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August 2017

This kitten's got claws: Brandi Milne for Sugarpill

I blinked a few times when I first laid eyes on this set by indie brand Sugarpill, thinking it was odd that Mark Ryden had collaborated with them.  But then I saw that the company had teamed up with Brandi Milne, another Pop Surrealist whose work, upon closer inspection, is markedly different than Ryden's. 

I won't make any excuses as to why I didn't get to posting about this before now even though it was originally released for Valentine's Day; the reason is that I'm simply disorganized.  The set got buried under a bunch of other makeup items in the office, and it wasn't until I recently started seeing mentions on various art blogs of Milne's new solo exhibition, which opened last week, that I remembered I had it. 

Sugarpill Feline Fancy set

Sugarpill Feline Fancy palette

Sugarpill Feline Fancy palette

Sugarpill Feline Fancy palette

Sugarpill Feline Fancy palette

Sugarpill Feline Fancy liquid lipstick

I love that one of the little teeth from the outside of the palette made its way to the interior of the box.

Sugarpill Feline Fancy box interior

There was a truly overwhelming amount of information and interviews with Milne, so I hope by whittling it down somewhat I can still do her art justice.  Get ready for a lot of quotes since I believe the artist's own words are the most useful in understanding their work.

Milne, a self-taught artist, drew and colored throughout her childhood in Anaheim, California (and in a strict Christian household) and began showing her work in various galleries in the early aughts.  By January 2008 she was able to make painting her full-time career.  Let's explore the various themes in her work and how her style has evolved over the years, shall we?

Early on, Milne's style was more illustrative, most likely due to the fact that she hadn't been exposed to much contemporary art.  She explains, "I grew up completely unaware of contemporary artists. In the 90s when I was drawing in my room ('developing my style' at that time), I didn’t know of Mark Ryden and Camille Rose Garcia, or anyone painting wild things the way they were. So I had only my own world of things that influenced me – the children’s books I had as a kid, Bugs Bunny cartoons, coloring books, Woody Woodpecker and Heckle and Jeckle, Disney’s Alice in Wonderland and Pinocchio, vintage Halloween and Christmas decorations, music that had inspired me – and the way my imagination interpreted all of it." 

Brandi Milne, Lucky You, 2009
(image from thinkspacegallery.com)

Her passion for art grew, and now Milne cites Mucha, Erte, Maxfield Parrish, Norman Rockwell, along with the aforementioned Garcia, as her chief influences.  She gradually switched to painting, which allowed her to be a little less precise than drawing neat, contained lines.  "I used to work on paper/illustration board with watercolors, pencil and ink in order to keep things REAL tight and clean. I used to hold my breath whenever I worked, and my poor hand would cramp up because I was so pressed for perfection. Over time, I couldn’t stand feeling like a mistake would set me back the entire piece – I wanted to be free. Painting on wood was my ticket out of that stress filled bind I was putting myself in, and I took the leap a few years back, scared as hell! But since then, that freedom is the rabbit I’ve been chasing!"  Interestingly, Milne's husband custom makes all of the wood panels she uses as her canvas.  I always love a supportive spouse. :) 

Other stylistic shifts include Milne's choice of colors.  Earlier work presents a fairly neutral palette, but more recently Milne has favored a brighter, arguably more feminine palette that's heavy on red, pink and white.  In reference to her latest exhibition, she says, "In this new body of work, my palette went from really bright brights—fluorescents paired with really dark contrasts. I wanted to illustrate life blossoming from darkness. That so much beauty and life can spark from or grow from a place that seems frightening or lifeless...I love red and hyper pinks and whites. There was a year within the process of making this body of work where all I wanted to paint was reds and pinks and whites."  This is most likely the influence of a new florescent shade of red she stumbled across at an art supplies store a few years ago.  In any case, red, pink and white is the dominant color scheme for Milne these days, and this is reflected in the Sugarpill palette as well.

Brandi Milne, Little One, 2017(image from coreyhelfordgallery.com)

One aspect of Milne's style that's more or less remained consistent is the oddly extended limbs of the girls in her paintings.

Brandi Milne, And the Choir Sings Quiet, 2008(image from thinkspacegallery.com)

She notes that this feature came naturally: "I enjoy bending scale in my work...it wasn’t as important to bend the scale as it was to make the characters feel as if they were at home in their environment. These things are not intentional – they come [instinctively]...Maybe the exaggerated limbs represent a feeling of being larger than life. A feeling of being able to reach and grow beyond what one might feel their capabilities limit. "  So not only do these long arms and legs make for a more cohesive composition, they also represent the emotional "stretching" required to handle life's challenges.

Brandi Milne, Before I Hide Away, 2012

Brandi Milne, Here Inside My Broken Heart, 2014

Brandi Milne, Weep Now or Nevermore, 2017(images from coreyhelfordgallery.com)

Thematically speaking, Milne's portrayals of female characters are highly autobiographical.  The title work from her 2009 show "Run Rabbit, Run", for example, represents the emotional strife faced by Milne after the passing of her mother.  "The idea and feeling behind this body of work is strongly related to my mother’s passing in March ’08. My work is emotionally narrative (not by choice), and because I’m struggling through this huge loss, it’s reflected in my new works. I’ve tied in the show’s theme ‘Run Rabbit, Run’ – a lyric from Pink Floyd that hit hard for me one day while I was listening to Dark Side of the Moon, and really feeling my mom’s absence. It struck a note with me, and opened up this idea in my mind. This was the inspiration for my new show, and in turn, extremely helpful in my heart...My girls are an endless narrative for me. She’s my way of voicing an emotion in a piece, sad, innocent, scared."

Brandi Milne, Run Rabbit, Run, 2009(image from thinkspacegallery.com)

This painting depicts Milne trying to stay close to a dear friend who moved away

Brandi Milne, She Wears the Trees In Her Hair, and the Clouds In Her Eyes, 2012

And for I Never Dreamed of Such a Place, she explains, "She's kind of broken. Her body is broken, she’s giving up and hitting bottom. And then myself – I feel like the way that I grew up was in kind of a religious bubble. So in that aspect, I feel like I’m really innocent, you know? As a lamb, being slaughtered. That’s me...It looks cheery, but it’s bloody. She’s broken and I’ve been going through a lot – trying to help myself. So it’s all coming out in the work.”  

Brandi Milne, I Never Dreamed of Such a Place, 2014(images from coreyhelfordgallery.com)

These works show Milne's vulnerability but also her resilience.  Take, for example, Hold Fast, in which a girl receives stitches administered by a fairy godmother-like being, who's an embodiment of the artist herself "mending" her own psychological wounds.  It may seem a tad gruesome at first, but it's actually a message of healing and renewal.

Brandi Milne, Hold Fast, 2014

As for other themes, Milne's work weaves together the many influences from her childhood mentioned previously:  Fisher Price toys, holiday decorations, and, of course, proximity to Disneyland.  "Pinocchio, Alice in Wonderland, Peter Pan, Dumbo, etc. Having loved all those cartoons, going to Disneyland was surreal. The Tea Cup ride with all the lanterns in the shady trees and twinkly lights above. Flying over that lit-up city in the Peter Pan ride, Frog and Toad, the Matterhorn? Being at Disneyland as a kid, is really unparalleled to anything else. It was hugely influential," she says.   Additionally, her mother's religious outlook, coupled with the darker side of fairy tales and Disney movies, inspired the concept of duality that permeates so many of her paintings.  While they seem to be cheerful and innocent upon first glance, something sinister lurks beneath the candy-coated surface.  One example is Be Good for Goodness Sake, in which two happy snowmen naively enjoy some frosty cold milk...that's actually laced with opium, given the labels on the bottle.  (Yes, "milk of the poppy" is indeed a Game of Thrones reference.)

Brandi Milne, Be Good for Goodness Sake, 2015

Or Soothe Yourself, which shows an innocent little bunny surrounded by brightly colored sweets munching on a gingerbread man.  It's an adorable scene until you notice the gingerbread man is (understandably) frowning, while equally sad-looking teeth look on.  A piece of taffy (?) on the left cradles what appears to be a dead tooth, and the cherry cordial on the lower right has broken and spilled onto the snow.

Brandi Milne, Soothe Yourself, 2014(images from coreyhelfordgallery.com)

Milne says, "I love duality. It was so confusing to me growing up, I really couldn’t wrap my head around it and I fought it for so long. I believed that things should be black or white; that you were either a good person or a bad person. You were either happy or you were sad. In Disney movies, particularly, I was absolutely astonished to see that Disney chose to include such horrifically sad moments in his storytelling. We were watching a CARTOON and suddenly there was death and heartbreak and I was FEELING it!! I wanted to reject it, fast forward to the fun cute happy parts. I was disturbed by it. But as I was exploring my own work as an adult, I realized that it was that duality I was feeling and that I wanted to talk about. I love beauty and I love happiness, but I wouldn’t have either if I didn’t have the opposites and everything in between...This new body of work was inspired by the notion of good vs. evil, and the fairytale-like memories of being a kid.  I painted what it felt like to be happy and innocent and naive and then to discover certain truths about the world and reality."  This idea of yin/yang forces is expressed in several paintings from her latest exhibition.  Lynrose depicts a bright pink gingerbread house set among a forest filled with candy canes and ice cream.  While it looks positively charming at first, several ominous-looking skeletons are creeping up onto the house, and a closer look reveals that even the tree and shrub next to it have skull-like faces.

Brandi Milne, Lynrose, 2017

The title piece also seems utterly harmless initially:  it shows a group of jolly, red-cheeked snowmen enjoying some frozen treats.  But then you notice the trees in the background are dead, and the ice cream container has a faded skull and crossbones.

Brandi Milne, Once Upon A Quiet Kingdom, 2017(images from coreyhelfordgallery.com)

Despite the darker imagery in these paintings and others, by and large snowmen represent feelings of happy nostalgia for Milne.  She explains, "The snowman is the jolliest fellow! My mom LOVED Christmas –  she would transform the house with tinsel and knick knacks and vintage decor, Christmas music would be playing on the big family stereo and it was such happiness for me as a kid.  It was a wonderland!!  All these years later, I find myself trying to illustrate that feeling – trying to recreate it in my work.  The snowman tchotchke was a rare find in the house (there were plenty or reindeer and angels and Santa’s to be found), but I remember specifically adoring what snowmen figures we had, and probably hoarding them from my siblings.  The snowman best represents that spirit for me...I wanted that Christmas wonderland to last all year round!"  (Interesting side note:  Milne also enjoys drawing snowmen since she her favorite shape is a circle - "it has no harsh corners".  I suspect this is also the reason for so many paintings featuring Humpty Dumpty, her love/hate relationship with his character notwithstanding.)

Brandi Milne, No Reason to Stay, 2017

Brandi Milne, Candy, 2017(images from coreyhelfordgallery.com)

Brandi Milne, Holiday Takes A Holiday, 2014

While many of Milne's paintings represent the concept of duality, sometimes they're simply whimsical and joyful, with nary a menacing skeleton or dead tree to be found - just unbridled sweetness.  "Wide-eyed and maniacal, I try to capture the feeling of pure happiness and bliss as a kid."   I couldn't find anything dark or upsetting in the Sugarpill palette or in these paintings. 

Brandi Milne, Eat Cakes, You Kitty, 2014

Brandi Milne, Sweet Thing, 2014

I'm particularly struck by the maraschino cherries scattered about in this one.  They just look so succulent and juicy.  Milne greatly enjoys painting these too:  "I can't stop painting cherries and all I want is for everything to be translucent!"

Brandi Milne, The Last of the Snowmen(images from brandimilne.blogspot.com)

I love these since they remind me of characters from children's books, which makes sense given that Milne has illustrated one, not to mention all the delicious treats.  You know I'm all about sweets as well as childhood nostalgia since my own was so happy.  Milne's reminiscing about her mother's holiday decorations, coupled with the imagery in the paintings, instantly transport me back to celebrating various holidays with my family.  (In particular I'm remembering this adorable ceramic ghost with a red face my mom put out for Halloween, and a beautiful ceramic Christmas tree with multi-colored lights...if it wasn't out of my price range I'd commission Milne to paint a couple pieces featuring these items).

Anyway, while there was an enormous amount of information online, I still have a couple unsolved mysteries surrounding Milne's work.  First, I'm curious to know about the German references.

This little lamb seems to be wearing a traditional Alpine hat. 

Brandi Milne, Once Upon a Time, Life was Sweeter than We Knew, 2015

There are German words on the script in Strutter.

Brandi Milne, Strutter, 2012

And this poor little snowman is saying "ouch" in German, while in Long After This a sad pumpkin begs "love me".

Brandi Milne, Autsch, 2014

Brandi Milne, Long After This, 2014

Milne herself was also recently photographed wearing what appears to be a dirndl.

Brandi+Milne+by+Jessica+Louise(images from brandimilne.com)

I suppose it could be related to fairy tales, since the most famous ones in the Western world come from the Brothers Grimm.  Or perhaps Milne has a German background or just appreciates German culture.  Whatever it is, I'm surprised I didn't come across any explanations for it. 

The second item that left me scratching my head was how the collaboration with Sugarpill came about.  I'm assuming Sugarpill reached out to Milne first and they went from there, but it would have been nice to hear more about the process, the inspiration for the palette (who thought of a cat theme?) and how the artwork was created to reflect it.  I watched this video of a studio visit and read about Milne's artistic process, so I know a bit about how she operates, but I imagine things might be a little different when a commission for a makeup company is involved.  At least we know the artwork was an original piece made just for Sugarpill.

That was pretty long despite my best effort to condense everything I found while also trying not to leave out any major points regarding Milne's work.  So if you're still reading, thank you!  Overall, the Sugarpill palette is a wonderful addition to the Museum's artist collaboration collection and also helps make up for the fact that I failed to nab the Trinket lip gloss from 2016. I enjoy Milne's work so much I may have to ask Santa for a book of her work.  ;)  I feel as though I gravitate towards it since we're about the same age - we grew up with the same toys, Disney movies, cartoons (and even had similar holiday decorations!) and also because we had happy childhoods.  And obviously I love any artwork featuring delectable-looking sweets

What do you think? 

Curator's Corner, 8/20/2017

CC logoLinkily dinks.

- Nice package...and one, no doubt, that wouldn't raise any copyright issues with another brand.

- Here's a great little read on cosmetic chemist Hazel Bishop and the quest to create a truly long-lasting lipstick.

- As a huge Pat McGrath fan I am beside myself for the release of a new permanent collection.  I'm not happy about summer ending but this is definitely something to look forward to.

- Even as the organic beauty product market thrives, women of color are still being disproportionately exposed to harmful chemicals in beauty products. 

- Speaking of racist beauty standards...seriously?  It's 2017.  And speaking of harmful ingredients, this is your friendly (er, scary) reminder to buy only from authorized retailers.

- Bath bomb makers are getting more creative by the second.

LOL. #truth

The random:

- What are your favorite movies from 20 years ago?  Check out the AV Club's picks if you need a refresher.  In other '90s news, the "trial of the century" is getting a pop-up museum.

- If anyone should have their own official Pantone color, it's Prince.

- Some good art links:  an essay on the women of Dada, a new Yayoi Kusama museum, and in honor of the eclipse, this artist profile

What's new with you?







Spotlight on vintage lipstick tissues

The life of a makeup museum curator is insanely glamorous.  For example, a lot of people go out on Friday nights, but not me - I have way more thrilling plans.  I usually browse for vintage makeup at Ebay and Etsy on my phone while in bed and am completely passed out by 8pm.  EXCITING.  It was during one of these Friday night escapades that I came across a fabulous box of vintage lipstick pads and naturally, that sent me down quite the rabbit hole.  Today I'm discussing a cosmetics accessory that has gone the way of the dodo:  lipstick tissues.  This is by no means a comprehensive history, but I've put together a few interesting findings.  I just wish I had access to more than my local library (which doesn't have much), a free trial subscription to newspapers.com and the general interwebz, as anyone could do that meager level of "research".  I would love to be able to dig deeper and have more specific information, but in lieu of that, I do hope you enjoy what I was able to throw together.

The earliest mention of lipstick tissues that I found was January 1932.  It makes sense, as several patents were filed for the same design that year. 

Lipstick tissue compact patent

Lipstick tissue patent
(images from google)

While they might have existed in the 1920s, I'm guessing lipstick tissues didn't become mainstream until the early 30s, as this December 1932 clipping refers to them as new, while another columnist in December 1932 says she just recently discovered them (and they are so mind-blowing they were clearly invented by a woman, since "no mere man could be so ingenious".)

December 1932 newspapers referring to lipstick tissues

In addition to the tear-off, matchbook-like packages, lipstick tissues also came rolled in a slim case.

October 1933 ad for Rolay lipstick tissues

This lovely Art Deco design by Richard Hudnut debuted in 1932 and was in production at least up until 1934.  I couldn't resist buying it.

Richard Hudnut lipstick tissues

February 1934 ad for Richard Hudnut lipstick tissues

By 1935, restaurants and hotels had gotten wind of lipstick tissues' practicality for their businesses, while beauty and etiquette columnists sang their praises.  Indeed, using linens or towels to remove one's lipstick was quickly becoming quite the social blunder by the late 30s.

Restaurants offering lipstick tissues, 1935 and 1939

May 1936 beauty column - lipstick tissues

Kleenex was invented in 1924, but it wasn't until 1937, when the company had the grand idea to insert tissues specifically for lipstick removal into a matchbook like package, that these little wonders really took off.  You might remember these from my post on the Smithsonian's collection of beauty and hygiene items.  The warrior/huntress design was used throughout 1937 and 1938.

Kleenex lipstick tissues, ca. 1937(image from americanhistory.si.edu)

Kleenex started upping the ante by 1938, selling special cases for their lipstick tissues and launching campaigns like these "true confessions", which appeared in Life magazine (and which I'm sure were neither true nor confessions.)  With these ads, Kleenex built upon the existing notion that using towels/linens to remove lipstick was the ultimate etiquette faux pas, and one that could only be avoided by using their lipstick tissues. 

Kleenex lipstick tissue ad, April 1938

These ads really gave the hard sell, making it seem as though one was clearly raised by wolves if they didn't use lipstick tissues.  Or any tissues, for that matter.  Heaven forbid - you'll be a social pariah!

Kleenex True Confessions, February 1938

Kleenex True Confessions, October 1939

Look, you can even use these tissues to cheat on your girlfriend!  (insert eyeroll here)

Kleenex True Confessions, September 1939
(images from books.google.com)  

Not only that, Kleenex saw the opportunity to collaborate with a range of companies as a way to advertise both the companies' own goods/services and the tissues themselves.  By the early '40s it was difficult to find a business that didn't offer these gratis with purchase, or at least, according to this 1945 article, "national manufacturers of goods women buy." And by 1946, it was predicted that women would be expecting free tissue packets to accompany most of their purchases.

Diamond Match Company lipstick tissues - Dec. 1945

Needless to say, most of them consisted of food (lots of baked goods, since apparently women were tethered to their ovens), and other domestic-related items and services, like hosiery, hangers and dry cleaning.

Lipstick tissues(images from ebay.com)

Curtiss Candy company lipstick tissues(images from ebay and etsy.com)

Lipstick tissues(images from ebay.com)

Lipstick tissues
(image from ebay.com)

Naturally I had to buy a few of these examples for the Museum's collection.  Generally speaking, they're pretty inexpensive and plentiful.  The only one I shelled out more than $5 for was the Hudnut package since that one was a little more rare and in such excellent condition.  Interestingly, these have a very different texture than what we know today as tissues.  Using contemporary Kleenex to blot lipstick only results in getting little fuzzy bits stuck to your lips, but these vintage tissues have more of a blotting paper feel, perhaps just a touch thicker and ever so slightly less papery.  It could be due to old age - paper's texture definitely changes over time - but I think these were designed differently than regular tissues you'd use for a cold.

Lipstick tissues

Anyway, Museum staff encouraged me to buy the cookie one.  ;)

Lipstick tissues

I took this picture so you could get a sense of the size.  It seems the official Kleenex ones were a little bigger than their predecessors.

Vintage lipstick tissues

Wouldn't it be cool to go to a restaurant and see one of these at the table?  It would definitely make the experience seem more luxurious.  I certainly wouldn't feel pressure to use them for fear of committing a social sin, I just think it would be fun.

Lipstick tissues
(image from etsy.com)

Lipstick tissues
(image from mshhistoc.org)

I figured having a restaurant/hotel tissue packet would be a worthy addition to the Museum's collection, since it's another good representation of the types of businesses that offered them.  I'd love to see a hotel offer these as free souvenirs.

Vintage lipstick tissues

Here's an example that doesn't fit neatly into the baked goods/cleaning/hotel categories.

Lipstick tissues(image from ebay.com)

This one is also interesting.  Encouraging women to be fiscally responsible is obviously more progressive than advertising dry cleaning and corn nut muffins, but it's important to remember that at the time these were being offered by Bank of America (ca. 1963), a woman could have checking and savings accounts yet still was unable to take out a loan or credit card in her own name.  One step forward, 5 steps back.

Lipstick tissues(image from ebay.com)

Of course, cosmetics companies also made their own lipstick tissues.

Tangee lipstick tissues(image from etsy.com)

I was very close to buying these given how cute the graphics are, but didn't want to spend $20.  (I think they're now reduced to $12.99, if you'd like to treat yourself.)

Dubarry lipstick tissues(image from ebay.com)

Plus, I already have these DuBarry tissues in the collection.

Dubarry lipstick tissues

Funny side note:  I actually found a newspaper ad for these very same tissues!  It was dated July 27, 1948, which means the approximate dates I included in my DuBarry post were accurate.

DuBarry lipstick tissues ad, 1948

By the late '40s, lipstick tissues had transcended handbags and became popular favors for various social occasions, appearing at country club dinner tables to weddings and everything in between.  I'm guessing this is due to the fact that custom colors and monogramming were now available to individual customers rather than being limited to businesses.

Lipstick tissue ads - 1946, 1950

Lipstick tissue gift suggestion, 1946

Lipstick tissue favors, 1950 and 1944

"Bride-elect"?  Seriously?

Lipstick tissue wedding favors, April 1951

While the matchbook-sized lipstick tissues are certainly quaint, if you wanted something even fancier to remove your lipstick, lipstick pads were the way to go.  These are much larger and thicker than Kleenex and came imprinted with lovely designs and sturdy outer box.  This was the item that made me investigate lipstick tissues.  I mean, look at those letters!  I was powerless against their charm.

House of Dickinson lipstick pads

I couldn't find anything on House of Dickinson, but boy did they make some luxe lipstick pads.

House of Dickinson lipstick pads

House of Dickinson lipstick pads

This design is so wonderful, I'd almost feel bad using these.  If I were alive back then I'd probably go digging through my purse to find the standard Kleenex ones.

House of Dickinson lipstick pads

I also couldn't really date these too well.  There's a nearly identical box by House of Dickinson on Ebay and the description for that dates them to the '60s, which makes sense given the illustration of the woman's face and the rounded lipstick bullet - both look early '60s to my eye.  

House of Dickinson lipstick pads
However, the use of "Milady" and the beveled shape of the lipstick bullet, both of which were more common in the '30s and '40s, make me think the ones I have are earlier.  

By the mid-late '60s, it seems lipstick tissues had gone out of favor.  The latest reference I found in newspapers dates to November 1963, and incidentally, in cartoon form.


I'm not sure what caused lipstick tissues to fall by the wayside.  It could be that there were more lightweight lipstick formulas on the market at that point, which may not have stained linens and towels as easily as their "indelible" predecessors - these lipsticks managed to easily transfer from the lips but still remained difficult to remove from cloth.  Along those lines, the downfall of lipstick tissues could also be attributed to the rise of sheer, shiny lip glosses that didn't leave much pigment behind. 

While these make the most sense, some deeper, more political and economic reasons may be considered as well.  Perhaps lipstick tissues came to be viewed as too stuffy and hoity-toity for most and started to lose their appeal.  My mother pointed out that lipstick tissues seemed to be a rich people's (or at least, an upper-middle class) thing - the type of woman who needed to carry these in her handbag on the reg was clearly attending a lot of fancy soirees, posh restaurants and country club dinners.  This priceless clipping from 1940 also hints at the idea of lipstick tissues as a sort of wealth indicator, what with the mention of antique table tops and maids.

March 20, 1940 - etiquette

Lipstick tissues were possibly directed mostly at older, well-to-do "ladies who lunch", and a younger generation couldn't afford to or simply wasn't interested in engaging in such formal social practices as removing one's lipstick on special tissues.  Plus, I'm guessing the companies that used lipstick tissues to advertise labored under the impression that most women were able to stay home and not work.  With a husband to provide financially, women could devote their full attention to the household so advertising bread recipes and dry cleaning made sense.  This train of thought leads me, naturally, to feminism: as with the waning popularity of ornate lipstick holders, perhaps the liberated woman perceived lipstick tissues as too fussy - a working woman needed to pare down her beauty routine and maybe didn't even wear lipstick at all.  Lipstick tissues are objectively superfluous no matter what brainwashing Kleenex was attempting to achieve through their marketing, so streamlining one's makeup regimen meant skipping items like lipstick tissues.  Similarly, after reading Betty Friedan's 1963 landmark feminist screed The Feminine Mystique, perhaps many women stopped buying lipstick tissues when they realized they had bigger fish to fry than worrying about ruining their linens.  Then again, one could be concerned about women's role in society AND be mindful of lipstick stains; the two aren't mutually exclusive.  And the beauty industry continued to flourish throughout feminism's second wave and is still thriving today, lipstick tissues or not, so I guess feminism was not a key reason behind the end of the tissues' reign.  I really don't have a good answer as to why lipstick tissues disappeared while equally needless beauty items stuck around or continue to be invented (looking at you, brush cleansers).  And I'm not sure how extra lipstick tissues really are, as many makeup artists still recommend blotting one's lipstick to remove any excess to help it last longer and prevent feathering or transferring to your teeth.

In any case, I kind of wish lipstick tissue booklets were still produced, especially if they came in pretty designs.  Sure, makeup remover wipes get the job done, but they're so...inelegant compared to what we've seen.  One hack is to use regular facial blotting sheets, since texture-wise they're better for blotting than tissues and some even have nice packaging, so they're sort of comparable to old-school lipstick tissues.  Still, there's something very appealing about using a highly specific, if unnecessary cosmetics accessory.  I'm not saying we should bring back advertising tie-ins to domestic chores or the social stigma attached to not "properly" removing one's lipstick on tissues, but I do like the idea of sheets made just for blotting lipstick, solely for the enjoyment of it.  I view it like I do scented setting sprays - while I don't think they do much for my makeup's longevity, there's something very pleasing about something, like, say, MAC Fruity Juicy spray, which is coconut scented and comes in a bottle decorated with a cheerful tropical fruit arrangement.  As I always say, it's the little things.  They might be frivolous and short-lived, but any makeup-related item that gives me even a little bit of joy is worth it.  I could see a company like Lipstick Queen or Bite Beauty partnering with an artist to create interesting lipstick tissue packets.  Indeed, this post has left me wondering why no companies are seizing on this opportunity for profit.

Should lipstick tissues be revived or should they stay in the past?  Why do you think they're not made anymore?  Would you use them?  I mean just for fun, of course - completely ignore the outdated notion that one is a boorish degenerate with no manners if they choose to wipe their lips on a towel, as those Kleenex ads would have you believe.  ;)


¡Es un milagro! ¡Bienvenido Pai Pai!

So I have some big news!  No, the Museum does not have a physical space, but this is almost as good.  You might remember I've had a long-time love affair with Mexican brand Pai Pai, but was dismayed at the inability to obtain their lipsticks in the U.S. Well, the makeup gods smiled upon me, for Pai Pai has revamped their website and international shipping is now only 20 Mexican pesos (roughly $1.12 U.S. dollars).  It was a veritable Christmas in July miracle!  Naturally I bought plenty of goodies. Welcome to the Makeup Museum's collection, Pai Pai!

I thought I'd start with the most recent collab and work my way back.  For those of you not familiar with Pai Pai, the company has the genius idea to work with a different Mexican artist each season to create limited edition lipstick packaging that celebrates the country's heritage.  The newest partnership is with 24 year-old, Mexico City-based Jorge Serrano.  I couldn't find anything about what inspired the prints for his collection, as the Pai Pai blog seems to have disappeared in the website redesign, and the cached version only provided a general description of his style.  I've been following him on Instagram (he has such a great feed - lots of color and uplifting quotes rendered in his beautiful calligraphy) and was thinking about requesting an interview, but I'm not 100% sure he's fluent in English and my Spanish is so atrocious at this point I couldn't ask him anything.  So while I don't have any real information, I must say that I am positively in love with the vibrant, tropical lusciousness of this collection. As I lamented in the notes for the summer 2017 exhibition, I was so sad not to be able to buy Serrano's designs since they would have been perfect for the fruity theme, but I'm glad they're in my hot little hands now.  That's all that matters.  :)

Jorge Serrano for Pai Pai

Jorge Serrano for Pai Pai

I love all the designs but these 2 are my favorites - pineapples galore and that bird is just too cute.

Jorge Serrano for Pai Pai

Serrano has dabbled in these motifs before.  Some examples from 2015 and 2014:

Jorge Serrano - Alas Olas

Bird illustration by Jorge Serrano

Pineapple print by Jorge Serrano

Pineapple print by Jorge Serrano

Thematically speaking, his work reminds me a little bit of I Scream Colour's - pop culture icons and mermaids abound.

Lady Gaga illustration by Jorge Serrano

These two were for Nylon Espanol.

Jorge Serrano for Nylon - Britney

Jorge Serrano for Nylon(images from @soyserrano)

Overall, Serrano is yet another artist whose work I have recently fallen in love with.  :)

Next up, released a little further back in the spring was a collection by Poni Lab, a design company run by sisters Minerva and Denisse Mendoza.  These illustrations are also a ton of fun!  I love pineapple anything, as you know, but I think my favorite was the reverse mermaid...who's wearing lipstick.  Not only is it adorable, it was also inspired by Rene Magritte's 1934 work The Collective Invention (and/or possibly this one.) So bonus points for a really cool art history reference!

Poni Lab for Pai Pai

Poni Lab for Pai Pai

I had no idea these were Dr. Who/Back to the Future motifs until I actually had them in my hands.  Looking online I just thought they were cute little prints, but then when I took a closer look I realized they were very specific references (which I've linked for those of you not familiar).  As I did with one of Paul & Joe's recent lipstick cases, I thought I'd show the details because they are simply too clever not to.  Let's see, we have a Weeping Angel (these are one of the creepier monsters from Dr. Who), Nikes on a hoverboard and puffy red vest worn by Marty McFly, complete with Doc's "Great Scott!" exclamation (Back to the Future), and then the Tardis and a Dalek from Dr. Who.  The car with "where we're going we don't need roads", which you can see in the pictures above, is from Back to the Future.

Pai Pai x Poni Lab

Alas, the other ones in this collection had already sold out, but they were overwhelmingly cute as well.  A literal sweet tooth, some Warhol-esque bananas, a print full of friendly dinosaurs, rainbows and cookies all transported me to my happy place. I mean, you can't be sad when looking at these, right?

Pai Pai x Poni Lab

As with Serrano I couldn't find a ton of information on what inspired Poni Lab and wasn't sure about their English fluency, but looking at their Instagram feed, it seems most of the the Pai Pai collection consisted of previously created patterns - it looks like only one was made specifically for Pai Pai, and that was also based on a previous design.

Poni Lab pouches

Poni Lab pineapple phone cases

Poni Lab dinosaur pouch

Poni Lab fish couple print

Nevertheless, I'm smitten with their style.  It's very nostalgic and playful, with lots of cartoony animals and cheerful anthropomorphic beings, and filled with some of my favorite motifs (pineapples and sweets).  And tons of unicorns, but also a few mermaids here and there. ;)

Poni Lab narwhal unicorn print

Poni Lab ice cream pouch

Poni Lab cherries print

Poni Lab it's pine-o-clock

Poni Lab unicorn plushes

Poni Lab pixelated unicorn pouch

Poni Lab mer-shiba pillow

I don't want kids but if I did, I'd buy this mer-kitty (or as Poni Lab calls them, "purr-maids"!) stuff in a heartbeat.

Poni Lab purrmaids

Poni Lab purrmaids t-shirt(images from @ponilab)

Finally, we have Talia Cu's amazing Frida Kahlo-inspired collection.  I've already discussed it so I won't re-hash it, but I must mention that these were actually sent to me for free by Pai Pai!  Talia spotted my blog post and contacted me on Instagram, saying she felt bad that I couldn't get my hands on them.  So she reached out to one of Pai Pai's founders on my behalf and told them all about the Museum, and they ended up sending these to me completely free.  It's the first time in 9 years of blogging that I've ever gotten anything for free from a makeup company!!  So a huge thanks to Talia and Pai Pai for their kindness and generosity.

Talia Cu for Pai Pai

I'm thrilled I was able to get all of these for the Museum, as they're all quite worthy additions.  I can't wait to see what the next collection is, as it's being teased on Instagram and the suspense is killing me...I think I might spy a pug design?!

What do you think?  Any favorites?



MM Musings, vol 25: unsolicited donations

Makeup Museum (MM) Musings is a series that examines a broad range of museum topics as they relate to the collecting of cosmetics, along with my vision for a "real", physical Makeup Museum. These posts help me think through how I'd run things if the Museum was an actual organization, as well as examine the ways it's currently functioning. I also hope that these posts make everyone see that the idea of a museum devoted to cosmetics isn't so crazy after all - it can be done!

https://www.someecards.com/I came across this article detailing an example of an unsolicited museum donation, and it got me thinking about how this would apply to the Makeup Museum. Let's explore the pros and cons of such donations for a cosmetics museum, shall we? 

In the 9 years I've been running the Museum, it has received a handful of amazing, completely unsolicited donations, two of which I haven't even posted about because they were so huge and I'm still in the process of adding them to the inventory and photographing everything.  Some very kind people bestowed hard to find or vintage items in great condition simply because they were going to throw them out, but instead they took the time to do a little research and discovered the Museum might be a good place for these items instead of the trash.  I must say I've had good luck so far with unsolicited donations - no one has sent me beauty items that are in such poor condition that they really do belong in the garbage.  (No one has even requested that I reimburse them for postage, which blows my mind!  I've offered, but they all turned me down.)  Even though I usually have no idea what I'm getting when people offer to send me things - very few take photos and just offer a brief description - I have no problem digging through the items once they arrive and throwing them out if they really are trash.  And as I'm always trying to grow the Museum's collection, right now I have a favorable opinion of such donations.  It's not often you can get quality items for free, so these unsolicited donations essentially mean collection growth without spending a dime of my own money.  Indeed, several prominent museums have had help in growing their collections via unsolicited donations as well. As the director of the institutional history division at the Smithsonian remarked in this article, "We built our collection with amateur collectors." 

Another pro of an unsolicited donation is that even if I can't use it for the collection, it at least provides research and/or blog post fodder.  I like to think of donations as opportunities for other aspects of museum expansion, as sometimes these items can lead me to look into vintage brands or trends I hadn't explored before, or even exhibition concepts.  For example, the Stila memorabilia donations I received sparked the idea of doing a whole exhibition on Stila girl illustrations.  (Still working on it, obviously!)

Finally, for established organizations unsolicited donations can also lead to good press and increased visitor engagement.  This article in Nonprofit Quarterly discusses an unsolicited donation that a museum could have used as PR opportunity and a way to interact with more visitors (although I do understand why the museum didn't follow through with it).  While right now the Makeup Museum doesn't have any real PR to speak of,  if it was an actual museum I'd absolutely pass along unsolicited donations to my PR team and education/engagement staff and see if they could do anything with them.

Now for the not-so-good aspects of unsolicited donations.  Most museums have policies in place clearly stating that they cannot accept unsolicited donations that are left at the doorstep or sent through the mail, and for several good reasons.  First, and probably most important, unsolicited donations can present a host of legal problems.  State laws regarding abandoned property vary, so museums have to determine whether they can legally own donations that were left or sent anonymously. Not only that, while the donation is monetarily free, the donor may put burdensome conditions in place, such as having the item on display at all times.  This makes the legal aspects of the deed of gift more complicated, and the conditions themselves may be more trouble than the donation is worth.  Plus, some pieces have questionable provenance, especially those where the donor refuses to say how they acquired the item or even give their name - no museum wants stolen or fake works in their collections because, again, this could lead to an epic litigation nightmare.

Second, unsolicited donations require an incredible amount of experience in handling extremely delicate situations.  If a donor is turned down, the result may be a permanently damaged relationship that could affect other donations.  Not only does museum staff want to avoid hurt feelings, as donors can be very attached to an object and may take the rejection personally, but the donor may have something else of value that they are now not willing to part with.  As this Wall Street Journal article explains, "Responding to inquiries for donations requires considerable tact, if for no other reason than a collector offering one unwanted object may have one or more others in which the museum would be far more interested...museum officials attempt to learn something about the person making the offer, because they don't want to close the door on a relationship that might yield other benefits."    

Third, unsolicited donations can be logistically difficult for a small museum that doesn't necessarily have the resources to sift through everything that gets left outside their door or in their mail.  Even if the item proves worthy of the museum's collection, the accessioning process takes a considerable amount of time.  Additionally, the museum may not have the storage space or ability to conserve the items. While mostly applauding the unsolicited donation of goldfish to a museum's pond (literally someone just smuggled a bunch of fish onto museum property and dumped them into the pond without consulting any staff), the Nonprofit Quarterly article notes that the fish ended up dead since the pond wasn't the right environment for them.  If a museum can't properly care for a donation for whatever reason, it actually does more harm than good.

Finally, the museum's focus is also a reason that unsolicited donations are tricky to handle.  In the case of the Peabody Museum of Natural History, donated animal carcasses to be taxidermied or otherwise preserved by the museum present a safety hazard if the critters succumbed to rabies or carried dangerous parasites.  On a less deadly side, I'd imagine a fashion museum would have to take special care in ensuring the donated garments are free of moths and other insects, lest they spread to the rest of the museum's collection and destroy it. 

In light of all these challenges, many museums have very clear policies in place that help protect them against the potential pitfalls that unsolicited donations present.  As for the Makeup Museum, right now I don't think I really need an official policy, since 1. it's not like I'm getting bombarded with donations so I can handle the amount; 2.  legally I can't get into trouble for accepting items or throwing them out since the Museum isn't an actual institution - it's really a situation of one person gifting items to another.  (At least, I don't think I can be sued or anything like that...any lawyers want to weigh in?)

However, should the Makeup Museum ever become a real organization, it would investigate unsolicited donations on a case-by-case basis and maintain a public policy that all staff is well-versed in.  I'd definitely require a form of some kind to be filled out online and have hard copies available in the case of in-person drop-offs.  I'd also follow the standard guideline that most museums have posted - I might even use this exact language from the Chicago History Museum and the International Spy Museum cobbled together, since it's perfect (why reinvent the wheel?):  "The Museum does not accept donations through the mail or in person unless prior arrangements have been made with the appropriate curatorial or collection staff member. All unsolicited donations sent via the mail will be returned to sender.  The Museum reserves the right to dispose of unsolicited items."  Storage space shouldn't be that much of an issue since makeup items are generally small.  Currently I'm running out of room, but that's only because I'm trying to keep the collection in my home - if I had a large dedicated space, it wouldn't pose too much of a problem (unless the donation was something like salon furniture or oversize props...still, if Paul & Joe wanted to donate those giant cat lipsticks they used for their events, I'd take them in a heartbeat, lack of space be damned).  As for health hazards, I can see that used makeup is kind of gross, but most likely it doesn't pose a threat as the items can be somewhat sanitized and no one would actually be using them - they're just being displayed.  The only things you'd have to be really careful with are hair-related items, i.e., I'd think twice about accepting a used vintage hairbrush or other accessories, as an outbreak of lice is not desirable.

There are many potential issues with unsolicited donations, but I believe that if a museum sticks to their policy and ensures their staff understands it, the benefits greatly outweigh the risks.  As Jody Ochoa, Director of the Idaho State Historical Museum emphasizes, "If we don't know anything about an item, how can we take it? Having a good solid policy is really key, and it protects everyone, including the volunteers."  My current job also forces me to handle sensitive situations on occasion, so I think I'd be equipped to gently and tactfully negotiate or turn down a donation - hopefully there wouldn't be any burning of bridges with donors for me.

What do you think?

Curator's Corner, 8/6/2017

CC logoLinks, links, get your links here!

- Loved this history of nail polish over at Racked...and I can't wait for this new book it mentions (I'm currently reading her other one.)  This history of the hair dryer was also interesting.

- Think I'll skip the "lobe strobe", but upside down makeup actually seems reasonable.

- Recent beauty fails involve, of all things, a dead fly and a maxi pad.

- There are swatches, and then there is swatch art.

- A teenage makeup artist revisits the '90s on her eyelids, while The Cut reflects briefly on the decade's popular "butt cut" for men.

- Not sure how I feel about these new Sephora stores.  On the one hand, they're good for anyone who feels overwhelmed or intimidated by the selection and doesn't fully understand their skin and makeup needs.  On the other hand, I feel like it would be super annoying for someone like me, who wants to be left completely alone while shopping - more in-depth services are not what I'm after.

- Also not sure about this debacle.  My gut instinct is to tell the Kardashians to back off, but...their logos aren't really similar? I don't know.

The random:

- So much '90s nostalgia!  ABC's original TGIF lineup returns to Hulu, both Titanic and this one-hit wonder turn 20, and the stars of the I Love the '90s music tour share their thoughts on the decade.  I also came across the history of Good Burger and the rather sad story of the actor in Pearl Jam's "Jeremy" video.

- Nostalgia isn't limited to the '90s, however:  early aughts fashion trends are being revived, and there's going to be an exhibition on pop culture of the 2000s (brought to you by the same folks who launched the Nancy Kerrigan/Tonya Harding exhibition). 

- Smithsonian Magazine briefly discusses how sunbathing became a fad in the 1930s...thought it was a nice little follow up to my post on vintage tanning product ads

- Made me smile.

How are you doing?




We're going to the circus, we're going to the fair...

...to see the senoritas dance with flowers in their hair!  Okay, not really, that's part of a song my sister and I used to sing as kids.  But it looks like Paul & Joe had their own personal circus at Isetan Shinjuku department store in Tokyo to celebrate the release of their new lipsticks.  I'm not sure why they went with a circus theme or why they had to make these exclusive to Isetan, but what I do know is that a certain curator was determined to get her hands on them by any means necessary.  Basically I paid through the nose to use a personal shopping service in Japan.  But I believe it was worth it, as these new cases are easily some of the cutest and most unusual Paul & Joe has come up with in a while.  I also suspect these are brand new prints that are unique to the cases.  I might have looked too quickly, but I did briefly peruse the fall 2017 Paul & Joe fashion collections and didn't see any of them.

Paul & Joe circus lipstick cases

I love the caps!  (And I was ever so happy to see the return of Cap'n Kitty!)

Paul & Joe circus lipstick cases

While the cases retailed for a mere 1,100 yen (about $10 U.S. each), the shopping service itself charged...well, I'm too embarrassed to tell you how much.  But look at this very dapper penguin.  I mean, he's wearing a freakin' top hat and bow tie!!  As I said, worth it.

Paul & Joe circus lipstick case #3

While Cap'n Kitty will always hold a special place in my heart, I think this was my favorite case of the bunch.  The images are just so delightfully absurd.  We have a cat lady in a hoop skirt, a tiger riding a bicycle, an antelope, a parrot riding a zebra, and for some reason a monkey holding a fan sitting by a windmill.  Bizarre, but the vintage style is utterly charming nevertheless - reminds me a little of Alice in Wonderland.

Paul & Joe circus lipstick case #6

If you thought the cases were awesome, you need to take a gander at the Isetan event itself.  I'd have given my eye teeth to be there, as it looked amazing.  Whoever Paul & Joe's event planner was, they hit it out of the park.   (I hate the event planning I do for work but if I could do these types of events for a beauty company I probably wouldn't mind so much!)

Paul & Joe Isetan circus event

Paul & Joe Isetan circus event

Paul & Joe Isetan circus event display

Paul & Joe Isetan circus event display

I loved the gigantic kitty lipsticks, which naturally made for a perfect photo opportunity.

Paul & Joe Isetan circus event

Paul & Joe Isetan circus event

Paul & Joe Isetan circus event

They even had a life-size statue of the cat lady!  She was cleverly placed in front of the lipstick case print and wearing one of Paul & Joe's fall 2017 dresses.

Paul & Joe Isetan circus event cat statue

Paul & Joe Isetan circus event cat statue

There were even actual circus performers!

Paul & Joe Isetan circus event - performers

The huge gumball machine was a fun touch too.  While it looks like simply a novelty piece of decor, it actually worked.  I don't have the video of a couple girls putting a few coins in and getting their prizes because Paul & Joe only had it on their Instagram stories, but there was proof that it wasn't just for show.  

Paul & Joe Isetan circus event - gumball machine

Paul & Joe Isetan circus event - gumball machine

I'm wondering how much this event cost and how long it took to plan - those giant cat lipsticks, gumball machine, framed prints and other decor couldn't have been cheap or produced overnight because they would have to be custom-made with Paul & Joe's designs.  Even these little balloons must have been pricey.  (I guess because of my day job and also planning elaborate birthday parties for my niece, I just can't stop thinking about the work and money that went into this event!)  They must have had an unlimited budget and an entire fleet of event coordinators.

Paul & Joe Isetan circus event - balloons
(images from Paul & Joe's instagram)

But wait, there's more!  Another spectacular event was held for CanCam, a popular Japanese fashion magazine.  Entitled "CanCat Night Pool", the event name put a fun Paul & Joe kitty spin on the magazine's moniker while pointing to the night swimming activities.  This one also looked like a ton of fun!

CanCam Paul & Joe Night Pool event

Can Cam Paul & Joe Night Pool event

Again, custom pool floats = $$$.

CanCam Paul & Joe Night Pool event

CanCam Paul & Joe Night Pool event

CanCam Paul & Joe Night Pool event(images from cancam.jp)

All in all, I was overjoyed to be able to add these cases to my collection, and I was glad Paul & Joe provided plenty of pictures of their wonderful events for those of us who are thousands of miles away and couldn't attend.  Also, I think my new career goal might be doing event planning for a big makeup company.  ;)  If you weren't able to get your hands on these lipstick cases, don't despair - I wouldn't be surprised if Paul & Joe releases them worldwide eventually. 

What do you think?  Do you have a favorite?

Unicorns vs. Mermaids

Sigh.  After nearly 9 years of blogging I don't know why I still haven't learned to look before I leap when purchasing items for the Museum's collection.  After seeing the write-up at Allure of indie brand Tooth and Nail's Unicorns vs. Mermaids palette and previous mentions of this company in other reputable publications like Nylon, I nevertheless pondered whether I really needed yet another mermaid-themed palette to add to the Museum.  Initially I wasn't going to go for it, but I figured Allure would never steer me wrong, plus Tooth and Nail mentioned the name of the palette's illustrator/designer, Australia-based artist Megan Allison.  Once I read an independent artist was behind the design I had to buy it.

Tooth & Nail Unicorns vs. Mermaids palette

Tooth & Nail Unicorns vs. Mermaids palette

I actually got up the courage to email Megan with a request for an interview about her art and her work for Tooth and Nail.  She kindly obliged so here's some more in-depth information.  Megan has been drawing since high school and studied Visual Communication (graphic design) at the University of Technology Sydney.  When not working at her day job at an Australian packaging company, Megan creates stickers and enamel pins featuring a variety of whimsical (and sometimes creepy!) characters. 

Megan Allison - Blue Moon Dragon

Megan Allison - Kirby sticker

Megan Allison - Xenomorph pin

And since I had to know, she's Team Unicorn.  For shame!  Just kidding, of course.  ;) 

Megan Allison - Sweet Unicorn Carousel
(images from meganallisondesign.com)

Tooth and Nail found Megan via Instagram and contacted her to create some of the labels for their Sailor Moon-themed highlighters.  After the success of that collection, the company contacted her again for the Unicorns vs. Mermaids palette.  Hannah Foote, owner of Tooth and Nail, sent Megan a preliminary sketch of the general concept.

Tooth and Nail Unicorn vs. Mermaids sketch

From there Megan did her own sketch.

Tooth and Nail Unicorn vs. Mermaids sketch

Once approved, she did the full rendering, with the colors taking an entire day to get just right.  While Megan isn't loyal to one distinct style - she frequently goes back and forth between more traditional colored pencils to digital illustration and dark vs. cute themes - she enjoys tattoo design, an interest she shares with her sister (they have matching forearm tattoos, awww!)  I feel as though the mermaid looks a bit old school tattoo-inspired. 

  Tooth & Nail Unicorns vs. Mermaids palette

Seems all well and good, right?  Alas, a very sweet Instagram buddy of mine alerted me to the fact that Tooth and Nail has had a lot of customer complaints.  And it's true:  when I googled the company the fourth result that appeared was a complaint on Reddit.  Apparently not only was the customer service poor, the quality of the products themselves was shoddy.  While this one appeared nearly a year ago, other customers have shared their own tales of never receiving the products they ordered with a lengthy wait for a refund or zero resolution, some as recently as late May.  Sadly, the lack of service isn't limited to customers.  Via our email interview a few weeks ago, Megan stated that she never received the final versions of the products she designed (neither the Sailor Moon items nor the Unicorns vs. Mermaids palette), which was the agreed-upon payment for her services.  So not only have customers been ripped off, Tooth and Nail has allegedly also not paid their own designer.  I haven't been in touch with Megan since then so I'm hoping she has received her items in the past 2 weeks, but given everything I've seen it's doubtful.  It's especially disheartening since Megan agreed to accept products instead of money - it shouldn't be difficult for a company, even a small indie one, to fulfill their end of this simple barter. (Plus, as the wife of an extremely hard-working freelance designer who has had his share of clients screwing him over, I personally HATE people who don't think independent designers/artists deserve payment...which is more common than you'd think.  Freelance ain't free!)  

I certainly don't wish to vilify Tooth and Nail, but I felt the need to mention these incidents.  I'm also inclined to believe they're true - why would so many people complain without cause, and why is there no response from Tooth and Nail to any of them or going so far as to report/remove customers' comments on Instagram?  I understand that things happen beyond our control and that Tooth and Nail is a fairly new company with literally just two people rather than a huge, established business with lots of experienced staff to handle customer issues, but it seems other tiny indie companies are able to better handle any problems that come up.  With such a small company it's easy to get overwhelmed with orders, but whatever customer service system Tooth and Nails has in place clearly hasn't been working and needs to be addressed.  Maybe it has been, as I haven't witnessed any other complaints regarding the Unicorns vs. Mermaids palette...then again, perhaps any negative feedback has been wiped clean from social media.

Anyway, as you can imagine, I was conflicted for weeks about what to write or even to write anything at all, plus I was annoyed with myself for not doing proper background research on an unknown-to-me brand before purchasing the palette. Ultimately I decided to post because while Tooth and Nail may not be reliable or, at least, wasn't reliable in the past, I felt it was important to highlight Megan's work.  After all, focusing on the makeup design rather than the makeup itself is kind of what I do, right?  Oh, and in the snowball's chance in hell that any makeup companies are reading this post, I'd like to let you know that Megan is available for design/illustrative services, but you must pay her up front!


UPDATE, 8/2:  Megan emailed me to let me know she followed up with Hannah a few more times and eventually received the agreed-upon items!  So hopefully this begins a new, more responsible phase for Tooth and Nail.