Women's makeup in the 18th - 19th century. Withdrawal symptoms in alcoholism treatment folk. Let's talk about the Pushkin era

At the beginning of the 19th century, in the Empire era, naturalness and simplicity were in fashion. Even the ladies tried to achieve a cosmetic effect in natural ways: if paleness was required, they drank vinegar, if blush, they ate strawberries. Even jewelry goes out of fashion for a while. It is believed that the more beautiful a woman is, the less she needs jewelry.

The whiteness and tenderness of hands during the empire era were so appreciated that they even wore gloves at night.

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Madame Recamier is a famous Parisian beauty, the most famous mistress of a literary salon in history.

Imitation of antique clothing is noticeable in the outfits. Since these dresses were made mainly of thin translucent muslin, women of fashion risked catching a cold on particularly cold days. To create spectacular draperies that beautifully outlines natural data, the ladies used a simple technique of ancient sculptors - they moistened their clothes, it is no coincidence that the death rate from pneumonia was very high in those years. The French "Magazine de Maud" in 1802 even recommended its readers to visit the Montmarthe cemetery to see how many young girls fell victim to "nude" fashion. Parisian newspapers were replete with mourning chronicles: "Madame de Noel died after the ball, at nineteen, Mademoiselle de Juinier - at eighteen, M. Chaptal - at sixteen!" In the several years of the dominance of this extravagant fashion, more women have died than in the previous 40 years.

Theresia Talien was considered "more beautiful than the Capitoline Venus" - she had such an ideal figure. She introduced the "nude" fashion. The lightest dress weighed 200 grams!

Only thanks to the Egyptian campaign of Napoleon, cashmere shawls came into fashion, which were widely popularized by the wife of the emperor, Josephine.

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In the 20s of the XIX century, the figure of a woman resembles an hourglass: rounded "swollen" sleeves, a wasp waist, a wide skirt. The corset has come into fashion. The waist should be unnatural in volume - about 55 cm. Striving for a “perfect” waist often led to tragic consequences. So, in 1859, a 23-year-old woman of fashion died after a ball due to the fact that three ribs compressed by a corset pierced her liver.

P. Delaroche. Portrait of the singer Henrietta Sontag, 1831.

For the sake of beauty, the ladies were ready to endure various inconveniences: wide brims of ladies' hats that hung over their eyes and had to move almost by touch, long and heavy hem of dresses.

In the authoritative British magazine "Lancet" in the 1820s, it was suggested that women should blame the weight of their dresses, which was about 20 kilograms, for muscle weakness, diseases of the nervous system and other ailments. Often the ladies got confused in their own skirts. Queen Victoria somehow sprained her ankle, stepping on her hem.

In the second half of the 19th century, the craving for artificiality revived. A healthy glow and tan, a strong, strong body were signs of low birth. Wasp waists, pale faces, delicacy and sophistication were considered the ideal of beauty. The laughter and tears of a secular beauty should be beautiful and graceful. Laughter should not be loud, but crumbly. When crying, you can drop no more than three or four tears and watch so as not to spoil the complexion.

Painful femininity is in fashion. We are talking about both mental illness, in which imbalance borders on insanity, Camille Claudel, the muse and student of the sculptor Auguste Rodin, can serve as a symbol of such a beauty, as well as diseases of the body, as in Marguerite Gaultier, a courtesan mortally ill with tuberculosis - the heroine of the camellia of the novel "Lady with »Alexandre Dumas.

Camille Claudel

To give the face a matte pallor, the ladies took crushed chalk three times a day (well-cleaned chalk could be obtained in pharmacies; it was impossible to use crayons intended for a card game) and drank vinegar and lemon juice, and circles under the eyes were achieved due to a special lack of sleep.

In the 18th century, make-up - both for women and men - became a whole art. Ladies used whitewash and blush, often sebum eyebrows, powdered faces and wigs. Men did not neglect tonal means and also sprinkled wigs with powder. Together with the portal "Kultura.RF" we recall how makeup changed from pre-Petrine times to the beginning of the 19th century.

Dmitry Levitsky. Portrait of Alexander Golitsyn. 1772. State Tretyakov Gallery, Moscow

Fedor Rokotov. Portrait of Catherine II. 1763. State Tretyakov Gallery, Moscow

There is little evidence that women in Russia used cosmetics even in pre-Petrine times. Some parsuns have survived - for example, a portrait of Natalya Naryshkina, mother of Peter I - and written sources. In his "Journey to Muscovy" in 1661, Austrian diplomat Augustine Meyerberg wrote about Russian women as follows: "They all rub the entire face and neck with whitewash, and add more blush to tint the cheeks and lips."... So with the reforms of Tsar Peter in Russia, European dresses became new, but blush did not in any way. They were used by both grandmothers and great-great-grandmothers of fashionistas of the 18th century. Although, of course, over time, both the means themselves and their range have changed.

In 1753, the master of ceremonies of Empress Elizabeth brought from Italy very expensive and high-quality pearl whitewash. Ladies who lacked the foreign novelty turned to young Anastasia Golitsyna: her older brother, Alexander Golitsyn, was in The Hague at that time and could send a cosmetic curiosity to St. Petersburg. Golitsyna wrote a touching letter to her brother, in which she apologized for distracting him from public service, and begged to buy and send "a pamada, which she calls pearl" and "makes great whiteness." Judging by the early portraits of Alexander Golitsyn, where he is depicted with a slight but noticeable blush, he could also use makeup. Dandies in that era often resorted to make-up - whitewash, blush - and always powdered wigs.

David Luders. Portrait of Anna Yankova. 1759. State Tretyakov Gallery, Moscow

Dmitry Levitsky. Portrait of Countess Ursula Mniszek. 1882. State Tretyakov Gallery, Moscow

Alexey Antropov. Portrait of Princess Tatiana Trubetskoy. 1761. State Tretyakov Gallery, Moscow

Fyodor Rokotov painted a portrait of Catherine II in 1762 - a year after she ascended the Russian throne. On the day Catherine got married, Empress Elizaveta Petrovna advised her not to abuse cosmetics in order to emphasize her youthful beauty. However, the future wife of Peter III was still slightly blushed: in the portrait by Rokotov, the artificial blush is clearly visible. In that era, it was impossible to do without whitewash, powder and blush, especially for ladies with a high position in society. On the one hand, cosmetics helped to hide blemishes and achieve the effect of smooth, even, radiant white skin with a bright or delicate blush. On the other hand, it was a kind of cultural code that indicated the status of a woman.

The noblewoman Elizaveta Yankova - her memoirs were recorded and published by her grandson Dmitry Blagovo - described the times of her youth, which fell on the last quarter of the 18th century: “... the powder painted everyone very much, and the women and girls, in addition, were blushed, so there were no green and yellow faces. In the morning we blushed slightly, not just hiding, but so that our faces were not too red; but in the evening, especially before the ball, it was necessary to redden a little more. Some girls wore their eyebrows and whitewashed, but this was not approved in a decent society, and it was considered necessary to wipe their face and neck with powder. ".

The whitewash of those years was detrimental to health: they added lead. And nevertheless, such a "make-up" continued to be used. There were also less harmful remedies: based on bismuth, chalk or starch, but they did not mask the shortcomings so well. Realizing that paints do not improve skin in any way, contemporaries compiled face care guides. They advised to use special rubbing and lotions before applying makeup, and wash the whitewash and blush before going to bed. If it turned out that the layer of “foundation” turned out to be too thick, one could use a special knife to scrape off the excess - this is how the artist scrapes off the excess paint from the canvas.

Ivan Vishnyakov. Portrait of Stepanida Yakovleva. 1756. State Hermitage, St. Petersburg

Fedor Rokotov. Portrait of an Unknown Woman. 1770. State Tretyakov Gallery. Moscow

The ladies also needed powder: it was used both for the face and for the hair. Countess Ursula Mnishek in the portrait by Dmitry Levitsky flaunts with a high and magnificent hairstyle in the style of the early 1780s. This could take half a kilogram of powder and even more - however, a significant part of it woke up on the floor. To powder their hair, they resorted not only to puffs, but also to blowers, and in order not to sprinkle them from head to toe, they wore a special negligee and even masks. And if the cosmetic product turned out to be more than necessary, it was cleaned off with a mild knife and a special brush. Powders - white and in various shades - were usually made from wheat flour. In the countess's portrait, she is light gray, so her hair looks gray - then it was believed that this color emphasizes the fresh complexion.

Women did not wear high hairstyles in the 18th century for so long - only in the 1770s and 80s. The rest of the time, neat styling was in vogue, as in the portrait of Princess Trubetskoy. Even more in the picture, it is not the white powdered hair that attracts attention, but the crimson cheeks: blush became the brightest cosmetic product of that time in every sense. According to Yankova's recollections, "not turning red, coming somewhere would mean making ignorance." Cinnabar, a cheaper and more harmful option, or more expensive carmine was used to make blush. Later they began to use saffron: it did not harm the skin and made it possible to create different shades, from bright red to pale pink.

Alexey Antropov. Portrait of Anastasia Izmailova. 1759. State Tretyakov Gallery, Moscow

Nikolay Argunov. Portrait of Varvara Ushakova. 1810th. Private collection

Not only noble ladies were painted. Women from merchant families and peasant women used the most primitive and inexpensive blush known since the Middle Ages - beets. In the portrait of Stepanida Yakovleva by Ivan Vishnyakov, a young woman from a merchant family is depicted in full dress. Her complexion is different from the color of her hands and, most likely, she is whitened, and her cheeks are generously rounded. Francisco de Miranda, a politician from Venezuela, who visited Russia in 1786-1787, described women from merchant families as follows: "Everyone's faces are skillfully painted, although, to tell the truth, they don't need it in the least, because nature has endowed them with a very attractive appearance.".

The cheeks of the unknown lady in the portrait of Fyodor Rokotov are in harmony with her pink dress. However, the blush was applied not only to the cheeks, but also under the eyes, so that they seemed brighter, and on the temples and near the lips. This accent color was the finishing touch to the sophisticated ladies' dressing process. Different shades were used at different times of the day. Usually, ladies were not shy about fixing their makeup in public. De Miranda wrote: “There are dressing rooms here, where ladies now and then renew the paint on their faces ... One girl diligently indulged in her occupation in front of everyone”.

In the use of blush, etiquette did not impose "age restrictions". They were used by both young girls and elderly ladies. With full make-up, artist Alexei Antropov portrayed the lady of state of Empress Elizabeth - Anastasia Naryshkina. Blush was made, as today, in various forms - in the form of a powder, which was applied with a brush, in the form of thick lipstick, or it could be small colored pieces of cloth or paper with which to rub the face.

Toward the end of the 18th century, naturalness came into fashion. Whitewash and blush gave way to naturalness. And even if the lady used makeup, she tried to ensure that it was not striking.

Vladimir Borovikovsky. Portrait of Elizaveta Alekseevna. 1795. Pavlovsk Palace Museum

However, many ladies did not abandon blush in the 19th century, when bright colors were already out of fashion. Varvara Ushakova, the wife of the Tver governor, posed for Nikolai Argunov in the 1810s, already in years, but her complexion is fresh and healthy. Mikhail Pylyaev, in his book "Wonderful Eccentrics and Originals", described many ladies, on whose cheeks "Played a blush, however, artificial, in the fashion of the past".

At the beginning of the 17th century, surprisingly enough, cosmetics were used more than in the middle. This is most likely due to the religious processes that have engulfed many European countries. For example, the Puritans in England during this period believed that cosmetics, jewelry, beautiful hair were the main signs of vanity, so they were considered sinful. This point of view is very similar to the attitude towards female beauty in the Middle Ages.

Thus, a well-known physician in Great Britain and later a philosopher, John Buluer, in his work "Anthropometamorphosis", published in 1650, describes all types of makeup and cosmetics that were used at that time in his country. He considered all these means unworthy of such a great nation, because their sources belong to non-European, and therefore, primitive cultures.

Despite the fact that in the 17th century, cosmetics were used by almost everyone, beauty still remained a fleeting phenomenon. Poor health and cosmetics containing toxic substances (lead or mercury) led to the fact that the peak of a woman's attractiveness was only 20 years old, she faded by the age of 24, and by 30 she was considered old. Imagine that in the 1600s there was no better scrub than vitriol, which is a concentrated sulfuric acid. Its use caused irreparable harm not only to the skin, but to the entire body.

A certain calm in fashion for makeup, which came at the end of the 18th century, was destined to last no more than two decades. The only thing women of that time used were hygienic soap for the face and body, as well as a drop of blush made on the basis of natural dyes. With the era of romanticism that came to replace in the 20s. The fashion for make-up was popularized in the 19th century - violent passions and emotional emotional experiences in the soul should have an imprint on the appearance. Unhealthy pallor, dark and damply shiny eyes are becoming fashionable - this is the standard of beauty of the era of romanticism.

The women started drinking vinegar and eating lemons en masse. This was done with the aim of losing weight and achieving livid skin. Women do not sleep much - with the aim of the appearance of circles under the eyes. To make the eyes shine, belladonna juice and atropine are dripped into the eyes. Dark eyeliner and eyeshadow give the look a demonic look.

But Her Majesty's fashion is changeable, and since the 50s. soreness and pallor in the image of a woman ceases to be attractive. Men are beginning to be attracted by warmth, femininity and peace in a female form. In order to meet the new standard, women have abandoned thick makeup. Women prefer to lighten the face a little with egg white, tint the cheekbones with blush - a little brighter with dark hair and lighter - with light hair, and also bring up the eyebrows with brilliantine. Never before, probably, was makeup so gentle as in the middle of the 19th century. The point of view on makeup itself has changed, as on the very word "makeup", which, having appeared a century earlier, meant in a negative sense the art of hiding imperfections. In the 19th century, the negative connotation is removed from the word, and it takes on the meaning of "means that hide facial imperfections."

A specific feature of 19th century makeup
it becomes that make-up ceases to be the privilege of only noble ladies. In connection with the device for industrial production, cosmetics becomes available even to the lower strata of society. Decent girls from poor families are introduced to the art of make-up and happily learn how to powder face, tint lips and eyeliner. But it should be noted that prostitutes in the 19th century, as at all times, always used to make up boldly: they applied a lot of powder and blush, used bright lipstick and let their eyes down with a bold black color.

At the end of the 19th century, liquid powder was invented. She perfectly hid all skin imperfections and, freezing, created the effect of a mask. Combined with a bit of blush and lipstick, it looked like a priestess's face. Men of that time simply melted in front of such mystery.

The cosmetic industry at the end of the 19th century is being promoted, and accordingly, cosmetics are also popularized. Actresses of the 19th century gladly give beauty lessons and publish recommendations and recipes on the pages of magazines on how to preserve youth and beauty. Little by little, women realize that real beauty is the art of mastering their body, feelings and voice, and certainly not a strong "make-up".

In ancient times, there was a tradition to paint teeth. It survived into the 19th century as well. The women dyed their teeth yellow to make their faces look paler.

Not only do modern women love to do beautiful make-up, but in ancient times, makeup has been a part of the culture for men and women for many years. Consider interesting facts about makeup and cosmetics of ancient times.

White geisha makeup

White makeup is a symbol of all geisha, dating back to the 8th century AD. This makeup was done on the basis of rice powder mixed with water to a pasty state. After that, the paste was applied to the face.

Egyptian makeup

There are many legends about the beauty and charm of the Egyptian queen Cleopatra. And this is not surprising, since there was a special cult of cosmetics in Egypt. Another 10,000 years. BC. The Egyptians began using scented oils to cleanse and maintain their skin. Thus, they protected the skin from the sun's rays and got rid of unpleasant odors. As oils were used: oils of chamomile, lilies, lavender, roses, myrrh, mint.

Various means were used to create multi-colored makeup:

• ocher: had yellow and red pigments;
• antimony: as a mascara for the eyes;
• burnt almonds: Used as eyeshadow and eyeliner.

Makeup in Ancient Rome

In ancient Rome, a woman's makeup depended on her social status. In general, in Rome, special attention was paid to make-up: women could not even imagine their life without cosmetics. They dyed their eyes, used chalk for skin whitening, and blush. In Rome, it was believed that a woman without makeup was like food without salt.

Manicure was also popular in Rome: nail polish was made from the blood of sheep and fat, and had a bright red hue. Chinese emperors also loved to paint their nails brightly in gold, red, black, but ordinary people could not do this.

Face makeup in the Middle Ages

In Europe, during the Middle Ages, women painted their faces white, plucked their eyebrows almost completely, or pulled out hair on their foreheads to raise their hairline higher. Beeswax-based balms were used on the lips, and a large amount of blush on the cheeks. At that time, face whitening cosmetics were very dangerous, as they were made from arsenic, vinegar and chalk.

By the way, until the 14th century, the Christian church prohibited the use of makeup, arguing that it has a satanic ritual.

Makeup during the French Revolution

To prove that life in France after the revolution began to live happily and well, the French used red blush and lipstick. Thus, people in other countries must have envied the health and joy of the French.

Beauty in Arabic

Women from the Sultan's harem paid special attention to depilation. They literally burned the hair on their bodies with a cream that consisted of a mixture of lime and orpiment, which was a byproduct of arsenic. First, the woman took a bath, then applied the cream to the skin, and then a bronze scraper was used to remove the remaining cream. If the cream is not washed off in time, it could cause severe burns.

When did the fashion for tanning appear?

Today every woman strives to have a beautiful bronze skin tone. And the famous Coco Chanel introduced the fashion for tanning. After a cruise in the Mediterranean, she appeared in the photo tanned, and since then the fashion for "chocolate skin" has only intensified.

The Baroque style appeared around 1600 in Rome and spread to most of Europe.

Fashion in Western European clothing from 1600-1650 is characterized by linen collars, an abundance of lush lace, long trains and deep necklines.

The narrow sleeves of dresses gradually widened, in the 1630s they were very voluminous and ended just below the elbow.

Men's wide-brimmed hats appeared, and breeches took the place of trousers.

In the years 1650-1700, the Baroque style of dress underwent great changes. After the end of the Thirty Years' War and the restoration of England, military influence in men's fashion was replaced by decorative exuberance, which reigned throughout the next century.

A wide silhouette with a high waist gave way to flowing lines and a low waist in clothes for both men and women. During this period, the peak of popularity also reached the wig, which was the main item of men's fashion.

For women, wide dresses were replaced by less lush dresses with a horizontal accent on the shoulders. The full and loose sleeves are longer and narrower.

Women wore a tight corset with a low cut. The dresses were decorated with lace and gold embroidery.

1. In this era, girls are increasingly attracted to cinema - actresses become role models. The reference is Mary Pickford and Lillian Gish. Their faces are framed by curly women, and their makeup makes them akin to angels (Helena Rubinstein called it Cupid's look).

2. At the same time, there is no excessive pretentiousness in the images of the 1910s, since this is the period of the First World War. Women, in the absence of belligerent men, had to keep up with everything at once - they had practically no time to take care of their long hair. And the girls cut them off.

3. Admirers of old traditions and long curls still try to make lush hairstyles, but the accelerated pace of life requires them not to bother too much about styling: fortunately, in 1910, curlers were invented - and the problem of curls disappeared. I screwed it up - and went to bed, woke up - took it off - and voila!

4. In 1913, the first mascara was released. Its name is known to us even today - MAYBELLINE. True, then it looked peculiar: in fact, it was a container with soot and coal, to which a special brush was attached.

5. Max Factor is developing by leaps and bounds - the company of Maximilian Faktorovich, an emigrant from Poland. It is she who supplies beauty products to the set of Hollywood. The main advantage of the brand's cosmetics over its competitors is that it does not crack on the face ... By the way, it was Faktorovich who was the first to sell eyeshadows, which he created on the basis of henna, inspired by the makeup of Turkish divas.

6. Maurice Levy, meanwhile, has released a roll-on lipstick encased in a metal tube and a blush.

Video French makeup of the 17th century. How to do it?

Historical makeup. The history of the development of makeup and cosmetics

The word "make-up" has French roots, and it entered the Russian language recently, just a couple of decades ago. However, the history of makeup began many centuries ago. The word "cosmetics" is of Greek origin from the word "kosmetike" and means the art of decorating. Only now, each nation had its own ideas about this art.

Initially, makeup, or rather, face painting, was used in rituals - religious and magical.

Make-up, if it could be called that then, was used for the war paint of warriors, as well as a sign of belonging to a particular caste. Therefore, he did not play a "decorating" role, but had a serious social or religious meaning. Of course, then they thought little about the decorative aspect, such a make-up - it was more important to frighten, amaze, throw into confusion a rival or enemy, inspire respect, horror, adoration, close to deification. The Nuba tribes in Sudan and the Criapo in Brazil, as well as the inhabitants of New Guinea, still have the most creative, one might say the original, makeup ritual.

Still people of the Stone Age tried to decorate their faces in various ways, making a wide variety of images on them. These were ornaments, elements of flora and fauna, symbolic designations and much more.

For example, the Maiori tribes of New Zealand were famous for their mask-like facial tattoos called "mocha". The mocha pattern was a rather complex and highly individual pattern. He performed several functions at once. This is both an indicator of merit, and a designation of social status, and a special element of decoration. The soldier with the "mocha" mask who died during the battle received special honors - his head was cut off and was carefully kept as a memory of the past. But with the unfortunate, who happened to die without such a face decoration, they were treated rather harshly. Their bodies were left to be torn apart by wild animals and birds.

But this did not last so long - women began to use makeup out of the desire to be beautiful. Since ancient times, special attention has been paid to painting the faces of women. So, the wives of the Japanese Ainu aborigines had marks on their faces, giving away their marital status, the number of children. In addition, the facial image was a sign of endurance and fertility.

The pioneers of the art of beauty were the ancient Egyptians. It was they who, inventing compositions for embalming, discovered many different medicinal and cosmetic substances that were able to correct skin imperfections, beautify the face and body. Already in the days of Nefertiti, there was a traditional makeup kit - lipstick, blush, eyeliner and eyebrow.

19th century makeup. Such amazing beauties: what tricks did the fashionistas of the 19th century use

What seems ugly today was incredibly attractive 150 years ago. Girls of the past ate chalk and glue their eyebrows from mouse skins to be the best.

Unlike their grandmothers, the European and Russian beauties of the 19th century departed from the canons of classicism with its excesses and pretentiousness in favor of naturalness and democracy. Of course, in those days the cult of luxury and splendor still prevailed, but lush dresses and huge hairstyles gradually gave way to light and airy toilets, and the makeup of the 19th century was as natural and almost invisible.

Almost the entire 19th century (starting in 1837) was marked by the Victorian era. It was a time of high aesthetic ideals, cultural upsurge and, at the same time, restraint and simplicity.
In those days, and especially in the Empire era, neatness was most appreciated in female beauty. And since the abundance of decorative cosmetics with an almost complete lack of personal hygiene led to rapid aging of the skin and various diseases, the ladies realized in time that the best way to preserve youth and health was to minimize the use of “artificial beauty”. Therefore, in the portraits of the early 19th century, it is almost impossible to find heavily painted faces.

With the advent of the era of romanticism, the fashion for unnaturally pale skin returned to fashion. But now the desired effect was achieved not at all due to a thick layer of porcelain makeup. The beauties of this era tried to avoid the sun, fearing to spoil the complexion with a tan, they wore wide-brimmed hats for this purpose. But at the same time, the complexion remained natural. The sun's rays did not even touch the hands, the whiteness of which was taken care of with particular care. Some especially fanatical ladies did not take off their gloves even while sleeping, for fear that the skin would suddenly turn black.
To give the face an "alabaster" shade, the ladies ate unlimited quantities of lemons, crushed chalk and drank vinegar on an empty stomach. Unfortunately, this affected the life expectancy of women: with a burnt stomach, few people managed to live to a ripe old age.

In general, in the era of romanticism in the circles of high society, the image of a languid, painful and deeply sensitive young lady was considered fashionable. What tricks the girls did not go to in order to achieve the desired effect! Beauties did not sleep for several nights in a row, hoping
"Get" dark circles under the eyes. And to make the eyes shine, atropine (a preparation made from an extract of nightshade plants) and fresh juice of belladonna - a poisonous plant that, if overdosed, could cause serious poisoning, were dripped into them. The pallor of the face was set off by the yellow paint with which the girls painted their teeth - already unhealthy, due to the lack of normal dental care. And all this "splendor" was completed with a black eyeliner, which was abundantly applied to the eyelids. With all this, “sable” eyebrows remained in fashion, which specially trained people skillfully made from mouse and rat skins.
Fortunately, in the middle of the 19th century, such a phantasmagoric female image lost ground. It was replaced by naturalness again. Makeup is less visible. The standard of female beauty again personified peace, tranquility and inner warmth.

Make-up in the 19th century became not only moderate, but also affordable. If earlier only ladies from high society could use cosmetics and perfumery, now, in the era of the rise of industry, blush, whitewash, lipstick and other attributes of beauty have become available to almost every girl.

The mass production of cosmetics in the second half of the 19th century was greeted by women with unprecedented enthusiasm. In big cities, workers' settlements and remote rural estates, the fair sex gradually began to master the subtleties of applying cream and powder, tinting lips and eyes. True, in the peasant environment, women practically did not use cosmetics: the difficult village life did little to contribute to the craving for preening. But all the same, no, no, and a tube of blush or an inexpensive but flirtatious powder box with a mirror will appear in the peasant girl's casket!
Oddly enough, they were especially delighted with the mass production of decorative cosmetics ... city prostitutes! And if "decent" women preferred to paint rather moderately and discreetly, then the ladies of the half-world had their own, certain rules. It was believed that the best way to attract a client and to please him was a pretentious and bright image, which was achieved with the help of a large amount of cosmetics. And if you met a person on the street of that time with brightly painted lips, a blood-red blush on her cheeks and eyelids drawn with a bluish-black pencil, you would never doubt her profession!

20th century makeup. The history of makeup: the 20s

Fashionistas of the 20s of the twentieth century could not imagine life without entertainment, champagne, cigarettes, and also did not see themselves without long strands of pearls falling on flat breasts and low-waisted dresses. The ladies were on grueling diets, devoted a lot of time to sports, and were fond of massage and beauty treatments available at that time. And all this with one goal: to make the shoulders wider, the hips, on the contrary, narrower, and the chest completely flat. The ladies tried to show all femininity in makeup. But even this "femininity" was a very sophisticated representation, as it represented the image of a femme fatale.

Charcoal for eyebrows, zinc powder, blush of only one shade, soot for eyelashes, vinegar, petroleum jelly or lard with the addition of red pigment for lips - all this was in a lady's cosmetic bag, who lived in the middle of the 19th century. Ladies of the XXI century are lucky, because in order to create an image in a historical style, it is enough to skillfully use the necessary textures and colors of modern cosmetics, and not spoil their skin with harmful components.

19th century makeup. 19th century - the century of chemical discoveries and the industrial revolution

This time completely changed the world of cosmetics. First of all, this was facilitated by a real boom in chemical discoveries. Almost every year, scientists created a new tool that meant another breakthrough in the market. For example, it was during this period that the possibilities of using hydrogen peroxide for cosmetic purposes were studied, zinc oxide began to be used in powders. An improved body cream appears with new ingredients - petroleum jelly and mineral oils, lanolin (a wax substance that is collected from the wool of sheep or other animals). Thanks to advances in physics, the first talk about sunscreens. At first, scientists believed that heat provoked sunburn. But in 1801, Johann Wilhelm Ritter from Germany discovered ultraviolet radiation. In 1820, the Englishman Edward Home struggled with the question of why people with dark skin are more resistant to ultraviolet radiation than light ones. After conducting several experiments, he was convinced of the presence of a special pigment in humans - melanin, which protected the skin from sun exposure. But in 1878, Austrian Otto Fayel studied the properties of tannin (a substance of plant origin) as a sunscreen. But he had one serious drawback - it over-stains the skin. As mentioned above, all kinds of cosmetics were made in factories. But their choice was small, and only wealthy people could afford the price. The industrial revolution and the use of steam engines not only increased the number of products created, but also made them more accessible. It was in the 19th century that full-fledged companies and brands specializing in cosmetics, perfumery and hygiene products began to appear around the world. We can say with confidence that many readers of this article have used Colgate toothpaste or Palmolive shampoo. But few people know that the Colgate company dates back to the 1800s. In 1806, on a New York street, William Colgate opened a soap and candle factory, which then expanded to a full-fledged factory in New Jersey (1820). And already in 1857, Colgate & Company was created under the leadership of the founder's son Samuel Colgate. In 1866, scented soaps were developed, several types of perfumery products. Six years later, a new trademark, Cashmere Bouquet, a perfumed toilet soap, was launched. The company gained international recognition at the turn of the century in 1900, when its soap and perfume won awards at the World Exhibition in Paris. In the 21st century, Colgate-Palmolive is a transcontinental corporation that owns several brands, including Colgate, Palmolive, Lady Speed ​​Stick, Mennen.

The style of this era is modest, delicate makeup. The girls strove for the likeness of an angel:
The skin is pale, there was practically no eye makeup, on the lips - nothing more than a vaseline sheen, bright lips - vulgarity and bad taste. Thick hair is in fashion, women of fashion transformed it into playful curls.

Notable representatives of this era: Lillian Dayana Gish (one of the first silent film stars), Mary Pickford (Theater and film actress)

A certain calm in fashion for makeup, which came at the end of the 18th century, was destined to last no more than two decades. The only thing women of that time used were hygienic soap for the face and body, as well as a drop of blush made on the basis of natural dyes. With the era of romanticism that came to replace in the 20s. The fashion for make-up was popularized in the 19th century - violent passions and emotional emotional experiences in the soul should have an imprint on the appearance. Unhealthy pallor, dark and damply shiny eyes are becoming fashionable - this is the standard of beauty of the era of romanticism.

The women started drinking vinegar and eating lemons en masse. This was done with the aim of losing weight and achieving livid skin. Women do not sleep much - with the aim of the appearance of circles under the eyes. To make the eyes shine, belladonna juice and atropine are dripped into the eyes. Dark eyeliner and eyeshadow give the look a demonic look.

But Her Majesty's fashion is changeable, and since the 50s. soreness and pallor in the image of a woman ceases to be attractive. Men are beginning to be attracted by warmth, femininity and peace in a female form. In order to meet the new standard, women have abandoned thick makeup. Women prefer to lighten the face a little with egg white, tint the cheekbones with blush - a little brighter with dark hair and lighter - with light hair, and also bring up the eyebrows with brilliantine. Never before, probably, was makeup so gentle as in the middle of the 19th century. The point of view on makeup itself has changed, as on the very word "makeup", which, having appeared a century earlier, meant in a negative sense the art of hiding imperfections. In the 19th century, the negative connotation is removed from the word, and it takes on the meaning of "means that hide facial imperfections."

A specific feature of 19th century makeup
it becomes that make-up ceases to be the privilege of only noble ladies. In connection with the device for industrial production, cosmetics becomes available even to the lower strata of society. Decent girls from poor families are introduced to the art of make-up and happily learn how to powder face, tint lips and eyeliner. But it should be noted that prostitutes in the 19th century, as at all times, always used to make up boldly: they applied a lot of powder and blush, used bright lipstick and let their eyes down with a bold black color.

At the end of the 19th century, liquid powder was invented. She perfectly hid all skin imperfections and, freezing, created the effect of a mask. Combined with a bit of blush and lipstick, it looked like a priestess's face. Men of that time simply melted in front of such mystery.

The cosmetic industry at the end of the 19th century is being promoted, and accordingly, cosmetics are also popularized. Actresses of the 19th century gladly give beauty lessons and publish recommendations and recipes on the pages of magazines on how to preserve youth and beauty. Little by little, women realize that real beauty is the art of mastering their body, feelings and voice, and certainly not a strong "make-up".

In ancient times, there was a tradition to paint teeth. It survived into the 19th century as well. The women dyed their teeth yellow to make their faces look paler.

At the beginning of the 19th century, in the Empire era, naturalness and simplicity were in fashion. Even the ladies tried to achieve a cosmetic effect in natural ways: if paleness was required, they drank vinegar, if blush, they ate strawberries. Even jewelry goes out of fashion for a while. It is believed that the more beautiful a woman is, the less she needs jewelry.

The whiteness and tenderness of hands during the empire era were so appreciated that they even wore gloves at night.

* if you want a beautiful natural makeup without a mask effect, with an ideal tone coverage that lasts for at least 8 hours, then be sure this course is especially for you ...

Madame Recamier is a famous Parisian beauty, the most famous mistress of a literary salon in history.

Imitation of antique clothing is noticeable in the outfits. Since these dresses were made mainly of thin translucent muslin, women of fashion risked catching a cold on particularly cold days. To create spectacular draperies that beautifully outlines natural data, the ladies used a simple technique of ancient sculptors - they moistened their clothes, it is no coincidence that the death rate from pneumonia was very high in those years. The French "Magazine de Maud" in 1802 even recommended its readers to visit the Montmarthe cemetery to see how many young girls fell victim to "nude" fashion. Parisian newspapers were replete with mourning chronicles: "Madame de Noel died after the ball, at nineteen, Mademoiselle de Juinier - at eighteen, M. Chaptal - at sixteen!" In the several years of the dominance of this extravagant fashion, more women have died than in the previous 40 years.

Theresia Talien was considered "more beautiful than the Capitoline Venus" - she had such an ideal figure. She introduced the "nude" fashion. The lightest dress weighed 200 grams!

Only thanks to the Egyptian campaign of Napoleon, cashmere shawls came into fashion, which were widely popularized by the wife of the emperor, Josephine.

In the 20s of the XIX century, the figure of a woman resembles an hourglass: rounded "swollen" sleeves, a wasp waist, a wide skirt. The corset has come into fashion. The waist should be unnatural in volume - about 55 cm. Striving for a “perfect” waist often led to tragic consequences. So, in 1859, a 23-year-old woman of fashion died after a ball due to the fact that three ribs compressed by a corset pierced her liver.

P. Delaroche. Portrait of the singer Henrietta Sontag, 1831.

For the sake of beauty, the ladies were ready to endure various inconveniences: wide brims of ladies' hats that hung over their eyes and had to move almost by touch, long and heavy hem of dresses.

In the authoritative British magazine "Lancet" in the 1820s, it was suggested that women should blame the weight of their dresses, which was about 20 kilograms, for muscle weakness, diseases of the nervous system and other ailments. Often the ladies got confused in their own skirts. Queen Victoria somehow sprained her ankle, stepping on her hem.

In the second half of the 19th century, the craving for artificiality revived. A healthy glow and tan, a strong, strong body were signs of low birth. Wasp waists, pale faces, delicacy and sophistication were considered the ideal of beauty. The laughter and tears of a secular beauty should be beautiful and graceful. Laughter should not be loud, but crumbly. When crying, you can drop no more than three or four tears and watch so as not to spoil the complexion.

Painful femininity is in fashion. We are talking about both mental illness, in which imbalance borders on insanity, Camille Claudel, the muse and student of the sculptor Auguste Rodin, can serve as a symbol of such a beauty, as well as diseases of the body, as in Marguerite Gaultier, a courtesan mortally ill with tuberculosis - the heroine of the camellia of the novel "Lady with »Alexandre Dumas.

Camille Claudel

To give the face a matte pallor, the ladies took crushed chalk three times a day (well-cleaned chalk could be obtained in pharmacies; it was impossible to use crayons intended for a card game) and drank vinegar and lemon juice, and circles under the eyes were achieved due to a special lack of sleep.

15th century makeup. Medieval makeup

From the eastern countries, passing Greece and Rome, the art of make-up gradually penetrated into European countries, where from century to century the point of view on makeup changed at lightning speed. In the Middle Ages, when everything bodily was revered for sin and "devilish thoughts", women were not considered women, blaming them for the sin of the ancestor Eve, and all the manifestations of make-up were persecuted. Simplicity, bashfulness and modesty were considered the main virtues.

Medieval makeup

3rd to 5th century AD NS. rituals of bathing, cleansing, applying to the body and face of any cosmetics are declared by the holy fathers as sinful, and European society condemns not only any thorough care, but even the simplest bathing of the body. They try to clog the stench of a dirty body with incense, for example, tying pads with fragrant herbs under the armpits in order to drown out the smell of sweat. Any decorative cosmetics for the face - whitewash and blush - become a symbol of debauchery and the Fall.

But no matter how the Holy Church condemned cosmetics, no matter how it prohibited it, and no matter what persecutions it suited, women's interest was never subdued. And by the end of the 9th century, in the Italian town of Capua, near Naples, the manufacture and sale of cosmetics was quite firmly established. The Italians produced all kinds of rubbing, whitewash and blush, lipstick, incense and aromatic compounds.

From Italy, the make-up fashion gradually penetrated into France. In 1190, the King of France, developing incentive decrees, decreed the privilege of sellers of perfumes, fragrant water and soap, powder, whitewash and cleaning ointments. Women suffering from diseases, having defects on their faces, happily began to acquire and use decorative cosmetics, and after them all the beauties of Europe began to apply makeup on their faces.

In the era of the cult of the immortality of the human soul, a spiritualized gaze was very valuable. To achieve this effect, women began to drip poisonous belladonna juice into their eyes. He made the pupils larger, and the eyes became dark and shiny. But when they learned that the frequent use of belladonna is very harmful, women of fashion began to use chrysanthemum tinctures for the same purposes.

Little attention was paid to hair. They were hidden under a veil and shaved off on their foreheads to make it bigger and to make them look like a full moon. The forehead hair removal procedure was extremely painful - a mixture of quicklime and pigment was applied to the hair and removed. After that, the "bald" area of ​​the skin was smeared with fresh frog blood, the juice of the cicuta plant, or ash soaked in vinegar - it was believed that this way hair growth would slow down.

According to the postulates of the early Middle Ages, eyebrows should be black, arched and thin, like a thread. This fashion was soon replaced by another trend - eyelessness. An example of such a fashion is the legendary image of the Mona Lisa.

Than they were painted in the 18th century. How did girls in Russia use makeup before !?

This is how a Russian coquette of the 18th century is described in the collection “Bee”: “She adorns herself smartly, puts on nice sandals and plucks her shoes, and makes her perfume, both her face and neck (neck) with bathtubs (paint) and blackness in her hair. paints ". Women in Russia loved to blush and blush, but very ineptly: Being beautiful by nature, they absolutely distorted their faces. For example, they applied such an amount of paint to their cheeks that (according to the German traveler Olearius) it sometimes seemed as if someone had painted them with a brush. Women painted their hands and necks with blue, white and brown dyes, antimony their eyebrows and eyelashes, while doing this in the most ugly way: they inked light ones and whitened black eyebrows. Princess Cherkasskaya was a very beautiful woman by nature and did not want to paint and blush, but she was forced to submit to the general custom so as not to be ridiculed. The Church tried to rebel against this custom, but in vain. Women of the boyar class were en masse in cosmetics - they not only darkened their eyebrows, applied blush and whitewash on their faces, but also painted their teeth. In all likelihood, buffoons and buffoons got the most of all - they painted themselves not only with whitewash and paints, but even with soot. The biggest proponents of cosmetics in Russia at that time were probably the Tatars. They painted eyelashes, eyebrows, lips, blushed, painted their nails with henna, etc. According to one of the Russian travelers, the girls and women of the Tatars looked like “painted dolls”, which in reality were much more beautiful.

Starting in the 17th century, France became the idol of the Russian nobility and for almost three centuries determined the rules of good taste, fashion and cosmetics, not only for crowned heads, but also for the provincial nobility.

In the 18th century, St. Petersburg already had its own cosmetic shop of merchant Danilov, where one could even purchase the so-called "air device" for spraying with perfume.

The use of cosmetics was mainly the lot of the nobility, while the common people used herbs for both medical and cosmetic purposes. In Russia, for a long time, great attention was paid to the observance of cleanliness and tidiness. The inhabitants of Ancient Russia were known for hygienic care for the skin of the face, hands, body, hair. Russian women knew very well that curdled milk, sour cream, cream and honey, fats and oils soften and restore! the skin of the face, neck, hands, make it elastic and velvety; it is good to rinse the hair with eggs, and rinse them with the infusion of herbs. So they found and took the necessary means from the surrounding nature: they collected herbs, flowers, fruits, berries, roots, the medicinal and cosmetic properties of which they knew. We find information about the medicinal properties of plants and methods of their application in numerous ancient “herbalists” and “healers” (“Travovrach”, “Zelnik”, “Zhiznnik”, “Flower garden”, etc.). Let's be frank: to the simple, accessible. at hand, we often treat without due respect. Let's say, to medicinal plants, water, which since ancient times was considered the main medicinal, hygienic and cosmetic means. Ancient doctors used water for treatment, for cosmetic purposes in the form of baths, washings, rubdowns, showers, and compresses.

In the baths, skin was treated, it was cleaned with special scrapers, and massaged with aromatic balms. Among the attendants of the baths there were even hair pluckers, and they performed this procedure without pain.
“Cleanliness is the guarantee of health!” It can also be said with full confidence that cleanliness is the guarantee of beauty. In Russia, weekly washing in a bath was widespread, but if there was no bath, they washed and steamed in Russian stoves. In the arsenal of prevention of hardening a reasonable system of hygiene, the Russian bath has been in the first place from time immemorial.
Cosmetics, according to some, does not start with applying creams, lipsticks and lotions, but above all with washing. To clear the skin of dirt, sebum, dead horny scales, that's what you need to take care of first of all.

Girls, hello everyone)))
It became interesting to me, but how did the young ladies of that time look after themselves in Russia? It is clear that there was not that abundance of cosmetics, care products, and modern equipment, and the fashion was different ...) And in general, the cosmetology industry was just developing)

1. Hair curling iron


Most often, girls curled their hair at home, and for this they heated tongs, lowering them inside a burning kerosene lamp. It is not surprising that this deteriorated their hair, and some, especially diligent ones, were left without hair at all)))

but this, of course, was not a particular problem for girls, because then there were ...

2. Special hair extensions


they were made of real hair, and were already curled)))

In addition to women, men also looked after themselves, at that time there was a cult of mustaches - every man dreamed of having a thick and long mustache to fight women on the spot))) Therefore, in the arsenal of care products, many men had

3. Special liquid for whiskers and "Kitty" bandage


Liquid "Kitty" in consistency resembled a modern gel - the tool perfectly glued the mustache and gave it the desired shape. The "Kitty" bandage was often worn during sleep, so as not to spoil the resulting shape)))

4. Mustache tweezers


used to curl the mustache)))

well, and so as not to wet the mustache were like this

5 mustache cups

For women, facial hair was not welcomed, then there was an effective

6. Electric hair breaker


ha, the predecessor of the modern device for electrolysis)))) Of course, not every girl could afford such a device, at that time only rich people had it) the rest of the hair was plucked with tweezers, or shaved off)

Do you know what you used to clean your ears? There were no cotton swabs at that time ...)))) There were such iron sticks, which were called ...

7. Kopoushki
here is an ivory coin in a case

For home rejuvenation, there was such

8. Apparatus with massage balls


Fashionistas of that time strenuously drove them in the face several times a day)

And how did the girls of that time fight against the smell of sweat and with armpit stains?)) After all, there were no deodorants yet, and I don't think they sweated less than we do now))) The secret was in such a means as ...

9. Armpits




A piece of dense fabric, like our shoulder pads, was sewn under a dress, or under a corset, sometimes the armpits were perfumed))
10. Breast pads


well, if they already had underarms, then how could they do without underpads?)))

Even girls of the late 19th century took particular care of their nails - there were all kinds of files, brushes, and polishing devices, and even this

at that time, women did high hairstyles, and in order for the hat to hold, it was attached to the head with pins 30 or more centimeters long. There were cases when in a close crowd, pins scratched the faces of neighbors and even gouged out their eyes. After that, an order was issued that the pins were sold with tips, but they sometimes fell off, and accidents recurred ...

Video hairstyle and makeup of the 18th century - stylist Oksana Breusova