This is a great December 1969 ad for Maybelline Frosty Whites eye shadow and eye liner. It has a sparkly, wintry feel to it, with the luminously pale model decked out in Frosty Whites makeup.
White eye shadow was popular in the late ’60s. In reality, it made all but a few of us look pale and ghostly – especially when teamed with white lipstick (which no one should ever wear)!
To use Frosty Whites, you start with a line of Ivory White…cake or fluid. Then add darker liner to show off the white. Brush on Pearl White Ultra Shadow to highlight pastel shadows, to widen your eyes. For extra excitement at night, use Crystal White Stick Shadow iwth a line of iridescent Fluid Liner. The forecast can only be extra beauty for your eyes…when you face the winter with Frosty Whites.
Tie-Dye was HUGE in the early 1970s, and Rit Dye Co. was having a heyday. “Rit invents ELECTRIC SATIN – Simplicity says it’s shocking!”
This 1970 Rit ad showcased tie-dying satin fabric, and then sewing up an ‘electrifying’ Simplicity Pattern. The sewing patterns are 8210, 8245, and 8182. Most every female knew how to sew in 1970, due to the requirement (for girls) of Home Economics classes. The whole point was to make something uniquely yours by creating your own print. Then sewing it up yourself added to that one-of-a-kind outfit.
I think the effect is rather groovy! 🙂
Peace out, Marilyn
Cheryl Tiegs was a fresh-faced, natural looking model in the 1970s. With her California girl looks, she was the perfect face for Cover Girl’s Clean Make-up line. Clean Make-up was supposed to stay fresh as sunshine and look natural as all outdoors, while being infused with Noxzema medication to fight germs.
Unfortunately, Cheryl now has taken it up as her mission to criticize gorgeous full-sized models such as Ashley Graham. I find this in very poor taste. Beauty comes in all shapes and sizes, and we should be celebrating health and diversity.
Here is another great ad from 1971 for Pure Magic ‘Shimmy Dippers’ by Max Factor. The Shimmy Dippers were hypoallergenic eye glosses and lip glosses that ‘come in perky little pots’. The Super Eye Glosses were lustrous, luminous shadows-in-a-pot with a never-before souffle formula. In six purely-pearly shades to put a gloss on your lids and a gleam in his eye. These eye glosses look suspiciously like Yardley’s Pot o’ Gloss lip gloss, except for your eyes.
The Super Lip Glosses came in a more compact-like form; probably as not to be confused with Pot o’ Gloss lip gloss, which was wildly popular at the time. You finger slick on the newest shiny wet look for lips, plus gentle medication. In five soft slips of colors that are super-moisturizing. Dew! Dew! Dew! Take the plunge!
Maybelline makeup was a mainstay in the 1970s. Not as hip and groovy as Yardley of London or Love Cosmetics, but it did its own thing. Blue and pastel eye shadows were huge at the time, not that anyone looked good in them!
This circa 1971 ad is for Maybelline Waterborne Eye Shadow. It came in colors born of the sea, watercolor soft, shimmering shades in three different pale and pearly collections. The model is wearing a trio of blue, white and green eye shadows, which in real-life would have looked rather horrifying I suspect.
You were to dip the sable-soft brush in water and stroke cool, sea-fresh colors onto your lids. Or mix one shade with another. On closer review, this is suspiciously similar to Yardley’s Glimmerick Paint Box or Sigh Shadow collection. I don’t know which company knocked each other off – but needless to say, blue eye shadow was hot commodity in the early ’70s.
Betsey Johnson was the up-and-coming young fashion designer in the 1970s. Her fashions were kicky, fun, and married the Mod to the Bohemian. These two designs are from the October 1971 issue of Ingenue magazine.
Pretty feathers for a romantic moment – Betsey Johnson designed this old-fashioned twosome of crushed velvet. Laced-up top with Victorian Fitted bodice and slight gathering at the shoulders, $28. Flared midi-skirt, fitted at the waist, $38 (note: 1971 prices). Both from Alley Cat. Pin (on velvet choker) by House of Schrager. Provocative II pantyhose by Vanity Fair. Ruza bangle. Bandolino ankle-strap shoes.
The blues, purples, yellow of Betsey Johnson’s “Grand Canyon” knit. Long-sleeved, crew-neckline sweater, ultra-clingy, $24. Matching hot pants ribbed at waist and cuffs, $16 (1971 prices). Both by Alley Cat. Vanity Fair pantyhose. Adler knee sox. Old Main Trotter suede tie shoes.