During our extended stay in Paris, we discovered fortuitously Bibliothèque Forney on Rue du Figuier in Le Marais. This public library of the city, which specializes in the applied arts, is located in the historic Hotel de Sens. See our earlier post on Bibliothèque Forney here.
In addition to its extensive collection of books and printed materials, the library features a gallery that hosts exhibitions highlighting various aspects of the decorative arts, from historical craftsmanship to contemporary design trends. At the gallery, we explored an exhibition that traced the history of cosmetic face powder and its packaging in France, spanning a century from 1880 to 1980.
For a nostalgic trip back to the glamour of the past while browsing, play “Dinah” by Josephine Baker (recorded in 1926), an iconic figure of Paris’ vibrant jazz scene in the 1920s.
Le Poudre de Beauté et Ses Écrin
The title of the exhibition is Cosmetic Powder and its Cases (Le Poudre de Beauté et ses écrin). The exhibition is co-produced with the Musée International de la Parfumerie in Grasse (Provence). It is the first public display of Ann de Thoisy-Dallem’s collection, documenting a century of practices related to cosmetic powder.
Though I knew little about cosmetic face powder, and even less about the intricacies of its cases, I (Chris) wandered through the exhibits with a sense of curiosity. My French is not quite good enough to get the full details; but the explanatory texts for some of the exhibits are thankfully bilingual.
I have reproduced some excerpts from the exhibits below in quotes.
White make-up, ceruse (made of poisonous white lead, abandoned in 1913) was used on skin, while starch was sprayed onto hair and wig during the 17th-19th century in France.
Poudre de riz (rice powder) was used first in China but also nominally very popular among French aristocrats. The white face symbolized wealth and social status, as tanned skin was associated with outdoor labor and lower classes. Men of the court also used rice powder to achieve a similar effect.
Paradoxically, poudre de riz “rarely contained rice. It was made from minerals (talc, chalk, kaolin), vegetable ingredients (starch and derivatives) and later, synthetic ingredients like synthetic mica, nylon and silicone. These substances easily adhere to the skin, absorbing greasy substances and producing a matte finish.”
While researching for this post, we discovered an astonishing fact: in the early 20th century, radium was actually used in cosmetics! Beauty companies marketed it as “liquid sunshine,” capitalizing on its radiant allure. Radium, a radioactive element discovered by Marie Curie, was eventually linked to serious health risks. Curie herself passed away from aplastic anemia, likely due to prolonged radiation exposure. Fortunately, by 1937, the use of radium in cosmetics was discontinued.
Dr N.G. Payot 1956 Poudre Nouvelle,
Nimbe de Beauté >>
packaging designed
by René Gruau
Houppette is a powder puff – a soft, round, light or hollow object used to apply the powder to one’s face. I(Chris) have a faint memory of my mother keeping a box of scented powder and a delicate puff (a houppette) on her vanity table years ago.
“The loose powder was sold by weight and bought in bulk, packaged in a paper cone and transferred to a specifically designed box of more or less value.”
Anatomy of a powder case, 5 essential parts: (1) “Robe” – the “dress” refer to the outer part of the lid; (2) “Tambour” – the “drum” made of a circle of cardboard with a fine paper or cellophane at one of its bases; (3) “Âme” – the “core” refers to the band that forms the side frame of the box; (4) the “Charpente” that is the printed elements that make up the box; and (5) the “Drageoir” that is the protruding part that serves as the base.
“In the aftermath of the First World War, the public longed for freedom and zest in life. Emancipation of women and the emergence of boys as models of youthfulness and androgyny, the beauty conventions changed and were widely spread through women’s magazines. From then on, tanned skin and a sporty figure were in fashion.“
“Chatelaines and minaudieres became essential companions, while powder compacts entered a golden age thanks to the recent invention of pressed powder. These accessories brought about a new way of using make-up in public …”
Use of “noble materials are in keeping with the art deco movement of the time. Shagreen, precious wood or lacquered wood and gold were used to decorate the geometrically patterned powder compacts.“
“Cardboard makers imitated them to give powder boxes a modern look.“
“Art deco, with its simple geometric shapes and precious materials, invaded the world of perfumery and its collectors“
“In 1927, the couturier Jeane Lanvin surrounded herself with Art Deco artists (Rateau and Iribe) for her first perfume, Arpège, which was available in a range.“
A couturier-perfumer was born. “Perfumes expanded their collaboration with the most prestigious glassworks and crystal factories, whose recent innovations made it possible to give a modern look to bottles and powder boxes.”
La Maison Bourjois was used an example, initially “a supplier of theatre make-up in the 19th century who extended its activities to include everyday make-up with the commercial success of La Poudre de riz de Java (Java rice powder) in 1866 and its compact version, a true innovation in 1903.“
The perfume brand Mon Parfum, then Soir de Paris, were expanded with loose and compact powders in 1925 and 1928. This brand illustrates the entry into a new era of marketing by perfumery and cosmetics maker who started selling their products mainly in department stores and perfume shops.
At the Galerie Forney, we saw an exhibition that delves into the evolution of cosmetic powders, with a special focus on the packaging—beautiful powder boxes (écrins) and compacts (poudriers). It was interesting to see the various designs and technical advancements that accompanied the rise of mass-produced cosmetics in the early 20th century.
What the exhibition emphasized and stood out for us, though, was how this evolution reflected broader social changes.
The shift from favoring a pale complexion to embracing a tanned look mirrored the growing empowerment of women during that era.
The exhibition also brought to mind the current and global popularity of Korean beauty products which emphasize skincare over makeup. Unlike the west, there is a very strong preference for pale face and body complexion among Asian women. The pendulum may be swinging back to an earlier trend.
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