History

Max Factor’s story is one of determination, artistry, and innovation—beginning far from Hollywood and culminating in a name synonymous with glamour. Born Maksymilian Faktorowicz in 1872 in Łódź, Russia (present-day Poland), he grew up in modest circumstances and began working as an apprentice to a pharmacist and dentist at a young age. This early exposure to chemistry and potions ignited his fascination with the human face and its transformative possibilities. As a young man in Moscow, he established his first shop in Ryazan, Russia, where he sold perfumes, skin creams, and wigs. His talent quickly drew notice; a theater troupe used his makeup during a performance for the Russian aristocracy, which led to him becoming makeup consultant to the Russian royal family and later to the national opera.

In 1904, Max Factor and his wife Lisa, along with their three children, emigrated to the United States with less than $400. His surname was Americanized at Ellis Island, and soon after, he made his way to the St. Louis World’s Fair, where he sold his creams and perfumes. By 1908, he had moved to Los Angeles and opened the Max Factor beauty salon, positioning himself near the blossoming film industry that would soon become Hollywood. Here, he began experimenting with cosmetic formulations designed specifically for film, ensuring actors looked natural on screen rather than mask-like under harsh lighting.

On January 2, 1909, he formally established Max Factor & Co., laying the groundwork for what would become one of the most influential beauty brands in history. The company grew rapidly, and by 1916, Max Factor introduced eye shadow and eyebrow pencils to the general public—previously products reserved for theatrical use. By 1920, he launched a full cosmetic line, coining the very word “make-up”, which would soon become part of everyday vocabulary. His belief was revolutionary: glamour should be accessible to all women, not just screen stars. This philosophy, paired with his artistry, shaped the way generations approached beauty.

Over the decades, Max Factor & Co. expanded its reach beyond Hollywood. The company relocated to South Hill, Los Angeles in 1936 and then to Hollywood in 1959, further cementing its ties to the film industry. By the mid-20th century, Max Factor’s name was attached to iconic screen sirens such as Ava Gardner, Jean Harlow, and Marlene Dietrich. His innovations not only defined how women saw themselves but also influenced fashion and culture on a global scale.

Corporate transformations followed in later years. In 1961, Max Factor & Co. acquired Parfumerie Internationale and Corday of Paris, bringing fine French perfumery into its portfolio. The company changed ownership multiple times: purchased by Norman Simon Inc. in 1972, acquiring the Mary Quant fashion house in 1980, and becoming part of the Playtex Group in 1983. It merged with the Revlon Group in 1987 before ultimately being bought by Procter & Gamble in 1991, where it continues to exist as part of a global beauty empire.

Yet beyond the corporate story, Max Factor’s true legacy lies in his philosophy and creativity. In 1929, his pioneering contributions to film makeup earned him a special Academy Award, but he never saw himself as merely serving the film industry. He believed deeply that any woman could be glamorous given the right tools and techniques. From mascara and foundation to lip gloss and fragrance, Max Factor placed the artistry of transformation into the hands of everyday women—empowering them to craft their own identities and expressions of beauty. His vision has endured for more than a century, bridging the golden age of Hollywood with the modern beauty industry.

1910s:

In the 1910s, Max Factor was already reshaping the world of beauty and establishing himself as the indispensable link between Hollywood and cosmetics. In 1914, after seeing a motion picture for the very first time, he was struck by how unnatural and even grotesque actors appeared on screen due to the use of heavy theatrical greasepaint. He called the effect “terrifying” and immediately set out to solve the problem. His answer was the invention of Flexible Greasepaint, the very first cosmetic designed specifically for motion pictures. Unlike traditional stage make-up, which cracked under studio lights and created stiff, mask-like expressions, Flexible Greasepaint moved naturally with the skin, allowing actors to appear more human and relatable. This innovation not only revolutionized film cosmetics but also laid the foundation for modern screen beauty.

By 1917, Max Factor continued to expand his offerings with products that combined practicality and glamour. He introduced the Supreme Liquid Whitener, which provided women with a smooth alabaster finish for the neck, shoulders, arms, and hands. This product was more than cosmetic—it reflected the early 20th-century ideal of flawless, porcelain-like skin, aligning with fashion and cultural trends that equated pale, even-toned skin with refinement and elegance.

In 1918, he introduced a concept that would forever change the way cosmetics were understood and applied: the Colour Harmony principle of make-up. This philosophy recognized that every woman had a unique combination of complexion, hair, and eye color, and therefore required specific shades of cosmetics to enhance her natural beauty. By coordinating make-up tones to complement individual coloring, Max Factor made beauty more personal, precise, and scientific. The idea of “Colour Harmony” became a cornerstone of the brand, and remarkably, the term remains in use to this day across the beauty industry.

Together, these breakthroughs of the 1910s positioned Max Factor not just as a supplier of products, but as a visionary in the science and artistry of make-up. He bridged the gap between the fantasy of the silver screen and the everyday woman, helping both actresses and the public move closer to the new, modern ideal of glamour.

1920s:

The 1920s marked a decade of dazzling transformation for Max Factor, as he firmly established himself not only as Hollywood’s favorite make-up artist but also as the man who brought cinematic glamour into the lives of everyday women. In 1920, he forever changed the language of beauty by coining the term “make-up.” Prior to this, cosmetics were often referred to as “paint” or “greasepaint,” terms that carried negative connotations of artifice and even moral suspicion. By renaming his products “make-up,” Max Factor gave them an air of sophistication and artistry. At the same time, he introduced Society Make-up, designed for the general public. For the first time, women beyond the film industry could buy products specifically created to help them emulate the beauty of their favorite Hollywood stars. This was a pivotal cultural shift—Max Factor democratized glamour, bridging the gap between screen fantasy and everyday life.

By 1925, Factor was expanding beyond facial cosmetics into nail care, an area not yet developed in the way we know it today. He introduced the Supreme Nail Polish, a beige-colored powder packaged in a small metal pot. Women would sprinkle the powder onto their nails and then polish it with a chamois buffer, creating a subtle tint and glossy shine. Unlike modern enamel-based polishes, this was a natural, buffed finish—sophisticated and understated, perfectly in line with the elegant, elongated look of nails fashionable in the Jazz Age.

In 1927, he refined this further with the release of Society Nail Tint—a rose-colored cream packaged in a delicate porcelain pot. When buffed into the nails, it imparted a natural rosy glow, enhancing the hands with refined femininity. Alongside it, he launched Society Nail White, a chalky liquid in a tube designed to be applied to the underside of the nail tips. Once dry, it gave the effect of clean, white-tipped nails. Together, the rose tint and nail white mimicked what we now recognize as the French manicure, decades before it became a global beauty staple.

By 1928, Max Factor was innovating once again with products designed specifically for the demands of film. In April 1928, he created Lip Pomade, later known as lip gloss, to give movie actresses’ lips a luminous, moist shine that read beautifully under studio lights. It was glamorous, sensual, and quickly became a must-have product both on and off screen. Just two months later, in June 1928, a cultural phenomenon erupted when actress Jean Harlow became the first true “platinum blonde.” Her striking hair color caused immediate challenges for make-up on black-and-white film, since traditional shades appeared harsh or unnatural against her pale hair. To solve this, Max Factor developed new make-up shades specifically tailored to the unique requirements of cinema lighting and black-and-white photography. His achievement was so influential that he was awarded an Oscar for this innovation—an early recognition of how his artistry had become as essential to film as costume or set design.

In the 1920s, Max Factor was not simply selling cosmetics—he was crafting an entirely new language of glamour. Through product innovation, clever marketing, and deep collaboration with Hollywood, he defined beauty standards that still resonate today.

1930s:

The 1930s were a decade of remarkable innovation and transition for Max Factor, as his artistry evolved alongside the rapid advancements of film and emerging media. In 1932, always striving to quantify beauty, Max Factor created the extraordinary Beauty Calibrator—a metal contraption that measured facial dimensions down to 1/100th of an inch. The purpose was to identify even the smallest irregularities in bone structure and determine how light and shadow could be used with make-up to create a more balanced, “ideal” face. Though Factor himself admitted he never encountered absolute perfection, the device demonstrated his scientific approach to glamour, blending precision with artistry. That same year, he anticipated the next great visual medium and launched a line of Television Make-up, developed to withstand the harsh lighting and resolution challenges of early broadcasts. It was another example of his foresight—always one step ahead of the entertainment industry’s demands.

By 1934, his creativity extended into nail cosmetics with the release of Liquid Nail Enamel, a revolutionary forerunner of modern nail polish. Unlike earlier powders and creams that required buffing, this product painted directly onto the nail, drying into a glossy, durable coat. It was convenient, fashionable, and perfectly in step with the streamlined glamour of the era.

In 1935, Max Factor solidified his connection to Hollywood by opening the Max Factor Make-up Salon in Los Angeles, a unique studio where clients could experience professional beauty services in the heart of the film capital. That same year, he introduced what would become one of his most legendary innovations—Pan-Cake Make-up. Developed for the unique challenges of Technicolor film, Pan-Cake solved a critical problem: under the unforgiving lenses of Technicolor cameras, actors’ complexions appeared unnaturally red or blue. Factor’s new formula provided flawless coverage, even tone, and a soft, natural appearance on screen. To his surprise, actresses began sneaking jars of Pan-Cake home, realizing it gave them the same radiant complexion in everyday life. Recognizing its universal appeal, Factor released Pan-Cake to the retail market, where it became an instant sensation. It was not only practical but also empowering, allowing women everywhere to achieve the same polished look as Hollywood stars.

Tragically, in 1938, Max Factor passed away at the age of 66. His death marked the end of an era, but his name and legacy were preserved by his son Francis Factor, who honored his father by taking the name Max Factor, Jr. Like his father, he possessed an innate gift for make-up artistry and a visionary outlook, ensuring the family brand not only survived but expanded internationally. Under his guidance, the Max Factor company entered its golden years, cementing the Factor legacy as the house of Hollywood glamour for generations to come.

1940s:

The 1940s were a transformative decade for Max Factor, marked by both the challenges of World War II and the postwar boom in glamour. Cosmetics, like many consumer goods, were impacted by wartime restrictions. Raw materials such as oils, waxes, and packaging components were often redirected to the war effort, forcing companies to innovate with substitutes. Yet make-up itself was seen as an essential morale booster—both for women on the home front and for those serving in uniform. Lipstick, in particular, became a symbol of courage and femininity during the austere years of the war, and Max Factor continued to refine formulas that balanced durability with beauty.

In 1940, Max Factor Jr. developed one of the company’s most remarkable wartime-era innovations: Tru-Color Lipstick. This lipstick promised both resilience and comfort—it maintained its true shade without fading, and its formula was designed to be non-irritating on the skin. To test its performance, the company unveiled the now-famous “Kissing Machine.” This device replaced human testers with mechanical, kiss-shaped lips that pressed repeatedly against lipstick-coated surfaces under controlled pressure. It measured how well the lipstick could endure heat, friction, and the wear of repeated “kisses” while retaining its vibrancy. In a time when soldiers cherished lipstick-marked letters from home, and women demanded beauty that lasted through long work shifts, Tru-Color embodied both practicality and glamour.

As the war ended and Hollywood glamour began to reassert itself in peacetime, Max Factor laboratories resumed more experimental product development. In 1947, after years of refinement, the company introduced Pan-Stik Make-up. A natural successor to the legendary Pan-Cake, Pan-Stik offered women the same flawless coverage in a new, convenient format. Packaged in a sleek tube, it was a cream-based foundation in stick form, designed to be applied “as easily as lipstick” in less than 20 seconds. To test its staying power and realism, models’ legs were covered with Pan-Stik and placed under the sun, observing how the color shifted under light and heat. The results were impressive: Pan-Stik delivered quick, even application and a polished look, making it a favorite for both actresses in front of the camera and everyday women eager to emulate Hollywood glamour.

Together, Tru-Color and Pan-Stik reflected Max Factor’s enduring philosophy: beauty must be both functional and transformative. Even in an era shaped by war rationing and global recovery, the brand maintained its role as the arbiter of Hollywood glamour, ensuring that every woman—whether in a factory, at home, or walking the red carpet—could feel like a star.

1950s: 

The 1950s were a golden decade for Max Factor, when Hollywood glamour and postwar prosperity converged to shape beauty standards worldwide. With television growing rapidly and movie stars reigning as global style icons, Max Factor was at the very center of both screen innovation and everyday beauty. The company’s products of this era not only catered to film and television studios but also translated that same glamour into accessible cosmetics for women at home.

In 1953, Max Factor introduced Crème Puff Make-up, the first truly all-in-one make-up that combined a creamy base with powder. Applied with a soft puff, it went on like a powder but adhered like cream, delivering a finish that was smoother, longer-lasting, and camera-ready. For actresses, it meant fewer touch-ups under the harsh glare of studio lights. For everyday women, it offered an effortless way to achieve a polished complexion that mirrored the elegance of Hollywood stars.

A year later, in 1954, Max Factor released Erace, the first commercially available concealer. Originally designed to hide blemishes, fine lines, and shadows under the unrelenting scrutiny of film cameras, it became a revelation for the retail market. With Erace, women could correct imperfections with the same precision used on movie sets, reinforcing Max Factor’s promise to bring the artistry of Hollywood make-up into every woman’s vanity case.

Television began to reshape beauty needs, and Max Factor met this challenge head-on. In 1955, the company introduced Hi-Fi Fluid Make-up, a line developed directly from its research into color television technology. Just as high-fidelity sound brought clarity and richness, Hi-Fi make-up emphasized vivid, bright tones designed to glow on-screen. The range extended to cheeks, lips, and eyes, providing performers with a fresh, luminous appearance. It remained the standard for television cosmetics well into the modern broadcasting era, ensuring that actresses and television personalities looked flawless under the new medium’s scrutiny.

Perhaps one of the most revolutionary innovations came in 1958 with the debut of the Mascara Wand. Until then, mascara had been applied with a brush dipped into a cake formula—a process that was messy, time-consuming, and inconsistent. The new wand, which drew product directly from a tube, revolutionized the way women enhanced their lashes. This sleek, hygienic method was quickly adopted as the industry standard and is still the foundation of how mascara is packaged and applied today.

Throughout the 1950s, Max Factor’s products were inseparably linked to Hollywood’s brightest stars. From Marilyn Monroe’s sultry red lips to Grace Kelly’s luminous complexion and Elizabeth Taylor’s iconic violet-eyed look, Max Factor’s laboratories helped define the faces of cinema. His cosmetics not only reflected the glamour of the silver screen but also made it accessible to millions of women worldwide, solidifying Max Factor as the true “make-up of make-up artists.”

1960s:

The 1960s marked a bold and transformative decade for Max Factor, as beauty trends shifted dramatically in response to social change, new cultural icons, and the explosive influence of fashion and film. After decades of shaping the faces of Hollywood’s Golden Age, Max Factor embraced the youthful, playful, and often experimental styles of the sixties, ensuring the company remained at the forefront of both innovation and glamour.

This was the era of Twiggy’s painted-on lashes, Brigitte Bardot’s sultry winged eyeliner, and the fresh, mod aesthetic that emphasized bold eyes, pale lips, and dramatic contrasts. Max Factor was quick to adapt its formulas and packaging to fit these new looks. Products were redesigned to appeal to a younger market, emphasizing ease of use and portability. The company’s innovations in mascara, eyeliners, and lipsticks made it easier than ever for women to replicate the daring looks of the runway and screen.

During this time, Max Factor also continued to expand its global reach, with its name synonymous with glamour on both sides of the Atlantic. The company worked behind the scenes with stars of the era—Sophia Loren, Audrey Hepburn, and Barbra Streisand—while also promoting products that ordinary women could buy to emulate these beauty icons. The marketing reflected the optimism of the decade, positioning cosmetics not just as a necessity, but as an expression of individuality and style.

The 1960s also saw the company experimenting with new formulations and technologies that built upon its legacy of Hollywood laboratory research. The growing popularity of color photography, film, and television meant make-up needed to perform under bright lights while still appearing natural to the naked eye. Max Factor’s foundations, powders, and lipsticks were continually refined to achieve this balance.

By the end of the decade, Max Factor had firmly secured its reputation not only as the make-up of the stars, but also as a household name across the world. The brand successfully bridged the gap between the high glamour of Old Hollywood and the rebellious, youth-driven beauty ideals of the sixties—cementing its role as the company that defined glamour through changing decades.

1970s:

The 1970s was a decade of experimentation and self-expression, and Max Factor adapted seamlessly to the shifting landscape of fashion, film, and popular culture. Women were embracing greater individuality in their looks—sometimes leaning toward the bohemian naturalism of the early part of the decade, and at other times chasing the disco-fueled glamour of the mid-to-late seventies. Max Factor remained central in this beauty evolution, offering products that balanced practicality with the boldness women craved.

In 1971, the company introduced its first “waterproof” make-up, a breakthrough that reflected the lifestyle needs of the era. Women were no longer confined to carefully coiffed appearances; they were active, mobile, and increasingly balancing work, social life, and fitness. The innovation of waterproof formulas ensured that make-up could endure heat, humidity, swimming, or long nights of dancing under strobe lights. This development was more than just cosmetic—it was symbolic of a modern woman’s freedom to live fully without worrying about her make-up fading or smudging.

Throughout the decade, Max Factor continued to thrive in both Hollywood and mainstream culture. The brand was heavily tied to the glamorous aesthetics seen on screen, particularly in television and film, where stars like Farrah Fawcett and Cher became beauty icons. The company leveraged these cultural figures to highlight its ability to deliver both durability and dazzle, aligning its products with the high drama of celebrity style while still being accessible to everyday women.

The 1970s also witnessed the rise of more daring color palettes in cosmetics, with vibrant blues, purples, and metallics making their way into eye shadows and nail enamels. Max Factor was quick to embrace this shift, offering women the tools to create both natural day looks and striking evening statements. The waterproof technology introduced early in the decade became a backbone for these products, ensuring that bold colors stayed intact through long wear.

By the close of the seventies, Max Factor had reinforced its legacy of innovation while keeping in step with cultural change. Its waterproof make-up represented more than just a technical advancement—it was part of a broader narrative in which women claimed greater agency over their appearance and lifestyles, making glamour not just enduring, but adaptable.

1980s:

The 1980s marked a transformative period for Max Factor, as the brand both expanded globally and embraced cutting-edge science to redefine beauty. It was a decade where technology, fashion, and celebrity all collided, and Max Factor remained at the forefront of the industry. The company’s innovations reflected not only advances in cosmetics, but also a broader shift in consumer desires—women wanted products that combined glamour with real efficacy, mirroring the bold and dynamic styles of the decade.

In 1980, the Japanese subsidiary of Max Factor acquired an extraordinary discovery: Pitera, a naturally derived antioxidant extracted from sake fermentation. Researchers noticed that sake brewers’ hands remained youthful despite their age, thanks to prolonged contact with the liquid. Max Factor harnessed this ingredient to launch Max Factor Success Key with Pitera, a groundbreaking skincare line that emphasized radiance and regeneration. This product line would eventually evolve into SK-II, today one of the world’s most prestigious luxury skincare brands. The introduction of Pitera signaled a new frontier in cosmetics—where biotechnology and ancient traditions converged to create products that transcended make-up and entered the realm of skin health and longevity.

By the middle of the decade, Max Factor was also celebrating its Hollywood legacy. In 1984, the company opened the Max Factor Museum in the former Max Factor Hollywood Make-up Studio at 1666 North Highland Avenue. This studio had long been an iconic space, where screen legends such as Marilyn Monroe, Elizabeth Taylor, and Judy Garland once sat in Max Factor’s chair as he crafted their unforgettable looks. The museum preserved this golden age of glamour, showcasing his original beauty rooms—each color-coded for different hair shades—and a treasure trove of Hollywood make-up history. This initiative reinforced Max Factor’s identity not just as a cosmetics company, but as a custodian of cinematic beauty culture.

The late 1980s brought yet another world first. In 1988, Max Factor launched the world’s first clear, colorless mascara, a radical departure from the thick, dramatic lash looks that had dominated in previous decades. This innovation reflected a growing consumer interest in natural beauty trends alongside the bold excesses of the era. The product allowed women to enhance the gloss, curl, and definition of their lashes without pigment, offering a subtler alternative to traditional mascaras. It also had versatile applications: taming brows, adding sheen, and providing a “barely there” polish that suited the fresh, athletic aesthetic of the late eighties.

Taken together, the 1980s showed Max Factor’s ability to balance heritage with innovation. While celebrating its Hollywood past with the museum, it also looked toward the future with SK-II’s scientific breakthrough and the invention of clear mascara. This combination of storytelling and science ensured the brand stayed relevant in an increasingly competitive global beauty industry.

1990s:

The 1990s represented a new chapter in Max Factor’s long history, one shaped by corporate consolidation and global expansion under the umbrella of a consumer goods giant. In 1991, Max Factor officially became part of the Procter & Gamble (P&G) family, a move that brought the brand into one of the most powerful and far-reaching portfolios in the beauty and personal care industry. This acquisition provided Max Factor with unprecedented resources, distribution networks, and marketing power, ensuring that its Hollywood-born legacy would reach new generations of consumers worldwide.

For P&G, acquiring Max Factor was a strategic decision—one that allowed the company to strengthen its presence in the prestige cosmetics category, particularly in Europe and Asia where Max Factor had retained strong recognition and loyalty. Unlike in the United States, where the brand’s profile had faded slightly since its mid-century heyday, international markets still regarded Max Factor as a name synonymous with glamour, innovation, and cinematic beauty. P&G sought to leverage this heritage while modernizing the product lines to meet the evolving demands of the 1990s consumer.

The transition also marked a period of brand repositioning. P&G began to emphasize Max Factor’s identity as the “make-up of make-up artists,” a tagline that tied its Hollywood studio origins to a modern professional standard. Advertisements during the decade frequently highlighted its association with the film industry, showing how Max Factor products were still used backstage and on set, while also accessible to everyday women. This narrative allowed the company to compete with newer, trend-driven brands by grounding its appeal in artistry and authenticity.

By the mid-to-late 1990s, P&G used its marketing strength to reinvigorate Max Factor with new product launches and bold advertising campaigns. The brand began to align with supermodels and celebrities, tapping into the glamour-driven culture of the decade. At the same time, it worked to modernize formulas and packaging, ensuring that Max Factor could hold its own in an increasingly competitive marketplace where brands like MAC, Bobbi Brown, and Urban Decay were emerging with edgy, fashion-forward identities.

Ultimately, the 1990s secured Max Factor’s future by embedding it within the structure of a global powerhouse. While the acquisition meant changes to how the brand was marketed and managed, it also preserved the legacy of Hollywood’s make-up artist to the stars, ensuring that Max Factor remained a household name even as the beauty industry entered a new era of rapid globalization and innovation.

2000's:

The 2000s marked a dynamic era for Max Factor, characterized by innovation, celebrity collaborations, and a strong focus on long-wear, professional-grade products for the global consumer. In 2001, the brand launched Lipfinity, a revolutionary 12-hour long-lasting, non-transfer lip color. Designed to deliver a vibrant, all-day finish without smudging or fading, Lipfinity quickly became a hallmark of Max Factor innovation. Between 2006 and 2008, it achieved phenomenal commercial success, with one unit sold globally every nine seconds, underscoring both the brand’s reach and the product’s universal appeal.

By 2004, Max Factor had strengthened its ties with the world of high fashion and professional artistry by signing Pat McGrath as its Global Creative Design Director. McGrath’s visionary approach brought a new creative edge to Max Factor’s collections, merging Hollywood glamour with runway-inspired innovation. Under her guidance, the brand expanded its portfolio with products that emphasized professional quality, bold color, and transformative effects.

In 2009, the company launched False Lash Effect mascara, which would become one of its best-selling products. Designed to mimic the look of false eyelashes, it offered volume, length, and drama, capturing the attention of consumers seeking instant glamour. The early 2010s saw further diversification with Colour Effect Boutique, a line that showcased vibrant nail polishes and eye shadows. This collection emphasized creativity and self-expression, reflecting a trend toward more personalized, colorful, and playful cosmetic choices.

In 2012, Max Factor continued its focus on long-lasting color and innovation with Glossfinity, a glossy, durable nail collection available in 26 signature shades, ranging from subtle, sophisticated tones to bright, daring hues. That same year, the brand launched the Colour Effect Flipstick, a double-ended lipstick designed to empower women to mix and match shades, effectively becoming their own lip artists. This product exemplified Max Factor’s dedication to interactive, customizable beauty tools, bridging professional expertise with everyday accessibility.

Throughout the 2000s, Max Factor’s strategy combined technological innovation with the brand’s historic association with Hollywood glamour. Long-wear lip colors, dramatic mascaras, and interactive color tools allowed the brand to maintain its relevance, appealing both to consumers seeking reliability and those looking to experiment with bold, creative cosmetics. This period cemented Max Factor’s position as a brand that honors its cinematic legacy while evolving with contemporary beauty trends.

Max Factor Perfumes:

 

From 1933 to 1936, Max Factor expanded his enterprise beyond cosmetics into the world of fine fragrance, enlisting the expertise of Dr. Anthony T. Frascati, an accomplished perfumer and chemist born in Italy on July 7, 1892. Frascati brought extensive experience from European perfumery, having composed fragrances for Perfumery St Denis, Tokalon, Ungerer & Co, and Givaudan-Delawanna between 1922 and 1932. When he joined Max Factor in 1933, he worked closely with Factor in the company’s own laboratories in Hollywood, combining imported essences and raw materials of the highest quality to compose perfumes that were mixed, aged, and perfected under meticulous laboratory conditions. His role extended beyond creating commercially available perfumes; he also crafted private scents for Hollywood screen stars, though these were not produced for the market.

Frascati’s work at Max Factor was innovative for the time. A 1936 Popular Mechanics article highlighted his use of California fruit extracts to rival traditional floral essences. Using a secret formula, Frascati distilled perfumes directly from fruit juices in the company’s Hollywood laboratories. This experimentation suggested a future in which fruit extracts could provide the basis for some of the most beautiful and unusual fragrances. Similarly, the Los Angeles Times in 1936 reported on a perfume created by Factor that could theoretically be ingested without harm, distilled entirely from pure California fruit juices. These avant-garde methods drew significant attention from the perfumery world and hinted at Factor’s willingness to push the boundaries of conventional fragrance creation.

During his tenure, Frascati also contributed to the expansion of Max Factor’s operations abroad, supervising the establishment of a perfume plant in London, England, while Frank Atkins managed the compounding of fragrances at the new site. By 1936, Frascati departed Max Factor to become head of the perfume laboratory at Firmenich in New York City, where his expertise extended even to forensic applications; he was instrumental in solving the first U.S. murder case solved using perfume evidence, the scent involved being Bourjois’ Evening in Paris.

In an August 27, 1948 article in The Evening Independent, Max Factor shared his thoughts on the role of perfume in a woman’s daily grooming routine, emphasizing that it should serve as a subtle, complementary extension of her personality rather than a bold, overwhelming statement. He advised that a woman’s fragrance should be soft, sweet, and intimate—staying close to the body rather than assailing the senses—and tailored to her individual character. Factor stressed that the ideal perfume is one that feels natural, almost as though it were part of the wearer herself, enhancing her presence without overpowering it.

To illustrate his philosophy, Factor referenced ten prominent actresses of the era and suggested the types of perfumes that would best suit their personalities and public images. Lana Turner, he noted, should wear a medium-heavy, warm floral scent—not overly Oriental—reflecting her sensuality without becoming a siren. Hedy Lamarr, by contrast, could embrace a siren-like allure with a warm, earthy, amber-rich fragrance. Factor recommended that June Allyson avoid anything too intensely seductive, favoring light, delicate aromas, while Betty Grable would benefit from vivacious, spicy notes that matched her energetic persona.

Other actresses received similarly tailored guidance. Rosalind Russell’s perfume should be subtle and warm, like gardenia, avoiding anything too overpowering, whereas Jane Powell was best suited to fresh, lilac-inspired fragrances. Ingrid Bergman’s scent could be warm with a hint of floral, while Greer Garson might favor soft, sweet, lily-like notes. Bette Davis warranted an exotic, woody perfume, carefully avoiding sweetness or overt florals, and Marjorie Main’s character was matched with a warm, outdoorsy scent that complemented her persona.

Factor’s observations highlight his belief that perfume was more than a mere accessory—it was an integral part of expressing identity and refining glamour. By thoughtfully pairing specific aromas with each actress’s temperament and screen presence, Max Factor underscored his broader philosophy: the perfect fragrance is an intimate, harmonious extension of oneself, enhancing rather than defining the wearer.

The Max Factor perfume division continued to evolve over the decades. In 1961, Max Factor & Co acquired Parfumerie Internationale and Corday of Paris, along with their subsidiaries. This acquisition brought iconic fragrances under the Max Factor umbrella, including the famed Toujours Moi, which would thereafter be branded and marketed as part of the company’s growing prestige line. This era of innovation and strategic acquisition reflects how Max Factor not only shaped cosmetics but also played a significant role in the evolution of American perfumery, bridging Hollywood glamour with artisanal fragrance craftsmanship.