OCL 2018, 25(5), D502

© H. de Clermont-Gallerande et al., Published by EDP Sciences, 2018

https://doi.org/10.1051/ocl/2018053 OCL
Oilseeds & fats Crops and Lipids

Topical issue on: Available online at:

LIPIDS AND COSMETICS www.ocl-journal.org
LIPIDES ET COSMÉTIQUES

RESEARCH ARTICLE

Relations between the sensory properties and

Topical Issue
fat ingredients of lipsticks
Hélène de Clermont-Gallerande1,*, Sarah Abidh1,2, Alexandre Lauer1, Séverine Navarro1,
Gérard Cuvelier2 and Julien Delarue2
1
Chanel Parfums Beauté, Recherche Beauté et Innovation, 93500 Pantin, France
2
UMR Ingénierie Procédés Aliments, AgroParisTech, Université Paris-Saclay, 91300 Massy, France

Received 26 April 2018 – Accepted 14 September 2018

Abstract – Lipstick is a key product in the make-up sector. A woman applies lipstick to feel feminine
and attractive. The sensation she perceives when she applies the product plays an important role in her
attachment to her lipstick. The impact of the ingredients on the sensory properties and the quality of the
lipsticks needs to be understood, so that the formulation can be more effective and the sensory properties
can be precisely adjusted to the target market. During this study, multidimensional correlations were
made between the percentage of ingredients, their physico-chemical specifications and the sensory
properties of the raw materials on their own or the lipsticks. The objective of this study is to predict the
sensory properties of lipsticks from the physico-chemical specifications of the ingredients. It is in effect
quicker to access the physical data than the sensory descriptions. The lipsticks were made using a
simplified formula, evaluated in a sensory analysis and their physico-chemical characteristics were
measured. The relationships between the sensory properties, the ingredient specifications and their
percentage of use in the formula were highlighted. The results confirm the major role of the viscosity of
oils and the wax used in the formula on the sensory and mechanical properties of the lipstick. It is
therefore possible to modify the sensory properties, for example to adjust the shininess of a lipstick,
without altering its mechanical resistance. This opens up opportunities for developing innovative
sensory textures in short lead times.

Keywords: lipstick / sensory properties / oils / waxes / formulation

Résumé – Relations entre les propriétés sensorielles et les ingrédients gras des rouges à lèvres.
L’objectif de cette étude est de prédire la sensorialité des rouges à lèvres à partir des spécifications physico-
chimiques des ingrédients. En effet, les données physiques sont plus rapidement accessibles que les
descriptions sensorielles. À partir d’une formule simplifiée, des rouges à lèvres sont formulés, évalués en
analyse sensorielle et leurs caractéristiques physico-chimiques sont mesurées. Les relations entre les
propriétés sensorielles, les spécifications des ingrédients et leur pourcentage d’introduction dans la formule
sont mises en évidence. Les résultats confirment le rôle majeur de la viscosité des huiles et de la cire
sélectionnée dans la formule sur les propriétés sensorielles et mécaniques du rouge à lèvres. Il est ainsi
possible de modifier des propriétés sensorielles, par exemple, ajuster la brillance d’un rouge à lèvres, sans en
changer sa résistance mécanique. Cela ouvre des opportunités pour développer des textures sensoriellement
innovantes dans un délai plus restreint.

Mots clés : rouge à lèvres / propriétés sensorielles / huiles / cires / formulation

*Correspondence:
helene.declermontgallerande@chanel-corp.com

This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0), which permits
unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
 H. de Clermont-Gallerande et al.: OCL 2018, 25(5), D502

1 Introduction sensory characteristics of the lipstick. We investigated the role

of oils and waxes on the sensory properties of the lipsticks. In
France is the world leader in cosmetics, with high export particular, we studied the impact of the physico-chemical
sales figures. In the competitive market of luxury make-up properties of oils, such as viscosity and the refractive index,
brands, lipstick is a key product as it represents 8.5% of these and their sensory properties such as the slipperiness and
sales1. Today, lipstick is a flagship make-up product with over shininess of the lipsticks. We also compared the impact of the
900 million units sold per year worldwide, 300 million in variation in quantity and the chemical nature of the wax in
Europe2. It is the best-selling cosmetic product. Several three different formulas of lipstick, on the sensory properties of
journalists have remarked that in a time of economic crisis, these lipsticks. The quality of the lipsticks was tested in all the
sales of premium lipsticks seem to rise (Nelson, 2001; tests by measuring the breaking index. The objectives of this
Schaefer, 2008; Martinez and Allison, 2010). This notion has study are:
been nicknamed the “lipstick effect” (Hill et al., 2012). – to provide knowledge on how to formulate a lipstick with
Lipstick can also be a morale booster, as it creates positive defined sensory properties, so that Chanel can meet the
emotions such as attractiveness, self-confidence and feminini- expectations of consumers all over the world.
ty (Russell et al., 2016). Lipstick is also a highly adaptable – to extend the range to new sensory territories, while
product. A woman might buy on average up to six lipsticks a maintaining the selective quality of luxury products and
year, either to replace a used lipstick or to change her style reducing development time for lipsticks.
(Oglivie and Kristensen-Bach, 2015). Lipstick is also a small
object, easy to carry in her handbag and easy to apply. There
are however rules about its application, which is usually done 2 Material and methods
“in private”. It is an intimate gesture and moment for women,
probably linked to its impact on her self-confidence and self- 2.1 Lipsticks
esteem. Although a woman will buy a lipstick according to the
colour and the make-up effect, she will only buy the same one Ingredients: oils
again if she is attracted by the sensory nature of the product. The INCI names and the physico-chemical specifications
Sensory properties such as slipperiness, smoothness, thickness of the oils used in the study are given in Table 1.
of the coating, and a moisturising sensation are strategic Ingredients: wax
criteria in repeating the purchase. The INCI name of the wax used is synthetic wax &
When she makes a purchase, she expects to see a polyethylene & polypropylene/ethylene copolymer. Its
“beautiful, perfectly smooth lipstick with no defects”. The melting point is 84 °C ± 2 °C and its enthalpy of fusion is
visual aspect is one quality criteria of lipsticks. The consumer 200 ± 10 J/g.
will then apply the lipstick to her lips and it must not break Lipsticks: operating method
when she uses it. Resistance to breaking is also a quality One kilogram of lipsticks is made in a laboratory. The
criterion. During application, the lipstick must meet a number waxes and oils were weighed and mixed together before being
of sensory expectations linked to the sensation on the lips and heated and slowly stirred at 98 ± 2 °C. The pigments were
the appearance of the lipstick coating just after application. added once the mixture had completely melted. After
The sensory properties of the lipstick are therefore important homogenisation, the mixture was poured into silicone moulds
to consumers and a crucial factor in the choice of product at 90 °C ± 2 °C. The mixture was cooled to 0 °C ± 2 °C for
(Desmet and Hekkert, 2007). Every woman, depending on her 10 minutes before extraction. After 15 days of maturation at
culture, personality and education, expects a specific make-up 20 °C, physico-chemical measurements and sensory evalua-
effect. To meet these demands and although the range of tions were carried out on the lipsticks.
lipstick textures is already very diverse, cosmetic companies Lipsticks are made of a complex anhydrous mixture that
are exploring new sensory territories. Chanel offers five lines may contain up to 30 raw materials / ingredients (de Clermont-
of lipsticks with different make-up effects (classic, matte, Gallerande, 2006). In this study, the pigments and powders are
shiny, long-lasting, transparent) to meet women’s expecta- fixed as the experiments focus only on fatty ingredients, more
tions all over the world. The Rouge Coco range from Chanel specifically on oils and waxes and their impact on the sensory
PB has 33 different shades of lipstick, to reach a target market properties of the product. The use of previous studies and
that is as wide as possible. Other shades may appear from expert knowledge helped us to draw hypotheses on the
time to time depending on the season; these are known as supposed impact of the wax and oils on the sensory functions
collections. of the lipsticks (Savary et al., 2013).
During this study, we acquired knowledge about the The oils, which are mainly characterized by their viscosity
relations between the ingredients in the formula and the and refractive index as well as their sensory properties, are
known to impact the slipperiness of lipsticks (Abidh, 2017)
and are believed to impact the shininess of lipsticks.
1
Fédération des entreprises de la Beauté. Available from http://www. The waxes, which are mainly characterized by their
febea.fr/fr/le-secteur-cosmetique/le-secteur-chiffres (last consult melting properties, are supposed to impact the long-lasting
2018/02/02). properties, lip definition and thickness of the lipsticks.
2
ConsoGlobePlanetoscope – Statistiques : ventes mondiales de In this study, we chose to investigate first the impact of the
rouges à lèvres. Available from https://www.planetoscope.com/ viscosity and the refractive index of the oils on the shininess of
hygiene-beaute/1302-nombre-de-rouge-a-levres-vendus-en-europe. the lipsticks, and the relationship between the sensory
html (last consult 2018/02/02). properties of the oils and the sensory properties of the

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Table 1. Measures of Refractive Index. Glossiness and viscosity of several cosmetic oils.

Oils Refractive Index (20 °C) Glossiness SAMBA Viscosity Pa.s (20 °C)

Dicaprylyl carbonate 1.4345 389.80 0.01050 ± 0.00004

Isononyl isononanoate 1.4350 392.50 0.0090 ± 0.00006
Octyldodecyl neopentanoate 1.4450 401.20 0.0210 ± 0.00010
Caprylic/capric triglyceride 1.4500 407.40 0.0305 ± 0.00010
Pentaerythrityl tetraoctanoate 1.4520 410.60 0.1400 ± 0.00200

Topical Issue
Octyl dodecanol 1.4535 361.30 0.0580 ± 0.00040
Hydrogenated polyisobutene 1.4550 418.30 0.0490 ± 0.00010
Squalane 1.4555 415.70 0.0490 ± 0.00010
Hydrogenated polydecene 1.4595 420.20 0.0700 ± 0.00010
Diisostearyl malate 1.4610 421.70 5.3020 ± 0.02800
Polyester-4 1.4655 427.40 1.1650 ± 0.00900
Jojoba oil 1.4660 NA 0.0430 ± 0.00060
Polyglyceryl-2 triisostearate 1.4675 430.11 0.5490 ± 0.00300
Meadowfoam seed oil (Limnanthes alba) 1.4710 398.00 0.1040 ± 0.00200
Polyglyceryl-10 nonaisostearate 1.4715 435.60 1.8390 ± 0.01200
Phytosteryl/octyldodecanol lauroyl glutamate 1.4800 443.90 2.9740 ± 0.03400
Polybutene 1.4960 466.50 Too thick
Phenylpropyldimethylsiloxysilicate 1.5155 498.70 1.2010 ± 0.01100

lipsticks. We then studied the impact of the quantity of wax on

the thickness of the lipsticks.
Using a simple but realistic formula developed in a
previous study (Abidh et al., 2016), we performed two
experiments:
– the sensory and physical properties of 14 oils were
evaluated and the relationships between the two sets of
properties were established. Of those 14 oils, six were
chosen to formulate six different lipsticks;
– the wax was varied in quantity in three different
environments (three different viscosities of oils used in
the previous experiment).

The quality of the lipsticks was assessed according to the

measurement of their resistance to breaking.

2.2 Sensory analysis (Abidh, 2017)

There are many sensory analysis methods applicable to

cosmetic products, which are summed up by Pensé-Lhéritier
(2015). The industry generally uses quantitative® descriptive
sensory profile methods, such as the Spectrum (Meilgaard
et al., 2006) method or a variant. Information relating to the Fig. 1. The sensory homunculus or cortical homunculus from Dr.
sensory analysis of lipstick is confidential and virtually absent Wilder Penfield.
from the literature. However, Dooley et al. (2009) have
developed and published a lexicon for the sensory analysis of introduced for applying the lip product to the forearm, and
lip products. The lexicon contains 16 criteria, measured during requires several applications of the product. An application on
or after application, and placed in four groups: initial texture, the forearm enables more products to be evaluated at the same
initial appearance, after texture and after appearance. The two time, as the available surface area is larger than the lips.
“after application” groups correspond to an assessment However, there are not as many sensory receptors on the
10 minutes after applying the product. An order and a technical forearm as on the lips, as can be seen in Figure 1. The sensory
evaluation are associated with each of the criteria. These give a homunculus also known as cortical homunculus represents the
good overview of the sensory expectations, texture and parts of the body in proportion to the part of the brain receiving
appearance of a lip product. However, this lexicon has been the sensory nerves coming from the different parts. A larger

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Table 2. Lip products sensory evaluation protocol, including the criteria definitions, drawn up by the CHANEL PB sensory analysis department.

Criteria Definition

On the first application

One coat of lipstick all over the lips Slippery Does not drag when spreading
sensation on the lips on application Smoothness Ability of the lipstick to liquefy when
warm, and become soft
Moistness Wet sensation of the product on the lips
Visual Thickness Amount of product deposited on the
of the coating pre-defined area

Apply 2 more coats

Visual Faithfulness Faithfulness of the shade between the
of the shade visual of the lipstick and after
application to the lips
Evenness The product is uniformly spread over
the whole area of application
Opacity Good coverage through which the lips
cannot be seen
Intensity of colour Brightness of the colour, no dull aspect
Smooth visual Smooth, improves the appearance of the
lip surface
Shininess Degree of light reflected
Glittery Presence of luminous dots
Pearly effect Reflections of changing colour, metallic,
iridescent
Sensation of the coating Adherence to the Stickiness Adherence, force needed to separate the
on the lips lips after three coats lips after contact.
Make a backwards and forwards Softness of lips Smooth sensation, no roughness
movement with the lips
Silicone Perception of a silicone rubber type
sensation, powdery, peach skin feel
Oily Greasy “liquid” sensation on the lips
Non-visual impression Presence on the lips Sensation of heaviness on the lips.
Tactile, non-visual impression.
Visual Definition of Lip contour line is straight, not blurry
the contour
Bleeding Product runs into wrinkles

After Kleenex
See photos Amount of lipstick Amount of lip gloss deposited on the
second brand

cerebral projection means that the corresponding body part on the evaluation protocol presented in Table 2. This protocol was
the sensory homunculus is larger, and the sensory perception is drawn up for all lip products, not only lipstick. Therefore
finer. Naturally, the sensory perception of the lips is much moistness, glitter and a pearly effect are not assessed for
greater than on the forearm. The sensory analysis of lipstick on lipsticks as these only relate to “lip gloss” products. These
the forearm will therefore not be the same as on the lips. sensory criteria are therefore not assessed for lipsticks.
At Chanel PB, the panel of experts consists of around Depending on the criterion, the evaluation is carried out
20 women trained to assess lip products according to according to the perception on the lips or the visual perception.
19 sensory, visual and texture criteria. These 19 criteria, The panel of experts applies the lipstick following a well-
different from those determined by Dooley et al., are assessed defined protocol, in a room where the temperature, lighting and
on the lips, according to a lip product evaluation protocol that humidity are controlled. The panellists apply the lipstick once,
was introduced according to the Afnor standard (AFNOR, to the lower lip and the upper lip. Three sensory criteria are
1990). It is a variant of the Spectrum method. This sensory then assessed: the slipperiness, the smoothness and the
analysis protocol includes the criteria to be assessed and the thickness. The lipstick is then applied again twice, to the
application procedure. The lipsticks are assessed according to lower lip and the upper lip, to assess the other criteria. Finally,

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Table 3. Oils sensory evaluation protocol on forearm, including the criteria definitions, drawn up by the CHANEL PB sensory analysis
department.

Criteria Definition
When handled Greasy Greasy sensation when rubbing the thumb against the index/middle finger (not greasy -
> very greasy)
On application Slipperiness Ease of movement of the product on the skin during the first 4 turns. The product does
(1 drop) not catch in my fingers, it is not resistant to spreading
Silicone Perception of a silicone rubber type feel (Not silicone -> very silicone)

Topical Issue
Speed of penetration Judge whether the product has disappeared from the skin surface after 24 turns (slow -
> quick)
After application Mattness Leaves a non-shiny, non-glossy appearance
(5 minutes)
Stickiness Adherence, force required to remove the fingers after three contacts with the skin (Not
sticky -> very sticky)
Residual grease Greasy, oily residual film, on the skin surface (not greasy -> very greasy)
Residual silicone Perception of a silicone rubber type feel (Not silicone -> very silicone)
Residual dryness After 5 minutes, feeling of chalk, dryness on the fingers (Not dry > very dry)
Emollient Move the middle finger by pressing. Sensation of skin softness, the skin is more elastic,
more supple.
Softness of the skin Not soft > very soft

the lipstick is removed from the lips using a paper tissue and 2.4 Shininess
the quantity of lipstick applied is assessed.
To assess the new tests, the protocol is initially done The shininess tests for the oils are carried out using the
with a control. The panellists then memorise the marks SAMBA from BOSSA NOVA Technologies. A 90 mm thick
they have given for each of the criteria for this control. This film is spread using a Zehnter universal applicator to the
is comparable to the “tare” used on scales before weighing polished black background of a N2A contrast chart from BYK.
a sample. In the case of lipstick, the control used internally The chart is dried for 12 hours at 20 °C before measurement.
is Rouge Allure Shade 09 Lover No. 09. Once the control
lipstick has been completely removed, the panellists 2.5 Viscosity
apply the test lipstick, following the same protocol. The
sensory profiles created can be compared to each other The viscosity measurements of the oils, on their own or
over several years, provided that the control stays the blended, are carried out with a DHR2 rheometer from TA
same. Instruments. The geometry used is a 4°/40 cone plate with a
A sensory profile of the oils is done following a different gap of 96 mm. The blended oils, prepared in advance, were
protocol from the lipstick protocol. The oils are assessed for then deposited on the lower plate. Different shear values
their sensory properties, by application to the forearm. In were initially used to confirm that the mixtures follow
this study, we will focus on the criteria of slipperiness, Newtonian behaviour. The viscosity was then measured
smoothness, shininess, oiliness and thickness of the at 20 °C.
application.
As we have previously explained, a sensory assessment of
the forearm is not comparable to an assessment on the lips. The 2.6 Mechanical properties of lipsticks
sensory properties of the oils cannot be compared to the
sensory properties of the lipsticks. However, we can compare The lipstick bending force was measured using a TA.
the sensory groups of the oils to the sensory groups we obtain XTPlus Texture Analyser (Stable Micro Systems) coupled
for lipsticks. The oils are evaluated according to ten sensory with a lipstick Cantilever Rig. The probe (the lipstick
descriptors, defined in Table 3. Two of the ten criteria Cantilever Rig) moves down at a constant speed (5 mm per
evaluated – the speed of penetration of the oils and the second) and bends the lipstick until it breaks. The trigger force
emollient nature of the oil – are not relevant for use of the oils is set at 1 g and the Texture Analyser measures the force
in lipsticks. They will therefore not be taken into account in our according to distance until the lipstick breaks. Measurements
analysis. are made in triplicate at 20 °C and the mean of the maximum
force measured is reported.

2.3 Refractive index

2.7 PCA
We used an Abbe refractometer from Paralux to measure
the refractive index of the oils. The oils are deposited on the A Principal Component Analysis was used to construct the
glass of the refractometer and measured at 20 °C. sensory charts for the formulated lipsticks.

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530 Polyglyceryl-2 triisostearate, in the pale pink zone, was

greasy between the fingers and on the skin, penetrated
510
relatively quickly and was not too sticky on application.
Finally, phytosteryl/octyldodecanol lauroyl glutamate,
Glossiness (SAMBA)

490
polyglyceryl-10 nonaisostearate and diisostearyl malate had
470 extreme sensory properties. These oils are very greasy between
the fingers, the least slippery on application, take the longest to
450
penetrate, with a sensation of silicone for phytosteryl/
430 octyldodecanol lauroyl glutamate in the fuchsia zone. The
finish is shiny, the most sticky of the oils tested, very greasy
410 and the least soft. Polyglyceryl-10 nonaisostearate, in the grey
zone, is the least dry ester on the skin and the least slippery on
390
application of all the oils tested. These oils have the highest
370 viscosity of those in our test plan, with 2.974 Pa.s for
1.42 1.44 1.46 1.48 1.5 1.52 1.54 phytosteryl/octyldodecanol lauroyl glutamate and 5.302 Pa.s
Refracve Index (20°C) for diisostearyl malate.
Although there is no link between the physico-chemical
Modèle(Glossiness (85°))
SAMBA) Int. de conf. (Moyenne 95%)
Int. de conf. (Obs 95%) specifications of shininess and the viscosity of the oils, it is
clear that there is a relation between the viscosity of the oils
Fig. 2. Linear regression analysis of Glossiness (Samba) as a function and their sensory properties (Tab. 4). The viscosity of the oils
of the Refractive Index (20 °C) (R2 = 0.995). gives variations in sensory properties when applied to the skin.
The “slippery” sensory descriptor is therefore greater for more
Correlations between the sensory characteristics of the fluid oils. By contrast, the “sticky” descriptor increases when
lipsticks and the physical measurements of the oils were the oil is highly viscous.
carried out. Correlations between the sensory properties of the Likewise, the more viscous an oil, the more sticky and
lipsticks and their physical properties were established. more greasy it is. Stickiness is in direct opposition to the
sensory criterion of softness. Softness, slipperiness and
3 Results mattness are three very well correlated sensory criteria. On
these points, the oils evaluated as the softest, the most slippery
The first relationship we were able to establish concerns the and the most matte are also those that are the least viscous.
oils on their own. All the physico-chemical parameters We can also note that the shininess values of the oils
measured, such as viscosity, refractive index and shininess, measured in vitro by the Samba (Tab.1) are identical to the
meant we could establish certain relationships (Tab. 1). The classification made in vivo by the sensory analysis panel on the
viscosity of polybutene could not be measured as this raw oils evaluated on their own (Fig. 3).
material is very viscous. Likewise, the jojoba oil spread on the For example, dicaprylyl carbonate and isononyl isonona-
contrast chart had not dried after 12 hours at 20 °C, so the noate have respective shininess values of 389.8 and 392.5.
shininess could not be measured. Based on the measurements These oils are evaluated as having a matte to satiny finish. Oils
performed, there was a direct link between the shininess of the with shininess values between 421 and 435, such as
oils and their refractive index (Fig. 2). An excellent correlation diisostearyl malate, polyglyceryl-2 triisostearate, polygly-
exists: the higher the refractive index of the oil, the shinier it is. ceryl-10 nonaisostearate are evaluated as shiny. Between these
By contrast, there was no direct relationship between the two extreme groups are oils with intermediate shininess
refractive index or the shininess and the viscosity of the oils. measurements and a sensory evaluation of the finish on the
The sensory mapping of the oils will determine the proximity skin as satiny to shiny. The more viscous an oil, the more it is
between certain raw materials. A PCA of the oils was performed assessed as shiny by the sensory panel. The physico-chemical
to highlight the correlated sensory criteria (Fig. 3). measurement also helps to give an idea of the sensory
In the blue zone, dicaprylyl carbonate and isononyl evaluation of the raw material on its own, which saves time by
isononanoate were less greasy between the fingers, slippery on avoiding this step. There is in fact no relation between the
application and quicker to penetrate. The finish was matte, viscosity measurement of the oils and their shininess
non-sticky, the least greasy, and soft. They were softer, more measurements. It is therefore interesting to note that the
slippery and more matte. They were also the two oils with the viscosity has a relationship to the “shininess” sensory
lowest viscosity used in our test plan. description of the oil on its own.
In the green zone, caprylic/capric triglycerides, jojoba oil, It is therefore interesting to see if these sensory properties
squalane, octyl dodecanol, hydrogenated polydecene, mead- of the oils on their own still exist once they are formulated as
owfoam seed oil (Limnanthes alba) and pentaerythrityl lipsticks. Six lipsticks were formulated using different oils and
tetraoctanoate were greasy between the fingers and on the were evaluated in a sensory analysis. The six oils were selected
skin, penetrated less quickly and were slippery on application. to represent different sensory characteristics as ingredients,
They were shiny to satiny on the skin, a little sticky and did not with different viscosities but also different chemical proper-
leave any dry residue. Some oils from this group were very ties. These were esters, a Guerbet alcohol, a vegetable oil and a
emollient, particularly squalane. Their viscosity was between terpene, in order to highlight the potential impact of the oil’s
0.035 and 0.140 Pa.s. chemical structure within a group of oils of similar viscosity.

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Topical Issue
Fig. 3. PCA of the sensorial analysis of the oils including 4 axes of correlation: matity, slipperiness, smoothness and stickiness.

Table 4. Viscosity measurements and classification in sensory groups of oils on their own. The colour of the line corresponds to that of the
sensory group of oils on their own, presented in Figure 3.

OILS Viscosity Pa.s (20°C) Sensorial group

ISONONYL ISONONANOATE 0.009 ± 0.00006 Very extreme: the least greasy on the fingers, not very slippery on applicaon and the quickest to penetrate. Leaves the skin the most
DICAPRYLYL CARBONATE 0.0105 ± 0.00004 mae, very slightly scky, non-greasy, slightly so, with a slight sensaon of dryness/talc and the most emollient.
CAPRYLIC/CAPRIC TRIGLYCERIDE 0.035 ± 0.0001
JOJOBA OIL 0.043 ± 0.0006
SQUALANE 0.049 ± 0.0001 Greasy to not very greasy, penetrates fairly quickly, leaving the skin sany to mae, slightly scky, slightly t greasy to non-greasy and
OCTYL DODECANOL 0.058 ± 0.0004 slightly emollient.
HYDROGENATED POLYDECENE 0.070 ± 0.0001
MEADOWFOAM SEED OIL (LIMNANTHES ALBA) 0.104 ± 0.002
PENTAERYTHRITYL TETRAOCTANOATE 0.140 ± 0.002
POLYGLYCERYL-2 TRIISOSTEARATE 0.549 ± 0.003 Quite greasy on the fingers and the skin, penetrates less quickly, very emollient, leaves the skin a lile shiny
The most greasy, takes a long me to penetrate, with a sensaon of silicone. The finish is the shiniest, very scky, the most greasy and the
1.839 ± 0.012 most emollient.
POLYGLYCERYL-10 NONAISOSTEARATE
Quite extreme: very greasy between the fingers, the least slippery, takes a long me to penetrate, with a sensaon of silicone for
2.974 ± 0.034
Phytosteryl/ Octyldodecanol Lauroyl Glutamate. The finish is shiny, the most scky, very greasy and the least so.
PHYTOSTERYL/OCTYLDODECANOL LAUROYL GLUTAMATE
Very greasy on the fingers and the skin, penetrates less quickly, leaves the skin a lile shiny to sany, slightly scky and no dry
5.302 ± 0.028
DIISOSTEARYL MALATE residue/talc.

Six lipsticks were made with a similar formula, each using a Likewise, squalane, octyl dodecanol and meadowfoam
different oil. seed oil (Limnanthes alba), which are in the same sensory
Figure 4 shows the positioning of the lipsticks in PCA after group as oils on their own, result in lipsticks in the same green
sensory evaluation by the panel. We can see different coloured sensory zone on Figure 4. This is even more interesting as, in
zones. Each represents the space in which the sensory addition to the fact that the sensory properties of the oils on
properties are not significantly different. All the lipsticks in a their own are similar, the chemical natures of these oils are
defined coloured zone are judged to be similar from a sensory very different. We can deduce from this experience that some
point of view. sensory characteristics of the oils on their own are also found in
The lipsticks formulated with dicaprylyl carbonate and the lipsticks. However, the focus on which the positioning of
isononyl isononanoate are in the blue zone. These are the most the six lipsticks is organised is primarily based on the viscosity.
matte, most slippery and least sticky lipsticks. We therefore The chemical nature of the oil is not a factor, or not a significant
find the specific properties already identified for these two oils factor.
as raw materials on their own. For the oils on their own, the sensory properties are mainly
By contrast, phytosteryl/octyldodecanol lauroyl glutamate influenced by the viscosity of the oil. This parameter is also
is one of the most viscous oils in the study. Logically, lipsticks significant for the formulated lipsticks: when the most slippery
made with this oil have a strong correlation with the stickiness oils are made into lipsticks, they result in the most slippery
descriptor. They are in the pink zone. lipsticks. The more fluid the oil, the more slippery the lipstick.

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Observaons (axes F1 & F2 : 92.15%)

&
Opacity
Glossiness
Deposit

Viscosity
of Oils
mixture

F2 (22.90%)
aV
Viscosity
xis%co
Quanty
Wax
W osi
os
ssitty
y
of Oils
of wax Oils
mixture

Fig. 4. PCA of the sensorial analysis of the lipsticks formulated with a F1 (69.25%)
different oil including the areas of correlation: slipperiness and
stickiness. Each colour corresponds to a zone in which the sensory Fig. 5. Influence of the chemical nature of the wax, its concentration
properties of the lipsticks are not significantly different. and the viscosity of oils in the formula on the sensory descriptors.
Each coloured zone corresponds to the same chemical nature of wax
Likewise, the more viscous an oil, the more sticky it is. tested at four different concentrations. Q1 is the lowest concentration,
Lipstick made with this oil is sticky and the thickness of the Q4, the highest. V1 is the oil with the lowest viscosity. V3 is the most
coating on the lips on application is significant. As a result, the viscous oil.
sensation of presence on the lips is strong. All these descriptors
are strongly correlated. In Figure 4, new sensory descriptors lipstick formulas by varying the chemical nature of the waxes.
appear, generated by the lipstick and not by the raw material on Three waxes were tested at four different concentrations (Q1
its own. the lowest and Q4 the highest). Three oils were selected for
A surprising point is that the shininess of the lipsticks does their distinct viscosities (from V1 the lowest to V3 the
not seem to be correlated to the shininess or the refractive highest): dicaprylyl carbonate, meadowfoam seed oil (Lim-
index of the pure oils. If that was the case, the “Matte” sensory nanthes alba) and phytosteryl/octyldodecanol lauroyl gluta-
descriptor would be correlated to the lipsticks formulated with mate. Twelve formulas were made with the three waxes, four
dicaprylyl carbonate and isononyl isononanoate. However, this concentrations and three oils with different viscosities (Fig. 5).
descriptor does not appear on the PCA. It is not correlated to On the PCA, the lipsticks made with the oil with a low
any previously defined category of oils. Although oils on their viscosity are in the green zone. These are the ones that deposit
own can be classified according to shininess, which is itself the thinnest coating on the lips. The lipsticks made with the oil
strongly correlated to the refractive index, this sensory with an intermediate viscosity are in the orange zone. Those
descriptor is not significant for lipsticks. Therefore, the made with the most viscous oil are correlated with the
shininess of the oils does not influence the shininess of the thickness sensory descriptor. The more viscous the oil used in
lipsticks and the refractive index measurement of the oils does the formula, the thicker the lipstick coating.
not help to predict the shininess of the lipstick. Shininess in the The wax concentration is also correlated with the sensory
formulation is therefore provided by something other than the descriptors, but different to those relating to the viscosity of the
selection of oils with high refractive indices. One of the oils. In the case of the lowest wax concentrations (Q1), the
hypotheses is that the shininess caused by the specular panel evaluated the lipsticks as being the most opaque and the
reflection of light on a smooth surface, is dependent on the shiniest. They also left more of a coating on the lips. This was
quality of the coating on the lips. It could be that a very smooth, more marked for the wax in the red zone, which had a tendency
even coating of constant thickness results in a greater specular to deposit more lipstick than the other two. The lipsticks with
reflection than a coating that is rough on the surface. To the highest quantity of wax (Q4) are less opaque, deposit less
achieve this, the waxes must be crystallised uniformly and not of a coating and are less shiny.
contain any microcrystals. We are not going to deal here with The type of wax also has an impact on the sensory nature of
the impact of the process on wax crystallisation and on the the lipsticks. The three coloured zones are distinct and do not
quality of the coating obtained (AFNOR, 1990). We worked overlap, which shows that wax is one of the factors that can
using a constant process for all the tests. However, the pouring alter the position of a lipstick within a sensory chart. In
temperature and the cooling ramp are the predominant criteria addition, the wax in the red zone leaves more of a coating on
in the crystalline structure obtained at the end of the process the lips.
(Cansell and Talence, 2005). Other parameters may also Our hypothesis for interpreting these results is as follows:
impact the shininess of a wax-oil blend (Snabre and Habouzit, the lipstick with the lowest concentration of wax is softer and
2013). The solubility of the wax with the oil in the formula creamier, less solid than the one with a higher concentration. It
determines the shapes and sizes of the crystals that form in the therefore deposits more of a coating, which makes it more
stick. We also thought it would be a good idea to create new opaque. Finally, a lower wax concentration has fewer crystals

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 H. de Clermont-Gallerande et al.: OCL 2018, 25(5), D502

Topical Issue
Fig. 6. Breaking resistance of lipsticks as a function of the quantity of wax in the formula for three oils from different viscosities.

in the formula. The lipstick has a smoother texture. The coating The increase in the viscosity of the oil also works in the
is more uniform and the specular light is better reflected, which same way as the increase in wax concentration on the
increases the shininess. resistance to breaking of the lipsticks. This is interesting for
Finally, the quality of the lipsticks was evaluated. One of formulators, as we have previously seen that a greater amount
the most important quality measurements was the resistance to of wax increases the mattness of the lipstick. If it is necessary
breaking of the lipstick. This value was systematically verified, to reinforce the resistance to breaking of a shiny lipstick, the
as women use a force of 500 to 600 Newtons to lipstick when only method available to formulators is not to add wax to the
they apply it (de Carames, 1978; Drew, 1978). This is why formula. There is an alternative which is increasing the
controls of mechanical properties are strategic and brands fix viscosity of the oils present in the blend. This will help to
an acceptability threshold close to 600 Newtons in their maintain shininess while improving mechanical performance.
physico-chemical specifications. It would be inconceivable for
a luxury brand to sell a lipstick that would break on first use. 4 Conclusion
We therefore studied lipsticks with oils of different viscosities.
Dicaprylyl carbonate, which is the least viscous oil, meadow- The objective of this study is to be able to predict the
foam seed oil (Limnanthes alba), which is an intermediate sensory properties of lipsticks from the physico-chemical
viscous oil, and phytosteryl/octyldodecanol lauroyl glutamate, specifications of the ingredients or raw materials. The viscosity
which is one of the most viscous oils. Four concentrations of of oils is the specification which has the most impact on the
synthetic wax & polyethylene & polypropylene/ethylene sensory properties of lipsticks: slipperiness, thickness of
copolymer were examined with each of these oils: 11, 12, coating, stickiness, smoothness. The viscosity of oils also
13 and 14% (Fig. 6). influences the resistance to breaking of lipsticks. This physico-
The first observation was that the greater the wax chemical parameter is also essential for modifying the texture
concentration, the greater the lipstick’s resistance to breaking. of lipsticks. Wax also plays an important role in the sensory
For a wax concentration of 11%, the resistance to breaking properties of lipsticks, but the sensory descriptors used are
measurements were between 370 g and 560 g. These were non- often different from those influenced by the viscosity of the
standard values from a quality point of view. By contrast, for a oils. Waxes impact the opaqueness, shininess and thickness of
wax concentration of 14%, the resistance to breaking was the coating. They of course enable the mechanical properties of
between 495 g and 840 g, which made the products formulated lipsticks to be adjusted.
with the two most viscous oils acceptable from a quality point Oils with low viscosity increase the slipperiness of a
of view. lipstick, whereas oils with high viscosity increase the thickness
In addition, the curve of the linear relation between of the coating. The resistance to breaking can be increased by
resistance to breaking and the percentage of wax in the formula selecting oils with high viscosity or by increasing the
varies according to the viscosity of the oil. The more viscous percentage of wax in the formula. The oil-wax blend is very
the oil, the greater the resistance to breaking. important, as it determines the number and size of the crystals

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Cite this article as: de Clermont-Gallerande H, Abidh S, Lauer A, Navarro S, Cuvelier G, Delarue J. 2018. Relations between the sensory
properties and fat ingredients of lipsticks. OCL 25(5): D502.

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