This working paper examines the globalization of the beauty industry before 1980. This industry, which had emerged in its modern form in the United States during the late nineteenth century, grew quickly worldwide over the following century. Firms employed marketing and marketing strategies to diffuse products and brands internationally despite business, economic and cultural obstacles to globalization. The process was difficult and complex. The globalization of toiletries proceeded faster than cosmetics, skin and hair care. By 1980 there remained strong differences between consumer markets. Although American influence was strong, it was already evident that globalization had not resulted in the creation of a stereotyped American blond and blue-eyed beauty female ideal as the world standard, although it had significantly narrowed the range of variation in beauty and hygiene ideals.
This article examines the globalization of the beauty industry between 1945 and 1980. This industry grew quickly. Firms employed marketing and marketing strategies to diffuse products and brands internationally, despite business, economic, and cultural obstacles to globalization. The process was difficult and complex. The globalization of toiletries proceeded faster than cosmetics, skin care, and hair care. By 1980, strong differences remained among consumer markets. Although American influence was strong, it was already evident that globalization had not resulted in the creation of a stereotyped American blonde and blue-eyed female beauty ideal as the world standard, although it had significantly narrowed the range of variation in beauty and hygiene ideals.
The global beauty business permeates our lives, influencing how we perceive ourselves and what it is to be beautiful. This book provides the first authoritative history of the global beauty industry from its emergence in the 19th century to the present day, exploring how today's global giants such as Avon, Coty, Estée Lauder, and L'Oréal, grew.
Business model innovations are conceived and implemented by a special type of entrepreneur: business model pioneers. This book presents 14 compelling case studies of business model pioneers and their companies, who have successfully introduced new business ideas to the market. The examples range from industries such as retail, media and entertainment to services and industrial projects. For each example, the book provides information on the market environment at the time of launch and illustrates the driving forces behind these business models. Moreover, current market developments are highlighted and linked to the evolution of the business models. Lastly, the authors present the profile of a typical business model pioneer.
The Beauty Trade is an analysis of the globalization of beauty products, practices, and ideas, as seen through the lives of youth in Mexico. Far from frivolous, the beauty economy is key to youth's social and economic development.
Made Up exposes the multibillion-dollar beauty industry that promotes unrealistic beauty standards through a market basket of advertising tricks, techniques, and technologies. Cosmetics magnate Charles Revson, a founder of Revlon, was quoted as saying, "In the factory, we make cosmetics. In the store, we sell hope." This pioneering entrepreneur, who built an empire on the foundation of nail polish, captured the unvarnished truth about the beauty business in a single metaphor: hope in a jar. Made Up: How the Beauty Industry Manipulates Consumers, Preys on Women’s Insecurities, and Promotes Unattainable Beauty Standards is a thorough examination of innovative, and often controversial, advertising practices used by beauty companies to persuade consumers, mainly women, to buy discretionary goods like cosmetics and scents. These approaches are clearly working: the average American woman will spend around $300,000 on facial products alone during her lifetime. This revealing book traces the evolution of the global beauty industry, discovers what makes beauty consumers tick, explores the persistence and pervasiveness of the feminine beauty ideal, and investigates the myth-making power of beauty advertising. It also examines stereotypical portrayals of women in beauty ads, looks at celebrity beauty endorsements, and dissects the “looks industry.” Made Upuncovers the reality behind an Elysian world of fantasy and romance created by beauty brands that won’t tell women the truth about beauty.
The Business of Beauty is a unique exploration of the history of beauty, consumption, and business in Victorian and Edwardian London. Illuminating national and cultural contingencies specific to London as a global metropolis, it makes an important intervention by challenging the view of those who-like their historical contemporaries-perceive the 19th and early 20th centuries as devoid of beauty praxis, let alone a commercial beauty culture. Contrary to this perception, The Business of Beauty reveals that Victorian and Edwardian women and men developed a number of tacit strategies to transform their looks including the purchase of new goods and services from a heterogeneous group of urban entrepreneurs: hairdressers, barbers, perfumers, wigmakers, complexion specialists, hair-restorers, manicurists, and beauty “culturists.” Mining trade journals, census data, periodical print, and advice literature, Jessica P. Clark takes us on a journey through Victorian and Edwardian London's beauty businesses, from the shady back parlors of Sarah “Madame Rachel” Leverson to the elegant showrooms of Eugène Rimmel into the first Mayfair salon of Mrs. Helena Titus, aka Helena Rubinstein. By revealing these stories, Jessica P. Clark revises traditional chronologies of British beauty consumption and provides the historical background to 20th-century developments led by Rubinstein and others. Weaving together histories of gender, fashion, and business to investigate the ways that Victorian critiques of self-fashioning and beautification defined both the buying and selling of beauty goods, this is a revealing resource for scholars, students, fashion followers, and beauty enthusiasts alike.
This second volume of the Yearbook of Transnational History offers readers new perspectives on historical research. This Yearbook is the only periodical worldwide dedicated to the publication of research in the field of transnational history.
A New York Times Book Review Editors' Choice Pick “Cosmetic, tool of rebellion, status signifier: Eyeliner has been all these and more. Moving through millenniums and across civilizations, Hankir gives the makeup its eye-opening due.” —The New York Times Book Review “An impressive, rigorously researched, winding path through centuries and over continents.” —NPR.org “I loved Eyeliner. Hankir approaches her subject with dedicated curiosity, humility, and humor, blending anthropology, travel writing, memoir and history. A treat.” —Kassia St. Clair, author of The Secret Lives of Color From the acclaimed editor of Our Women on the Ground comes a dazzling exploration of the intersections of beauty and power around the globe, told through the lens of an iconic cosmetic From the distant past to the present, with fingers and felt-tipped pens, metallic powders and gel pots, humans have been drawn to lining their eyes. The aesthetic trademark of figures ranging from Nefertiti to Amy Winehouse, eyeliner is one of our most enduring cosmetic tools; ancient royals and Gen Z beauty influencers alike would attest to its uniquely transformative power. It is undeniably fun—yet it is also far from frivolous. Seen through Zahra Hankir’s (kohl-lined) eyes, this ubiquitous but seldom-examined product becomes a portal to history, proof both of the stunning variety among cultures across time and space and of our shared humanity. Through intimate reporting and conversations—with nomads in Chad, geishas in Japan, dancers in India, drag queens in New York, and more—Eyeliner embraces the rich history and significance of its namesake, especially among communities of color. What emerges is an unexpectedly moving portrait of a tool that, in various corners of the globe, can signal religious devotion, attract potential partners, ward off evil forces, shield eyes from the sun, transform faces into fantasies, and communicate volumes without saying a word. Delightful, surprising, and utterly absorbing, Eyeliner is a fascinating tour through streets, stages, and bedrooms around the world, and a thought-provoking reclamation of a key piece of our collective history.
