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Finance Economics

Why High-Maintenance Beauty Is a Low-Yield Asset

An economic analysis of the beauty industry through the lens of diminishing returns, sunk costs, and opportunity cost.

Tasmin Angelina Houssein
Tasmin Angelina Houssein — Founder & Creator
2 min read
Luxury beauty products and cosmetics arranged neatly

The Law of Diminishing Returns in Your Bathroom

We all have that one friend who spends £200 a month on skincare. Twelve steps, morning and night, like a religious ritual. But is the 12th product really adding as much value as the first?

In economics, the law of diminishing marginal returns states that adding more of one input — while keeping others constant — will eventually yield smaller and smaller increases in output.

Your Skincare Routine Is a Production Function

Think of your appearance as the output of a production function where the inputs are time, money, and products. The first few inputs (cleanser, moisturiser, sunscreen) have high marginal returns. But that £85 serum? The returns are… questionable.

“After a certain point, every extra pound spent on beauty products yields less satisfaction than the pound before it.”

The Sunk Cost Fallacy

How many of us keep using a product simply because we paid good money for it? This is the sunk cost fallacy — making decisions based on what you’ve already spent rather than what you’ll gain going forward.

A Better Investment Portfolio

What if you redirected even half of that beauty spend into actual financial assets?

  • £100/month into an index fund at 7% average annual return
  • After 10 years: approximately £17,300
  • After 20 years: approximately £52,000

That’s the real opportunity cost of your 12-step routine.

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Tasmin Angelina Houssein

Tasmin Angelina Houssein

Founder & Creator

That one student who couldn't stop asking 'but why?' in economics class — and turned it into a whole platform. Econopedia 101 is where curiosity meets financial literacy, built to make money, business, and economics feel less intimidating and more empowering.

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