Transforming Science into Dreams: Taking a Closer Look

1. TRANSFORMING SCIENCE INTO DREAMS: TAKING A CLOSER LOOK
By Agnes Meilhac, MA, MA, DESS
These conference proceedings summarize general information about the role of marketing
translation in the cosmetics industry. They highlight the most important aspects of the beauty
business with a view to providing session attendees with a basic understanding of the context in
which cosmetic marketing copy is translated for international consumers. This paper does not
cover the same material as the session and should be regarded as background reading.
1. HISTORY
Cosmetics tend to have a reputation of being somewhat superficial and shallow, and yet they
have been around for thousands of years and form an integral part of human civilization and
culture. The first reported use of beauty aids dates as far back as 4000 BC. Oils and fragrances
were used for ceremonies and religious rituals by the earliest men and women. The Egyptians,
who made an impressive array of unguents, essences and colorants, believed that physical
appearance was closely related to an individual’s level of spirituality. The decadent Greeks and
Romans continued to whip up formulas for shampoos, toothpastes, lotions, soaps and other
beauty supplies, although strictly for purposes of personal beautification. The term “cosmetics”
comes from the Greek word “kosmetikos,” which means “skilled in decorating.”
In the Western world, the advent of cosmetics came about in the Middle Ages. A pale
complexion became the norm of beauty for centuries thereafter; it was also considered a sign of
wealth and social standing. Women went to great lengths to enhance their natural attributes,
sometimes at a considerable risk to their health. The fashionable look of paleness could be
achieved with egg whites, bleeding with leeches or potentially deadly lead-containing powders.
In the 19th century, eye drops made from belladonna, one of the most toxic flower-bearing
plants, were employed to dilate the pupils, resulting in large, dreamy-looking eyes considered as
the height of seduction.
Cosmetics were frowned upon by the church throughout Western history and often associated
with questionable morals and vulgarity. Plant-based preparations of all kinds were nevertheless
made on a small scale until, in the early 1800s, the blossoming scientific manufacturing of
perfumes and beauty aids in France ushered in a new era based on the acceptance of physical

2. enhancement. Europe’s Industrial Revolution made the mass production of cosmetics possible
and, by the 1890s, magazines started placing discreet advertisements.
The industry became fully established in the 20th century, after commercialized use of cosmetics
became common practice with the creation of beauty salons by the likes of Helena Rubinstein
and Max Factor. Mass makeup marketing took off in the 1920s with the development of chain
stores. The performing arts were among the most significant influences that shaped the modern
history of the cosmetics industry: first theater and ballet, then motion pictures and Hollywood,
and eventually the ascension of television in the 1950s. The two World Wars had another
unprecedented impact. Because of the absence of men, women gained more social and financial
independence while they worked to support themselves and their families, acquiring disposable
income, which many used to buy makeup.
2. THE COSMETICS INDUSTRY TODAY
As we look ahead into the 21st century, it is important to consider the technological revolution
that took place in the second half of the 20th century. The technological advances of the last
decades have significantly changed and enhanced every facet of our lives. They have also had a
tremendous impact on the course of the cosmetics industry, which has evolved as surely as we
have seen ourselves move from phonograph records to cassette tapes, to CDs, and now to MP3s.
Today cosmetics are a booming multi-billion-dollar industry. Over the last 20 years, the market
has grown on average by +4.5%, with annual growth rates reaching as high as 6% and dipping to
1% in 2009 due to the current economic slowdown.
Like many consumer products, cosmetics have undergone an important phase of globalization,
transitioning from a market in which many small businesses sold products domestically, to one
consisting of “global brands” marketed worldwide by a small number of large international
corporations. Geared toward exports, the industry’s marketing strategies are hence heavily
dependent on multicultural communication, and translation is an inherent part of the process.

3. 2.1 Market Size and Structure
L’Oreal estimated that, in 2009, the worldwide cosmetics market totaled 117.3 billion euros or
approximately 150 billion USD (Ref. 1). Europe represents the leading cosmetics market while
China is considered the fastest-growing region, boasting a high double-digit growth potential.
According to a Global Insight Inc. overview of the broad cosmetics industry in the European
Union, Japan, China and the United States in 2007, the European market size was nearly as large
as the United States and Japan combined (Ref. 2). Among the EU countries, Germany was
valued as the largest cosmetics market, followed by France, the UK, Italy and Spain.
The cosmetics industry exists in a market structure with a large number of companies attempting
to differentiate their products and maintain a certain degree of control over pricing.
Multinational cosmetics corporations and their subsidiaries combine to dominate over half of the
cosmetics market. In 2006, the top 10 global cosmetics giants represented 55% of total market
sales. They were Procter & Gamble Co., L’Oreal Group, Unilever Group, Colgate-Palmolive
Co., Estée Lauder Cosmetics Inc., Avon Products Inc., Beiersdorf AG, Johnson & Johnson Inc.,
Shiseido Co. Ltd. and Kao Corp.
The three most important factors defining the cosmetics industry are its level of globalization and
the importance of exports, dependence on research and development and innovation, and heavy
use of advertising. Each of these characteristics has a significant impact on the work of
translators specializing in this area.
The importance of external trade
France has been, and continues to be, the world’s leading cosmetics exporter. In 2005, France’s
cosmetics exports represented 35% of total European exports and were twice the amount
exported by Germany, Europe’s second-largest exporter in this sector. France, Germany, the
United Kingdom, Italy and Spain represent the top five European exporters, collectively
accounting for nearly 80% of Europe’s total cosmetics exports. The US is the largest non-
European cosmetics exporter. Exports are, in fact, at the source of any company’s need for
multilingual communication, which often involves the need for translation services.

4. But why are exports important? To quote J. David Richardson, “Exports are important as a
barometer of a firm’s competitive success” (Ref. 3). Because cosmetics businesses operate in a
highly competitive and dynamic environment, the top-grossing companies controlling the market
cannot rest on their laurels. They are continually working to stave off stiff competition from
smaller firms by gaining footholds in new parts of the world. This is one of the reasons why the
industry’s key players have in recent years actively pursued a strong acquisition strategy
intended to enable demographic expansion in order to open up new opportunities, boost the
introduction of new business lines and streamline production.
R&D and innovation
The cosmetics industry thrives on constant change and new product introductions. Sales are
driven by new scientific discoveries and technological innovations. Innovation is the mainspring
of growth and has always been a crucial element of cosmetic product development. Products
now evolve in response to the growing sophistication of consumers while consumers place
increasingly more sophisticated demands on products as a reaction to new technologies.
In order to satisfy continually changing consumer expectations for new products, cosmetics
companies conduct ongoing R&D. While they traditionally spend between 2 and 3.5% of sales
turnover on their R&D activity, the numbers for other industry sectors vary wildly (Ref. 4). For
example, the software and Internet industry allocates 13.6% percent of its sales to R&D; the
computer and electronics industry 7%; the aerospace and defense industry 4.9% and the
chemicals and energy industry 1% (Ref. 5).
Intellectual property is another indicator of the high level of innovation in cosmetics, especially
as the number of cosmetics patents filed over the past 25 years has literally gone through the
roof. According to the European Patent Office (EPO), cosmetics patents published by the US,
China, Germany, Japan, Austria and France combined accounted for nearly 55% of the total
patents published in 2005 (Ref. 6).
To give a few examples, the total number of cosmetics patents filed in Europe surged from 783
in 1980 to 2,599 in 2005, representing a 300% increase. The US filed four times as many
cosmetic patents in 2005 as in 1980, with the total number rising from 170 to 685. Japan went
from 469 to an impressive 2,976 patents within that same timeframe. While China had 0
cosmetics patents between 1980 and 1985, 25 such patents were registered in 1990 and as many
as 683 fifteen years later.

5. What exactly is being innovated? Innovation in the field of beauty has delivered such products
as waterproof mascara, anti-dandruff shampoos, light-reflecting pigments that conceal under-eye
shadows, and sun care creams that protect the skin against harmful ultraviolet rays. But most
markets are now saturated, especially in North America and Europe, where consumers are
inundated with a plethora of products based on very similar concepts. When a newly introduced
technology meets with consumer acceptance, it quickly becomes a fad and is immediately picked
up by other brands that give it their own spin. As a result, cosmetic products have a notoriously
short life cycle; entire product lines are constantly reorganized and retooled, with items added
and subtracted to reflect current market trends.
Advertising / sales and marketing spending
It is the marketers’ job to make sure that their brand catches the consumer’s attention and purse
strings. While science makes cosmetics unique and distinct, advertising is what adds the element
of glamour and sophistication that helps drive the scientific message home and, ultimately, sells
the product. The cosmetics industry is ranked as one of the highest ad spenders. Perfume and
cosmetics companies spend an average of 19.2% of their net sales on advertising. By
comparison, the ad/sales ratios for pharmaceutical companies and wireless communications
providers are 4.2% and 3.1%, respectively (Ref. 7).
Heavy sales and marketing spending is also a constant among industry players, with expenses in
that area accounting for 40 to 45% of sales turnover. Marketing is, of course, all about getting
products out to the consumers, dictating how they will be designed, priced, promoted and
distributed. As a result, cosmetic marketers spend a great deal of time perfecting their products’
market positioning and sales arguments as well as merchandising and display design. Packaging,
strategic claims and advertising can make or break a cosmetic product. The goal is to make it
extra appealing and desirable so that it will ultimately stand out in a sea of competitors.
Over the years, this has resulted in an increasingly more complex and more precisely targeted
product offer. A few decades ago, a typical beauty regimen consisted of a cleanser, moisturizer
and toner. More recent advancements include so-called multi-purpose or multi-functional
cosmetics with multiple benefits that address consumers’ need for convenience with faster-acting
formulations. We now have moisturizing cleansers, purifying moisturizers, anti-wrinkle toners,
anti-wrinkle sun care, anti-aging shampoos, etc.

6. 3. THE LANGUAGE OF COSMETICS: MIRRORING INNOVATION
The cosmetics industry, like many other industries, has its own jargon, a specialized language,
which can be either used exclusively by industry professionals or geared to the industry’s
consumers, depending on the circumstances of use. The technical language used by industry
professionals within the scope of occupational communication may be meaningless to outsiders.
This would include in-house communication – oral and written – among scientists conducting
R&D activities, production personnel responsible for manufacturing, and marketing staff in
charge of selling and advertising the company’s products and services. The second type of
cosmetics lingo is geared entirely towards the consumer and carefully pitched to serve a single
purpose: selling the product.
The language of cosmetics used to target consumers represents a blend of technology and
creativity. It is first and foremost heavily laced with scientific concepts forming the underlying
foundation of the specific technological breakthrough or innovation that has spawned a new
product. It is also defined by a wealth of gimmicks used to adapt the register of purely scientific
terminology to the average consumer.
In addition to borrowings from science, the language of cosmetics is replete with neologisms,
creative compounds, buzzwords, and catchphrases that are typically found in advertising and in
the glamour industries. Used to carefully outline the product’s defining “universe,” the language
becomes an inherent part of its essence and outer package. It must be precisely worded to appeal
to a predefined target population and accurately reflect the brand’s image. This marketing
language of cosmetics ultimately breaks down and simplifies scientific data in order to make it
not only attractive but also comprehensible.

7. 3.1 Loanwords
The most striking aspect of cosmetic copy is the large number of loanwords from science.
Twenty-five years ago, the average consumer had never heard of exfoliation, dehydration, or
keratinization, at least not in the context of beauty. But cosmetics manufacturers have sought the
endorsement of the medical profession for decades. Medically inspired products appear more
“serious” and “safe” to a certain category of consumers.
Today, techno talk, including cell regeneration, immune protection, collagen depletion, stem
cells, growth factor, free radicals, anti-oxidants, DNA, and coenzymes, is readily accepted by
savvy, well-versed cosmetics buyers used to being exposed to increasingly more sophisticated
claims. Medical-sounding affixes like bio-, micro-, and pro- also abound (as in biologic,
microscopic, and probiotics) in terms such as biomolecular eye serum, microtechnology bio
active foundation, pro-collagen cream, microsmoothing face serum, and a bio-stimulating night
cream with microlift (Ref. 8).
In addition to drawing inspiration from the latest cosmetic surgery and dermatology techniques,
cosmetics companies have also sought to establish a closer relationship with the fashion and
wine-making industries (e.g., the Caudalie brand promoting its vinotherapy skin care). The
intention is to create ever-more innovative products, giving rise to terminological permeations
between two different fields.
3.2 Coining New Terminology
New word formations are a natural consequence of innovation. Scientific discoveries in the
cosmetics industry require the coining of new vocabulary just as technological breakthroughs in
all other industries are the breeding ground for new terminology. Marketers use these new terms
as a ploy to catch the consumer’s eye and draw attention to the product.
One former cosmetic neologism we may not recognize given its widespread use is moisturizer.
More recent coinages include crepiness, Botox-like, cosmeceuticals, nanoparticulate, and skin

8. restorer. And how about crow’s feet wrinkles, worry lines, laugh lines, marionette lines, and oral
commissures? These are all terms formed specifically to denote types of lines and wrinkles for
use in cosmetic surgery and beauty care lingo. As cosmetic science explored the mechanism of
skin aging in greater detail, the language of cosmetics was similarly enriched with
extrinsic/intrinsic aging, photoaging, premature aging, chronological aging, biological aging,
genetic aging, and even myo-aging (a customized term invented by L’Oreal for the launch of its
Myokine line of skin care).
3.3 Creative Compounding
Creative compounding is another form of new word formation that is highly prevalent in the
language of cosmetics, particularly in the form of adjectives. Examples of compounded words
forming new meanings include skin-tensing, body-enhancing, figure-slimming, lipids-
replenishing, radiance-boosting, pore-clarifying, and acne-prone. Most of these adjectives turn
out to be verbal adjectives. In fact, as a general rule, verbs and verbal adjectives are extensively
used in cosmetics copy to help underline product “product action”. Consumers do not so much
buy the product as the benefits and results it can provide, and verbs are all about action.
Consequently, all types of written and oral communication about cosmetic products are packed
with verbs.
A lot of these verbs follow an “up” and “down” movement, whereby one group is intended to
express the idea of reducing the damage to the skin (e.g., wrinkles, sagging, puffiness, or more
underlying collagen depletion) and the other the notion of improving the skin’s natural capital
(e.g., youthfulness, elasticity, firmness). So, on the one hand, we will see such terms as
eliminate, reduce, diminish, minimize, remove, reverse, correct, soften, relax, and, on the other,
we will see boost, enhance, stimulate, invigorate, optimize, energize, and brighten. In short, a
product is defined by how it can eliminate the negative and enhance the positive.
In English, verbs with the prefix re-, meaning repetition or modification with intention to
produce a better result, are one of the sub-groups of verbs often used in cosmetics: rebuild the
cutaneous barrier; restore elasticity; restructure cellular cement; replenish moisture reserves;

9. renew the skin’s youthfulness; rejuvenate, reactivate the night-time repair process; retexturize,
refinish, and refine the skin’s surface; regenerate damaged cells; rebalance the skin’s deep
hydration; and redesign facial contours. These verbs are important because they refer to making
improvements, and that is exactly what cosmetic products are selling.
3.4 Catchphrases and Buzzwords
Catchphrases and buzzwords are also used to carefully construct sales pitches. They follow
market trends and reflect continually changing consumer demands. For example, peace and
relaxation are at the forefront of consumer concerns today, paving the way for buzzwords such as
renewal, refreshing, nourishing, invigorating, effortless, rejuvenating, youth-enhancing, and
replenishing. Buzzwords used to present products as glamorous high-end status items include
premium, prestige, luxury, chic, opulent, premiere, and exclusive. Products backed by science
will be described with such terms as revolutionary, innovative, breakthrough, high-performance,
technologically advanced, potent, patented, and dramatic/spectacular results (Ref. 9).
Cosmetics companies conduct ongoing market research in order to understand consumers and
anticipate their demands. One comprehensive survey performed by NIVEA, in which women
around the world were asked to define their concept of beauty, generated startling results that
nevertheless show the importance of understanding the cultural values of the target audience
(Ref. 10). For American women, said to cherish youth, naturalness and physical fitness more
than anything else, the identified beauty buzzwords were attractiveness, health and well-
groomed appearance. French women, on the other hand, were described as celebrating elegance,
extravagance and color, using beauty products to enhance their charm and allure. The
appropriate beauty buzzwords would be charisma, sensuality and simplicity.
4. THE DUAL PROCESS OF TRANSLATING MARKETING COPY FOR
COSMETIC PRODUCTS

10. One of the interesting aspects of translating cosmetics copy lies in the fact that the process of
translation takes place on two levels. First, the core science is reworded by marketers into a
language that can be understood by an average consumer (this could be referred to as intralingual
translation) (Ref. 11). Later, in a second phase, the translator steps in to perform an interlingual
act of translation aimed at a culturally separate population. This two-tiered translation process,
however, implies quite clearly that the translator be knowledgeable of all scientific ramifications
and nuances at each level of communication. In addition, translators in this field must call on
creative resources to comply with the purpose of the message they are translating.
The combination of science and advertising in the marketing mix to sell beauty products thus
results in a fascinating linguistic phenomenon that places dual demands on the translator.
Christina Hazel refers to it as a “unique translation experience,” categorizing cosmetics copy as
“a unique informative-operative hybrid” because, in contrast to most types of advertising that
tout the benefits of a product, cosmetics companies make a much more concerted effort to win
over clients using a complex “informational” language (Ref. 12).
As part of that experience, the translator is required to wear two distinct hats, those of a scientist
and a marketer, while also being called upon to adopt a binary approach that marries the needs of
the brand (client) with those of the consumer (target audience). This duality, or one could even
say polarity, is apparent every step of the way. Far from “simply” juggling two languages and
two cultures, the translator is also responsible for conveying a carefully constructed, finely tuned
source message, already intended to “translate” technological expertise to make it more
accessible to the consumer.
Works Cited
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<http://www.loreal-finance.com/eng/annual-report#rapport>

11. 2. A Study of the European Cosmetics Industry. Global Insight, Inc.: 2007.
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Approach? (Special Report, 14), Washington, DC: Institute for International Economics,
January 2001, p. 63.
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2008

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Translation. Cambridge, MA: Harvard University Press. 1959, pp. 232-9, reprinted in L.
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Kent State University. 26 April 2010.