A conversation yesterday with Retro Chick and Siofra from Sugar & Hatter has got me thinking of a post I have been meaning to write for a long time about hair removal so I thought would post one of my latest purchases - and something I have been so excited about receiving.
LADIES AND GENTLEMEN I PRESENT: THE TWEAKER
The Tweaker was one of the new innovative products that came out of the 1920s new focus on the body beautiful and, in particular, the new and growing need for women to remove unwanted hair which increased as hemlines grew shorter and sports, dancing and the beach became more popular.
Or as the manufacturers of the Tweaker put it:
"Your daintiness demands arms and legs free from unsightly hairs. When you mingle with the happy summer throng at the beaches..... whenever you "go formal"... every time you wear a pair of gossamer chiffon hose.. you are concious of the importance of taking every precaution against embarrassment. Your happiness, your peace of mind depends so much on this one thing."
The Tweaker is presented as a lifestyle choice for this new generation of women who "until now have had to be content with unsatisfactory makeshift methods- razors that left a stubby, prickly after growth - dangerous depilatories that were so mussy to use - painful wax".
Despite looking like a weapon of torture this "pleasing method" promised a new freedom for women that could be up kept in just a minute or two each day.
The Tweaker itself comes in a box with an envelope of size No. 8 rubber bands which are stretched across between the front and rear posts on each side and you are ready to go.
"Take hold of Tweaker with your thumb and forefinger, as you would a pair of scissors. Open and close it a few times quickly."
The accompanying How To booklet promises that the hairs are gently rolled out by the roots and use "absolutely discourages the return of hair".
The set I bought is a store display set and comes with this amazing store card which shows an exquisitely dressed lady using (and enjoying) her Tweaker.
And really I have found very little else about this product. It seems it was introduced in 1927 by the Tweaker Manufacturing Company of Chicago and sold for $3.50 and despite being mentioned in Madeleine Marsh's book I have not seen any adverts for this in the UK - but will keep looking.
I love the way the advertising emphasises the freedom that using the Tweaker presents for women when in fact it seems quite a time consuming process. However there is a freedom in showing your legs off, in the movement of less restrictive clothes and the new public face of women during the 1920s and I can imagine the lady who received or bought the Tweaker felt she was embracing this new definition of feminity and freedom.
The thing reminded me of this post, and what we were discussing, was the preoccupation in advertising of this period with "embarrassment" and this is certainly emphasised in the copy for the Tweaker. Not just selling 'daintiness' manufacturers were finding out that playing on female insecurities was a very profitable business and the 20s also saw a massive rise in the ranges of personal hygiene products designed to exploit this new and growing market.
Sunday, 25 September 2011
Thursday, 22 September 2011
Evening in Paris Perfume Bottles
Evening in Paris perfume was launched in either 1928 or 1929 in either US or France, depending on what book you read., by Bourjois. What is not disputed is that it was an instant success and this is reflected in the number and variety of perfume bottles produced - examples of which are fairly well represented on eBay or Etsy.
The original Evening in Paris fragrance was created by Ernest Beaux and remained in the shops until it was discontinued in 1969 when its popularity had waned. Bottles of Evening in Paris perfume were sold between the 1920s and the 1960s and they can be fairly reliably dated by the shape of the bottle, packaging and associated advertising. However nothing is straightforward and this is only a general guide as packaging was re-released and elements from different periods were incorporated into later designs.
The launch of the perfume came with these incredibly beautiful cobalt purse flacons resplendent with Bakelite caps and tassels. Variations of this style were produced and added to the ever popular Evening in Paris perfume gift sets until the mid 1950s. These gifts sets were particularly popular at Christmas, Easter and for Mothers Day.
The other style in the 1920s were the cobalt bottles with frosted glass stoppers and, often, cork ends.
The shape of the bottle remained fairly standard between the late 1920s and the end of the 30s but a way of distinguishing between the two decades is by the label.
Labels of the 1920s were of a triangular shape but a curved label indicates a 1930s bottle.
Bottles of the 1940s were of the same cobalt and of similar shape, although often curved at the neck. Stoppers were metal or cork and caps were silvery metal screw caps.
Some bottles also have thin silver labels across the front saying "Evening in Paris"
By the late 1940s bottles with a gilded finish appeared and this continued into the 1950s. However the really iconic 50s shaped bottle is known as "Mae West" shaped bottles due their curvaceous shape. They also had blue plastic caps and round silver labels.
Gold labels on cobalt or clear glass bottles had begun to appear in the late 1940s and these continued into the 50s along with the introduction of gold screw caps.
The 1960s bottle remained similar in shape to the 50s style bottle but now featured a v shaped label. As ever the popular bottle was the cobalt blue although clear glass bottles are also to be found.
When the perfume was relaunched in 1992 the cobalt remained but, in my opinion, much of the charm and vintage glamour of the bottles was lost.
One of the really interesting things about collecting Evening in Paris as a range is the variety of packaging and this included various novelty bottles such as this 1930s owl.
The original Evening in Paris fragrance was created by Ernest Beaux and remained in the shops until it was discontinued in 1969 when its popularity had waned. Bottles of Evening in Paris perfume were sold between the 1920s and the 1960s and they can be fairly reliably dated by the shape of the bottle, packaging and associated advertising. However nothing is straightforward and this is only a general guide as packaging was re-released and elements from different periods were incorporated into later designs.
The launch of the perfume came with these incredibly beautiful cobalt purse flacons resplendent with Bakelite caps and tassels. Variations of this style were produced and added to the ever popular Evening in Paris perfume gift sets until the mid 1950s. These gifts sets were particularly popular at Christmas, Easter and for Mothers Day.
The flacon was designed by Jean Helleu and produced by Brosse glassworks.
The other style in the 1920s were the cobalt bottles with frosted glass stoppers and, often, cork ends.
The shape of the bottle remained fairly standard between the late 1920s and the end of the 30s but a way of distinguishing between the two decades is by the label.
Labels of the 1920s were of a triangular shape but a curved label indicates a 1930s bottle.
Bottles of the 1940s were of the same cobalt and of similar shape, although often curved at the neck. Stoppers were metal or cork and caps were silvery metal screw caps.
Some bottles also have thin silver labels across the front saying "Evening in Paris"
By the late 1940s bottles with a gilded finish appeared and this continued into the 1950s. However the really iconic 50s shaped bottle is known as "Mae West" shaped bottles due their curvaceous shape. They also had blue plastic caps and round silver labels.
Gold labels on cobalt or clear glass bottles had begun to appear in the late 1940s and these continued into the 50s along with the introduction of gold screw caps.
The 1960s bottle remained similar in shape to the 50s style bottle but now featured a v shaped label. As ever the popular bottle was the cobalt blue although clear glass bottles are also to be found.
When the perfume was relaunched in 1992 the cobalt remained but, in my opinion, much of the charm and vintage glamour of the bottles was lost.
One of the really interesting things about collecting Evening in Paris as a range is the variety of packaging and this included various novelty bottles such as this 1930s owl.
As the brand increased in popularity it also increased the number of products in its range and this was expanded to include dusting powder, talc, soap, lipstick, hand lotions, rouge, compacts and face powder. I will do a separate post on these as the variety of types and packaging is immense.
Tuesday, 20 September 2011
Lipstick Pads
The text on the small card in the corner of this unopened box reads:
"For Milady's use in her handbag or purse, while shopping, to change her make-up. Better still to insert inside linen napkins, for luncheons and dinners, to remove lipstick before using a napkin."
Contained in this vibrant red box - which has gotten a little battered with time - are the original 24 pads which are the thickness of a paper napkin although of a much softer material.
They were made by the House of Dickinson and so far I can find nothing else about this company. The item was most definitely made in England as it proudly states three times on the box and on every individual pad. However it was distributed by "Wallner and Mayer Inc, New York" to the American market. This box is obviously well travelled -made in England, distributed by a New York company, bought by me in 2011 from Florida and shipped back over to England last month. Quite a trip!
As ever with a totally unused product it makes me wonder where this has been for over half a century. Was it given as an unwanted present (perhaps to a lady "guilty" of wearing too much red lipstick and leaving her mark everywhere), an impulse buy of a young girl buying a bright lipstick for the first time or an elegant woman's regular purchase that got downgraded when a new lipstick pad was marketed.
It feels like an unwanted present to me though - something received with thanks and then put to the back of a cupboard, before being boxed up and put in an attic. Perhaps something that was intended to be used - one day - but never gotten round to.
But it is beautiful product for the imagery alone and I love the detail of the ladies face and her elegant red lips and pointed finger nails in a matching colour.
I will be trawling magazines of the period to see how this product was advertised and to try and get a bit more detail about the company. In the meantime this box is now in pride of place in my office taunting me when I see the red smear I leave on my coffee cup in the morning, showing me a more elegant way to wear lipstick.
Sunday, 18 September 2011
Manners for Men - Dress, 1897
It is absolutely true, though in a very limited sense, that the tailor makes the man. If a man does not dress well in society he cannot be a success. If he commits flagrant errors in costumes he will not be invited out very much, of that he may be certain. If he goes to a garden party in a frock-coat and straw hat, he is condemned more universally than if he had committed some crime. The evidence of the latter would not be upon him for all men to read, as the evidence of his ignorance in social forms is, in his mistaken notions of dress. Things are more involved than ever in the sartorial line, since so many new sports and pastimes have sprung up for me. A man cannot consult his tailor upon every trifling detail, even if his tailor were always a perfectly reliable authority, which is not always the case, for there are tailors and tailors.
A young man's finances do not always allow him to go to one of the best, and the second and third-rate artists in cloth are apt to purvey second and third-rate fashions to their customers.
A brief summary of the forms of dress appropriate to various occasions may be some use to the inexperienced. t is obvious that to enter into detail would be out of place in matter where change is the order of the day. But there are certain fixed rules that are, in a sense, permanent, and with this I may succinctly deal.
For morning wear the morning-coat or jacket or the tweed suit is correct. After lunch, when in town, the well-dressed man may continue to wear his morning-coat or the regulation frock-coat, with trousers of some neat, striped grey mixture. The tailor's name for the material of these is "mixed cheviots."
It is not considered good form to wear very light trousers except on special occasions, such as weddings, garden parties, or afternoon assemblies of a festive kind. Even then it is better to err on the quiet side than to be over loud. The days of broadcloth have long gone by, and coats are now made of vicuna cloth or black twilled worsteds, with a dull finish and of an elastic quality. Waist-coats may be single or double-breasted. There is no restriction as to the colour of the tie.
The Park suit may consist of a grey or light brown frock coat, with waistcoat and trousers to match, and this is the usual dress for Ascot, the smartest of all the races. At Sandown the low hat and tweed suit, or long racing coat are worn, except on such days as the Princess of Wales is present, when the Prince sets the example of wearing a black coat and silk hat, and all other men are expected to follow his example.
For a morning walk in the Park in summer the straw hat, or low hat and tweed suit, are as correct as the black coat and silk hat. But it must be remembered that a straw hat or low hat cannot be worn with a black coat of any kind. The "pot" hat and brown boots are permissible with an overcoat, under which there may be a tweed suit, but brown boots may not otherwise accompany a black coat, though they are admissible with the Ascot suit.
There are special suits for all kinds of outdoor amusements, such as shooting, golfing, tennis, boating, driving, riding, bicycling, fishing, hunt, &c., but into the details of these it is unnecessary to enter. It may be remarked, however, that it is easy to stultify the whole effect of these, however perfectly they may be "built" by the tailor, by the addition of a single incongruous article of attire; such as a silk hat or patent boot with a shooting suit.
The dress-coat is no longer made of broadcloth, the shiny finish of which would now have a very old fashioned appearance. The ordinary evening coat is made of an elastic twill cloth, with a dull finish. Its elasticity makes it fit to perfection when cut by a good tailor. Of course it would be incorrect to wear other than black trousers with it. The waistcoat is much cut away, to show a wide expanse of immaculately got-up shirt-front.
This is the only correct costume for evening wear on all occasions of a formal nature. The dinner-jacket has very largely superseded the dress-coat for home wear and at dinners in houses where one is a familiar guest. It is occasionally seen at the play, too, but it would be incorrect to wear it when accompanying ladies.
Etiquette is not now so strict as it used to be in the matter of evening dress in the stalls, private boxes, and dress circle of the theatres. I think this is rather to be deplored, but the wave of democracy that has poured overs society of late has left its impress in this as in other matters. Thought theatre managers put on the tickets special to the best seats "Evening Dress," I have seen half-a-dozen men in the stalls dressed in a variety of unorthodox fashion, and once, in August, I even saw a man in a boating suit come in, straw hat in hand, and, ushered by an un-protesting attendant, take his seat. In the off-season, when all the fashionable people are out of town, this was not, perhaps, very surprising. But he must have been courageous young man.
Mourning for men seems almost a dead-letter nowadays, except in the first two or three weeks after bereavement. A widower's mourning is not worn for more than a couple of months, unless the widower should belong to the numerous class who cling conservatively to old customs, and believe that to doff his weeds would imply some disrespect to his late wife.
Disraeli, in his "Endymion," puts the following words in the mouth of Mr. Vigo, the great tailor:-
"Dress does not make a man, but it often makes a successful one. The most precious stone, you known, must be cut and polished. I have known many an heiress lost by her suitor being ill-dressed. You must dress according to your age, your pursuits, your object in life; you must dress, too, in some cases, according to your set. In youth a little fancy is rather expected, but if political life be your object, it should be avoided - at least after one-and-twenty. I am dressing two brothers now, men of considerable position; one is a mere man of pleasure, the other will probably be a Minister of State. They are as like as two peas, but were I to dress the dandy and the minister the same, it would be bad taste - it would be ridiculous. No man gives me the trouble which Lord Eglantine does; he has not made up his mind whether he will be a great poet or a Prime Minister. 'You must choose, my lord," I tell him. " I cannot send you out looking like Lord Byron if you mean to be a Canning or a Pitt."
"What all men should avoid is the 'shabby genteel.' No man ever gets over it. I will save you from that. You had better be in rags.
A young man's finances do not always allow him to go to one of the best, and the second and third-rate artists in cloth are apt to purvey second and third-rate fashions to their customers.
A brief summary of the forms of dress appropriate to various occasions may be some use to the inexperienced. t is obvious that to enter into detail would be out of place in matter where change is the order of the day. But there are certain fixed rules that are, in a sense, permanent, and with this I may succinctly deal.
For morning wear the morning-coat or jacket or the tweed suit is correct. After lunch, when in town, the well-dressed man may continue to wear his morning-coat or the regulation frock-coat, with trousers of some neat, striped grey mixture. The tailor's name for the material of these is "mixed cheviots."
It is not considered good form to wear very light trousers except on special occasions, such as weddings, garden parties, or afternoon assemblies of a festive kind. Even then it is better to err on the quiet side than to be over loud. The days of broadcloth have long gone by, and coats are now made of vicuna cloth or black twilled worsteds, with a dull finish and of an elastic quality. Waist-coats may be single or double-breasted. There is no restriction as to the colour of the tie.
The Park suit may consist of a grey or light brown frock coat, with waistcoat and trousers to match, and this is the usual dress for Ascot, the smartest of all the races. At Sandown the low hat and tweed suit, or long racing coat are worn, except on such days as the Princess of Wales is present, when the Prince sets the example of wearing a black coat and silk hat, and all other men are expected to follow his example.
For a morning walk in the Park in summer the straw hat, or low hat and tweed suit, are as correct as the black coat and silk hat. But it must be remembered that a straw hat or low hat cannot be worn with a black coat of any kind. The "pot" hat and brown boots are permissible with an overcoat, under which there may be a tweed suit, but brown boots may not otherwise accompany a black coat, though they are admissible with the Ascot suit.
There are special suits for all kinds of outdoor amusements, such as shooting, golfing, tennis, boating, driving, riding, bicycling, fishing, hunt, &c., but into the details of these it is unnecessary to enter. It may be remarked, however, that it is easy to stultify the whole effect of these, however perfectly they may be "built" by the tailor, by the addition of a single incongruous article of attire; such as a silk hat or patent boot with a shooting suit.
The dress-coat is no longer made of broadcloth, the shiny finish of which would now have a very old fashioned appearance. The ordinary evening coat is made of an elastic twill cloth, with a dull finish. Its elasticity makes it fit to perfection when cut by a good tailor. Of course it would be incorrect to wear other than black trousers with it. The waistcoat is much cut away, to show a wide expanse of immaculately got-up shirt-front.
This is the only correct costume for evening wear on all occasions of a formal nature. The dinner-jacket has very largely superseded the dress-coat for home wear and at dinners in houses where one is a familiar guest. It is occasionally seen at the play, too, but it would be incorrect to wear it when accompanying ladies.
Etiquette is not now so strict as it used to be in the matter of evening dress in the stalls, private boxes, and dress circle of the theatres. I think this is rather to be deplored, but the wave of democracy that has poured overs society of late has left its impress in this as in other matters. Thought theatre managers put on the tickets special to the best seats "Evening Dress," I have seen half-a-dozen men in the stalls dressed in a variety of unorthodox fashion, and once, in August, I even saw a man in a boating suit come in, straw hat in hand, and, ushered by an un-protesting attendant, take his seat. In the off-season, when all the fashionable people are out of town, this was not, perhaps, very surprising. But he must have been courageous young man.
Mourning for men seems almost a dead-letter nowadays, except in the first two or three weeks after bereavement. A widower's mourning is not worn for more than a couple of months, unless the widower should belong to the numerous class who cling conservatively to old customs, and believe that to doff his weeds would imply some disrespect to his late wife.
Disraeli, in his "Endymion," puts the following words in the mouth of Mr. Vigo, the great tailor:-
"Dress does not make a man, but it often makes a successful one. The most precious stone, you known, must be cut and polished. I have known many an heiress lost by her suitor being ill-dressed. You must dress according to your age, your pursuits, your object in life; you must dress, too, in some cases, according to your set. In youth a little fancy is rather expected, but if political life be your object, it should be avoided - at least after one-and-twenty. I am dressing two brothers now, men of considerable position; one is a mere man of pleasure, the other will probably be a Minister of State. They are as like as two peas, but were I to dress the dandy and the minister the same, it would be bad taste - it would be ridiculous. No man gives me the trouble which Lord Eglantine does; he has not made up his mind whether he will be a great poet or a Prime Minister. 'You must choose, my lord," I tell him. " I cannot send you out looking like Lord Byron if you mean to be a Canning or a Pitt."
"What all men should avoid is the 'shabby genteel.' No man ever gets over it. I will save you from that. You had better be in rags.
Saturday, 17 September 2011
Car Boot find
I had one of those rare (for me anyway) marvellous car boot finds today when I found an edition of "Manners for Men" By Mrs Humphry "Madge" of "Truth".
First published in February 1897 it was obviously either a run away success or a limited initial print run as its second edition was in March 1897. My copy is this second edition and is an absolute delight.
Chapters include Woman's Ideal Man, Games and Recreations, Rules of the Road on the River, Dinner-Parties, At Lunch, At the Play and the ever useful In Or On An Omnibus.
The first and second edition seem to be fairly hard to come by but I have since learnt that it was republished in 1993 and this would be much easier to come by. As a accurate facsimile it also contains the pages of adverts at the end including the companion "Manners for Women".
First published in February 1897 it was obviously either a run away success or a limited initial print run as its second edition was in March 1897. My copy is this second edition and is an absolute delight.
Chapters include Woman's Ideal Man, Games and Recreations, Rules of the Road on the River, Dinner-Parties, At Lunch, At the Play and the ever useful In Or On An Omnibus.
The first and second edition seem to be fairly hard to come by but I have since learnt that it was republished in 1993 and this would be much easier to come by. As a accurate facsimile it also contains the pages of adverts at the end including the companion "Manners for Women".
Wednesday, 14 September 2011
Vintage Style and History Books
As part of Norwich Fashion week Vintage Norwich will be taking over the bar of Cinema City before and after a special showing of Breakfast at Tiffany's. The Vintage Norwich girls will be in the bar (where else?) talking classic style and providing a dressing up trunk of accessories for playing with.
We will also be bringing along the books that inspire us so I thought it would be fun to do a quick trawl through my library in advance.
The ones that I read the most are, obvisouly, on the history of cosmetics and glamour and there are some fantastic books that I highly recommend if you are interested in this area.

For books about how to recreate styles of the past my favourites are.
Have I missed any good ones out? What do you recommend?
We will also be bringing along the books that inspire us so I thought it would be fun to do a quick trawl through my library in advance.
The ones that I read the most are, obvisouly, on the history of cosmetics and glamour and there are some fantastic books that I highly recommend if you are interested in this area.
For books about how to recreate styles of the past my favourites are.
Have I missed any good ones out? What do you recommend?
Tuesday, 13 September 2011
Vintage Eyebrows Part Two
Following on from my previous post looking at eyebrows from 1920 to 1960 I was asked to take this bang up to date so here you go...
1970s
The 1970s look was mostly natural looking, reflecting the style of make-up of the decade, but often had the tendency to a tadpole brow. Brows were thin and only lightly defined.
1980s
The 1980s look was bushy, heavy and dishevelled.
To achieve outline with a brow pencil for a dramatic look and add several layers of strokes (if needed) to give a wider dimension. Mess up your brows by sweeping upwards and outwards with an old mascara brush then sweep back into form without smoothing down completely.
1990s
The 1990s look was thin, often reminiscent of the 30s look, and beautifully groomed. Some commentators felt that the thinness of the brow reflected the diminishing power of women after the strides made in the 80s - little brows for little girls.
2000s
A new century saw thick and full brows back in vogue but this time retaining the well groomed look of the 90s. Eyebrows were dark and elongated and perfectly defined.
2010s
1970s
The 1970s look was mostly natural looking, reflecting the style of make-up of the decade, but often had the tendency to a tadpole brow. Brows were thin and only lightly defined.
1980s
The 1980s look was bushy, heavy and dishevelled.
To achieve outline with a brow pencil for a dramatic look and add several layers of strokes (if needed) to give a wider dimension. Mess up your brows by sweeping upwards and outwards with an old mascara brush then sweep back into form without smoothing down completely.
1990s
The 1990s look was thin, often reminiscent of the 30s look, and beautifully groomed. Some commentators felt that the thinness of the brow reflected the diminishing power of women after the strides made in the 80s - little brows for little girls.
2000s
A new century saw thick and full brows back in vogue but this time retaining the well groomed look of the 90s. Eyebrows were dark and elongated and perfectly defined.
2010s
Monday, 12 September 2011
Girls, Girls, Girls
And just because I am in an eyebrow mood tonight here are a selection of some of the most fabulous eyebrows committed to advertising posterity.
I spoil you, I really do!
Vintage Eyebrows
I admit I am obsessed by eyebrows. Mostly my own I hasten to add but it is something I notice on people - a LOT.
Eek. Looking back through old photographs of myself my natural brows seems to be trying to eat the rest of my face. I can't remember how old this picture is (and I am sparing you the rest of the face) but am surprised how big they actually are and how different my entire face is.
One thing I find very striking is how much a role they play in establishing facial expressions and the formulation of the face to the extent that sometimes people seem almost unrecognisable, or at least undressed, without their eyebrows pencilled in.
Recent makeup tutorials by Retro Chick and ReeRee Rockette have got me thinking about how eyebrows help to define a time period and help to get a vintage look right.
My own are now currently plucked into oblivion and have got thinner as my vintage interests have got earlier and certainly help me to feel more put together if not exactly period correct.
Photographs, advertisements and films are useful in sourcing images of eyebrows in various periods but beauty books and how to manuals of the period are invaluable when you are looking at what shapes were fashionable at various times.
1920s
The 1930s look had exaggerated height and length but were very thin. Sometimes shaved or plucked off and drawn back in they featured a fine tapered line that fell at the end.
To give a shiny look eyebrows were dressed with petroleum jelly, brilliantine or olive oil. Madame Rubinstein recommend tinting both brows and eyelashes with henna every couple of months.
1940s
The 1940s look was more prominent, with medium thickness and more of a natural effect. Eyebrows were full but well plucked with a pronounced arch.
To achieve brush eyebrows with a matt shadow and finish with Vaseline to give a slight sheen. During the war women, who were unable to get other products, would use a mixture of flour and water as a DIY eyebrow tamer.
1950s
The 1950s look was thickened and darkened with sharp arch about two thirds of the way along the brow before coming to a tapered point.
1960s
The 1960s look was thick and heavy. Often natural brows were shaved off and penciled in with individual strokes. To achieve pluck bottom and inner corners of your brows to ensure neatness and fill the rest with powder. Edges can be defined with a pencil.
And there you have it a quick and fairly unscientific whip through eyebrows through the ages. Anyone else out there a slave to eyebrow fashion?
Part Two 1970-2010
Eek. Looking back through old photographs of myself my natural brows seems to be trying to eat the rest of my face. I can't remember how old this picture is (and I am sparing you the rest of the face) but am surprised how big they actually are and how different my entire face is.
One thing I find very striking is how much a role they play in establishing facial expressions and the formulation of the face to the extent that sometimes people seem almost unrecognisable, or at least undressed, without their eyebrows pencilled in.
Recent makeup tutorials by Retro Chick and ReeRee Rockette have got me thinking about how eyebrows help to define a time period and help to get a vintage look right.
My own are now currently plucked into oblivion and have got thinner as my vintage interests have got earlier and certainly help me to feel more put together if not exactly period correct.
Photographs, advertisements and films are useful in sourcing images of eyebrows in various periods but beauty books and how to manuals of the period are invaluable when you are looking at what shapes were fashionable at various times.
1920s
The 1920s look was straight and thin.Sometimes shaved or plucked off and drawn back in they were darkened with a black grease pencil and turned slightly downwards giving a worried expression.
1930s
The 1930s look had exaggerated height and length but were very thin. Sometimes shaved or plucked off and drawn back in they featured a fine tapered line that fell at the end.
To give a shiny look eyebrows were dressed with petroleum jelly, brilliantine or olive oil. Madame Rubinstein recommend tinting both brows and eyelashes with henna every couple of months.
1940s
The 1940s look was more prominent, with medium thickness and more of a natural effect. Eyebrows were full but well plucked with a pronounced arch.
To achieve brush eyebrows with a matt shadow and finish with Vaseline to give a slight sheen. During the war women, who were unable to get other products, would use a mixture of flour and water as a DIY eyebrow tamer.
1950s
The 1950s look was thickened and darkened with sharp arch about two thirds of the way along the brow before coming to a tapered point.
1960s
The 1960s look was thick and heavy. Often natural brows were shaved off and penciled in with individual strokes. To achieve pluck bottom and inner corners of your brows to ensure neatness and fill the rest with powder. Edges can be defined with a pencil.
And there you have it a quick and fairly unscientific whip through eyebrows through the ages. Anyone else out there a slave to eyebrow fashion?
Part Two 1970-2010
Subscribe to:
Posts (Atom)







