Woman And Cosmetics Quotes

The most beautiful makeup of a woman is passion. But cosmetics are easier to buy.

What becomes of a man who acquires a beautiful woman, with her "beauty" his sole target? He sabotages himself. He has gained no friend, no ally, no mutual trust: She knows quite well why she has been chosen. He has succeeded in buying something: the esteem of other men who find such an acquisition impressive.

The Victorian woman became her ovaries, as today's woman has become her "beauty.

Sadly, the signals that allow men and women to find the partners who most please them are scrambled by the sexual insecurity initiated by beauty thinking. A woman who is self-conscious can't relax to let her sensuality come into play. If she is hungry she will be tense. If she is "done up" she will be on the alert for her reflection in his eyes. If she is ashamed of her body, its movement will be stilled. If she does not feel entitled to claim attention, she will not demand that airspace to shine in. If his field of vision has been boxed in by "beauty"--a box continually shrinking--he simply will not see her, his real love, standing right before him.

Cosmetic surgery processes the bodies of woman-made women, who make up the vast majority of its patient pool, into man-made women.

A consequence of female self-love is that the woman grows convinced of social worth. Her love for her body will be unqualified, which is the basis of female identification. If a woman loves her own body, she doesn't grudge what other women do with theirs; if she loves femaleness, she champions its rights. It's true what they say about women: Women are insatiable. We are greedy. Our appetites do need to be controlled if things are to stay in place. If the world were ours too, if we believed we could get away with it, we would ask for more love, more sex, more money, more commitment to children, more food, more care. These sexual, emotional, and physical demands would begin to extend to social demands: payment for care of the elderly, parental leave, childcare, etc. The force of female desire would be so great that society would truly have to reckon with what women want, in bed and in the world.

Today a woman must ignore her reflection in the eyes of her lover, since he might admire her, and seek it in the gaze of the God of Beauty, in whose perception she is never complete.

Whatever is deeply, essentially female--the life in a woman's expression, the feel of her flesh, the shape of her breasts, the transformations after childbirth of her skin--is being reclassified as ugly, and ugliness as disease. These qualities are about an intensification of female power, which explains why they are being recast as a diminution of power. At least a third of a woman's life is marked with aging; about a third of her body is made of fat. Both symbols are being transformed into operable condition--so that women will only feel healthy if we are two thirds of the women we could be. How can an "ideal" be about women if it is defined as how much of a female sexual characteristic does not exist on the woman's body, and how much of a female life does not show on her face?

Is the beauty myth good to men? It hurts them by teaching them how to avoid loving women. It prevents men from actually seeing women. It does not, contrary to its own professed ideology, stimulate and gratify sexual longing. In suggesting a vision in place of a woman, it has a numbing effect, reducing all senses but the visual, and impairing even that.

The maturing of a woman who has continued to grow is a beautiful thing to behold. Or, if your ad revenue or your seven-figure salary or your privileged sexual status depend on it, it is an operable condition.

Women could probably be trained quite easily to see men first as sexual things. If girls never experienced sexual violence; if a girl's only window on male sexuality were a stream of easily available, well-lit, cheap images of boys slightly older than herself, in their late teens, smiling encouragingly and revealing cuddly erect penises the color of roses or mocha, she might well look at, masturbate to, and, as an adult, "need" beauty pornography based on the bodies of men. And if those initiating penises were represented to the girl as pneumatically erectible, swerving neither left nor right, tasting of cinnamon or forest berries, innocent of random hairs, and ever ready; if they were presented alongside their measurements, length, and circumference to the quarter inch; if they seemed to be available to her with no troublesome personality attached; if her sweet pleasure seemed to be the only reason for them to exist--then a real young man would probably approach the young woman's bed with, to say the least, a failing heart.

I think if you went back to the eighteenth century and you asked a fifteen year old boy, 'Would you like to marry a woman who has had plastic bags needlessly inserted into her breasts?', that fifteen year old boy would probably be like, 'what's plastic?'.

Cosmetics is a boon to every woman, but a girl's best beauty aid is still a near-sighted man.

When [beauty pornography is] aimed at men, its effect is to keep them from finding peace in sexual love. The fleeting chimera of the airbrushed centerfold, always receding before him, keeps the man destabilized in pursuit, unable to focus on the beauty of the woman--known, marked, lined, familiar—-who hands him the paper every morning.

The surgeons are playing on the myth's double standard for the function of the body. A man's thigh is for walking, but a woman's is for walking and looking "beautiful." If women can walk but believe our limbs look wrong, we feel that our bodies cannot do what they are meant to do; we feel as genuinely deformed and disabled as the unwilling Victorian hypochondriac felt ill.

We do not have to spend money and go hungry and struggle and study to become sensual; we always were. We need not believe we must somehow earn good erotic care; we always deserved it. Femaleness and its sexuality are beautiful. Women have long secretly suspected as much. In that sexuality, women are physically beautiful already; superb; breathtaking. Many, many men see this way too. A man who wants to define himself as a real lover of women admires what shows of her past on a woman's face, before she ever saw him, and the adventures and stresses that her body has undergone, the scars of trauma, the changes of childbirth, her distinguishing characteristics, the light is her expression. The number of men who already see in this way is far greater than the arbiters of mass culture would lead us to believe, since the story they need to tell ends with the opposite moral.

Men who read it [beauty pornography] don't do so because they want women who look like that. The attraction of what they are holding is that it is not a woman, but a two-dimensional woman-shaped blank. The appeal of the material is not the fantasy that the model will come to life; it is precisely that she will not, ever. Her coming to life would ruin the vision. It is not about life. Ideal beauty is ideal because it does not exist; The action lies in the gap between desire and gratification. Women are not perfect beauties without distance. That space, in a consumer culture, is a lucrative one. The beauty myth moves for men as a mirage, its power lies in its ever-receding nature. When the gap is closed, the lover embraces only his own disillusion.

Our society does reward beauty on the outside over health on the inside. Women must not be blamed for choosing short-term beauty "fixes" that harm our long-term health, since our life spans are inverted under the beauty myth, and there is no great social or economic incentive for women to live a long time. A thin young woman with precancerous lungs [who smokes to stay thin] is more highly rewarded socially that a hearty old crone. Spokespeople sell women the Iron Maiden [an intrinsically unattainable standard of beauty used to punish women for their failure to achieve and conform to it]and name her "Health": if public discourse were really concerned with women's health, it would turn angrily upon this aspect of the beauty myth.

Cosmetic surgery is not "cosmetic," and human flesh is not "plastic." Even the names trivialize what it is. It's not like ironing wrinkles in fabric, or tuning up a car, or altering outmoded clothes, the current metaphors. Trivialization and infantilization pervade the surgeons' language when they speak to women: "a nip," a "tummy tuck."...Surgery changes one forever, the mind as well as the body. If we don't start to speak of it as serious, the millennium of the man-made woman will be upon us, and we will have had no choice.

Every time you rolled your eyes and every little smart remark you made about how silly it was for girls to care about their looks. You refused to let me--or anyone!--like books and silks. Outdoors and cosmetics. You stopped taking me seriously when I stopped being the kind of woman you thought I had to be to be considered intelligent and strong. All those things you say make men take women less seriously--I don't think it's men; it's you. You're not better than any other woman because you like philosophy better than parties and don't give a fig about the company of gentlemen, or because you wear boots instead of heels and don't set your hair in curls.

I know how mirrors work. They're all in league with the cosmetics trade. They tell a woman lies. Drawing her gaze from one imagined flaw to another, until all she sees is a constellation of imperfections. If you could get outside yourself, borrow my eyes for just an instant... There is only beauty.

The beauty myth sets it up this way: A high rating as an art object is the most valuable tribute a woman can exact from her lover. If he appreciates her face and body because it is hers, that is next to worthless. It is very neat: The myth contrives to make women offend men by scrutinizing honest appreciation when they give it; it can make men offend women merely by giving them honest appreciation. It can manage to contaminate the sentence "You're beautiful," which is next to "I love you" in expressing a bond of regard between a woman and a man. A man cannot tell a woman that he loves to look at her without risking making her unhappy. If he never tells her, she is destined to be unhappy. And the "luckiest" woman of all, told she is loved because she's "beautiful," is often tormented because she lacks the security of being desired because she looks like who she lovably is.

Beauty" and sexuality are both commonly misunderstood as some transcendent inevitable fact; falsely interlocking the two makes it seem doubly true that a woman must be "beautiful" to be sexual. That of course is not true at all. The definitions of both "beautiful" and "sexual" constantly change to serve the social order, and the connection between the two is a recent invention.

Taking joy in living is a woman's best cosmetic. ~Rosalind Russell

Taking joy in life is a woman's best cosmetic.

At least a third of a woman's life is marked with aging; about a third of her body is made of fat. Both symbols are being transformed into operable condition--so that women will only feel healthy if we are two thirds of the women we could be. How can an "ideal" be about women if it is defined as how much of a female sexual characteristic does not show on her body, and how much of a female life does not show on her face?

You're an intensely attractive woman. You do know that, don't you?" To her silence, he replied, "You'd believe me if you could see yourself." "I have seen myself. That's the snag, you see." He shook his head. "No, no. Not in a mirror. I know how mirrors work. They're all in league with the cosmetics trade. They tell a woman lies. Drawing her gaze from one imagined flaw to another, until all she sees is a constellation of imperfections. If you could get outside yourself, borrow my eyes for just an instant...There's only beauty.

When the subject turns to abortion, cosmetic intervention, birth, motherhood, sex, love, work, misogyny, fear, or just how you feel in your own skin, women still won’t often tell the truth to each other unless they are very, very drunk. Perhaps the endlessly reported rise in female binge-drinking is simply modern women’s attempt to communicate with each other. Or maybe it is because Sancerre is so very delicious. To be honest, I’ll take bets on either.

Their [girls] sexual energy, their evaluation of adolescent boys and other girls goes thwarted, deflected back upon the girls, unspoken, and their searching hungry gazed returned to their own bodies. The questions, Whom do I desire? Why? What will I do about it? are turned around: Would I desire myself? Why?...Why not? What can I do about it? The books and films they see survey from the young boy's point of view his first touch of a girl's thighs, his first glimpse of her breasts. The girls sit listening, absorbing, their familiar breasts estranged as if they were not part of their bodies, their thighs crossed self-consciously, learning how to leave their bodies and watch them from the outside. Since their bodies are seen from the point of view of strangeness and desire, it is no wonder that what should be familiar, felt to be whole, become estranged and divided into parts. What little girls learn is not the desire for the other, but the desire to be desired. Girls learn to watch their sex along with the boys; that takes up the space that should be devoted to finding out about what they are wanting, and reading and writing about it, seeking it and getting it. Sex is held hostage by beauty and its ransom terms are engraved in girls' minds early and deeply with instruments more beautiful that those which advertisers or pornographers know how to use: literature, poetry, painting, and film. This outside-in perspective on their own sexuality leads to the confusion that is at the heart of the myth. Women come to confuse sexual looking with being looked at sexually ("Clairol...it's the look you want"); many confuse sexually feeling with being sexually felt ("Gillete razors...the way a woman wants to feel"); many confuse desiring with being desirable. "My first sexual memory," a woman tells me, "was when I first shaved my legs, and when I ran my hand down the smooth skin I felt how it would feel to someone else's hand." Women say that when they lost weight they "feel sexier" but the nerve endings in the clitoris and nipples don't multiply with weight loss. Women tell me they're jealous of the men who get so much pleasure out of the female body that they imagine being inside the male body that is inside their own so that they can vicariously experience desire. Could it be then that women's famous slowness of arousal to men's, complex fantasy life, the lack of pleasure many experience in intercourse, is related to this cultural negation of sexual imagery that affirms the female point of view, the culture prohibition against seeing men's bodies as instruments of pleasure? Could it be related to the taboo against representing intercourse as an opportunity for a straight woman actively to pursue, grasp, savor, and consume the male body for her satisfaction, as much as she is pursued, grasped, savored, and consumed for his?

I am convinced that "all ladies are not the same". Some have pretty faces, others have beautiful characters. Some have facial make-ups, others have mental make-ups!

CONSORTING WITH ANGELS I was tired of being a woman, tired of the spoons and the pots, tired of my mouth and my breasts, tired of the cosmetics and the silks. There were still men who sat at my table, circled around the bowl I offered up. The bowl was filled with purple grapes and the flies hovered in for the scent and even my father came with his white bone. But I was tired of the gender of things. Last night I had a dream and I said to it . . . "You are the answer. You will outlive my husband and my father." In that dream there was a city made of chains where Joan was put to death in man's clothes and the nature of the angels went unexplained, no two made in the same species, one with a nose, one with an ear in its hand, one chewing a star and recording its orbit, each one like a poem obeying itself, performing God's functions, a people apart. "You are the answer," I said, and entered, lying down on the gates of the city. Then the chains were fastened around me and I lost my common gender and my final aspect. Adam was on the left of me and Eve was on the right of me, both thoroughly inconsistent with the world of reason. We wove our arms together and rode under the sun. I was not a woman anymore, not one thing or the other. 0 daughters of Jerusalem, the king has brought me into his chamber. I am black and I am beautiful. I've been opened and undressed. I have no arms or legs. I'm all one skin like a fish. I'm no more a woman than Christ was a man.

Where woman do not fit the Iron Maiden [societal expectations/assumptions about women's bodies], we are now being called monstrous, and the Iron Maiden is exactly that which no woman fits, or fits forever. A woman is being asked to feel like a monster now though she is whole and fully physically functional. The surgeons are playing on the myth's double standard for the function of the body. A man's thigh is for walking, but a woman's is for walking and looking "beautiful." If women can walk but believe our limbs look wrong, we feel that our bodies cannot do what they are meant to do; we feel as genuinely deformed and disabled as the unwilling Victorian hypochondriac felt ill.

The problem with cosmetics exists only when women feel invisible or inadequate without them. The problem with working out exists only if women hate ourselves when we don’t. When a woman is forced to adorn herself to buy a hearing, when she needs her grooming in order to protect her identity, when she goes hungry in order to keep her job, when she must attract a lover so that she can take care of her children, that is exactly what makes “beauty” hurt. Because what hurts women about the beauty myth is not adornment, or expressed sexuality, or time spent grooming, or the desire to attract a lover. Many mammals groom, and every culture uses adornment. “Natural” and “unnatural” are not the terms in question. The actual struggle is between pain and pleasure, freedom and compulsion.

Mrs. Givings’s cosmetics seemed always to have been applied in a frenzy of haste, of impatience to get the whole silly business over and done with, and she was constantly in motion, a trim, leather-skinned woman in her fifties whose eyes expressed a religious belief in the importance of keeping busy.

I had met plain women, even ugly women, whose physical shortcomings had been remedied by the spirit within, their decency and kindness even effecting a kind of transformation upon them, softening the bluntness of their features. This was not such a woman. The blight was inside her, and no restyling of her hair, no careful use of cosmetics, no pretty dresses could have made her any less unsettling than she was.

After three hours, I come back to the waiting room. It is a cosmetic surgery office, so a little like a hotel lobby, underheated and expensively decorated, with candy in little dishes, emerald-green plush chairs, and upscale fashion magazines artfully displayed against the wall. A young woman comes in, frantic to get a pimple "zapped" before she sees her family over the holidays. An older woman comes in with her daughter for a follow-up visit to a face-lift. She is wearing a scarf and dark glasses. The nurse examines her bruises right out in the waiting room. And you are in the operating room having your body and your gender legally altered. I feel like laughing, but I know it makes me sound like a lunatic.

Makeup often seems to be used to hide a woman’s beauty.

If a woman has to look good to be noticed, then such a society is still living in stone-age.

BOOK BEAUTY Here's the end of that story about the old woman who wanted to lure a man with strange cosmetics. She made a paste of pages from the Qur'an to fill the deep creases on her face and neck with. This is not about an old woman, dear reader. It's about you, or anyone who tries to use books to make themselves attractive. There she is, sticking scripture, thick with saliva, on her face. Of course, the bits keep falling off. "The devil," she yells, and he appears! "This is a trick I've never seen. You don't need me. You are yourself a troop of demons!" So people steal inspired words to get compliments. Don't bother. Death comes and all talking, stolen or not, stops. Pity anyone unfamiliar with silence when that happens. Polish your heart with mediation and quietness. Let the inner life grow generous and handsome like Joseph. Zuleika did that and her "old woman's spring cold snap" turned to mid-July. Dry lips wet from within. Ink is not rouge. Let language lie bygone. Now is where love breathes.

Revirgination surgery for women is the fastest growing segment within the Indian cosmetic surgery industry. But any culture that decides a woman’s worth by the presence or absence of a membrane needs to examine its collective head.

By wearing cosmetics a woman seeks to look younger or more beautiful than she otherwise would. Honesty doesn't require that she issue a continuous disclaimer: "I see you are looking at my face. Please be aware that I don't look this good first thing in the morning.

A woman enters a department store from the street, looking no doubt very mortal, her hair windblown, her own face visible. To reach the cosmetics counter, she must pass a deliberately disorienting prism of mirrors, lights, and scents that combine to submit her to the “sensory overload” used by hypnotists and cults to encourage suggestibility. On either side of her are ranks of angels—seraphim and cherubim—the “perfect” faces of the models on display. Behind them, across a liminal counter in which is arranged the magic that will permit her to cross over, lit from below, stands the guardian angel.

You know you're in the wrong century when you farble the poor young woman at the cosmetics counter thus: "Why do they put the mascara in little amphorae?!? We're not trying to transport it in Barbie doll merchant vessels - we just want it to stand up on the counter." If her face had been any blanker, her features would have disappeared.

One study found that women with blond hair earn 7 percent more than brunettes. Women who wear makeup get better jobs and quicker promotions. Thin women outearn heavier women; white women who are overweight pay a financial penalty of a 12 percent drop in their wealth....... The average woman spends $15,000 on cosmetics alone during her lifetime.

The fact is, women aren’t having cosmetic surgery to stay beautiful. As Naomi Wolf wrote in The Beauty Myth more than twenty years ago, many women who undergo surgery are fighting to stay loved, relevant, employed, admired; they’re fighting against time running out. If they simply age naturally, don’t diet or dye their hair, we feel they’ve “let themselves go.” But if they continue to dress youthfully we feel they’re “trying too hard” or brand them as “slappers.” Poor Madonna, who has dared to be in her fifties. In order not to look like a woman in her sixth decade of life she exercises furiously, and is sniggered at by trashy magazines for having overly muscular arms and boytoy lovers. When Demi Moore’s marriage to Ashton Kutcher, fifteen years her junior, recently broke down, the media reaction was almost gleeful. Of course, it was what they had been waiting for all along: how long could a forty-eight-year-old woman expect to keep a thirty-three-year-old man? As allegations of his infidelity emerged, the Internet was flooded with images of Demi looking gaunt and unhappy—and extremely thin. Sometimes you want to say: just leave them alone. Then again, it’s mostly women who buy these magazines, and women who write the editorials and online comments and gossip columns, so you could say we’re our own worst enemies. There is already plenty of ageism and sexism out there—why do we add to the body hatred?

A woman wearing a trowel's layer of cosmetics approached. "Trixie Stone?" she said. "My name's Janice. I'm a sexual assault advocate. "I'm here to answer questions for you and your family, and to help you understand what's going to be happening." Daniel couldn't get past the makeup. If this woman had been called in for Trixie, how much time had been lost applying those false eyelashes, that glittery blush? How much faster might she have come?

The problem with cosmetics exists only when women feel invisible or inadequate without them. The problem with working out exists only if women hate ourselves when we don't. When a woman is forced to adorn herself to buy a hearing, when she needs her grooming in order to protect her identity, when she goes hungry in order to keep her job, when she must attract a lover so that she can take care of her children, that is exactly what makes 'beauty' hurt.

Many American women over forty are not worried about their wrinkles and don’t give a rat’s ass about enhancing them. There’s this scientific fact called gravity. Gravity happens to us all, men and women. Some women and men over forty spend money fighting gravity with cosmetics and cosmetic surgery. That’s their ball game. That’s their parade. More power to them. There was once this woman named Gertrude Stein. She was the aesthetic opposite of Marilyn Monroe. I never knew Ms. Stein but from what I’ve read about her life I would venture to say that she was approximately (there’s no way of measuring such things…well, there are a couple of ways) a million times happier than Marilyn Monroe. Sexy on the outside doesn’t do much for ugly on the inside. This isn’t to say that Marilyn Monroe was ugly on the inside. I’m sure she was really fucking gorgeous on the inside, too. Bottom line: sparkle on the INSIDE can enhance ANYTHING on the outside.

I consider these things idly. Each one of them seems the same size as all the others. Not one seems preferable. Fatigue is here, in my body, in my legs and eyes. That is what gets you in the end. Faith is only a word, embroidered.   I look out at the dusk and think about its being winter. The snow falling, gently, effortlessly, covering everything in soft crystal, the mist of moonlight before a rain, blurring the outlines, obliterating color. Freezing to death is painless, they say, after the first chill. You lie back in the snow like an angel made by children and go to sleep. Behind me I feel her presence, my ancestress, my double, turning in midair under the chandelier, in her costume of stars and feathers, a bird stopped in flight, a woman made into an angel, waiting to be found. By me this time. How could I have believed I was alone in here? There were always two of us. Get it over, she says. I'm tired of this melodrama, I'm tired of keeping silent. There's no one you can protect, your life has value to no one. I want it finished.   As I'm standing up I hear the black van. I hear it before I see it; blended with the twilight, it appears out of its own sound like a solidification, a clotting of the night. It turns into the driveway, stops. I can just make out the white eye, the two wings. The paint must be phosphorescent. Two men detach themselves from the shape of it, come up the front steps, ring the bell. I hear the bell toll, ding-dong, like the ghost of a cosmetics woman, down in the hall. Worse is coming, then. I've

Early eighteenth-century Italy saw facial powder at the center of the biggest scandal ever to befall a cosmetics manufacturer. A woman named Signora Toffana, who was well known in upper-class social circles, created a face powder that contained lead and arsenic and sold it to the wives of noblemen and the wealthy. The more affectionate the husband was with pecks on his wife’s cheeks, the faster he died from the toxic powder. An estimated 600 husbands died this way, and Toffana was executed as an accomplice in their deaths.

...Women have preserved this `baby look' for as long as possible so as to make the world continue to believe in the darling, sweet little girl she once was, and she relies on the protective instinct in man to make him take care of her. As with everything a woman undertakes on her own initiative, this whole maneuvre is as incredible as it is stupid. It is amazing, in fact, that it succeeds. It would appear very shortsighted to encourage such an ideal of beauty. For how can any woman hope to maintain it beyond the age of twenty-five? Despite every trick of the cosmetics industry, despite magazine advice against thinking or laughing (both tend to create wrinkles), her actual age will inevitably show'- through in the end. And what on earth is a man to do with a grown-up face when he has been manipulated into considering only helpless, appealing little girls to be creatures of beauty? What is a men to do with a woman when the smooth curves have become flabby tires of flesh, the skin slack and pallid, when the childish tones have grown shrill and the laughter sounds like neighing? What is to become of this shrew when her face no longer atones for her ceaseless inanities and when the cries of `Ooh' and Ah' begin to drive him out of his mind? This mummified `child' will never fire a man's erotic fantasy again. One might think her power broken at last. But no, she still manages to get her own way - and for two reasons. The first is obvious: she now has children, who enable her to continue feigning helplessness. As for the second - there are simply not enough young women to go around. It is a safe bet that, given the choice, man would trade in his grown-up child-wife for a younger model, but, as the ratio between the sexes is roughly equal, not every man can have a younger woman. And as he has to have a wife of some sort. he prefers to keep the one he already possesses. This is easy to prove. Given the choice, a man will always choose a younger woman.

the only thing the hero knows about the girl is that she is beautiful. He shows no interest in her intellect or personality—or even her sexuality. The man is either a ruler or has the magic power to awaken her, and all she can do is hope that her physical appearance fits the specifications better than the other girls. In the original Cinderella story, the stepsisters actually cut off parts of their feet to try to fit into the glass slipper. Maybe this marks the origins of the first cosmetic surgery. Besides romanticizing Cinderella’s misery, the story also gives the message that women’s relationships with each other are full of bitter competition and animosity. The adult voice of womanly wisdom in the story, the stepmother, advises all her girls to frantically do whatever it takes to please the prince. This includes groveling, cutting off parts of themselves, and staying powerless. I was heartsick to watch Disney’s “The Little Mermaid” with my three-year-old daughter. The little mermaid agrees to give up her voice for a chance to go up on the “surface” and convince her nobleman to marry her. She is told by her local matron sea witch that she doesn’t need a voice—she needs only to look cute and get him to kiss her. And in the story, it works. These are the means to her one and only end: to buy a rich and respected guy. Women are taught to only listen to an outside patriarchal authority. No wonder there is so much self-doubt and confusion when faced with the question, “What do you want out of your life?” This question alone can be enough to trigger an episode of depression. It often triggers a game of Ping-Pong in a woman’s head. Her imagination throws up a possibility and then her pessimistic shotgun mind shoots it down. The dialog may look something like this: “Maybe I want to go back to school.... No, that would be selfish of me because the kids need me…. Maybe I’ll start a business.... No I hate all that dogeat-dog competition…. Maybe I’ll look for a love relationship…. No, I am not sure I am healed ye….” and on it goes.

The problem with cosmetics exists only when women feel invisible or inadequate without them. The problem with working out exists only if women hate ourselves when we don't. When a woman is forced to adorn herself to buy a hearing, when she needs her grooming in order to protect her identity, when she goes hungry in order to keep her job, when she must attract a lover so that she can take care of her children, that is exactly what makes "beauty" hurt. Because what hurts women about the beauty myth is not adornment, or expressed sexuality, or time spent grooming, or the desire to attract a lover. Many mammals groom, and every culture uses adornment. "Natural" and "unnatural" are not the terms in question. The actual struggle is between pain and pleasure, freedom and compulsion.

Sumptuary laws were passed by the Senate limiting expenditure on banquets and clothing, but as the senators ignored these regulations, no one bothered to observe them. “The citizens,” Cato mourned, “no longer listen to good advice, for the belly has no ears.”9 The individual became rebelliously conscious of himself as against the state, the son as against the father, the woman as against the man. Usually the power of woman rises with the wealth of a society, for when the stomach is satisfied hunger leaves the field to love. Prostitution flourished. Homosexualism was stimulated by contact with Greece and Asia; many rich men paid a talent ($3600) for a male favorite; Cato complained that a pretty boy cost more than a farm.10 But women did not yield the field to these Greek and Syrian invaders. They took eagerly to all those supports of beauty that wealth now put within their reach. Cosmetics became a necessity, and caustic soap imported from Gaul tinged graying hair into auburn locks.11 The rich bourgeois took pride in adorning his wife and daughter with costly clothing or jewelry and made them the town criers of his prosperity. Even in government the role of women grew. Cato cried out that “all other men rule over women; but we Romans, who rule all men, are ruled by our women.”12 In 195 B.C.. the free women of Rome swept into the Forum and demanded the repeal of the Oppian Law of 215, which had forbidden women to use gold ornaments, varicolored dresses, or chariots. Cato predicted the ruin of Rome if the law should be repealed. Livy puts into his mouth a speech that every generation has heard:

What a relief, Nadya thought; in that light he would not be able to tell that she had been crying. "You mean if it weren't for the blackout you wouldn't have come?" Dasha took up Shchagov's tone, flirting unconsciously, as she did with every unmarried man she met. "By no means, never. In bright light women's faces are deprived of all their charm; it reveals their spiteful expressions, their envious glances, their premature wrinkles, their heavy cosmetics." Nadya shuddered at the words "envious glances"—it was as if he had overheard their argument. Shchagov went on:" If I were a woman, I would make it a law that lights be kept low. Then everyone would soon have a husband." Dasha looked disapprovingly at Shchagov. He always talked that way, and she didn't like it. All his phrases seemed memorized, insincere.

Andrew laughed at the use of the word “theater.” “B.Atlman will have plenty of theater on Monday,” he said, “when Estée Lauder arrives to secure a prime location in the new cosmetic department. I was told on Friday that she intends to bring along her husband, Joseph, as well as her sons, Leonard and Ronald, to make sure she gets exactly what she wants.” Nina laughed loudly. “Oh, she’ll get what she wants all right. She’s a determined woman.” She glanced sideways at Dana. “And we know what a determined woman can accomplish, don’t we?” “Yes, we do,” Dana replied. In Nina’s presence, the restrictions imposed by Bea and Helen seemed almost trivial. Dana had experienced a single setback, but Nina was a reminder of what real determination and enthusiasm could accomplish. “Her reputation precedes her,” Andrew said. “Ira already told me to give Ms. Lauder whatever she wants.” “Sounds like a done deal,” Dana said. “That’s why there’s going to be a little drama on Monday,” Andrew said, rubbing his hands together in anticipation. “The space she wants has already been promised to Charles of the Ritz.

Schools, gymnasiums, arithmetic, geometry, history, rhetoric, physics, biology, anatomy, hygiene, therapy, cosmetics, poetry, music, tragedy, comedy, philosophy, theology, agnosticism, skepticism, stoicism, epicureanism, ethics, politics, idealism, philanthropy, cynicism, tyranny, plutocracy, democracy: these are all Greek words for cultural forms seldom originated, but in many cases first matured for good or evil by the abounding energy of the Greeks. All the problems that disturb us today—the cutting down of forests and the erosion of the soil; the emancipation of woman and the limitation of the family; the conservatism of the established, and the experimentalism of the unplaced, in morals, music, and government; the corruptions of politics and the perversions of conduct; the conflict of religion and science, and the weakening of the supernatural supports of morality; the war of the classes, the nations, and the continents; the revolutions of the poor against the economically powerful rich, and of the rich against the politically powerful poor; the struggle between democracy and dictatorship, between individualism and communism, between the East and the West—all these agitated, as if for our instruction, the brilliant and turbulent life of ancient Hellas. There is nothing in Greek civilization that does not illuminate our own. We shall try to see the life of Greece both in the mutual interplay of its cultural elements, and in the immense five-act drama of its rise and fall. We shall begin with Crete and its lately resurrected civilization, because apparently from Crete, as well as from Asia, came that prehistoric culture of Mycenae

Two starving kids and tree-hugging vegetarians. I’m going to kill Chase.” Phoebe didn’t blame him. Despite her lack of experience in the cattle-drive department, even she could see the potential for trouble. Then a familiar figure standing beside the driver caught her attention, and she waved. Maya grinned and waved back. “It’s Maya,” Phoebe said. Zane turned and followed her gaze. “Just perfect,” he muttered as his ex-stepsister walked toward them. “You’re looking grim, Zane,” Maya said cheerfully when she joined them. “Who died?” She smiled. “Oh, I forgot. You’re just being your usual charming self.” She squeezed his arm. “You’ve missed me, I know.” Zane’s eyes narrowed. “Like foot fungus.” She laughed and turned to Phoebe. “You’re still alive. I see Zane didn’t bore you to death.” “Not even close.” Phoebe hugged her friend. Maya waved forward the bus driver, a pretty woman in her fifties. “Phoebe, this is Elaine Mitchell.” “You’re the one Maya worked for in high school?” Phoebe asked. “I am.” Maya put her arm around Phoebe’s shoulders. “And this is my BFF, Phoebe.” “Welcome to Fool’s Gold,” Elaine said with a smile. Instead of her usual suit and high heels, Maya wore jeans, a long-sleeved shirt and boots. Her blond hair was pulled back in a braid. “You look like a local,” Phoebe said. “Speaking of locals,” Maya began, a note of warning in her voice. “Oh, shit,” Zane said before she could continue. Phoebe looked toward the bus and immediately saw why Zane’s face had gone a little ashen. The two crazy old women who had cornered her at his truck in town had just gotten off the bus. Eddie and Gladys, if she remembered right. The skinny one was wearing stiff, dark blue jeans and a plaid Western shirt with pearly snaps along the front. The plump one, who still looked as if she had asked for one of everything at the cosmetic counter, was wearing jeans, too, and leather chaps with fringe along the sides. They both had cowboy hats perched atop their white curls. Besides her Zane muttered under his breath. She caught a handful of words. Something about being old, broken bones and a reference to hanging Chase from the lightning rod in the middle of a storm.

Some people are born beautiful. Obviously, not that many or cosmetics wouldn’t be a multi-billion dollar industry and Toni Diamond wouldn’t be giving her rahrah speech to the new sales recruits for Lady Bianca cosmetics. “I believe in the power of Lady Bianca makeup, to transform, to inspire, to bring out a new woman,” she told the

...and she came to the monk wearing cosmetics, much gold jewelry, and an elaborate silk dress. The monk admonished her gently; 'By supposing your body to require [all this],' he said,'you condemn the Creator for deficiency.' It is a remark that might be interpreted as misogyny, but in the context of the story--the monk pleads that he is only a man with the same nature as hers, and has no special access to God--it is clear that the monk believes the woman to be made in the image of God, good as she is, without unnecessary adornment.

The problem with cosmetics exists only when women feel invisible or inadequate without them. The problem with working out exists only if women hate ourselves when we don’t. When a woman is forced to adorn herself to buy a hearing, when she needs her grooming in order to protect her identity, when she goes hungry in order to keep her job, when she must attract a lover so that she can take care of her children, that is exactly what makes “beauty” hurt. Because what hurts women about the beauty myth is not adornment, or expressed sexuality, or time spent grooming, or the desire to attract a lover. Many mammals groom, and every culture uses adornment. “Natural” and “unnatural” are not the terms in question. The actual struggle is between pain and pleasure, freedom and compulsion.

Timothy was to instruct the women to “adorn themselves with proper clothing.” “Adorn” is from kosmiø (), from which we derive our English word cosmetic. It means “to arrange,” “to put in order,” or “to make ready.” A woman must prepare herself properly for the worship service. Part of that preparation involves the wearing of “proper clothing.” “Proper” comes from kosmeø (), the adjectival form of kosmiø (), and could be translated “well-ordered.” The Greek word translated “clothing” encompasses not only clothing but also demeanor and action. Women

A middle-aged woman has a heart attack and is rushed to the hospital. While on the operating table she has a near-death experience. Seeing God, she asks if this is it. God says, “No, you have another forty-three years, two months, and eight days to live.” Upon recovering, the woman decides to stay in the hospital and have some cosmetic surgery. She has a facelift, liposuction, breast augmentation, and a tummy tuck. She even has someone come in and change her hair color. Since she has so much more time to live, she figures she might as well make the most of it. She finally leaves the hospital, and as she crosses the street she is struck and killed by an oncoming ambulance. Arriving in front of God, she demands, “I thought you said I had another forty-three years!” “I didn’t recognize you.

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Yes, an old-fashioned feminist “consciousness-raising” still has enormous value. When the subject turns to abortion, cosmetic intervention, birth, motherhood, sex, love, work, misogyny, fear, or just how you feel in your own skin, women still won’t often tell the truth to each other unless they are very, very drunk.

By growing a beard, a man turns his face into an echo of his crotch; and the capacity to grow a beard very likely predates the use of cosmetics by a few hundred thousand years.

Makeup often makes a man look like he is cheating, not behaving himself, by making his woman look unlike herself.

Makeup often makes a woman look like another woman; and/or like she is another woman.

Makeup often makes a woman seem like two women.

Makeup often makes a woman look like she has lotioned her face with a roll-on deodorant.

Makeup often seems to be used to deceive others into thinking that the woman is not, or is no longer, sane.

Yet I felt it was almost possible that it was the same woman after all, that she had changed clothing, changed wings, dusked her face with cosmetics in the few seconds between the other’s exit and her entrance. It was absurd, yet there was an element of truth in it, as in so many absurdities. There was something in the eyes of both women, in the expression of their mouths, their carriage and the fluidity of their gestures, that was one. It recalled something I had seen elsewhere (I could not remember where), and yet it was new, and I felt somehow that the other thing, that which I had known earlier, was to be preferred.

He’d forced himself to get used to living a single man’s life after his wife died. In fact, he had never expected to find another woman to fill that space. But once Muriel had, it astonished him how quickly he got used to female companionship. And not just any companion, but a woman who seemed perfect for him. While she was here, riding, shooting, hunting, refurbishing her house, he realized they were made for each other. But the minute the call came from Hollywood he began to think he’d been ridiculous to imagine they had anything in common. It was so easy for her to pack up her cosmetics and dainties, board a fancy Lear and take off for another kind of life. “I

So many women have cancer now. Do you think a new esthetic can develop? Cancer beauty? I mean, if there could be heroin chic, the esthetic of the death-wishing drug addict? Will non-cancerous women be begging their cosmetic surgeons to give them fake node implants under their chins and around their necks? Under their arms? In their groins? So sexy, that fullness. And it works so well as an anti-aging technique, to fill out that sagging turkey neck. Who wouldn't want it? And the jewelry, the titanium pellets piercing those tits. So S&M/bondage." Dunja kept talking in Nathan's head as he segued into a parallel inner dialogue with her about health and evolution, about the theory that concepts of beauty were not just concepts, but perceptions of indicators of reproductive potential and therefore of youth, about selfish genes using our bodies as vehicles only to perpetuate themselves, about how perhaps cancer genes could begin to make their own case for reproductive immortality as well, and so they too would put immense pressure on cultural acceptance of formerly taboo concepts of beauty, concepts which used to indicate disease and nearness to death but now mesmerized and seduced and mimicked youth and ripeness and health, and so her little fantasy of a culture forming around her own dire straits could theoretically... Nathan could only just manage to keep looking into her searching eyes, feeling at that moment very sentimental and ordinary, and therefore mute. Could he really say anything about classical concepts of art, and therefore beauty, based on harmony, as opposed to modern theories, post-industrial-revolution, post-psychoanalysis, based on sickness and dysfunction? Could he make a case for her new, diseased self as the most avant-garde form of womanly beauty? He didn't dare, but she did.

To apprehend myself as victim in a sexist society is to know that there are few places where I can hide, that I can be attacked almost anywhere, at any time, by virtually anyone. Innocent chatter, the currency of ordinary social life, or a compliment (“You don’t think like a woman”), the well-intentioned advice of psychologists, the news item, the joke, the cosmetics advertisement—none of these is what it is or what it was. Each reveals itself, depending on the circumstances in which it appears, as a threat, an insult, an affront, as a reminder, however, subtle, that I belong to an inferior caste. In short, these are revealed as instruments of oppression or as articulations of a sexist institution. Since many things are not what they seem to be and since many apparently harmless sorts of things can suddenly exhibit a sinister dimension, social reality is revealed as deceptive.

Professor Paglia attended a presentation and lecture by a "feminist theorist from a large Ivy League university who had set out to 'decode' the subliminal sexual oppressiveness . . . [and] to expose the violent sexism . . . in fashion photography". The presentation featured slides of cosmetic ads. One was a Revlon ad of a woman standing in a pool in water up to her chin. "Decapitation!" the feminist theorist shouted. "She showed a picture of a black woman who was wearing aviator goggles and had the collar of her turtleneck sweater pulled up. "Strangulation!" she shouted. "Bondage!". When the "lecture" was over, Professor Paglia, "who considers herself a feminist, stood up and made an impassioned speech. She declared that the fashion photography of the past 40 years is great art, that instead of decapitation she saw the birth of Venus, instead of strangulation she saw references to King Tut". After Professor Paglia finished, "she was greeted, she says, 'with gasps of horror and angry murmuring. It's a form of psychosis, this slogan-filled machinery. The radical feminists have contempt for values other than their own, and they're inspiring in students a resentful attitude toward the world (New York Magazine, 21 January 1991, p. 38).

Makeup is often used to hide the message the body is sending, through the woman’s facial skin, about her ill health.

The woman who comes to know the goddess grows in the understanding of that divine aspect of her feminine nature that is part of the Self, the archetype of wholeness and the regulating center of the personality. She is not contaminated by external circumstances or overly affected by criticism. The woman conscious of the goddess cares for her body with proper nutrition and exercise and enjoys the ceremonies of bathing, cosmetics and dress. This is not just for the superficial purpose of personal appeal, which is related to ego gratification, but out of respect for the nature of the feminine. Her beauty derives from a vital connection to the Self. Such a woman is virginal. This has nothing to do with a physical state, but with an inner attitude. She is not dependent on the reactions of others to define her own being. The virginal woman is not just a counterpart to the male, whether father, lover or husband. She stands as an equal in her own right. She is not governed by an abstract idea of what she "should" be like or "what people will think.

But before we, too, abdicate, let us speculate on the following scenario: if every magazine that denounces ageism made a point of using models with graying hair and crow's feet; if every personnel who complains of the prejudice against older men hired one; if every middle-aged man who ran a personals ad requested a woman his own age, rather than one a minimum of five years younger; if every woman took her cosmetic budget for the year and sent it to Emily's List, that alien entity called "society" might start to look more malleable.

Why do we insist that there can only be one “us,” one life that makes us up in our entirety? Why can’t we have more than one identity? And why do we have to destroy one life in order to create another? We claim to long for the “well rounded,” the Renaissance man or woman inside all of us, yet our only variety is cosmetic. In reality we do all we can to smother that spirit out, to make us conform, to define us as one thing and one thing only.

It is the industrial complex of cosmetics, enhancements and services that promise individual women beauty. The idea that Big Beauty is evil but good men are nice is part of Big Beauty’s systematic charm. Big Beauty is just negging without the slimy actor. The constant destabilization of self is part and parcel of beauty’s effectiveness as a social construct. When a woman must consume the tastes of her social position to keep it, but cannot control the tastes that define said position, she is suspended in a state of being negged. A good man need only then to come along and capitalize on the moment of negging, exploit the value of negged women, and consume the beauty that negs. It is really quite neat, if you think about it.

In my experience, the best cosmetic for a woman is happiness.

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Cleopatra the Alchemist, who is believed to have lived in Alexandria around the third or fourth centuries CE, is one of four female alchemists who were thought to have been able to produce the rare and much-sought-after philosopher’s stone. She is a foundational figure in alchemy, and made great use of original imagery which reflects conception and birth — representing the renewal and transformation of life. She also experimented with practical alchemy (the forerunner of modern chemistry) and is credited by some with having invented the alembic, an apparatus used for distillation. Her mentor was Maria the Jewess, who lived in Alexandria sometime between the first and third centuries CE; she is similarly credited with the invention of several kinds of chemical apparatuses and is considered to be the first true alchemist of the Western world. In 1964, the great surrealist artist Leonora Carrington painted Maria, depicting her as a woman-lion chimera with breasts exposed and hair wildly flailing around her, as she weaves magical gold-summoning spells. Actually, female alchemists in Greco-Roman Egypt weren’t uncommon, though they were mostly preoccupied with concocting fragrances and cosmetics. In fact, it was a collective of female alchemists in ancient Egypt who invented beer, setting up an unsurprisingly booming business by the Nile. This is all a far cry from the popular image of an alchemist: that of a lavishly dressed and usually bearded man in a medieval laboratory, bending over a fire and surrounded by all manner of arcane contraptions, trying to turn lead into gold.

And yet I’d read only recently how their generation were riddled with self-doubt and the pressures of social media. How they worried about everything, the planet, global warming, their relationships, money, war, cosmetic surgery. Were their bottoms too big or not big enough? (Thanks Kardashians.) How very sad. So perhaps the perceived advantages between ‘us’ and ‘them’ were not quite so one-sided as I had thought. I couldn’t remember a single occasion when I had worried about photoshopping or being ‘beach ready’ in January. I’d only had my top lip waxed once – never again. And never any other bit of me either, for fear of the pain (if the lip experience was anything to go by). We hadn’t grown up with so many gadgets or television channels as the younger generations. Which in itself was a blessing. How many crime dramas did we actually need to watch, how many reality shows, how many un-funny comedies? We’d had to do our research in libraries, but now they had limitless information at the touch of a keyboard. In my day, if the school bullies had wanted a target, they did it out in the open. These women had to deal with faceless trolls. They had security worries, all sorts of privacy issues. So who really had the better experience of being a woman? Or had it always just been difficult for everyone? And what about men, come to think of it… If one believed the newspapers, it seemed half of the human race was being summarily dismissed as idiots or fiends.

Looking good is a dream of every woman. No matter the age, culture and physical appearance. Almost every woman opts for one or the other method to enhance her beauty. Cosmetic surgeons are there to help you out. But finding the best cosmetic surgeon in your area is one of the toughest tasks. Technology has made the process quite easier.

From its depths, she pulled out the little bag she’d been stashing all summer. Her secret weapon for The Plan to get noticed: a new, lacy red pushup bra. Not that anyone would see it was lacy or red for that matter. Or would they? Eventually, maybe, but she was getting way ahead of herself. The point was she was going to know she was wearing it. It would make her feel confident, like all those Victoria’s Secret models. And magazines always said the sexiest feature on a woman was confidence. If only that had come in a bottle at the cosmetics counter, too.

This emphasis upon the cosmetic after surgery reinforces this society’s stereotype of women, that we are only what we look or appear, so this is the only aspect of our existence we need to address. Any woman who has had a breast removed because of cancer knows she does not feel the same. But we are allowed no psychic time or space to examine what our true feelings are, to make them our own. With quick cosmetic reassurance, we are told that our feelings are not important, our appearance is all, the sum total of self.

Whatever.” “I must see him!” Psyche insisted. “I must help him!” “Oh, now you want to help him. I’m his mother and I have it under control, thank you very much. As I was saying, the most important quality for a woman is beauty. I’ve been so busy caring for my son that I’ve run out of my famous magical beauty cream. I’ve used it all up, and I need some more.” “Wait…you tried to cure Eros with beauty cream?” “Duh!” Aphrodite rolled her eyes. “Anyway, I need more, but it’s out of stock at, like, every store, so I need a proper substitute. The only goddess who has cosmetics I can use without my face breaking out is Persephone.” “The queen of the Underworld?” Psyche’s knees shook. “You—you want me to—” “Yes.” Aphrodite savored the fear in Psyche’s eyes. “Pop down to the Underworld and ask Persephone

Whatever.” “I must see him!” Psyche insisted. “I must help him!” “Oh, now you want to help him. I’m his mother and I have it under control, thank you very much. As I was saying, the most important quality for a woman is beauty. I’ve been so busy caring for my son that I’ve run out of my famous magical beauty cream. I’ve used it all up, and I need some more.” “Wait…you tried to cure Eros with beauty cream?” “Duh!” Aphrodite rolled her eyes. “Anyway, I need more, but it’s out of stock at, like, every store, so I need a proper substitute. The only goddess who has cosmetics I can use without my face breaking out is Persephone.” “The queen of the Underworld?” Psyche’s knees shook. “You—you want me to—” “Yes.” Aphrodite savored the fear in Psyche’s eyes. “Pop down to the Underworld and ask Persephone if I can borrow a little of her beauty cream. You can put it in this.” The goddess snapped her fingers. A polished rosewood box with golden filigree appeared in Psyche’s hands. “Last chance to give up and go into exile.” Psyche did her best to hide her misery. “No. I’d rather die trying to win back Eros’s love than give up. I’ll get you your beauty cream.” “Make sure it’s the unscented kind,” Aphrodite said. “Hypoallergenic. And hurry. There’s a new play on Mount Olympus tonight. I need to get ready.” Psyche trudged out of the palace on her final quest.