TV Radio Mirror (Jan - Jun 1963)

toward the hairline. "Rouge is really a highlight," he explained, "but it must be applied sparingly. Never carry it too close to the nose or below the earlobe, especially if the face is thin." A light dusting of powder was Lawrence's finishing touch on the model's complexion. By now all that remained to remind us of the three makeup bases was the beautifully sculpted contours of her face. There was not a color line in sight. Lawrence turned his attention next to the model's eyes. He gathered eyeshadow — in both deep and pastel tones — mascara, cake eyeliner with a brush and eyebrow pencil. "I'm going to lift the eyebrows a bit, too," he said, tweezing away several hairs that marred the otherwise perfect curve. "Almost 99% of all women need their eyebrows lifted just a fraction for a younger appearance." With short strokes of a very sharp pencil that matched the model's eyebrows exactly, Lawrence began to fill in the arch. "It's important for eyebrows to look natural," he cautioned. "Pencil that's too dark is harsh and overpowering." When he finished, the eyebrows looked as if they had grown that way. Next, he applied eyeshadow — stroking pastel blue above the eyelid, deeper blue on the eyelid itself. "The darker shadow minimizes the eyelid and makes the eye more luminous," he explained, "while lighter shadow above the eye enlarges it." Lawrence continued with the eye, brushing black eyeliner along the base of the lashes and extending it beyond the outer corner with an upward tilt. "Choose eyeliner that harmonizes with the complexion and hair," he ruled. "Brunettes and brownettes with dark skin often prefer black, while redheads and blondes who want a natural look usually like brown eyeliner. Of course, personality is important, too, in deciding which color is best." The eyes were really beginning to look enormous now. After drawing in a very fine line along the base of the lower lashes that reached almost to the outer corner, Lawrence started to brush on black mascara. "It's vital that the lashes never get stuck together, so I use two thin coats rather than one thick one," he explained. "If the model's eyes were deeper set, I would touch only the tips of the lashes with mascara to emphasize them a bit." I Compare the madeup eye and "naked" one, at left. I Lawrence assembled makeup for the mouth next — a lipliner pencil in a shade that looked rather like auburn (we found out later that it was), lipstick about two shades lighter and much pinker. "The perfect mouth looks like this," he said, drawing a gently bowed upper lip, a lower lip that was curved but not too pouty. "If lips are less than ample, draw the outline just outside the natural lipline. If they're very full, the outline should fall just inside." He filled in the outlines with the lipstick. (See finished perfect mouth below. I "I usually prefer light lipstick," he said, "but of course there are instances when darker shades are essential." The model was completely made-up now — her eyes looked twice as big as before, her mouth was perfectly shaped and softly colored, her complexion flawlessly smooth. That perfection can be yours, too. All the tricks Lawrence used in his salon you can use at home. You'll find it easier than you think to be more beautiful than you ever dreamed. — Barbara Marco Did you know the answers to our puzzle? 1. Mary Tyler Moore: 2. Donna Reed; 3. Sally Ann Howes; 4. Betsy Palmer; 5. Lucille Ball; 6. Loretta Young. 45