HOLLYWOOD Beauty SECRETS

Manawatu Times, Volume 64, Issue 171, 22 July 1939, Page 14

HOLLYWOOD Beauty SECRETS

by UMAX FACTOR,JR. Filmdom’s Formost Make-up Aufhority

make-up and the modiste Glamour, as it finally appears in almost any form of artistic endeavour, is largely achieved through a skilled application of the principles of optical illusion. Two of these arts make-up and dress-designing are naturally foremost in interest to every woman. I have observed, however, some instances in which women who have correctly applied these illusionary principles to the design of their clothes have completely neglected to observe the same guiding rules in their make-up. Actually, the illusions which figure in these two forms of feminine beauty accentuation are identical int Heir workings. The principles which guide me in creating a make-up for such film stars as Eleanor Powell, Myraa Loy of Virginia Bruce, of Metro-Goldwyn* Mayer studios, just for the sake of a quick example, are exact counterparts ©f those which govern that studio’s fashion designer, Adrian, in crafting a stunning gown for these same personages. Perfection Obviously, the first optical rule which thoold be remembered, either in makeup or clothes design, calls for the accentuation of the most perfect features, and the concealment or minimising of the imperfect ones. Thus, through the medium of clothes, attractive necks and shoulders should be revealed with low-neck and off-the-shoulder dress lines. Prettily slender kips may most logically be offered in close-fitting skirts. In a like manner attractive bosom curves call for snug fitting and unadorned bodices. In other words, the natural perfections of such features should be, and usually are, presented to the best advantage in costume by revealing them, fitting them closely with their fabric coverings, or calling attention toward them with eye-catching coloured dress materials, accessories or jewelry. gome women seem to instinctively appreciate these facts when it comes to clothes, but fail to grasp their import in the matter of make-up. The woman whose figure leans toward the over-buxom, for instance, usually knows that dress materials in light colours, or the highlighting sheens oi ailk, satin or shiny velvets, all tend to make her figure appear even more plump than it actually is, and consequently she avoids them. Noses Tha same optical process of apparent, enlargement by the unskilled appltca-

tion of make-up, however, is often overlooked. To illustrate—a feminine nose which is naturally too large can be made to seem even larger if it is embellished with powder in too light a shade. And, in the corrective vein, powder one or two shades darker than that which is correctly used on the rest of the face will do miracles in making such a nose decrease in size, as far as appearances go. In the same fashion, the prominence of high cheek bones can bo minimised with a shadowing of rouge; and full cheeks can be apparently slenderised by blending the rouge line far down into the full part of the cheek, with a consequent illusion of length. As a make-up comparison with the silk or satin sheens offered by dress materials, let us consider lip gloss. Theso shiny dress materials highlight and accentuate the lines and curves of the body. If the figure they enclose ia superbly slim, the result can be a very complimentary one—but if the figure is an overabundant one, the reverse is

true. t Lip Gloss In a like manner, the sheen of lip gloss provides a superbly glamorous touch to tho average pretty lips. But, if the lips are exceptionaly large and full, this prominence should be minimised by creating a new and smaller lip pattern with lipstick and avoiding the eye-catching shinincss of lip gloss entirely. Naturally, in the brief space allowed by this article, I have been able to but lightly touck upon a few of the illusionary principles of costume and make-up and their workings. For more complete information on this subject, I suggest a careful stiWy of one of the complete make-up" booklets which are always supplied with cosmetic materials, and a perusal of the fashion articles which regularly appear with new views on illusion as it pertains to the latest dYess fashions. Remember that such a joint consideration of the illusionary processes is a simple matter —and one which is very worth while.