Lauren Hutton has a crooked nose, Farrah Fawcett Majors' eyelashes are too light, Cheryl Tiegs' lips are too thin. That critique is by Way Bandy, makeup specialist who has studied the freshly scrubbed faces of many beautiful women, but also found suitable cosmetic remedies. Figuring out the flaws in one's face - and according to Bandy, Elizabeth Taylor's face is one of the rare ones without any flaws - is the starting point in this book "Designing Your Face," which then, with the help of line drawings, solves most makeup problems. At $8.95, the book more than pays for itself with recipes and formulas for homemade treatment and cosmetic items.
Bandy did the makeup for the Martha Mitchell cover of New York magazne photographed by Francesco Scavullo. "She had beautiful skin, long blonde angel hair, but had this obsolete concept of herself that gotten stuck with her since a college girl. No one has ever presented her in a flattering way."
Other than Mitchell, Bandy has steered clear of politically affiliated women, though he has been asked to do many. However, if asked he'd make the exception for Bella Abzug, Shirley Maclaine and Millicent Fenwick. (Bandy gets $1,000) for private appointment - "an outrageous price," he admits, meant to discourage such requests.)
Don't look for a lot of Matisse prints inspired by the Matisse cut-offs show that ends today at the National Gallery, says a fabric designer Julian Tomchin, now artistic director of Wamsutta Mills. Tomchin, who used a Matisse cut-out as a theme for fabrics for Kasper in 1970, believes "Dress designers currently are experimenting with evolving shapes and until those shapes are defined, you will not see a major use of printed fabric."
"The challis explosion this fall," he says, "is based upon a shape designers are content with, therefore they begin to decorate the shape. But until the newer looser shape is accepted by the the consumer, it remain relatively quiet."
Adds Tomchin emphatically, "I believe women love prints. But they have to feel comfortable in the shape they are carrying before the extra problem of additional decoration can be accepted."
The Matisse print worked for Kasper in 1970, says Tomchin, because the shirtwaist dress, the basic structure behind the print, has been completely accepted and thought out. Tomchin did the Matisse print on organza at a time when evening clothes were generally more elaborate than they are now. They were big simple flat shapes in complete contrast to the fabric, and the marriage of the simple shape, sheer fabric and strong color created the perfect menage a trois. (The definition of a good fabric, says Tomchin, is the combination of the garment, the texture and the pattern.)
The Matisse cut-outs are likely to have a strong influence on home furnishings, however, Tomchin added. "There, the shape is defined and consumers are happy to experiment. Think of all the patterns used in the bedrooms," he said.
Tomchin wouldn't say if Matisse-inspired prints were in his plans for Wamsutta as a successor to the Picasso patterns. But he did buy catalogs, postcards and posters as he left the Matisse show here.
Also at the Matisse collection, Dan Arje, former display director at Bonwit Teller and recently appointed design director at Frances Denney cosmetics, says he never had a chance to carry out what he considers the dream window - picking the best sportswear from the each designer and mixing it together on one mannequin. Like a Ralph Lauren blazer, with a Harriet Winter blouse, a Kasper skirt, a Calvin Klein sweater."Somebody should do it, that's way women really buy and wear these clothes, so a lot of customers would relate," says Arje. "You don't have to buy all the pieces of a particular outfit just because a designer put it together that way." He compares it to the women wear makeup. "A wowman will wear a Frances Denney foundation, a Helena Rubenstein lipstick and a Revlon eye shadow. It's the way women shop today."
New York fashion designer Joan Vass has an unpaid full-time model wearing her clothes locally. It's daughter Sara Vass, assistant manager at Nathan's 11, whose "uniform" isalmost always one of the loose-fitting dresses worn over a shirt or sweater or an easy-fit sweater and skirt. Called the Sonia Rykiel of America. Vass sticks to a limited number of shapes in many fabrics, usually cut quite loose and always unlined. She keeps a cottage industry around New York working fulltime making her handknit sweaters. "Women should have the same security men have about their clothes. A man can go back to a store and find the identical style shirt he wore before and wants to wear again," says Vass. "Why not women?" Thus she repeats several very popular shapes in new fabrics each season. Bloomingdale's carries them here.
He arrived, a member of the committee, ticket in hand to see the Raphael fashion show presented at Pisces. In spite of that, Dewey Huges, NBC producer, was turned away at the door. The reason? Pisces is one of the last bastions of the coat-and-tie rule. "That's the rule," says secretary-treasurer of Pisces Robert Mays. "Ties are available at the desk." Hughes says he was offered a tie, but refused. "If Robert Redford or Muhammad Ali had come in with a leather jacket, I suspect the guy at the door would have let them in," he sniffed.