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Show Joan Cmawoirb) -- movie star and business executive, has appeared in over eighty movies, dating Joan Crawford, internationally-know- n back to 1925. One of the few superstars to make the transition from silent films to "talkies," she has won three Academy Award nominations and an Oscar for "Mildred Pierce" in 1945. Miss Crawford is currently a member Co. and the Frito-La- y Co., and a starring in a new Columbia release. of the Board of Directors of the Pepsi-Col- a When I was a liule girl I was told, repeatedly, that pride goeth before a falL Happily I never got the message, went right on being prideful. 1 am prideful still. And pride, I've discovered, goes before many other things than a desire to attain your highest potential, mental and physical. fall, above all before a never-endin- g I consider myself neither vain nor frivolous in my constant quest for beauty. I think of myself rather as practical. For it would be a woeful waste, it seems to me, to neglect whatever sheen I can bring to my hair, whatever tone 1 can bring to my skin and whatever symmetry I can bring to my body. I was fortunate. I was drilled in beauty care by the Hollywood experts. Therefore the habits which I practice are sound and, so, therapeutic. Never, for instance, would I brush my hair with a downward stroke. I brush up and base-w- ith out. Never would I massage my face or take off cream or put on a make-u- p any downward motion. Or with such a heavy touch that I might break down the skin structure. And I always finish my lipstick by using a lipstick liner of the same shade as the lipstick for a smoother, softer contour. Then I end with a little imperceptible - , upward flip. Lines that rise are youthful. Lines that sag are aging. ' Of all the things that Hollywood has taught me, the greatest. I would say. is the ability to regard myself impersonally. This I have learned from all the make-u- p experts and hairdressers who have kept me sitting in their salon Thanks to their influchairs for hours while they experimented with cosmetic techniques and colors and hair-line- s. ence, I'm quite capable of marking the placement of my eyes, the modeling of my face, the cut of my mouth and the way my hair grows as though all these things belonged not to mc, but to a plaster mannequin. Women tend to preen before their mirror. They may do this in anticipation of the seduction of a new red lipstick, never pausing to consider that the intensity of its color may be aging. Or they purse their mouth or suck in their cheeks to enhance their image. They observe themselves emotionally, not clinically. This undoubtedly proves pleas-antfor the moment But it can be decidedly impoverishing. For only by appraising ourselves honestly can we make the most of ourselves. I was fascinated, several months ago, when Perc Westmore appeared on Art Linklettcr's show. I suspect Perc's transformation of a woman from the audience was to many who watched. But actually, had this woman been trained to observe herself objectively, she could have done for herself what Perc did for her. To give her greater beauty and for a simpler, smoother look, he brushed some of the curl out of her hair. He pulled back her long bangs, to make her round face seem more provocative and slender. And he extended the space between her eyebrows, to lend her a more relaxed expression and to make her eyes appear larger. To make sure that eyebrows do not seem to pull together, and understate them at the same time, brows should end on a line with the outside of the nostrils. Perc Westmore used to do my screen make-uBut for yean now I've had Monte Westmore who, like Perc, is highly skilled and trained. Wherever in the world I'm working I wire him, "Help!," explaining I need more of such . can fly it. I experiment with new formulas and colors, of course, but I Always it arrives as fast as il don't switch to new products impulsively. I try very hard not to be confused by all the new products and their claims. Those who rush out and haphazardly buy boxes of this and bottles of that become-- to borrow Perc's er spell-bindi- ng p. and-such- air-ma- (jTlamor doesn't come in boxes or bottles, although it undoubtedly gains an assist from the things within. Clamor derives from allotting sufficient time every day to bathing, keeping a face scrupulously clean, applying make-u- p with subtlety, manicuring and pedicuring, exercising and doing everything possible to keep hair fresh and healthy and arranged becomingly. Those who are born attractive tend to be less conscientious about beauty care than those who start out on the plain side. Beauties are lulled into a false sense of security by the compliments they receive, the admiring whispers they overhear and the fair reflection in their mirrors. Consequently, they often spend the last two-thirof their lives less attractive than they should have been. Those who are plain, on the other hand, are likely to increase in attractiveness because of their constant need to reach for every vestige of beauty and grooming that is possible to them. I've known several quite plain women who, through beauty care, outdistanced erstwhile beauties-li- ke the tortoise and the hare. When I work in movies I wear very thin professional make-ubut suntan in color. I can never get it off fast use mineral I twice To on remove oil or it, thoroughly enough. my face and neck. Then I wash them gently enough with soap and moderately hot water to make sure I get all the cleanser off, too. When I have used only street make-u- p I apply my oil cleanser just once at night and use soap and water about twice a week. Some cosmeticians advise that soap and water are drying. But I've gone contrary to thiscxpertisc for years, cautiously at first. In all beauty practices aps I proceed slowly and surely. And my skin is not because I counter this possibility with the oil. Incidentally, I use the same thick mineral oil for p, dry-perh- g. Dimensions in Living ' |