The use of different synthetic reds changed as the century progressed as synthetic colours became subject to legislative controls. Some early colours did not survive while others were developed, tested and added to approved lists. Early forms of rouge were also used to colour the lips. Whether by deliberate design, or through a lack of knowledge on how to use cosmetics, some women used their lipstick as a substitute for rouge in the same way that paste rouge was sometimes used as a substitue for lipstick.
As the use of stick rouge or lipstick increased during the twentieth century it became fashionable for women to match the colour in their rouge with their lipstick.
This led to the production of lipsticks and rouges in matching shades. When the fashion trend of matching lipsticks with nail polish took hold in the s, and the colour ranges of both lipsticks and nail polishes increased dramatically, it was not cost effective for manufacturers to do the same with rouge, and after the Second World War the shade ranges for rouge generally remained more limited than those for lipsticks or nail polishes although they were still colour coordinated with them.
As the manufacture of rouge reached an industrial scale, the plethora of names used for rouge declined and disappeared. By the early twentieth century, cosmetic chemists were generally referring to different forms of rouge by the base in which the red dyes and pigments were dissolved or suspended — liquid, powder, compact powder, paste and cream — with paste and cream often being conflated even though they were quite distinct in composition.
Early liquid rouges were relatively simple solutions of eosin, carmine or some other dyestuff to which a little glycerin was sometimes added to make the product easier to handle. Dissolve the carmine in the liquid ammonia, add the rose water, and then the glycerine—shake.
Stand aside for one month, and decant the clear liquid. Early liquid rouges were also made with an alcohol-water base, which enabled the use of alcohol-soluble dyes. Liquid rouge was used on the cheeks but could also be applied to the lips. If it was designed to be applied to the lips gums were often included to thicken the fluid so that it would stay in place. However, it underwent something of a resurgence after liquid foundations were introduced in the s and s as it could be applied over the liquid foundation and smoothed in.
Powder rouges were similar to face powders except that they were more highly coloured and opaque. This required higher concentrations of dyes and pigments and opacifiers like zinc oxide and titanium dioxide.
Loose powder rouges do not appear to have been very popular in the twentieth century, with most women preferring their rouge powder compressed into a compact. The paste or salve type of rouge is the easiest rouge to make. A simple anhydrous base can be made by blending mineral oils and waxes together to make an ointment.
Make a small quantity of base and allow it to set. While the base is setting, sift the dry colour through the fine sieve, remembering that the colour cannot be too fine. Next weigh out the amount of base required and remelt. When liquid add it to the previously sifted colour.
Mix thoroughly, heating again, if necessary, to keep the whole mass in a pourable condition. Now strain through the silk which has been stretched over the receptacle. The perfume is added as usual when nearly cold. Both dyes and pigments could be used in a paste rouge. The pigments would be dispersed through careful blending of the mixture but should a dye be required then a suitable solvent — such as castor oil — would need to be incorporated into the formula. As these rouges do not contain water, they usually have a good shelf life as long as steps are taken to ensure that bacteria or fungi do not grow in them.
Although a cream rouge looks very similar to a paste rouge and, when advertised, little distinction was made between the two, cream rouges were formulated as emulsions so contained water. Technically almost any type of face cream could be made into a rouge by adding colouring and most early cream rouges were made using a cold cream or vanishing cream base.
Mix the color into the petrolatum by use of a roller or ointment mill. Heat the water, add the triethanolamine and the borax. Melt the beeswax and the oleic acid. Add the triethanolamine solution and mix until thoroughly emulsified, then add the perfume and finally the color base.
Mix thoroughly and if necessary run the entire mass through an ointment mill. Proceed as with vanishing cream. Mix color and perfume into the cream base after it is cool and mill thoroughly. See also: Cold Creams and Vanishing Creams. Given that cream rouges contain both oil and water it was important to ensure that any colouring used was either soluble or insoluble in both the oil and water phase. If it was only soluble in one phase a mottled look would be produced.
As they contained water, cream rouges were also susceptible to evaporation as well as bacterial and fungal degradation. As only small amounts of rouge tend to be used at any one time, these cosmetics had a long life so cosmetic chemists had to ensure that they were stable over the long-term; tight lids and preservatives were essential. Compact powder rouge was the most popular form of rouge but also the most difficult to manufacture successfully.
It used a similar formulation to loose powder rouge but contained a binder to hold the powder together when it was compressed into a firm cake. The problems associated with manufacturing early compressed face powders also beset making compact rouge. However, as the rouge tablets were smaller than those of compressed face powders, they were probably less likely to break or crack, a common problem with early forms of this cosmetic. Given the rising popularity of portable compressed face powders many manufacturers developed compacts which included a large compressed face powder combined with a smaller compressed rouge.
Once the base and colours had been selected a manufacturer would need to select an appropriate binder such as a water-soluble gum or mucilage, a water-repellant oil, an emulsion or a dry metal stearate Heinrich, , pp. The choice of binder determined some aspects of the manufacturing process. If a gum or mucilage was used this was added to the coloured and perfumed base, mixed well, thoroughly pulverised and then immediately pressed into godets.
If a water-repellant oil binder was selected this was thoroughly mixed with a portion of the white base before it was added to the bulk powder. Colour and water was then added and everything was then mixed, pulverised and pressed. Rouge Artist's packaging is inspired by a professional lip brush to deliver an artist-like application every time. Attach the cap to the bottom of the tube and hold like a brush at the center for ultimate precision.
First apply at the cupid's bow and center of the bottom lip to create lip symmetry. Then, swipe up from the outer corners, connecting at the cupid's bow. Repeat on the bottom, start from the corner and swiping down.
Blend lips together. Sites offering online sales. United States. Since Cream Rouge takes a full year to expire, that works out perfectly! Cream Rouge is vegan, cruelty-free, gluten free, and paraben free.
How often have you put a blush in your luggage only to find a heap of broken powder waiting for you at your destination? The tin is small enough to fit in any purse or makeup bag and will not be harmed by even the worst turbulence. To find out how to find you perfect blush color, check out our guide. Though Apricot appears bright orange, it blends into a golden, peachy hue that looks great on a wide range of skin tones.
Poppy is right in between — a bit more pink than Apricot and a little less vibrant than Crimson. For dry skin, Cream Rouge is ideal. If you have oily skin, Cream Rouge is still a great choice. Though our rouge has a creamy feel, it dries quickly and settles into the skin without clogging pores.
Would you marvel at all the little bottles and maybe sneak one to keep for yourself? Makeup from the past was designed with care. Now most things are designed to be thrown away. Not Cream Rouge. The tin was made to be adored. And maybe your grandchildren will one day try to sneak it away for themselves. I have both the other colors,but apricot was way too orange for me!
Ideal lips that enhance the radiance of the spirit, expression, and appearance with shades suffused with vitality. New product on sale August 21, 51colors each 3, yen tax included. Produces fresh and premium lips suffused with moisture.
An even veil glides smoothly onto the lips and lasts fresh color and finish. The Rouge 3, yen tax included Lip Color.
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