Secrets of Make-up

Radio Record, 8 April 1938, Page 34

Secrets of Make-up

MAX FACTOR

tollywooa

fj AN you imagine Myrna Loy with Martha Raye’s mouth? Or Sally Eilers with the lips of Greta Garbo? Would you like Claudette Colbert to exchange her smile for the smile of Bette Davis? It might be too broad a statement to say that mouths are ree sponsible for successful screen personalities, but nature is usually very wise in her selection of mouths for individual personalities. You may not think, if you look at the mouth of a movie star, that it is perfect-but no one else’s would do so well for her. The woman who is really the mistress of her make-up, rather than the victim of it, applies her lipstick so that it enhances and never destroys the natnral expression of her mouth, The same thing is true of the eyes. or any other feature of the face. Makeup is not intended to alter their natural characteristics, and the experienced make-up artist not only studies the actual features of the person he is to make up, but also her moods and expressions, \ OST actresses have become expert 4 : : : in own make-up by watching the make-up man’s technique. However, women as a rule are not as clever at applying their own make-up as someone else. This is probably beeause they have not taken the time to study their own features. Actresses have a great advantage over the average woman in seeing themselyes on the screen exactly as others see them until they get to know their own personalities from an impersonal point of view. Loretta Young anid not long ago that she was actually embarrassed the first time she saw a movie of herself. "Now I have become accustomed to this stranger, who is my animated shadow," she said. "As a matter of fact, T really understand her. My advice to any woman who wishes to be charming would be to try to look at her reflection in the mirror as if it were a stranger whom she had just met." HEN you have done this, you can criticise your own make-up. Don’t fry to change your personality, but learn to correct obvious defects and td accent your best points, Take off all

your make-up and start at the beginning. First, however, you should make ita point to learn which shades of make-up best suit your own colour harmony. Apply the proper shade of powder foundation. Then study your eyebrows -they should form a neatly tailored line along the bone known as the eyesocket. Do not make them too thinbut pluck only the straggly hairs that spoil the contour. Then apply your eyebrow pencil-not by just making one line along the brows, but lightly pencilling each individual hair. Be sure you, use the pencil that suits your

complexion, Do not make up the lashes until after you have powdered, and then do it with care. Don’t get too much eyelash make-up on your brush at one time, und after you have applied it, be sure to separate’ the: lashes to avoid a gummy appearance, The eyeshadow should be blended into the foundation on the upper lid only, and it must be the proper shade for your type. TENE. colours you use in your rouge and lipstick, and the manner in which you apply them will actually control the eoutour of your face. The first thing a young movie star learns, is the proper colour and application of these make-up requisites. It is the rouge that makes your face three-dimensional-the only = genegal rule for its application is this: Folipw the structure of the cheek’ bones and then blend it into the foundation so that there is no sharp line of colon but a soft diffusion. j When you have carefully blended your powder with your other complexion colours, you may pat it on in generous quantities, and then brush olf the surplus. Apply your lipstick to follow the natural lipline, unless you need to cor- rect extremely thin or thick lips. Bur be sure to blend it into your lips with your fingertips, and then hold tissue to them to remove the excess, If you are not yet. satisfied that you have become your own personal makeup artist, try to discover what is at fault with your make-up. Then the next time you have a few moments to spare, do some further experimenting,