Thick winged eyeliner and striking colours of blue and gold are utilised in many modern portrayals of ancient Egyptians, but how accurate is this design? Makeup, cosmetic tools, and cosmetic containers have been found across Egypt, dating as far back as the predynastic Naqada periods (dated to 4000 - 3000 BC), where intricate cosmetic spoons were carved out of carob wood and used by people of all walks of life. Cosmetology was likely not reserved for the wealthy, and was accessible to all classes, albeit more prevalent among the rich.
In this, I will consider a collection of makeup and beauty related artefacts found across Egypt. This collection, whilst not originally a set, represents cosmetic usage and a focus on appearance in the New Kingdom of Egypt, which is considered to date from 1550 BC to 1069 BC.
Object 1 - A swivel top ivory pigment jar (The Met)
Object 1
Object 1 is an early 18th dynasty swivel topped cosmetic jar that now resides in the Metropolitan Museum of Art. It was discovered in the head of a coffin in Thebes, alongside other vessels and small trinkets, such as several ivory combs, and is dated between 1550 BC and 1458 BC. It is likely that it once held different types of dry or powdered cosmetics, such as a form of blush. It had inlaid coloured decorations of Egyptian Blue within the rosette pattern that is carved into the ivory. It would have been used after the morning bath and integrated as part of a daily routine, alongside body oils and perfumes, as there was a focus on hygiene and appearance at this time.
Object 2 - Decorated Cosmetic Spoon (UCL Petrie Museum)
Object 2
Object 2 is a late 18th dynasty carved and highly decorated cosmetic spoon, which is sometimes referred to as a ‘toilet spoon’ that is held in the Petrie Museum of Egyptian Archaeology. It was interred in the tomb of the Egyptian governor Menena at the site of Sedment-el-Jebel in Lower Egypt. It has several decorative motifs with the shape of the ankh, which represents life, and several lotus flowers used throughout. This focus of decorative motifs which symbolise life and rebirth may indicate the importance of makeup and its implements in the daily life of many Egyptian people. The most striking decoration is of a naked woman with an instrument, likely a lute, who forms the main body of the spoon, with her standing in a boat which forms the base. Ducks and fish are also depicted around the base with other natural imagery. The intricateness of this design and the care taken to carve it is highly telling in the status that makeup and the practitioners of it held within Egyptian society.
Object 3 - Cosmetic Set (The Met)
Object 3
Object 3 is a collection of cosmetic tools that focus on the removal of hair, as seen by its inclusion of a razor, a whetstone, and tweezers. The collection also includes a tube of kohl, and a mirror. This collection has a tentative date of between 1550 BC and 1458 BC, placing it firmly in the 18th dynasty. This set is likely that of a wealthy person, as mirrors were not common objects in ancient Egypt, with the reflective surface being highly polished metals. They, like this one, are often very highly decorated and were mostly used for grooming purposes, especially when linked with kohl, which was utilised as a form of eyeliner and brow filler. The hair removal implements also indicate that this was owned by someone of higher status, as it is seen that the wealthier were more likely to remove the hair, primarily because of financials, but also as they commonly had lives where wigs were not an inconvenience, unlike the labourers.
The Purpose of Makeup
These objects provide an overview of a makeup set that would have been used in Egypt’s New Kingdom, primarily within the 18th dynasty. As a whole, makeup was a practical tool within Ancient Egypt, due to the kohl being used as a tool to protect the eyes and delicate skin from the harsh glare of the sun, and its reflection from the Nile and the desert sand. Kohl itself is also thought to have had some form of antibacterial and antimicrobial elements once it had been applied to the skin and eyes.
The origins of Egyptian words also exposes how integral the usage of makeup was in their society. The Egyptian term for makeup palette is derived from the term ‘to protect’ showing this alternate use to shield the eyes and protect from germs. In the same way, the Egyptian term for makeup artist is derived from their term for writing and engraving, and due to the status of scribes within Egyptian society, it is assumed and understood that skill was required to properly apply makeup and that it was seen as an important role to be able to do so.
The removal of the hair is also often seen in ancient Egyptian bodies, likely done in an effort to keep the person cooler in the extreme heat. It is thought that the use of wigs rose after this as a way to block the sun reaching the neck and head, whilst still allowing for the movement of air through the netting and therefore providing a cooling effect. It could also be a deterrent to pests, such as head lice that thrive in natural hair. It seems that the decision to remove the hair is entirely self preferential, but it is likely that it was considered a status symbol to wear a wig. Throughout some periods of the New Kingdom, archaeologists are aware of strict rules regarding hairstyle, especially related to class, but this is not easily seen within the record.
Makeup also played a role in the ancient Egyptian religion and was associated differently with many of the deities in their pantheon. Horus was often depicted with thick black kohl surrounding his eyes, and Isis is often shown with red lipstick. It is also thought that it was believed that makeup had the power to reinvigorate and transform those that wore it into gods and protected them from evil spirits that may wish them harm, especially in the afterlife. Coffin texts that were utilised in the funerary process also included spells that gave instructions for makeup usage for the afterlife. It is reinforced within Egyptian art of both Pharaohs and Gods that makeup was utilised and seen as a powerful tool that was highly respected for all of its uses.
Modern Day Applications
Dramatic, thick eyeliner that has been inspired, or pays homage to Ancient Egypt, has become a staple in many fashion magazines and in film. Elizabeth Taylor’s 1963 depiction of Cleopatra cemented her as a sex symbol and perpetrated the Western ideal of ancient Egyptian peoples as being glamorous and highly decorated. This is increasingly seen throughout visual media, with Hollywood blockbuster movies such as 1999’s ‘The Mummy’ which goes to the extreme with the character of Anck-su-namun wearing full body paint that was used to identify whether she had been touched by anyone other than the Pharaoh himself. This link between Egyptian art and sexuality is continually perpetuated throughout the media with the ideal being increasingly fetishised, especially in the West. There is also no historical evidence of makeup being used in this way throughout Egypt, thereby allowing for this glamorizations to become the publically understood view of ancient Egypt. Makeup was a practical tool, a medical tool, and yes maybe a beauty tool, but it was certainly more than just a way for women to make themselves presentable for men.
Elizabeth Taylor as Cleopatra in the 1963 film 'Cleopatra' where she is depicted with heavy makeup and a full headdress
The character Anck-Su-Namun from the 1999 hit film 'The Mummy' who is stylised with body paint and golden accents
Vogue also curates numerous displays dedicated to channelling ancient Egyptian style in their magazine. Articles such as “Egyptian Magic! 14 Ways to Channel Your Inner Cleopatra This Week” have been published to promote different makeup items and brands, utilising the allure of ancient Egypt and the perception that they were glamorous people. Articles such as this one have no real basis in history, and only further the Western glorification of Egyptian women. They aid women in feeling more ‘exotic’ but can perpetuate harmful stereotypes and the sexualisation of women.
This is furthered by a 2017 photoshoot of Rihanna that was completed by Vogue Arabia, in which she was depicted as Nefertiti with bold colours and thick eyeliner. This was a glamorous reproduction of ancient Egyptian style that again has no real basis in historical fact, although it did depict a beautiful recreation of Nefertiti’s crown as seen in her famous bust. However, it has been considered by some to be a display of appropriation and once again allowing for the ideal of ancient Egypt to spread further from its truth. The article being published by Vogue Arabia also adds another layer of discourse to this, where the article can be seen as a reclamation of the western romanticization of Eastern beauty, or alternatively, as perpetuating these romantic notions of Eastern history further onto the Western audience. Rihanna herself is Barbadian and of other broadly European and African descent, decidedly not Arabic or Egyptian. However, despite the negative connotations that many modern uses of Egyptian style bring to light, the protective hairstyles and wigs that were utilised have stood the test of time and are still utilised by mostly black communities in the modern day.
Rihanna on the cover of Vogue, stylised like the Nefertiti bust
These women and companies reinforce Egyptian stereotypes regarding beauty and put forth the view of vanity, rather than understanding the religious, spiritual, and practical uses that makeup was used for at this time. The public view of makeup has become critical and bitter in recent years with many condemning overuse as a entrapment tool, however, they fail to understand deep historical ties and have little respect for the history and story that comes along with the development and pervasiveness of makeup as an artform, as well as part of daily life.
Further Reading:
Baduel, N. (2005). Tegumentary Paint and Cosmetic Palettes in Predynastic Egypt. The Impact of Those Artefacts on the Birth of the Monarchy. In: Origin of the State. L’Egypte pré- et protodynastique. Les origines de l’Etat Predynastic and Early Dynastic Egypt. Origin of the State. Toulouse, France: Origines, pp.12–13.
Buckley, R. (2012). Time to Wake up to make-up. Ophthalmic & Physiological Optics, 32(2012), pp.443–445. ISSN 0275-5408.
Fletcher, J. (2005). The Decorated Body in Ancient Egypt: In: The Clothed Body in the Ancient World. Oxford: Oxbow Books, pp.3–13. doi:10.2307/j.ctt1w0dcp5.6.
Healy, M. (2013). New Kingdom Egypt. Bloomsbury Publishing.
O’Neill, B. (2011). Reflections of Eternity: An Overview on Egyptian Mirrors from Prehistory to the New Kingdom. Egyptological.
Scott, D.A. (2014). A review of ancient Egyptian pigments and cosmetics. app.dimensions.ai, [online] 61(4), pp.185–202. doi:10.1179/2047058414y.0000000162.
Tapsoba, I., ArbaultS., Walter, P. and Amatore, C. (2010). Finding Out Egyptian Gods’ Secret Using Analytical Chemistry: Biomedical Properties of Egyptian Black Makeup Revealed by Amperometry at Single Cells. Analytical Chemistry, 82(2), pp.457–460. doi:10.1021/ac902348g.
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