Makeup 18-19 centuries. Such amazing beauties: what tricks did fashionistas of the 19th century go to?

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

Unlike their grandmothers, European and Russian beauties of the 19th century moved away 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 brilliance still dominated, but fluffy dresses and huge hairstyles gradually gave way to light and airy toilets, and the makeup of the 19th century was as natural as possible and almost invisible.

Almost the entire 19th century (starting from 1837) passed under the sign of 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 valued in female beauty. And since the abundance decorative cosmetics with an almost complete lack of personal hygiene leading to rapid aging of the skin and various diseases, the ladies realized in time that The best way To maintain youth and health is to reduce the use of “artificial beauty” to a minimum. Therefore, in 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 through a thick layer of porcelain makeup. The beauties of this era tried to avoid the sun, for fear of ruining their complexion with a tan, and wore wide-brimmed hats for this purpose. But at the same time, the complexion remained natural. The rays of the sun did not even touch the hands, the whiteness of which was taken care of with special care. Some particularly fanatical ladies did not take off their gloves even while sleeping, for fear that their skin would suddenly turn black.

To give their faces an “alabaster” tint, 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 scorched stomach, few managed to live to a ripe old age.

In general, in the era of romanticism in high society circles it was considered fashionable image languid, painful and deeply sensitive young lady. The girls went to such lengths to achieve the desired effect! The beauties did not sleep for several nights in a row, hoping
“get” dark circles under the eyes. And to make the eyes sparkle, atropine (a drug from the extract of nightshade plants) and fresh belladonna juice, a poisonous plant that could cause serious poisoning if overdose, were dripped into them. The pallor of the face was set off by the yellow paint that the girls used to paint their teeth - already unhealthy, due to the lack of normal dental care. And all this “splendor” was completed with black eyeliner, which was generously applied to the eyelids. With all this, “sable” eyebrows remained in fashion, which specially trained people skillfully crafted from mouse and rat skins.
Fortunately, in the mid-19th century such a phantasmagoric female image gave up his positions. It was replaced by naturalness again. Makeup has become less noticeable. Reference female beauty again personified peace, tranquility and inner warmth.

Makeup in the 19th century became not only moderate, but also affordable. If previously only ladies from high society could use cosmetics and perfumes, now, in the era of industrial growth, blush, whitewash, lipstick and other attributes of beauty have become available to almost every girl.

Women greeted the mass production of cosmetics in the second half of the 19th century with unprecedented enthusiasm. IN big cities, workers' settlements and remote rural estates, the fair sex little by little began to master the subtleties of applying cream and powder, tinting lips and eyes. True, among the peasants, women practically did not use cosmetics: the difficult life of the village did little to encourage the desire to preen themselves. But all the same, no, no, yes, a peasant girl will have a tube of blush or an inexpensive but flirty powder compact with a mirror in her box!

Oddly enough, it was the city prostitutes who were especially happy about the mass production of decorative cosmetics! And if “decent” women preferred to wear makeup rather moderately and discreetly, then the ladies of the demimonde had their own specific rules. It was believed that the best way to attract a client and please him is to be pretentious and bright image, which was achieved using large quantities cosmetics. And if you had met on the street of that time a person with brightly painted lips, a blood-red blush on her cheeks and eyelids lined with blue-black pencil, you would not have doubted her profession for a moment!

The eighteenth century glorified woman as a source of pleasure and beauty. Gallant ladies had to resort to many makeup tricks in order to correspond to the moral ideas of the era. The story is told by a unique specialist, whose name is known in many countries of the world, Doctor of Art History, Muscovite Raisa Mardukhovna Kirsanova.

For many years, Europe passionately dreamed of creating its own porcelain - an extraordinary material that fascinated with its wondrous and mysterious nature: eternal beauty with amazing external elegance and fragility.

For many decades, European masters tried to invent their own porcelain, focusing on famous Chinese samples. The long-awaited discovery, which was immediately dubbed a miracle, which happened at the beginning of the eighteenth century, gave the gallant era a second name - the porcelain age.

Women's and men's clothing, hairstyles and makeup, plastic manners: gait, gestures, the ability to sit down and stand up, proudly “carry” your head - the entire style of life was dictated by the grace of porcelain works. And in order to look more like refined marquises, all Europeans, including Russians, began to use heavy makeup. Achieve snow whiteness skin The powder helped. Moreover, not only faces and necks, but shoulders and even arms were intensively powdered. This fashion has become not only a female privilege. The men also powdered themselves generously.

To emphasize the delicate whiteness of the skin, artificial moles made of velvet or taffeta were used. These decorative decorations on the face and body, called flies, “set off” the snow-white transparency of the body.

Flies were originally from the seventeenth century, but now their use was filled with a different meaning. IN European fashion In the seventeenth century, black dots masked pimples and boils. Another name for the fly is known - “Venus flower”. This is the name given to a pimple that appeared on the body with a white pustular head.

In the seventeenth century, pimples, blackheads and skin irritations were perceived as the consequences of diseases associated with violations of moral and moral standards of life. This criterion also determined the ideal of female beauty. An openly low-cut lady became a role model. A pointedly open neck and chest were the main signs of nobility. The logic is simple and clear: if a woman can be naked, revealing her tender and clean skin, - that means she faithful wife, a virtuous mother or girl leading a righteous lifestyle. This, of course, from the point of view of modern medicine, is a deep misconception - we know that unclean skin happens for many reasons.

Unlucky ladies whose skin was not so perfect were forced to come up with artificial moles. It is believed that the Countess of Newcastle, who was distinguished by her “unclean” skin, was the first to glue an artificial mole onto her face. In those days, flies received another name - “beauty patches.” In the eighteenth century, flies became smaller, but their camouflage functions gradually died out. On whitened skin, noticeable dark dots emphasize the porcelain transparency of the skin. The flies, cut from a dark, most often black material, featured a wide variety of intricate shapes. They were glued not only to the face, but to the shoulders and chest; in each specific case, they draw attention to the most “perfect places”, “cute details” female body: facial features, fine lines long neck, soft fullness of the breasts.

And, of course, each fly had its own meaning. The placement of the flies was especially carefully thought out when the lady went to the ball. Mushki were able to conduct an intimate dialogue with their interlocutors. Here is what Mikhail Pylyaev writes in “Old Life”: “The big spot near the right eye was called - tyrant, the tiny one on the chin - I love, but I don’t see, on the cheek - consent, under the nose - separation.” The language of flies, which was of a confidential and intimate nature, came to Russia from Europe. Each artificial mole had its own name and special meaning: a “loving” mole took its place near the eye, a “daring” one jumped up on the tip of the nose, a “playful” one adorned the chin area, a “coquette” mole was located on the lip.

Flies were companions of the times of powdered wigs and bleached faces. With the rejection of white skin and artificial hair There was a fairly sharp refusal of flies. By the way, we note that artificial moles were once again remembered thanks to the artists of the creative association “World of Art”. At the turn of the 19th-20th centuries, a short-lived interest in the gallant age arose, resurrecting flies both in picturesque subjects and literary images that poeticize the gallant porcelain age, and in the everyday behavior of artists, poets, and musicians. “New flies” were no longer always glued on, but were more often drawn with a makeup pencil in the form of tiny hearts, butterflies, crescents, stars and the sun.

Let's go back to the eighteenth century, women's fashion which was designed primarily to correspond to the “habitat”. Exquisite female figures “came to life” in luxurious ballrooms. One of the walls of the ballroom palace rooms, as a rule, was glass and overlooked a luxurious garden. And the other, opposite, is mirrored. Thus, the company of mummers, pale-faced and gray-haired guests visually increased several times. How did a lady get ready for some ball or assembly in the time of Peter the Great or in the era of Catherine? First, the ladies got dressed, and only then used all sorts of makeup techniques. The main task was the complex procedure of whitening wigs and faces - the appearance should be as similar as possible to porcelain sculptures. Appearing to strangers without powder and blush was considered disrespectful to the people you were meeting.

Eighteenth-century makeup erased age differences. A generous layer of powder gave old women the opportunity to pretend to be young, and young women to turn themselves into respectable ladies.

So, a dress is put on, under which there are complex crinoline designs and corset bodices that lift the chest, the face is “painted”: eyebrows, lips, a pearlescent pink blush is applied, “talking” artificial moles are glued on and the chest and neck are generously powdered. The lady “half-ready” for the ball was placed in a special low cabinet, which had a hole in the top.

The lady sat down on a chair, and her head stuck out. The dress and chest were covered with a special cape. In modern salons, such capes are called peignoirs, but then they had a different name - “powder mantels”. A long powder holder was tied with a cord around the neck, protecting clothes and makeup applied to the chest and neck. Around a cabinet with a protruding head were maids, hairdressers and footmen with special spray bottles. They sprayed their hair or wigs with fragrant powder in the most delicate shades: gray, blue, pink, fawn. And so that the powder would not spoil the makeup and spots on her face, the lady kept a kind of protective mask with mica windows opposite the eyes.

Fashionable women's hairstyles raised the hair above the forehead, giving the face an elongated egg-shaped shape. The most popular hairstyles were the "Maria Mancini" with two tight curls falling over the chest, and the "polonaise" - a hairstyle decorated with jewels and feathers.

Hairstyles of that time were distinguished by impressive heights. Sometimes a special frame was built from iron or wooden rods, which was disguised with its own and fake curls, lace, stuffed birds, real and porcelain flowers, and feathers. They even managed to insert models of sailing ships into their hair, creating “frigate” or “ship” hairstyles.

In Russia, in general, hairstyles were less voluminous than in other European countries in the same years. Felt headdresses were often used as frames, especially in the provinces. In Ivan Turgenev’s novel “The Noble Nest” we read: “They’ll put a felt cap on your head, she told me in her old age, your hair will all be combed up, smeared with lard, sprinkled with flour, stuck with iron pins - you won’t be able to wash yourself off afterwards; and you can’t go on a visit without powder - will be offended."

Drawings of hairstyles were advertised in fashion magazines that also appeared in Russia. But the eighteenth century recommended relying not only on makeup and make-up. Promoted healthy image life. In particular, there was such a magazine - “A Cure for Boredom and Worries,” which was published at the end of the eighteenth century and was available to women of different classes in St. Petersburg and Moscow. Among the tips were the following recommendations for preserving natural beauty and youth: getting up with the first rays of the sun, leisurely wandering barefoot through the grass, washing your face with cold dew. And sleeping until noon and having fun until dawn were considered factors that had a negative impact on the condition of the skin, health and... mood.

The problem of the impending century worries many girls, and it arises, in most cases, from a hereditary predisposition. From a biological point of view, drooping folds can be acquired with age - due to the natural aging process and a decrease in skin elasticity. In physiognomy, the explanation for drooping eyelids is simple: a person has achieved his goals, has inflated narcissism and narcissism, and is capable of solving complex life problems.

Often, sudden changes in the face occur due to severe allergic reactions. Therefore, many dermatologists and plastic surgeons do not advise using cosmetics from cheap manufacturers that contain lead, other heavy metals and harmful particles. Makeup for the looming eyelid helps to effectively hide obstructions and enlarge the eye itself. With step-by-step photos, the makeup artist's technique becomes more understandable and accessible.

A drooping eyelid significantly reduces the size of the eye, so plastic surgery This anomaly is corrected using blepharoplasty. The secret is that eye enlargement is possible in other ways. Special makeup for the impending eyelid will help with this. To understand the technique of applying cosmetics that will hide a flaw, you should use the instructions with step-by-step photos, which you will find below in the article.

Many people do not understand what structure the eye has, where the various elements are located, and how to distinguish a moving eyelid from a drooping eyelid. Droopy eyelid is a protruding bump above the main upper eyelid that can appear with age or is inherited genetically.

Why does it appear:

Belonging to a particular race, which is characterized by this trait;
Hormonal changes and aging;
Genetics;
Weight change;
Allergy.

Drooping eyelids are characterized by certain features that can make your appearance seem less than ideal:

Poor quality cosmetics let you down - they roll off, wear off or smudge;
It is almost impossible to draw arrows normally with a pencil or felt-tip pen - the tips are thick, look uneven, break off, etc.;
Mascara leaves marks on the skin of the fixed eyelid.

Many Hollywood movie actresses undergo plastic surgery, or regularly hide their protruding tubercle above their mobile eyelid. Nicknames include Blake Lively, Jessica Bill, Claudia Schiffer and many others.

The heavy structure of the eye with an overhanging eyelid requires a special technique for applying cosmetics:

No bright highlights;
It is best to even out the merging of the eyelids with moist shadows or foundations with glitter and mother-of-pearl.
Smooth gradient between colors.
Moderate application of cosmetics.
Correcting the shape of the eyebrows is an obligatory part of the make-up. They must be broken.
Apply any shades of light to the inner area of the eye and under the eyebrow.
Under the lower eyelashes of the eyelid, as well as along the mucous membrane, it is advisable not to draw anything with a pencil or eyeliner.

Daytime makeup with step-by-step photos

Prepare cosmetics:

eyebrow pencil and corrector;
primer or any other eye base;
foundation in the color of the dermis;
black mascara and tweezers;
shadows of a pale sand shade (or baked milk, pearlescent cream, etc.), as well as light brown or pale gray pearlescent; or wet peach shadows;
light pencil without glitter;
highlighter.

Stages of applying daytime makeup for the looming eyelid with step-by-step photos:

Apply the base to the entire surface of the skin around the eye.
Using tapping movements with your fingers, tap in the foundation.
Comb your eyebrow with a brush, remove excess hairs, outline and draw.
Secure with gel.
Take a light shade or creamy peach shade and apply it to the entire surface of the eyelid, extending 0.5 cm upward.
Shadows of a light brown or pale gray shade, blend with weak strokes with a fluffy brush over the protruding tubercle.
Curl your eyelashes and lightly apply mascara.
If necessary, at the very base of the eyelashes along the upper eyelid, draw with a black pencil midline, then shade. Or make a thin line between eyelashes with dark eyeliner.
Draw a white pencil along the mucous membrane and place emphasis on the inner corner at the very beginning of the eye section.
Apply highlighter to the area under the eyebrow and diagonally above the cheekbone.
Simple makeup will help open up your eyes, as in the photo, perfect for deep-set and small eyes.

Below, step by step video lesson on the topic.

Evening makeup step by step

This make-up is characterized by greater richness and an abundance of cosmetics.

Cosmetics to be prepared:

Primer or base;
Foundation to match;
Eyeliner black or brown for eyes;
Eyeshadows in 3 colors: white matte (or cream, pale yellow), dark gray or dark chocolate, gray or chocolate (medium shade);
Dark-colored mascara – gray, brown or any dark;
Eyebrow product with a fixing effect.

To properly apply makeup for the looming eyelid, you should thoroughly clean the skin of the eyes with milk or another mild product. To remove swelling, it is better to purchase silicone patches in advance and place them diagonally rather than directly on the lower eyelids.

Evening makeup with photos of each stage:

Apply primer and a light layer of tone to the skin of the eyelids using point movements.
Apply light shadows to 2/3 of the eyelid, and dark shadows to the remaining part. In the middle, apply a medium shade, blend everything, forming a light gradient transition.
Apply a dark shade of shadow with a brush to the protruding bone of the overhanging eyelid, and strongly shade the middle shade 2/3 towards the end of the eye, into the crease between the transition of the main eyelid to the overhanging eyelid.
Using eyeliner, draw a minimally thin line between the eyelashes, moving towards the end of the eyebrow.
Fill in eyebrows, comb and secure with stable gel.
Use a suitable curling iron to curl the eyelashes of the upper eyelid.

Procedure technology

To understand the precise correction of eyes with a voluminous fixed eyelid, you should understand its anatomy, as in the photo. Step-by-step execution technique will allow you to hone the skill of applying cosmetics, strictly along the desired contours.

For eye makeup with drooping eyelids you will need:

Light and dark shades;
Black or brown pencil;
Eyeliner of any type, dark color;
Base;
Volume mascara;
Glue and artificial eyelashes.

Execution consists of the following steps:

Apply base to the area around the eyes.
Blend light pearlescent or light glitter over the moving and convex eyelid.
Drive a dark shade of eyeshadow into the outer part of the eyelid, blending it 2/3 into the crease.
Using a black pencil, draw a thick line around the eye and blend outward.
Use eyeliner to draw the liner, starting from 2/3 of the eyelid, gradually thickening towards the outer eyelid, ending with a sharp corner.
If desired, you can line it with eyeliner thin line on the lower eyelid, 2/3, and shade dark shadows under it, creating a bulge and volume towards the eyeball.
Apply voluminous mascara and glue on artificial eyelashes.
Light makeup will highlight the beauty of your eyes.

Simple video makeup tutorial " cat eye"for the impending century.

For small eyes

Those with small eyes often complain about the lack of symmetry between the sizes of the face and individual features. It is important to restore and remove this edge in order to adjust the balance as much as possible. All basic cosmetics are the same as in previous versions. In the case of makeup for small eyes with drooping eyelids, step by step photos represent a variety of performance techniques. One thing is important - a smoothly transitioning arrow is required, rushing towards the temple or the end of the eyebrow.

Execution steps:

Make a standard shading of shadows on the upper eyelid, add a small stroke under the lower eyelashes by 1/3.
In the middle of the eyelid, apply a faint blend of close or dry glitter.
Draw the upper eyelid with a black pencil and shade it.
Draw a thin line with eyeliner, extending it 45 degrees to the middle of the overhanging eyelid.
Draw a thin line along the lower eyelid, retreating half a millimeter from the mucous membrane.

At the beginning of the 19th century, during the Empire era, naturalness and simplicity were in fashion. The ladies even tried to achieve a cosmetic effect using natural methods: if they needed paleness, they drank vinegar, if they wanted blush, they ate strawberries. Even go out of fashion for a while Jewelry. It is believed that than more beautiful woman, the less she needs decorations.

In Empire times, the whiteness and delicacy of hands were so valued that they even wore gloves at night.

*if you want a beautiful one without a mask effect, with an ideal tonal coverage that lasts on your face for at least 8 hours, then rest assured this course is especially for you...

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

The outfits clearly imitate antique clothing. Since these dresses were made mainly from thin translucent muslin, fashionistas risked catching a cold on particularly cold days. To create spectacular draperies that beautifully outline natural characteristics, ladies used a simple technique of ancient sculptors - they moistened their clothes; it is no coincidence that the mortality rate from pneumonia was very high in those years. The French "Journal de Mode" in 1802 even recommended its readers to visit the Montmarte cemetery to see how many young girls had fallen victim to "naked" fashion. Parisian newspapers were full of mourning chronicles: “Madame de Noël died after the ball, at nineteen, Mademoiselle de Juinier at eighteen, Mlle Chaptal at sixteen!” In just a few years of this extravagant fashion, more women died than in the previous 40 years.

Theresa Tallien was considered “more beautiful than the Capitoline Venus” - her figure was so ideal. She introduced the “naked” fashion. The most light dress weighed 200 grams!

Only thanks to Napoleon’s Egyptian campaign did cashmere shawls come into fashion, which were widely popularized by the emperor’s wife, Josephine.

MAKEUP IDEAS
For blue eyes+ video lesson

In the 20s of the 19th century, the figure of a woman resembles hourglass: rounded “puffed up” sleeves, wasp waist, wide skirt. The corset came into fashion. The waist should be unnatural in volume - about 55 cm. The desire for an “ideal” waist often led to tragic consequences. So, in 1859, one 23-year-old fashionista 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, ladies were ready to endure various inconveniences: wide brims of ladies' hats that hung over their eyes, and they had to move almost by touch, long and heavy hems of dresses.

In the authoritative British journal The Lancet in the 1820s, the opinion was expressed that muscle weakness, diseases nervous system and other ailments, women should blame the weight of their dresses, which was about 20 kilograms. Ladies often got confused in their own skirts. Queen Victoria once sprained her ankle by stepping on her hem.

In the second half of the 19th century, the desire for artificiality was revived. A healthy complexion and tan, a strong, strong body became signs of low origin. The ideal of beauty was considered to be “wasp waists,” pale faces, delicacy and sophistication. The laughter and tears of a society beauty should be beautiful and graceful. The 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 your complexion.

Sick femininity is in fashion. We are talking about both mental illnesses, in which imbalance borders on madness, a symbol of such a beauty can be Camille Claudel, the muse and student of the sculptor Auguste Rodin, and diseases of the body, like Marguerite Gautier, a mortally ill courtesan with tuberculosis - the heroine of the novel “The Lady of the Camellias” » Alexandre Dumas.

Camille Claudel

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

01.12.2012 11:39

The eighteenth century is the era of huge wigs, lush dresses, endless balls, sophisticated perfumes and porcelain. This is the age of tenderness and mannerisms, beauty and passion. A distinctive feature of 18th century makeup is snow-white skin.

Makeup was a mandatory feature of the costume of that time. Both men and women thickly covered their skin with powder and white, giving it a porcelain-like hue. It is noteworthy that the powder was used to mask not only the face and neck, but also the décolleté area and even the hands. Main shades cosmetic product there were white, gray, blue, pink. In order to enhance the pallor, ladies painted blue veins on their temples, imitating veins.

Contrasting flies, which were made from velvet and taffeta in dark shades, helped to emphasize the pallor of the skin. Later they began to be drawn with a special pencil. They were, as a rule, small in size and had a wide variety of shapes. The flies were most often attached to the face. They could also be located on the neck or chest, depending on the wishes of the hostess and the style of the dress.

It was believed that the front sight draws attention to the most attractive part of the body. Some women “planted” flies in places inaccessible to others. An artificial mole could be located, for example, on the thigh or tummy. There was even a secret language of flies.

Along with decorative moles, a blush adorned her face. The light pink blush looked especially beautiful against a snow-white background. The eyelashes were thickly painted with a special black paint, which made the look especially bright. The lips were highlighted with red lipstick. This type of makeup lasted until the end of the 18th century. At the turn of the century, a natural look and natural pallor came into fashion.