FOLLYWOOD Bearty SECRETS

Manawatu Times, Volume 64, Issue 279, 25 November 1939, Page 10

FOLLYWOOD Bearty SECRETS

UMAX FACTOR.JR. 2 ?-

1 1 mm »» m - - - - r I Filmdom’s Foremost Make-up Authority

MAKE-UP PATTERNING The colourings of the skin, the eyes, and the hair provide the key to the correct colour harmony scheme of the make-up shades which each woman should use to enhance her own individual beauty. Just as naturally, the shape of the face should govern the pattern in which these make-uj) materials are applied. Obviously, in referring to a pattern of make-up application, 1 am not speaking of such beauty aids as make-up foundation or face powder, which need no pattern. Rouge More than anything else, I do have I cheek rouge in mind. Used correctly, rouge is a flattering aid which cau subtly subdue any prominent or undesirable feature or apparently alter the shape of the face to more attractive contours. But incorrectly patterned rouge cau go a long way toward making bad matters worse. If you have the type of oval face which is so well represented by M-G-M’s star Eleanor Powell, and which, is generally considered to be the most basically attractive of all face shapes, the rouge application, started at the high point of tho cheek, should be blended to follow the natural curve of the cheekbone toward the nose. But, if the definitely roundish Barbara Pepper type of face is to be streamlined into a semDlance of the perfect oval shape with rouge, attention must be drawn away from the facial roundness by bringing the rouge downward from the pejme of application, and bringing it in well toward the nose. iSuch a pattern as this has the same slenderising illusion as a verticalstriped dress. Bangs Inasmuch as round faces are usually characterised by broad/ low foreheads, it is well to remember that bangs shouldn’t figure in coiffures for this type. Keeping the hair well off the forehead furthers the desired illusion of ovalness. The woman with a noticeably thin face must reverse the tactics used by her round-faced sister if she wishes a semblance of facial ovamess. She must especially avoid rouging too close to her nose, especially if this feature is a prominent one. Her rouge, applied to the cheekbone, should bo blended outward to the full part of the cheek. “Square” faces usually appear that way because of a prominent and square jaw. The problem here, then, is to make this jaw squareness less noticeable.

Blending This minimising of the jaw apparency can be achieved by establishing the rouge on its usual starting site on the cheekbone and then blending it back toward the ear, and finally carrying it down toward the point of the chin, via the jawline. Rouge, ajiplicd in this pattern, will serve to minimise the prominent lower portion of the face, and, by contrast, accentuate the comparative size of the upper face areas. The shape of the face must also i considered when creating the coiftare pattern. The hair of both the square-face and round-face types, for instance, must abound in soft curves, and should be generally loose and sort—never tightly combed back flat on top or at the sides. Nor should any tight curls be in evidence. The woman with tho naturally perfect oval facial contour can carry on with this oval effect in her coiffure. She should not wear bangs, bring her part

| down too low or effect a tightly pulled flatness of hair surface. Her coiffure is most effective when its pattern is a simple one. Complicated patterning of the hair serves to distract attention away from the natural attractive perfection of her facial lines. The woman w’ith the long and thin facial lines can attractively add an apparency of oval width by fashioning her hair into a softly fluffy fullness at tho sides. Eyebrows Even the pencilling of eyebrows can contribute to the apparent re-shaping of the facial contours. Both the square and round face types can “streamline” the ensemble of their facial features, so to speak, by creating eyebrow patterns which are slightly heavier and more pronounced, and a little wider in their horizontal stretch, than those which are prescribed for the naturally oval face. This stressing and broadening of the upper features serves to minimise the apparency of the natural fullness of the lower ones.