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.