CLEVER MAKE-UP

Timaru Herald, Volume CXLIII, Issue 20669, 6 March 1937, Page 11 (Supplement)

CLEVER MAKE-UP

IMPROVING YOUR PORTRAIT PHOTOGRAPHERS ADVICE Having one’s photograph taken is by no means the ordeal it used to be —which is a very good thing , for a nervous or apprehensive “sitter” invariably meant an unsuccessful portrait, states an exchange. Nowadays, photographers co-operate with their subjects instead of intimidating them, and they are very helpful by way of advice as to what to wear and the kind of make-up to adopt in order to reveal you under their studio lights to the best advantage. There are. however, several points which should be remembered in connection w’ith all portraiture. Hats and hairdressing styles “date” more quickly than anything else. So it is better not to wear a hat at all, and to have your hair simply dressed—unless, of course, you have set your mind upon a portrait which is essentially fanciful In style. You may, for instance, wish to wear a modern conception of an Elizabethan dress, together with a little pearl “Juliet cap” if you are the type of person who can carry off some such mode successfully. Otherwise it is better to go to your hairdresser several days beforehand and have your hair set in a simplified version of your usual style. Then, if your hair is fair or brown, brush a little gold dust across it in the studio to accentuate the high lights. Black hair looks lovely with a little brilliantine brushed across it, just before the picture is taken. Most photographers do not like their sitters to wear rouge, as it throws strange shadows upon the cheeks, and sometimes even turns the shadows into hollows. On the other hand, it is often a good plan to use powder of a slightly daiker shade on the cheeks in place of rouge. If your nose is rather prominent do take care not to use too light a powder upon it. The eyes, however, are often better for a little make-up. Mascara may be used lavishly upon the lashes, but they must be carefully brushed and slightly oiled afterwards. The lids are better left unshadowed, though quite a noticeable amount of grease may be smeaied over them, gradually lessening towards the brows. Lipstick in a fairly light shade of red —not orange—helps to accentuate the lips, and if you afterwards smear them carefully with oil your lips will appear soft and lovely in the photograph. Many smart photographers nowadays keep a make-up expert on the premises. ■ He will refine what he considers to

| be a too heavy chin; turn a nondeI script nose into a lovely Grecian feature; make a too-large mouth appear to be a perfect Cupid’s bow, and make your eyes rival those of Garbo’s.'The resultant portrait is that of a very beautiful stranger. It certainly isn’t you So take care not to let the makeup man entirely swamp your real charm. On the other hand, do make the most of your best points. If you have a lovely neck and shoulders, then let your drapery reveal them. Lovely hands should have a place in the picture, while if your figure is not your chief beauty, then let only the top of your high dress appear in the portrait. Do not wear a much-embroid-ered or beaded evening gown merely because you happen to like it at the moment. The simple folds oi a velvet or chiffon scarf may be far more becoming to you. Odd bite of jewellery—especially if I made of metal or sparkling stones— I do not always contribute to the charm of the portrait. Though pearls, if the | picture calls for them, are generally | flattering to the sitter. I