cream rouge which alone can revitalize your entire face. (A terrific effect is achieved by using both cream and brush-on- rouge; more about that later.)

Two important aspects of cheek coloring must be under- stood: placement and color.

Rouge belongs on the cheeks. Even with those great cheekbones of Katharine Hep- burn (or even Audrey), it is still a difficult matter to locate the right place for application.

I don't put rouge in the middle of the face or near the jawline or too close to the nose. One blushes and rouges the tip of the cheek, on the highest part of the bone. Smile and then touch your cheekbone. Keep smiling as you start the application, as smiling brings into prominence that highest part of the cheeks where the heaviest application goes.

The smoothest results are achieved with the use of a sponge. Fold the sponge in half, making a corner, and apply with that area to help

the rouge you concentrate color only where you want it. With the great amount of color on the cheekbone, lighten your sponge strokes as you blend the outer areas toward the temples.

At this point check the color in the mirror. Chances are you will feel that you have applied too much. But don't remove any color; wait until you have finished your eye and lip makeup, when you can see your rouge in rela- tion to the rest of your face. It is the absence of the other makeup that makes the rouge look so prominent.

Check to see that the rouge is thoroughly blended. After the cheeks have been routed, the color should lessen in density as you work it to- ward the temples and ears. Don't be afraid to have rouge near you eyes; the color can come close to the area shaded by the bottom lashed, because this creates a great outdoorsy

look. And when you smile, your cheeks naturally naturally rise toward your eyes, expanding as the eyes contract. This is a happy place for rouge to be; Color drawn into the area will complement your eyeshadow and emphasize the whites of your eyes.

Don't apply rouge to your chin. The chin is very close to the neck, which is of a paler cast than your face. A rosy chin would jut out and look wrong. There is an area of your neck that I do like rouging the tendons that reach up behind your ears. If your hair is short or worn up and away from your face, a slight blush there looks very pretty - just a slight, light touch of color.

Though I prefer cream rouge for most cheek coloring, it is great to combine with the brush-on powder blusher, since they work very well together. As the cream becomes part of the complexion the blusher coats it. Cream and foundation become beautiful, desirable, melting into your skin. The blusher adds just enough addi- tional color to keep the other two alive. Blusher also makes the rouge last longer, as its powdery consistency lightly coats the skin. These two color-

ing agents play roles that complement each other greatly.

Use the added blusher after all your other makeup has been applied, when you're ready to reevaluate your rouge. Lightly stroke it over areas covered by the rouge. Then extend it with just a couple of brushstrokes to blend per- fectly with the foundation. If some of the color of the cream has disappeared into your skin, as so often happens, the blusher will bring it back. It's a lovely finishing touch.

You may prefer using only the blusher, dispensing with th rouge altogether. In that case I advise using face powder first (and this is the only time I advise you to use it before,

not after). It provides a nice finish to the the foundation and also helps set the blusher and hold its color longer. Also it will prevent any blotches from appearing when the blusher is applied to foundation that is still moist. With a light brush of face powder on, the blusher will go on more smoothly.

Blusher can be used to add just a hint of color to the fore- head if this is one of your good features and you would like to call a bit of attention to it. Again, it should be first lightly powdered either along the hairline or at the two promi- nences; you don't want to give it too much of a good thing. Check to make sure that there are no traces of powder in your hair. Then add the blusher with a light little stroke - a feathering, I would say. This is a marvelous, imperceptible accent. A light blushing at the bridge of the nose - never the tip is lovely

too.

Again check your hair for any loose particles of powder. So much of what makes for chic has to do with careful, immac- ulate grooming, and that means attention to the smallest details. Tiny particles of powder can be easily removed from your hair with a slightly moistened cotton ball or tip of a washcloth. Per- fection takes only a little time, effort and attention to attain. Soon your eyes will be trained to notice the slightest deviation. And you'll know just how to

correct

it.

Years ago there was only dry rouge in pink, orange, bright red and a blue-red that closely resembled purple! Today you have a total range that runs the gamut from pink to red to orange, with every beautiful, subtle shade in between. You have terrific shades of brick, tan-tawny, sepia, brown and sandy shades that are absolutely delicious. These are colors that make sense few people really blush to a shade of orange. You blush natrually to a tone that