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Archive for ‘Makeup’

Beauty & Hair Tips From The 60s and 70s

By , 19 November, 2011, No Comment

Hair and makeup artist Lexi DeRock has a book helping you get the looks: Decades of Style: A Step-by-Step Hair & Makeup Guide – 60s & 70s. Plus, now through Thanksgiving, she’s giving away one copy a day! She’s also giving 50% off and free shipping to the first 50 people who ask for it!

Decades of Style

Makeup Like Marilyn

By , 8 March, 2011, 3 Comments

Promise Phan uses makeup to transform herself into Marilyn — with a little help from her wardrobe too.

Check out her other video makeup tutorials on YouTube.

How To Wear Vintage Looks Without Looking Frozen In Time (In A Bad Way)

By , 7 December, 2009, No Comment

Often I am asked “How do I dress vintage without looking cheesy?” or, “I love vintage makeup looks, but if I wear it, will I look old or out of date?” Here are a few tips to know:

Don't Be Afraid Of Going Vintage Glamour!

Don't Be Afraid Of Going Vintage Glamour!

Think structure. Think of your own bones like you would consider the bones of your home when decorating your space. In decorating, you take the style into consideration; a cozy cottage with rustic charm may not take an Eames era makeover. When trying a vintage fashion look, keep your own bones in mind. Most period dressing had a body type in mind as well as in vogue and that may not be yours. Even alterations may not make that flapper style sheath dress float over your curves as you’d like… So be as realistic about vintage fashions as you would the style and fit of contemporary ones; this is also true of vintage hairstyles and makeup. Sometimes we just can’t wear what we love and pull it off.

Don’t remain frozen in the past. Retro & vintage looks can look outdated & just plain horrible if they are beat-up & dusty looking. You wouldn’t want your home to look frozen in time (think about some of those homes you visit which have not been updated!). The easiest way is to make sure you have authentic pieces with modern support. A contemporary dress with 40’s makeup (heavy top lashes, red matte lipstick); pair antique shoes with a new suit; mix in both a vintage handbag and retro jewelry with an au courant sweater set and skirt.

Keep your clothing clean & bright so it looks like you choose it, not froze it! Never, ever wear that 1960’s poly top with a stain on it — no matter how cool and mod it is.

Makeup tips for following vintage glamour looks. Keep the color palette to colors which flatter your tones and coloring. You can follow the look or design of cosmetic application, using colors and shades you already own.

Two words commonly associated with vintage faces are pale and powdered, but remember to keep these basic make-up tips in mind:

  • Don’t go lighter in foundation as it will make you look washed out & old.
  • Remember, too much powder collects in lines & on dry skin areas (again making you look older), so keep it light &/or use a lighter weight foundation.

Dorothy Gray’s Cherry Bounce

By , 16 October, 2009, 2 Comments

In the March 27, 1950 issue of Quick Magazine (sent to me by Deanna — who continues to drag me into her snare of ephemera), an article on “Cherry Bounce,” a new color in lipstick, rouge, and nail polish from Dorothy Gray.

News of Dorothy Gray Cherry Bounce, 1950

News of Dorothy Gray Cherry Bounce, 1950

The very brief Quick article says the colors danced their way onto the fashion scene on the heels of a new dance invented by the Fred Astaire dancers.

Now dancing couples do The Cherry Bounce in store windows across the country, music publishers have translated it into sheet music and Mercury has recorded it for American’s bouncing juke boxes.

I could find very little of this dance-cum-color… A vintage ad for Dorothy Gray’s Cherry Bounce in a College of William And Mary publication, dated March 21, 1950 (link is to PDF; ad is below).

Vintage Ad For Cherry Bounce Cosmetics By Dorothy Gray

Vintage Ad For Cherry Bounce Cosmetics By Dorothy Gray

I was surprised I didn’t find anything “cherry bounce” in connection with the Fred Astaire dancers — maybe fans of Fred can turn up something about the dance? However, I was able to disc-cover that Mercury indeed did put out the Cherry Bounce recording. It was by Bobby Sherwood And His Orchestra, Mercury # 5468 (March 14, 1950)

This recording featured Kai Winding, as part of Sherwood’s orchestra; Winding would later be known for his service as Music Director for the Playboy Club — now that’s a Cherry Bounce! *wink*

Kai Winding At Playboy Club, 1966

Kai Winding At Playboy Club, 1966

If anyone has more info — especially color images of Dorothy Gray “Cherry Bounce” cosmetics, recordings of the song, copies of the sheet music, etc., please share!

Shake That Circle Skirt!

By , 28 September, 2009, No Comment

I know you’ve quite possibly been getting dizzy from all the circle skirt & Vertigo posts of late (and I promise other stuff is coming soon!), but I couldn’t help but show you this darling vintage powder compact with artwork by Hilda Terry. Look at her shake that circle skirt! (He sure is lol)

Hilda Terry Vintage Powder Compact

Hilda Terry Vintage Powder Compact

For more on Hilda Terry, visit 8HendersonPlace.com.

Dizzy For Kim Novak’s Look In Vertigo?

By , 24 September, 2009, No Comment

For all the things which ail us in Vergito, there’s one thing I and my fellow film-fashion-istas agree upon and that is being haunted by the lovely Kim Novak.

Gazing Upon Kim Novak's Beauty Gazing Upon Another Beauty In Vertigo

Gazing Upon Kim Novak's Beauty Gazing Upon Another Beauty In Vertigo

While none of us would be as creepy as Jimmy Stewart and force another woman to look just like Novak, we do all admit there would be nothing wrong with emulating Kim’s iconic look in Hitchcock’s Vertigo.

Perhaps the look that most accentuates Novak’s fair and classic beauty in a most decidedly nostalgic and dreamy way is that grey suit — yes, that grey suit that Stewart menacingly stalks and deplorably directs his new girl into wearing.

Kim Novak In Iconic Grey Suit In Vertigo

Kim Novak In Iconic Grey Suit In Vertigo

The little grey suit has it’s own story which explains why the ensemble was so suit-ed to Novak’s role as Madeleine Elster. Director Alfred Hitchcock wanted to give Madeleine’s clothing — and therefore herself — an eerie appearance. So costume designer Edith Head selected the grey suit, saying it would be “odd” for a blonde woman to be wearing all grey, as it can tend to wash a fair woman’s complexion. This, along with some other details, would have the desired, “eerie” and haunting effects.

In order for that suit, or any similarly styled grey suit in a curve-accentuating classic vintage style to really work on Novak in such a way, Novak had to be a blonde. But not just any blonde. Neither a brassy yellow or a bright and bold platinum would work; Novak’s hair would have to be a lovely ashy-blonde.

Ashy Not Brassy Blonde Novak in Vertigo

Ashy Not Brassy Blonde Novak in Vertigo

And Kim — as the sough-after lost-lover, Madeleine — has demure lady-like makeup in neutral ashy tones of taupe, grey and light peach lips. This prevailing ash-tone-wash of color is continued in Madeleine’s ensemble — her gloves, for example, are taupe, not, as her pumps are, a contrasting black.

Overall, this use of tonal-wash is much like today’s use of pastels in set & costuming to create the feel of a black and white film. The more subtle colors lend themselves to a washed-out “living in the shades and shadows of grey” look which mimics classic black and white film (save, perhaps, for the film noir style) and when applied to just one character, makes them pale by comparison in ways which draw attention and make them seem less real at the same time.

Why then would Madeleine’s shoes be black? More “eerie” and off-putting by design. Not only would black pumps seem fashion-backward in the 1950’s world of matching accessories (and therefore more “odd”), but Hitchcock had other reasons which likely mirrored, in an odd way, Novak’s personal fashion thoughts on shoes (Novak believed your shoes should “match your head,” as you’ll soon see). It is my opinion, that the black shoes are the one thing that anchor Novak in those scenes as Madeleine; they are the one thing that tether her eerie and ethereal beauty to the world — Jimmy Stewart’s world and the viewer’s.

When playing Judy, however, not all of Madeleine’s fashion and makeup tricks were used. For example, the same neutral ashen cosmetic tones may be applied when Novak’s alter-ego (or true self, Judy Barton) is forced to have a make-over — but note that Judy’s eyebrows are fuller and darker, the eye make-up still more defined, that the soft blurred and blended regal yet ethereal beauty of phantom Madeleine.

Kim Novak as Judy as Madeleine in Vertigo

Kim Novak as Judy as Madeleine in Vertigo

If you are film fashion obsessed like I am, you might enjoy this interview Kim Novak did with Stephen Rebello for The MacGuffin (2004), in which Kim discussed her Vertigo wardrobe:

SR: Costume designer Edith Head was quoted as saying that you arrived on the set with all sorts of preconceived notions about what you would and wouldn’t wear.
KN: I was always opinionated. Once we were making Vertigo, Hitchcock never questioned anything about what I was doing character-wise. Before shooting started, he sent me over to Edith Head, who showed me a set of drawings. When I saw them, the very first thing I said was, ‘I’m sorry. I don’t wear black shoes.’ When she said, ‘Alfred Hitchcock wants you to wear these shoes,’ I said, ‘I’m sure he doesn’t mind.’ I didn’t think it would matter to him what kind of shoes I wore. I had never had a director who was particular about the costumes, the way they were designed, the specific colors. The two things he wanted the most were those shoes and that gray suit. When Edith Head showed me that gray suit, I said, “Oh, my god, that looks like it would be very hard to act in. It’s very confining.’ Then, when we had the first fitting of the dress, it was even worse and I said, ‘This is so restrictive.’ She said, ‘Well, maybe you’d better talk to Alfred Hitchcock about this.’

SR: How did that conversation go?
KN: I went in and he said, ‘I understand you don’t like these black shoes.’ He asked me why and I said, ‘I tell you, black shoes always sort of make me feel I’m pulled down. I’ve always felt that your feet should be the same as the top of your head, so that you’re connected. Wearing the black shoes would make me feel as if I were disconnected.’ He heard me out. And then he said, ‘Fine. When you play the role of Judy, you will not have to wear black shoes. When you are playing Madeleine, you will wear them.’ When he put it like that — after all, he’s the director – I said, ‘OK.’

SR: How did being opinionated lead to any other disagreements between you and Hitchcock?
KN: I really wanted the chance to express myself and he allowed me that chance. It felt OK because he had heard me out. He felt my reasons weren’t good enough, they weren’t right. I just wanted to be heard as far as what I felt. So, I thought, ‘I’ll live with the grey suit.’ I also thought, ‘I’m going to use this. I can make this work for me. Because it bothers me, I’ll use it and it can help me feel like I’m having to be Madeleine, that I’m being forced to be her. I’ll have it as my energy to play against.’ It worked. That suit and those shoes were a blessing. I was constantly reminded that I was not being myself, which made it right for Madeleine. When I went out of Alfred Hitchcock’s office, I remember his wonderful smile when he said, ‘I’m so glad we had this talk.’ I think he saw that this was going to be good. He didn’t say to me, ‘Now use that,’ he allowed me to arrive at that myself.

SR: Was it your idea not to wear a bra when you played Judy.
KN: That’s right, when I played Judy, I never wore a bra. It killed me having to wear a bra as Madeleine but you had to because they had built the suit so that you had to stand very erect or you suddenly were not ‘in position.’ They made that suit very stiff. You constantly had to hold your shoulders back and stand erect. But, oh that was so perfect. That suit helped me find the tools for playing the role. It was wonderful for Judy because then I got to be without a bra and felt so good again. I just felt natural. I had on my own beige shoes and that felt good. Hitchcock said, ‘Does that feel better?’ I said, ‘Oh, yes, thank you so much.’ But then, I had to play ‘Madeleine’ again when Judy had to be made over again by Scottie into what she didn’t want to be. I could use that, again, totally for me, not just being made over into Madeleine but into Madeleine who wore that ghastly gray suit. The clothes alone were so perfect, they were everything I could want as an actress.

SR: The short haircut you usually wore in your films was copied by women all around the world. Why did Hitchcock make you wear wigs in Vertigo?
KN: That’s right, my hair was short at that time in my career and Hitchcock wanted that perfect pulled-back hair. I already hated that gray suit and then having to go through putting on that wig with a false front — again made me feel so trapped inside this person who was desperately wanting to break out of it but she was so caught up in the web of deception that she couldn’t. The fear of not being loved if she didn’t have on these clothes or wore her hair in a certain way — oh, god, she had nothing left but to kill herself in the bell tower.

The Two Faces Of Novak In Vertigo

The Two Faces Of Novak In Vertigo

Quick Beauty News, March, 1950

By , 15 September, 2009, No Comment

In the March 27, 1950 issue of Quick magazine, news about Max Factor’s latest invention:

Hand It To Max Factor

The cosmetic maker who invented pancake make-up scored another “first” with a new purse dispenser for hand-lotion ($1). This lipstick-sized container (l.) holds a week’s supply of lotion, released by a simple tap and refilled from the “World of Beauty,” another $1 container for the dressing table. (At cosmetic counters.)

Vintage Max Factor News

Vintage Max Factor News

Twilight Lips: Past Bee-Stung Lips To Vampire Sucked Ones?

By , 25 June, 2009, No Comment

Continuing on the movie themed cosmetics, there’s a new Twilight lip product to be released on July 1:

This special limited edition Lip Venom is a sneak preview of our highly anticipated Twilight Venom, debuting this Fall. Lip Venom V is not your typical DuWop venom. Instead of a gloss, Lip Venom V is a shimmering crimson lip stain suspended in a venom-laced liquid lip conditioner with a bite, and contains argan, avocado, olive oils and vitamin E.

This product should be shaken before use to represent the blending of the human and vampire worlds and applied repeatedly until lips are plumped, revitalized and the desired intensity of color has been reached.

Only a limited number of Lip Venom V have been produced. Vampires may live forever, but this offer won’t. Due to limited quantity and exclusivity of this offer, limit 2 per customer.

Twilight Lip Venom V

Twilight Lip Venom V

According to the makers, Lip Venom is a blend of essential oils (including cinnamon, wintergreen, and ginger) that cause the blood to rush to the surface of the lips, flushing and swelling them slightly.

What Makes Your Life Colorful?

By , 10 June, 2009, No Comment

What makes your life colorful? Maybelline New York and More magazine want to hear your story!

Maybe you’ve started your own business based on a personal passion, or you’re a community leader who everyone looks up to. Perhaps you dedicate your time and energy to a cause, or use art as a means of creative expression. Tell us how you exude confidence, optimism and personality while balancing a variety of roles – at home or at work – all with grace, flair and style!

Three Grand-Prize winners will:

* Star in a Maybelline New York “Colorful Life” short film

* Take a fabulous, all-expenses paid trip with a guest to New York City

* Receive a Maybelline New York Makeover by a professional make-up artist

* Meet Candace Bushnell, best-selling author of Sex and the City, at her Webisode Premiere Party and appear in a “behind-the-scenes” webisode

Ten runners-up will also be selected. Each of them will receive signed copies of each of the three newest paperback novels from Candace Bushnell (Lipstick Jungle, Trading Up, and One Fifth Avenue) and a year’s supply of Maybelline New York Color Sensational lipcolor (4 shades).

Women can enter the nationwide contest today by logging on to www.Maybelline.com/ColorfulLife and following the instructions to upload a photo & an essay of 200 words or less about “what makes your life colorful.”

The contest ends June 30, 2009. Winners will be selected by Meredith Publications and Maybelline New York.

Sparkle Lips – Literally

By , 2 June, 2009, No Comment

Deanna’s review of 1976’s Sparkle reminds me that Illusions has lip gloss named after some of their favorite films, including Sparkle, Mahogany & Dreamgirls.