History of Makeup final paper

Lani Barry

Professor Hewitt

History of Makeup Independent Study

11 December 2011

Makeup in Early Hollywood

There is no question of how iconic the faces of early Hollywood are. Regardless of the popularity of contemporary film stars, fashion looks to the past and relishes the likeness of great actors and actresses in cinema’s first few decades. From Mary Pickford’s darling wide-eyes to the Phantom of the Opera’s monstrous complexion, the innovations and uses of makeup in older films is are often disregarded. In an age of green screens and digital imagery, we often neglect that smoke, mirrors, and a little greasepaint paved the road for modernization. In this paper I explore the development of film makeup in Hollywood cinema from the early 20^th century to the end of the Second World War. Additionally, examine who was responsible for such transfigurations in early celluloid, and what they contributed to the artistry through each decade.

During the late 19^th century comma film was still in its infancy. It had begun as a novelty; film was simply a series of photographs that were projected at high speeds without sound. In the late 1800’s films were gimmicky shorts shown at vaudevillian theaters, exhibitions, and Thomas Edison’s early ‘Kineotoscope’ parlors. Until a tool was invented in 1923 that coupled music and sound with the film, audiences relied on musical accompaniment to the groundbreaking, visual spectacle that was cinema.

In the early 20^th century, Victorian ideals of cosmetics were limited to toiletries and powders for the everyday wearer. However, once film progressed from shorts to multi-reel pictures, film actors used makeup to accentuate features that were subdued when captured on film. During the films of the early 1900s, greasepaint stage makeup in stick form was used on set. Sometimes the applied colors of makeup were unrealistic; tones of blue and green were used to define facial features as they translated to black and white film easier. Additionally, the theatrical greasepaint was heavy on the wearer and came in limited colors. Makeup artist Max Factor began to develop new formulas and applicators for stage makeup that were thinner and did not melt under the heat of film set lights.

Max Factor, or Maksymilian Faktorowicz , was a Polish Jew who emigrated from Europe with his family to escape the violent anti-Semitic attacks in Russia, called pogroms. In 1902 he and his family traveled to St. Louis to witness the World’s Fair, and they never returned home. In Europe, he had run a cosmetic shop and worked as a wigmaker and makeup artist for Russian theatrical productions and companies, such as the Imperial Russian Grand Opera and the Royal Ballet. Additionally, he had been a distributor of makeup products, especially brands such as Minor and Leichner.

In America, he changed his name and began selling cosmetics, hair goods, and greasepaint for the theatre in St. Louis. Eventually his notoriety grew, and he was beckoned out to Hollywood to contribute to film’s booming community. In 1909, Max Factor and his family moved to Los Angeles where he began working with the Pantages Theatre. He jumped on the opportunity to provide his services to the film industry. David Krajicek, a biographer of Max Factor’s great-grandson notes,

Factor took work as a makeup and hair stylist for film stars, and in 1914 he invented "Supreme Grease Paint," a face makeup that would not melt under the hot klieg lights on film sets. (Krajicek, 1)

It was this first innovation of efficient makeup made the progression of filming much smoother, as makeup touch ups became left frequent due to it’s hearty consistency.

During Hollywood’s early years, studios did not have a ‘makeup department,’ and most actors were responsible for having their own makeup artist. Max Factor became an invaluable resource, as he was a talented makeup artist, wig stylist, and provided new makeup products to stars.

His first contribution to film makeup innovation was his own version of greasepaint. Max Factor modified and improved the formula of stick stage makeup; he created a thinner consistency to the makeup, which ensured a smoother application and required less. Secondly, he made more shade varieties than any other brand of theatrical makeup. He offered twelve shades of measured skin tone varieties that came in tubes. Called ‘Supreme Greasepaint,’ the new cream formula was packaged nicely in metal foil tubes that could crease, which would waste less of the product and prevent it from drying out the way earlier makeup did.

In the 1910s, Max Factor was working along with his sons to further develop new makeup. They had opened a Max Factor beauty salon where they served clientele and sold products, and he continually worked on set for major motion pictures. Max served as a makeup artist, hair stylist, wig stylist, and conceptual designer for the stars. His notoriety grew exponentially in Hollywood, and he was the personal makeup artist of practically every major star. Bette Davis, Clara Bow, Jean Harlow, Ginger Rogers, Rita Hayworth, Judy Garland, Mary Pickford, Joan Crawford, Rudolph Valentino and Ben Turpin were just a few of his celebrity clientele.

Some of Max Factor’s wig contributions for film were Lucille Ball’s red wig, toupees for John Wayne and Frank Sinatra, Glinda the Good Witch’s blonde wig in ‘The Wizard of Oz’, and a wig for Marlene Dietrich that was covered in 20 karat gold flakes. His conceptual stylistic work was responsible for the ‘cupid’s bow’ lip shape on Clara Bow, Joan Crawford’s full lips, and Jean Harlow’s platinum blonde hair, as he created these ‘looks’ for each star to give each a unique image. He invented products such as stick-form wax mascara for Clara Bow and human hair false eyelashes for Phyllis Haver. The Biography Channel elaborates:

He had improvised a new alternative to dye greasepaint, which he thought looked dreadful and ‘terrifying’ on the screen. He formed flexible greasepaint, which was the first make-up created for film. It helped make actresses look more natural in close up.

Creating false eyelashes, the eyebrow pencil, lip-gloss, and pancake makeup, Factor created a whole new language for screen cosmetics.

(Biography Channel, 1)

Until Max Factor, no other makeup artist or film professional had invested in new makeup technology. Additionally, no one else had invested so much in the appearance of the Hollywood actors.

What assisted in designing makeup looks for Hollywood clients were many more improvements to makeup. In 1914, Max Factor invented lip-gloss. In 1916 he added eyeliner pencil and eye shadow to his collection, and he further improved stage makeup with his line of ‘Color Harmony’ makeup that he developed in 1918. With more varieties of makeup shades than his line of 1914, he could now custom blend shades that would flatter the skin tone of all his patrons.

Another one of Max Factor’s contribution to film makeup was coining the expression ‘makeup.’ His son, Frank Factor (who later changed his name to Max Factor Jr.), joined his father in business in 1918, and in 1920 had suggested they change the expression from ‘to-make-up’ to ‘make-up.’ The reason for this was that cosmetics were still not considered appropriate for public use and wear. There were still negative connotations to makeup and ‘paint,’ but Factor and his sons pushed to alter the terminology with the hopes that their products would be feminine and beautifying like the creams and powders on the market. It was in the 1920s when cosmetic companies began developing makeup for women’s everyday wear that Max Factor himself developed a line of makeup for public consumption called ‘Society Make-Up.’ Promoted with the idea that every woman deserved to look like a movie star, it was the first product to be released on the market with the name ‘make-up.’ Mary Tannen of the New York Times explains how Max Factor helped improve the perception of makeup use off-screen:

In 1920, Max Factor introduced Society Make-Up, the first time the word makeup was used instead of the euphemism, cosmetics. Makeup was associated with the stage, and other manufacturers had long felt that women of polite society would not want to be taken for actresses. The Factors reasoned that every woman should desire to look like a movie star, and so would embrace the term. Max Factor later used the advertising slogan: ''The Make-up for the Stars -- and You.'' (Tannen, 1)

Thus, the painted woman had become idolized instead of criticized, and makeup had become glamorous thanks to Max Factor.

Max Factor and his sons continued to make advancements in film makeup throughout the 1920s. In 1922, Max Factor made the decisions to push sales of his own makeup at his salon and film studios. Previously he had sold a variety of other brands along with his own makeup. For example, he had been a seller of a German stage makeup brand called Leichner for many decades. The story goes that he and his wife stopped by the Leichner makeup headquarters in Germany while on vacation, yet he was never acknowledged and was left waiting in reception for hours. As a result, he wired a telegram to his sons back in California to push the sales of their tube cream makeup; they did not cease to sell Leichner brand but simply stopped promoting the other brands. In a short amount of time, the Max Factor brand became the most popular brand in the Hollywood entertainment community, and the other stage makeup brands felt the effect. This upped the standard of makeup quality in the film industry from then on, and it was Max Factor’s company that was looked to when an improvement was needed.

Improvements were made in 1926 for a film called Mare Nostrum when Max and his sons developed a formula of waterproof makeup. In the late 1920s, sound came to the cinema, and as a result, there were changes in types of lights and film used when making motion pictures. For example, Tungsten brand lights ran quieter than older, nosier models, yet their bulbs glowed with more heat intensity. Additionally, upgrades to panchromatic film (a more sensitive type of film than orthochromatic) gave actors the appearance of darker skin tones. Thus, Max and his sons had to develop a new form of makeup that could withstand the hotter temperatures of the lights, along with shades that would give actors a realistic skin tone.

Technicolor arrived in the 1930s, and the Panchromatic brand makeup did not mix well with color films. The residual shine of Panchromatic makeup resulted in a slight color reflection from nearby set objects, and actors insisted on a new formula or they would not appear in colored films. Frank Factor was responsible for the creation of ‘Pan Cake’ makeup, and after two years work experimenting with a new formula he created a makeup with a matte finish for the camera. Produced in small tin pans, Pan Cake makeup was activated by a wet sponge and easily applied in thin layers on the face. The first film it was featured in was Vogues of 1938, and when enough makeup was produced to market to the national consumer, it became the fastest selling makeup in history. Perfume historians at Lightyears Inc. attribute Max Factor with the development of pancake makeup:

The company continued to innovate, being the first to develop makeup suitable for the new color films. In 1937, the year before Max died, a patent was obtained for the Max Factor "Pan-Cake Makeup". (The "pan" because it was originally sold in a small pan.) In 1938, the year of Max Factor's death, the new makeup made its appearance in Hollywood films. (PerfumeProjects, 1)

This was a significant innovation in film makeup, and it is the very pancake makeup that theatre actors use today that is descended from Max Factor’s matte, heat-resistant ‘Pan-Cake Makeup.’

Max Factor passed away in 1938, and his sons carried on with the business. Frank Factor took the name Max Factor Jr., and along with his brothers, they continued makeup innovations into the 1940s. A lipstick with color-stay and smudge-proof qualities was produced in 1939. To test its capabilities on set, the brothers developed a ‘kissing machine’ that featured a pair of rubber lips whose ten pounds of pressure would stamp out lipstick kisses. Named ‘Tru-Color’ lipstick, it was brought to the screen and mass marketed to the public in 1940. Patented in 1947 and released in 1948, a non-greasy stick form of Max Factor’s Pan Cake makeup was purchased by film stars and consumers alike. The name Max Factor has carried through decades of film and generations of makeup clientele; even today a wand of Max Factor mascara holds tribute to their makeup contributions in the film industry.

Another notable force of the Hollywood makeup industry was the Westmore family. Patriarch and first of the famous Westmores was George Westmore, an Englishman from Kent who, along with his wife Ada, had nineteen children, six of whom carried on to be Hollywood makeup artists themselves. George Westmore’s life and career paralleled that of Max Factor in a few ways; he was also an immigrant, wigmaker, and hairdresser from the Isle of White, who emigrated to the United States around a similar time. First through Canada, then Philadelphia, New Orleans, Texas and finally California, and along with his sons, they had hand-built all of their salons in each state.

After arriving in Hollywood they set up a new salon and subsequently found work in the silent film industry. Their notoriety first began when George’s son, Perc, helped recreate part of a moustache that actor Adolphe Menjou accidentally shaved off. The film’s production company was in awe of the Westmore’s wig talents, and from then on they had all of their hairpieces and wigs supplied by the Westmore family. There was no makeup department established in any of the studios of Hollywood at the time. Therefore, actors were responsible for procuring help preparing for the camera. It was in 1917 that Metro Pictures first set up its hair and makeup department, largely because of George Westmore and his sons. Marvin Westmore, George’s grandson explains:

My grandfather got involved in a couple of projects where he could see that there needed to be a unification of actions, a department so to speak, to take care of makeup and hair. He was instrumental in establishing the first makeup department. My grandfather got his sons involved in the studios working at a very young age. I have some advertisements dating back to 1926 showing Perc and Ern doing wigmaking for the industry. (Westmore, 1)

While Max Factor promoted his makeup innovations with celebrity associations, it was the Westmore family who single handedly helped assemble departments in which the makeup and hair artists could work in the film industry.

Eventually, each of George Westmore’s sons went on to become the head of makeup departments for major studios. Perc Westmore spent over twenty years at Warner Brothers and worked on films such as Casablanca, The Maltese Falcon, and The Big Sleep. His makeup career began in 1921 and carried on until 1971. Wally Westmore was employed at Paramount studios for forty years and oversaw makeup in films such as Dr. Jekyll and Mr. Hyde, Hold Back The Dawn, The Great Gatsby, and numerous Alfred Hitchcock films. Of his brothers, he by far had the most extensive makeup career, which includes hundreds of films from 1931 to 1970. Wally designed the false teeth and full facial makeup of Mr. Hyde. His makeup transformations gained him prestige and praise in the film community; especially considering it was his first film.

Mont Westmore, who worked on notable films such as Gone With the Wind, 1932s Scarface, and Alfred Hitchcock’s 1940s film Rebecca, was mostly a freelance makeup artist whose supervision went mostly unaccredited. Bud Westmore began working for Universal Studios in 1938 and continued on until 1973 with his last film Soylent Green. He was best known for his Abbott and Costello films, The Glenn Miller Story, and his achievements in The Creature from the Black Lagoon. Frank Westmore was the youngest of George’s six sons, who began working on films in 1948. Notable films Frank worked on were The Amazing Mr. X, The Ten Commandments, and Shenandoah. His career continued on until he passed away in 1985. The shortest career of them all was in fact Ern Westmore’s, who worked in film from 1926 to 1937. His involvement in films was both as a B-movie actor and makeup artist. He was the only of his brothers to win an Academy Award for his makeup work (in 1931) before the category was invented in 1981. He struggled with alcoholism, and like his father, grappled with slipping mental health. Their father, George Westmore, who worked on eleven films such as The Three Musketeers, Robin Hood, and The Thief of Baghdad before committing suicide by poisoning himself with mercury in 1931.

The Westmore family’s contribution to the makeup industry of Hollywood is immeasurable, as their mark has been left throughout history. Most of their descendants have gone on to work in the film industry, many of them makeup artists themselves. Their legacy is marked in Los Angeles with their name adorned on studio lots, sidewalk stars, museums, and the Westmore Academy of Makeup in Burbank California. In Frank Westmore’s book, The Westmores of Hollywood, he notes on his family’s legacy:

At one time or another, a Westmore headed up the makeup departments at Paramount, Universal, Warner Brothers, RKO, 20th Century-Fox, Selznick, Eagle-Lion, First National, and a dozen other movie lots that once flourished in the industry. The Westmores' artistry in creating ingenious horror and aging makeups helped change the movies from make-believe to a realistic medium. (Westmore, 15)

The Westmore family set the precedent for the future of fantasy and specialized makeup in film, as they had their hand in every major studio in Hollywood and met the challenges that each new film project.

When examining the makeup of early Hollywood, you cannot ignore the name of a prominent actor and talented makeup artist named Lon Chaney. Known as early film’s greatest character actor and ‘Man of a Thousand Faces,’ he was also responsible for creating the faces of memorable characters such as Quasimodo in 1923s Hunchback of Notre Dame and the Phantom in the 1925 version of Phantom of the Opera.

Born in 1883 in Colorado Springs to deaf parents, Lon Chaney excelled in pantomime as it was used to communicate in his household. He joined the vaudeville circuit when he was nineteen, then after marriage to Cleva Creighton in 1905 the birth of his son in 1906 (who could become the infamous Lon Chaney Jr.), the Chaney family moved to Los Angeles, California. Lon Chaney worked mostly in the theatres of Hollywood as stage manager, choreographer, and wardrobe supervisor. A scandal involving his wife’s attempted suicide while he was onstage, his divorce from her, and remarriage to chorus girl Hazel Hasting eventually expelled him from the theatrical community.

He began working with Universal Studios in 1912 and held a five-year contract that got him bit parts, but mainly due to his uncanny hand at makeup. Using readily available materials like wax, putty, stage makeup, and elastic, he was able to compile fake prosthetics for the face and body as he created grotesque characters for the screen. Daniel O’Brien of FilmReference.com credit’s Lon as a competent makeup artist:

He always created his own makeup, working with the materials of his day— greasepaint, putty, plasto (mortician's wax), fish skin, gutta percha (natural resin), collodian (liquid elastic), and crepe hair—and conjured characters unrivalled in their horrifying effect, including his gaunt, pig-nosed, black-eyed Phantom for Phantom of the Opera (1925) and his Hunchback in The Hunchback of Notre Dame (1923), for which he constructed agonizingly heavy makeup and body harnesses. (O’Brien, 1)

Chaney was particularly innovative, as he was developing prosthetics for film before anyone else in film attempted it. There was no makeup department in film studios, and when actors were expected to complete their own makeup, Lon Chaney stepped up to the plate and then paved the way for makeup professionals to tackle special effects. Chaney was equally dedicated to the craft of makeup as he was to acting, and he carried his makeup kit with him in a leather case to film sets. His knowledge on the subject was immense, and he contributed an article to the Encyclopedia Britannica on the topic. Because Lon was the pioneer for many makeup experimentations, he also was the guinea pig to many of his own innovations, which often had detrimental effects. For example, the prosthetic he built over his right eye for his role as Quasimodo prevented seeing out of both his eyes. After weeks of filming with limited vision, it damaged his sight and left him wearing thick glasses for the rest of his life. In 1920’s The Penalty, Chaney invented his own leg harness that allowed him to strap his legs in a bent position, and achieve the movements of a crippled character by walking on his knees. It was his genius of character makeup and prosthetics that helped launch him into super stardom and named him one of early Hollywood’s best character actors.

A visual effect he was not responsible for may have exacerbated his death; while suffering from lung cancer during his 1929 shoot of Thunder, a piece of gypsum-based fake snow was lodged in his lungs and may have contributed to his passing. If he hadn’t passed away in 1930, he was slated to continue on in notable films and create monsters like Dracula. Actor and Chaney fan Wally Wingert clarifies how important Lon Chaney’s contributions to film were:

To this day he has yet to be topped for the sheer number of characters he created. Virtually every make-up artist in Hollywood owes a debt of gratitude to Lon Chaney for the techniques and make-up protocols he developed. (Wingert, 1).

The ‘man of a thousand faces’ created and embodies creatures beyond the imaginations of the audience, and sparked groundbreaking ideas in special effects makeup.

Though the early films of Hollywood may have lacked color or sound, we must still revere their craft, artfulness, and brilliance, as they pioneered visuals unimagined by a young technological world. In contemporary times we may take for granted the imaginations of previous generations, as we are often lost in car chases, CGI monsters, and airbrushed cleavage when we go to the movies. However, early Hollywood’s legacy is not forgotten. Whether the green face of the Wicked Witch of the West of Oz, Quasimodo’s complexion, or Clara Bow’s doll eyes, the timeless images of film’s beginnings could not have been without the crafty eyes and hands of makeup artists such as Lon Chaney, the Westmores, and Max Factor’s family.

Bibliography

"About Max Factor." Max Factor Website. Procter & Gamble, 2011. Web. 14 Dec 2011. http://www.maxfactor.se/uk/about/aboutmax.htm

Basten, Fred E. Max Factor, The Man Who Changed The Faces Of The World. New York: Arcade Publishing, 2012. Print.

Bennett, James. "Cosmetics Timeline." Cosmeticsandskin.com. Cosmeticsandskin.com, 2011. Web. 14 Dec 2011.

Blank, Michael F. DigitalBits.com. Interview. The Man Behind the Man of 1,000 Faces

A Conversation with Lon Chaney historian Michael F. Blake.Digitalbits.com, 28 Jun 2000. 1. Web. http://www.digitalbits.com/articles/blake/blakeinterview.html

Corson, Richard. Fashions in Makeup: From Ancient to Modern Times. 3rd. New York: Peter Owen Ltd, 2004. Print.

Custer, Katie. "George Westmore Research Library and Museum." Old Hollywood Glamour. Blogger.com, 17 Sep 2007. Web. 14 Dec. 2011. http://oldhollywoodglamour.blogspot.com/2007/09/george-westmore-research-library-museum.html

Hernandez, Gabriela. Classic Beauty, The History Of Makeup. Atglen, PA: Schiffer Publishing Ltd, 2013. Print.

Kirchheimer, Sara. "History of Max Factor." eHow.com. Demand Media, 1999-2011. Web. 14 Dec 2011.

Krajicek, David. "Max Factor 'Heir'." TruTV.com Crime Library. TruTv.com, Aug 2011. Web. 12 Dec 2011. http://www.trutv.com/library/crime/criminal_mind/sexual_assault/andrew_luster/2.html

"Lon Chaney Biography." Internet Movie Database. N.p., 2011. Web. 14 Dec 2011. http://www.imdb.com/name/nm0151606/bio

"Lon Chaney Profile." Turner Classic Movies. Turner Entertainment Networks Inc., 2011. Web. 14 Dec 2011.

"Max Factor Biography ." Bio - The Biography Channel . AETN UK, 2005-2011. Web. 12 Dec 2011. .

"Max Factor." Perfume Projects. Lightyears, Inc., 2005-2011. Web. 14 Dec 2011. http://www.perfumeprojects.com/museum/marketers/Max_Factor.shtml

Peiss, Kathy. Hope in a Jar: The Making of America's Beauty Culture. New York: Henry Holt and Company Inc., 1998. 6-255. Print.

O'Brien, Daniel. "Makeup History." FilmReference.com . Advameg Inc., 2011. Web. 14 Dec 2011. < http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Makeup-HISTORY.html

O'Brien, Daniel. "The Westmore Family." FilmReference.com . Advameg Inc., 2011. Web. 14 Dec 2011. http://www.filmreference.com/Writers-and-Production-Artists-Vi-Win/The-Westmore-Family.html

Tannen, Mary. "The Man Who Made the Faces Up." New York Times [New York] 29 Dec 1996, Magazine. Web. 12 Dec. 2011. .

Wayne, Gary. "Max Factor Museum." Seeing-stars.com. Seeing-Stars.com, 2011. Web. 14 Dec 2011.

Westmore, Frank. The Westmores of Hollywood. 1st. Philadelphia: Lippincott, 1976. 15-17. Print.

Westmore, Marvin. Makeup Mania Blog. Interview. Makeup Mania, 2010. 1. Web.

Willett, Julie. The American Beauty Industry Encyclopedia. New York: Greenwood Pub Group, 2010. 191. eBook.

Wally, Wingert. "Inside the Chaney Room." Wally On The Web. Wallyontheweb.com, 2011. Web. 14 Dec 2011.

PAPER IS DONE. YAY

So I finished a 12 page paper on Max Factor and his sons, the Westmore family, and Lon Chaney. They are 3 great pioneers of makeup in early Holly wood.

Westmore brothers:


Max Factor:


Lon Chaney:


I'm getting help editing them, and I hope to turn it in before the end of the semester on December 23rd.

I used a ton of sources for this paper!!

Bibliography

"About Max Factor." Max Factor Website. Procter & Gamble, 2011. Web. 14 Dec 2011. http://www.maxfactor.se/uk/about/aboutmax.htm

Basten, Fred E. Max Factor, The Man Who Changed The Faces Of The World. New York: Arcade Publishing, 2012. Print.

Bennett, James. "Cosmetics Timeline." Cosmeticsandskin.com. Cosmeticsandskin.com, 2011. Web. 14 Dec 2011.

Blank, Michael F. DigitalBits.com. Interview. The Man Behind the Man of 1,000 Faces

A Conversation with Lon Chaney historian Michael F. Blake.Digitalbits.com, 28 Jun 2000. 1. Web. http://www.digitalbits.com/articles/blake/blakeinterview.html

Corson, Richard. Fashions in Makeup: From Ancient to Modern Times. 3rd. New York: Peter Owen Ltd, 2004. Print.

Custer, Katie. "George Westmore Research Library and Museum." Old Hollywood Glamour. Blogger.com, 17 Sep 2007. Web. 14 Dec. 2011. http://oldhollywoodglamour.blogspot.com/2007/09/george-westmore-research-library-museum.html

Hernandez, Gabriela. Classic Beauty, The History Of Makeup. Atglen, PA: Schiffer Publishing Ltd, 2013. Print.

Kirchheimer, Sara. "History of Max Factor." eHow.com. Demand Media, 1999-2011. Web. 14 Dec 2011.

Krajicek, David. "Max Factor 'Heir'." TruTV.com Crime Library. TruTv.com, Aug 2011. Web. 12 Dec 2011. http://www.trutv.com/library/crime/criminal_mind/sexual_assault/andrew_luster/2.html

"Lon Chaney Biography." Internet Movie Database. N.p., 2011. Web. 14 Dec 2011. http://www.imdb.com/name/nm0151606/bio

"Lon Chaney Profile." Turner Classic Movies. Turner Entertainment Networks Inc., 2011. Web. 14 Dec 2011.

"Max Factor Biography ." Bio - The Biography Channel . AETN UK, 2005-2011. Web. 12 Dec 2011. .

"Max Factor." Perfume Projects. Lightyears, Inc., 2005-2011. Web. 14 Dec 2011. http://www.perfumeprojects.com/museum/marketers/Max_Factor.shtml

Peiss, Kathy. Hope in a Jar: The Making of America's Beauty Culture. New York: Henry Holt and Company Inc., 1998. 6-255. Print.

O'Brien, Daniel. "Makeup History." FilmReference.com . Advameg Inc., 2011. Web. 14 Dec 2011. < http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Makeup-HISTORY.html

O'Brien, Daniel. "The Westmore Family." FilmReference.com . Advameg Inc., 2011. Web. 14 Dec 2011. http://www.filmreference.com/Writers-and-Production-Artists-Vi-Win/The-Westmore-Family.html

Tannen, Mary. "The Man Who Made the Faces Up." New York Times [New York] 29 Dec 1996, Magazine. Web. 12 Dec. 2011. .

Wayne, Gary. "Max Factor Museum." Seeing-stars.com. Seeing-Stars.com, 2011. Web. 14 Dec 2011.

Westmore, Frank. The Westmores of Hollywood. 1st. Philadelphia: Lippincott, 1976. 15-17. Print.

Westmore, Marvin. Makeup Mania Blog. Interview. Makeup Mania, 2010. 1. Web.

Willett, Julie. The American Beauty Industry Encyclopedia. New York: Greenwood Pub Group, 2010. 191. eBook.

Wally, Wingert. "Inside the Chaney Room." Wally On The Web. Wallyontheweb.com, 2011. Web. 14 Dec 2011.

Idea for the final paper

So I've been MIA from this blog, knocking out the final papers for my other two classes. Now that I'm done with those I have time to consider my final paper for this class.

I toyed around with a lot of ideas; I thought maybe about writing on Asian forms of theatrical makeup, but I had just finished a paper on Chinese Opera Makeup for another class. I considered trying to look into the history of special effects makeup in cinema, especially considering how often you see them in films and television now. I used to do that quite often in one of my jobs, so I thought that might be interesting.



However, I was concerned about finding enough resources in the limited amount of time I have.

Instead, I'm going to write a paper on makeup in early film. I want to look at makeup from the early 1900's to about 1940, talk about the developments of makeup as Hollywood grew and evolved. Additionally, I want to talk about who was making the innovations of the time, people like Max Factor, Wally Westmore and his brothers, and actor Lou Chaney.

So far for resources, I have my book on the cosmetics industry, 'Hope in a Jar'. I have my book 'Pretty: Film and the Decorative Image', and my encyclopedia on makeup 'Fashions in Makeup'. Additionally I've found a good essay on the topic, 'Casting Race: A History of Makeup Technology in the U.S. Film Industry, 1890-1940' by Jennifer H Miller. There are a few good websites that talk about Max Factor and early cinemas' makeup developments, so I may find a few suitable supplemental sources.

Paper on 'Classic Beauty: The History of Makeup'

Lani Barry

History of Make Up

Professor Hewitt

Classic Beauty: The History of Makeup

Gabriela Hernandez, a professional makeup artist and historian has compiled a vibrant and informative illustrated history of makeup. Covering a variety of topics, she begins with the origin of cosmetics, and moves on to ‘cosmetics in antiquity’. There are also separate sections dedicated to the history of adornment to the eyes, the lips, and the face. Beginning in the 1920’s, and carrying on to the media generation of the 2000’s, Hernandez devotes sections to the makeup history and trends of each decade. Finally, she concludes the book with her thoughts on beauty and leaves a glossary of terms for the reader. With a collection of cinematic stills, diagrams, and samples of makeup products, her book is a visual treat to read.

When you begin, the introduction decrees ‘beauty is in the eye of the beholder’, and that the book is a compilation of history’s perspective evolving over time. She makes sure to include political, economic, and social explanations for why cosmetics came into fashion (or why they fell out of fashion), and equally what new ideas were birthed with the developments of makeup formulas and tools. What is especially helpful is the timeline she included in the early chapters, displaying time periods in which particular civilizations made discoveries on grooming tools, body adornment, and bathing practices.

The beginning chapters on early history cover a few thousand years of progress. First the prehistoric ‘Venus’ statues are introduced, with Paleolithic ideas of beauty in fertility in a larger woman. It is also around this time when the cave paintings depicting body adornment show that early man must have used similar varieties of mineral pigments and grease to decorate. Along with body paint, creation of tools did not exclude grooming devices, and varieties of scissors and razors have been found from as early as the Bronze Age.

Found artifacts such, as mirrors and other objects of adornment, suggest that preoccupation with appearance has been present at all periods throughout history. (Hernandez, 14)

Continuing with ‘Cosmetics in Antiquity’, the sections on Ancient Egypt are full of historical information. Egyptians used a full spectrum of facial paints for decoration, most commonly red ochre, green malachite, and black kohl – which appears in every quintessential depiction of Egyptians and thick eyeliner. Along with makeup, they used a variety of perfumes and scents to adorn the body, but also protect the skin from the sun and insects. Egyptian razors, pumice stones for depilation, and sand exfoliation scrub have all been found in archeological digs, and described on ancient papyrus.

Ancient Mesopotamia developed similar cosmetic uses, also including the use of styling tools for curling hair (and beards) and hair styling products such as oil, resin, and wax. They were also one of the first civilizations to concoct hair dye from extract of leek and cassia. Unlike the Egyptians who creative ornamental jars and containers for their toiletries, remains of Mesopotamian civilizations show makeup pigments saved in shells.

Artwork in the form of vases and statues of the Ancient Greeks seem to display a more classic woman, adorned with less paint than their Egyptian or Mesopotamian counterparts. Natural beauty was prized over an overly made-up woman; writings of ancient Greek men disdainfully describe the cosmetic practices of Greek women. However, perfume, hair removing devices, rogue, elaborate hairstyles of curls, and the use of mirrors were known to Ancient Greek women, therefore appearance was still regarded as important.

Women of Rome borrowed cosmetic practices from Greece and Persia, including the darkening of eyes and brows or concocting perfumes and scents. Early use of cosmetic creams began, scented water and perfumes were prized, and Roman women began to powder their faces. Like the Greeks they used rogue, but began to create variety in shades of pinks and reds. Rogue was not just for the cheeks but for the lips as well, and to contrast the blush of youthful lips and cheeks, a concoction of vinegar with either white lead or chalk was applied to the face to pale the complexion. Beauty was serious business to the women of Rome; enough that more affluent women would enlist the help of beauty professionals.

Wealthy Roman women enlisted cosmetic artists and hair stylist to help with their beauty regimen. The cosmetic artist was called the cosmatae, and the mistress of the toilette, the ornatrix. (22)

The middle ages saw a lack in education, trade, and health practices until the Renaissance. There is little information on the cosmetic practices of the medieval era, except for Viking appreciation for tattoos and jewelry, and that the early Roman Catholic Church disregarded beauty adornment as vanity. The use of soaps, perfumes and scented water, mirrors, hair dye, and face paint gradually reappeared in the early 16^th century. Hernandez writes that blonde or auburn hair became the fashionable color for women during the time of Queen Elizabeth the first (there is speculation that the ruling Popes preferred blondes), and during this time the use of cosmetics became more acceptable. Wealthy women matted their complexion with white ceruse powder, used rogue, dyed their hair, and preferred musky scents.

Puritans did not approve of any adornment, that the use of anything other than soap was sinful and the work of the devil. Despite the ties of vanity and witchcraft, Puritan women still followed the fashion of a broad forehead and plucked their hairline and eyebrows out.

Cosmetics and makeup saw an increase in use and development in the 1700’s. Scents and smelling boxes, astringents, creams, makeup in the form of crayons, and practices of dental hygiene were acceptable to use by the wealthy classes. Royal courts were known for their extravagant hairstyles and made up courtiers, Marie Antoinette herself held a ‘public toilette’, where she’d keep company and hold conversations during her beauty regiments.

Like the Romans, a pale complexion with darkened eyebrows, rouged lips and cheeks were the beauty ideal of the 1700’s. Despite the toxic properties of lead (which was known even to the Romans), the use of lead-based facial powder was continually used, even permanently damaging the faces of individuals who used it for prolonged periods of time. The disdain for extravagance and elaborate cosmetic use returned during the French revolution, and the American colonists mocked the elaborate grooming practices of the British, using terms as ‘dandy’ or ‘macaroni’ to label a lavish dresser.

While the attainment of idyllic ‘natural beauty’ carried on into the 1800’s, toilettes further expanded with a variety of homemade concoctions, or products that began to appear on the market. Guidebooks and instruction pamphlets were published to educate women on beauty practices, and the importance of keeping up a good appearance. The overt use of paint or beautification held negative connotations, but the public demand for cosmetics only further expanded.

The Great Exhibition of 1851 held in Hyde Park, London, England, showcased rich displays of cosmetics, soaps, and fancy toiletries and created a high demand for items associated with grooming. (42)

Rogues, powders, creams, and toilette waters were advertised with catchy slogans and packaged in intriguing designs. What was once a homemade commodity, beauty regiments passed down through generations of women, the ideal face was now available in jars and boxes at druggists, stores, and salons opened by beauty entrepreneurs.

Public appearance or application of makeup remained morally questionable, until a generation of girls came of age in the 1920s. Empowered by the passing of women’s Suffrage, everything changed as the cloaks of feminine oppression were thrown off, and an appreciation for an independent modern woman took its place. Hemlines were shortened, haircuts were bobbed, cigarettes were smoked, and working women began to form their own autonomous identity. Face powder was kept on hand in ornate compacts and applied in public, Hollywood helped push the use of wax mascara, lipstick came in a twist-up tube and in a variety of colors, eye shadow was acceptable off the silver screen. The large eyes, thin eyebrows, and finger waves of the flapper girl were all the rage, and attainment of youth and beauty was no longer immoral as women began to spend more of their wages on cosmetics and fashion.

The 1920s marked the beginning of the pursuit of youth. Mature women were never again seen to be truly fashionable. Women strived to look young, for youth was now synonymous with beauty. (94)

Hernandez completed her chapter on the 1920s with a color palette of makeup shades seen during this time, and a breakdown of how a makeup artist, like Max Factor, would apply screen makeup to a film actress. Beauty icons such as Clara Bow, Josephine Baker, Louise Brooks, along with antique compacts and photos of surviving makeup samples (such as Max Factor’s cream foundation) are shown at the chapter’s end.

Despite the depression and the developments of World War Two in Europe, the 1930s continued to look to the cinema for beauty idols and fashion trends. Cosmetic availability continues to expand, and women have the option to purchase sets of facial cleansers, creams, popular perfume scents, makeup, and nail lacquer. With the introduction of color into films, the composition of makeup evolves to resemble a more realistic skin tone than ever before. The over-application of eye makeup of the flapper evolves into a polished look of lipstick, penciled-in thin eyebrows, and looser hairstyles. The use of rouge declines, but when used a cream-paste formula is preferred over powder form. Henna or mascara darkens the lashes and separates them, but does not lengthen or add volume at this time. Film actresses such as Jean Harlow, Greta Garbo, and Marlene Dietrich introduce the use and popularity of false eyelashes to the public.

The introduction of color motion pictures makes a huge impact on cosmetic sales. Women imitate the shape of the lips or eyebrows and the exact cosmetic colors seen on actresses. (107)

Photographic samples of early Maybelline Mascara, Princess Pat and Heather theatrical rouge, and Plough’s Cleansing Cream are all shown in decorative metal tins, along with a patent of Alexandre Gimonet’s invention for ridged metal tip mascara applicators. Beauty ads in magazines are now seen in full-color by the end of the 1930’s, promising love and beauty to the consumer with the purchase of a product line.

During the Second World War, rationing of supplied affected the quality and quantity of cosmetics. Despite the decline in availability of products, and a large number of women in the workforce, makeup use did not curb and Hollywood continued to lead the trends of beauty. Elaborate hairstyles of wavy hair, victory rolls, and up-dos replaced the statements of splendor and femininity a dress once did. The face was simply powdered, brows penciled, and a tube of red lipstick became iconic of wartime spirits and triumph for women.

The use of bright red lipstick has such an impact on morale for women during World War II that it has become forever linked to improving confidence and as a symbol of victory. (119)

Over pronounced lips were fashionable, and the use of rouge was kept high on the cheekbones and blended in to achieve a more natural look. Eyebrows were tweezed and penciled to arch, along with heavily applied mascara to the outer corners of the eye. Eyeliner was no longer applied daily, and eye shadow colors were kept to natural tones

After the war the cosmetic market bounced back and makeup was now available in more variety of colors and formulas than ever before. The 1950’s saw the introduction of products like waterproof mascara, liquid eyeliner, and eyelash curlers. Before the nation had needed a strong American woman, but the return to femininity was pushed by society as women were supposed to return home, marry, and start a family. Women were expected to wear makeup and keep up their appearance, as they were expected to maintain their home and family.

Technology had progressed to developing new home appliances, cars, airplanes, synthetic textiles and materials like plastic. A major influence on beauty trends was no longer film, but television. Models on TV advertisements now promoted a variety of products and makeup trends, and the achievement of subdued sexuality and sophistication was fed to women through marketing campaigns of the early 1950’s.

‘Modern’ makeup came in a variety of colors but shades of purple, blue, and frosty metallics became the most popular. Despite the importance the 1950’s woman placed on her visit to the hairdresser, home hair treatments and dye, along with curlers and hairpieces were sold to the public. Fashion evolved through the 1950’s, and as it progressed there was no longer a single look that all women attempted to achieve.

The invention of television created different types of women and the first departure from one common acceptable look for women. Women could choose to be anything from a free-spirited tomboy to a glamorous sophisticate. (130)

Thick eyebrows were fashionable during the 1950’s, and brow pencils were used to thicken and define them. Brow pencils were also used to define lips, as lip liner had not become available yet. Mascara and rogue are commonly used, eyeliner was used to extend the eye line, and ‘bow’ shaped lips with defined points on the top were fashionable in red or pink colors.

Much like the 1920s, the 1960’s saw a wave of social change. The opposition to the Vietnam war, the Civil Rights Movement, access to legal abortion and the pill, Rock and Roll, the Kennedy Presidency, the Cold War, and space exploration were all cultural factors that helped shape the trends of the 1960’s.

False lashes, fake hair-pieces, pink and peach lip colors, early bronzer powders, cream eye shadow in tubes, and body makeup came into fashion. Rouge is renamed to blush; foundations come in a variety of colors so matching skin tones became easier, eyebrows are left natural, and all the attention of the face was drawn to the eyes.

False lashes are placed on the top and bottom lashes, sometimes using several pairs on the top lash. They are coated with brown-black mascara. Later on in the decade, British model Twiggy influenced the look of lower lashes that are drawn on the skin with black pencil. (146)

The 1970’s saw the rise of feminism, and with it came an empowered natural woman who exercised, dieted, and sunbathed. Fashion trends were not confined to what came out of Paris, and individuality and self-style was prized. Makeup formulas evolved to be smoother, and botanical essences or ‘naturally derived’ cosmetics were popular. Flat-ironed hair, afros, and bobbed hair were associated with the 1970’s. Along with the promotion of individuality, the development of punk music and style rocked the 70’s. Neon colored hair, spiked Mohawks, provocative clothing, and heavy makeup was all associated with the punk music movement.

Makeup trends in the 1970’s followed the natural look. Sheer foundations were worn, and pink blushes and bronzers were applied from the cheeks into the hairline above the ears. Pink or light brown lip colors were popular on the market, and eye shadow also followed a neutral palette of light browns and peaches. Unlike the 1960s, mascara was worn lightly and did not over pronounce the eye.

If the 1970s was the era of natural, Hernandez categorized the 1980’s as ‘An Era of Excess’. Colors in fashion and makeup were bold and bright, hairstyles were bigger, and femininity was reinstalled with an era of women gaining power in the workforce.

Between the last days of the carefree disco movement and a new generation of a r ising female work force, a woman’s makeup look tended to be heavy and extreme. She became polished, put together, and powerful. Eighties makeup minimized flaws and accentuated a woman’s feminine features with bright blasts of color. (165)

Influence to culture came from all avenues of the media. Celebrities such as rock stars, models, movie stars, and fashion icons all created a variety of beauty movements. From the outlandish punk inspired looks of Madonna and Cyndi Lauper, to the athletic and tanned look of supermodels, women had access to a variety of health treatments, cosmetics, and surgical procedures to keep up with modern beauty demands.

Mascara and eye shadows come in a variety of colors (especially blue), blush and lipstick are in bold pink and red, and concealer in a tube was now available to the public. The modern woman of the 1980’s wore makeup as brash as war paint, but also demanded new formulas and improvements to makeup. Anti-aging remedies began to be advertised with makeup products, such as anti-wrinkle foundation.

Where the 1980’s was audacious in it’s color scheme, the 1990’s subdued makeup, hair, and fashion to a refined and smooth look. It was the era of Starbucks, Bill Clinton, ‘Friends’, and grunge music. Thrift store shopping, the revival of swing-era clothing, and sportswear were commonly seen. Style icons of the mainstream were Jennifer Aniston, Meg Ryan, and Winona Ryder. Raves and grunge music inspired unpolished looks of smeared makeup, multiple piercings and tattoos began to be an acceptable norm, and those straying from the preppy look preferred cargo jeans and flannel. Skinny ‘heroin chic’ models like Kate Moss replaced the once Amazonian models of the 80’s.

Youth and beauty were still prized as trends such as yoga, collagen injections, micro-dermabrasion, cellulite treatments, and a variety of diets appeared. Tan skin was fashionable, as was matte polished face was achieved with foundation and light blush, and natural shades of lipstick and unshaped eyebrows were desirable.

The neutral look of makeup prevails even though women are using more makeup to create a polished and well-defined face. (181)

When Gabriela Hernandez begins the chapter on the 2000’s, the media generation, she goes on to describe how the rise of our Internet use and the spread of knowledge revolutionize beauty trends. Eco-friendly movements and global awareness makes the public conscientious of makeup ingredients and beauty regiments. Reality TV and pop culture icons lead the way for beauty trends and fashion, but they are not corralled by a specific ideal or look. Makeup artists are now celebrities, names like Sephora and L’Occitane are household names, luxury cosmetics rise in popularity, tanning and eyebrow threading are still prevalent, and cosmetic surgery and botox are still commonplace due to media influences.

With information available to the masses, individuals now have more choices in terms of makeup variety and styles ever before. Mineral cosmetics, designer cosmetics, or pharmacy brand makeup is readily available to the contemporary woman. The trends of the Google generation are ever changing and individualistic, as Hernandez names icons like Amy Winehouse, Katy Perry, and Beyonce represent ideals of beauty to different women. The present generation of makeup and cosmetic trends cannot be so easily defined, as new technologies and spread of ideas further redefines our concept of beauty.

The last few pages of the book are dedicated to historical timelines of popular cosmetics and treatments from the 1920’s to the 2000’s. In Hernandez’s conclusion in ‘Classic Beauty’, she leaves the reader with the advice that makeup is representational of an image or identity you want to share with the world, but it doesn’t define you as a person. She hopes that the history, visuals, and information in her book helps the reader develop their own personal sense of style, and to know that they are not locked into the confines of a specific beauty standard. After all, history shows us that nothing – including beauty, is consistent.

Take time to know yourself, adapt fashion into your lifestyle, and celebrate your best qualities. Be curious, love life, and discover something new everyday. There are the keys to ultimate happiness and beauty. (218)

Citations from:

Hernandez, Gabriela. Classic Beauty, The History Of Makeup. Atglen, PA: Schiffer Publishing Ltd, 2013. Print.

Classic Beauty: The History of Makeup. The Eyes

The next section of the book Gabriela Hernandez focuses on each element of the face and how adornment and makeup practices changed over time.

The section on the eyes begins with explaining the importance of the eyes as communication tools, and how they were accentuated with various colors, styles, and trends over time. The most common since the beginning was the use of kohl. Used either as mascara or eyeliner, it was compiled out of a variety of ingredients such as lead, donkey liver, crocodile dung, malachite, galena copper, and iron manganese. Lampblack, the ashes from a candle were also turned into inexpensive kohl. Ground up and mixed with grease, the makeup was applied with fine sticks, and stored in small containers or shells.



During the 19th century, fair hair was considered a birth defect and women with light hair darkened their eyebrows and lashes with dye made of walnut hulls. When the readily available commercial cosmetics began to outnumber the use of homemade cosmetics, the early 20th century saw a change in how paint for the eyes became acceptable.

1910 saw a shift from home production of cosmetics to commercially manufactured production. A 1909 performance of the London Ballet featured the use of heavy eye shadows ans mascara, and spurred the brisk sale of these products. The upper classes favored kohl on the eyes, and eye shadow colors weer coordinated to match clothing. Gold and silver eye shadows were also introduced to use with evening wear. (Hernandez, 48)

After the first World War, mascaro, a hair dye product for men was re-branded as mascara and promoted as a darkener for eyelashes. Sold in either blocks or in crayon-like tubes, it was a waxy substance melted over flame, applied to lashes, and removed with cold cream. Silent film actresses such as Theda Bara and Clara Bow adopted the look for screen and off-screen, and it revolutionized the way the world saw eye makeup.



An eyelash curler named Kurlash was invented in 1923. Readily available and easy to use nowadays, eyelash curlers are often taken for granted. Kurlash was expensive to purchase and curling each lash-line could take up to 10 minutes.
Another invention of the 1920's was the eyebrow pencil;

The eyebrow pencil of the 1920's rose to popularity after it was improved with a new formula consisting of hydrogenated cottonseed oil. The new ingredient made the texture and its application softer and also prevented the spread of harmful bacteria. (52)

The blackened eyes of the flapper eventually fell out of fashion, and 1930s glamor icons like Greta Garbo brought in new make up trends with red lips and mascaraed eyes. Unlike Max Factor who created a wax crayon of mascara, Mabel T. L. Williams, the founder of Maybelline created it in cake form, which was readily available to the public by the 1930's.

Mascara became instilled in the beauty routines of women throughout the 1930's, and was available in cake form, crayon form, and cream form (dyed Vaseline). All forms of mascara during this period were applied with a small bristled brush. Popular brands available at the time were Max Factor (initially for film, and eventually for public consumption), Maybelline, Lash-Kote, Tattoo, Laleek Longlash, and Dorothy Gray.



The original idea for a mascara bottle was invented by Frank L. Engel Jr. in 1939, however he never received money for his patent. The liquid mascara that was popularized on the market in 1958 was Helena Rubinstein's 'MascaraMatic'. It came in a tube similar to modern mascara, and the end of the wand had a metal tip with grooves to hold product and apply to lashes. Liquid eyeliner also became available in the 1950's, because of experimentation with solvents that sped up drying time.

Still incredibly popular today, the pink and green tubes of Great Lash mascara were invented in 1971. Clear mascara was produced in 1988 by Max Factor, and during the 1990's colors, formulas, and textured were experimented with in order to create length, volume, growth, curl, and waterproof eyelashes.



False eyelashes, which were invented in 1916 by an American Film Director D.W. Griffith, were now available in many colors, with feather attachments, and crystals. Eyeshadow came in many forms of pencil, cream, and powder forms, with additional abilities to stay put all day.
Mascara brushes went from metal, to wire or plastic bristle, to silicone brushes which could hold more product and evenly distribute it as it built up layers. Formulas have changed to promote the growth of healthy lashes, and the introduction of elastic polymer to mascara preventing the breaking and flaking of traditional mascaras.

The future of eye make-up has brought a closer fusion of fashion with science, giving consumers beautiful colors while promoting healthy eyes and lashes. (63)

Works cited:

Hernandez, Gabriela. Classic Beauty, The History Of Makeup. Atglen, PA: Schiffer Publishing Ltd, 2013. Print.