Introduction to the Project

Marsh, M. (2009). Chapter 2, 'The Unpainted Lady'. In: 'Compacts and Cosmetics: Beauty from Victorian Times to the Present Day'. South Yorkshire: Remember When. p21-27.

Draznin, Y, C. (2001). The MCMW's Background. In: 'Victorian London's Middle-Class Housewife: What She Did All Day (Contributions in Women's Studies)'. Westport: Greenwood Press. p36-37.
Milady. (2014). Chapter 1 History and Career Opportunities. In: 'Milady Standard Cosmetology 2016'. Boston, USA: Cengage Learning. p9.

There is much evidence to suggest that the Victorian period between 1837-1901 was a time of cosmetic simplicity and constricted posture as the appeal for fragile "fainting femininity", as stated by Marsh. M (2009), grew and costume became a walking cage for the women of the time. Masculine desires for a flawlessly structured, yet natural, female aesthetic in regards to both beauty and physical form became unrealistic to the human proportions commonly leading to painful manipulations to the body through corsetry. New developments in lingerie in particular enabled this strange adaptation of the female waist to become microscopic in comparison to the natural shape, this was achieved through developments in metal eyelets and whale bone corset lining that allowed the waist to be pulled tighter than before 1820. Marsh (2009) adds that the fashion for this "wasp waist" often left women with permanent deformities to both the internal organs and skeletal structure and yet they were expected to sacrifice their comfort for "immobile and artificial" constraint. I personal regard a brief understanding of the imprisoning fashions of the Victorian period essential to understanding the beauty aesthetics. It would appear from historical research that the near impossible standard for a flawless natural beauty is almost hypocritical in comparison to the false physical illusions created through corsetry. 

Advertisement for Beetham's Glycerine &
Cucumber Lotion, c1900.
'Compacts & Cosmetics: Beauty from Victorian
Times to the Present Day', Madeleine Marsh,
 Page 20

While the body was confined to unrealistic postures designed to enhance the bust and waist the skin of the Victorian woman was expected to embody a "peaches and cream" complexion with full cheeks and porcelain skin. Makeup that was visible on the skin was highly disapproved of, considered only suitable for actresses and prostitutes with tones such as bright reds being of common connection. Furthermore it has been discovered by cosmetic historians such as both Draznin (2001) and Marsh (2009) that many men regarded cosmetics as a creation by the Devil himself for the purpose of luring women toward a desire to deform the face in the interest of painted vanity, in fact the term "painted lady" used to describe women of the night derives its meaning from such a belief. Victorian beauty became fixated on retaining a natural porcelain skin that reflected a bright and healthy woman, particular attention was paid towards enhancing features such as the eyes and lips and life style choices such as walks in the fresh air became more essential to the preservation of youth than direct reliance on cosmetic assistance. Particular attention was also paid to that of a woman's mentality with the hypothesis of a attractive mind reflecting in a woman's physical beauty became a key concept for a young lady idealistic for marriage. Men who possessed a wife with a beautiful face meant they also obtained a woman who knew her place in society. 

Regardless of the disapproval of cosmetics within Victorian society options for physical improvement were readily available to the women of the time. Evidence through both advertisements and physical findings imply that cosmetics such as face powders were a popular method of masking the flaws of the skin by creating the illusion of a softer and paler complexion. These powders often made from crushed pearl or oatmeal flour were barely detectable to the human eye but enabled the appearance of smoother skin. These is also evidence of products being applied to the lashes and brows to enhance the depth of colour and improve the overall shape to enhance the eye, however unnatural rouge was still highly frowned upon therefore women had to resort to methods such as pinching the cheek and biting the lip to achieve a natural colour in the face as an alternative to the cold creams combined with red wax used by actresses within theatre.
As false creation of beauty was so frowned upon within the Victorian era preservation of the skin had become a key method of retaining a youthful appearance. Particular attention was paid to the skin on the hands, chest and face which had become an indicator of class and social status. Accessories such as gloves, bonnets, veils and parasols became tools to preserving the complexion from the damages of sunspots and premature ageing. In addition to this Milady (2014) states that homemade masks of egg, milk, oatmeal and honey became essential household beauty treatments for tackling issues connected to blemishing and uneven skin tone. Due to these new developments in youth preservation pharmacists such as John Boots (Boots Pharmacy 1849) and Frank Winfield Woolworth (Woolworths 1878) began creating their own herbal remedies to sell products to the different social classes. Women had began to become wary of what they were applying to their skin as a result of lead poisoning that had occurred throughout cosmetic history. According to Draznin (2001) traders' such as Beetham's stressed the safety of their products often proclaiming that their treatments had "no equal" in dealing with complexion whitening and blemishes. By the end of the 19th century moisturisers such as Cold Creams were commonplace beauty items within the Victorian woman's beauty regime, originating from a Greek recipe of emollient fats and water from 2nd century physician Galen. By the 19th century these recipes had been perfumed to increase their appeal to the upper classes. In addition to this Vaseline had also begun to of been used as a moisturiser and lipgloss by many women and by 1881 the company had established themselves as one of the first cosmetic lines within the late Victorian period, therefore it is clear that although false cosmetic beauty was heavily frowned upon within the 19the century period. A reliance on the preservation of youth had transformed into the beginnings of an industrial beauty industry.