Makeup in the context of "Dressing table"

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⭐ Core Definition: Makeup

Cosmetics are substances that are intended for application to the body for cleansing, beautifying, promoting attractiveness, or altering appearance. They are mixtures of chemical compounds derived from either natural sources or created synthetically. Cosmetics have various purposes, including personal and skin care. They can also be used to conceal blemishes and enhance natural features (such as the eyebrows and eyelashes). Makeup can add color to the face, enhance features, or alter appearance to resemble a different person, creature, or object.

People have used cosmetics for thousands of years for skin care and appearance enhancement. Visible cosmetics for both women and men have gone in and out of fashion over the centuries.

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👉 Makeup in the context of Dressing table

The dressing table (also a vanity table or simply a vanity, in Australian English, a duchess) is a table specifically designed for performing one's toilette (dressing, applying makeup and other personal grooming), intended for a bedroom or a boudoir.

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Makeup in the context of Disguise

A disguise can be anything incognito which conceals one's identity or changes a person's physical appearance, including a wig, glasses, makeup, fake moustache, costume or other items. Camouflage is a type of disguise for people, animals and objects. Hats, glasses, changes in hair style or wigs, plastic surgery, and make-up are also used.

Disguises can be used by criminals, terrorists, secret agents and special forces operators seeking to avoid identification. A person working for an agency trying to get information might go "undercover" to get information without being recognised by the public; a celebrity may go "incognito" in order to avoid unwelcome press attention. Protests often feature people dressed in humorous costumes while political publicity stunts and pranks sometimes employ disguises and imposture. In comic books and films, disguises are often used by superheroes, and in science fiction they may be used by aliens. Dressing up in costumes is a Halloween tradition.

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Makeup in the context of Living statue

A living statue, also known as a human statue, usually refers to a performer who poses as a statue or mannequin, usually with realistic statue-like makeup.

Living statue may also refer to art installations created by an artist using living people, or other works created by a performing artist.

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Makeup in the context of Glam rock

Glam rock (also known as glitter rock) is a subgenre of rock music that developed in the United Kingdom in the early 1970s and was primarily defined by the hairstyles, makeup, and flamboyant clothing of its musicians, particularly platform shoes and glitter. Glam artists drew on diverse sources, ranging from bubblegum pop and 1950s rock and roll to cabaret, science fiction, and complex art rock. The flamboyant clothing and visual styles of performers were often camp or androgynous and have been described as playing with other gender roles.

The UK charts were inundated with glam rock acts from 1971 to 1975. The March 1971 appearance of T. Rex frontman Marc Bolan on the BBC's music show Top of the Pops—performing "Hot Love"—wearing glitter and satins, is often cited as the beginning of the movement. Other British glam rock artists included David Bowie, Mott the Hoople, Sweet, Slade, Mud, Roxy Music, Alvin Stardust, Wizzard and Gary Glitter. In the United States, the scene was much less prevalent, but US artists such as New York Dolls, Sparks, Suzi Quatro, Iggy Pop, Alice Cooper, Lou Reed and Jobriath achieved success in the UK and/or US. Glam rock declined after the mid-1970s, but influenced other musical genres including punk rock, post-punk, gothic rock and glam metal. The new romantic movement, which began as an underground fashion subculture movement in nightclubs in the late 1970s before becoming mainstream in the early 1980s, was also inspired by the visuals of the glam rock era.

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Makeup in the context of Cosmetics in Ancient Rome

Cosmetics, first used in ancient Rome for ritual purposes, were part of daily life. Some fashionable cosmetics, such as those imported from Germany, Gaul and China, were so expensive that the Lex Oppia tried to limit their use in 189 BCE. These "designer brands" spawned cheap knock-offs that were sold to poorer women. Working-class women could afford the cheaper varieties, but may not have had the time (or slaves) to apply the makeup as the use of makeup was a time-consuming affair because cosmetics needed to be reapplied several times a day due to weather conditions and poor composition.

Cosmetics were applied in private, usually in a small room where men did not enter. Cosmetae, female slaves that adorned their mistresses, were especially praised for their skills. They would beautify their mistresses with cultus, the Latin word encompassing makeup, perfume and jewelry.

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Makeup in the context of Gimmick (professional wrestling)

In professional wrestling, a gimmick generally refers to a wrestler's in-ring persona, character, behaviour, attire, and/or other distinguishing traits while performing which are usually artificially created in order to draw fan interest. These in-ring personalities often involve costumes, makeup and catchphrases that they shout at their opponents or the fans. Gimmicks can be designed to work as good guys/heroes (babyfaces) or bad guys/villains (heel) depending on the wrestler's desire to be popular or hated by the crowd. A tweener gimmick falls between the two extremes, such as wrestlers who manifests many heel and face traits such as Randy Orton's viper gimmick. A wrestler may portray more than one gimmick over their career depending on the angle or the wrestling promotion that they are working for at that time.

Promotions will use gimmicks on more than one person, albeit at different times, occasionally taking advantage of a masked character which allows for the identity of the wrestler in question to be concealed. Razor Ramon was portrayed by both Scott Hall and Rick Bognar and Diesel was portrayed by Kevin Nash and then Glen Jacobs. Occasionally, a wrestler uses a gimmick as a tribute to another worker; such is the case of Ric Flair's Nature Boy persona which he took on as an homage to the original Nature Boy, Adrian Street. When a wrestler acts outside their gimmick this is known as 'breaking kayfabe', a term showing pro wrestling's linkages to theatre, where the more common term "breaking the fourth wall" is used.

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Makeup in the context of Shiseido

Shiseido Company, Limited (Japanese: 株式会社資生堂, Hepburn: Kabushiki gaisha Shiseidō; pronounced [ɕiseꜜːdoː]) is a Japanese multinational cosmetic company founded in Tokyo, Japan in 1872. Its product categories consist of: skin care, makeup, body care, hair care, and fragrances. The company is one of the oldest cosmetic companies in the world and celebrated its 150th anniversary in 2022. It is the largest cosmetic firm in Japan and the fifth largest cosmetic company in the world. In Japan, Shiseido is available at cosmetic counters at selected department stores and most pharmacies. The company owns numerous brands and subsidiaries worldwide, in addition to its founding label. The company is headquartered in Tokyo, and is traded on the Tokyo Stock Exchange, where it is a constituent of the Nikkei 225 and TOPIX Large70 indices.

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Makeup in the context of Theatrical makeup

Theatrical makeup is makeup that is used to assist in creating the appearance of the characters that actors portray during a theater production.

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Makeup in the context of The Estée Lauder Companies

The Estée Lauder Companies Inc. (/ˈɛst ˈlɔːdər/ EST-ay LAW-dər) is an American multinational cosmetics company, a manufacturer and marketer of makeup, skincare, perfume, and hair care products, based in Midtown Manhattan, New York City. It is the second largest cosmetics company in the world after L'Oréal. The company owns a diverse portfolio of brands, including La Mer, Jo Malone London, Clinique and Tom Ford Beauty, among many more, distributed internationally through both digital commerce and retail channels.

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