#The eyes of ara 6 faces skin

The industry, according to a 1979 article in W magazine, had 'lost its glamour'. The health of the beauty industry declined in the 1970s, as the growth of cosmetics sales failed to keep pace with overall growth in personal spending. The decade's competing visions of beauty were seen in its dichotomy of eye shadow colors: both dramatic, smoky dark gray and transparent, natural beiges and grays were popular. Matte colors were popular for eyes, in contrast to the iridescence that characterized 1960s make-up. Improvements in chemistry enabled the introduction of waterproof mascara along with better lash lengtheners and thickeners. Lipstick in the 1970s tended to be either color or gloss popular hues included deep pink, purple, and raspberry.

Intensely colored blush carried over from the 1960s to the early 1970s. Anti-aging products were also increasingly important.

#The eyes of ara 6 faces skin

Women tended to wear lighter foundation in the 1970s, which greatly increased the market for skin care products. Glitter eye shadow and nail varnish were popular during this period. The glam style drew on transvestism, androgyny, decadence, and camp its 'blasé sophistication' stood in marked contrast to the innocence and sincerity of the 1960s. Images of glam rockers like Alice Cooper, David Bowie, and Lou Reed in the pages of Rolling Stone established the influence of another extreme aesthetic. Black, fluorescents, and neo- tribalism were major aesthetic elements. The movement, described as 'anti-beauty' by Kate de Castelbajac, embraced intentionally artificial and aggressive make-up, tattooing, and body piercing to shock observers. The punk movement that emerged in the late 1970s aimed to provoke rather than follow the trends of the day. In 1974, raspberry-coloured lip gloss, and pencil-thin eyebrows were popular trends Punk Bandy's philosophy, described in his book Designing Your Face, held that make-up should be used not as a mask, but rather to alter perception and proportion, creating a personalized 'ideal' face. A similar look was embraced by photographer Francesco Scavullo, makeup artist Way Bandy, and hairstylist Maury Hobson, who collaborated on the covers of Cosmopolitan that established the 1970s 'natural look'. In the 1970s, American fashion designers such as Ralph Lauren and Calvin Klein presented understated, neutral designs accompanied by natural make-up. Similar aesthetics were seen elsewhere in the fashion world. Serious, polite, and androgynous cosmetics were seen as appropriate for the business world, where working women felt increasing pressure to present a meticulous appearance. Charlie-whose ads featured a no-nonsense, pantsuit-clad, independent woman-was a marketing triumph, becoming the nation's leading scent within a year of its release. (Let them.)' Fragrances were also marketed to the 'new woman'.

A 1970 ad for Moon Drops 'Demi-Makeup' read, 'People will think it's your own fresh, flawless skin. The cosmetics industry, faced with increasing mainstream rejection of sexual objectification, began to market make-up as 'natural' or 'invisible'. Though some feminists in the 1970s continued to wear cosmetics, many others did not Susan Brownmiller, for instance, called an unadorned face 'the honorable new look of feminism'. The feminist-influenced 'natural look' was popular during the 1970s.