LOOK HAPPY!

Auckland Star, Volume LXX, Issue 23, 28 January 1939, Page 4 (Supplement)

LOOK HAPPY!

To Look Pretty—

By Sylvia Blythe

For eyes which are too deep-set, vou would reverse the process, striving" to emphasise the spacing around the sockets. Keep your brows low. If you will pluck them only from the top and mark them from underneath, vour brows, brought closer, will help to give a feeling of increased size. The more exactly you can match the shade < f your eyes with shadow, the more their natural colour will be intensified. Eyes which flash with animation and colour are vital even in deep-set recesses. Finally, consider your chin. You can have a weak chin and the strength of character of a Joan of Arc. The theatre would never cast you in that role, unless you brought your chin into better

A PLEASANT face, which always wins a theatrical audience more quickly than mere perfection of features, is likewise a best-seller in your private world. It will offset many flaws—even grave ones. We can take a lesson from Reginald fioode, the veteran English actor, who s[K;<-ialises in teaching young theatrical students how to overcome handicaps that make a face register unpleasantly. "Take th ; >t sneer off your face," Goode stormed at one young woman last season. But he did not stop at just storming—he taught the girl make-up tricks to use on the stage. They are excellent for a woman's 1 everyday use. A naturally thin, short - upper lip, which gave the appearance of • derision, was made to look sympathetic, i when colour was applied more heavily there, the cleft in the centre was emphasised, and the corners of the mouth were rouged upwards. The full lower lip, however, was touched lightly with rouge that stopped short of the corners. Try this if you happen to have a thin upper lip or a mouth that falsifies your natural sweetness by physical contours that suggest sternness or scorn. And discipline-your mouth to smile. The wihningness of a face also depends on the eyes. If, for instance, they protrude a trifle too much, wear more vivid make-up on your face. But on your lids use a dull shade of powder, darker than your skin tones. Groom your eyebrows for a more luxuriant effect and a softer frame fpr your eyesPluck the browß only for a cleaner line. Accent them with mascara, which darkens the brow without marking the skin. Touch your upper lashes with the same shade of mascara, but leave them uncurled and unspread.

scale. You can do this by building out your hair in the back to give the head better proportions. Then dip your hair over your forehead to reduce the importance of the upper part of your face, and make your chin look stronger. Wear lighter powder on your chin than on your face, and hats which partly cover your forehead with trimming centred in the back.

The pugnacious effect of a protruding chin can be counter-balanced with those new coiffure effects which pull the hair toward the brow in cluster curls or a M>ft slanting roll. Darker powder on your chin than your cheeks, carried on down to the neck, will help to minimise it. A hat whose interest depends upon a visor brim, a bold front ornament, or a stiff, pert veil is a better choice than an off-the-face effect. If the chin is square, choose hats with round crown*.