This is Linda Hayden, seventeen year old actress and friend of Richard Harris. Of her he’s said, “She looks absolutely lovely, she’s a wonderful girl.” Linda doesn’t altogether agree with him. She doesn’t think she looks absolutely lovely because she says her cheeks are too podgy. She is very partial to lager and lime, Cornish cream, butter and crusty fresh bread : But when she is working on a film like Baby Love or her latest, Satan’s Skin, her weight just falls off. Still, normally it’s a great battle to keep to her ideal seven and a half stone. When we met Linda, she told us that she had two ambitions: 1. To stop being cast as a nymphet in horror films. 2. To learn how to shade her face so it always looked slim. Linda has very little time to learn about makeup. When she was fifteen she starred in Baby Love, but was not allowed to go and see it. After that she had a series of sexy parts in Hammer films like Taste the Blood of Dracula. In her latest film with Charles Hanson and Piers Haggard there are all sorts of evil doings, Linda told us, “Hardly a moment went by without someone being impaled on a pitchfork, raped, or stabbed with shears in the back. I cut my foot to ribbons with the end of the fork first time I had to do it and was rushed off for a tetanus injection.” Linda, who lives at home with her parents and sister goes off food for about a week when she wants to look really super. She just lives on cheese and coffee. This way she can lose five pounds without trying. She was vague about future plans. She is in no rush to do another film and laughed at any idea of marriage. Richard Harris’s former wife, Elizabeth, and Rex Harrison are inseparable but Richard is cagey about marrying again and says, “Even Helen of Troy couldn’t drag me to the altar anyway Linda is too young and ambitious and I am too old and ambitious. I am going on forty!” With the help of a makeup artist from Eyelure, we show in step by step pictures how the skilful use of makeup can alter Linda’s (and your) features.
Shot 1—no makeup. Shot 2—Max Factor Pancake 085 was smoothed in with a dampened sponge to give an even base. Shot 3—Linda’s eyebrows were brushed upwards and outwards with a dampened mascara brush to give them a better shape. Foundation was blended well into the eyelids and then a light dusting of face powder was added with the sponge, to give a non-greasy finish. White Shadow Pearl used with water and stroked on gently with a brush, was used to highlight immediately under the eyebrow. Then Smokey Grey shadow used with water and carefully applied with a brush was used all over the lid, and brought round under the eye. A little white shadow pearl at the very roots of the eyelash made the eye appear more blended in. Top lashes were mascaraed from underneath with Max Factor’s black mascara. Finally feather light strokes of soft brown pencil were used to shape the brows. The lashes used were very natural– Eylure’s See Through Lash No. I in brown. They were put on carefully with tweezers, starting in the middle, then pressed gently into place. Next the bottom lashes were mascaraed from above. Black Short Trim Underlashes were used because bottom lashes tend to look lighter. These were also applied with tweezers. Shot 4—Shading was done with brushes for best effect. Eylure do twelve brushes for £6.6s. Using the Eylure Face Shaper Kit, the makeup artist put white highlighter on the cheekbone and plenty of brown shaker in the hollow of the cheek. This was done with upswept brush strokes and blended in so that it didn’t look just like a dirty smudge. Then more highlight was used under the shaper to bring out the lower jaw and finally dark shaper again was used along the jawline and underneath to give the chin more definition. Shot 5—A delicate tinge of blusher was blended in just below the cheekbone. With some good brushwork Linda’s cheekbones were re-discovered. Shot 6.—The final look with Estee Lauder’s lipstick Walnut, glossed up with vaseline.
Beauty by Ann Morrow.
Tunic top with hood from Way-In.
Photographed by Chris Holland.
Scanned from Petticoat, 23rd January 1971.