A beauty mark or beauty spot is a euphemism for a type of dark facial mark so named because such birthmarks are sometimes considered an attractive feature. [1] Medically, such "beauty marks" are generally melanocytic nevus, more specifically the compound variant. Moles of this type may also be located elsewhere on the body, and may also be considered beauty marks if located on the face, shoulder, neck or breast. Artificial beauty marks have been fashionable in some periods.
The wearing of artificial beauty marks trace back to the Roman Empire; it was believed that the Goddess of beauty, Venus, had a single beauty mark that accentuated her beauty. [3] As such, beauty patches became a recognizable symbol of beauty designed to highlight the pale, unblemished skin of the wearer. [4] In Europe, mouches (French, 'flies'), became fashionable in sixteenth-century France, and the fashion persisted into the eighteenth century. When the fashion spread to Spain and the Spanish Empire they were called a chiqueador. [5]
A mouche was generally made of paper, silk or velvet and was applied to the face as a form of make-up. They were kept in a patch box, or boîte à mouches ('box of flies'), and were often fanciful shapes such as hearts or stars. Patch boxes were often ornate, silver boxes, and formed an essential part of a woman's boudoir. Fashion prints from the late seventeenth century show women with an increasing number of beauty marks in a variety of sizes and shapes, placed on the cheeks, chins, and forehead.
Besides their decorative value, the patches could hide smallpox scars or syphilis sores, as well as acne. [5] In 1668, the English diarist Samuel Pepys recorded attending the theatre and witnessing Barbara Villiers, one of the King's mistresses "called to one of her women… for a little patch off her face, and put it into her mouth and wetted it, and so clapped it upon her own by the side of her mouth, I suppose she feeling a pimple rising there." [6] Contemporary satire or beauty manuals like R. Smith's A Wonder of Wonders:or, a Metamorphosis of fair Faces voluntarily transformed into foul Visages attested the wearing of patches could "turn botches into beauty." [3]
By the eighteenth-century, the wearing of patches also adopted social and political meaning. The placement or shape of a patch could reveal information about then wearer's relationship status, sexual availability, or political affiliations.
Alexander Pope's 1712 poem The Rape of the Lock mentions such patches as indicators of "secular love": [7]
Here Files of Pins extend their shining Rows,
Puffs, Powders, Patches, Bibles, Billet-doux.
Now awful Beauty puts on all its Arms;
The Fair each moment rises in her Charms,
Repairs her Smiles, awakens ev'ry Grace,
And calls forth all the Wonders of her Face;
Moral commentators in the early modern period increasingly expressed concern about the wearing of beauty patches, and linked it to sexual immorality and prostitution. The British diarist and intellectual John Evelyn referred to the wearing of patches, and make-up more general, as a "most ignominious thing." [8] Other commentators saw the wearing of a black patch as a physical symbol of the wearers black morals, or soul, commonly attributing the wearing of patches to signs of the wearer's vanity. [9] However, despite moral outcry, patches continued to be worn by men and women of diverse social ranks.
Natural beauty marks are also often enhanced with color from an eyebrow pencil or pen. [10]
Many female sex symbols, actresses, and other celebrities are known for their beauty marks: [10] [11] [12]
Male actors known for their beauty marks include: [10]
Joan Crawford had a prominent beauty mark in her role as Sadie Thompson in Rain .
Alicia Silverstone had a beauty mark on the left side of her mouth when portraying Batgirl in Batman and Robin .
In the Kiff episode "Two Truths and a Bunny", Kennedy the lemur is confident that no one could top her in a game where one player must tell two facts and a fib, and the other participants must spot the fib. But Barry the rabbit, with some pointers from his sister, bests Kennedy in the game after Kennedy gives three statements which Barry finds out are all fibs. Barry then removes Kennedy's beauty mark which is actually a raisin. [13]
Samuel Pepys was an English writer and Tory politician. He served as an official in the Navy Board and Member of Parliament, but is most remembered today for the diary he kept for almost a decade. Though he had no maritime experience, Pepys rose to be the Chief Secretary to the Admiralty under both Charles II and James II through patronage, diligence, and his talent for administration. His influence and reforms at the English Admiralty were important in the early professionalisation of the Royal Navy.
A hairstyle, hairdo, haircut, or coiffure refers to the styling of hair, usually on the human head but sometimes on the face or body. The fashioning of hair can be considered an aspect of personal grooming, fashion, and cosmetics, although practical, cultural, and popular considerations also influence some hairstyles.
A veil is an article of clothing or hanging cloth that is intended to cover some part of the head or face, or an object of some significance. Veiling has a long history in European, Asian, and African societies. The practice has been prominent in different forms in Judaism, Christianity, and Islam. The practice of veiling is especially associated with women and sacred objects, though in some cultures, it is men, rather than women, who are expected to wear a veil. Besides its enduring religious significance, veiling continues to play a role in some modern secular contexts, such as wedding customs.
Saint David's Day, or the Feast of Saint David, is the feast day of Saint David, the patron saint of Wales, and falls on 1 March, the date of Saint David's death in 589 AD.
A mask is an object normally worn on the face, typically for protection, disguise, performance, or entertainment, and often employed for rituals and rites. Masks have been used since antiquity for both ceremonial and practical purposes, as well as in the performing arts and for entertainment. They are usually worn on the face, although they may also be positioned for effect elsewhere on the wearer's body.
A waistcoat or vest is a sleeveless upper-body garment. It is usually worn over a dress shirt and necktie and below a coat as a part of most men's formal wear. It is also sported as the third piece in the traditional three-piece male suit. Any given waistcoat can be simple or ornate, or for leisure or luxury. Historically, the waistcoat can be worn either in the place of, or underneath, a larger coat, dependent upon the weather, wearer, and setting.
Islamic clothing is clothing that is interpreted as being in accordance with the teachings of Islam. Muslims wear a wide variety of clothing, which is influenced not only by religious considerations, but also by practical, cultural, social, and political factors. In modern times, some Muslims have adopted clothing based on Western traditions, while others wear modern forms of traditional Muslim dress, which over the centuries has typically included long, flowing garments. Besides its practical advantages in the climate of the Middle East, loose-fitting clothing is also generally regarded as conforming to Islamic teachings, which stipulate that body areas which are sexual in nature must be hidden from public view. Traditional dress for Muslim men has typically covered at least the head and the area between the waist and the knees, while women's islamic dress is to conceal the hair and the body from the ankles to the neck. Some Muslim women also cover their face. However, other Muslims believe that the Quran strictly mandate that women need to wear a hijab or a burqa.
The corset is a supportive undergarment for women, dating, in Europe, back several centuries, evolving as fashion trends have changed and being known, depending on era and geography, as a pair of bodies, stays and corsets. The appearance of the garment represented a change from people wearing clothes which fit their bodies to changing the shape of their bodies to support and fit their fashionable clothing.
A bindi is a coloured dot or, in modern times, a sticker worn on the centre of the forehead, originally by Hindus, Jains and Buddhists from the Indian subcontinent.
Lipstick is a cosmetic product used to apply coloration and texture to lips, often made of wax and oil. Different pigments are used to produce color, and minerals such as silica may be used to provide texture. The use of lipstick dates back to early civilizations such as Sumer and the Indus Valley Civilisation, and was popularized in the Western world in the 16th century. Some lipsticks contain traces of toxic materials, such as lead and PFAS, which prompted health concerns and regulation.
A bouffant is a type of puffy, rounded hairstyle characterized by hair raised high on the head and usually covering the ears or hanging down on the sides.
Jacob Huysmans was a Flemish portrait painter who, after training in his native Antwerp, immigrated to England before the Restoration. He became a feted court painter and attracted the patronage of the Portuguese born queen Catherine of Braganza, a Catholic like himself, of whom he painted several portraits. With his exuberant style, he was during his lifetime regarded as an important rival of the court painter Peter Lely who favored a more sober treatment of his sitters.
A visard, also known as a vizard, is an oval mask of black velvet which was worn by travelling women in the early modern period to protect their skin from sunburn. The fashion of the period for wealthy women was to keep their skin pale, because a tan suggested that the bearer worked outside and was hence poor. Some types of vizard were not held in place by a fastening or ribbon ties, and instead the wearer clasped a bead attached to the interior of the mask between their teeth.
Ballet flats or ballet pumps are a style of shoe. The appearance is inspired by women's ballet shoes, with a very thin heel or the appearance of no heel at all. The style sometimes features a ribbon-like binding around the low tops of the slipper and may have a slight gathering at the top-front of the vamp or a small, decorative string tie.
John Michael Wright was an English painter, mainly of portraits in the Baroque style. Born and raised in London, Wright trained in Edinburgh under the Scots painter George Jamesone, and sometimes described himself as Scottish in documents. He acquired a considerable reputation as an artist and scholar during a long sojourn in Rome. There he was admitted to the Accademia di San Luca and was associated with some of the leading artists of his generation. He was engaged by Archduke Leopold Wilhelm of Austria, the governor of the Spanish Netherlands, to acquire artworks in Oliver Cromwell's England in 1655.
Emily Pepys was an English child diarist, whose account of six months of her life provides a vivid insight into a wealthy bishop's family. She was a collateral descendant of the diarist Samuel Pepys.
The clothing style and fashion sense of the Philippines in the modern-day era have been influenced by the indigenous peoples, Chinese waves of immigration, the Spaniards, and the Americans, as evidenced by the chronology of events that occurred in Philippine history. At present, Filipinos conform their way of dressing based on classic fashion or prevailing fashion trends.
Barbara van Beck was an entrepreneur and celebrity who lived with a condition whereby her face and much of her body were covered with hair.
"As the Old Sing, So Pipe the Young", in Dutch, Soo voer gesongen, soo na gepepen, is an oil-on-canvas painting executed c. 1668–1670 by Dutch artist Jan Steen. It is in the collection of the Mauritshuis in The Hague. The painting is a celebratory holiday scene that depicts three generations of a Dutch family and serves as an allegory about parental examples, vice, and influence. This subject was painted thirteen times by Jan Steen and has also been known as The Cat Family, or Jan Steen's Family. Of the many renditions, the Mauritshuis version is considered to be the exemplar of the series. Its dimensions are 133.7 cm × 162.5 cm.
Hester Davenport was a leading actress with the Duke's Company under the management of Sir William Davenant. Among the earliest English actresses, she was best known as "that faire & famous Comoedian call'd Roxalana," as diarist John Evelyn put it after seeing her on 9 January 1661/2. Her career ended when she married Aubrey de Vere, 20th Earl of Oxford (1627-1703) in 1662 or 1663. The couple had a son in 1664. Oxford soon deserted Davenport and his son Aubrey, marrying a fellow nobleman's daughter in January 1672. In a 1686 church court case, Oxford admitted the marriage ceremony with Davenport had been a sham.
