LNE & Spa—the magazine for skin care and spa professionals February 2012 $7.50

extrasFrom the Editor 6Spa of the Month: Beautologie, Bakersfield, CA 10

Preview: The International Congress of Esthetics and Spa, Miami Beach, FL 21LNE & Spa’s Best 2012 68Calendar of Events 124Advertisers’ Index 130

Page 4 • www.LNEONLINE.com Les Nouvelles Esthétiques & Spa • February 2012

CONTENTSFEBRUARY 2012 VOLUME 27 NUMBER 2

business8 Step Marketing Strategy 85 Marketing to our Minds 86CYA-Cover Your Assets! 91Living Young 94Biz News 98

spaCarpal Tunnel Syndrome 65 Risk Management 74Aging Gracefully 78Spa News 83

skinDiabetes: Skin Tips and Treatments 29 A Collagen Boosting Alternative 32Fundamentals of Wound Healing 40Genomics and Visible Aging 43Skin Cancer Awareness 46

The Fourth Dimension 51Boosting the Effects of Injectable Fillers 54Clinical Esthetics 57Skin News 61

Boosting the Effects of Injectable Fillers in your business and your treatment room page 54

Risk Management protecting your treatment staff from injusry page 74

Living Young a way of life

page 94

organic & wellnessJust Breathe 101 Nutrigenetics and Nutrigenomics 102The Business is Beauty, Inside and Out 105 Immune Response 111Organic & Wellness News 113

imageNot So Extreme Makeover 115 Neutralize and Correct 116The Great Cover Up 119Image News 121

Neutralize and Correct page 116

Covercourtesy of Intermède; photography by Jean-François Verganti

Nutrigenetics and Nutrigenomics

nutrition + genes for optimum health

page 102

Les Nouvelles Esthétiques & Spa, American Edition, (USPS 003-687) (ISSN 1043-9641) is published monthly, 12 times per year and is sold exclusively by subscription. Publisher’s Name: Jean Jacques Legrand, M.D., 3929 Ponce De Leon Blvd., Coral Gables, FL, 33134. Periodical postage paid at Miami, Florida, with additional mailing offices. Postmaster: Send address changes to: Les Nouvelles Esthétiques & Spa, American Edition, 3929 Ponce De Leon Blvd., Coral Gables, Florida 33134, United States Subscription: Annual Rate $45.00 Canada Subscription: $55.00 (American) 1st Class Postage Overseas Subscription: Two years for $140.00 (U.S.) Air Mail Postage

Les Nouvelles Esthétiques & Spa • February 2012

BY TOMMY PARSONS

NEUTRALIZE AND CORRECT

AS A TEENAGER, I WAS ALWAYS INTERESTED in makeup and anything having to do with the artofcosmeticsorspecialeffects.Whenvisitingthesalescountersatlargedepartmentstores,Iwasamazedatthelargevarietyofcolorsavail-abletoladiesintheearly1960s.Duringthatpe-riod,Inoticedsomepeculiarfoundationcolors.I knew there was an infinite amount of skin tone colorsinthecosmeticspectrum,butthesenewcolorsweresomethingalittledifferent:mintylight green, pale violet and a grayish yellow. LittledidIknowthatthiswasabriefintroduc-tiontocolorsspecificallyusedforneutralizingandcorrecting.Iwouldlovetotakecreditfortheconcept

ofneutralizingandcorrectingskindiscoloration,howeverthatcreditisduetotheveteranmakeupartistswhoworkedincolorfilmandtelevision,andduringthetechnicaladvancementthatoc-curredinHollywoodfromthe1940sthroughthe 1960s.

The principle of colorFormanyyears,understandinghowtousecolorto“neutralize”unwantedtonesandskindis-colorationwastaught,learnedandpracticed

byHollywoodmakeupprofessionals.Inrecentyears,thisconcepthasbeenreplacedbycon-cealersandcosmeticproductsthatcamouflageratherthanneutralize.Ifyouuseenoughproductyoucaneventuallycoveranything,howeverthemakeupmightbesothickyouareabletocarveyournameintoit.Mostoftheseproductsarepracticallyuselessbecausetheyarenotavail-ableinthecolorsnecessaryfortrueskintonecorrection.Themajorityofconcealersarehigh-lypigmentedversionsoftheircorrespondingfoundations;lightertonalcolorsthathighlighttheunder-eyeareaandattempttocoverdarkcircles,rednessandotherskindiscolorations.Itistheword“camouflage”thatwehavetogetawayfromandutilizetheprincipleofcolor.Consumersandindustryprofessionalshave

been led to believe that if they use a lighter shadeofconcealer,itwilleliminateunwantedcolor.Insomeparamedicalandpostsurgicalinstancesthismightbenecessary,butinmostcases,layeringoncolorsimplydoesnotwork.Athickcoatofcolorcertainlycannotbeusedinhigh-definitionfilmorphotography,asthecamerawillinstantlyreadthethickness.Thisconcepttranslatestoeverydayuse;thelast

In most cases, layering on color simply does not

work. A thick coat of color

certainly cannot be used in high-definition film or photography, as the camera will

instantly read the thickness. p

hoto:originalpunkt/Shutterstock.com

February 2012 • Les Nouvelles Esthétiques & Spa www.LNEONLINE.com • Page 117

image

thing a woman wants to wear is something that appearscakedonorshowsthatshehastried(andfailed)tocoverupsomethingonherface.

Sohowdowegoaboutcoveringupblem-ishesanddiscolorationbeforeapplyingfoun-dation?Beforeweevenstart,weneedtoun-derstandfourthings:colortheory,thecolorsforcosmeticcorrection,ourformulationsandtheapplicationprocess.

Certaincolorswilldotheworkforuswhenitcomestoremovingdiscolorationwithin,un-derneath or on the skin.

Lightisthekeyfactorandthemaintoolweworkwith.Withoutlight,wecannotseeourwork.Theselectionofwhitelightisimportant.Toseethisfirsthandforyourself,trydoingsomeone’smakeupunderablueflood,andnoticethediffer-encewhentheyareinnormallight.Whitelightalsocomesinavarietyofcolors.Thesecolorsrangefromareddish-orangewhite,suchasthelampbesideyourbed,totheblue-whitelightsonmostnewcarheadlights.Bothexampleshavemanywhitelightcolorsbetweenthem,includingnormaldaylight.AllofthesewhitecolorsaremeasuredintemperaturevariationscalledKelvin(K).Thelightbesideyourbedisabout2,800K,whilecarheadlightsareabout7,000K.ThelowertheKelvintemperature,the warmer the shade of white light, and the higher the temperature, the bluer the shade of white light.

Ifwegooutsideonacleardayatnoonandthesunisdirectlyoverhead,thatisthecolorclosesttothepurewhitelightthatweneedtoworkwithwhenapplyingmakeup.Thecolortemperatureisabout6,000to6,500K.Ifyouapplymakeupinthiscolortemperatureanditlooksgood,makeupinothercolortempera-tures(e.g.,house2,800Korstudio3,200K)willlookfantastic.Inyourhome,therearedim-mers somewhere. Turn the dimmer on full, then watchthecolorofthelightasyouslowlyturntheknobbacktooff.Thelightgoesfromwhitetoaveryreddish-orange.Whitelightinyourhousehasthesamebasic

concepts.Thelightbesideyourbedisaveryred-orangecolorifcomparedtotheflorescentlights.Thosefluorescentslookverygreenishcomparedtotheminitracklights.Thekeyhereistorealizethatwhitelightcomes

inaspectrumofcolors,justlikeaprismdisplaysaspectrumofcolorsonawall.Thisisthebasicstartingpointforcorrection.Youmustbeworkinginthecorrectlight.Eventhebestsurgeonsusegreatlighting—mosthospitalsurgicallightingis6,500K.Asafunexercise,gooutsideonaclearday around noontime and apply your makeup. Then go inside and see just how good you look.Inthechartbelow,youwillnoticehowusing

ayellow-greencosmeticasafiltereliminatestheunwantedrednessfromthelight.Thatcon-

continues

Red and green, blue and orange, and pink and brown are all color duos that cancel each other out. For example, someone who has blue tones under the eyes would use a color that has a little orange in the undertones to correct or neutralize the blue.

before after before after

photoscourtesyofDMKCosmetics

Page 118 • www.LNEONLINE.com Les Nouvelles Esthétiques & Spa • February 2012

ceptisverysimple.Choosingtherightcorrec-tioncolorisevenmoresimple.Youjusthavetorememberwhichcolorseliminateothers.

Color neutralizationRed and green, blue and orange and pink and brownareallcolorduosthatcanceleachotherout.Forexample,someonewhohasbluetonesundertheeyeswoulduseacolorwithalittleorangeintheundertonestocorrectorneutral-izetheblue.Someonewithareddish-coloredblemishonthefacewoulduseacolorwithyellow-greenmakeupundertones.Itisimpor-tant to remember to never use pure red, green, blueororangetoneutralize.Useacolorthathas undertones of red, green, orange, blue or pinkforthecorrection.Foryears,ladiesthoughttheyhadtopur-

chasethislightercolorintheformofconceal-er for use under their eyes, where they would simplypileiton.Butthistypeofconcealerisactuallycalledahighlightandisusedtoassisttheshadingcolor(blush)inliftingandaccent-ingthecheekbones.Themagicappearsfollowingtheapplica-

tionoftheseneutralizingcolors.Usuallyyouhavejustcamouflagedtheunwantedcolorsbyjustpouringthemakeupontothefacetoelimi-natethem.Neutralizingiscompletelydifferent.Rememberthelightpart?Thereasonweseetherednessisbecausethelightreflectsofftheareaofrednessonthefaceandbouncesintoour eyes, where our brains tell us we see red. Ifwecouldstoporadjusttheredness,maybe

wecouldeliminatetheredreflection.Ifweaddeda very small amount of red over the top of the red areaontheface,itwouldobviouslyturnevenred-der!Sowhatcolorwouldwelightlyaddtomaketheredgoaway?Ifyouarethinkingsomethinglikeyellow-green,youareright.Takeyourbrushand use a very small amount of the red neutralizer (yellow-green)colortostoptheredlightfromre-flecting.Thisletsthenormalskincolorthroughandmakes it appear as if there is hardly any makeup on.Whataboutthebluenessundertheeyes?

Thatbluecoloristhesameasthered;smallamountsofbluecolorarereflecting(throughthe skin) and going to your eyes, where your brainissaying“Yikes!Itisblue.”Thesolutionis simple: grab the blue neutralizer and apply itasyouwouldtheredneutralizer.Yourblueneutralizerisgoingtohaveanorange-coralundertone.Browncircleswouldneedabrownneutralizer,whichhasapinkundertone.

The smaller, the betterIcannotstressenoughhowimportantitistouseasmallamountofneutralizerorcorrectionprod-uct.Ifyouusetoomuch,youwillnothavearedorblueareaontheface,youwillhaveinsteadayellow-greenororange-coralspot.Thatwouldlook many times worse than the original problem.Nowyouunderstandtheconceptsandcan

coverredandbluemarksontheskin.Butwhataboutpurple?Thatrequiresatwo-stageap-proach.First,covertherednesswitharedneu-tralizer. This time, rather than apply it so that thenaturalcoloroftheskinappears,additsothat the red disappears from the purple and the only shade you see is blue. This now requires anadditionalstep.Withapowerpuff—notabrush—pressloose,clear,colorfree,non-trans-lucentpowderintotheredneutralizerandre-movetheexcesswithapowderbrush.Thenusethe blue neutralizer to remove the redness on theskin.Afterapplyingthesetwocolors,addloosepowderasbefore.Thiscoversthepurple.

Ta da! Now you finally know how to disguise thatheinoustattooonyourclient’sdaughter’sback.Alljokesaside,thekeyconceptofflawlesscover-upmakeupistoensurethecorrectlightingforproperapplication,andtousetherightcolor-neutralizingproductsinappropriateamounts. n

Tommy Parsons is the director of DMK Cosmetics, where he works with the company’s international team of distributors in marketing, education and

training. Parsons has an extensive background in the makeup industry. He has been a makeup artist for various enter-tainment corporations, and has worked with a multitude of major ce-lebrities including mu-

sic stars, politicians and pageant contestants. Parsons has also designed colors for numerous professional cosmetic brands.

image|neutralize and correct

White light comes in a spectrum of colors, just like a prism displays a

spectrum of colors on a wall. This is the basic starting point for correction. You

must be working in the correct light.

chartcourtesyofDMKCosmetics