Beauty And Cosmetics 1550 To 1950

The source of tremendous power and the focus of incredible devotion, throughout history notions of beauty have been integral to social life and culture. Each age has had its own standards: a gleaming white brow during the Renaissance, the black eyebrows considered charming in the early eighteenth century, and the thin lips thought desirable by Victorians. Beauty has ensured good marriages, enabled social mobility and offered fame and notoriety, and has led women – and some men – to remarkable lengths in cultivating it, from the dangerous quantities of lead applied by Elizabeth I, to the women of the 1940s and '50s, who employed face powder, lipstick and mascara to look their best during the privations of war and austerity, creating a chic appearance to which many still aspire.

Exhibiting enormous power or inspiring incredible devotion, throughout history beauty has been women's chief asset. Each age has required its own standard - a gleaming white brow during the Renaissance, the black eyebrows considered charming in the early 18th century, or the thin lips thought desirable to the Victorians. For those naturally blessed, their beauty could ensure a good marriage, offer social mobility, fame or notoriety whereas those without such obvious gifts would resort to any ends to achieve an illusion of beauty. Ours is not the only age when beauty is celebrated but also judged and quantified. From the color of the ear to the transparency of the teeth the benchmark for every aspect of beauty has been set and women - and some men - have applied themselves wholeheartedly risking their lives using poisonous chemicals, their fortunes at the risk of blackmail, or the wrath of God, to reach the desired targets. From Queen Elizabeth I who used dangerous quantities of white lead to give her complexion the illusion of a youthful lustre, to Marilyn Monroe who blended 4 shades of lipstick to emphasise her perfect pout this book will examine some of the more unusual cosmetic practices contemplated in beauty's name.

The source of tremendous power and the focus of incredible devotion, throughout history notions of beauty have been integral to social life and culture. Each age has had its own standards: a gleaming white brow during the Renaissance, the black eyebrows considered charming in the early eighteenth century, and the thin lips thought desirable by Victorians. Beauty has ensured good marriages, enabled social mobility and offered fame and notoriety, and has led women – and some men – to remarkable lengths in cultivating it, from the dangerous quantities of lead applied by Elizabeth I, to the women of the 1940s and '50s, who employed face powder, lipstick and mascara to look their best during the privations of war and austerity, creating a chic appearance to which many still aspire.

Made Up exposes the multibillion-dollar beauty industry that promotes unrealistic beauty standards through a market basket of advertising tricks, techniques, and technologies. Cosmetics magnate Charles Revson, a founder of Revlon, was quoted as saying, "In the factory, we make cosmetics. In the store, we sell hope." This pioneering entrepreneur, who built an empire on the foundation of nail polish, captured the unvarnished truth about the beauty business in a single metaphor: hope in a jar. Made Up: How the Beauty Industry Manipulates Consumers, Preys on Women’s Insecurities, and Promotes Unattainable Beauty Standards is a thorough examination of innovative, and often controversial, advertising practices used by beauty companies to persuade consumers, mainly women, to buy discretionary goods like cosmetics and scents. These approaches are clearly working: the average American woman will spend around $300,000 on facial products alone during her lifetime. This revealing book traces the evolution of the global beauty industry, discovers what makes beauty consumers tick, explores the persistence and pervasiveness of the feminine beauty ideal, and investigates the myth-making power of beauty advertising. It also examines stereotypical portrayals of women in beauty ads, looks at celebrity beauty endorsements, and dissects the “looks industry.” Made Upuncovers the reality behind an Elysian world of fantasy and romance created by beauty brands that won’t tell women the truth about beauty.

We've all had those moments. The ones where you look in the mirror and nothing feels ok. For Anita Bhagwandas, this started when she was a child and it created an enduring internal torment about her looks. We're all told that this is just part of growing up, but it stays with us, evolving as we age. The internet tells us we should love ourselves, whilst bombarding us with images of airbrushed perfection, upholding centuries-old beauty standards which we can't always see. Our beauty rituals are so often based around things we think we need to fix, grow and develop - sometimes tipping into dangerous obsession. So, what seismic shift does it take to break free from this mentality? In Ugly, Anita uncovers where these beauty standards started, unpicks why they've been perpetuated and unmasks the structures that continue to support them. From the ever-growing cosmetic surgery industry, to the hidden pitfalls of 'pretty privilege', it is time to finally break free from those limiting beauty standards, because feeling ugly should have nothing to do with how we look, and everything to do with who wants us to feel lacking.

Political philosophers from the beginning of history have articulated the significance of beauty. Allan D. Cooper argues that these writings are coded to justify patriarchal structures of power, and that each epoch of global history has reflected a paradigm of beauty that rationalizes protocols of gender performance. Patriarchy is a system of knowledge that trains men to become soldiers but is now being challenged by human rights advocates and women’s rights activists.

Taking the concept of beauty seriously, this encyclopedia examines how humanity has sought and continues to seek what is "beautiful" in a variety of cultural contexts, giving readers an understanding of how to look at beauty both intellectually and critically. Is beauty ever more than "skin deep"? Arguably yes, considering that the concept of beauty—and the pursuit of it—has shaped cultures worldwide, across every time period, and has even served to change the course of history. Studying beauty practices yields insight into social status, wealth, political ideology, religious doctrine, and gender expectations, including gender nonconformity. A truly interdisciplinary text, Beauty around the World: A Cultural Encyclopedia presents an insightful perspective on beauty that draws from philosophy, literature, sociology, anthropology, psychology, and feminist studies, giving readers a unique view of world beauty practices. This volume offers information about beauty practices from the past to the present in alphabetical entries that address terms and topics such as "beards," "dreadlocks," "Geisha," "moko tattoos," and "progressive muscularity." Readers will better comprehend how beauty shapes many social interactions in profound ways worldwide, and that the unspoken social agreements that shape ideals of attractiveness and desirability within any given culture can matter very much. The encyclopedia's entries challenge readers to consider the questions "What is beauty?" and "Why does it matter?" A comprehensive bibliography is a valuable resource for further research.

What does an art history of Instagram look like? Appreciation Post reveals how Instagram shifts long-established ways of interacting with images. Tara Ward argues Instagram is a structure of the visual, which includes not just the process of looking, but what can be seen and by whom. She examines features of Instagram use, including the effect of scrolling through images on a phone, the skill involved in taking an “Instagram-worthy” picture, and the desires created by following influencers, to explain how the constraints imposed by Instagram limit the selves that can be displayed on it. The proliferation of technical knowledge, especially among younger women, revitalizes on Instagram the myth of the masculine genius and a corresponding reinvigoration of a masculine audience for art. Ward prompts scholars of art history, gender studies, and media studies to attend to Instagram as a site of visual expression and social consequence. Through its insightful comparative analysis and acute close reading, Appreciation Post argues for art history’s value in understanding the contemporary world and the visual nature of identity today.