100 Years of CHANEL Beauty – THE ALLURE OF MAKEUP

Gabrielle Chanel once said, “If you're sad, add more lipstick and attack.” It's a line with which many women (and men) can identify, facing their challenges with a lens of positivity and triumphing over adversity with a slick of lipstick and an air of self-assurance. Over one hundred years ago, when makeup and women were both viewed in very different ways by society, Gabrielle Chanel sought to reimagine the world for both, understanding that women should have agency and control of their destinies and that makeup could be a tool to empower them, to honour their strength, reflect their truth, and unveil their identity, a symbol of the woman of the future, unafraid to be herself entirely.

Words by Leigh Maynard. Event photography by Pip Bourdillon.

CHANEL's Global head of Creative resources Fragrance and beauty, Thomas du Pré de Saint Maur, echoes this sentiment, reflecting on the enduring power of Rouge Allure- CHANEL's iconic red lipstick. Along with that, oh, so iconic scent, a red lip is as bold as Mademoiselle Chanel's initial intentions while remaining a defining element of CHANEL Beauty. “It was a must for her to define the allure of a face. And still is,” says Thomas, as he joins an audience with author Natasha A. Fraser for a talk at the V&A in London, one hundred years later for the launch of the book CHANEL, The Allure of Makeup. Minutes in, we are captivated; it is easy to see why Thomas holds his position at CHANEL. His sharp wit and charismatic approach would have undoubtedly been appreciated by Mademoiselle Chanel herself. At the same time, Natasha's eloquence and authority in the realm of beauty are as commanding as her knowledge of fashion. With 16 books to her name, including chapters for works such as Karl Lagerfeld Unseen, Natasha's knowledge speaks for itself, and her latest book is a testament to her passion and dedication to both fields.

The Allure of Makeup, a celebration of Gabrielle Chanel's vision from the beginning of CHANEL Beauty to the modern day, was a labour of love that took 18 months of work from inception to print, explains Thomas, a collaboration between himself, Natasha, Olivier Andreotti, the book's creative director and Thames & Hudson editor Adelia Sabatini. With over one hundred years of iconic moments in CHANEL Beauty's history, it must have been a pleasure yet challenging to curate. “What is featured in the book, from products to product images and advertising, was an intense editing process because there were too many great reactions to choose from. I guess I went for what I consider the most iconic and radical on one hand and the more different, unique on another.” Says Thomas. While the makeup reminds Natasha of her youth in front of the camera lens. “I appreciate the universal aspect that everyone can now enjoy wearing makeup. Young men – the friends of my daughters - look particularly good. I think that makeup is Proustian; it reminds me of my 1980s youth and being photographed for Vogue, Harper’s & Queen and Interview Magazine, and 1990 shoots with Karl Lagerfeld and Heidi Morawetz.”

As one would expect from CHANEL, the book is a thing of beauty itself; at just over 400 pages, it reflects the brand's commitment to quality, heritage, and craftsmanship. Each chapter takes readers through a journey not chronologically but through its iconic palettes, echoing its founder's convention-defying vision and offering a more dynamic approach to CHANEL Beauty's narrative.

From the iconic monochromatic packaging to CHANEL Beauty's signature palette, the book captures significant snapshots in time and key products that have shaped the brand's beauty legacy. Opening with a shot of Mademoiselle Chanel herself, from bold black that encapsulated her fearless nature to the white that infused her dreams to beige, red, pink, gold and blue, each chapter represents CHANEL Beauty's enduring story. 

Shots include Kristen Stuart's delicate beauty in red, while Giselle Bundchen epitomises the natural glamour of CHANEL's beige tones, and products include the groundbreaking Rouge Noir that redefined nails. Thomas explains, “Colours are key at CHANEL because they define an emotional vocabulary. They allow us to paint these variations of emotions that make you feel alive. From a bold, radical, unapologetic red statement to the pure and deep feeling of glow with white, to a more intimate and fragile graceful pink to the deep mystery and magnetism of black. Also, all of these key colours have a complexity, an array of undertones that makes them way more sophisticated than you see at first.”

Though makeup is inherently personal, CHANEL Beauty has a unique ability to attract and transform the looks of a wide array of customers. Thomas attributes the brand's broad appeal and adaptable quality to the notion that everyone can see a little of themselves represented in CHANEL, whatever their social status. “CHANEL is the brand that best embodies or incarnates "l'esprit français," which is an ideal of civilisation. At the centre is the idea of universality, that things can unite people at a very personal and singular level. So, we always think and envisage our makeup creation with that in mind. Of course, not everybody can afford a Chanel makeup product, but in its creation and development, we think of each woman.”

One look, CHANEL Allure's red lip is perhaps the most indicative of this philosophy, a lipstick being such an attainable expression of the CHANEL aesthetic. “It is such a simple, immediate and emotionally palpable way of dressing you with confidence and power. It has been like that for more than 100 years. I think the timelessness also comes from the simplicity of this gesture and its makeup result. It is a bold statement that is not very “narrative” but very powerful.” Says Thomas.

It's this adaptable approach that has given CHANEL Beauty such cross-generational appeal. Natasha agrees, “Take [Mademoiselle's] comeback in 1954, her launch of the tweed suit and Rouge à Lèvres lipstick — iconic due to its sleek black case and gold band — that was relaunched as Rouge Coco, 56 years later. It's proof that an innovative product evolves into a classic.”

“There are so many pivotal moments in CHANEL Beauty's history,” Natasha says, listing them with her impressive knowledge, not just of the products but also their launch dates. “Obviously, when Gabrielle Chanel had the courage and genius to begin in 1924. The unusual black and white packaging that continues today is a feat. The Carré Galbé launched in the early 1950s, the Rouge à Lèvres lipstick (1954) and Le Vernis, the nail polish introduced in 1974 that hasn't changed. Les 4 Ombres in 1982 – marking a first to present four eye-shadows in the same case, the ‘Rouge Noir' that revolutionised nail polish in 1995, the launch of Rouge Allure (2006) – lipstick, slick with a click.”

Indeed, CHANEL Beauty's packaging is as timeless as these signature products; it's compact, lending the owner a quiet authority. “It displays so much power and confidence. They say, look at me, but keep your distance.” Says Thomas. Drawing on the allure of a classic identity over the fleeting now, he acknowledges how the brand's iconography has also captured the attention of a new generation. “if you ask a kid to draw me a bottle of fragrance, it's going to be a number five bottle, that's for sure.  I would say we set the standard for luxury packaging.”

It's a standard that CHANEL intends to uphold as it continues to strike a balance between heritage and innovation. The brand achieves this, says Thomas, by “Being stubbornly loyal to our taste and our aesthetic language. Remaining classic in our aesthetic and cultural structure but modern and brave in the way we express it.” And perhaps most importantly, he says. “Down to every element of CHANEL, from the iconography to the smallest product, there must always be quality at the heart of the brand. Even if a woman can only afford nail polish, it had better be done well.”

In a world that moves so much faster than the one its founder inhabited, CHANEL upholds a tangible appeal that cannot be rivalled by the virtual world, with its allure rooted in the tactile. Natasha believes, “The broad appeal of CHANEL Beauty stems from keeping their high standards and adapting with the times. Just going through the book, the incredible images, captured by leading photographs, mirror a French luxury house that continues to evolve.”

It may have been one hundred years, but CHANEL Beauty continues to captivate, keeping an eye on what is to come while maintaining the hallmarks of its founder. One has a sense that, had she been here today, Mademoiselle Chanel would have been pleased with the brand's direction and the makeup's inclusive nature today. “I think Mademoiselle would feel energised by the beauty world's growing diversity while her competitive spirit would be roused by all the women.” Says Natasha. While Thomas reflects on the personal story that propelled Mademoiselle to continually strive for perfection, “For my own safety, I hope that she would be happy with CHANEL Beauty today.” He quips, laughing with the audience. “Even at the peak of the power, at the peak of an empire, she was that little girl still craving recognition, and I think it's interesting.”

At the turn of every page of this sumptuous journey through colour, this principle is evident, honouring Mademoiselle Chanel's unapologetic spirit while continuing CHANEL Beauty’s drive for excellence. Each product, look, and story is eloquently detailed by Natasha, Thomas, and the beauty team. CHANEL Beauty is striking yet effortless, powerful but poetic. It serves as a reminder that while beauty products should never define us, they are a vehicle by which we can celebrate our individuality in the spirit that Mademoiselle Chanel would have wished. Through every slick of red or swipe of black, we also celebrate all those women (and men) who boldly wore it before us and all those who will have the pleasure of experiencing that confidence through colour and scent with CHANEL Beauty in the future.

CHANEL, The Allure of Makeup is available online at Thames and Hudson’s official website,  On the official web site retailing at £125.00