BEAUTY CAMPAIGNS THROUGH THE AGES

Retro images that captured an era

More than just marketing magic and kitsch catchphrases, beauty campaigns have documented the changes in women's lives throughout the 20th century - from 1940s wartime austerity and 1950s aspiration, through to sexual liberation, equality and a more diverse attitude to beauty. We've delved into the archives to bring you this retrospective of some of our favourite beauty campaigns from times gone by.

CHANEL, 1921
Before the wide-spread use of photography, illustration was a popular form of artisitc expression. This whimsical illustration shows a flapper girl lusting after Chanel No. 5 perfume, one of the first advertising the now-iconic fragrance.

MAYBELLINE, 1930S
This 1930s advert for Maybelline products promises that women of every age can have perfect skin.

SAVAGE, 1935
A dramatic art deco image to promote Savage blusher - priced at just ten cents.

REVLON, 1950S
A glamorous campaign for liquid make-up, promising to "turn the clock back 5 years".

REVLON, 1953
Revlon's iconic Cherries in the Snow shade was launched with this advert in 1953 featuring one of the world’s first supermodels, Dorian Leigh. Its sense of fantasy, opulence and escape from everyday domesticity made the brand popular with 1950s housewives.

MAX FACTOR, 1967
Max Factor invents new words with this psychedelic lipstick campaign.

YARDLEY, 1967
Famous for her statement lashes, Twiggy became the face of Yardley's falsies.

REVLON, 1970S
Revlon's Charlie Girl is the brand's most famous perfume, launched in 1973. The fragrance personified the independent woman of the 1970s, and the advert was the first perfume ad to feature a woman wearing trousers.
http://www.stylist.co.uk/resource/cache/binary/86c67b5f8669d8d2799e9da15ea0d214/350x500_Ad_2.jpg?m=1307115550

CHANEL, 1970S
Chanel has long had chic women as the face of Chanel No 5. Here Catherine Deneuve fronts the campaign - Nicole Kidman and Audrey Tautou would later follow in her footsteps.

YVES SAINT LAURENT, 1977
YSL's Opium caused a stir with its controversial name and brought accusations that brand designer Yves Saint Laurent was condoning drug use. The same perfume came under fire in the 1990s for the controversial ad with a naked Sophie Dahl.

MAYBELLINE, 1991
Supermodel Christy Turlington features in this campaign for Illegal Lashes mascara.

CHRISTIAN DIOR, 1993
An now-iconic image advertising Dior's Rouge lipstick and nail polish.

For a more detailed view of this article got to www.stylist.co.uk or pick up issue 81 of Stylist Magazine.

Women at Work

Banker Deemed Too Sexy For Her Job
Anna North — Debrahlee Lorenzana says she was fired from Citibank because her beauty was "too distracting" for her male colleagues. Her story is a disturbing example of discrimination in a male-dominated workplace — but also of girl-on-girl crime.
Working women can get caught in a double bind when it comes to proper attire, admonished on the one hand not to look too sexy and on the other not to be too dressed-down or masculine. Lorenzana's complaints about her time as a business banker at Citibank sound like a perfect illustration of this problem. The Village Voice's Elizabeth Dwoskin writes,
She was told not to wear fitted business suits. She should wear makeup because she looked sickly without it. (She had purposefully stopped wearing makeup in hopes of attracting less attention.) Once, she recalls, she came in to work without having blow-dried her hair straight-it is naturally curly-and [branch manager Craig] Fisher told a female colleague to pass on a message that she shouldn't come into work without straightening it.
She was also told, according to a lawsuit that she's filed, that "she should not wear classic high-heeled business shoes, as this purportedly drew attention to her body in a manner that was upsetting to her easily distracted male managers." But when she brought flip-flops to the office to move some heavy files, she was instructed to switch back to heels. After complaining about her treatment, Lorenzana was transferred, and then fired. She alleges that many women at Citibank dressed in a more provocative fashion, but that she was singled out "as a result of the shape of her figure." Because of the mandatory-arbitration clause in her contract (we've heard about such clauses before), her suit will go before an arbitrator, not a judge.
If Lorenzana's account is accurate, then it seems like a clear case of discrimination. It's also a reminder that holding women responsible for the way men react to their bodies is just as common in the West as it is in the Middle East. But the Voice's coverage of the story reveals another disturbing angle: the way women critique and police each other's looks. Lorenzana herself responded to her harassment by criticizing other women's attire: "If you want to talk about inappropriate clothes, go downstairs and look at some of the tellers!" In a letter to HR, she explicitly compared herself to her female coworkers, saying they "were able to wear such clothing because they were short, overweight, and they didn't draw much attention, but since I was five-foot-six, 125 pounds, with a figure, it wasn't 'appropriate.'" And describing the cultural underpinnings of her personal style, she says, "Where I'm from, women dress up — like put on makeup and do their nails — to go to the supermarket. And I'm not talking trashy, you know, like in the Heights."
It makes sense that Lorenzana would want to show she wasn't dressing less "appropriately" than other women, and since she was under attack, it's perhaps not surprising that she didn't do so in the most gracious manner. But more strange is the Voice's salacious take on the whole thing. In her opener, Dwoskin writes:
Everything about Debrahlee Lorenzana is hot. Even her name sizzles. At five-foot-six and 125 pounds, with soft eyes and flawless bronze skin, she is J.Lo curves meets Jessica Simpson rack meets Audrey Hepburn elegance-a head-turning beauty. [...] But when she got fired last summer from her job as a banker at a Citibank branch in Midtown-her bosses cited her work performance-she got even hotter.
Dwoskin closes in a similar vein, speculating that the case's arbitrator might "be too distracted by Lorenzana to focus on the evidence." Clearly she's trying to be light-hearted, but ogling Lorenzana in print the way her coworkers apparently did in life does a disservice to the seriousness of her discrimination claims. Then there are the comments. One Mary Artemis writes,
Well, I think it is time to recognize that we need to dress appropriately as women. If we dress to show off the curves, it may not be seen as conducive to business. I think it's just a mature attitude and acceptance. I, myself, as a woman, understand this.
Commenter Charmian Neary responds, ""Mary Artemis", who commented on this article, is a perfect example of the sad fact that women often are willing, even eager, participants in creating a "hostile" environment for an employee who is perceived as receiving more than her share of attention, even if that attention is unwelcome." But this argument runs perilously close to "they're just jealous." Rather than accusing commenters and coworkers alike of personal resentment, it would be more productive to ask why women, too, tend to internalize patriarchal workplace culture and all its injustices. My guess is this has less to do with coveting attention, and more to do with the feeling that playing by the boys' rules is the only way to get ahead. Neary's closing words, however, are spot-on:

If "curves" are not conducive to "business", its because "business" tends to perpetuate the primacy of men and their values — and men don't have curves. Apparently dicks are conducive to business however — as quite a few work at Citibank.

Image via Village Voice.

Make Up gets Noticed in the Boardroom

In the third of our extracts from her book, Drop Dead Brilliant, Lesley Everett discusses make-up and grooming.
It is a fact that women who wear make-up in business generally get better jobs, get promoted more quickly and get paid more. Whether we like it or not, we live in a very visual world and we get judged on appearances.
In fact, in a survey, 64 per cent of directors said that women who wore make-up look more professional and 18 per cent of directors said that women who do not wear make-up “look like they can’t be bothered to make an effort”.
Most of us love to see a perfectly made-up face, but many women still wear little if any make-up for business or stick to the same colours and techniques they have used for the past ten years.
I recommend visiting an image consultant or beauty therapist for a make-up lesson if you are stuck in a rut. Take along your make-up bag and revamp it. Make-up does have a shelf life, so if you have products that have been there for years, discard them.

How to look the business
Dress to impress. First impressions are vital in job interviews and what you wear is important, but it dosn't end at attention to sartorial detail
Cufflinks, colour and collars will get you noticed
Small touches can create a big impression
Men also need to consider make-up, which is something they should be aware of for diminishing minor skin imperfections that could be distracting. Foundation or base make-up should be considered if your skin tone is uneven or blotchy, and certainly if you are presenting under bright lights or making a TV appearance. Always apply your base after a moisturiser. Choose a colour close to your natural skin tone and you will give your skin a healthy and natural appearance.
Don’t try to create a tan with foundation, it will just look false. Try a tinted moisturiser instead if you feel you are looking a little pale. Meanwhile, concealers will diminish the appearance of blemishes and conceal dark patches around the eyes.
Men also need to pay careful attention to grooming: dark and bushy eyebrows can look intimidating if they are too thick and if they meet in the middle. Keep the area between the eyebrows clear by plucking and, if you cannot bear to do it yourself, visit a salon.
Facial hair has long been considered a potential blight on career advancement; a survey suggests that 60 per cent of businessmen without beards or moustaches feel that these features are a bad sign. Some feel that the person can’t be bothered to shave and others that they are hiding something.
Overall, remember the way that you dress is the packaging of your personal brand; whether you like it or not, you will be judged on your appearance.

Drop Dead Brilliant by Lesley Everett (McGraw-Hill)

THE TIMES THE SUNDAY TIMES TIMES+

Earl Spencer's daughter Kitty Spencer at the Royal Wedding

I'm glad I didn't miss this image in the Telegraph of Earl Spencer's daughters. In particular Kitty Spencer who I made up for the Royal Wedding. The request came at the last minute and I have to thank Ailsa Miller at Tatler for putting my name forward- How amazing to take part in getting one of the guests ready for the big day.
We met bright and early at Simon Warwick's Hair Salon and my brief so far had been along the lines of a nude colour palette to match the dress.
I prepped Kitty's beautiful skin with Shu Uemura moisturizing essence and went over with an extra layer of Vaishaly's moisturizing cream, waited for that to settle in for a few seconds, then applied Laura Mercier's oil free primer.
I evened out Kitty's skin with Givenchy's photoperfection light foundation in light gold and bobby brown's colour corrector in bisque under the eyes. Next, a light dusting of shu Uemura translucent loose powder over the T-zone and Laura Mercier's brightening powder under the eyes to set the bobby brown corrector.
To fill in the eyebrows I used Givenchy's brow & eye prisme (you can use any of the colours on either brows or eyes)and I applied Laura Mercier's metallic cream eyeshadow in Platinum all over the eye as a base. In order to redefine the eye lid and socket I applied a mix of Laura Mercier eyeshadow In gilt and one of the colours from the Givenchy Brow and eye Prisme, Laura mercier cake eyeliner in black ebony underneath and above the lash line as well as a trace of it on the bottom lashes. Next we went for Mac eyelashes to give her look for a glamorous finish. I warmed up her skin with Nars bronzer in Laguna, adding shimmer and shine on the cheeks and cheek bones with Pixi's liquid shimmer and Giorgio Armani's bronze liquid Shimmer on the apples of the cheeks.
I lined Kitty's lips with Givenchy Lip pencil No.3 & added Rose Caprice lipstick also by Givenchy.

Lloyd Simmonds beauty guru & Yves saint Laurent: Two industry giants unite

By Alexander Patino

Yves Saint Laurent is looking to switch gears with the launch of the fashion house’s radiant, carnal and powerful Rouge Pur Couture line that debuted this past June (2010). And, the appointment of Lloyd Simmonds, the brand’s new International Makeup Artist, it’s clear that YSL is taking steps to stay on the forefront of beauty.

A native of British Columbia, Simmonds was the creative mind behind the makeup for the Benetton group’s international campaigns for both fashion and beauty products for over 13 years. After his great Italian strides, Simmonds moved to Paris where he turned out over 70 covers for French Elle and other international editions of the publication.

With his artistic origins deeply rooted in the theater, Simmonds’ work has always been notably dramatic – hyperbolic in its deployment of glamour. It’s no wonder that Yves Saint Laurent, one of the fashion world’s leading voices, came around and asked him to lead the way to what beauty will mean tomorrow. Fashion Q&A met up with the top makeup expert at YSL’s New York offices and got the scoop on how the experience has been so far, his favorite fall look and what he plans to bring to a house of beauty that seems to have everything covered.
FASHION Q&A: You were just appointed Yves Saint Laurent’s International Makeup Artist this past June. How has the experience been these past
four months?
LLOYD SIMMONDS: You know it’s been a humbling experience. It’s something I’ve always dreamt about, but I didn’t realize that there were so many
people behind this brand. It’s an important brand to an entire nation – to France! It’s definitely a lot of responsibility resting on my shoulders, but I couldn’t be happier about that. Luckily for me everything that YSL stands for is what I’ve always loved about style – an exaggerated elegance.

FQA: Nicolas Ghesquiere for Balenciaga once said that each of his collections carries a horror movie leitmotif. Would you say that there is an element that has always been present in your work in these past 20 years as a makeup artist?
SIMMONDS: There is. As much as possible, I do like to have an exaggerated glamour. It’s not necessarily dark, but it’s definitely exaggerated. I like to be theatrical. If I’m working on any given magazine that theatricality can be interpreted any number of ways. Here at Yves Saint Laurent I’ll be working with
the label’s inherently extreme luxury and its extreme Parisian eroticism. I’m keeping that – there’s no way around the tenets of the line. Yves Saint Laurent has a mystical heritage and I’m looking forward to using that as a jumping off point.

FQA: Prior to your exciting appointment at YSL you were styling Benetton’s ads for over thirteen years. In other words, you’ve taken a complete
polar opposite turn and you definitely seem better suited at the French fashion house. Did you feel a certain kind of restraint during your tenure at Benetton? Do you see this as a freeing opportunity?
SIMMONDS: What I learned at Benetton was the multiplicity of both women and men. It was a huge spectrum, which I think is also very Yves Saint
Laurent. He was the first to use colored girls on the runway – and that was way, way back. And that’s what I think I can bring to YSL, the fact that I love a multicolored world. I like a world that is not just one thing.
FQA: We’re well into our autumn season now. What would you say are the major beauty trends that women should keep a close eye on?
SIMMONDS: I do love a strong lip. We do have our new Rouge Pur Couture that falls right into
that. A dark, rich lip for fall, I’ve always liked that. But I don’t think there should be any dictates. I
think all women should be free to follow their muse. The wilder, the crazier, the better.

FQA: Yves Saint Laurent had a double debut this year. Your appointment to the brand as International Makeup Artist coincided with the launch of YSL’s Rouge Pur Couture lipstick line. But word is that you will be spearheading your own cosmetics designs, including nail polishes for the brand, which are supposed to be debuting in Fall 2011. Can you give us a hint about what’s in store?
SIMMONDS: I’ve already worked on six different shades lipsticks that will be my Spring/Summer versions of this season’s Rouge Pur Couture. But my first real collection that I’ve had 100% input on will be available in stores in August and the ads for that should be out around the same time – around July or August. You’ll see that when it debuts later next year, it will be an ultimate, super statement about the richness of the Yves Saint Laurent universe.
THE BUZZ ON BEAUTY
With the holiday season approaching you may be thinking of updating your look. And, Yves Saint Laurent has all the bases covered to help you turn heads with a new line of limited edition products
that puts to rest the age of nudes and gives release to a blast of light and color. Start prepping that beauty artillery bag with the lipstick of heroines, Rouge Pur Couture and take a look at what the ultraglam French house has in store.
Palette Metallic Colorama is a face highlighter with a pearly finish that comes helps to blend away
any of your complexion’s imperfections with a pink champagne shimmer. Inspired by YSL’s limited edition Metallic Colorama collection of accessories, this dazzling finishing powder comes in a chic golden leatherette case.
A virtual magic wand in a pen, the Touche D’Or dusts the complexion with an illuminating powder.
Helping to accentuate the face’s contours and brighten the cheekbones, this incandescent sheen adds a fantastic glow to the eyes and the lips when mixed with another fun color. Make sure to dab the arches of the eyebrows and the corners of the eyes with your Touche D’Or brush to give you face an elegant brightness.
Achieve the ultimate vintage look with La Laque, a trilogy of gold shades in Yves Saint Laurent’s metallic spin on the holiday season. Another metallic colorama gem, these haute nail polishes come
in three new amazing tones: No. 139 – Aged Gold, No. 140 – Rosy Copper and No. 141 – Brilliant Silver. Apply to the very tips of the fingernail to add a little playfulness to your holiday party look.

Yves Saint Laurent Spring 2011 Libertine Make Up Collection

If you haven’t seen it yet – here is the Spring 2011 makeup collection by Yves Saint Laurent called Boheme Libertine, created by Lloyd Simmonds.
I went passed the counter yesterday and saw my wonderful friend Peter who is their account business manager. His love of colour and texture is absolutely infectious (as is mine) and I am now absolutely IN LOVE with ALL of the waterproof eye pencils. The texture is creamy and rich,the colours stay in place and you can either smudge them with your fingers or use a brush for a fool proof smoky eye or let them set.
The new eyeshadows are wonderful, wet or dry (sorry Shu Uemura- eat your heart out!!)

Fresh and bright shades for spring are always welcomed!

The star product of the collection is the highlighting powder called Pink Celebration.
There are 8 new shades of Rouge Pur Couture lipsticks and a new set of French Manicure with blue and taupe/mauve nail polishes and 3 new shades of cream blush Velvety Peach, Passion Red and Temptation Fuchsia.

Solo Eye Shadow in
No.15 Gold Leaf
No. 16 Topaz Blue
Golden Gloss in
# 41 Golden Isolence
#42 Golden Obsession
Mascara Singulier in Deep Plum

Review: Shu Uemura UV Under Base Mousse SPF17 PA++

Review: Shu Uemura UV Under Base Mousse SPF17 PA++

Women In Art

Les Saisons Russes du XXI Siecle - programme 1| Production

Les Saisons Russes du XXI Siecle - programme 1| Production

Brand Anna Wintour

'Brand Anna Wintour'
'You can make a film in Hollywood without Steven Spielberg's blessing, and you can publish software without Bill Gates's blessing, but you can't succeed in fashion without Anna's blessing.'
BY MELISSA WHITWORTH | 25 MARCH 2011

Anna Wintour's cover for WSJ Magazine.
Anna Wintour has been the undisputed queen of the $350 billion fashion industry since taking over the editorship of American Vogue in 1988.

Kate Moss and Anna Wintour are afflicted by 'shyness', says Mario Testino
She is the cover star - in a shoot by Mario Testino - of WSJ Magazine , the Wall Street Journal's glossy weekend magazine, which goes on sale tomorrow in the US. The accompanying story seeks to explain why Wintour, after all these years, is still the most powerful figure in fashion.
Anna Wintour talks exclusively to The Telegraph at New York Fashion week
R. J. Cutler, the producer of "The September Issue", tells the magazine: "You can make a film in Hollywood without Steven Spielberg's blessing, and you can publish software without Bill Gates's blessing, but you can't succeed in fashion without Anna's blessing."

Wintour transcends the boundaries of what a fashion magazine editor does. She has, for example, urged the French government to fund young designers; organised an annual night of shopping called "Fashion's Night Out" to help New York's struggling retailers through the recession; and vigorously promoted young talent - like Marc Jacobs - to the bosses of the luxury conglomerates. Jacobs took the reins at LVMH's Louis Vuitton in 1997 largely because of Wintour's tutelage.
Of finding new talent to feature in the magazine - Sean "Puff Daddy" Combs and LeBron James, the basketball star, have been a few eyebrow-raising inclusions over the years - she says: "There are people who are like beacons, and I'm in the fortunate position that I can meet such people.
Anna Wintour stars in Sean 'P Diddy' Combs' new album
"To be in Vogue means something. Not all of them become friends, but it's part of my job to get to know these people and try to understand who they are, what they are and what future they have. I won't pretend that I'm sitting here with a spreadsheet . . . 'Now it's time to reach out to LeBron James.' It's instinctive."
Jacobs says: "Her genius is picking people very astutely, whether in politics, movies, sports or fashion."
Harvey Weinstein has had a 15 year-long friendship with Wintour. "I'm a streak player, but Anna's there, good or bad," says Weinstein. "When I wasn't doing so well, Anna would throw a party and put me next to Bernard Arnault."
Samantha Cameron and Anna Wintour team up
When Baz Luhrmann was drowning in bad press before the release of "Moulin Rouge!" (which went on to win two Oscars) he sent Wintour an early, half-finished cut of the film. He says he "always listens" to what Wintour has to say.
Despite, or perhaps because of, her power, Wintour has endured years of derision and been called all sorts of unflattering nicknames - the most prevalent being "Nuclear Wintour" because of her so-called icy demeanour.
"She gets such a bad rap. She stands by the people she believes in, and if you're not one of those people, perhaps you take a different view," says Jacobs.
Once, Wintour told a press conference, "It's true, of course, that I beat all my assistants, lock them in a cupboard and don't pay them." She took the release of "The Devil Wears Prada" in her stride, showing up at the premiere of the film... wearing Prada, of course.
The storyline of "The Devil Wears Prada" centres around a failed attempt at a coup to overthrow the editor in chief, Miranda Priestley, played by Meryl Streep, and replace her with a rival French editor.
For years, there have been rumours that Wintour would be ousted at Vogue and replaced by Carine Roitfeld, the former editor of French Vogue.
S.I.Newhouse, her proprietor, tells WSJ Magazine that he never plans to replace her. "Never. I hope she's here 10 years from now, 20 years from now."