Out with the gaunt and tight, in with the plump and juicy

A woman I have known for many years did something to her face not all that long ago, and for a few weeks afterward, I was not able to put my finger on it. Did she get her eyes done? Restylane injections? Botox? Then I thought, Oh dear God, she got a face-lift. No one whom I consider a friend and a contemporary had yet gone that far. But there was no denying she had done something major, and frankly I was worried. Had she ruined her pretty face? As the curtain of hair slowly parted a little each week, I could see that her lips were bigger. Nowhere near overcooked-hot-dog-turning-inside-out bigger like Meg Ryan's, and not even duck-bill bigger like Courteney Cox's-but big enough to make me feel uncomfortable looking at her mouth when she talked. Don't look at her lips.

Women have been availing themselves of new faces since the dawn of plastic surgery, but suddenly it seemed that there was a better new face to be had. There is a New New Face, very different from the old one, and both my friend and Madonna now have it. Once I starting thinking of it in these terms-the face as the new handbag, say-I started seeing New New Faces everywhere: Demi Moore, Michelle Pfeiffer, Liz Hurley, Naomi Campbell, Stephanie Seymour. They all have it! Even the Olsen twins seem to have a starter version of the New New Face, with their big crazy doll eyes and plush lips. Just to be clear, I don't presume to know exactly what any of these women have done to their faces, if anything at all. It's possible (though in some cases before-and-after pictures would seem to suggest otherwise) that this face is occurring entirely naturally-after all, these are women who are famous for being beautiful. The point is that there is a noticeable aesthetic shift happening in the face, and that it's dovetailing with quantum leaps in plastic surgery and dermatology.

Psychologists and anthropologists have long tried to nail down what makes us perceive one face as beautiful and another not. There are theories about the math of it, the "Golden Ratio"-how, if you take careful measurements of the lines and triangles formed by a beautiful face, they will add up to the same proportions first noted by the Greeks to be aesthetically pleasing. More recently, a scientist named Michael Cunningham took it upon himself to study the faces of 50 women, half of whom were finalists in an international beauty pageant. In "Measuring the Physical in Physical Attractiveness" (italics mine), he wrote that the width of an eye, if it is to be part of a beautiful face, should be precisely three-tenths the width of the face, and the chin ought to be just one-fifth the height of the face, while the total area of the nose had better be less than 5 percent of the total area of the face or ... you is ugly!

In the end, the science of beauty seems to point to a few general parameters: We tend to like large eyes, high cheekbones, a small nose, a large smile, and a small chin. What the scientific literature doesn't mention is that we like it all to be as young as possible. This wasn't always the case. The Gibson Girl ideal of the early twentieth century, writes Daniel Delis Hill in Advertising to the American Woman, had the features of a mature, fully formed woman: "heavy lidded eyes accented with thick lashes; fine, high eyebrows, pronounced cheekbones and firm jawlines." In the forties and fifties, the most successful models of the day-Dovima, Lisa Fonssagrives, Suzy Parker-were elegant, haughty, aristocratic, especially when photographed by Irving Penn or Richard Avedon. The sixties and seventies brought a sea change that created a younger beauty ideal, but the aesthetic was more casual than adolescent.

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