Annie Morton, in her apartment, in ‘make-up’ by Dick Page, 1996. Model Annie Morton sits in her apartment bare-faced and with disheveled hair. The image is deshabille in the extreme. Make-up artist Dick Page did nothing to disturb her early morning beaty. Using this pre-shoot image, he contests the idea of what constitutes beauty, saying, ‘There is no such thing as natural make-up. As soon as there is make-up on the face it is not natural.’ This is the key to Page’s ethos. While effecting transformations by giving skin a shiny surface, he rejects further artificiality and won’t use make-up that regulates and reduces women to a uniform beauty—on one occasion even leavin spots as an ‘undeniable part of the woman underneath’. Page’s iconoclastic methods are unique in a business that is designed to sell make-up. However, he was a champion of the ‘greasy, glossy’ direction of make-up in the 1990s, a movement that, bizarrely, accelerated the sale of make-up. —Phaidon Editors, 1998

Annie Morton, in her apartment, in ‘make-up’ by Dick Page, 1996.

Model Annie Morton sits in her apartment bare-faced and with disheveled hair. The image is deshabille in the extreme. Make-up artist Dick Page did nothing to disturb her early morning beaty. Using this pre-shoot image, he contests the idea of what constitutes beauty, saying, ‘There is no such thing as natural make-up. As soon as there is make-up on the face it is not natural.’ This is the key to Page’s ethos. While effecting transformations by giving skin a shiny surface, he rejects further artificiality and won’t use make-up that regulates and reduces women to a uniform beauty—on one occasion even leavin spots as an ‘undeniable part of the woman underneath’. Page’s iconoclastic methods are unique in a business that is designed to sell make-up. However, he was a champion of the ‘greasy, glossy’ direction of make-up in the 1990s, a movement that, bizarrely, accelerated the sale of make-up.

—Phaidon Editors, 1998

#Annie Morton      #Dick Page      #Fashion      #Beauty      

5 days ago
Shu Uemura with model, 1983. With his design philosophy ‘Bien être’ (a sense of well-being), Shu Uemura freed the face from the shifting dictates of transient fashions developed a notion of the inner sense of beauty, reflecting a mood of introversion and lack of artifice. Originally a hairdresser, Shu Uemura became a make-up artist to stars such as Shirley MacLaine and Frank Sinatra in 1950s Hollywood. He raised the standard of make-up and made it into an art form, using superior cosmetics as his palette the finest beauty tools as apparatus. These he stocked in his aesthetically modern Beauty Boutiques, which resembled art supply stores and heralded a cosmetics-counter revolution in the 1980s. After thirty decades, the natural style of his cosmetics, in soft, muted colours and distinct transparent packaging, is still relentlessly modern and very much a hallmark of twentieth-century design. —Phaidon Editors, 1998 Photo by Morozumi.

Shu Uemura with model, 1983.

With his design philosophy ‘Bien être’ (a sense of well-being), Shu Uemura freed the face from the shifting dictates of transient fashions developed a notion of the inner sense of beauty, reflecting a mood of introversion and lack of artifice. Originally a hairdresser, Shu Uemura became a make-up artist to stars such as Shirley MacLaine and Frank Sinatra in 1950s Hollywood. He raised the standard of make-up and made it into an art form, using superior cosmetics as his palette the finest beauty tools as apparatus. These he stocked in his aesthetically modern Beauty Boutiques, which resembled art supply stores and heralded a cosmetics-counter revolution in the 1980s. After thirty decades, the natural style of his cosmetics, in soft, muted colours and distinct transparent packaging, is still relentlessly modern and very much a hallmark of twentieth-century design.

—Phaidon Editors, 1998

Photo by Morozumi.

#Shu Uemura      #Fashion      #Beauty      #Cosmetics      

1 week ago