Western cosmetics in the 1970s

Western cosmetics in the 1970s reflected the multiple roles ascribed to the modern woman. For the first time since 1900, make-up was chosen situationally, rather than in response to monolithic trends. The era's two primary visions were the feminist-influenced daytime "natural look" and the sexualized evening aesthetic presented by European designers and fashion photographers. In the periphery, punk and glam were also influential. The struggling cosmetics industry attempted to make a comeback, using new marketing and manufacturing practices.

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 cosmetics industry, faced with increasing mainstream rejection of sexual objectification, began to market make-up as "natural" or "invisible". A 1970 ad for Moon Drops "Demi-Makeup" read, "People will think it's your own fresh, flawless skin. (Let them.)" Fragrances were also marketed to the "new woman". 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. Serious, polite, and androgynous cosmetics were seen as appropriate for the business world, where working women felt increasing pressure to present a meticulous appearance.

Similar aesthetics were seen elsewhere in the fashion world. In the 1970s, American fashion designers such as Ralph Lauren and Calvin Klein presented understated, neutral designs accompanied by natural make-up. 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". 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.

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