Renaissance Beauty Was Hardcore: Makeup, Mercury & Midnight Bathhouses
Today we have a special treat: a Q&A with University of Edinburgh professor Jill Burke. Professor Burke is a historian with a talent for uncovering the real lives behind Renaissance-era beauty practices, standards, and trends.
If you need world-building inspiration or are just a fan of history, you’ll soon find that professor Burke is a wealth of information.
Get ready for arsenic hair removal and feathered hats.
Did people wear makeup back then?
Yes. Makeup was common and part of everyday grooming in Renaissance Europe, especially in cities such as Venice, Florence, and Rome. Women especially used colour make up such as pale foundation, rouges, and eyebrow colour.
They also had quite sophisticated skincare treatments (what we’d call face masks, moisturisers, anti-wrinkle creams, toners, exfoliants made from breadcrumbs or bran), many different types of perfumes, and hair treatments. Skincare was considered a branch of medicine, not merely vanity, and beauty manuals contained hundreds of recipes using ingredients such as egg whites, animal fats, herbs, and minerals. Fair, unblemished skin and bright eyes were seen as signs of health, virtue, and good breeding.
Some of the ingredients, like mercury and lead, were known to be dangerous to health, but their use was widespread in both cosmetics and medicine. Cosmetics were not limited to the elite: printed “books of secrets” and street-sold recipes made beauty culture accessible to working women as well.
Movies and other media about or inspired by the medieval to renaissance eras rarely if ever have people wear hats. Did people wear hats back then?
Most people wore caps, hats or other headcoverings (veils etc) all the time, both inside and outside the house and also covered their heads whilst sleeping. Both men and women covered their heads in public.
For women, hair covering was expected after adolescence and took many forms: veils, hoods, caps, and decorative hats that indicated marital status and social rank. In Venice, for instance, married women were rarely seen bareheaded.
Men’s hats were equally important, ranging from soft felt caps to broad-brimmed, feathered hats among the upper classes.
Head coverings were both a matter of modesty and a reflection of fashion and health: protecting the scalp and regulating the body’s balance were considered medical concerns.
What beauty practices’ might surprise people of today?
Lots! For example:
- Women bleached their hair on rooftops using caustic lotions while wearing wide straw hats with open crowns to expose the hair to sunlight.
- Hair removal was achieved with depilatory pastes made from lime and arsenic compounds—effective but risky!
- As most people didn’t have bathrooms, most had to go to public bathhouses, perhaps fortnightly in summer, once a month in winter in Italy (less in Northern Europe). To keep clean, people changed their linen undershirts regularly, believing that clean fabric absorbed dirt and oils from the skin.
- Surgeons offered reconstructive procedures for noses and ears damaged by disease or injury, which were considered part of the broader pursuit of beauty and health. Skincare, perfumery, and even dental hygiene were all regarded as aspects of the same bodily care.
Is it true that clothing colors or styles were regulated for what class you were in?
Yes, through sumptuary laws. Across Italian and other European states, local governments tried to control what materials, colours, and ornaments different groups could wear. These regulations aimed to preserve visible distinctions between nobles, merchants, and artisans. They might forbid non-nobles from wearing silk, velvet, gold embroidery, or certain bright colours like crimson and purple.
In practice, they were notoriously unsuccessful. Enforcement was uneven, and wealthy townspeople often ignored the rules or paid fines as a kind of luxury tax. Still, the laws reveal how deeply clothing was tied to ideas of morality, hierarchy, and civic order.
How different were fabrics between the classes?
The richest citizens wore silks, velvets, cloth-of-gold, and fine wools lined with fur. But new research on artisans and shopkeepers shows that non-elites were far from drab. They used a thriving second-hand market, mixed-fibre textiles such as fustian (a cotton-linen blend), and dyed fabrics that imitated more expensive materials.
Colour was a key form of self-expression: even lower-status wardrobes contained reds, blues, and yellows.
The difference, therefore, was often in quality and finish rather than in access to fashion itself. Fine white linen, worn visibly at the neck and cuffs, was one of the clearest signs of respectability, since it required constant washing and starching.
How different were beauty standards compared to today?
Beauty ideals were narrower and more moralised. The perfect woman was imagined as fair-skinned, with golden or light hair, a serene expression, small mouth, high forehead, and modest bearing. Physical beauty was thought to reflect inner virtue, chastity, and good health, so external appearance carried moral weight. Whiteness was both a colour ideal and a social marker, linked to class, purity, and emerging racial hierarchies.
At the same time, women’s beauty was seen as a form of power, capable of inspiring desire and moral danger, which made it both celebrated and suspect.
Did fashion tastes change quickly, or did certain styles last a long time?
Fashion changed, but not quite with the speed of modern trends. Garments were valuable and meant to last, so styles evolved gradually across decades rather than seasons. Sleeves, collars, and decorative panels could be replaced to refresh a gown or doublet. Shifts in silhouette, colour preference, and textile technology did occur: for example, the move from flowing fifteenth-century gowns to the more structured, corseted shapes of the sixteenth century.
The fashion for black amongst men’s clothing spread from Burgundy to in the mid to late fifteenth century and was widely taken up in Italy in the early sixteenth. Around this time men started to have beards and wear large codpieces. You don’t see this in fifteenth century fashions.
Certain hairstyles, such as the long plait and forehead ribbon of Leonardo da Vinci’s Lady with Ermine are associated with certain historical moments (in this case the Milanese court in the 1490s and early 1500s, it dies out almost completely by the later 1510s). Among artisans and tradespeople, fashion spread through adaptation—reusing materials, dyeing fabrics, sewing on accessories such as ribbons, buttons etc, and following elite models in simplified form.
More From Jill Burke
If you loved this peek into Renaissance beauty and fashion, you’ll want to dive deeper into Dr. Burke’s work. Her book, How to Be a Renaissance Woman, goes even further — exploring the daily rituals, medical beliefs, and bold creativity that shaped women’s lives in the fifteenth and sixteenth centuries.
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