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History of Hollywood Make
Up II
30s-50s
During the 1930s, a radical change took
place in feminine aesthetics. A shift occurred
between a feminine and very fragile woman,
full of sweetness, which had been the female
prototype that marked out the 10s and 20s,
to a serious, not too feminine woman of
cold aesthetics, who was both hard and masculine.
The change came with the circumstances of
the time; the First World War, during which
women had taken over the roles of the men
who had gone off to war. The only trend
that remained was the pale face. The most
characteristic aspect of 1930s make up was
that unlike the decades to follow, this
one was never copied.
The most representative visual icon of
the decade, who exemplifies this make up,
is Greta Garbo as she was in the ‘30s.
During the ‘20s, she had a totally
different aesthetic. The make up was hardly
cheerful at all, very serious, skin was
very pale and the skin tone very unified.
Harmonising was still done with very white
rice powder. The most curious thing about
this make up was that a black line was traced
over the upper line of the eye, from the
tear duct to the end of the eye, which had
a sort of little mountain in the middle.
On the side opposite the tear duct, in the
corner of the eye, an upturned triangle
was traced in black pencil, which wasn’t
filled in. A “banana” shape,
covering the upper eyelid’s crease
in brown, lengthened the eye socket downwards.
This shape was blurred and gone-over with
a brown form. The mobile eyelid typically
bore an ivory, beige or cream colour. The
same colour as on the mobile eyelid went
in the arc of the eyebrow. The entire upper
lashes were very strongly marked out with
mascara, while lower lashes were only marked
in the middle, a quarter either way. The
eyebrow which led the fashion of the day
was a rounded, very fine eyebrow, with a
tendency to fall. Lips were very fine and
stretched, horizontally. Colours were dark;
reds, maroons, or browns. The top of the
lips were round, sometimes the upper lip
was made up to look longer. And blusher
was very discreet, almost always in a brown
tone.
In the 1940s, the most characteristic thing
was the mouth. The centre of the upper lip
was thinned, and then widened towards the
corners of the mouth, creating something
akin to a disgusted expression. The aesthetic
continued to be very cold, with little colour.
Skin was still pale, eyes were still very
much as they had been in the 1930s, shading
was done in half-moon shape, with the eyelid
crease area marked out in brown, downwardly,
and the upper line of the eye in black,
in a fine line. Mascara above, brown or
cream on the eyelid. Eyebrows were still
fine. And rouge brown, discreet and lengthened.
A woman who defines this decade very well
is Katharine Hepburn.
In the 1950s, make up took a radical turn;
women became more feminine, the skin’s
whiteness didn’t look so sickly any
more; a healthier skin tone, going towards
tan began to be seen. Colour came into eyeshadow,
the eye was traced in open fashion, with
eyeliner. A blue or brown banana shape was
drawn over the eyelid crease, which was
blended in well, and the eye’s upper
line was marked in eyeliner, closing in
the shape of a seven. The mouth was heart-shaped,
the lips were that shape; neither thick
nor thin, and always in dark tones. A rouge
underlined the cheekbone. 1950s make up
is among the prettiest and most feminine.
The way eyeliner was traced is something
which is still done today, at once very
discreet, subtle, and sophisticated. It
always gives a touch of elegance. You’re
sure to pick out this style if you examine
a photo of Marilyn Monroe.
Other interesting articles on History of makeup
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