Helena Rubinstein
biography from the collection of the POLIN Museum
Dr Marta Frączkiewicz
Monika Harchut
A significant space in the collection of the POLIN Museum is occupied by memorabilia of Helena Rubinstein (1872-1965) - one of the most famous businesswomen in history, patron of the arts, and founder of the Helena Rubinstein Inc. cosmetics company, which still operates today. Her photographs, prints and personal items were donated to the museum in 2023 by Suzanne Slesin from New York, stepdaughter of Helena Rubinstein's son Roy.
Helena Rubinstein visiting card
Viennese period
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Helena Rubinstein – celebrity
We associate the name of Helena Rubinstein - one of the richest and most influential women of her time, creator of a cosmetics empire that still exists today - with glamour, extensive social contacts, as well as an art collection and lavish outfits. What made Helena Rubinstein an almost iconic figure? How did the myth of the "empress of beauty" arise? Hard work, entrepreneurship, punctuality, or tenacity in striving for the goal were of great significance in creating Helena Rubinstein's image as Madame. At the same time, she also became an icon of her time through her extravagance as well as love for fashion and jewellery. According to numerous biographies, the entrepreneur commissioned outfits from the most prominent designers for as long as she remained professionally active, until the last days of her life.
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Christian Dior
Helena Rubinstein's dress
1954-1957 Paris
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Helena Rubinstein was known for her love of lavish parties, which constituted an opportunity for her to make not only social contacts but also business contacts. Thanks to her first husband, the journalist and publisher Edward William Titus, she had the chance to meet many prominent writers such as David Herbert Lawrence, Ernest Hemingway, and James Joyce. Parties organised by the entrepreneur in her Parisian days were attended by Gabrielle (Coco) Chanel, Christian Dior, or Marc Chagall. She also threw grand parties in New York, with her second husband, the Georgian Prince Artczil Gouerill Tczkoni. Even the press was interested in the guest list.
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Pedro Rodríguez
Helena Rubinstein's coat
1950-1965 Barcelona
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How did Chaja become Helena?
Podgórze, Kraków, and escape from an unwanted marriage
Helena Rubinstein was probably born on 25 December 1872 in the Kraków suburb of Podgórze as the eldest daughter of Herciel Naftali Rubinstein and Gitel (Augusta) Scheindel, née Silberfeld. She was given the name Chaja. Later, the Rubinstein family moved to Kraków's Kazimierz, where more girls were born - Chaja had seven sisters. The family was poor and occupied one room. The father was a small merchant - he traded in kerosene and, in addition, eggs. The mother was in charge of raising the children. Chaja attended the local Jewish school. Her future seemed predetermined: she was to marry, and in preparing to do so, she was fulfilling her father's expectations. Self-selecting a spouse was out of the question - in an Orthodox Jewish family this was virtually impossible. However, Chaja rejected the family's proposed candidate, which led to conflict with her parents and running away from home.
Helena Rubinstein visiting card
Viennese period
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Vienna
In the 1890s, Chaja went to visit her aunt in Vienna. In the social conditions of the time, a woman could not function without a man, so the local part of the family also tried to find a husband for her. The Splitter family, her relatives from Vienna, were wealthy furriers and Chaja worked for a while in their fur shop. However, she saw no prospects ahead of her there. Several portraits made in the photographic atelier date from the Viennese period. Helena poses for photos in elegant outfits and hats, looking chic. The photos come from ca. 1893.
Helena Rubinstein visiting card
Viennese period
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Melbourne
Chaja emigrated from Europe to Australia most likely in 1896, with her mother's three brothers settling in Australia. One of them was a sheep farmer and owner of a general shop in Coleraine, 300 km from Melbourne, and he needed hands to work. At a time when women were virtually not allowed to make up their own minds, and when travelling alone was not only unheard of but also considered inappropriate, the very young Chaja Rubinstein dared to do so.
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Photograph of Helena Rubinstein
Australian period
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Melbourne
The opening of the first Helena Rubinstein salon in Australia coincided with the granting of suffrage to women in that country (with the exception of the indigenous population, whose representatives - both male and female - had to wait until 1962). Helena's life coincides with a time of great change related to the statehood of women's rights. One can venture to say that the development of her business would not have been possible without the dynamic legal and moral changes related to the position of women in society that took place during this time. They were the driving force behind Helena's business - new opportunities, needs, and lifestyles that her company was responding to.
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Photograph of Helena Rubinstein
Australian period
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London
„Beauty is Power!”
"Beauty is Power!" - this is one of the flagship slogans addressed to women by Helena Rubinstein. For her, appearance was a tool for building her image as a cosmetics company. Helena Rubinstein was a showcase for her company and a living advertisement for it. In photographs, she was to look flawless, as exemplified by her portraits.
London
Helena Rubinstein not only followed the socio-political changes of the 20th century, but actively participated in enhancing them. Her photographs present not only the story of her emigration, but also the changes in the way she dresses and the emergence of revolutionary new fashion trends. Indeed, fashion became a reflection of changes in politics and culture, greatly impacted by the gains of emancipation. The corset, which restrained movement and even made it difficult to breathe, was abandoned, meaning that in such an outfit one could only look good. Outfits featured a simple cut, definitely more comfortable. We can notice these changes in the portraits of Helena Rubinstein from the Viennese, Australian, or London periods preserved in the collection.
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Portrait photograph of Helena Rubinstein
London period
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London
Helena Rubinstein opened her salon also in London. It was 1908 when she moved to the UK. In the same year, she married the Polish-born American journalist Edward William Titus, a Polish Jew who was also from Podgórze and was to contribute significantly to the development of her brand. He was the one who gave Helena the nickname "Madame", which accompanied her for the rest of her life. In the second photograph from the London period, Helena Rubinstein poses, seated on a classic carved chair with a rattan back. It is a full-figure portrait. Helena is wearing a long elegant gown with a beautifully embellished neckline. Her neck is adorned with elegant jewellery. What emerges from both London photos is a person full of elegance, with strong character.
Portrait photograph of Helena Rubinstein
London period
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Paris
In 1909, Helena Rubinstein opened another salon, which gave her the reason to move to Paris in 1912. Thanks to Edward's contacts, Helena began to move among the international crème de la crème of Parisian society, making friends with artists, politicians and influential businessmen of her era. At that time, she made the acquaintance of, among others, the French literary man Jean Cocteau. It was he who first called her the "empress of beauty".
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Interior photograph of the Valaze Beauty House
Paris
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New York
The outbreak of the First World War halted Helena Rubinstein's flourishing business. In 1915, she and her husband decided to move to the still-neutral United States, where they continued to develop the company. Helena Rubinstein's first beauty salon, Maison de Beauté Valaze (French Valaze Beauty House), opened later that same year at 49 East Street in New York. The salon initiated the development of a nationwide chain.
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Photograph of Helena Rubinstein in a tea dress
New York period
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Cosmetic empire
Packaging for powder or blush (the pack is empty) and lipstick dating to the 1940s. These are the oldest packaging for Helena Rubinstein brand cosmetics in the collection of the POLIN Museum. The beginnings of Helena Rubinstein's business, like many events in her life, are accompanied by an ambiguity created by the entrepreneur herself. Exaggerating the story of her background or early career was a thoughtful and accurate marketing strategy.
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Helena Rubinstein, Inc.
Decorative cosmetic packaging (powder/blush and lipstick)
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1950-1965 New York
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A decorative pack of blush by Helena Rubinstein dating from 1950-65. The presented blush was produced in one of the US factories during the company's heyday. When Helena Rubinstein launched her first product in Australia, there were no regulations yet regarding the composition of cosmetics or their advertising. This meant that, until the end of the 19th century, the content of advertisements was almost entirely free, as long as no defamation was committed in them.
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Helena Rubinstein, Inc.
Decorative blush pack
1950-1965 New York
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Decorative powder box with blush and mirror by Helena Rubinstein. Similar packs of blushes and powders were carried in the handbags of thousands of American women. The development of Helena Rubinstein's business coincided with the rise of women's emancipation movements and the decline of modesty-prescribing Victorian morality. Up to that time, make-up (especially red lips) has actually only been attributed to prostitutes as well as actresses and actors wearing it on stage. For suffragettes, the hitherto forbidden red lipstick was to become a symbol of emancipation, independence, freedom and, above all, self-affirmation.
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Helena Rubinstein, Inc.
Decorative powder box with blusher and mirror
1950-1965 New York
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Helena Rubinstein's collection of memorabilia includes three packs of pressed blush, one empty pack of blush or powder with lipstick and one pack of matt powder (visible in the photograph). In the mid-20th century, Helena Rubinstein cosmetics were among the most popular on the American market. However, during this period, many other companies emerged that targeted women. The greatest threat to the Helena Rubinstein's brand (and vice versa) turned out to be Canadian-born cosmetics manufacturer and owner of a chain of beauty salons, Elizabeth Arden (1878-1966).
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Helena Rubinstein, Inc.
Helena Rubinstein brand powder pack
1950-1965 Nowy York
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A gold blush powder box dated 1950-65. It constitutes another example of the design of cosmetics packaging produced by Helena Rubinstein's company. In the first half of the 20th century, the brand's cosmetics were among the most widely advertised in the American press. The sole design of the box was to be inspired by the hugely popular Fulco di Verdura jewellery, of which Helena was an enthusiast.
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Helena Rubinstein, Inc.
Helena Rubinstein brand powder pack
1950-1965 New York
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Company management/hiring
Despite her own independence and her officially explicit support for the suffragette movement, a traditional patriarchal management model prevailed in Helena's company. Rubinstein did not appoint a single woman to a leader position. The highest positions women took in her company were beauty salon managers. It was a glass ceiling for women. In her company, Helena Rubinstein employed sisters, cousins, and her husband. She built her empire based on members of her immediate and extended family. She ruled with a strong hand and was demanding of male and female employees, regardless of the level of intimacy; she managed them in a corporate manner. POLIN's collection includes the 1929-1930 book "The Triumph of an Idea" and reports from the 1950s, concerning the company's activity.
Helena Rubinstein, Inc.
Reports concerning the activities of Helena Rubinstein Inc. in the 1950s.
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Image creation
Helena Rubinstein loved to be photographed. She sometimes posed in a medical gown, which she believed added to her professionalism. A private album card features her portrait photographs. Three of them were made in interiors. Helena poses in elegant attire. Two similar portraits were taken in different poses, where we see a beautiful woman in an elegant dress and wearing an airy scarf. Jewellery constituted an integral part of her outfit - you can see the rich bracelets on her wrists and the long earrings. The three remaining photographs were taken outdoors by the water, against a mountain landscape. Helena Rubinstein is dressed in a patterned gown and wears a hat. In one of the photos, she poses against the background of a small passenger ship.
Atelier and open-air portrait photographs of Helena Rubinstein on the pages of a private album
The professional analysis of Helena Rubinstein's portraits demonstrated the photographer's excellent retouching skills. Her photos subjected to image interference have become perfect, devoid of imperfections, while on the other hand they are so natural and subtle that one does not notice the changes at first glance. When the digital image is enlarged, any retouching can be seen. Helena Rubinstein took great care of her public image. She consciously created her style, appearance and behaviour. In the beauty industry, one had to look and present oneself the way her clients wanted her to. After all, she was selling beauty and well-being to women.
Portrait photograph of Helena Rubinstein
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Paris period
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Helena in private
Helena Rubinstein was an immigrant who achieved great success abroad. The money she earned in Australia allowed her to set up a chain of salons in various parts of the world, including the UK, France, and the US. She was also a lover of art, which accompanied her throughout her life. She enjoyed living in luxury and surrounding herself with beautiful objects. She commissioned her portraits from well-known artists as a way of raising her prestige and building her image as a collector. She bought works by, for example, Pablo Picasso, Henri Mitisse, Joan Miró, Salvador Dali, and Eli Nadelman. The purchased works of art adorned her living rooms as well as her New York and Paris apartments, for which furniture and decorations were designed by well-known artists. "In 1942 I commissioned Salvador Dali to paint murals on three walls of my room. (...) I remember an evening when the panels were first shown. One of my assistants asked the artist if they had any hidden meaning. ‘Everything is an allegory of life,’ Dali explained. "It is up to the viewer to decipher. If there is no meaning, then there is none." - she recalled in her book My Life for Beauty published in 1965.
Prywatny album fotograficzny Heleny Rubinstein
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Helena Rubinstein was a citizen of the world. She lived on several continents. She travelled all her life, which influenced her taste and style. A private photograph preserved in the POLIN collection shows Helena Rubinstein in the St. Mark Square in Venice. She poses among pigeons in a bright patterned dress and hat.
Portrait photograph of Helena Rubinstein in the St. Mark Square in Venice
Helena Rubinstein wrote about her private life in her book My Life for Beauty from 1965: "I firmly believe that nothing of value comes easily. So if I was lucky enough not to have to wait long for success, I more than repaid it by working eighteen hours for every twenty-four. During this period, I missed the joy of being young at heart. Every time a young man wanted to take me out on a Saturday, I would ask him to call the salon to pick me up. Then, when he would arrive, I was sometimes so absorbed in mixing the cream that I would hand him a stirrer and get him to work without thinking."
Helena Rubinstein's private album includes family photographs taken in her spare time.
The story of Helena Rubinstein's life and the course of her career can be told from different perspectives. These stories can be accentuated by themes related to her background and the opportunities life offered to one of the eight daughters of a small Galician merchant, emigrating and building a life overseas (twice), the progressive emancipation of women throughout her life, the rapid social and political changes of the late 19th and first half of the 20th century, building a large corporation from scratch, lucrative marketing strategies, and clever self-creation. Today, we are inclined to explore this biography in search of nuance and ambiguity, in spite of the image so carefully created by Helena Rubinstein.
Portrait photograph of Helena Rubinstein inside a photographic atelier
1930s.
Text: Marta Frączkiewicz PhD, Monika Harchut Author's biography: Marta Frączkiewicz - curator of collections at the POLIN Museum. Graduate of the Nicolaus Copernicus University in Toruń in ethnology and cultural anthropology, archaeology, and gender studies, as well as Polish-Jewish studies at the Institute of Literary Research of the Polish Academy of Sciences in Warsaw. In her work she is primarily concerned with working with personal and historical memorabilia. She also collaborates with the University of Warsaw. Monika Harchut - historian, archivist, and curator of archive collections at the POLIN Museum. Her research interests focus on the social history of Central and Eastern Europe in the 20th century. She is passionate about learning several foreign languages, including Hebrew, which constitutes a challenge. Editing and proofreading: Marta Elas Editing and proofreading (English): Andrew Rajcher Photographs and reproductions: Iwo Książek Graphic design: Karolina Królak 3D documentation: Natalia Parandyk
Implementing the virtual exhibition was co-financed by the L. Kronenberg Citi Handlowy Foundation.
The implementation of the virtual exhibition was co-financed by the German Federal Ministry for Foreign Affairs within the framework of the action "Remembrance, Education, Inclusion".
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The Valaze face cream has made a staggering career among Australian women. Helena Rubinstein made it from local ingredients, among them lanolin - animal wax obtained when cleaning sheep's wool. She added plant extracts to it to improve the fragrance. The cream was intended to nurture women's skin exposed to the harmful effects of the sun and wind. In later interviews, Helena Rubinstein would say that she hated the scorching Australian sun. The second portrait of Helena Rubinstein from the Australian period in the collection of the POLIN Museum is more modest but very elegant. Inscribed in an oval, Helena poses sideways. She is wearing a dress with short, buff sleeves. Her thick hair was pinned up in a fine chignon and her neck was adorned with jewellery. The photos show her liking for posing.
Full-figure photograph of Helena Rubinstein in a so-called tea dress designed by Jacques Doucet, early 1920s. Beneath the photograph is the name of the photographic establishment BLANK & STOLLER in New York. Tea dresses were popular at the time. They were characterised by a lower waist and a loose fit, without a corset, so they were comfortable yet stylish. The inspiration for the tea dresses came from, among others, Japanese kimonos.
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The boom in print advertising has had a significant impact on the development of the cosmetics industry. During the 1920s, cosmetics ads ranked fifth in number among all print ads in US newspapers, with companies such as Helena Rubinstein Inc. and Elizabeth Arden spending tens of thousands of dollars a month to promote their brands. According to the advertising slogans, using cosmetics was to be associated not only with pleasure and luxury, but also with an affirmation of female independence and modernity. Helena Rubinstein also introduced the distinction of beauty types into the market. The division of female beauty types into warm, cold, and intermediate types (e.g. medium brown type), widely promoted in newspaper advertisements, initiated the development of new cosmetic lines. As late as the 1920s, more than 70 lines of cosmetics were being produced at Helena Rubinstein Inc's two factories, operating in Saint-Cloud and Long Island. At its peak, Helena Rubinstein's cosmetics empire had more than 100 branches in 14 countries and employed approx. 30,000 employees.
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Helena Rubinstein and Elizabeth Arden have been rivals throughout their professional lives. In their numerous biographies, it is possible to read that they were all different: Arden was the epitome of the WASP (White Anglo-Saxon Protestant) ideal, Rubinstein an immigrant from another continent, a representative of a national and religious minority. However, according to Michèle Fitoussi, author of one of the most famous biographies of Helena Rubinstein (Helena Rubinstein. The Woman Who Invented Beauty, Warsaw 2013), the women had equally as much in common. Both exaggerated their pasts (which had a marketing rationale), were known for their love of luxury, their authoritarianism, their courage, and were both, in the end, so-called self-made women (i.e. women who owed everything they achieved to themselves), a kind of phenomenon of their time. According to the entrepreneur's biographies, Helena Rubinstein was always supposed to call Elizabeth Arden "that woman" and to fight with her not only in the professional field, but also in the private one (they poached each other's employees), which inspired several articles, books, and even a musical based on the book War Paint by Linda Woodhead from 2004. The play premiered in 2016 in Chicago.
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Emigracja oznaczała dla niej ucieczkę przed biedą, niechcianym małżeństwem i w końcu szansę na inne życie. To wtedy miała zmienić swoje imię z Chaja na Helena, wpisując się właśnie tak na listę pasażerów. Trzy lata spędziła w Coleraine, opiekując się dziećmi wuja i ciężko pracując w jego sklepie, w którym poznała swoje przyszłe klientki. Tu rozpoczęła prace nad pierwszym kremem do twarzy o nazwie „Valaze”. W 1902 r. otworzyła salon piękności w Melbourne, który nazwała HELENA RUBISTEIN, BEAUTY SALON. Dwa spośród znajdujących się w zbiorach POLIN portretów fotograficznych Heleny Rubinstein pochodzą z okresu emigracji do Australii. Pierwszy z nich jest niezwykle wytworny. Helena Rubinstein pozuje, siedząc bokiem w obszernej, eleganckiej sukni, w nakryciu głowy z pióropuszem.
For her, emigration meant an escape from poverty, an unwanted marriage and, ultimately, a chance for a different life. It was then that she was to change her name from Chaja to Helena, entering such a name on the passenger list. She spent three years in Coleraine, looking after her uncle's children and working hard in his shop, where she met her future clients. Here she began working on her first face cream called "Valaze". In 1902 she opened a beauty salon in Melbourne, which she named HELENA RUBINSTEIN, BEAUTY SALON. Two of the photographic portraits of Helena Rubinstein in the POLIN collection are from the period of her emigration to Australia. The first one is extremely refined. Helena Rubinstein poses, seated sideways in a voluminous, elegant gown, wearing a headdress with a plume.
Suzanne Slesin, w napisanej przez siebie biografii Heleny Rubinstain o niezwykle wymownym tytule „Over the top: Helena Rubinstein, Extraordinary Style, Beauty, Art, Fashion, and Design” wspomina nowojorski apartament Madame. Penthouse przy Park Avenue na Manhattanie liczył dwadzieścia sześć pokoi, których ściany pokrywały malowidła artystów, „widziane jak dotąd tylko w muzeach”. Helena Rubinstein lubiła fotografować się w pełnych koloru wnętrzach, a zdjęcia te nadal są powielane w licznych artykułach oraz publikacjach. Autorka biografii wspomina także inne mieszkania Rubinstein, do których była zapraszana z mamą i ojczymem na wakacje. Poza Nowym Jorkiem, Madame posiadała także apartamenty w Paryżu i Londynie oraz trzy wiejskie nieruchomości (dwie we Francji, jedną w Stanach Zjednoczonych). Wszystkie domy były wyjątkowe i przepełnione dziełami sztuki, a ich obsługa była gotowa przyjąć właścicielkę wraz z gośćmi w każdej chwili.
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According to one version of the story of Helena Rubinstein's beginnings in the beauty industry, she was said to have arrived in Australia with twelve jars of face cream that her mother had sent to Vienna. According to another version, the cream formula was composed and given to Helena's mother (still Chaja at the time) by Dr. Lykusky, who was shopping in their family shop. Mother Rubinstein was to make sure her daughters applied the miracle cream to their skin every night. The Valaze cream was to be created on the basis of herbs found by Dr. Lykuski in the Carpathian Mountains, from which it was possible to achieve a true remedy for all skin problems, under laboratory conditions.
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Portrait photograph of Helena Rubinstein in elegant dress and rich jewellery on her wrist and neck. A photograph from the Paris period, on a backing with notes giving technical recommendations on how to present the photograph. The portrait was improved by the photographer. Drawing and painting retouching was initially applied. Attention is drawn to the graining on the woman's left forearm. Indeed, numerous pearl bracelets were removed from the portrait.
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This photograph from the POLIN Museum collection shows the interior of Helena Rubinstein's beauty salon in Paris - Maison de Beauté Valaze (French - Valaze Beauty House) located at 255 rue Saint-Honoré. The photograph was taken ca. 1912. The house was one of the first SPA (Sanus Per Aquam, Latin for healthy through water) salons in the world. It is commonly believed that it was Helena Rubinstein who created the modern concept of beauty. According to the slogan she promoted, "There are no ugly women, only lazy ones". A well-groomed woman was to be considered attractive, with skin moisturised and protected from the harmful effects of the sun, following an appropriate diet and care regime, taking part in sport and wearing make-up. The latter (previously associated with the world of the stage and with prostitution) was to become accessible to all through Helena's activities, so that every woman could improve her flaws. Pictured is a group of four women in the Parisian salon looking at cosmetics made by Helena Rubinstein.
Suzanne Slesin, in her biography of Helena Rubinstein with the remarkably telling title "Over the top: Helena Rubinstein, Extraordinary Style, Beauty, Art, Fashion, and Design", recalls Madame's New York apartment. The penthouse on Park Avenue in Manhattan had twenty-six rooms, whose walls were covered with paintings by artists "hitherto seen only in museums". Helena Rubinstein liked to photograph herself in colourful interiors, and these images are still reproduced in numerous articles and publications. The author of the biography also recalls other Rubinstein’s apartments to which she was invited with her mother and stepfather for holidays. Apart from New York, Madame also owned apartments in Paris and London as well as three country estates (two in France, one in the United States). All those houses were unique and overflowing with works of art, with the staff ready to welcome the owner and her guests at any time.
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Emigracja oznaczała dla niej ucieczkę przed biedą, niechcianym małżeństwem i w końcu szansę na inne życie. To wtedy miała zmienić swoje imię z Chaja na Helena, wpisując się właśnie tak na listę pasażerów. Trzy lata spędziła w Coleraine, opiekując się dziećmi wuja i ciężko pracując w jego sklepie, w którym poznała swoje przyszłe klientki. Tu rozpoczęła prace nad pierwszym kremem do twarzy o nazwie „Valaze”. W 1902 r. otworzyła salon piękności w Melbourne, który nazwała HELENA RUBISTEIN, BEAUTY SALON. Dwa spośród znajdujących się w zbiorach POLIN portretów fotograficznych Heleny Rubinstein pochodzą z okresu emigracji do Australii. Pierwszy z nich jest niezwykle wytworny. Helena Rubinstein pozuje, siedząc bokiem w obszernej, eleganckiej sukni, w nakryciu głowy z pióropuszem.
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For this reason, the false claims about the origin and exotic ingredients of Valaze cream were not disputed by anyone. It was not until regulations introduced in 1938 by the US Food and Drug Administration (Food, Drug, and Cosmetic Act) that Rubinstein, among others, was forced to stop using the term "Skinfood" with which she advertised her flagship cream. The phrase was considered incompatible with cosmetic nomenclature.
Two photographs in the collection of the POLIN Museum come from the London period. One is a half-figure portrait of Helena Rubinstein in a modest but elegant dress, made against a white background. Her hair was finely styled and delicately pinned up. A string of beads is visible around the neck, with earrings hanging in the ears.
Helena Rubinstein's New York apartment was full of works of art, against whose background she willingly posed for photographs. Her eclectic taste manifested itself in these scenes by juxtaposing canvases by the greatest artists of the 20th century avant-garde with colourful and eccentric interiors, some of which were designed by Salvador Dali, a collection of African and Oceanian art, and dolls' houses that she also collected. The latter collection, as well as the glass collection she assembled, can be admired at the Helena Rubinstein Pavilion for Contemporary Art in Tel Aviv, of which she was a patron. The pavilion was opened to the public in 1959 as a branch of the Art Museum. Portrait photograph of Helena Rubinstein wearing a hat pasted onto a card from a private album. One is a bust, the other two are outdoor photographs taken in full-figure, showing her modest elegance. Juxtaposed with her rich outfits or artistic portraits, the private photographs seem ordinary.
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Emigracja oznaczała dla niej ucieczkę przed biedą, niechcianym małżeństwem i w końcu szansę na inne życie. To wtedy miała zmienić swoje imię z Chaja na Helena, wpisując się właśnie tak na listę pasażerów. Trzy lata spędziła w Coleraine, opiekując się dziećmi wuja i ciężko pracując w jego sklepie, w którym poznała swoje przyszłe klientki. Tu rozpoczęła prace nad pierwszym kremem do twarzy o nazwie „Valaze”. W 1902 r. otworzyła salon piękności w Melbourne, który nazwała HELENA RUBISTEIN, BEAUTY SALON. Dwa spośród znajdujących się w zbiorach POLIN portretów fotograficznych Heleny Rubinstein pochodzą z okresu emigracji do Australii. Pierwszy z nich jest niezwykle wytworny. Helena Rubinstein pozuje, siedząc bokiem w obszernej, eleganckiej sukni, w nakryciu głowy z pióropuszem.
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During the 1912 protests, crowds of women fighting for their rights marched through the streets of New York with their lips proudly painted red, holding lipstick in their raised hand (as a political gesture). For female cosmetics entrepreneurs such as Helena Rubinstein and Elizabeth Arden, the emerging need for female autonomy was to prove extremely lucrative. American women gained their voting rights on 18 August 1920 under the 19th Amendment to the US Constitution.
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Helena Rubinstein (ENG)
Lukasz Sciebior
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Transcript
Helena Rubinstein
biography from the collection of the POLIN Museum
Dr Marta Frączkiewicz Monika Harchut
A significant space in the collection of the POLIN Museum is occupied by memorabilia of Helena Rubinstein (1872-1965) - one of the most famous businesswomen in history, patron of the arts, and founder of the Helena Rubinstein Inc. cosmetics company, which still operates today. Her photographs, prints and personal items were donated to the museum in 2023 by Suzanne Slesin from New York, stepdaughter of Helena Rubinstein's son Roy.
Helena Rubinstein visiting card
Viennese period
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Helena Rubinstein – celebrity
We associate the name of Helena Rubinstein - one of the richest and most influential women of her time, creator of a cosmetics empire that still exists today - with glamour, extensive social contacts, as well as an art collection and lavish outfits. What made Helena Rubinstein an almost iconic figure? How did the myth of the "empress of beauty" arise? Hard work, entrepreneurship, punctuality, or tenacity in striving for the goal were of great significance in creating Helena Rubinstein's image as Madame. At the same time, she also became an icon of her time through her extravagance as well as love for fashion and jewellery. According to numerous biographies, the entrepreneur commissioned outfits from the most prominent designers for as long as she remained professionally active, until the last days of her life.
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Christian Dior
Helena Rubinstein's dress
1954-1957 Paris
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Helena Rubinstein was known for her love of lavish parties, which constituted an opportunity for her to make not only social contacts but also business contacts. Thanks to her first husband, the journalist and publisher Edward William Titus, she had the chance to meet many prominent writers such as David Herbert Lawrence, Ernest Hemingway, and James Joyce. Parties organised by the entrepreneur in her Parisian days were attended by Gabrielle (Coco) Chanel, Christian Dior, or Marc Chagall. She also threw grand parties in New York, with her second husband, the Georgian Prince Artczil Gouerill Tczkoni. Even the press was interested in the guest list.
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Pedro Rodríguez
Helena Rubinstein's coat
1950-1965 Barcelona
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How did Chaja become Helena?
Podgórze, Kraków, and escape from an unwanted marriage
Helena Rubinstein was probably born on 25 December 1872 in the Kraków suburb of Podgórze as the eldest daughter of Herciel Naftali Rubinstein and Gitel (Augusta) Scheindel, née Silberfeld. She was given the name Chaja. Later, the Rubinstein family moved to Kraków's Kazimierz, where more girls were born - Chaja had seven sisters. The family was poor and occupied one room. The father was a small merchant - he traded in kerosene and, in addition, eggs. The mother was in charge of raising the children. Chaja attended the local Jewish school. Her future seemed predetermined: she was to marry, and in preparing to do so, she was fulfilling her father's expectations. Self-selecting a spouse was out of the question - in an Orthodox Jewish family this was virtually impossible. However, Chaja rejected the family's proposed candidate, which led to conflict with her parents and running away from home.
Helena Rubinstein visiting card
Viennese period
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Vienna
In the 1890s, Chaja went to visit her aunt in Vienna. In the social conditions of the time, a woman could not function without a man, so the local part of the family also tried to find a husband for her. The Splitter family, her relatives from Vienna, were wealthy furriers and Chaja worked for a while in their fur shop. However, she saw no prospects ahead of her there. Several portraits made in the photographic atelier date from the Viennese period. Helena poses for photos in elegant outfits and hats, looking chic. The photos come from ca. 1893.
Helena Rubinstein visiting card
Viennese period
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Melbourne
Chaja emigrated from Europe to Australia most likely in 1896, with her mother's three brothers settling in Australia. One of them was a sheep farmer and owner of a general shop in Coleraine, 300 km from Melbourne, and he needed hands to work. At a time when women were virtually not allowed to make up their own minds, and when travelling alone was not only unheard of but also considered inappropriate, the very young Chaja Rubinstein dared to do so.
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Photograph of Helena Rubinstein
Australian period
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Melbourne
The opening of the first Helena Rubinstein salon in Australia coincided with the granting of suffrage to women in that country (with the exception of the indigenous population, whose representatives - both male and female - had to wait until 1962). Helena's life coincides with a time of great change related to the statehood of women's rights. One can venture to say that the development of her business would not have been possible without the dynamic legal and moral changes related to the position of women in society that took place during this time. They were the driving force behind Helena's business - new opportunities, needs, and lifestyles that her company was responding to.
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Photograph of Helena Rubinstein
Australian period
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London
„Beauty is Power!”
"Beauty is Power!" - this is one of the flagship slogans addressed to women by Helena Rubinstein. For her, appearance was a tool for building her image as a cosmetics company. Helena Rubinstein was a showcase for her company and a living advertisement for it. In photographs, she was to look flawless, as exemplified by her portraits.
London
Helena Rubinstein not only followed the socio-political changes of the 20th century, but actively participated in enhancing them. Her photographs present not only the story of her emigration, but also the changes in the way she dresses and the emergence of revolutionary new fashion trends. Indeed, fashion became a reflection of changes in politics and culture, greatly impacted by the gains of emancipation. The corset, which restrained movement and even made it difficult to breathe, was abandoned, meaning that in such an outfit one could only look good. Outfits featured a simple cut, definitely more comfortable. We can notice these changes in the portraits of Helena Rubinstein from the Viennese, Australian, or London periods preserved in the collection.
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Portrait photograph of Helena Rubinstein
London period
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London
Helena Rubinstein opened her salon also in London. It was 1908 when she moved to the UK. In the same year, she married the Polish-born American journalist Edward William Titus, a Polish Jew who was also from Podgórze and was to contribute significantly to the development of her brand. He was the one who gave Helena the nickname "Madame", which accompanied her for the rest of her life. In the second photograph from the London period, Helena Rubinstein poses, seated on a classic carved chair with a rattan back. It is a full-figure portrait. Helena is wearing a long elegant gown with a beautifully embellished neckline. Her neck is adorned with elegant jewellery. What emerges from both London photos is a person full of elegance, with strong character.
Portrait photograph of Helena Rubinstein
London period
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Paris
In 1909, Helena Rubinstein opened another salon, which gave her the reason to move to Paris in 1912. Thanks to Edward's contacts, Helena began to move among the international crème de la crème of Parisian society, making friends with artists, politicians and influential businessmen of her era. At that time, she made the acquaintance of, among others, the French literary man Jean Cocteau. It was he who first called her the "empress of beauty".
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Interior photograph of the Valaze Beauty House
Paris
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New York
The outbreak of the First World War halted Helena Rubinstein's flourishing business. In 1915, she and her husband decided to move to the still-neutral United States, where they continued to develop the company. Helena Rubinstein's first beauty salon, Maison de Beauté Valaze (French Valaze Beauty House), opened later that same year at 49 East Street in New York. The salon initiated the development of a nationwide chain.
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Photograph of Helena Rubinstein in a tea dress
New York period
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Cosmetic empire
Packaging for powder or blush (the pack is empty) and lipstick dating to the 1940s. These are the oldest packaging for Helena Rubinstein brand cosmetics in the collection of the POLIN Museum. The beginnings of Helena Rubinstein's business, like many events in her life, are accompanied by an ambiguity created by the entrepreneur herself. Exaggerating the story of her background or early career was a thoughtful and accurate marketing strategy.
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Helena Rubinstein, Inc.
Decorative cosmetic packaging (powder/blush and lipstick)
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1950-1965 New York
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A decorative pack of blush by Helena Rubinstein dating from 1950-65. The presented blush was produced in one of the US factories during the company's heyday. When Helena Rubinstein launched her first product in Australia, there were no regulations yet regarding the composition of cosmetics or their advertising. This meant that, until the end of the 19th century, the content of advertisements was almost entirely free, as long as no defamation was committed in them.
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Helena Rubinstein, Inc.
Decorative blush pack
1950-1965 New York
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Decorative powder box with blush and mirror by Helena Rubinstein. Similar packs of blushes and powders were carried in the handbags of thousands of American women. The development of Helena Rubinstein's business coincided with the rise of women's emancipation movements and the decline of modesty-prescribing Victorian morality. Up to that time, make-up (especially red lips) has actually only been attributed to prostitutes as well as actresses and actors wearing it on stage. For suffragettes, the hitherto forbidden red lipstick was to become a symbol of emancipation, independence, freedom and, above all, self-affirmation.
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Helena Rubinstein, Inc.
Decorative powder box with blusher and mirror
1950-1965 New York
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Helena Rubinstein's collection of memorabilia includes three packs of pressed blush, one empty pack of blush or powder with lipstick and one pack of matt powder (visible in the photograph). In the mid-20th century, Helena Rubinstein cosmetics were among the most popular on the American market. However, during this period, many other companies emerged that targeted women. The greatest threat to the Helena Rubinstein's brand (and vice versa) turned out to be Canadian-born cosmetics manufacturer and owner of a chain of beauty salons, Elizabeth Arden (1878-1966).
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Helena Rubinstein, Inc.
Helena Rubinstein brand powder pack
1950-1965 Nowy York
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A gold blush powder box dated 1950-65. It constitutes another example of the design of cosmetics packaging produced by Helena Rubinstein's company. In the first half of the 20th century, the brand's cosmetics were among the most widely advertised in the American press. The sole design of the box was to be inspired by the hugely popular Fulco di Verdura jewellery, of which Helena was an enthusiast.
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Helena Rubinstein, Inc.
Helena Rubinstein brand powder pack
1950-1965 New York
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Company management/hiring
Despite her own independence and her officially explicit support for the suffragette movement, a traditional patriarchal management model prevailed in Helena's company. Rubinstein did not appoint a single woman to a leader position. The highest positions women took in her company were beauty salon managers. It was a glass ceiling for women. In her company, Helena Rubinstein employed sisters, cousins, and her husband. She built her empire based on members of her immediate and extended family. She ruled with a strong hand and was demanding of male and female employees, regardless of the level of intimacy; she managed them in a corporate manner. POLIN's collection includes the 1929-1930 book "The Triumph of an Idea" and reports from the 1950s, concerning the company's activity.
Helena Rubinstein, Inc.
Reports concerning the activities of Helena Rubinstein Inc. in the 1950s.
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Image creation
Helena Rubinstein loved to be photographed. She sometimes posed in a medical gown, which she believed added to her professionalism. A private album card features her portrait photographs. Three of them were made in interiors. Helena poses in elegant attire. Two similar portraits were taken in different poses, where we see a beautiful woman in an elegant dress and wearing an airy scarf. Jewellery constituted an integral part of her outfit - you can see the rich bracelets on her wrists and the long earrings. The three remaining photographs were taken outdoors by the water, against a mountain landscape. Helena Rubinstein is dressed in a patterned gown and wears a hat. In one of the photos, she poses against the background of a small passenger ship.
Atelier and open-air portrait photographs of Helena Rubinstein on the pages of a private album
The professional analysis of Helena Rubinstein's portraits demonstrated the photographer's excellent retouching skills. Her photos subjected to image interference have become perfect, devoid of imperfections, while on the other hand they are so natural and subtle that one does not notice the changes at first glance. When the digital image is enlarged, any retouching can be seen. Helena Rubinstein took great care of her public image. She consciously created her style, appearance and behaviour. In the beauty industry, one had to look and present oneself the way her clients wanted her to. After all, she was selling beauty and well-being to women.
Portrait photograph of Helena Rubinstein
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Paris period
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Helena in private
Helena Rubinstein was an immigrant who achieved great success abroad. The money she earned in Australia allowed her to set up a chain of salons in various parts of the world, including the UK, France, and the US. She was also a lover of art, which accompanied her throughout her life. She enjoyed living in luxury and surrounding herself with beautiful objects. She commissioned her portraits from well-known artists as a way of raising her prestige and building her image as a collector. She bought works by, for example, Pablo Picasso, Henri Mitisse, Joan Miró, Salvador Dali, and Eli Nadelman. The purchased works of art adorned her living rooms as well as her New York and Paris apartments, for which furniture and decorations were designed by well-known artists. "In 1942 I commissioned Salvador Dali to paint murals on three walls of my room. (...) I remember an evening when the panels were first shown. One of my assistants asked the artist if they had any hidden meaning. ‘Everything is an allegory of life,’ Dali explained. "It is up to the viewer to decipher. If there is no meaning, then there is none." - she recalled in her book My Life for Beauty published in 1965.
Prywatny album fotograficzny Heleny Rubinstein
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Helena Rubinstein was a citizen of the world. She lived on several continents. She travelled all her life, which influenced her taste and style. A private photograph preserved in the POLIN collection shows Helena Rubinstein in the St. Mark Square in Venice. She poses among pigeons in a bright patterned dress and hat.
Portrait photograph of Helena Rubinstein in the St. Mark Square in Venice
Helena Rubinstein wrote about her private life in her book My Life for Beauty from 1965: "I firmly believe that nothing of value comes easily. So if I was lucky enough not to have to wait long for success, I more than repaid it by working eighteen hours for every twenty-four. During this period, I missed the joy of being young at heart. Every time a young man wanted to take me out on a Saturday, I would ask him to call the salon to pick me up. Then, when he would arrive, I was sometimes so absorbed in mixing the cream that I would hand him a stirrer and get him to work without thinking."
Helena Rubinstein's private album includes family photographs taken in her spare time.
The story of Helena Rubinstein's life and the course of her career can be told from different perspectives. These stories can be accentuated by themes related to her background and the opportunities life offered to one of the eight daughters of a small Galician merchant, emigrating and building a life overseas (twice), the progressive emancipation of women throughout her life, the rapid social and political changes of the late 19th and first half of the 20th century, building a large corporation from scratch, lucrative marketing strategies, and clever self-creation. Today, we are inclined to explore this biography in search of nuance and ambiguity, in spite of the image so carefully created by Helena Rubinstein.
Portrait photograph of Helena Rubinstein inside a photographic atelier
1930s.
Text: Marta Frączkiewicz PhD, Monika Harchut Author's biography: Marta Frączkiewicz - curator of collections at the POLIN Museum. Graduate of the Nicolaus Copernicus University in Toruń in ethnology and cultural anthropology, archaeology, and gender studies, as well as Polish-Jewish studies at the Institute of Literary Research of the Polish Academy of Sciences in Warsaw. In her work she is primarily concerned with working with personal and historical memorabilia. She also collaborates with the University of Warsaw. Monika Harchut - historian, archivist, and curator of archive collections at the POLIN Museum. Her research interests focus on the social history of Central and Eastern Europe in the 20th century. She is passionate about learning several foreign languages, including Hebrew, which constitutes a challenge. Editing and proofreading: Marta Elas Editing and proofreading (English): Andrew Rajcher Photographs and reproductions: Iwo Książek Graphic design: Karolina Królak 3D documentation: Natalia Parandyk
Implementing the virtual exhibition was co-financed by the L. Kronenberg Citi Handlowy Foundation.
The implementation of the virtual exhibition was co-financed by the German Federal Ministry for Foreign Affairs within the framework of the action "Remembrance, Education, Inclusion".
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The Valaze face cream has made a staggering career among Australian women. Helena Rubinstein made it from local ingredients, among them lanolin - animal wax obtained when cleaning sheep's wool. She added plant extracts to it to improve the fragrance. The cream was intended to nurture women's skin exposed to the harmful effects of the sun and wind. In later interviews, Helena Rubinstein would say that she hated the scorching Australian sun. The second portrait of Helena Rubinstein from the Australian period in the collection of the POLIN Museum is more modest but very elegant. Inscribed in an oval, Helena poses sideways. She is wearing a dress with short, buff sleeves. Her thick hair was pinned up in a fine chignon and her neck was adorned with jewellery. The photos show her liking for posing.
Full-figure photograph of Helena Rubinstein in a so-called tea dress designed by Jacques Doucet, early 1920s. Beneath the photograph is the name of the photographic establishment BLANK & STOLLER in New York. Tea dresses were popular at the time. They were characterised by a lower waist and a loose fit, without a corset, so they were comfortable yet stylish. The inspiration for the tea dresses came from, among others, Japanese kimonos.
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The boom in print advertising has had a significant impact on the development of the cosmetics industry. During the 1920s, cosmetics ads ranked fifth in number among all print ads in US newspapers, with companies such as Helena Rubinstein Inc. and Elizabeth Arden spending tens of thousands of dollars a month to promote their brands. According to the advertising slogans, using cosmetics was to be associated not only with pleasure and luxury, but also with an affirmation of female independence and modernity. Helena Rubinstein also introduced the distinction of beauty types into the market. The division of female beauty types into warm, cold, and intermediate types (e.g. medium brown type), widely promoted in newspaper advertisements, initiated the development of new cosmetic lines. As late as the 1920s, more than 70 lines of cosmetics were being produced at Helena Rubinstein Inc's two factories, operating in Saint-Cloud and Long Island. At its peak, Helena Rubinstein's cosmetics empire had more than 100 branches in 14 countries and employed approx. 30,000 employees.
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Helena Rubinstein and Elizabeth Arden have been rivals throughout their professional lives. In their numerous biographies, it is possible to read that they were all different: Arden was the epitome of the WASP (White Anglo-Saxon Protestant) ideal, Rubinstein an immigrant from another continent, a representative of a national and religious minority. However, according to Michèle Fitoussi, author of one of the most famous biographies of Helena Rubinstein (Helena Rubinstein. The Woman Who Invented Beauty, Warsaw 2013), the women had equally as much in common. Both exaggerated their pasts (which had a marketing rationale), were known for their love of luxury, their authoritarianism, their courage, and were both, in the end, so-called self-made women (i.e. women who owed everything they achieved to themselves), a kind of phenomenon of their time. According to the entrepreneur's biographies, Helena Rubinstein was always supposed to call Elizabeth Arden "that woman" and to fight with her not only in the professional field, but also in the private one (they poached each other's employees), which inspired several articles, books, and even a musical based on the book War Paint by Linda Woodhead from 2004. The play premiered in 2016 in Chicago.
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Emigracja oznaczała dla niej ucieczkę przed biedą, niechcianym małżeństwem i w końcu szansę na inne życie. To wtedy miała zmienić swoje imię z Chaja na Helena, wpisując się właśnie tak na listę pasażerów. Trzy lata spędziła w Coleraine, opiekując się dziećmi wuja i ciężko pracując w jego sklepie, w którym poznała swoje przyszłe klientki. Tu rozpoczęła prace nad pierwszym kremem do twarzy o nazwie „Valaze”. W 1902 r. otworzyła salon piękności w Melbourne, który nazwała HELENA RUBISTEIN, BEAUTY SALON. Dwa spośród znajdujących się w zbiorach POLIN portretów fotograficznych Heleny Rubinstein pochodzą z okresu emigracji do Australii. Pierwszy z nich jest niezwykle wytworny. Helena Rubinstein pozuje, siedząc bokiem w obszernej, eleganckiej sukni, w nakryciu głowy z pióropuszem.
For her, emigration meant an escape from poverty, an unwanted marriage and, ultimately, a chance for a different life. It was then that she was to change her name from Chaja to Helena, entering such a name on the passenger list. She spent three years in Coleraine, looking after her uncle's children and working hard in his shop, where she met her future clients. Here she began working on her first face cream called "Valaze". In 1902 she opened a beauty salon in Melbourne, which she named HELENA RUBINSTEIN, BEAUTY SALON. Two of the photographic portraits of Helena Rubinstein in the POLIN collection are from the period of her emigration to Australia. The first one is extremely refined. Helena Rubinstein poses, seated sideways in a voluminous, elegant gown, wearing a headdress with a plume.
Suzanne Slesin, w napisanej przez siebie biografii Heleny Rubinstain o niezwykle wymownym tytule „Over the top: Helena Rubinstein, Extraordinary Style, Beauty, Art, Fashion, and Design” wspomina nowojorski apartament Madame. Penthouse przy Park Avenue na Manhattanie liczył dwadzieścia sześć pokoi, których ściany pokrywały malowidła artystów, „widziane jak dotąd tylko w muzeach”. Helena Rubinstein lubiła fotografować się w pełnych koloru wnętrzach, a zdjęcia te nadal są powielane w licznych artykułach oraz publikacjach. Autorka biografii wspomina także inne mieszkania Rubinstein, do których była zapraszana z mamą i ojczymem na wakacje. Poza Nowym Jorkiem, Madame posiadała także apartamenty w Paryżu i Londynie oraz trzy wiejskie nieruchomości (dwie we Francji, jedną w Stanach Zjednoczonych). Wszystkie domy były wyjątkowe i przepełnione dziełami sztuki, a ich obsługa była gotowa przyjąć właścicielkę wraz z gośćmi w każdej chwili.
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According to one version of the story of Helena Rubinstein's beginnings in the beauty industry, she was said to have arrived in Australia with twelve jars of face cream that her mother had sent to Vienna. According to another version, the cream formula was composed and given to Helena's mother (still Chaja at the time) by Dr. Lykusky, who was shopping in their family shop. Mother Rubinstein was to make sure her daughters applied the miracle cream to their skin every night. The Valaze cream was to be created on the basis of herbs found by Dr. Lykuski in the Carpathian Mountains, from which it was possible to achieve a true remedy for all skin problems, under laboratory conditions.
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Portrait photograph of Helena Rubinstein in elegant dress and rich jewellery on her wrist and neck. A photograph from the Paris period, on a backing with notes giving technical recommendations on how to present the photograph. The portrait was improved by the photographer. Drawing and painting retouching was initially applied. Attention is drawn to the graining on the woman's left forearm. Indeed, numerous pearl bracelets were removed from the portrait.
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This photograph from the POLIN Museum collection shows the interior of Helena Rubinstein's beauty salon in Paris - Maison de Beauté Valaze (French - Valaze Beauty House) located at 255 rue Saint-Honoré. The photograph was taken ca. 1912. The house was one of the first SPA (Sanus Per Aquam, Latin for healthy through water) salons in the world. It is commonly believed that it was Helena Rubinstein who created the modern concept of beauty. According to the slogan she promoted, "There are no ugly women, only lazy ones". A well-groomed woman was to be considered attractive, with skin moisturised and protected from the harmful effects of the sun, following an appropriate diet and care regime, taking part in sport and wearing make-up. The latter (previously associated with the world of the stage and with prostitution) was to become accessible to all through Helena's activities, so that every woman could improve her flaws. Pictured is a group of four women in the Parisian salon looking at cosmetics made by Helena Rubinstein.
Suzanne Slesin, in her biography of Helena Rubinstein with the remarkably telling title "Over the top: Helena Rubinstein, Extraordinary Style, Beauty, Art, Fashion, and Design", recalls Madame's New York apartment. The penthouse on Park Avenue in Manhattan had twenty-six rooms, whose walls were covered with paintings by artists "hitherto seen only in museums". Helena Rubinstein liked to photograph herself in colourful interiors, and these images are still reproduced in numerous articles and publications. The author of the biography also recalls other Rubinstein’s apartments to which she was invited with her mother and stepfather for holidays. Apart from New York, Madame also owned apartments in Paris and London as well as three country estates (two in France, one in the United States). All those houses were unique and overflowing with works of art, with the staff ready to welcome the owner and her guests at any time.
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Emigracja oznaczała dla niej ucieczkę przed biedą, niechcianym małżeństwem i w końcu szansę na inne życie. To wtedy miała zmienić swoje imię z Chaja na Helena, wpisując się właśnie tak na listę pasażerów. Trzy lata spędziła w Coleraine, opiekując się dziećmi wuja i ciężko pracując w jego sklepie, w którym poznała swoje przyszłe klientki. Tu rozpoczęła prace nad pierwszym kremem do twarzy o nazwie „Valaze”. W 1902 r. otworzyła salon piękności w Melbourne, który nazwała HELENA RUBISTEIN, BEAUTY SALON. Dwa spośród znajdujących się w zbiorach POLIN portretów fotograficznych Heleny Rubinstein pochodzą z okresu emigracji do Australii. Pierwszy z nich jest niezwykle wytworny. Helena Rubinstein pozuje, siedząc bokiem w obszernej, eleganckiej sukni, w nakryciu głowy z pióropuszem.
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For this reason, the false claims about the origin and exotic ingredients of Valaze cream were not disputed by anyone. It was not until regulations introduced in 1938 by the US Food and Drug Administration (Food, Drug, and Cosmetic Act) that Rubinstein, among others, was forced to stop using the term "Skinfood" with which she advertised her flagship cream. The phrase was considered incompatible with cosmetic nomenclature.
Two photographs in the collection of the POLIN Museum come from the London period. One is a half-figure portrait of Helena Rubinstein in a modest but elegant dress, made against a white background. Her hair was finely styled and delicately pinned up. A string of beads is visible around the neck, with earrings hanging in the ears.
Helena Rubinstein's New York apartment was full of works of art, against whose background she willingly posed for photographs. Her eclectic taste manifested itself in these scenes by juxtaposing canvases by the greatest artists of the 20th century avant-garde with colourful and eccentric interiors, some of which were designed by Salvador Dali, a collection of African and Oceanian art, and dolls' houses that she also collected. The latter collection, as well as the glass collection she assembled, can be admired at the Helena Rubinstein Pavilion for Contemporary Art in Tel Aviv, of which she was a patron. The pavilion was opened to the public in 1959 as a branch of the Art Museum. Portrait photograph of Helena Rubinstein wearing a hat pasted onto a card from a private album. One is a bust, the other two are outdoor photographs taken in full-figure, showing her modest elegance. Juxtaposed with her rich outfits or artistic portraits, the private photographs seem ordinary.
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Emigracja oznaczała dla niej ucieczkę przed biedą, niechcianym małżeństwem i w końcu szansę na inne życie. To wtedy miała zmienić swoje imię z Chaja na Helena, wpisując się właśnie tak na listę pasażerów. Trzy lata spędziła w Coleraine, opiekując się dziećmi wuja i ciężko pracując w jego sklepie, w którym poznała swoje przyszłe klientki. Tu rozpoczęła prace nad pierwszym kremem do twarzy o nazwie „Valaze”. W 1902 r. otworzyła salon piękności w Melbourne, który nazwała HELENA RUBISTEIN, BEAUTY SALON. Dwa spośród znajdujących się w zbiorach POLIN portretów fotograficznych Heleny Rubinstein pochodzą z okresu emigracji do Australii. Pierwszy z nich jest niezwykle wytworny. Helena Rubinstein pozuje, siedząc bokiem w obszernej, eleganckiej sukni, w nakryciu głowy z pióropuszem.
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During the 1912 protests, crowds of women fighting for their rights marched through the streets of New York with their lips proudly painted red, holding lipstick in their raised hand (as a political gesture). For female cosmetics entrepreneurs such as Helena Rubinstein and Elizabeth Arden, the emerging need for female autonomy was to prove extremely lucrative. American women gained their voting rights on 18 August 1920 under the 19th Amendment to the US Constitution.
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