Shu Uemura fetes 25 years of the ‘open atelier’ that allows shoppers to try out makeup without the help of a salesperson.

On June 19, 1983, makeup artist Shu Uemura opened the first cosmetics boutique bearing his name on Tokyo’s Omotesando, simultaneously defining the ‘open atelier’ display style. Now, a quarter of a century later, this method has become the norm for the industry.

Each line’s wide variety of products at Shu Uemura Beauty Boutique stood out against the relatively subdued competition. The refined, modern packaging design and the availability of brushes and palettes also helped to define the brand’s appeal among the general public.

In addition to celebrating Uemura’s breakthrough approach to the marketing of cosmetics, the recent ‘Shu Uemura Exhibition—Opening the Atelier After 25 Years’ at Roppongi, Tokyo’s Mori Arts Centre Gallery, also coincided with the June 19 birthday of the auteur, who died of pneumonia in December at the age of 79.

The retrospective exhibition explores the history of the brand, which is one of Japan’s first cosmetics firms named after a make-up artist known for innovation. Now sold in 18 countries, women around the world—not just Japan—have come to know the name of Shu Uemura.

The makeup line also has become a staple in fashion magazines. The February issue of Vogue, for example, focused on two of the brand’s pressed eye shadow colours—Spring Breeze and Pristine Green—for its special on spring cosmetics.

Uemura began working as a makeup artist in Hollywood in the mid-1950s, making a name for himself when he worked with Shirley MacLaine in her 1962 film, My Geisha.

Asked to fill in for MacLaine’s makeup artist, who had become ill, Uemura was praised for his success in giving the popular actress Asian features for her role as a geisha. He continued working for other Hollywood actresses and big-name stars such as Frank Sinatra.

“Coming back to Japan after this experience, Uemura began teaching younger makeup artists how to apply cinematic makeup, a technique that was new to Japan. During his tenure, Uemura realised his students were fascinated not only with the techniques they were learning but also the cosmetics he had brought back with him,” Shu Uemura spokeswoman Kanae Makino told The Daily Yomiuri.

“Uemura saw the fun his students were having with the wide range of beauty products,” Makino continued, “and eventually decided to open his own boutique in the hope of sharing this pleasure with consumers at large.

“He thought, with the ‘open-tester style’, in which people freely try makeup—a method now standard for many cosmetic companies, but not at that time—consumers would no longer be hindered from finding the pleasure and freedom of choosing their own cosmetics.”

Uemura also introduced to Japan’s industry the sale of non-cosmetic items such as brushes and makeup cases, something that had been hitherto available only to professionals.

“Uemura believed good makeup kits are necessary for good makeup,” Makino said.

Makino said one brushmaker recently told her that it was Uemura who changed the status of makeup brushes in Japan as he brought the instruments into the spotlight, making them more than mere supporting actors.

The brand’s line of high quality brushes include materials such as sable, goat and pony hair.

Nowadays, it is Shu Uemura’s eyelash curlers that are causing a stir among the fashion conscious. Some people may even remember that this product was mentioned by name in last year’s chick-flick The Devil Wears Prada.

Uemura also questioned the marketing concept of each season promoting a single make-up style for everyone, regardless of individual characteristics—an approach adopted by the large cosmetics companies.

This belief is clear in Mode Makeup, a collection of make-up concepts that he began releasing in 1968.

The first work in the long-running series featured eye shadow applied in a checkerboard design, called Flaggy. “At the time,” Makino said, “colourful prints and patterns were in style, so Uemura thought, ‘Why can’t you have fashion on your eyelids, too?’”

In later years, Uemura became involved in a series explaining how to apply make-up for the stage. “He wanted to bring what usually is done backstage out into the open. He was a real pioneer in the arena of cosmetics,” Makino said.

‘Shu Uemura Exhibition—Opening the Atelier After 25 Years’ is be divided into three categories.

The first section is dedicated to the Shu Uemura product range, including 108 different colours of eye shadow and 96 colours of lipstick. The colour variation, which is updated according to season, is what the company is known for.

“Karl Lagerfeld was so impressed with the range of colour and texture that he always uses Shu Uemura eye shadow when sketching his designs,” Makino continued.

Two of Lagerfeld’s drawings are on display in the second section of the exhibition. One of the works—presented to Uemura in 2006 during an interview with French Vogue—features a woman in a white outfit and black hat, with what appears to be a Chanel signature bag. The other shows a soft-lined portrait of a woman. Each of the drawings has been highlighted with gentle colours from the Shu Uemura line.

In the final section of the show are 15 panels featuring Uemura’s Mode Make-up series, including Flaggy. Also on display is Rebirth, the last work in the series the make-up artist produced before his death. The makeup design features a clean, fresh look using hues, including yellow and green.

“The photo shoot wrapped up last summer,” Makino said. “It seems appropriate that he named the work Rebirth. He was always innovating and eager to do something new.”

In addition to the panels, the exhibit includes 10 masks that have been applied with Shu Uemura colours.

Also on show is a short film made in collaboration with the cosmetics maker. Featured are creations made by Atsuko Fukushima, Shinji Kimura and Koji Morimoto, all based on the concept of ‘stimulation’.

This month, Shu Uemura will release a limited run of its cleansing oil in packaging bearing characters from the film.

While many people associate Shu Uemura with colour, the company, according to Makino, places emphasis on skincare products, the most important item of which is cleansing oil. “As a make-up artist, Uemura was adamant that you couldn’t wear your makeup beautifully unless your skin is clean. He stressed the importance of using the right cleanser or remover for your skin,” she said. “He often said, ‘Beautiful makeup starts with beautiful skin,’ or ‘Makeup starts and ends with cleansing.’”

In 1984, one year after the opening of the Omotesando store, Shu Uemura began operations in Hong Kong and opened its first overseas outlet there the following year. In 1986, the company opened its first foreign boutique in Paris.

While the brand’s market has expanded to include the United States, Italy, Britain and 12 other countries, Makino said Shu Uemura continue to maintain the founder’s philosophy. “We hope the exhibition will clearly send the message that Shu Uemura shops are your ‘atelier.’” (KUMI MATSUMARU In Tokyo/ The Daily Yomiuri/ AsiaNews)