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aloneinstitute · 2 years

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A Judia Helena Rubinstein,

Imperatriz da Indústria da Beleza

Vendendo creme facial para donas de casa na era da Depressão e ensinando truques de maquiagem para a atrizes de Hollywood, a judia Helena Rubinstein construiu um império global de beleza.

Aladdin tinha sua lâmpada e Helena Rubinstein tinha seus doze potes de creme facial, que a mãe lhe dera, para ajudá-la a se tornar multimilionária e uma força motriz na indústria cosmética.

Nascida Chaja Rubinstein em Cracóvia, Polônia, de pais judeus ortodoxos, em 25 de dezembro de 1870, Helena era a mais velha dos oito filhos de Augusta e Horace Rubinstein. Seu primo era Martin Buber.

Depois de recusar um casamento arranjado, Rubinstein fugiu para a Suíça. Estudou medicina por um breve período e emigrou para a Austrália em 1902.

Embora não falasse inglês, suas roupas elegantes, pele clara e suave e personalidade agressiva atraíram instantaneamente as mulheres que estavam ansiosas para aprender suas dicas de beleza. Percebendo que tinha um conhecimento secreto como atributo, ela pensou em recriar a fórmula do creme facial que sempre usou e ensinar às mulheres as regras da beleza.

Depois de concordar em vender a maior parte do que estava em sua bagagem, ela percebeu que poderia abrir um negócio. Com a ajuda de uma tia, Rubinstein encontrou o caminho para a região de Coleraine, famosa por seus milhões de ovelhas, que produzem lanolina, o principal ingrediente de seus cremes. Rubinstein trabalhava como garçonete durante o dia e experimentava seus cremes à noite. Auxiliada por uma rica admiradora, Rubinstein lançou seu negócio.

Certamente não havia nada em sua vida que sugerisse que ela construiria um império em torno da beleza.

Não demorou muito para ela abrir sua própria loja no coração de Melbourne. Em cinco anos, Helena abriu mais duas lojas: em Sydney e Londres, na Inglaterra. Na época, as mulheres eram proibidas de obter empréstimos bancários, então Rubinstein economizou e pagou tudo em espécie.

Seu foco na beleza rapidamente se expandiu para se tornar mais exatamente uma estética geral da vida e, embora tão envolvida em seus negócios, ela encontrou tempo para desfrutar de pintura, joias, moda, arquitetura, móveis e design de interiores.

Em 1908, Helena se casou em Londres com o jornalista americano nascido na Polônia, Edward William Titus. Tiveram dois filhos e a família mudou-se para Paris em 1912, onde ela abriu seu próximo salão. Edward ajudou a escrever a publicidade do negócio, produziu os anúncios e a partir daí montou uma pequena editora.

Helena misturou-se ao mundo da arte e do glamour e conviveu com artistas como Joan Miró e até contratou o artista Salvador Dalí para criar um pó compacto e também um retrato dela mesma.

Durante a Primeira Guerra Mundial, a família fugiu para Nova York e Rubinstein também abriu uma loja lá. Os negócios cresceram e a empresa se expandiu para outras doze cidades. Ela logo se tornou a empresária mais famosa do mundo - e a mais rica. Rubinstein foi considerada a primeira mulher milionária do mundo.

Helena foi uma inovadora brilhante no desenvolvimento de seu negócio, que exigia treinamento e mulheres. Treinou vendedoras para ensinar cuidados com a pele das mulheres e desenvolveu um plano de dieta para beleza. Inaugurou um "Dia de Beleza" em seus salões, que se tornou um sucesso instantâneo. Ela entendeu e apreciou o valor da publicidade e fez uso permanente dessa ferramenta.

Seu primeiro casamento não durou devido ao marido persistentemente infiel e eles se divorciaram em 1937. Um ano depois, Rubinstein se casou com um príncipe russo empobrecido, 23 anos mais novo que ela. Ansiosa por um título real, Helena perseguiu o belo homem e batizou uma linha de cosméticos masculinos com o nome dele. Alguns alegam que o casamento foi uma jogada de marketing, incluindo o fato de Rubinstein ser chamada Helena Princesa Gourielli.

Rubinstein era uma grande filantropa e sua instituição de caridade distribuiu cerca de US$ 130 milhões para causas em todo o mundo. Manteve uma grande rivalidade ao longo da vida com Elizabeth Arden.

A rainha da cosmética enfrentou incontáveis adversidades, bem como o antissemitismo. (Em 1941, ela foi proibida de morar em um apartamento na Park Avenue porque era judia, então comprou o prédio inteiro!)

No entanto, ela perseverou em tudo e se tornou uma pioneira na indústria de cosméticos, nos negócios e no marketing, continuando a trabalhar em seus 90 anos.

Rubinstein era interessada no bem-estar de Israel. Foi muito generosa com contribuições monetárias. Também, fundou o Pavilhão Helena Rubinstein de Arte Contemporânea em Tel Aviv, onde está alojada sua coleção de miniatura de quartos. A Fundação Helena Rubinstein, criada em 1953, forneceu os fundos necessários para organizações preocupadas com saúde, pesquisa médica e reabilitação. A Fundação também apoiou a American Israel Cultural Foundation e concedeu bolsas de estudo a israelenses.

Rubinstein odiava conversa fiada e era muito frugal. Ela carregava uma marmita de almoço para trabalhar, embora fosse uma mulher muito rica, com milhões e milhões de dólares gastos em peças arte e escultura dos grandes mestres. Apesar de sua frugalidade, ela comprava suas roupas dos principais estilistas da indústria. Seus principais executivos no negócio eram parentes, pois era muito voltada para a família.

À medida que envelhecia, Rubinstein realizava reuniões em seu quarto, cercada por um grupo de funcionários engravatados enquanto ela se sentava em sua cama. Chegou a ser fotografada pela revista Life em 1964, aos 91 anos, mexendo em uma cuba para um novo creme de beleza.

Entre suas inovações estavam o rímel à prova d'água e o que pode ser o primeiro protetor solar. Hoje, sua empresa pertence à L'Oréal, que apresenta anualmente o prêmio Helena Rubinstein Women in Science em sua homenagem.

Helena Rubinstein morreu de causas naturais em 1 de Abril de 1965.

O Manhattan Jewish Museum sediou a exposição "Helena Rubinstein: Beauty Is Power", a primeira mostra do museu dedicada a Rubinstein, de 31 de outubro de 2014 a 22 de março de 2015.

Sua filantropia, apoio material a Israel e seu aprimoramento para que as mulheres pareçam e se sintam mais bonitas serão lembrados por muito tempo.

Mendy Tal

Cientista Político e Ativista Comunitário

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manchmassagebox · 4 years

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Chaja Rubinstein was born in Kraków 25th of December 1870. She was known by various names. To her Jewish family, she is Chaja from Kraków’s Jewish district of Kazimierz. On board a ship to Australia, she registers herself as Helena. Her first husband Edward Titus calls her ‘Madame’ and the whole world follows suit, with Jean Cocteau even referring to her as the ‘tsarina of beauty’.

Rubinstein leaves her family home in order to avoid an arranged marriage with an elderly widower. She emigrates to join an uncle in Australia. In her suitcase, she stows away 12 jars of Dr Jacob Lykusky’s cosmetic cream, although she has no idea that she will end up making a fortune from them.

In Europe, Rubinstein studies under dermatologists and dietitians. She promotes the eating of raw vegetables. Her book, Food for Beauty, becomes a bestseller.

She likes order. She sorts her diamonds alphabetically. She divides skin types into categories: dry, fatty, mixed and normal. For each type, she creates a line of cosmetics: day and night creams, tightening and stimulating tonics and an anti-acne mask. The latter generates a furore among Englishwomen, who flock to Rubinstein’s salon through the back entrance, so as not to cause a scandal (Victorian Period) .

She loves to use colour. She embellishes her autobiography in accordance with the principle: ‘A good story is worth more than the truth’. She persuades the wife of Britain’s Prime Minister to test out a rouge product in public.

‘Maison de Beauté’ is the name of the first spa in history. Parisian women, less prudish than their English counterparts, eagerly enjoy massages, electrolysis and hydrotherapy. Rubinstein herself doesn’t make use of these procedures. She prevents herself from aging through the application of creams and massaging of her chin and neck.

Helena Rubinstein the Empress of beauty business.

#helena rubinstein #poland #salvadordali #pablo picasso #beauty #massage #manchester #massagetherapy #massagetechniques

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jdpink · 4 years

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Some beauty brands that began in the 1920s are still around in some form, often under the names adopted by their eccentric founders. Many didn’t use their birth names or real stories. Estée Lauder was born Josephine Esther Mentzer in Corona, Queens. Helena Rubinstein was born Chaja Rubinstein in Poland in 1872; after refusing an arranged marriage, she emigrated to Australia and began selling a cream that she claimed had been formulated from herbs in the Carpathian Mountains. Max Factor was born Maksymilian Faktorowicz in Lodz, then part of Russia, and became the cosmetician for the Imperial Russian Grand Opera before leaving for America.

https://www.nytimes.com/2021/03/23/magazine/addison-rae-beauty-industry.html

#makeup

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havaforever · 5 years

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HELENA RUBINSTEIN – L’aventure de la beauté, au Musée d’Art et d'Histoire du Judaïsme.

Pour une rare fois, voilà une idée originale et fort bien menée au MAHJ ! Le parcours étonnant de cette juive de Cracovie, qui a parcouru le monde, transformé les mentalités, défendu sa vision de l’émancipation de la femme, adoré sa propre image et ce jusqu’à l’ultime retouche, est littéralement passionnant.

Conquérante et pionnière, Chaja est née dans une modeste famille de 8 filles que la mère « crémait » tous les soirs. Devenue Helena elle s’émancipe de sa famille et de son monde, et par le truchement de la beauté œuvre au combat des femmes. Afficher un visage jeune et un corps éclatant est la meilleure arme de combat qu'elle puisse envisager.

“La beauté c’est le pouvoir”! Un féminisme étonnant, qui serait très remis en question de nos jours, qui a pourtant contribué à un grand vent de libération porté par les produits cosmétiques, et le soin que les femmes étaient invitées à porter à leur image. Elle déclare aussi que son travail a été son meilleur soin de beauté et « qu'il efface les rides de l’âme ».

Au-delà de la femme d'affaire, l'exposition montre la collectionneuse, qui possédait des œuvres majeures de quelques grands artistes. Elle fonctionne à l'instinct et préfère les objets drôles ou bizarres qui dégagent une certaine force. C'est ainsi qu'elle a été visionnaire dans le domaine des arts premiers, elle collectionne des statuettes africaines, bien avant que cette mode envahisse les arts.

Perchée sur des hauts talons pour suppléer on mètre quarante-sept ( !!), elle inaugure son destin international à Vienne dans une boutique de fourreurs. Plus tard, elle sera envoyée en Australie par sa famille, c’est là qu'elle met au point ses premiers pots de crème dans l’arrière boutique d'un vieux pharmacien qui l'exploite. Elle comprend très vite que la beauté est un sujet d'avenir, et prétend porter ce message de façon personnelle et incarnée au quotidien.

Elle adore voyager, et elle en profite pour agrandir son empire par tous les moyens possibles et imaginables; elle est une citoyenne en déplacement permanent dans un monde toujours en mouvement, et se sent partout chez elle. Après la Guerre, la France devient vite son second pays, alors qu'elle affirme son talent de négociatrice internationale. Elle perd deux mari et un fils, mais rien n’arrête sa rage de vivre et sa force de travail.

L'exposition présente des photos qui retracent les moments essentiels de sa vie, elles attestent son envie d’apparaître parfaite quitte à être retouchée… C'est peut-être là que se situe le début d'une longue tradition de “jeunisme” qui traverse le siècle et le déborde, Helena est certainement de celles qui a véhiculé l’obsession des transformations dont les femmes rêvent pour conformer leur image aux canons de la beauté en vigueur…

Un très grand nombre d'artistes lui font son portrait, et pas des moindres, comme Picasso, Dali, ou Marie Laurencin... Outre des tableaux de maître, elle collectionne les robes de créateurs et les bijoux, pour cette grande dame, l'art rime de façon parfaite avec la beauté en tous les sens du terme.

« Il n'y a pas de femmes laides, il n'y a que des femmes paresseuses », sacrée punchline de cette amazone rebelle dont la biographie parfaitement documentée de cette expo est une véritable source d'inspiration!

#EXPO #Helena Runstein #Cosmétique #etsthétique #couture #peinture #musée d'art et d'histoire #MAHJ #Juif

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twistedredladybug · 7 years

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Helena Rubinstein (born Chaja Rubinstein; December 25, 1872 – April 1, 1965) was aPolish American businesswoman, art collector, and philanthropist. A cosmetics entrepreneur, she was the founder andeponym of Helena Rubinstein Incorporatedcosmetics company, which made her one of the world's richest women. Part of the #mural in #kazimierz #jewishdistrict - #helenarubinstein #krakow #polska #igerskrakow #igerspoland #oldtown #discoverpoland #discoverkrakow #streetart #localartist #history (at Kazimierz, Krakow, Poland)

#polska #streetart #history #discoverpoland #mural #jewishdistrict #helenarubinstein #igerspoland #igerskrakow #oldtown #discoverkrakow #kazimierz #localartist #krakow

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kalachand97-blog · 7 years

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New Post has been published on Globeinfrom

New Post has been published on https://globeinform.com/theater-assessment-scattered-brush-strokes-of-beauty-in-battle-paint/

Theater Assessment: Scattered Brush Strokes of Beauty in Battle Paint

The remaining 1/2 hour or so of War Paint, the beguiling however frustrating new musical about Beauty legends Helena Rubinstein and Elizabeth Arden, is just about everything you could need from a Broadway show. The two leads — Patti LuPone as Rubinstein and Christine Ebersole as Arden — each get a suitable, perfectly conceived solo: “For all time Lovely” for LuPone and “Red” for Ebersole. Then comes a rueful duet finale (“Beauty within the World”) to finish the arc of their double biography with some dual-engine vocalizing.

This sequence is preceded by means of a similarly first-rate one in which the empires we’ve seen them build over the long time begin to crumble in the face of latest tendencies in Splendor and marketing: Arriviste Charles Revson introduces his blockbuster 1955 product line in a swell production wide variety known as “Fire and Ice.” (“You placed the Fireplace with the ice, what do you have?” scoffs LuPone in an outrageous Polish accent. “A puddle!”) In among, there’s a music for the men who symmetrically betrayed The two titans: Harry Fleming, Rubinstein’s commercial enterprise manager who defected to Arden, and Tommy Lewis, Arden’s wholesale supervisor — and husband — who defected to Rubinstein. Their swaggering duet, which Douglas Sills and John Dossett tear into like raptors, is an indignant satire-cum-eulogy for the kind of women they served, and the kind of men who would serve them: It’s known as “Dinosaurs.”

If five excellent numbers in a row can’t make an extraordinary musical, possibly that satire-cum-elegy need to be for the musical theater itself. Have we stepped forward to the factor that complex tales can not be squeezed into the format of conventional big-scale Broadway enjoyment? Or is the trouble best that this story can’t? Because for all of the intelligence, sophistication, and sheer expertise involved — LuPone and Ebersole are in top form — Battle Paint keeps falling between an older version of storytelling and a brand new one, in no way fully hiking its way out of the distance. The issue is constructed into the fabric’s DNA: The display changed into “inspired with the aid of” a book (also referred to as Conflict Paint) and a documentary (The Powder and the glory) that each makes hay of the magnificent chiaroscuro of The two girls’ lives. every became born poor: short, brunette Chaja Rubinstein in a Krakow slum; tall, blond Florence Nightingale Graham on a hardscrabble Ontario farm. every become an immigrant, and each reimagined her résumé (Galician princess; country-club WASP) to lend cachet to Beauty merchandise that has been formerly the extraordinary province of prostitutes and actresses. every became immensely wealthy as the leader govt of a business enterprise bearing her very own call — a surpassing rarity for women of that generation. And even apart from their guy issues, they each persisted backlashes for breaking new ground, frequently in the form of rejection from the social class (and clubs and co-ops) they had worked so tough and long to enroll in.

The surprise and tension of those parallels and symmetries, blended with the implacable enmity among the girls, feels like a remarkable organizing precept. And possibly it is, for a work of journalism. but for a musical, the reality that the actual girls never met, and had whole lives well beyond the parts that had been parallel, poses hassle after problem. The most obvious are: How do you structure the tale so that the leads don’t seem like in separate suggests? Musicals have had dual female protagonists earlier than: Wicked and Chicago comes to thoughts. but in each of these shows, The two leads were engaged inside the equal drama on the identical time, and one become dominant. Dominance became now not a possibility in Battle Paint, given the casting, and the authors — the playwright Doug Wright and the songwriting crew of Scott Frankel and Michael Korie — seem to have used a stopwatch to ensure they remained in compliance. (LuPone and Ebersole every have 3 solo songs; they sing collectively in eight others.) As an end result in the structure quick turns into a chunk monotonous, with alternating scenes of every female facing versions at the identical hassle as the other. Now and again the scenes interpenetrate or collide, but even those fall into a sample, as whilst Arden hides in her booth at the St. Regis as Rubinstein arrives at lunch in her adjoining one, and later, vice versa. these close to misses seem gimmicky however at the least go away you looking extra, which is part of what makes the finishing, whilst the women subsequently (if fictionally) meet, so delicious. but it takes two hours to get them there.

Basically telling lifestyles tales facet via aspect, Struggle Paint spends loads of time that might be put to higher use, in a one-of-a-kind display, by way of delving deeper into the secondary characters or with the aid of exploring extra significantly the social and political surroundings wherein the ladies operated. As it’s miles, Wright must in shape complex multiyear traits like the function of cosmetics in International Conflict II into the very narrow confines of brief scenes that take region at simply one second in time. This reaches an almost absurd, pre–Golden Age degree of condensation because the display fishes around for a crisis to convey down the first-act curtain and may only come up with the 1938 congressional research into the cosmetics enterprise’s mystery ingredients. Rubinstein accuses Arden of the usage of “the same schmutz” in her Arden skin tonic as in her grooming lotion for horses; Arden accuses Rubinstein of hiding the truth that her flagship Valle cream is made from rendered lamb fat. A senator upbraids them every in one sentence and instantaneously passes some fact-in-labeling laws. What took 5 years to play out in Washington takes simply a couple of minutes at the Nederlander; that is some rendered lamb fat in itself.

however, at the least LuPone and Ebersole, each get a fantastic new Catherine Zuber outfit for the scene and any other quality quantity with the aid of Frankel and Korie. Indeed, the outstanding costumes and the score filled with actual theater songs are as desirable as Broadway receives. Frankel unearths masses of imaginative methods to apply length pastiche, in this example starting from operetta giddiness to Bernstein angst, to specific the power of the girls’ ambition and explore the undercurrents in their melancholy. Clearly, he writes to the presence of his leading ladies, giving LuPone masses of beef and sharp angles and Ebersole a series of lengthy-line areas that preserve moving keys as though unable to locate an area to relaxation. The singing that consequences is nearly too rich to be believed. And what a pleasure it’s far to be hit by way of the fusillade of conventional (and accurate) Broadway rhyming with which Korie loads his lyrics. those are not just the laugh, uptempo kind, however, the type that chews with perception. In an unhappy, contemplative duet referred to as “If I’d Been a person,” he nails the everlasting predicament of the businesswoman in a nifty couplet: “a man can be an absent discern. / Stray the way a woman aren’t.” Warfare Paint is studded with such irreducible observations.

two making a song actresses at the height of their powers, a captivating premise, knockout costumes, and a score (fantastically orchestrated with the aid of Bruce Coughlin) that is destined to make a fantastic solid album: So why is the display as a whole less than extraordinary? Why, onstage, regardless of a perfectly easy staging from Michael Greif, have to War Paint sense so effortful, like getting via an overheavy meal? You can experience, as I’ve heard some pronouncing, that it’s too state-of-the-art for its very own excellent. As for me, I’m no chemist, but I suspect the lamb fat.

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