lip liner to do so after applying the lip color via your lipstick. You can use a lip brush to soften and blend hard edges if necessary. It has become customary to use a lip brush and liner to apply dark and bright colors that require precise application over the last couple of decades. They did not do his in the 50s. They applied their color straight from the tube and managed to it neatly freehand. It is not hard to develop that skill and also allows you to eliminate steps from your routine which is liberating! I personally prefer to do it the old fashioned way, particularly during the day when away from home! Remember, practice makes perfect, and it takes only a few tries to get it down to a science.

6) Lip Liner Pencil ~ if you need one I recommend Christian Dior’s Holiday Red which has been around for literally decades, or Lorac 03 pencil. The Dior lip pencil comes with a brush on one end. I also like the Dior lip brush.They didn’t have lip gloss in the 1950s. If they wanted shine they used a tiny dab of Vaseline. This was usually done only for photographs as it made your lipstick stick to your teeth in real life wear ~ the thing we are trying to avoid when waring red lipstick to attain a charming vintage look!

7) Brows ~ Pluck your brows neatly the night before applying your makeup. Suzy’s thin, highly arched brows are tweezed thin, then filled in and drawn on in an exaggerated arch with extended outside ends using only one sharpend pencil in an auburn shade to match her famous ref hair. I have searched and searched and experimented a lot to get the right color and styling tool for these brows. The very best tool and color in the cosmetic business is Chanel’s Sourcils Brow Definer in Auburn. It has a great pencil in a great color with a great little comb/brush for grooming your brows and blending the color on one end. It is the perfect eyebrow tool. I have used it to create brows just like these on myself freehand for a decade now and I love it! Of course it comes in other colors as well!

The only other brow tools you should ever need are an old soft toothbrush to brush your eyebrows out, and a tweezer man slant edged tweezer for a little plucking and shaping as needed. If you have an unruly brow now and then smooth them down at night to train them while you sleep with a heavy coat of Vaseline , then comb them neatly into place with the toothbrush and in the morning they should be trained to behave themselves! The Vaseline soothes any irritation you might have gotten from avid plucking while you sleep as well. I love thin arched 1930s – 50s brows, but I am also the first to warn anyone about over plucking theirs. Be conservative and just do a tiny bit at a time. You can always get used to that effect, then do a tiny bit more if you need to. Take your time to get used to the look. And be a bit conservative. No need to rush! Rushing is not glamorous!

8) Eye Shadow: I used three colors ~ Paula Dorf “Sea Shell” on the lid, (It is a very light flat peach with no shine.) Cargo Tundra under the brow on the brow bone and in the inside corner of the eyelid, (It is a flat, mat white with no shine.) Shu Uemura P Blue 630 (It is a flat light pale blue) as a faint and delicate feminine accent of color above the eye liner line and moving into the Sea Shell color on the lid.

9) Eye Liner ~ I used two eyeliner pencils, both black. I used Lancome’s Le Stylo Waterproof pen to line the top lash line with a wide heavy line close to the lashes and upsweep at the outer lid edge as in the picture. Then I used Cargo’s Black pencil/crayon to line the lower lash line. I used two different liners because they each have different properties which I prefer on the different areas of the eye. The Lancome is soft and dark and doesn’t scratch the eye. And it is easy to control. The Cargo pencil can be sharpened to a nice point to line the lower lid very narrowly and also doesn’t scratch. I have a hard time with eyeliners irritating my sensitive eyes, so I am very particular about them!

10) Mascara ~ Black Lancome Defencils Mascara ~ coat the upper lashes only.

To finish Step back and look at your face from a bit of a distance in your wall mirror. If you need to up the volume on the blush with another brush full. Apply another coat of powder if you think you need to. (I sometimes find that I have become shiny just working on the rest of my face! Then I need to matte out my shine for a nice cool look with a light dusting of powder. ) Check to see if you are wearing enough eyeshadow ~ in your opinion!)

This look should be a bit conservative, very ladylike and refined, nothing is too dark. It should look very pale. Only the lips are bright.

I have used the currently available products that I like the best to achieve the look I wanted. Because I do not work for any cosmetic companies I can pick and choose the things I use without concern for brand representation. This is a lot of freedom that you do not have if you work for a particular cosmetic company or store. I know this because I worked for Christian Dior and Estee Lauder for several years about a decade ago. Personally I like to pick my favorite products and tools from a variety of different companies. That way I feel that I can take what each has to offer that works best for me or for the look I want to achieve.

In the Suzy Parker era it was the epitome of fashion to wear matching lips and tips (finger tips) which is one reason I chose to use Chanel’s Red Coromandel #70 lipstick. It also comes in a matching nail polish, the classic 1950s red Le Vernis nail color Rouge Coromandel #70 by Chanel.

Suzy Modeling Red Lipstick for Coty in 1957 ~ Their "24" Lipstick You Could Sleep in and Still Be Wearing Bright Red & Perfectly Applied Red Lipstick When You Woke Up in the Morning ! And Apparently All Your Heavy Eye Makeup Too!

Suzy Modeling Touch-and-Glow Foundation Makeup & Bright Red Lipstick for Revlon in 1954. This is the Classic Suzy Parker Makeup I Have Recreated for You to Try in This Post. This is a Great Front View of the Makeup!

Suzy Parker Modeling a White 1950s Suit with a Bouquet of Roses. She is Wearing the Same Beautiful Makeup Design While Posing in the Gorgeous White Afternoon Suit for a Fashion Magazine!

Suzy Parker Wearing Red Lipstick and a Catalina Swimsuit in a 1957 Catalina Swimwear Ad.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I know that Suzy modeled for Coty and Revlon cosmetics. She undoubtedly used a lot of Coty and Revlon products herself as a result. Both she, and her sister, Dorian Leigh, were famous Revlon Cosmetics faces. I have displayed a few of these adds here. In the 1940s, 50s and 60s, and possibly before that time, Revlon was an upscale makeup and skincare brand sold in fine department stores and specialty cosmetic shops. It was not sold in drug stores as an inexpensive makeup line for women and teenage girls. The packaging was fancier than it is in the United States nowadays.

Interestingly Revlon is still a status cosmetic line in South America and Europe today. There it is sold in upscale shops and even has its own free standing stores selling the entire line of products. The beautiful contemporary Revlon ads we see in magazines are designed for those markets. In Brazil and Mexico I saw full scale billboards of the Revlon ads we see in US magazine towering overhead on busy city streets. There, the name Revlon is still associated with the same type of glamor it was in the days of Suzy Parker. I’m quite sure you could recreate her 1950s look today using Revlon’s cosmetics.  I mostly used products I had in my personal cosmetic collection already. I do have some Revlon products and I like them, but I didn’t have the colors I needed to do this look. It is interesting to note that the beautiful classic red color Revlon’s Fire and Ice that was modeled by Suzy’s sister Doria Leigh (Parker) is still being produced. It is still beautiful and the perfect red! I think I’ll get some for the holiday season. The great thing about Revlon nowadays is that you can get their high fashion makeup colors at very reasonable prices. For example the nail polish is $4.99 versus $30 for Chanel, $14 for Butter, $28 for Christian Dior, $18 for Deborah Lipman, $17 for Lancome and so on. The formulas are tried and true and traditional. I have used them and they look lovely and wear well. Many of the colors are gorgeous. The same goes for the lipsticks. They know what they are doing, after all, they have been at it for  very long time! Recently they have been using Julianne Moore and Susan Saradon as models and spokeswomen. The company seems to like redheads! They do consistently make a lot of colors that look good on them!

If you carefully study Suzy Parker’s photographs during the 1950s you will see that she used essentially this same makeup design throughout that decade no matter what she was showing and selling. She seemed to have found a look that worked for her, then stuck with it. It worked well on her in both black and white and color photographs. The other distinctive makeup design she wore was in another ad for Revlon which featured a deep beautiful pink on lips and nails. The ad reads, “Not Sissy Pink, Not Prissy Pink!” It was for a sophisticated bright deep pink for classic gorgeous women. I plan to recreate that look and post it soon as well. Later, in the 1960s she did a bright orange/coral lipstick and blush with bright orange/coral nails. She always matched her lips and tips, of course! She was the epitome of classy grown up sophisticated beauty. She always looked well groomed, sexy, feminine and glamorous! As these pictures prove her basic makeup, was perfect and appropriate for any occasion ~ modeling for magazines and cosmetic companies, sleeping, going out for a night on the town, shopping for flowers in the afternoon in a white suit, and heading to the pool for a swim, or a cocktail poolside!

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Posted in Manton de Manila | Comments Off on Suzy Parker’s Trademark Makeup Circa 1950s ~ How To Achieve Her Vintage 50s Look ~ Recreated by Lady Violette de Courcy Using Cosmetic Products Available in 2011

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