I recently wrote about a note in the archive from Frida Kahlo to Meyer Schapiro that includes traces of Kahlo’s lipstick. As an archivist, this naturally brought me to think about the preservation of the medium itself.

I turned to Elizabeth Homberger, Assistant Conservator at the Natural History Museum of Los Angeles County, Los Angeles and Carl Patterson, Director of Conservation, Denver Art Museum, Denver, CO, for some sage advice on the stability of lipstick and what I should do to preserve this piece of history.

Homberger and Patterson presented Kiss and Tell: The Conservation of Lipstick-Coated Art by Rachel Lachowicz at this years American Institute for Conservation of Historic and Artistic Works (AIC) session for the Objects Specialty Group.

While Lachowicz uses lipstick and make-up on large scale sculptural pieces that, by comparison, dwarf the note from Kahlo in the archive, Homberger was kind enough to share with me several important and not widely known facts on lipstick’s long term preservation.

In their research, Homberger and Patterson found that when lipstick was applied directly from the tube and in thin layers, lipstick would remain quite stable. “Condition issues,” Homberger elaborates, ” such as sweating (the migration of soluble oily components), softening, handling marks, cracking, etc. – observed in the Lachowicz works were likely the result of manipulation of the medium by the artist, including reheating of the lipstick and the addition of waxes.”

Given their findings, the team reports that lipstick is a stable medium but “sweating” may occur over time and that environmental conditions will inhibit this effect. Homberger reiterates: “Lipstick is predominately an oil and wax mixture, so assuming the selected waxes and oils are compatible and the object is kept in a cool, stable environment, lipstick is generally quite stable. Recommendations for storing lipstick-based work are: a cool, stable environment with temperatures below 68°F and RH at 50%.”

Another important issue is the dye used in lipstick. Much like pastels, overexposure to light can be harmful to works that include lipstick. Homberger explains that “many of the dyes commonly used in lipsticks are very light sensitive, so limited light exposure, low light levels when exhibited, and the exclusion of UV radiation are imperative.”

Knowing all these helpful preservation tips will assure that Kahlo’s lipstick traces are well taken care. Perhaps these tips will also be of use to any lipstick treasures you might have.