Show Attune Makeup To Wardrobe By ALI ALICIA HART The costume which includes three even four colors as most spring outfits do calls for special makeup makeup makeup make make- up chosen carefully and applied meticulously If up make-up isn isn't t carefully attuned to your color scheme youre you're likely to find yourself yourself yourself your your- self looking pretty dis discordant Beauty i iFor For a pastel combination such as a gown gow of pale paie blue pale or orchid orchid or- or and gray gray gay one famous beauty expert recommends a delicate pastel up make-up with pinkish and bluish undertones This might include a foundation film which matches exactly exactly ex ex- the natural skin tones light red cream rouge and lipstick the color of fresh strawberries Nail varnish might match lipstick and mascara might be blue Naturally the old rule about having hayIng hav hay ing powder match exactly or be one shade lighter than your skin and ind rouge to match your natural blood tones is a sound one But If a color next to your lace face throws a soft glow which changes the tone of the skin on face and neck then up make-up ought to harmonize with that tone Skin tones actually do not change but they certainly seem to o. o For Instance when you are wearing a wine blouse your neck wont won't be the same shade it was when you wore a white one Cheeks and lips can be pale strawberry pink when you are wear wear- mg ing a pastel costume but rich winy red rouge and lipstick will be more flattering when youre you're In wine hues If youre you're Jn ln purple lipstick and rouge ought to have bluish tones under the red Modern up make-up does of course allow every woman to wear any color she chooses A red-headed red girl can wear red red red-if if she wants to and if she changes hanges her make The vivid lipstick reds are best however Then clear light red rouge ought to be substituted for forthe forthe forthe the rouge she's been wear- wear Ing And lipstick must be the same tone as the rouge only slightly darker of course cours f ii t 1 |