Maybelline founder Tom Lyle Williams

There was no one in the Maybelline family more invincible than Evelyn Williams...at least that's what she wanted us all to believe.

 

Maybelline Queen! Evelyn Williams - Oh What Price Glory!

 

My grandmother Evelyn with my father William Preston Williams at Dundee Military School, Chicago, 1934 -1935

With the same voratious appetite Evelyn had for succeeding in all areas of her life, including playing the violin, mastering the stage as a ballerina and finally securing a position within the Maybelline family, she focused on her only child William Preston Williams Jr. (Bill.)  

Evelyn wasn't your ordinary sweet homemaker, though she did love her son as ferociously as a mother Lion loves her cub, however her main objective was to instill a mindset for survival in the boy and that meant creating an indisputable bond between Bill and his uncle Tom Lyle Williams. 

She succeeded, though not  without making herself unpopular with the rest of the Williams family.  Evelyn fought on the battlefield of life in her persuit to win at all costs and today I realize my remarkable grandmother, the original auntie Mame, was two generations ahead of her time. 

A tiny 5' 2" powerhouse with boundless energy,   Machavellian mental machinations and the ability to outsmart the smartest of wild cats, she had one desire.  To place her clan at the top of the heap no matter what the price -and Evelyn paid the highest price of all... with her life! 

Read more about Evelyn Williams incredible story and her ability to get what she wanted - while growing even more beautiful and glamorus as she aged in

The Maybelline Story and the Spirited Family Dynasty Behind It.  

Nana was a diva in every respect and not only expected but demanded I follow in her footsteps. I wonder if she'd be pleased today with the fact I've dedicated my life to her memory and the family she loved so much. 


What kept Maybelline Heiress, looking youthful until her death at 77

Total Relaxation with Moist Heat Therapy

            Tom Lyle Williams with his sister-in-law, 65 year old, Evelyn Williams, 1966

I too have been using them for over 30 years and here is why...  Hydroculators are packed with soothing relief.  Chiropractors use them relax a patient's tight back after an injury and for management of pain do to:  Arthritis, Bursitis, Sprains, Strains, Backaches and stress.




  Nana had been in a couple of accidents and loved how the hydroculators relaxed not only her back but the stress on her face.  It works by releasing steam from the pack penetrating so deep it gets blood back into pinched nerves and relaxes them completely.

  I have to admit that after lying on my hydroculators or hot steam packs I sleep like a baby and my face shows no stress.  Try it and see how this secret will work for you.  Read more about Nana in my book "The Maybelline Story."  



Nana, Evelyn Williams at 77


Vintage Beauty trick taken to a New level. Sensory Deprivation the ultimate in relaxation


Evelyn relaxing at her new home in West Los Angles, California, 1938.

Relaxation is a Beauty Secrets.

After Evelyn and Bill followed Tom Lyle to California he bought them a little bungalow in West Los Angeles, a few miles from the Villa Valentino in the Hollywood Hills where he and Emery lived. Tom Lyle gave Evelyn a nice allowance and told her to rest and enjoy the California sunshine. She took his advice about relaxing but never ever allowed the sun to touch her perfect alabaster skin for more than 10 minutes, just enough to soak in a little vitamin D. 

Speaking of soaking, I remember one of Nana's most famous beauty secrets, was soaking in a hot tub with three cups of Epsom salt and sometimes even a cup of baking soda to soften her skin. She told me there was nothing in the world better for relaxing tense muscles after a game of badminton than a half hour in the tub with Epsom Salt. She believed that a good soak erased a multitude of sins and kept her looking young all her life.

When I became a teenager I soaked in an Epsom Salt bath before getting dressed for a Saturday night date. I believed it slimmed me down so I could fit in my "skinny pants" in 1964, and it was so relaxing that I felt like a million bucks and looked fabulous. Try it yourself and see if it doesn't make you feel relaxed and look beautiful too. 

Today I've taken relaxing in an Epson Salt bath to a new level. Sensory-deprivation-tank, or floating, is the ultimate in relaxation and meditation.  My grandmother would probably have one in her home if she were alive today. Read about on this link and try it for yourself . It's worth it.

www.healthline.com/health/sensory-deprivation-tank

What can readers take away from The Maybelline Story and the Spirited Family Dynasty Behind It.

Why did you write the Maybelline Story



It's been a long process.  My grandmother began telling me the Maybelline story when I was a young girl and the seed was planted.


Nana, Evelyn Williams
After her death I was determined to finish it.  I knew that if I didn’t tell the story it would be lost forever. The Maybelline Story is a thread in the fabric of American history and a big part of vintage Hollywood glamour.  I also wanted my great uncle, Tom Lyle Williams, the founder of the Maybelline Company to be remembered for his tremendous contribution to the Cosmetic industry as well.  


Growing up with a great uncle who made my life so magical.  It wasn't about the money;   It was about being so close with my cousins and the fun of sharing our excitement as the Maybelline grew into a global giant.  Now as an older woman I hope to give back some of the wisdom and strength I gained ridding this roller coaster experience.

My dad, Nana, Uncle Lyle and Emery Shaver sitting down

My grandmother, Evelyn Williams was married to Tom Lyle's brother Preston, my grandfather.  After Preston's death, at only 37 years of age, she and my 12-year-old father followed Tom Lyle from Chicago to California.  The three of them remained extremely close and loved to talk about the good old days when Maybelline was a little mail order business sold through the classifieds in Movie magazines.  I was so fascinated by their stories as a little girl that all I wanted to do was hear more, as often as possible.  Soon I became my grandmother’s little protege and eventually her little clone.  So yes I was indoctrinated at an early age with the rules of the game, the family dynamics and I did know and appreciate the tremendous contribution Tom Lyle bestowed on women and the world of beauty. 


What advice can you give others who want to follow in your uncle’s shoes? For the underdogs.


Tom Lyle Williams was the biggest underdog of all, of course.  That's what the Maybelline Story is all about.  He started out with nothing more than a good idea, lots of determination and a $500 loan from his brother and turned it into a worldwide brand.  It's all about building your brand and your reputation.  Brands come and go if it's not built on integrity.  Like doing a blog...It takes about three years before you really see results and during that time, you develop discipline and determination, or you give up and never see the results of your labor.  As my great uncle would say... It's easy to be excited and happy when it's new and easy... the true test of success, is keeping the momentum going during the down cycles.  If you believe in your project, you have to keep going even though it might take years.  It took me 20 years to get published and I wanted to give up and burn my manuscript all the time.  When I least expected it, the miracle happened and now the energy I put forth building that momentum is expanding the blog and my voice into the world - Because I never gave up.

What is this book about? Is there anything in this book that you did not publish? Care to share?

The Maybelline story is about a young 19-year-old entrepreneur who rides the ups and downs of life while building a little company called Maybelline. The book is a rags to riches story with an interesting twist in the end you won't forget.


Who are your greatest influences and why?


My father Bill Williams was Tom Lyle's nephew and godson. He grew up at the Villa Valentino in Hollywood where he learned the secrets to his uncle’s great success.  My father was an extremely talented interior designer and builder.  When my home burned down in the 1993 Laguna Beach, California Firestorm I lost everything because I wasn't home.  I wanted to give up and die, but it was my father who held me together and helped me get back on my feet.  I thrived because of his determination to see me overcome my doubts and succeed.  He designed and helped me rebuild my home.  He also helped me research and write my book.  I learned so much from him and now carry that spirit of “Yes I can!” with me to pass onto the next generation.  

What will readers take from this great read?

They will be inspired to believe anything is possible if they  keep going and never give up. 

What was the best advice your uncle or mother gave you about beauty?


My mother believed that beauty was an inside job.  That who you are inside is reflected on your face.  You see beautiful young girls turn into nasty middle-aged women and bitter old ladies.  All the Maybelline in the world can't cover up the truth of who you are inside.  If a woman doesn't grow, change and accept life she will remain a spoiled unattractive child in an aging body.  All women must work on their attitude and mature within to keep their youthful effervescent beauty into old age.   Like the saying goes, Maybe She's born with it... Maybe it's Maybelline.

Describe your best achievement with your family name and without?

My best achievement with the Maybelline name so far, is writing my book and becoming a positive role model for women who want to achieve their goals.  It's not about make-up for me anymore; it's way beyond make-up.   Without the Maybelline name, my biggest achievement is being Mom and Nana and a positive role model for my family I grow into old age.  

Evelyn Williams (Nana), Bill Williams (my dad), Sharrie Williams (me)Tom Lyle Williams (my great uncle) 1965


 favorite childhood memory

Going up to my great uncle's home in Bel Air California with my family and playing with him in the pool.  I remember he was such an unassuming man that he'd actually wear swim trunks pinned at the waist because the elastic had stretched out.  Here was a man who could afford the best and yet was so comfortable with himself around his family; he didn't need to show off.  On the other hand he was so generous that he gave millions to them after the sale of the Maybelline Company in December of 1967

Maybelline was America's first Mascara, 1915. Eugene Rimmel's, European, mascaro, was a darkener for men's mustaches. Let's Set the Record Straight




Given that ‘rimmel’ means mascara in Turkish, Farsi and several European languages, it is sometimes said that Eugene Rimmel [1820-1887] was the originator of mascara. However the product he made – called Water Cosmetique – was developed to be used on men’s moustaches not women’s eyelashes.
Cosmetics and Skin always has it right.....


Diane Penelope Blog
http://dianepenelope.com/mascara-worlds-popular-beauty-product/




In 1913 French chemist and perfumer Eugène Rimmel developed the first non-toxic lash paint for sale. That cake mascara (in a pan and brushed on) was created with a blend petroleum and black coal dust. The downside was that it was very messy and the texture inconsistent. Despite this, it was ridiculously popular across Europe. Rimmel in some countries still refers to mascara (like Hoover and Kleenex).

In 1917, Eugene Rimmel created the first packaged cosmetic mascara. Produced from a blend of petroleum and black coal dust, the history of mascara began with a cake mascara that although reformulated, is still found today.




I have to step in here and say, this is Maybelline's history, mistakenly printed under Rimmel.  The picture on the box of Rimmel cake mascara is from the 1950s. Tom Lyle Williams with his sister Mabel Williams were the first to create a formula made of petroleum and black coal dust, in 1917. Rimmel was strictly a man's mustache darkener at the time Maybelline was founded in 1915.

Original Lash-BrowIne ad, placed in 1915, Photoplay movie magazine.  Rimmel at the time was strictly a black goo for men.
 Lash-Brow Ine. became Maybelline in 1917
Maybelline cake mascara with Silent Film Star, Mildred Davis, 1917


 College Optometrists blog https://www.college-optometrists.org/the-college/museum/online-exhibitions/virtual-eye-and-vision-gallery/appearance-of-the-eye.html


The eyes could be made to stand out by making the face paler, with make-up applied so thickly it was almost a mask. Indeed our word ‘mascara’ comes from the Italian word for mask, ‘maschera’. In 1834 the French-born perfumer Eugene Rimmel (1820-1887) moved to London and invented the first non-toxic commercial mascara.

Again, I want to point out what Rimmel formulated was strictly for a mans mustache, not for the use on eyelashes.


Vintage Dancer 1920's Makeup
https://vintagedancer.com/1920s/makeup-starts-the-cosmetics-industry/ 

Mascara was still in the development stages. It could be purchased in liquid, wax or cake form. If you wanted to try Maybelline’s mascara, the company was kind enough to include a brush, which had to be moistened with water before dipping in cake powder, along with a close-up photo of silent film star Mildred Davis for use as a reference.

William Preston Williams lll, remembers race car driver, Bill Stroh's 911 Porsche.8

In memory of my Brother, William Preston Williams lll. 1960 - 2021


The 1969 Porsche 911E, was the car I loved the most, as boy's love fast cars, and this one was a rocket!!
I remember the day that big car hauler pulled through those big electric gates at Casa Guillermo.  It was 1976 and I was all of 16 and what do you know?  I had a license!!

The driver of the truck got out and came around to the end of the trailer to release the back door and attach the tracks that would allow the machine to roll down.  One of the two men hopped into the trailer and got into that sweet ride and started it up.  I never heard such an awesome sound.  It had a throaty roar, as he backed the car up and his partner guided him down the ramp. 


My Dad put his arm around me,  as he often did, and squeezed my bicep, "hey muskels."  (Dad always had such a fun way with words,)  "What do you think of this one!  This was my cousin Bill Stroh's car, I bought it from his wife, when he passed away.  You know he used to race cars, on the professional circuit.  The motor in this car is no ordinary motor." 


 I said, "really, why is that?"  and then he paused a moment as the car backed out, and the bright sunlight hit that burnt orange paint, with the cool racing stripe across the bottom, and the word PORSCHE in it and on the back hood, all in gold lettering and beneath it -Sportomatic, 911E.  


Gleaming in the sunshine it looked like a beautiful jewel, and Dad said, "isn't she beautiful!!" 


I said so what's up with the motor Pop?  Wanting to know every detail.


"Bill had it specially built, by his Master Mechanics, all of the pistons and rings were forged by hand out of aluminum, as well as many other parts to be extra light weight, everything about this motor was designed for ultimate performance, this motor won him many races, when it was in his race car, so when Bill retired he had this motor put into his Wife's Porsche 911E, so you see this is no ordinary car" 


"Well Dad how is that possible? I mean a race engine?, that doesn't seem legal."


"Well Press,  it had to be tuned down a bit, to make it safe for the road, and as well the car has a specialized breaking system to support the high speeds, and they modified the suspension as well all to make it fast and safe, and best of all it looks original." 


"I said oh, you mean it doesn’t' have all of the fancy spoilers and air dams to make it look fast!!"


"Yep that's it, this is a serious machine!!." 


(You see my father liked style - not so much flash, he believed that a car should maintain the original look, the classic lines, as it was designed.)  With that my palms were itching, and you bet I could not wait to show this to my friends.



So once the moving men left and the car was placed in the car port, next to all of the other beautiful cars, we looked it over, and were so impressed with how clean it was.  It looked like new, Burnt Orange, with all black leather interior.  I knew this was going to be mine some day,


Dad said, "what do you say we take her for a spin."

"Are you kidding?  You don’t' have to ask me twice," I said, and we hopped in.  Dad in the driver’s seat of course.  He turned the ignition on, and revved that throaty little beast!!  


The quick response was quite thrilling, the sportomatic transmission, was so unique, in that it had no clutch. You just let it idle, put it in 1st gear and go, and release the gas between gears, and I mean to tell you we went!! The response was amazing.   Dad just cruised at first, through the neighborhood, but he could not help himself wiping through the winding roads.   He said "she handles like a dream."   But I wanted one thing - to go fast !!!


"Hey Dad, let’s take her on to the Tram Way road."  This is a 10 mile road, with long stretches of straight ways, mixed with mountain terrain, it takes you to the base station of the Palm Springs Aerial Tram Way.  This was my favorite place to joy ride the cars and being the middle of summer in the desert, there would be no one around. 


So we made our way there, about a ten minute drive from the Casa.  Upon turning on to the tram road, off of Palm Canyon, Dad let it rip.  1st gear we hit 50 miles an hour, in what seemedlike 1.5 sec, it was like a rocket, I am telling you I have never felt G-Force ever, but that day I believe I understood the meaning, as I could barley, if at all, lean forward off of the seat, and then Dad hit second gear, and it pressed me back further into the seat and with in another second or two we were flying past 95, 3rd gear was over 120 in a second, and he shut her down, and we were blown away as this was a five speed transmission and the speedometer went from 0 to 160 and I am sure it would do all of that and more, but 120 was cool for now.


Dad did not let me drive that car for quite sometime, as he had already found out about some of my escapades, parties, and joy rides, and to think of that day, even amazes me that he was doing anything with me, because, during that period of my life, I seemed to be a loose cannon, but in any event that was a great day for us.


READ MORE ABOUT BILL STROH http://www.maybellinebook.com/search/label/Bill%20Stroh



Cosmetics and Skin History of Cake Mascara by James Bennett


Given that ‘rimmel’ means mascara in Turkish, Farsi and several European languages, it is sometimes said that Eugene Rimmel [1820-1887] was the originator of mascara. However the product he made – called Water Cosmetique – was developed to be used on men’s moustaches not women’s eyelashes.

Until the 1960s, the most popular form of mascara in the twentieth century was the cake or Until the 1960s, the most popular form of mascara in the twentieth century In the nineteenth century it had been known as ‘water cosmetique’ or ‘mascaro’ and it was only after 1900 that its name began to change to the mascara we are familiar with today.
Like its precursors – water cosmetique and mascaro – cake mascara was normally packed in a small cardboard and/or metal box with a mirror and a tiny brush.
Best Super mascara
Above: Best Super Mascara in a cardboard container with a block of cake mascara, a mirror and a small brush. This type of packaging was modeled on French water cosmetiques/mascaros of the nineteenth century.

Early cake mascaras

Water cosmetiques, mascaros and early cake mascaras were all made the same way, by mixing black or brown pigments into sodium stearate soap chips. These early mascaras were basically a black soap so it is not surprising that after milling, the mixture was extruded from a plodder into strips which were then cut to length, a process also used to make cakes of soap.
Carbon black50%
Coconut oil sodium soap25%
Palm oil sodium soap25%
Procedure: Carefully sift the pigment and combine with the soap chips; pass the mixture several times through a mill and then through a plodder; finally press into cakes.
(Wetterhahn & Slade, 1957, p. 292)
The product was cheap to make and was generally sold at outlets catering to the lower end of the cosmetic market. This reflected the status of mascara which did not achieve the stature given to lipstick until after the Second World War.

Using cake mascara

To apply the mascara, a wet brush was scrubbed across the cake to pick up the colour, which was then brushed onto the lashes. Unfortunately, water was not always available so many women used saliva instead – either by putting the brush into their mouth or by spitting directly onto the cake – giving this cosmetic the dubious name of ‘spit black’.
The cosmetic is applied by means of a small brush which is previously moistened. (Licking the brush, a habit into which we fear some ladies have fallen, is not to be commended—soap does not taste nice, nor do tongues with blackened ends look pretty!)
(Redgrove & Foan, 1930, pp. 72-73)
Applying the mascara required a little effort to achieve a good result but with practice a reasonable outcome could be achieved. Skillful use of the brush could add curl to the lashes adding to the pleasing effect. Women who wanted an extra curl could used an eyelash curler such as the one produced by Kurlash.
See also: Kurlash
[A] special cosmetic is prepared and is applied to the lashes with a tiny brush. The little bar of cosmetic is moistened, and the lashes are then brushed with an upward and outward movement from the roots. The upward movement induces the “curl,” and the outward movement prevents their sticking together. This operation requires great skill and practice. When first experimented with, traces are apt to find their way into the eye with painful results.
(Poucher, 1926, p. 58)
Companies usually included instructions in the box. These ranged from the very brief to more the detailed, as with those shown below:
To Apply Maybelline—Wet brush thoroughly, shake out excess water and rub over Maybelline until edge of brush is well covered. Tilt head back and apply to upper lashes, stroking from base to tips. Hold brush against lashes for a second to make them curl. If Maybelline on lower lashes is becoming to you apply with a down or cross-wise stroke of the brush with the head tilted forward. When Maybelline has set on the lashes, brush them gently with a soft dry brush for a soft natural effect.
Keep Brush Clean—Rinse in warm water when through.
To Remove Maybelline—Close eyes tightly and wash gently with soap and warm water, finishing with cold rinse, or any good cleansing or face cream will remove Maybelline.
(Maybelline instruction booklet, n.d.)

Eyebrows

Like water cosmetique/mascaro before it, mascara was also used by women to colour their eyebrows – a practice that lasted at least until the Second World War, after which eyebrow pencils became the norm.

Improvements

Although early cake mascaras were serviceable they had a number of problems. The sodium soaps used to make them were very alkaline, which meant that the mascara stung if it got in the eyes; they were inclined to flake off the eyelashes; and, being made almost entirely from soap, they would smudge when wet.
The first improvement to the basic formula occurred in the nineteenth century, when a little acacia or tragacanth gum was added to help the cosmetic adhere to the lashes. Then, in the 1920s, the sodium stearate was replaced with less alkaline soaps, like triethanolamine stearate or oleate, diglycol stearate and glyceryl monostearate; with triethanolamine proving the most popular with formulators. These ‘soap substitutes’ made the mascara less likely to sting when it got into the eyes. When mascaras using them were first introduced they were often advertised with the line “contains no soap” which, although not strictly correct, signaled to the consumer that they were less likely to smart.
Other improvements included the addition of oils and fats – such as mineral oil, castor oil or lanolin – to help reduce the problem of flaking, and the inclusion of waxes – such as hard paraffin, carnauba, ceresin and beeswax – to make the mascara more water-resistant, improve adherence of the mascara to the hair and give added gloss. The added wax also enabled the mascara to be made in specialist moulds rather than by the earlier extrusion method.
Triethanolamine stearate30 parts
Paraffin wax (high m.-p.)40 parts
Beeswax12 parts
Lanolin8 parts
Lampblack10 parts
The method is to melt, mix and mill the ingredients—and afterwards cast or extrude them in stick or tablet form.
This gives the usual black type of mascara. Where a dark brown mascara is desired, the following formula will serve. The triethanolamine soap being formed in situ:
White beeswax300
Montan wax100
Stearic acid300
Triethanolamine130
Lampblack20
Burnt umber150
Melt the waxes and grind in the color in a warm mill. Stir in the ethanolamine and pour into molds.
(D&CI, 1945, p. 102)
Adding oils and fats to the formulation enabled the triethanolamine stearate to create an oil-in-water emulsion when the cake was scrubbed with the wet brush. After the emulsion containing the colourants and the rest of the materials was applied the eyelashes, the water evaporated while the colour – protected by the other materials in the mixture – remained on the now dry lashes.
Using a good balance of materials was critically important to producing a satisfactory cake mascara and cosmetic chemists of the time engaged in a lot of trial and error in their quest to produce a better result. Increasing the amount of triethanolamine made it easier to create an emulsion, but also made the mascara less water-resistant. Adding more wax created a mascara that was easier to pour into moulds and more water-resistant, but too much impeded the formation of a suitable emulsion and made the mascara brittle and more likely to flake.
Parts by weight
Triethanolamine stearate15-30
Paraffin 57°C15-30
Yellow beeswax10
Lanolin10
Carnauba wax5-10
Inorganic pigments10-15
Preservativesq.s.
Antioxidantsq.s.
(Rutkin, 1975, p. 712)

Manufacture

Cake mascara was made in two main ways. The first way was to only use oils, waxes, emulsifier and pigment. The second method was to add a small quantity of water to enable the mass to form an emulsion. Using the second method improved the mixing and pickup of the mascara when the brush was scrubbed across the surface of the cake. However, care had to be taken with the amount of water used as, when the water evaporated the cake would shrink – too much and it could adversely affect the appearance of the final product in the box. Some chemists reduced the shrinkage caused by the water loss by adding a small amount of humectant to the mascara mix (Kempson-Jones, 1947, p. 73).
Once the completed formulation was made, the heated mass was poured into moulds which were usually embossed with the name of the manufacturer. The excess mascara was scrapped off and, once cooled, the completed mascara cakes were removed from their moulds, turned over – so the name of the company was on top – and packaged.
Arden Gate type cake mascara mould
Above: Arden ‘Gate’ type cake mascara mould along with scraper to remove the excess mascara and sample mascara box (Rutkin, 1975).

Round cake mascara

Mention should be made of a rather unusual cake mascara introduced into the United States in 1937 by National Cosmetics, Inc. Called Modern Mascara the cake was made as a hollow cylinder rather than a square block and was sold in a metal tube rather than a box. A wet wire spiral brush was inserted into the hole in the cake and rolled around to collect the mascara which was then applied to the lashes. The manufacturers suggested that the new style brush covered the lashes ‘evenly all over instead of just on their bottom side’. Between uses the brush simply screwed into the case.
Like other cake mascaras the brush had to be dampened to lift the mascara from the block but the brush operated in a similar way to those later used in automatic mascaras, predating them by over twenty years.
Modern Mascara appears to have been using a patent granted to Frank L. Engel Jr. in 1939 (U.S. Patent No: 2148736). The patent was also used for the John Robert Powers Mascara-In-the-Round from the 1950s.
1939 mascara patent
Above: 1939 Drawings from the Frank L. Engel Jr patent for a mascara container and applicator.

Kurlash

Another small American company responsible for introducing some innovating, cake mascaras was Kurlash. Founded in Rochester, New York State in 1923, their first cake mascara called the Lashpac was applied like a lipstick.
Kurlash Lashpac
Above: Kurlash Lashpac introduced in 1930.
One end of the Lashpac encloses a stick of mascara, that pushes forward like the usual lipstick. The other end contains a small brush which swings instantly into position for use.
Moisten end of mascara and rub it gently on the upper lashes, always working out toward the ends until desired depth of color is obtained. Then close the compact and, swinging brush out, brush the lashes up to separate and straighten them … The brush is not used to apply Lashpac mascara—only to brush the lashes.
(Kurlash, 1936)
The Lashpac suffered from the same problem as other cake mascaras when it came to finding water. Kurlash tried to rectify this with a second product called the Lashtint Compact, also introduced in the 1930s.
lashtint-compact
Above: Kurlash Lashtint Compact. The sponge is stored in the small square box in right-hand side of the compact.
The design was roughly similar to a standard cake mascara but included a small sponge in one corner to act as a water source. Kurlash considered this design to be important enough to patent it (U.S. Patent No: 1903681, 1933).

Mascara helpers

When applying cake mascara, a guard or shield could be used to prevent accidentally spotting the area around the eye with mascara. The devices came in a variety of forms and were made from a range of materials including cork, celluloid and tortoiseshell. Numerous patents were taken out for different types. Examples from the United States include: US1850540A, 1930; US1907476A, 1932; US1873928A, 1932; US1974825A, 1934; and US2260614A, 1941.
One way to use an eyelash shield was to place it under the lower lashes, close the eye and then mascara both the upper and lower lashes at the same time. However, a more professional finish was achieved if the upper and lower lashes were treated separately.
1932 Beautician using a mascara shield
Above: 1932 Beautician using a mascara shield when applying mascara to the upper and lower lashes of a client (British Pathé).
Another trick to get a better result was to use two mascara brushes. The first to apply the mascara; the second, clean brush to separate any lashes clumped together by the first.

Automatic mascara

Although liquid and cream mascaras were also made in the first half of the twentieth century and had their adherents, cake mascara was the most common mascara in use. It was not until the arrival of ‘automatic’ mascaras – begun by the introduction of Helena Rubinstein’s ‘Mascara-matic’ in 1957 – that the popularity of cake mascaras came to an end. Cake mascara continued to be made after this – and examples can still be found on the market today – but by the end of the twentieth century ‘spit black’ had been largely forgotten.
Updated: 8th May 2018

Sources

Daniels, M. H. (1958). Eye beauty. Drug and Cosmetic Industry82(4) 442-443, 525.
The drug and cosmetic industry. (1945). 57(1). New York: Harcourt Brace Jovanovich.
Harry, R. G. (1940). Modern cosmeticology. The principles and practices of modern cosmetics. Brooklyn, NY: Chemical Publishing Company.
Hifer, H. (1945). Mascara. Drug and Cosmetic Industry56(1) 617, 42-43.
Kempson-Jones, G. (1947). Mascara: A simply prepared cosmetic. Manufacturing Chemist and Manufacturing Perfumer18(2). 73-74.
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