Hollywood BEAUTY SECRETS

Taranaki Central Press, Volume IV, Issue 304, 8 December 1936, Page 2

Hollywood BEAUTY SECRETS

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MAX FACTOR

HOLLYWOOD MAKE UP GENIUS i

There’s Character in Make-up. Character is something, which, aceordiug to a great German poet r ‘‘is developed in the stream of life.” Other sage philosophers have said that we are responsible lor our faces, that is, after we are fifty and our character and disposition have had a chance to affect our lea tn res. But we aren't all fifty, and sometimes the girl with character finds herself looking into the mirror and seeing not a trace of anything but sweet, frail beauty. When she is fifty she may look back and wish for at least a hint of that same beauty, but now it is disconcerting. 11 your reflection tolls you that those wide, beautiiul eyes look vacant; that those very perfect lips seem to expose weakness; that your chin lacks determination, ami tiiat if the thing were reversed and your character would depend on your face at fifty, you might as well jump m with the jellyfish now, then listen to a word of advice on howto build character in the show' window. _u.fl.er all, your face is your show window.

A lace ti.al echoes v.eauncss to its owner must. I.e very carefully handled as far as make-up is concerned. There is a grave danger that too much makeup v. ill cry aloud the total absence of that character you’re trying to reveal. The eves, tne eyeorows, and tiie lips uie vour most impressive features. On these depends your ehaiaeter building. The first caution is for the eyebrows. Don’t pluck them too I Inn. Don’t .•urve them upward, and don’t make them too tar apart. Any or all of these errors are common, with the result that a person who normally might look intelligent Ims a pei manent expression of surprise, which if it were natural would be an indication of stupidity. The eves, so frequently referred to as ‘■the windows of the soul,” can be made more expressive through a few simple changes in the. processes of making them up. It your eyes are too close together con’t apply your eyelash make up at the inside corners, but shade it carefully cut to the outer corners, wheie it should be quite daik. This will create the illusion ol space between the two eyes. If however, they, are too far apart

the opposite technique is the one to follow. .Make the lashes, very dark in the corners of the eyes nearest the nose and shade them down to lightness at the oppo.-ite corners. The mouth is the most mobile feature you have, the most sympathetic with your mental impulses. .Do not distort or weaken it with incorrectly applied lipstick. If the corners of your mouth droop downward thev are likely to lend the impression that you have a melancholy disposition, lacking a sense of humour. While, on the other hand, if they turn upward too sharply you may be suspected of silliness with no counterbalancing serious side. The best line for you to follow in applying your lipstick is an almost

straight one with very delicate upward curves at the corners. This will give you a well-balanced personality impression. There is no better sign of intelligence than to be smartly groomed. It i» something which cannot be achieved without study and an artistic sense. When you show the world that you have good taste in choosing and applying your make-up. you show <Eat you are a person of line sensibilities, subtlety and a well-rounded character. . Never violate the rules of conservatism with heavy make-up. It makes the weak look weaker and the sever® look more severe. Eyes that are too small, eyes that are too large, neither should be accentuated with too- much make-up. ’• a? •