Gucci Westman, Global artistic director at Revlon, has recently announced that she will be leaving the brand after a seven-year tenure. Since joining Revlon in 2008, Westman has been credited with raising the cosmetic house’s contemporary profile, ironically by returning to the seasonal colour stories that were the brand’s founding principles. Westman draws upon current runway trends, which often reference earlier epochs. The Evening Opulence collection of 2013, for example, with its concentration on vampish oxbloods and deep burgundies, complemented the season’s Gatsby fever, which originated at Prada – the design house behind the costumes for Baz Luhrmann’s film The Great Gatsby of the same year.
There is a strong link between cosmetic and fashion artistry, as manifested in sell out premium collaborations. We have in recent years seen Phillip Lim and Guy Bourdin for NARS, Gareth Pugh for M.A.C, and Courrèges for Estée Lauder. Their respective brand identities are aestheticized through distinctive colour harmonies and packaging. Cosmetics in this light become an entry point for otherwise inaccessible luxury, and surpass their status as accessory to fashion by becoming part of it. At the same time, however, to achieve this, the ‘host’ brand leverages its own identity, thus conforming to the inherent creative order.
What makes Revlon so fascinating by contrast, not only as a business model, but as a colour house, is that since it’s conception in the 1930s, it has been able to keep up with, if not threaten, luxury contemporaries whilst maintaining a definitive drugstore identity. Functioning like a premium brand, whilst meeting the demand to keep costs low, it is easy to see why Charles Revson saw his company as worthy of premium status. Lindy Woodhead has noted how Elizabeth Arden and Helena Rubinstein were so incensed by Charles Revson’s success, that they would begrudgingly refer to him as ‘the nail man.’
The allusion to wider cultural trends is arguably one of Revlon’s most identifiable qualities. This has been as consistent throughout its history. In 1952, Revlon launched its new lipstick shade, ‘Fire and Ice’, which was accompanied by arguably one of the most iconic campaigns in history. Dorian Leigh was photographed by Richard Avedon wearing a skintight silver dress that mirrored the overt sexuality of the coordinated red lip and nails. The ad’s daring copy asked, ‘Are you made for fire and ice?’ Revlon cleverly reframes outdated assumptions that any woman wearing red is a ‘hussy’, by instead positioning her as a modern woman. By stating that the colour is ‘for the girl who likes to skate on thin ice’, liberated sexuality becomes a rarefied, exotic virtue. The ad connects to youth culture and modernity, and shows how these mimic fashion, since, like Dorian’s dress, they look towards the future.
Revlon was remarkable in many ways, and was notably ahead of its time. Perhaps the most revolutionary factor was that it was a man who was able to democratize beauty in a way that no-one had yet seen, during a time when the industry was monopolized by female beauty entrepreneurs. Recognising the potential for experimentation that nail polish would allow for, Revson provided an outlet for the desires of both the upper and lower classes. His brand was at the forefront of fashion, rather than being qualified by it- a quality still at the heart of the brand today.
Lindy Woodhead. War Paint, Madame Helena Rubinstein and Miss Elizabeth Arden, Their Times, Their Rivalry (Virago Press: London, 2013)