
Backstage at the Oscars 1963, Olivia de Havilland (Catherine Zeta-Jones) retouches Bette Davis’ make-up. The lipstick she’s applying is by Bésame Cosmetics.


The travel lip brush she uses is by Bésame Cosmetics, too.

Backstage at the Oscars 1963, Olivia de Havilland (Catherine Zeta-Jones) retouches Bette Davis’ make-up. The lipstick she’s applying is by Bésame Cosmetics.


The travel lip brush she uses is by Bésame Cosmetics, too.
There are two boxes of Max Factor Pan Stik creamy foundation and a make-up brush on Joan Crawford’s dressing table. I think the brush is the long-hair finishing powder brush by Bésame Cosmetics: the gold handle is the same, but the brand name and the red flowers have been removed from it.
The kit of Joan Crawford’s make-up artist include several boxes of Max Factor Pan Stik creamy foundation.
The pressed powder on the left could be the famous Creme Puff by Max Factor, but no details are visible. Next to it there’s a gold tube of Bésame Cosmetics mascara and a beautiful gold vintage compact. The red round pot on the right is another Bésame product – the cream rouge in Crimson.
More Bésame products here: I’ve spotted other two round pots of cream rouge and a round pot of brightening powder. No details are shown, so it could be the Violet, the Vanilla or the Vanilla Rose one. On the table we see the pressed compact powder again, along with two gold bullet lipsticks (the one laying on the table is by Bésame) and a Bésame cake mascara with mirror compact.
One of the most striking elements of Jane Hudson’s look is her make-up. Bette Davis (Susan Sarandon) invented it, taking inspiration from the concept of the “broken doll”, so important in the aesthetic of the 1962 Robert Aldrich film Feud is based on.
In the memoir This ‘N That, Bette Davis explained she imagined Jane as someone who would never wash her face, just put on another layer of make-up. The bright lips, caked white face make-up and the heart-shaped beauty mark all have a part in achieving the iconic result, not to mention the curly blonde wig, used by the other protagonist of the film (Joan Crawford) in an old movie.
The lipstick Bette applies is by Bésame Cosmetics, a bright orange-based red. My guess is that the shade could be Red Hot Red, described as “classic engine red,” a bold and brazen warm red.
Betty Cooper (Lili Reinhart) is putting a red lipstick on. Her mother Alice (Mädchen Amick) is not happy with her choice and name-checks the shade of the lipstick Betty is wearing.
The lipstick also gets a shot of its own: it’s Seduce Scarlet from the Colorlicious lipstick collection by Covergirl.
Betty, who’s using her sister Polly’s lipstick, tries to explain why she’s wearing it: it makes her feel powerful, but she can’t convince her mother. Alice takes the lip colour away with a tissue and offers another option.
The rigged gold tube she reaches for is definitely a vintage lipstick, possibly by Avon, which still has a Pink Perfection shade in its collection.

Betty Cooper (Lili Reinhart) is applying Fresh Sugar tinted lip treatment. The shade is Honey.
There are a face cream jar and two lip colours on Annalise Keating’s dressing table.
The face cream is Rosehip moisture restorative night crème by Essano, a brand from New Zealand.
The lip colour with the golden case is L’Oreal Color Riche Extraordinaire liquid lipstick in #502 Plum Adagio; the other one is a lipstick by Revlon.
Jenna Marshall (Tammin Sursok) is a pro at applying lipstick flawlessly [1], despite her blindness. Mona (Janel Parrish) meets her at the Radley and doesn’t waste time: she harshly criticises her choice, “that Jungle Red [2].” The lipstick Jenna is wearing actually look good on her: it’s Rimmel Moisture Renew in Diva Red or Red Alert (I can’t decide which one).
[1] A similar scene happened in S01E05 (Reality Bites Me): in that case, Jenna and Hanna were in the same elevator. Moreover, Mona pointing out that Jenna is wearing Jungle Red (which happens to be Alison’s favourite lipstick colour) could indicate she was the one who left the message on Spencer’s mirror in S01E04 (Can You Hear Me Now?).
[2] This shade has become paradigmatic of vivid blue red. First coined for the nail polish seen in The Women (1939) by George Cukor, it’s been turned into a real lipstick by François Nars.