The work explores the resurgence of artifice and cosmetics in society, particularly in the context of the transition from the Victorian era to a new epoch characterized by indulgence and aesthetic refinement. It argues against the notion that natural beauty is superior, positing that the use of cosmetics is a legitimate art form that enhances a woman's allure and allows her to express her identity beyond mere natural appearance. The narrative reflects on historical precedents, drawing parallels between contemporary practices and those of ancient Rome, where women employed elaborate beauty rituals. It critiques the past prejudice against cosmetics, suggesting that this bias stemmed from a misunderstanding of the relationship between appearance and character. The author contends that the revival of cosmetics will liberate women from the constraints of naturalism, allowing them to embrace their beauty and femininity fully. The text emphasizes the importance of surface beauty, arguing that it should not be conflated with moral or emotional depth. It advocates for a separation of soul and surface, suggesting that the aesthetic value of a woman's face should be appreciated independently of her character. The work also highlights the role of science in improving cosmetic safety and efficacy, ensuring that beauty practices do not come at the cost of health. Ultimately, the narrative celebrates the return of artifice as a means of empowerment for women, encouraging them to reclaim their agency through the art of self-embellishment. It envisions a future where cosmetics are embraced as essential tools for self-expression and beauty, marking a cultural shift towards a more sophisticated appreciation of aesthetics. The author calls for a joyful acceptance of this new era, inviting society to revel in the pleasures of artifice and the transformative power of cosmetics.
By Max Beerbohm · First published 1911 · Genre: Essay, Satire, Philosophical