"Used to conceal discolorations," this powder apparently offered heavier coverage than many of the era's alternatives, which were often designed more for the simple point of reducing shine. Additionally, this recipe could be used to whiten the skin if the carmine were left out. Carmine was the usual coloring agent added to create a moderately more natural, fleshy hue to the powders of the time.
1 part talc or French chalk, finely scraped
1 part pearl white
rouge or carmine as needed (optional)
Mix.
"Enameling" the face was considered to be a heavier type of makeup application than simply powdering or using rouge. It was intended as a cover-up, and according to some accounts the preparations used might even include wax or varnishes for filling in wrinkles. A story published in 1910 includes a scene of a woman returning from having her face enameled, obliged to request her friends not cause her to smile for fear she'll crease or crack the new complexion.
I actually fixed up a batch of this and didn't find it to be quite so heavy that I'd say it's great for covering discolorations -- I found it a little shiny for me, actually. But, oddly, if you double the talc (which I did, to reduce the sparkle) the mixture's resulting color and texture is nearly identical to that white L'Oreal powder I have recommended in the past. (And note: the L'Oreal also offers a "rose" hue that is probably similar to the version with added carmine.)
I actually fixed up a batch of this and didn't find it to be quite so heavy that I'd say it's great for covering discolorations -- I found it a little shiny for me, actually. But, oddly, if you double the talc (which I did, to reduce the sparkle) the mixture's resulting color and texture is nearly identical to that white L'Oreal powder I have recommended in the past. (And note: the L'Oreal also offers a "rose" hue that is probably similar to the version with added carmine.)
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