PMU international magazine #5 by Jenny Mashkova

N¹6 2018

ANNA SPIEWAK "SUCCESS MAKES YOU SEXY AND PMU DOES THE REST..."

• THEORY • NOVELTY • PERSON • EQUIPMENT & PIGMENTS • BUSINESS • EXPERT • MASTER CLASS • GALLERY OF ARTISTS • MEDICINE PMUINTERNATIONAL.COM

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CONTENTS THEORY 6 .......LIPS STRUCTURE

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10 ......THE TYPES OF SKIN AGING

NO6

TIPS

PUBLISHER

14......SULE LOGGENBERG

HEAD OF PMU INTERNATIONAL PROJECT Natalia Zubova

PERMANENT MAKEUP AND AGING SKIN.

EDITOR-IN-CHIEF

PROFESSIONAL TIPS PERSON 18 ......ANNA SPIEWAK SUCCESS MAKES YOU SEXY AND PMU DOES THE REST 20 ....TRANG NGUYEN QUEEN OF BROWS PIGMENTS 24 ....PERMA BLEND 25.....ALINA SOLOVEVA

Alina Soloveva

Maxim Granko pmuinter@gmail.com

DESIGN / PROOF Evgenia Mashkova AUTHORS Olga Zalogina, Alina Soloveva, Sule Loggenberg, Rumia Aliyeva, Veera G or latov a, A di S c hendel, Nadežda Deržnikele, Alexandrina Mar tynovich, Tatjana Antonova, Anahita Moshfeghi, Karen Betts, Sylwia Nawrot & Sylwia Dobrowolska. TRANSLATOR / PROOFREADER Yana Rasmussen, Maxim Granko DVD Simona Casadei PMU INTERNATIONAL MAGAZINE Marketing Department: 1st Tverskoy-Yamskoy Lane., bld.16, 125047 Moscow, Russia Moscow office: +7 (965) 144 40 49 (11 a.m. — 19 p.m.) pmuinter@gmail.com skype: pmu_international_magazine

28 ....RUMIA ALIYEVA EXPERT 30 ....VEERA GORLATOVA SECRETS OF ETHNIC SKIN 38 ....ADI SCHENDEL THE REVOLUTIONARY BALDING TREATMENT

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THE PMU INTERNATIONAL MAGAZINE #6/2018. THE FOUNDER, THE PUBLISHER AND THE EDITOR — LTD. «SPHINX». CERTIFICATE OF REGISTRATION OF MASS MEDIA PE — NO. FS 77-69520 OF 02/05/2017. THE ARTICLES, COLUMNS, RATINGS AND OTHER EDITORIAL PAGES OF THE MAGAZINE ARE THE BACKGROUND INFORMATION AND ANALYTICAL MATERIALS. FULL OR PARTIAL REPRODUCTION OF THE ARTICLES AND OTHER RESULTS OF INTELLECTUAL ACTIVITIES WITHOUT THE CONSENT OF PMU INTERNATIONAL IS STRICTLY PROHIBITED. PMU INTERNATIONAL IS NOT RESPONSIBLE FOR SUBMITTED MATERIALS. THE EDITORIAL OPINION MAY NOT REFLECT THE VIEWS OF THE AUTHORS.

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EXCLUSIVE 46 ....KAREN BETTS THE AMAZING STORY OF ALEX LEWIS PARAMEDICINE 58 ....NADEZDA DERZNIKELE PARAMEDICAL MICROPIGMENTATION MASTER CLASS 64 ....SYLWIA NAWROT & SYLWIA DOBROWOLSKA BREAST MICROPIGMENTATION WITH AMAZINK AREOLA GALLERY OF ARTISTS

SIMONA CASADEI:

72 .....ANNA FEDYANINA

HYGIENE AND SAFETY

74 .....LINDA PARADIS

DVD CONTENT

76 .....CLAUDIA PRATA SPECIAL PROJECT 80 ....ALEXANDRINA MARTYNOVICH LASH LAMINATION: IMPRESSIVE EXPRESSIVENESS 84 ....ANAHITA MOSHFEGHI EYEBROW ARCHITECTURE 86 ....TATJANA ANTONOVA EYELASH EXTENSIONS

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Our magazine proudly presents free 90-page preview of the new and updated edition of Simona Casadei’s book Hygiene and Safety — Complete guidelines for: aesthetic treatment, permanent make-up, tattoos, piercing. Simona Casadei is an aesthetician and tattoo — makeup artist who has specialized and worked in permanent makeup for 25 years. Both English and Italian versions are presented on our DVD along with the covers. If you want to read a full edition of her great book after reading a preview, follow Simona:

W W W.SIMONACASADEI.COM or

SIMONA.CASADEI72

UNIQUE INDIVIDUAL AND GROUP PROGRAMS BY ALINA SOLOVEVA EVERYTHING ABOUT PERMANENT MAKEUP: FROM BASICS TO ADVANCED LEVEL TEL. +79165161111, www.alinasoloveva.com

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THEORY

LIPS STRUCTURE Lips perform numerous functions in our body. They are used for eating, creating sounds and articulation and serve as an erogenous zone due to a high number of nerve endings, which determine their increased sensitivity. In the scientific world lips are known as the vermilion zone. On one side it borders intraoral labial mucosa with its upper layers made of non-keratinized epithelium, and on the other side it borders a thin line of paler skin called the vermilion border, which separates the vermilion from the surrounding facial skin. The vermilion has neither sweat or sebaceous glands, nor hair follicles. It is covered with stratified squamous epithelium. The epithelial cells of the vermilion are flattened. As you know, the epidermis consists of several layers, of which the upper one, stratum corneum, is represented by 15-20 layers of dead cells. Yet, this layer is much thinner in the vermilion. Technically, the vermilion skin is the con-

tinuation of the oral mucosa. It makes lips the only place in the face where the oral mucosa is exposed to the outer environment. Fragile as it may seem, the lip skin is not the thinnest one on the face. In several scientific studies, facial skin thickness was measured in living people with the use of ultrasound methods and in fresh cadavers with the use of biopsy. All subjects were adult Caucasians, and although normally skin thickness would vary depending on a number of factors (age, race, individual peculiarities in living individuals and different reactions to freezing in fresh cadavers), the data acquired allowed working out a relevant skin thickness index1. According to this index, the thinnest skin is found in the area of the upper eyelid, then comes the neck and, finally, the upper and lower lips. 1 Analysis of Facial Skin Thickness: Defining the Relative Thickness Index (Richard Y. Ha et al.).

A B C

E F H

A. B. C. D.

Philtrum Ridge Cupidâ&#x20AC;&#x2122;s Bow Vermilion Zone Node

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E. F. G. H.

Lobe of the lower lip Groove of the lower lip Mentolabial Furrow Pillar of the mouth

Transitional zone

Vermilion border Labial glands

Mucous membrane Orbicularis oris muscle

Skin

Sublingual mucosa Attached gingiva Mucolabial sulcus

However, the overall skin thickness may be different from epidermal thickness. Thus, the thinnest epidermis was found in posterior auricular skin (the skin behind your ear), while the thickest epidermis was unexpectedly found in the upper lip. This fact can play a vital role in micropigmentation since the artist needs to estimate the appropriate depth of pigment placement, in other words going through the layers of epidermis and injecting pigment in the upper third of the dermis.

There is a common misconception that the surface of vermillion skin seems translucent due to proper hydration. Yet, a recent study proved this belief wrong2. It turned out that the surface of facial skin in other sites, for example cheek epithelium, is three times more hydrated than lips epithelium. Nevertheless, while 2 Location-related differences in structure and function of the stratum corneum with special emphasis on those of the facial skin (H. Tagami). PMUINTERNATIONAL.COM

cheek epithelium becomes less hydrated with age, vermilion epithelium does not. Interestingly, the lower lip appeared to be dryer than the upper one. The data acquired highlights the importance of using hydrating lip balms, especially in cold or dry environments. Being exposed to severe environmental conditions with no or inadequate protection, lip skin can become flaky and slush quicker. For example, lick dermatitis that is more common in children but can also be found in adults, develops when a person tries to moisturize the surface of lips with their saliva. The mechanism of this condition is the following: inflammation boosts the process of increased cell turnover, the keratinocytes do not have enough time to complete the full formation circle and to form the surrounding lipid ‘envelope’ properly, which results in dry and flaky appearance of the skin. Interestingly, the vermilion skin cells undergo the process of keratinization in a peculiar way: moving to the surface, they do not lose their nuclei and retain them even in the stratum corneum (the upper layer of the epidermis), which is common for all mucous membranes. This phenomenon is known as incomplete keratinization and is often mentioned as the reason for poor water-retaining capacity and weaker barrier function of lip skin.

SKIN

The vermilion skin does not contain a lot of melanocytes — cells that produce melanin in response to sun exposure. Therefore, lips are prone to sunburns, which means they should be adequately protected. Lip dermis is abundantly filled with capillaries, thus the reddish color of this area. It also explains the fact why lips grow larger and more red in the moment of sexual arousal — it happens due to the flow of blood to this area. However, in people with black skin, whose epithelium is thicker than in Caucasians and contains more melanocytes, dermal capillaries are not as visible, which determines a much darker color of the lips. In addition, it is essential for micropigmentation artist to know about the lymphatic draining system in the lip area since the lymphatic system plays an important role in pigment retaining (if pigment particles have been placed too deeply, they are taken away by lymphocytes since they are identified as foreign elements to the body). The upper lip lymphatic vessels unite into five major channels leading to submandibular lymph nodes, yet some of the upper lip lymphatic vessels end up in periparotid lymph nodes. As for the lower lip, the lymphatic vessels here also unite in five main channels. They connect the middle part of the lower lip with submental lymph nodes and outer parts of the lower lip with unilateral submandibular nodes.

SKIN

(LIPS) Stratum Corneum Protective layer is much thinner in the lips and more vulnerable to damage

Stratum Corneum Thick Protective Layer The Epidermis Barrier between internal body structure and environment

The Epidermis Barrier layer in lips is thinner making it more prone to damage and lines

The Dermis gives skin structure and is made of Collagen and Elastin

Dermis Lips appear smaller as we age due to loss of collagen and elastin

Sweat Glands Provide lubrication and moisturization to the skin

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Hair

No Sweat Glands The lips cannot produce their own moisture and need extra help to stay hydrated

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THEORY

THE TYPES OF SKIN AGING No one is immune from getting old. Nowadays women and even men, especially in the Western culture, are increasingly concerned about their appearance as they become older. Leaving out public figures and members of the elite trying to conserve their youthful looks with the help of plastic surgery and other expensive cosmetic procedures, we can say that aging skin in all humans is characterised by a certain degree of manifestation of the following signs of aging: • • • •

• •

fine lines and wrinkles around the eyes and the mouth; fine lines and wrinkles in other parts of the face (notably, forehead wrinkles); glabellar wrinkles (frown lines) and nasolabial folds (smile lines); reduced stratum corneum hydration and transepidermal water loss, which together with the increased surface skin pH result in the reduced skin elasticity and pronounced roughness; skin laxity; hyperpigmentation — development of age spots. The mechanism of their formation is not yet well known, but it has been discovered that age spots are made up of clusters of basal cells whose lysosomes (organelles responsible for intra-cellular digestion) failed to complete the process of digestion and accumulate intracellular waste.

Various combinations of the aforementioned factors allow to distinguish several types of facial aging: • • • •

the the the the

wrinkled type; tired type; muscular type; deformative type.

Some experts also talk about the mixed type and the exhausted elderly face type.

THE TIRED TYPE

The tired type of aging is also characteristic of slender women with regular, oval faces. This type is considered the most favorable one as it does not lead to significant deformations of subcutaneous fat and facial muscles and is therefore optimal for cosmetic treatments. Patients of this type usually have normal to dry skin, which is less prone to photoaging than the wrinkled type. Nevertheless, they do still develop some pigment spots and thread veins. The loss of subcutaneous fat in this type is little to moderate, which results in little loss of volume. The decreased tone of facial muscles and skin laxity predefine moderate sagging (formation of medium-pronounced jowls and nasolabial folds). In addition, patients with the tired type of aging form medium-depth marionette lines — vertical lines in the chin area, extending from mouth to nose and mouth to the lower aspect of jaw. Furthermore, such patients also form medium-pronounced palpebro-malar grooves that border the lower eyelid on one side and the tear trough on the other side. Moreover, changes in the infraorbital area cause dark circles to stand out prominently. Celebrity examples of this type: Julia Roberts, Cameron Diaz.

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MIMIC WRINKLES

DARK CIRCLES UNDER THE EYES, CROW'S FEET

EXPANDED VESSELS, PIGMENT SPOTS, TELANGIECTASIA (A.K.A. SPIDER VEINS) NASOLABIAL FOLDS

CONTOUR CHANGES, DISCOLORATION

FACIAL SHAPE CHANGES, GRAVITATIONAL WRINKLES WRINKLES, TONUS DECREASE PMUINTERNATIONAL.COM

THEORY

THE WRINKLED TYPE

THE MUSCULAR TYPE

The wrinkled type is mostly seen in Western European, slim build women with oval faces and normal to dry skin. Their skin is usually sensitive and prone to allergies and irritation. Faces of this type undergo the biggest loss of subcutaneous fat, which can make facial bone contours prominent and sharp. Due to a significant reduction of subcutaneous fat the overall skin thickness decreases, and for a permanent makeup artist it means that the patient’s skin has become thinner, thus pigment should not be injected as deep as in the case with younger patients. In the area of forehead, loss of subcutaneous fat, combined with increase of depressor muscles tone, results in its flatter appearance and development of deep horizontal wrinkles and frown lines. Evidently, patients of this type have a large number of wrinkles, while muscular tone of their faces does not decrease significantly, which protects facial tissue from sagging. Therefore such patients rarely develop pronounced jowls or malar bags. Due to increased skin sensitivity, patients of the wrinkled type are very vulnerable to photoaging and increased pigmentation, the majority develop pigment spots. A lot of patients are also prone to actinic keratosis — a pre-cancerous condition marked by formation of areas of dry, scaly skin, sometimes with scabs. At the early stages of the disease these areas do not stand out as their color would only change later on. However, these spots can be felt, since their texture resembles that of sandpaper. Actinic keratosis is caused by excessive sun exposure and is therefore common in such parts of the body as face, neck, hands and scalp. This condition is a serious contraindication to any types of cosmetic procedures.

The muscular type of aging is common among Eastern European and Asian patients, both men and women, with triangle or rhombus face shapes, high, pronounced cheekbones and prominent facial features. Genetically, they have less subcutaneous fat than people of other origins, but since its quantity decreases with age even more, their faces flatten as their cheekbones lose volume. For the same reasons the cheeks become sunken. With high muscle tone that only increases with age (as the muscle tone at rest almost equals the maximum contracture tone), patients of this type mostly retain well-defined face contour that isn’t prone to much changes. In general, facial features in patients of this type become rougher as the person ages, thus women faces become more masculine-looking. A number of factors, for example, bone resorption in the upper and lateral orbit, skin laxity and muscle contracture as well as deposition of subcutaneous fat towards the edge of the lid, lead to upper eyelid ptosis. Loss of subcutaneous fat causes patients of this type develop medium-depth nasolabial folds and marionette lines. Similarly to patients of the wrinkled aging type, they are highly prone to excessive pigmentation. Manifestation of age spots is extremely common and prolonged sun exposure causes their skin to become thicker and form deep, pronounced wrinkles.

Celebrity examples of this type: Helen Mirren, Audrey Hepburn.

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Celebrity examples of this type: Cindy Crawford, Jamie Lee Curtis.

THE DEFORMATIVE TYPE

MIXED TYPE OF AGING

The deformative type is probably the most complicated for a permanent makeup artist to work with. It is typical of Arabic and Eastern European (Slavic) women with large facial features and extra weight. They usually have thick, often oily skin with large pores.

Consequently, patients of mixed type of aging develop different features of the several aforementioned types simultaneously. This type of aging is common in women with normal to combination skin and normal body weight. Thus, areas with dry skin will age following the wrinkled type pattern, and the aging of areas with normal to oily skin will mostly resemble that of the tired type. If a woman is prone to puffiness, she may develop some sagginess in facial features, moderate nasolabial folds, sometimes even small jowls. Yet, she also forms fine lines and wrinkles, for example crow’s feet around her eyes.

Since the amount of subcutaneous fat is closely related to the overall body fat percentage and is significantly affected by weight loss or gain, it is obvious that overweight patients have excess of subcutaneous fat that, due to skin laxity and structural deformations, “pulls” the lower third of their face down. As a result, heavy jowls and very deep nasolabial folds are formed. Sometimes nasolabial folds merge with marionette lines and form one deep long fold that extends from the nose to the chin. In addition, the corners of the lips slide down as well, and all these factors make the person look sad and much older than they biologically are. The excess of fat in the lower third of the face also results in formation of double chin and neck folds. Patients of this type are also prone to puffiness due to obstructed lymphatic drainage, which makes their facial features even heavier. Despite their skin being thick, it can still be sensitive. Patients often have red cheeks and pronounced thread veins. On top of all, impeded lymphatic drainage often predetermines strong inflammatory reaction to micropigmentation procedures and other treatments leading to skin damage. Furthermore, patients of the deformative type of aging develop pronounced malar bags and ptotic upper eyelids. However, it is less common for them to form deep wrinkles. Celebrity examples of this type: Sophia Loren, Goldie Hawn.

Celebrity examples of this type: Monica Bellucci, Meryl Streep.

The exhausted elderly face type is characteristic of very old patients. It often comprises almost of all aforementioned features, and cosmetic procedures can hardly help here because the structural changes in bones, fat and muscles happening with age are irreversible. Knowledge of these types of aging and their peculiarities can help the permanent makeup artist foresee what changes the face will undergo in the future and better plan their work, aiming at the long-lasting result.

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TIPS

SULE LOGGENBERG SOUTH AFRICA W W W.SULELOGGENBERG.CO.ZA

PERMANENT MAKEUP AND AGING SKIN: PROFESSIONAL TIPS I have learned over the past decade that permanent makeup procedures have become more popular among older women. With the turn of the millennia, age has just turned into figures. Older women are enjoying the benefits of beauty products and treatments just as much as their younger counterparts. This is also very true for Permanent Makeup sphere. Elderly women benefit so much from permanent makeup, as they are a perfect example of what permanent makeup can do in regards to brow hair loss

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and enhancement of facial features. Permanent makeup procedure also excludes the routine struggle with a shaking hand or bad eyesight among such clients. They feel fresh, confident and ready for any day and event. My client base consists mostly of elderly women, and it has provided me with the opportunity to practice and study the effect that permanent makeup has on aged skin. This has also enabled me to formulate the perfect permanent makeup procedure for aged skin that does not cause discomfort or trauma to the skin.

Here are a few easy steps to use when working on elderly skin: • As with any other permanent makeup procedure it is important to do a proper consultation before the actual procedure. Make sure that the client does not use any blood thinning medication. They must stop using these for 7 days prior to the procedure and only if their doctor allows it. The doctor will normally give them a different schedule. • When you start the procedure, the numbing of the skin is very important. The second anaesthetic is very vital here as it reduces bleeding, bruising and swelling. • It is very important that elderly skin does not experience trauma and this is why it is essential to use your device on a medium speed and work quickly. • The use of very sharp needle grouping such as the Nano, or RL is not recommended. Rather use the 3RS or 5RS on elderly skin. • Always go for the natural look and use the dotted technique. This decreases trauma on the skin and provides fantastic healed results. • Choose a darker colour for the upper eyelid and a lighter or softer shade for the lower eyelid.

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â&#x20AC;˘ During the eyeliner procedure it is very important to stretch the skin. This decreases trauma. â&#x20AC;˘ Aftercare is a very important final step. Make sure that your clients know exactly how to treat the area after the procedure. Also do follow-ups and you will ensure optimal results. The basic rule for elderly skin that I have learned over my many years as a permanent makeup artist is that trauma to the skin influences the final result. Be confident, follow your steps, and your results will be wonderful.

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PERSON

ANNA SPIEWAK SUCCESS MAKES YOU SEXY AND PMU DOES THE REST… Anna has started her professional career as a state-certified medical beautician, makeup artist, eyelash stylist. Today Anna is International Master Trainer of Permanent Makeup & Microblading, as well as a founder and owner of Anna Spiewak's PMU / Microblading and Beauty Academy Germany and a speaker of several international congresses, with over 100 certificates in various spheres.

PMU WORK AND PASSION EU W W W.ANNA-SPIEWAK-ACADEMY.DE

CLIENTS Analyzing my client’s most popular requests, I come to the conclusion that in the field of permanent makeup the trend which is gaining increasing popularity is naturalness. Not overly visible but effective. Permanent makeup is primarily used to beautify eyebrows, eyes and lips and to perfect them. However, it is also popular in the medical field. The common permanent makeup trends are Ombrè Eyebrows & Shading Eyeliner. The eyebrows are world's most popular zone in the PMU field. Of course, the artist’s personal preferences in color, shape and technique change over time due to self-development. Every PMU artist creates her/his own style, vision and technique but everything has to be considered individually depending on the customer’s preferences and characteristics. I always try to adapt to the wishes of the customer. I try to give my recommendations regarding the color and shape, considering all the aesthetic points and the possible techniques but at the end, the customer makes the final decision. From time to time I face a situation where my client’s expectations do not match my personal views. The more details we discuss, the more difficult it becomes. Most customers have strong opinions and clear ideas of what

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they want, but usually they have no clue about the aesthetics and geometry of the face. Sometimes more explanation is necessary to convince the customer, but some effort and patience can help you achieve anything. I always try to do my best for my clients and so far everything has worked really well. We should always remember that the customer is a walking advertisement for our job, with all the consequences. It is very important to develop yourself through training, workshops and communication with other PMU artists in order to learn about new techniques and products. Talking about my personal preferences, my favorite eyebrow technique is Powder Brows, also called Ombre Brows. Precise and finely structured color transitions in combination with gentle shading at the beginning of the eyebrows provide a magical and natural look.

PIGMENTS & EQUIPMENT Tattoo pigments are in increasing demand. Some artists say that the results with tattoo pigments are longer-lasting and more predictable. However, it is not as simple as it seems since each country has its own rules. Unlike dyes in cosmetic products, the colors used in tattooing and permanent makeup are not tested for their health effects. So there is no legal requirement that concerns the

purity and quality of tattoo inks, thus guaranteeing safety. While cosmetics articles are regulated by the German Food and Consumer Goods Act, the European Cosmetics Directive and the German Cosmetics Regulation, this does not apply to tattoo inks. They are therefore not covered by the cosmetic legislation because they do not remain on the skin, but in the skin — so they are not cosmetic products in the true sense of the word. Thus, it does not make any difference whether to use PMU pigments or tattoo pigments. Each product has its side effects, advantages and disadvantages which have to be explained to the customer. At the moment I can’t say which pigments are the best; in the end, the most important part is our client’s happiness. Of course, I have my personal likes and dislikes. I enjoy working with Swiss color pigments, iColor, Biotek, Sviatoslav Otchenash and Perma Blend. For lips I prefer iColor (Nude, Watermelon, Peach and Fuchsia), Swiss Color (Peach, Diva, Kiss and Candy) and all colors of Sviatoslav Otchenash Pigments. With regards to eyebrows, Swiss Color IB line and iColor are my favorites; I work with all colors. Biotek and Perma Blend are good as well. In the past I worked with different PMU machines. Now I prefer to work with my own acupuncture needle system machine. I designed one by myself for more precise and durable work results. It was made in Germany with a Swiss engine, and released in October 2018.

a business and turning it from a mere solo work into a complex business and your own salon, you need to remember that perfect organization, good marketing, well-trained and reliable staff and faith in yourself are the keys to success. I’m a human being, and of course, it can be difficult for me to keep up with all the things I need to manage, to do everything in time. Sometimes I wish there were more hours in a day. But the main thing is that I love what I do; that motivates me and gives me enough energy to go on. I’m lucky that my job is my hobby. I like other things, too, for example, travelling, or fast cars — the feeling of adrenalin in my blood is something special. The three pillars of my happiness are health, love and success. Sometimes people ask me: “Please share your beauty secrets”, and I say — sorry, there are no beauty secrets to share. Due to lack of time everything must always be done quickly, sooo… Let’s just say that I spend less time in the bathroom than my husband does  I think success makes you sexy anyway, and PMU does the rest.

TRAINER & SPEAKER Eyebrows and lips, as well as asymmetry and perfect preliminary drawing, are the topics that most often discussed at master classes and conferences. Speaking of the latter, perfect organization with a low number of participants is very important for best results. Depending on the level of experience, working on live models is always a greater benefit than watching it on a large screen. Personally, I prefer individual lessons or training courses and reject mass workshops; learning by doing is the point. A perfect location without disturbance is a must, as well as professional equipment, lighting, high quality materials, and necessary hygiene items. Even the small items like pen and paper are an important part of the seminar’s success, and so is some good food for the course participants. My motto is: “only the best is good enough”. I think a personal sympathy between the artist and the client is a big advantage in business because it makes work much easier. Such qualities as patience, respect and determination are the way to success.

THE SECRET TO SUCCESS If you ask me what the secret to success is, I’d say — always stay up to date and open minded for everything new. Improve yourself with workshops or master classes with other PMU artists. Keep in touch with others about facing problems of all kinds. When expanding

Photos by Monika Kiernicka

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PERSON

PLEASE INTRODUCE YOURSELF AND TELL US ABOUT YOUR CAREER IN PMU. I´m Trang Nguyen, the founder and CEO of Queen Brows International Microblading/Semi-permanent Makeup Academy in Munich. At this Academy, besides providing beauty treatments to customers, we also conduct professional training courses in Micropigmentation for students; I collaborate with many professional microblading training centers and schools in many different countries. I started my career in Lash & Brow industry in 2009; after receiving an international diploma in Cosmetics in Munich, I decided to try myself in the sphere of semi-permanent makeup. Since then, I’ve received many awards and certificates in this field, have been a judge at various competitions, and have founded my own Academy and Training Center which I’m very proud of.

TRANG NGUYEN GERMANY Founder and CEO of Queen Brows, a professional training center of Micro-pigmentation in Untersbergstr. 22, 81539 München, Germany. At Queen Brows, Trang Nguyen has conducted basic training for hundreds of new students as well as advanced training (Master Classes) for many international trainers. In addition, Trang also collaborates with many professional microblading training centers and schools in Germany, the United Kingdom, the United States, Brazil, Norway, Finland, Italy and other countries in Europe.

QUEEN_BROWS

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WHAT IS IT LIKE TO WORK IN GERMANY? WHAT ARE THE TRENDS AND NEEDS? German clients usually don’t care about the service cost, but they are very demanding in terms of quality. However, there are customers that come from different countries of Asia and Europe, or sometimes from Arabic countries such as the UAE. Our clients find out about us from social networks, and often book an appointment with me around two to three (sometimes even six) months in advance. This makes me understand that they trust me and my service, and I’m very grateful for that. In my opinion, a detailed consultation before any procedure is a must. Fashion and trends change very quickly, so I try to consider them, but also give recommendations to my clients depending on their facial features and other factors. Some styles can be trendy, but if they are not suitable for my clients, I will try to talk them out of this idea. If the client insists anyway, I may refuse to provide this service. Since this is semi-permanent makeup, the pigment might stay in the skin for 4-5 years, and it is not so easy to correct or remove it. Yes of course, there is a laser technique, but it can cause burns and then scars if not performed correctly. Therefore, before deciding to get the treatment, clients should be aware of all the consequences.

WE HAVE HEARD THAT NATURALNESS IS THE MOST POPULAR TREND IN GERMANY. WHAT DO YOU THINK ABOUT THAT? DOES THE MENTALITY OF GERMAN PEOPLE AFFECT THE WAY YOU PROVIDE YOUR SERVICES? Yes, I agree that in Germany naturalness is in high demand, so I always try to provide a service that can give my clients a natural yet very beautiful look. Although each customer may have dif ferent requests, we need to make sure that there is a clear understanding between the artist and the client, so we can provide the best possible service for this precise person. German people may think that Asian beauty centers are usually of low quality. In the early days of my center, I did not have many German clients, but then I did my best to improve my services and develop my center with modern equipment and techniques. Now the number of German clients is increasing day by day.

WHAT ARE YOUR FAVORITE TECHNIQUES? WHICH ONES DO YOU TEACH AT YOUR ACADEMY? At Queen Brows, we teach many techniques, including micropigmentation and microblading for the eyebrows, eyelids, lips and scalp. I also offer new innovative techniques such as manual shading or lip micropigmentation without using anesthetics; there are only a few specialists in the world that can perform those techniques. Iâ&#x20AC;&#x2122;d say right now they are my favorite.

CAN YOU TELL US MORE ABOUT YOUR ACADEMY? WHAT ELSE DO YOU TEACH THERE? At our Academy, besides providing beauty care services to customers, we also conduct professional training courses. In addition to obvious technique issues, I always remind my students about ethical and hygiene standards. Professional beauticians must always remember all the aspects of our job concerning health, anatomy, physiology of our clients, as well as facial geometry, the color theory, and even psychological factors affecting the process and results of our work. A good specialist is always friendly and polite, very understanding and caring with regards to clientâ&#x20AC;&#x2122;s needs and expectations; it is a person whose priority is not money but health and satisfaction of the client. It is also very important to keep good ethical business behavior, to collaborate with other specialists and attend professional events, conferences and competitions to obtain more experience and get a lot of knowledge in modern techniques and equipment. As the head of Queen Brows Training Center, I always try to keep on learning and improving myself so that I can share my knowledge and skills with my students and provide the best care for my clients. I attended many international conferences and competitions in semi-permanent makeup, and won many prestigious awards at various championships. These conferences and competitions are great opportunities for me to expand my networks with colleagues around

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the world. I have become an internationally recognized specialist in micropigmentation. Over the past few years, I have been invited to speak at many international conferences and seminars in semi-permanent makeup, and to participate as a judge at some international competitions in micropigmentation. I always look for new ideas and new techniques, such as manual shading or lip micropigmentation without the use of anesthetics. These techniques are very innovative, and there are only a few specialists in the world that can perform them flawlessly.

WHAT PIGMENTS AND EQUIPMENT ARE USED AT THE ACADEMY? ARE THEY THE SAME AS THE ONES YOU PERSONALLY PREFER? At Queen Brows, we use products of Labina (Germany), Biotek (Italy), and Skin Monarch (Lithuania). I am very satisfied with the three types of pigments.

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They are manufactured according to the European standards and are very high quality. In my work I also prefer to use these products.

WHAT DOES IT TAKE TO BE A SUCCESSFUL STUDENT AT YOUR ACADEMY? WHICH QUALITIES SHOULD THIS PERSON HAVE? To become a successful student at my academy, students need to be good at concentrating and focusing on their study and work, as well as hard-working and enthusiastic. It is important to be curious, to practice as much as you can, to work on your hand strength to ensure that the lines you draw are clear and precise, and the needle does not go too deeply into the skin. Also, when studying at our center, the students should observe the way we communicate with our clients, give recommendations and consult them.

I also remind my students that they should always aim to improve their skills and keep it up. To pursue a career in the beauty industry, they need proper training, lots of practice and passion in what they do. The positive feedback I receive from my students, as well as their success, is the best reward for me.

WHAT IS YOUR CENTERâ&#x20AC;&#x2122;S PROMINENT FEATURE? We are a professional training center specializing in semi-permanent makeup. While other centers just teach Microblading in two or three days, we provide a five-day training session, because Microblading is a difficult and complicated procedure. It requires an accurate calculation and precise drawing of hair strokes. Microblading is considered the most challenging procedure in semi-permanent makeup. Personally, I underwent five training courses in Microblading many years ago. When conducting training for my students, I always supervise them to make sure they perform the procedure correctly. Queen Brows provides many opportunities for students to practice. The maximum number of students in each class is six, and there is always a teacher and an assistant who help students throughout the training course.

WHAT DO YOU THINK ABOUT THE FUTURE AND DEVELOPMENT OF THE PMU INDUSTRY? Permanent Makeup has become a trend over the

past ten years, not only in Western countries but also in the East. Women of different age want to look beautiful every day, possibly without making a lot of effort and spending too much time. Beautiful eyes, charming eyebrows and sexy lips are the features that attract a lot of attention and make women feel more confident. The PMU industry offers a perfect solution for these needs. Micropigmentation can be considered revolutionary in the beauty industry; it is something that can help women save their time and effort on makeup before going outside, therefore there is more time to relax or do things that you love. From the perspective of a provider, I think it also gives more job opportunities for specialists. A career in the beauty industry is very rewarding, because your work can boost your customersâ&#x20AC;&#x2122; confidence by improving their physical appearance.

WHERE DO YOU GET YOUR INSPIRATION? As a mother of two kids and a woman who is very busy with work, I understand that it is not always possible for women to find some time for themselves. Modern women usually have a hectic working life, and it is difficult for them (and, frankly, very tiring) to apply cosmetics every day. Semi-permanent makeup is a great solution in this case. Whenever I see my clients becoming more beautiful and confident, I feel very happy. The positive feedback I get from my satisfied clients is my source of inspiration.

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PIGMENTS

PERMA BLEND FOREVER IN YOUR SKIN WWW.PERMABLEND.RU WWW.PERMABLEND.COM

Among permanent makeup professionals pigment choice is probably one of the most important issues when it comes to satisfaction of a client. In this sphere quality speaks for itself and good product quickly becomes the popular one. In that regard no other pigment line has made so much noise lately as Perma Blend has done. In a relatively small time this new brand has made the market tremble under the competition pressure of interesting novelty. On the other hand, this line is manufactured by World Famous Tattoo Ink, which does have a certain well-earned reputation in the industry. One of the key features of Perma Blend pigments is its naturalness. Manufacturing process prohibits any animal testing, the packaging is as sterile as it gets, and

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all the quality control issues are done in accordance with international standards. A wide palette of colors in combination with finely dispersed pigment, allows creating unique shades to solve any problems, no matter what area you work on. In terms of composition these high-quality pigments donâ&#x20AC;&#x2122;t contain carcinogens and toxic elements, their dye particles are homogeneous, and their high-quality dyes are resistant to UV rays of any intensity. All these qualities are being achieved by using a four step production process: micronization, dispersion, homogenization, vacuum stabilization. Especially for this issue we have asked permanent makeup artists Alina Soloveva and Rumia Alieva to tell us about their experience with Perma Blend pigments.

ALINA SOLOVEVA RUSSIA W W W.ALINASOLOVEVA.COM

A REVIEW OF PERMA BLEND PIGMENTS ADVANTAGES: 1) Pigments are applied quickly and create a very beautiful look. 2) After healing, the color remains really bright and is durable. The warm brown shade does not turn red; besides, there is a really dark warm brown shade (yay!). Lip pigments will not leave a white coating on the skin in a few years. 3) High level of pigment retention; touch-ups are often not even necessary. 4) Great price. 5) There is a high possibility that the pigment will stay forever.

Dear colleagues, I would like to share my impressions of working with Perma Blend pigments. I have been working in the industry for more than 20 years. I am a worldclass trainer and artist, a participant of many conferences around the world, a judge of various contests and

DISADVANTAGES: 1) Working with these pigments requires a lot of knowledge of the color theory as well as the specifics of the skin. 2) With the lack of experience, it is easy to use too much pigment or apply it too deeply. 3) There is a high possibility that the pigment will stay forever.

championships; however, despite having a very active life connected with the world of permanent makeup, I continue working with clients as well as learning about new pigments and techniques. Frankly speaking, I am very careful with new products as testing them might take a

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while, whereas the result can fall short of my expectations or cause dissatisfaction of my clients. Therefore, I prefer to use proven products. I do not completely trust the advertising statements of the manufacturers. As practice has shown, the results of work can differ greatly from those stated by the manufacturer. Perma Blend, being rather unusual and having great reviews from various specialists, made me interested in their products. I have tested these pigments during 3 or 4 months and, having done more than a hundred procedures and after seeing a lot of healed results, I am ready to present my conclusions to you. Perma Blend pigments have been created by an American manufacturer of tattoo pigments; in my opinion, they ARE tattoo pigments which have been adapted for working with the face. The popularity of these pigments is growing day by day, and this brand is quickly conquering the market. Even in Europe, where the standards of quality are really high, this brand of pigments got certified. I must admit that the slogan “Forever in your skin!” made me a little concerned. The advantage of permanent makeup is the fact that in a few years pigments fade off, which makes it possible to change colors or shapes if necessary. In the situation with Perma Blend, however, it is important to remember that the pigments will probably stay forever. Nevertheless, such product is in a way long-awaited, especially on the Russian market. In Russia, a lot of artists have been using mixed tattoo pigments for a long time; however, improper use of colors and techniques when working with different skin areas can lead to dissatisfactory and unpleasant results. For example, the color may get a cold shade; dark stains might appear; the pigment can be applied way too deeply. Besides, even though the manufacturer says that the pigments for permanent makeup will fade off after some time, still there is a chance they will stay forever, and might turn really weird, leaving the client with something like red eyebrows or white and/or yellowish lips. On the other hand, all permanent makeup artists have to deal with customer complaints that their permanent makeup has gone and there is nothing left (“My eyebrows disappeared after 1 year!”) or that there was not enough brightness, etc. Perma Blend pigments perfectly cope with such difficulties and show great pigment retention after one procedure. Sometimes a touch-up procedure is not even necessary. There are a lot of clients who want to fix their previously done makeup, to somehow remove excessive layers of color or traces of titanium dioxide, but not every client is ready to undergo a procedure of permanent makeup removal. Perma Blend is a great solution in such situations as it covers old pigments perfectly well. The colors after healing are really bright and saturated, which does not happen very often in situations with permanent makeup pigments. Considering that Perma Blend pigments are a variation of tattoo pigments, I pre-

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sume and hope that the original color of pigment will remain in the skin even after a long period of time. The price of these pigments is absolutely affordable, and the retention is really high. However, so far the way the pigments will turn after laser removal is not clear.

COLOR PALETTES EYEBROW PALETTES are absolutely fantastic: a large variety of colors, lots of warm brown tones, and really bright shades with a guaranteed large residue of pigment if applied correctly. The color after healing is very close to the color of pigment in a bottle. I liked the results of working with those pigments in a shading technique. The secret of very light powder brows is now clear to me. It is much easier to achieve such results with the use of tattoo pigments rather than with the ones for permanent makeup. The problem of “red brows” is commonly known: in a year or two eyebrows very often turn orange, coral or pink shades when permanent makeup pigments were used. I suppose that Perma Blend pigments will show more durability. I recommend working really carefully with the darkest brown shades. In any type of permanent makeup, any dark brown (nearly black) color turns bluish and cold; this should be taken into account when working with hairstrokes. The fact that there is a really warm dark brown shade in the palette is definitely great news; the color turns exactly as desired — warm dark brown. EYELIDS. The pigment will 100 % stay in the skin forever; therefore, no long dramatic arrows or bright colorful shades are recommended. Alternatively, the client should be warned that such patterns will stay with them for the rest of their lives. Personally, I use Double Black only when creating lash lines. Since I know that any arrow will remain forever, and that aging eyelids tend to droop, when applying permanent makeup on eyelids I use classic pigments for permanent makeup. LIPS. The selection of colors is limited. Personally, I would add more shades for lips. In my practice I very often apply natural or nude colors when performing permanent lip makeup. In principle, it is possible to create various beautiful shades using the colors of the palette; however, in that case it is absolutely essential to have enough knowledge of the color theory. I need to note that the color covers the pigmented area beautifully and evenly, especially when using a light spraying technique. Important! Perma Blend pigments differ from usual permanent makeup ones and require special skills from an artist. I recommend Perma Blend pigments only to very experienced and skilled artists who understand clearly the specifics of work with the skin. It is necessary to use powder, spraying and similar light techniques of pigment application. That way, both we and our clients will be happy!

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RUMIA ALIYEVA KAZAKHSTAN RUMIA.ALIEVA

PERMA BLEND PROS: 1. Pigments are suitable for modern techniques of permanent makeup application. 2. Pigments have a good residue. 3. Pigments are certified. 4. Affordable, available for beginners. 5. Two kinds of pigment thinner.

I came across Perma Blend pigments about six months ago, and this experience turned out to be a good one. Pigments are easy to use, easy to apply. I mainly work in a watercolor technique, and the percentage of pigment residue is very important when using this technique. Perma Blend pigments pleased me with 90% of the color stayed in the skin after the first procedure. I tried to watch and analyze the healed works, and I could see that the pigments are durable and keep their richness for a long time. I tried to use products from many different manufacturers of permanent makeup pigments, but none of them gave such an effect. A percentage of the remaining Perma Blend pigment is a quality that even popular nowadays tattoo mixtures do not have. However, unlike those tattoo mixtures, the Perma Blend pigments are easier to apply, and the results of work are more predictable.

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CONS: 1. A limited number of colors for Asian skin. 2. Not suitable for artists who do not know how to use modern techniques of pigment application.

Of all the zones of permanent makeup, I personally prefer permanent makeup of lips; however, I’ve also notices that the colors for eyebrows are soft, and the outcomes of the procedure are predictable. With regards to the shades of pigments for lips — they are really beautiful and create a very natural transparent color when applied. Perma Blend pigments do not contain a large amount of white pigment in its base, and do not leave a white coating on the lips. Lip shades are very natural, 80% of my clients in Kazakhstan have a cold skin type, but the lip colors do not turn bluish after healing due to the fact that the pigments have a warm base. A good pigment residue can be both an advantage and a disadvantage of this brand of pigments. It is important to know how exactly the pigment should be applied as it is only suitable for surface application, such as watercolor, shadow or powder techniques. I would not recommend Perma Blend pigments to the artists

who are used to working with outdated techniques and therefore apply pigment really deeply into the skin. A deeply applied Perma Blend pigment will certainly turn blue or red on the eyebrows over time and the coverage will be too thick. It is quite an important fact that Perma Blend pigments are certified; they are produced by a well-known American manufacturer and have all possible international quality certificates; it gives me the opportunity to work with these pigments at congresses and guest visits to Europe, or sometimes to show the certificates to my clients if necessary. Not all pigments can provide such an opportunity which can be very important when

you are not just an artist but a trainer, too. At the moment all my training courses, including the advanced ones, are based on the use of Perma Blend pigments. The affordable price of these pigments makes it possible even for newbies to start working with such high quality products with a large selection of colors. Important! I would like to highlight that in order to work with Perma Blend pigments and achieve desired results, the artists should know the color theory like the back of their hand. The existing palette of Perma Blend pigments has just a few colors that are suitable for Asian skin.

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EXPERT

VEERA GORLATOVA USA W W W.PMESTHETICS.COM

SECRETS OF ETHNIC SKIN Do you remember the day when you had your first client with the dark skin? I don’t know about you, but personally I started panicking straight away. I went through my notes from school, then I started staring at the color circle; I became really nervous. I believe that a lot of newbies have jitters, just like me on that day. Does this dialogue sound familiar to you? — I’d like to have brown eyebrows and bright coral lips, is it possible? — Sorry, coral is not possible...And you know, we were told at our school that permanent makeup is not recommended for dark skin.

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— Really? Why is that? — Well… And then you just don’t know what to say, simply because you don’t have enough knowledge in this area. All you know is that you would need to add some orange tone, but anyway it is better not to work with dark skin as it is so difficult. Over the years of experience in the field of permanent makeup, I have learned how to work with ethnic skin, and now working in this area brings me great pleasure. However, it took a while, with several years of try-

ing various things and making mistakes. Today, my colleagues often ask me to share my experience with them. In this article, I will share with you all my knowledge and experience in this area, and will try to clarify some points which, I believe, deserve your attention.

• • • •

Approximately half of my clients have dark skin with various shades, from yellowish-olive to dark brown with a deep cold shade (V-VI by Fitzpatrick). There are quite a lot of clients of mixed blood with relatives from different ethnic groups. For example, a person whose dad is from Malaysia, mom is from Ethiopia, dad’s grandmother is from Ireland, and mom’s grandfather is from South Africa. In such cases, it is very easy to get confused when choosing pigments and techniques, especially if you are a newbie in permanent makeup. It is important to know what type of melanin prevails in your client’s skin, as well as understand the skin structure of people of different ethnic groups. This entails the correct choice of the pigment tone as well as selection of the correct technique for the procedure. Unfortunately, these aspects are not studied properly in a lot of training centers, despite the fact that the topic is quite important, especially for beginners. In order to explain how to work with ethnic skin without making mistakes, it is necessary to clarify several important aspects, such as the following: What is the difference between the skin structure of clients of various ethnic groups? Why does the skin vary in color, and why does it react differently to the process of micropigmentation? Knowing the abovementioned will help to understand the following: • The reason why, as time passes, the same pigment color will change in different ways on different skin types; • The way skin reacts to trauma; • How to minimize trauma during the procedure and make the pigment stay for longer after healing;

How to facilitate the process of healing; How to choose pigments in terms of chemical composition; How to prevent the pigment color change with time; How to choose the correct technique working with different areas of the face (eyebrows, lips and eyes).

SKIN COLOR The skin color of all people is determined by the presence of two pigments — eumelanin and pheomelanin. Eumelanin gives the skin and hair a rich brown hue (from brown to black). Pheomelanin gives the skin and hair a yellowish-red color. Asians, Native Americans, natives of Latin America have a lot of pheomelanin. This is the reason why they have olive skin color. If there is a small amount of melanin in people’s skin, the skin color in this case is light and pale, or even pinkish. The pink shade of the skin is determined by the presence of hemoglobin in erythrocytes, or so-called red blood cells. Naturally, it is present in all people’s skin. However, hemoglobin is located in the blood vessels under the skin, so it is practically invisible in the case of dark skin. Its presence is completely disguised by melanin. Hemoglobin can be seen only in the skin of white people, especially with a light complexion. It is hemoglobin that makes the cheeks pink when people blush. Thus, the color of our skin depends on the amount of melanin, which in turn is determined genetically.

SKIN COLOR AND MELANIN

EUMELANIN

PHEOMELANIN

BROWN-BLACK

RED-YELLOW

HEMOGLOBIN

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BLACK SKIN

EUROPEAN SKIN

PHEO

ASIAN SKIN EU

PHEO

H EU

APPROXIMATE CHART OF THE PERCENTAGE OF MELANIN IN THE SKIN.

MELANIN So, now we know that the skin color, as well as the color of the eyes and hair, depends on the amount of melanin. Melanin is formed in special cells of the skin called melanocytes. Despite the fact that the number of these cells is only 5% of the entire cellular system of the epidermis, they are a very important part of the human body. The main, and the most important, role of melanocytes is to protect the skin and the entire body from exposure to ultraviolet radiation. Melanocytes are branched, or dendritic, and their dendrites are used to transfer pigment granules to epidermal cells.

Melanocytes produce specific organelles, termed melanosomes, in which melanin pigment is synthesized and deposited. Melanosomes are transferred from melanocytes into the main cells of the skin and then stay in the upper layers of the skin. With normal operation of the body and moderate sun exposure, the skin of a human body gets tanned. The sunlight stimulates the process of vitamin D production; however, it is also a greatest source of UV radiation. UV rays damage the skin cells, specifically the DNA of the cell. This can entail the mutation of the cell nucleus and the development of skin cancer.

Dead keratinocyte

Stratum corneum

Lamellar granules

Granular cell layer

Langerhans cell

Spinous layer

Keratinocyte Melanin Melanocyte Merkel cell

MELANOCYTE

Basal layer

Basal lamina

EPIDERMIS

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The biggest mistake is to think that suntan can be washed off the skin. This is a great delusion and an unacceptable gap in the knowledge of a permanent makeup specialist. Pigment cannot be “washed off”. It can only be temporarily removed chemically or physically

(acid peels, laser removal, etc.) However, 45 seconds of sun exposure without protection is enough for the pigment spots to reappear, possibly even in larger quantities. The body protects itself from UV radiation by producing melanin.

VITILIGO Similarly, the process of vitiligo is irreversible. Vitiligo (from Latin: a skin disease, probably from vitium, a blemish) is a skin condition in which white patches (without melanin) of depigmentation appear. Predisposition to vitiligo can be determined genetically. The cause of vitiligo is unknown. The white patches can be camouflaged with the use of micropigmentation; however, it is very important to understand clearly that in this case you are working with the skin without pigment. It is absolutely essential to conduct a preliminary test of color selection.

PIGMENTATION As it was already mentioned earlier, melanin serves as a kind of "shield" which protects damaged skin from ultraviolet. The same happens when the skin is traumatized. As a result of skin damage, such as burns, spot squeezing, cuts, and the process of micropigmentation, melanin is released into the upper layers of the skin in the form of red, brown or cold brown spots in the area of trauma. Thus, the more damage the skin gets during the procedure of permanent makeup, the more natural pigment will be produced by the skin in the area of pigment application.

Therefore, the color of people’s skin depends on the amount and saturation of melanin of a specific color, which is determined genetically. That is why, using the knowledge of the color theory, an experienced permanent makeup artist should always remember about the color circle. In the case

of different shades of the skin, complementary color correctors should be used. Personally, it is more convenient for me to use the "conventional" names of skin pigment colors and, depending on this, choose a complementary basic shade for the eyebrows. PMUINTERNATIONAL.COM

EUMELANIN

PHEOMELANIN

HEMOGLOBIN

Black F P 5 - 6 (Af r ic ans, Indians, Af r ic an Americans) — the "blue" color of the subcutaneous pigment. Asians FP 3-5 (South Americans, Native American Indians) — the "olive or green" color of the subcutaneous pigment. E u r o p e a n s F P 1- 3 ( E u r o p e a n s , I r i s h , Scandinavians) — the "red" color of the subcutaneous pigment. It is important to understand that the number of melanocytes in the skin of people of different races is pretty much the same, but the melanocytes can be of different sizes, and the way they are transferred into different skin layers also varies. A permanent makeup artist should always remember that skin cells of people of different ethnic groups are genetically pro-

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grammed to work in different ways, thus they produce different amounts of melanin in response to trauma. For example, in the case of white skin, the epidermis contains only a little amount of pigment, while the epidermis of dark skin is completely filled with pigment granules. If we talk about the Asian type of skin, it should also be remembered that although it is relatively light, it is also prone to severe pigmentation, i.e. the release of melanin in response to trauma. It is especially important to take this into account when working with lips! The higher the concentration of melanin released, the darker the shade of the skin, which means that the healed results of work will be more unpredictable if the procedure causes skin trauma. This should be remembered while performing the procedure of micropigmentation.

CONCLUSION ON THE CHOICE OF COLOR It is important to always consider the color of melanin which prevails in the clientâ&#x20AC;&#x2122;s skin. Depending on this, the color of the mix with basic complementary shades should be chosen. The procedure should not be traumatic! It is very important to understand what is inside the bottle of pigment. You probably already know that today

SKIN STRUCTURE OF PEOPLE OF DIFFERENT ETHNIC GROUPS At the beginning of my professional career, I worked with beam needles and pigments for permanent makeup which contained a large number of inorganic components, such as metal oxides and titanium oxide. This is what we were taught at school. More experienced permanent makeup artists recommended slightly higher pressure and increased density of pigment application when working with thick and oily skin. As a result, my clients had really thick scabs which would heal for a long time, and the amount of pigment remained

we use both inorganic and organic pigments in our permanent makeup industry. This is why we should remember that organic colors like red and yellow are very unstable; if you use organic pigments on ethnic skin then the color will quickly acquire cold shade. Taking this into account, please make sure that the red and yellow colors you use are inorganic. If the pigment does not contain inorganic colors, use additional color correctors that have inorganic red or yellow pigment in it.

was very small. Au contraire, Asians and Latin Americans could have another problem: the pigment was very dense, but after a while it would get a red or blue tone. Even now, I sometimes come across photos of works of my colleagues on social networks, where artists complain about poor pigmentation after the procedure. There were also photos where it was clear that the pigmented area of black skin after permanent makeup application became pink, as neither the applied color, nor natural pigment remained in the skin. We should correct or avoid those mistakes with the help of knowledge.

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DARK SKIN VS LIGHT SKIN It is important to know and understand the fact that the composition and density of the horny layer of people’s skin is different and depends on ethnicity and genetics. An artist needs to have enough knowledge in this area, because people’s skin for permanent makeup artists is like a canvas for artists. Various types of canvases are suitable for different types of work. What do we know about "the canvas”? DARK SKIN (AFRICANS, AFRICAN-AMERICANS) Dark skin is thick, more prone to be oily, and not sensitive. Also, sebum production is the highest in people with dark skin. The electrical resistance of dark skin when using galvanic current during cosmetic procedures is twice as high as that of light skin. The first signs of aging appear much later than in people with light skin. CAUCASIAN SKIN TYPE These people usually have light, sensitive, thin skin with increased activity of capillaries. Light skin can also be combined and more prone to dryness. Wrinkles on this type of skin usually appear much earlier (about 10 years earlier) than in people with dark skin or Asian skin type. ASIAN SKIN TYPE Asian skin is more prone to sensitivity, as the outermost layer of skin is very thin; this is the reason why it scars more easily. However, the dermis of skin is thicker, which means that Asian skin is more resistant to aging. This type of skin is oilier than Caucasian skin type as it has more sebaceous glands. The result of the recent experience of scientists can serve as a proof of all the above comparisons. With the help of adhesive tape, the stratum corneum was removed. In order to remove the outermost layer of black skin, it was necessary to apply the adhesive tape on average 16 times, and in people with Caucasian skin this figure was closer to 10. The scientists found out that the thickness of the stratum corneum in the two groups is the same, but the stratum corneum of black skin consists of more layers, the cells of which have increased adhesive/adherent qualities.

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Then, the time needed to restore the stratum corneum after its damage was studied. It turned out that after the test with the adhesive tape, the horny layer of black skin was restored faster than the horny layer of white skin. Applying those results to the process of micropigmentation, the following conclusions can be drawn: When working with ethnic skin, it is important to avoid traumas. In order not to injure the skin during the procedure, I recommend choosing a one-point needle of average thickness of 0.30-0.35. Despite the fact that one-point needles are considered traumatic, it allows artists to apply the pigment to the correct depth from the first pass, without unnecessary injuries of the skin. Also, this type of needles allows artists to control the color intensity. Another important point is the remainder of the pigment. When the skin is penetrated with a single needle, the injured place almost immediately starts healing. The pigment remains in the skin. The skin is restored much faster. In the case of work with beam needles or needles for microblading, a much larger area of the skin is injured, thereby lymphatic separation is increased, and as a result, a large amount of pigment comes off with scabs. After deep penetration, the skin will restore itself by increasing a number of collagen-elastin fibers, which can eventually heal in the form of micro-scars. This is especially dangerous for black skin, which is often prone to the formation of keloid scars. The speed of the device is selected individually, depending on the way the artist is used to working. Personally, I would recommend starting slowly at low speed for feathering. Giant Sun 2.6-3.0 Dragonfly (rotary tattoo machine) 5.0-6.0 Noveau Contour (nano needle #2) 90-100 It is a good idea to use Vaseline or oil; this will allow the needle to slide and gently penetrate the skin. In order to increase the pigment intensity, it is better not to make many passes, but tilt the device and operate at an angle of 30 degrees. I hope that this article has helped you to learn a little more about the specifics of applying permanent makeup on ethnic skin, and hopefully this knowledge will make your working process easier.

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EXPERT

ADI SCHENDEL ISRAEL W W W.HAIRSIMULATION.CO.IL

THE REVOLUTIONARY BALDING TREATMENT Hair loss is a major problem, causing many men in particular to feel badly about their appearances, but a permanent solution may give hope to many. Statistically, the most common cause of hair loss in both men and women is heredity, at 95% of all cases. According to statistics, Male Pattern Baldness (MPB) accounts for over 95% of the cases in men with 2/3 of men experiencing some type of hair loss by the age of 35, and 85% of men experiencing significant hair thinning by the age of 50. And it is not just men who suffer: 40 percent of all hair loss suffers are actually women. While multiple treatment options exist, one particular method is becoming more and more popular among

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younger men: scalp micropigmentation, formerly referred to as a hair tattoo or Micro Hair Tattoo (MHT). Scalp micropigmentation is a permanent cosmetic tattoo that mimics the very short hairs of a closely shaven scalp, but this procedure is not performed in a traditional tattoo parlor and there are major differences from a traditional tattoo and scalp micropigmentation. While both terms refer to the same thing essentially, majorÂ differences exist in the skill set and background of the person performing the procedure, as it is a highly specialized process. Beyond the expertise of the provider, it is also very important that providers have the appropriate equip-

ment and ability to replicate the illusion of hair on a scalp. Scalp micropigmentation needles are typically triple clustered, very fine, and administered into the scalp at a more shallow depth than a traditional tattoo needle. A traditional tattoo artist may not be able to replicate this same illusion, if they arenâ&#x20AC;&#x2122;t skilled in this specific technique, so it is best to find a specialist provider specializing specifically in hair loss restoration methods. So, why the sudden appeal of this relatively newer method? Well, this method is the least invasive, comparatively inexpensive, and permanent, with guaranteed results. Scalp micropigmentation is targeted more toward younger men who wear buzz cuts, but older men can also benefit. Many celebrities have also been known to use the method. Depending on the current status of your hair, you can look into other treatment optionsÂ Â or preventative methods, both of which have pros and cons of their own. Some

of the more common non-invasive treatment and preventative that are available are topical solution applied to the scalp to re-grow hair and prevent further loss, or prescription strength drug known to slow hair loss in men, and the laser light therapy, a procedure that encourages protein synthesis needed for growth by stimulating blood flow to the scalp to encourage hair growth. Other more invasive and expensive methods of treatment include hair grafting, or hair transplant, scalp reduction surgery, or the scarless hair transplant. These procedures are for more severe hair loss but do have more lasting results for men who want to wear their hair short or longer. Finding the right solution or preventative method for you widely depends on your current hair status, age, and genes, but it seems that scalp micropigmentation could be an ideal option for men who want to maintain the appearance of hair without the use of major invasive surgical procedures. PMUINTERNATIONAL.COM

THE SCALP MICROPIGMENTATION PROCESS The skin of the scalp has an intricate anatomy. The normal thickness of the scalp has a significant supporting infrastructure for hair (i.e., glands, blood vessels, nerves, muscles, and fat) in much greater abundance than other areas of body skin because of the higher hair densities of terminal hairs. In androgenetic alopecia, the large terminal hairs become miniaturized over time, as the hair cycles between catagen and anagen phases. When hair bulk is lost through miniaturization or apoptosis, the supporting infrastructure is reduced in proportion to the loss of the hair. Diseases and scalp surgeries also alter scalp anatomy, resulting in regional microscopic variations in the manner that each individual reacts to scalp micropigmentation. The atrophic scalp of a bald man, with its reduction of blood flow and dermal fat, will respond differently to the introduction and retention of scalp pigments than would a normal hair-bearing scalp. Many incurable scalp diseases produce skin deformities that persist despite treatment. The SMP process offers a good and creative cosmetic solution to these deformities. The use of small follicular units was introduced in the early 1990s and when these smaller follicular units were artistically blended to camouflage large grafts, many of the surgical deformities from prior procedures were corrected.

HAIR GROWTH PHASES. 1.

Anagen phase: This is the phase where your hair grows and length is determined. It varies between each person, and can last for 2-7 years. Catagen phase: This is the transition phase of the hair growth. It lasts for about 7-10 days, the follicle shrinks and detaches from the hair papilla. PMUINTERNATIONAL.COM

THE MEDICAL AND SURGICAL PROBLEMS THAT CAN BE ADDRESSED BY SMP CONCEALMENT INCLUDE: 1. Scalp scars from scarring alopecia. 2.

People with autoimmune diseases such as refractory alopecia areata or alopecia totalis.

Women who are balding or thinning but are not responsive to medical treatments and do not qualify for hair transplantation.

Neurosurgery scars and scars from head trauma, surgeries, and/or hair restoration procedures.

Chemotherapy patients who do not grow back significant amounts of their hair after treatment.

Deformities in hair restoration patients resulting from unplanned progressive hair loss in men, whose hair transplants have failed to achieve the amount of “fullness” they expected.

People with wide or obvious scars from donor strip harvesting techniques.

People who have open donor scars as a complication of hair transplant surgery from harvesting techniques between the 1950s and the early 1990s, from strip harvesting surgeries, or from more modern follicular unit extraction techniques that create punctate scars.

People who dislike using topical concealers or wigs.

10. Hair thinning or regional balding, where the patient desires to appear to have a fuller head of hair, with or without a shaved scalp.

Telogen phase: This is the resting phase. The hair will be in this part of the cycle for about 3 months. Typically, 10-15% of hairs are currently in this phase. While the old hair is resting, a new hair begins to grow.

Exogen phase: This is called the new hair phase, also part of the resting phase. Basically, the old hair is shed and the new one continues to grow. Humans shed about 50-150 hairs a day on average from their scalp, this is the normal rate of shedding.

SCALP MICROPIGMENTATION PROCEDURE SMP functions as a permanent concealer, and the targeted artistic effect is similar to the visual effect of a stippled painting as dots are created between the pores of a balding scalp. This can be done with the hair remaining long or on a shaved scalp. The density of the stippling does not necessarily match the number of pores that contain the hair in the average adult. • • •

The average Caucasian has 50,000 pores (i.e., 50,000 follicular units), The average Asian — an average of 40,000 pores (i.e., 40,000 follicular units), The average African — an average of 30,000 pores (i.e., 30,000 follicular units).

The density of the stippling created in the SMP process can be designed to produce shading and create the illusion of texture and fullness to address the desired results worked out between the technician and the patient. The establishment of a realistic expectation is a critical goal in the first consultation. What the patient sees and what the provider does must be designed to meet the patient’s initial objectives; however, if the patient wants to change his or her goal after the procedure is complete by trying to push the provider to create a painted scalp for more fullness, the patients should be brought to the understanding that seeing through the hair with some visible scalp, is the norm. The tools in the operator’s hand include pigments of different hues in a variety of formulas and viscosities and instruments employing needle groupings from one to three needles

packaged together, in various sizes and shapes. The requirements for each targeted area vary based upon numerous aesthetic factors, including the presence of blemishes or scars on the scalp, skin color, hair color, the amount of hair that is present, and the color and viscosity of the pigments used. The SMP process begins by inserting a micro droplet of pigment through the skin and into the upper dermis, using a standard permanent makeup instrument which supports between one and six needles cycling between 100 to 150 cycles per second. The needle(s) must perforate the epidermis to get to the upper dermis. The depth of needle insertion varies by “feel” and visual judgments made by the operator that reflect the undulating thickness of the epidermis at the point of introduction. The thicker scalp, with more fat and supporting infrastructure, will produce a different skin turgor (the degree of elasticity of skin) than an atrophic or scarred scalp, impacting what the operator feels and sees as the SMP process is performed. The operator creates a constant mental feedback loop as he/ she constantly adjusts to the effects that are felt and seen. There are additional factors that become important to place the correct amount of pigment, at the correct level, into the scalp for the desired effect. These can be summed in a proportional mathematical “relationship” (Fig.1). Because every patient is different, every area of the scalp is different, and every point of insertion is different from the prior and subsequent points, the operator is trained to make technical and artistic judgments as the process advances, millimeter by millimeter. Scars retain pigment very differently than the skin of an atrophic or normal scalp. It is not unusual to have both normal and abnormal scalp conditions proximate PMUINTERNATIONAL.COM

to each other in the same patient. The artistic judgments in managing this often extend into the normal scalp since a scar that is white will have to blend into the tanned or dark skin that surrounds the scar. The stippling will vary in dot size based upon artistic judgments needed once the process starts. If the pigment is placed only in the epidermis, the process will fail because the pigment will leak out within a few days after the procedure is done. If the pigment is placed too deeply into the dermis, it will fail as it diffuses outside the confines of its original area of placement. The observable size of the stippling may change into a noticeable confluent visual amalgam (bleeding) of ink.

PHYSIOLOGY OF PIGMENTS IN THE SKIN Once the pigment is placed into the scalp, the amount of pigment that remains over the first few days reflects the quantity and depth of placement. The epidermis ranges in thickness between 0.5 to 1.5 mm. Both the stratum corneum (the outer part of the epidermis consisting mainly of layers of dead flattened non nucleated cells filled with keratin) and stratum granulosum (a thin layer of cells in the epidermis) constitute the primary barriers for the protection of the skin. The largest layer in the epidermis is the stratum spinosum, and this area fills with pigment in the track created by the needle(s). The deepest layer of the epidermis is the stratum basale, a row of columnar cells resting on the basal lamina that separates the epidermis from the dermis. These cells are mitotically active (a method of cell division, in which the nucleus divides into daughter nuclei, each containing the same number of chromosomes as the parent nucleus) and they migrate

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upward toward the surface. We try to limit the depth of the needle(s) to the upper dermis. Significant amount of pigment may be found in the basal cell layer immediately after the process is done. Pigment particles are found within the cytoplasm of both keratinocytes and phagocytic cells, including fibroblasts, macrophages, and

Fig.1 Pigment placement proportion formula. Ideal pigment deposit correlates to:

α [ (A) x (D) x (T) / (R) ] x C x V x N •

A = Angle of needle against the scalp (operator variable factor)

•

D = Depth of needle into the scalp (operator variable factor)

•

T = Time the needle is left in the scalp (operator variable factor)

•

R = Resistance of the scalp (atrophic vs. normal scalp is an intrinsic factor that varies locally in the scalp of the individual)

•

C = Color of pigment (extraneous factor, such as the choice of the best color)

•

V = viscosity of pigment (extraneous factor)

•

N = Needle size, type, number, cycling speeds

•

α = the approximate mathematical relationship between the variables.

mast cells. At one month, the basement membrane is reforming, and aggregates of pigment particles that are present within the stratum basal are starting to disappear, as these cells migrate upward toward the surface. In the dermis, phagocytic cells that contain pigment may concentrate along the epidermal-dermal border below a layer of granulation tissue that is closely surrounded by collagen. The cells of the stratum granulosum and the stratum spinosum contain particles of pigment, as they migrate upward. Eventually, all of the pigments found in the epidermis will be pushed upward with the exfoliation of the stratum corneum. The only pigment that will remain will be the pigment originally placed in the dermis. This represents a satisfactory outcome. The portion of ink that washes away on the patientâ&#x20AC;&#x2122;s first hair wash (2-3 days) reflects the pigment on the surface of the scalp or from the needle track within the stratum corneum and stratum granulosum. With the normal stratum corneum turnover of 27 days, it is likely that the pigment remains below the stratum corneum in the lower layers of the epidermis for a few months. How much of the pigment remains in the stratum basal and how long it stays there probably varies in different people, especially those with skin diseases that impact skin cycling. Eventually, all of the epidermis becomes free of pigments. The depth of the stratum basal from the surface of the skin varies significantly along the skin, millimeter by millimeter,

reflecting an undulating depth of the epidermis at the dermal border. This makes the depth control by an operator who manually controls the needle by the feel of the resistance a very difficult skill that takes considerable experience. The needles are worked into the superficial dermis and this is the portion of the pigment that remains long term. Black pigment granules vary in diameter from 0.5 to 4.0Âľm. At one month, transepidermal elimination of ink particles through the upward movement of cells in the stratum spinosum is still in process with ink particles present in keratinocytes, macrophages, and fibroblasts. This is what causes changes in the appearance the patient sees in the first few weeks/months. Touch-ups are an important part of the service in follow-up for these patients, as the initial uniformity in appearance, after the first procedure, changes. An active foreign body reaction is induced by the pigment and the speed of the reaction varies with individuals depending on the quality and quantity of pigments used, and the local anatomy, physiology, and pathology of the scalp. In biopsy specimens reported at two to three months and at 40 years after tattooing, ink particles are no longer found in the epidermis, but they are found in dermal fibroblasts, predominantly in a perivascular location beneath a layer of fibrosis that replaced the granulation tissue. Tattoo pigments are found both intra-cellularly and extra-cellularly, with mild fibrosis and occasional foreign-body giant cell reactions. Pigment

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particles are initially dispersed diffusely as fine granules in the upper dermis, as well as in the epidermis in the tract at the point of the injection. The ink particles normally aggregate to a more focal location in the upper dermis from Days 7 to 13. Some of the soluble components of the pigment may be absorbed initially and taken away by the lymphatic system, while the insoluble components are incorporated with the connective tissue that surrounds each of the fibroblasts containing ink particles. The changes that can often be seen in these early days after the process has taken place include washing out of the surface epidermal pigments and extravasation (bleeding) of the dermal pigment beyond the area it was placed. The experienced operator has to balance what is seen at the surface at the time the first procedure is performed

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with an anticipated loss of some of the more superficial epidermal pigments after a number of days pass. With the stratum corneum penetrated, some leakage of pigments can be seen in the first couple of days after the procedure is performed. Since the pigment in the dermis is not initially stable under the bodyâ&#x20AC;&#x2122;s foreign body reaction, some pigments may be absorbed or change color over time. Exposure to ultraviolet light can accelerate changes in color. I have seen an almost complete loss of pigment within a few weeks of the initial treatment at one extreme, which might reflect a needle insertion that was too superficial. Considerable extravasation (a bleeding amalgam) of the pigment outside the areas where it was placed in the dermis could also negatively impact the visual aesthetic process as early as in the first week.

CONCLUSION Scalp micropigmentation is relatively new for those who wish to expand their practices. This is the reason I have addressed here in this article the opportunities presented by the scalp micropigmentation process, its strengths and challenges, as well as medical and surgical scalp and hair complications that can appear during its use. Since this is a cosmetic procedure, the elegance of the results reflects the technical and artistic skills of an experienced technician. Gaining experience in this process can bring great happiness to millions of people who have, heretofore, had few options in treating their hair and scalp deformities. The scalp micropigmentation goal of concealing the condition cosmetically is in marked con-

trast to the risk of medical alternatives that treat the conditions themselves. My experience has shown that many of the complications experienced by others can be avoided through the use of carefully selected pigments and a good understanding of the variables that we face with each new patient. I would like to conclude by thanking all the readers of PMU magazine and its staff for giving me the opportunity to pass on my knowledge through this magazine. I hope that you have enjoyed this article about the world of scalp micropigmentation. For those interested in learning this technique, you are welcome to join me in one of my worldwide classes. PMUINTERNATIONAL.COM

EXCLUSIVE

THE AMAZING STORY OF ALEX LEWIS BY KAREN BETTS

Karen Bet ts is the UK’s most esteemed permanent makeup and microblading specialist, and one of the earliest pioneers in the highly-specialized ar t of paramedical tattooing. The leading authority in her field, Karen really is the ‘professional’s professional’ — she’s a regular speaker at international conferences (USA, Russia and China to name a few), and she’s the go-to expert for British journalists and documentary-makers alike.

I have been a paramedical tattoo technician for twenty years and have found the difference I can make in a person’s life actually has had a significant impact on my life as well. While helping others to recover from their medical conditions, the value of confidence and pride in one’s self has proven to me to be not only an issue of appearance but also of mentally and physically surviving with a winning spirit of appreciation for life. My paramedical tattooing experiences span working with burn survivors, breast cancer survivors, people born with cleft lip, and other scars resulting from

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surgeries and medical conditions. I’ll now share the case history of Alex Lewis who has given permission for me to share it with you. On November 17th 2013, at the age of 33, Alex Lewis collapsed. He was rushed to an intensive care unit in London where he was put on life-support, his chance of survival was less than 3%. What he thought was initially a common cold was actually strep A, which had progressed to toxic shock syndrome (TSS), septicemia and necrotising fasciitis.

ALEX LEWIS BEFORE THE SICKNESS.

BEFORE RECONSTRUCTION. PMUINTERNATIONAL.COM

ALEX WITH BASIC RECONSTRUCTION. The infection ravaged Alexâ&#x20AC;&#x2122;s face, mouth and limbs. Nothing could be done to save them and as a result, he endured a quadruple amputation, followed by facial reconstruction and skin grafts over the course of a 12-month period. His life was changed forever. Alexâ&#x20AC;&#x2122;s plastic surgeon had explained to him that the psychology related to facial disfigurement is in fact very different from that of losing a limb. During his initial consultation with me, Alex shared that he was very aware of how uncomfortable other people felt when seeing his facial disfigurement for the first time. Above everything else, this was the most difficult thing for Alex to cope with. When he told me how his own son was afraid to kiss him, I was heartbroken for him and knew I had to help in any way I could. Reconstruction with me was the final piece of the jigsaw puzzle. Alex had been through so much up to this point, and it was now up to me to finish the amazing work his facial surgeon had so brilliantly produced. I had no fears. I had no doubts at all that I wanted to work with Alex and I knew I could make a difference.

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In my mind I had to achieve the following 3 things: 1. Create the illusion of lips. 2. Camouflage the white areas of the skin graft to match the natural facial skin tones. 3. Disguise the scars on his nose and cheek areas. I planned to achieve this over a period of 12 months and explained to Alex that I would need to see him virtually every month during this time.

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The f irst appointment was booked in my diary. Then, the day before I was due to work on Alex I received a phone call from a production company asking if the entire procedure could be filmed for a documentary. I agreed, but when I overheard Alex saying his piece to camera, the reality of the situation took hold. Alex said, “I’m at the final stage of my journey and Karen is going to make me look normal again”. I felt the pressure of not only Alex’s expectations but of my own as well.

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I started with the lips. I decided that in order to achieve realism, I would begin with applying a darker KB Pro lip pigment from the inside out, using a pointillism technique. I knew that if I built up the colour from the inside of the lip I could make any changes as I saw fit later, without it being a problem aesthetically. I also wanted a gradual build-up of colour over time, so Alex could slowly adjust to the changes. The lips were forming nicely, so during the first two appointments I also began accessing colour and techniques for the scarring to his nose and cheek areas

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towards the outside of the skin grafts. I tested several camouflage colours, applying them with a 3 micro needle and the Nouveau Contour Intelligent machine. Unfortunately, this was not as successful as I hoped. I changed my method and tried using a 0.5 mm micro-needling roller to implant colour. Again, I was unsuccessful. I wondered if using a number 7 microblade to mimic tiny hairs in the chin area would make the area look more realistic, but they did not hold either.

MANNEQUIN HEAD SHOWING 0.5MM MICRO-NEEDLING ROLLER TO IMPLANT COLOUR.

7 MICROBLADE TO MIMIC TINY HAIRS.

7 MICROBLADE NEEDLE. PMUINTERNATIONAL.COM

MANNEQUIN HEAD DEMONSTRATING THE TECHNIQUE 1 NANO NEEDLE.

Appointment 3 came around and as Alex came through the door I wasn’t entirely sure what I was going to try next. But I knew I wasn’t going to be beaten. The lips were starting to look fabulous and the colour was building up nicely, so why wasn’t I getting the same results in the grafted areas? The skin had been harvested from Alex’s shoulder, which is much thicker than the skin I work on every day, so I had to start thinking differently. My attention turned to my experience in medical tattooing and breast reconstruction, working on donor skin to create 3D Areolas. I would try the Nouveau Nano needle which is the smallest single needle we have. It worked!

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BLENDING INTO THE SCAR UNDER THE CHIN. At the 4th session, there was no stopping me, as I knew exactly which colours and techniques would work effectively. Using the Nano NT needle and pointillism technique, I pushed pigment into the follicles to create stubbles, and with the 3 liner added larger areas of pigment to mimic freckles.

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By 5th session I was achieving great results using a light ash-blonde pigment, so I decided to switch to an areola pink and use this in-between the newly created pigmentation spots to match with Alex’s natural rosy skin tones.

CLOSE UP FRECKLES AND STUBBLE.

I continued with this for another two appointments and in session 8 I also added an areola pink to the outside of the lips, to give a soft outer-edge so as to avoid a feminine look. By sessions 9 and 10 I knew I could really pull out all the stops and make Alex’s lips look super-realistic. Natural lip tissue has vertical creases which create texture and shape. I was able to mimic this structure by implanting my darkest, coolest lip pigment with a 1-point liner needle, sculpting vertical lines throughout. I was so pleased with the results and felt this final touch really brought everything together. We had done it; we had actually made Alex look normal again and helped him to feel confident with his new appearance.

IMMEDIATELY AFTER. NOT HEALED VERTICAL LINES AND HEALED SKIN CAMOUFLAGE. 

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BEFORE AND HEALED Alex continues to inspire me every day. If anyone ever has the chance to have a conversation with this remarkable man, he will most likely tell you that he doesn’t miss his old self one bit. He is unique and absolutely loves his life right now. He believes his life is the most amazing it’s ever been and feels very lucky indeed. I think that is the most uplifting attitude to have and it makes me even more determined to help him in the future in any way I can.

To that end, I now donate 1% of all of product sales to the Alex Lewis Trust, which was set up to help fund Alex’s rehabilitation costs, including wheelchairs, home adjustments and prosthetics to enable Alex to return to as near normal life as possible. If you would like to read more about Alex’s story, please visit www.alex-lewis.co.uk or alex-lewis.co.uk, where you can also make a donation to the fund. Alex is also available for motivational speaking, which I can highly recommend (but there won’t be a dry eye in the house). Bye for now. Karen and Alex.

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PARAMEDICINE

NADEŽDA DERŽNIKELE ESTONIA NADEZDA.DERZNIKELE Head and Leader Specialist of the center of Professional Micropigmentation РМС (Riga, Latvia), the winner of the international competition for specialists in permanent makeup Perfect Line 2005.

PARAMEDICAL MICROPIGMENTATION The other day I was having a conversation with a doctor, during which I realized one interesting thing: in medicine, in order to be able to make sound conclusions, to analyze and publish the results of one’s research which will be valid and approved by specialists in the area, it is necessary to study and analyze 100 to 1000 cases (depending on the situation), since each of these cases can be unique, different from the others, with its own specifics, complications and consequences. The case also might be an exception which will change the standard notions of the disease progression or the required treatment, thereby affecting the statistics as a whole. During eight years out of my 12-year practice which is devoted to paramedical micropigmentation, I often come across the same situation: no matter how many procedures I have already preformed, I cannot accu-

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rately predict the outcome of the procedure, the number of touch-up procedures that will be required, the amount of remaining pigment, and some other moments. Working with atypical skin (for example, fibrous skin or affected by dermatosis) can be compared to walking through a minefield, where it is necessary to be extremely careful and move gradually, step by step, without rushing. Frankly speaking, I must admit that I am still quite far from a large-scale study. However, this article, which was written by me at the request of PMU International magazine, is based solely on my personal experience. This is some kind of quintessence from real cases, and I will be really glad if this article helps some of those who have decided to tackle this complex and very specific work called paramedical camouflage micropigmentation.

SKIN DYSCHROMIA CORRECTION First of all, I would like to note something very important: our center closely cooperates with clinics of plastic surgery, as well as various dermatologists and cosmetologists. Basically, it is the doctors who recommend us to their patients in situations when it is difficult for traditional medicine to solve the problem. Consulting with a doctor is a prerequisite for a patient before we can start performing any treatment for atypical skin; such cooperation with clinics can guarantee satisfactory results of the procedure for both parties. Very often it is micropigmentation that proves to be the most effective and sometimes the

only way to solve the problem. However, before starting any work, it is essential to find out whether all the possibilities of traditional medicine and cosmetology have been used in order to correct the imperfection. I am talking about laser treatment for scar removal, injections (for example, lidase or hyaluronidase solutions that are used for softening the scar tissue), various surgical operations (scar excision or plastic surgery) and pharmacological therapy. After the micropigmentation procedure has been performed, it is not a good idea to do any other types of treatment on the pigmented area as it can damage the skin or modify the applied pigment.

PHOTO 1. CLIENT WITH VITILIGO.

PHOTO 2. CLIENT WITH DERMATOSIS . PMUINTERNATIONAL.COM

TYPES OF SKIN DYSCHROMIA THAT ARE POSSIBLE TO WORK WITH Dyschromia (Greek: dys (abnormal) + chrōma (col or)) is a condition characterized by discolored patches on skin. There are two broad categories of skin dyschromia: • Congenital disorders, such as albinism or birthmarks; however, I do not work with such types of dyschromia. • Acquired; amongst them there are spots arising on skin which was not modified (e.g. vitiligo, photo 1), and the ones that appear as a result of various types of dermatosis (photo 2). It is possible to work with different types of skin dyschromia. Usually I work with cases of hypopigmentation, when one area of the skin is noticeably lighter than the rest. In this case, it is easier to choose the color that will match the skin tone by using different shades of pigments. When working with hyperpigmentation, if the treated area is noticeably darker

than the main skin tone, it is very difficult to guarantee the outcome and make sure that the color of pigmented area exactly matches the tone of surrounding skin; this is because the pigments we use are white or almost white. Here is a typical example: we can easily increase the size of the nipple by adding a bit of color to the tone of the areola around the nipple (photo 3), but it is practically impossible to reduce the large size of the areola by simply painting its outline with a light color as the shades will not match, and it will be obvious. In principle, when working with hyperpigmentation, I just lighten the dark zone a little through applying a white pigment, trying to make it subtle, almost transparent. The specifics of titanium oxide are commonly known; therefore it is necessary to work with it step by step, gradually increasing the density of the color by applying it layer by layer. A typical example of work with hyperpigmentation is camouflage of dark circles under the eyes (photo 4) or the procedure of lightening the scar under the breast after breast reduction surgery (photo 5).

PHOTO 3. AREOLAE PIGMENTATION.

PHOTO 5. SCARS AFTER BREAST REDUCTION SURGERY.

PHOTO 4. CAMOUFLAGE OF DARK CIRCLES UNDER THE EYES.

PHOTO 6. SCAR AFTER A FACE LIFT PROC EDURE.

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VITILIGO IS NOT THE END OF THE WORLD Vitiligo is an acquired dyschromia of the skin in which there is a loss of epidermal melanocytes. It is important to understand whether vitiligo is the result of dermatosis or a different disease, for example leukemia; it can only be determined by a doctor. Personally, I only work with long-stabilized vitiligo of small size on any part of the body. The important features of work with vitiligo: • It is essential to do a color test one month before the main procedure (on the skin without suntan); • Before filling the area with pigment, it is necessary to draw its outlines with the use of a waterproof pencil or pen;

•

The procedure should be performed quite slowly, with circular or linear motions; the pigment should cover the skin without any gaps; • The device settings are the same as for working with the outline; • In order to camouflage vitiligo, it is necessary to consider that when healing, the color may get a red shade; therefore, I recommend adding olive-colored pigments to the main color; • Large vitiligo areas should be divided into smaller zones; • Aftercare is the same as after permanent makeup procedures.

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CAMOUFLAGE OF SCARS AND STRETCH MARKS Scars can be also classified, with certain reservations, as cases of acquired skin dyschromia. It is possible to work with any stabilized scars (except keloid scars) which appeared on the skin more than six months ago. Scars that appear after face lift procedures and other types of facial plastic surgery can be successfully camouflaged (photo 6).

a long process. In order to achieve satisfactory results, a large number of procedures may be necessary. Most of the time I work with scars arising after operations on the mammary gland, such as mastectomy (removal of the mammary gland), breast reduction, lifting or enlargement with implants (photo 8); if we talk about men, it can be scars after gynecomastia treatment (photo 9).

As a rule, the tissue of these scars is quite thin, unlike scars on the body. Scar formation as a process is influenced by many internal and external factors. It can be uneven, stretched and rather deep, so it is pretty difficult to apply pigment so that it would evenly cover the area of an initially uneven scar (photo 7). When applied superficially, the pigment simply will not stay due to the thickness of fibrous fibers; however, if the applied pressure is excessive, there is a big risk of putting the pigment under the scar into the deep dermal layer, in which case even the light skin pigment will look bluish or even purple after healing. Therefore, it is important to prepare a client for

Important specifics of work with scars: • Performing a color test on the skin without tan is absolutely essential; • Pigment should be applied with the use of onepoint needles and a stippling method; • It is necessary to work really slowly, applying dots closely to one another; • The device settings are the same as when working with outlines; • When camouflaging scars on the body, it is necessary to consider that after healing, the pigment may turn a little pink, so I recommend adding olive-colored pigments; • Dry healing aftercare.

PHOTO 7. UNEVEN SCAR.

PHOTO 8. BREAST SCARS.

PHOTO 9. SCARS AFTER GYNECOMASTIA TREATMENT.

PHOTO 10. CREATING VISUAL REPRESENTATION OF A NAVEL AFTER SURGERY.

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INTERESTING POSSIBILITIES OF PARAMEDICAL MICROPIGMENTATION: •

Creating visual representation of a navel after surgery (photo 10); • Visual representation of a missing nail; • Camouflage of a donor skin tissue (for example, after gender reassignment surgery); • Color restoration of the iris of the eye; • Micropigmentation of nevus flammeus (a portwine stain) In my work I use only permanent pigments from various manufacturers. I like the pigments of Mei Cha and Long Time Liner. The result of camouflage work can be kept long enough provided it is protected from the sun. However, analyzing the results of, for example, stretch marks camouflage, I can say that a touch-up procedure will be necessary in approximately two years.

At the end of this article I would like to share my thoughts with people who are interested in working with paramedical pigmentation. This is a relatively unexplored area since there is quite a small number of ongoing work, as well as sometimes inconsistent results, which does not allow us to make firm conclusions. Nevertheless, for me this work has become some sort of way to realize that I am not just some artisan, but a professional who explores the area, studies all the time, and helps people. I am very pleased that many of my colleagues have started doing charity work by helping oncological patients and recreating the image of a breast areola for women after mastectomy completely free of charge (photo 11). You feel true satisfaction from your work when it is not some expensive equipment but you that can help to rebuild people's self-confidence. Being engaged in paramedical micropigmentation, you expand the spectrum of possibilities and upgrade your status as an expert.

PHOTO 11. PERMANENT MAKEUP PROCEDURE AFTER MASTECTOMY. PMUINTERNATIONAL.COM

MASTER CLASS

BREAST MICROPIGMENTATION WITH PHD SYLWIA NAWROT Doc tor of cos metology in Poznań University of Medical Sciences, makeup artist, stylist, specialist in micropigment ation and health pr omoter, cr eator of several author’s techniques with more than 10 years of work experience.

ABOUT AMAZINK AREOLA By combining education and fondness of creating the image not only scientifically, but also practically, Sylwia Nawrot and Sylwia Dobrowolska took care of a correction type of makeup that led them to many publications and active participation in conferences and industry meetings. Those qualities have also helped them to create their very own techniques of medical and esthetic pigmentation. They are the owners of the micropigmentation institute Art and Science and private practices of cosmetology and esthetic dermatology, the ambassadors of Biotek company since 2016 and the creators of Amazink Areola project.

SENSITIVE ART Corrective permanent makeup can be a supportive form of a surgical treatment in cases when the cosmetic and aesthetic effects of surgical procedures are unacceptable to patients. The task of permanent makeup is to restore a natural, healthy look.

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SYLWIA DOBROWOLSKA Makeup artist, nail art specialist, PMU artist, creator of several author’s techniques. Specialist in microblading, tricho pigmentat ion, Reju v i Tat to o Removal method and needling.

Precision of the pigmentation depends on the experience of the person performing the procedure, the accuracy of the needle movements and the depth of punctures. The work technique turns out to be very important. The signature technique Amazink Areola was created to reconstruct nature as faithfully as possible, with simultaneous care for the patient's safety. The combination of pigmentation science and art skills in drawing allows achieving spectacular results. The technique represents a non-surgical reconstruction of areola in the form of a cosmetic tattoo (micropigmentation). Pictorial, a watercolor technique, based on the anatomical placement of the colour gradient and the reconstruction of details to make an impression of a three-dimensional drawing. The uniqueness of the technique is based on a skilful way of seeing the areola, according to a well-defined prescription and the drawing reconstruction NAC (Nipple Areola Complex), which is individually matched to the case, in accordance with the principle that areolas are like finger-

prints and each one has specific characteristics. As a result, the pigmentation should look like a natural areola, matched to the beauty and age of a patient.

BREAST PIGMENTATION The target group are women after breast cancer treatment, for whom it was necessary to remove part of the breast with the nipple and areola complex with the appropriate reconstruction of the breast. Pigmentation of such places is extremely difficult, because it is necessary to reconstruct the same areola according to the other one, unless there was the reconstruction of both breasts then the task is a bit easier. Working on a thin, sometimes parchment-like skin which varies in colour and, above all, in structure and construction itself is difficult. A condition for such medical pigmentation is finished treatment of breast cancer and an additional half-year margin of time. Ladies opting for this kind of non-surgical reconstruction are not ordinary clients but patients, which means that the performance of such a service has a completely different dimension. Patients with surgical reconstruction of the nipple also are not rare, and in such cases it is necessary to complement them with an areola; sometimes there

is a surgical reconstruction of both nipple and areola performed and it is necessary to improve the colour, correct the shape or the scar of surgically reconstructed elements. Each patient is different, has a different problem, which means that there are no two identical cases in this area of pigmentation.

STEP BY STEP The outline of the procedure technique is dictated by the form of a reconstruction. In a unilateral reconstruction (Fig.1), we create an areola according to a healthy one as in the mirror; with bilateral (double) pigmentations (Fig.1) we create our own drawing of areolae on each breast, matching them to the type and colour of the skin. Sometimes we deal with making up medical work. After surgical reconstructions of nipple areola complex (NAC) aesthetic correction is the most common; to strengthen the colour, correct the scars or create an illusion of three-dimensions on flat area of the transplanted skin. In this article we present the most creative work technique in our opinion, which is the reconstruction of nipple areola complex (NAC) made on flat skin as in the mirror effect.

FIG.1 EXAMPLES OF BREAST APPEARANCE AFTER BILATERAL RECONSTRUCTION AND UNILATERAL RECONSTRUCTION.

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Breast before pigmentation — Visual assessment, procedure planning. Patient, 38 y.o. after surgical breast reconstruction with the expander technique.

Diagnosis: thin skin, sensitive to touch (the type of reconstruction affects the quality of the skin). The type of pigmentation applied: full unilateral pigmentation in 3D as in the mirror effect.

BIOTEK PIGMENTS SKIN 2, SKIN 21, BIOLIP 35.

BEFORE THE PROCEDURE Healthy breast — visual assessment of a healthy areola, colour match and shape creation. The reference point is a natural areola, according to which we choose the colour, shape and form.

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We work most often with three colours, choosing 2 colours of the areola and the colour of the nipple. In this case we chose Biotek Skin 2, Skin 21, Biolip 35.

SKETCH Sketch â&#x20AC;&#x201D; first drawing and anaesthesia. The shape of the new areola should be similar to the existing one and it is not a picture of classical beauty, because beauty is more complex. In the sketch we mark the line of the areola border and the outline of the nipple. We apply a thin layer of anaesthesia for about 20 minutes (e.g. Mesonumb).

BEGINNING THE PROCEDURE Marking the sketch and insertion of the areola pigment. We start the areola shading from the outline to the inside line by inserting the pigment gently under the epidermis with circular movements. During the procedure we move from the outline to the slightly marked nipple line, we do not cover the entire surface to leave some areas without pigment. Thanks to this, we create the impression of natural look and the smooth transition of colours.

INSERTION OF COLOUR NO.2 BETWEEN BASE COLOUR NO.1 The colour transition in areola pigmentation gives a better illusion of the tissue structure which is signature for a natural areola. The 3D effect is achieved by shading the areola from the bright colour tones to the darkest in the inner lower quadrant of the breast. This anatomic distribution of the colour intensity creates the 3D effect. Thanks to this, the drawing is not flat from different perspectives, only the breast profile can reveal that the drawing was actually made on a flat skin.

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ADDING DARK COLOUR The next stage is pigmentation of the areola with the darkest colour from the outer line to the lightest colour tinted towards the centre. In the drawing of the nipple structure, we combine all of the colours, rubbing them with each other smoothly. It is very important that the drawing of the pigment insertion resembles irregular lines in the form. This gives us the impression of a folded surface of the nipple (according to the anatomy of a natural nipple).

REFINING THE DRAWING The final stage is to blur the boundaries of the drawing and sharpen the chiaroscuro so the areola would not resemble just two circles, but rather was mixed with the colour of a breast skin and had a folded surface with wrinkles and glands. What strength-

ens the 3D effect is a shading of the nipple, then it seems to be more raised. We should not forget that the nipple is permanently connected to the areola and in the drawing this connection is just a game of light and shadow.

BANDAGE The last stage is a bandage, for this purpose we use special plasters, and we apply them for a few days. In this case we used 3M plasters. After 7 days we remove the bandage.

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AMAZINK RULES There are some rules which we follow during pigmentation of the areola (Fig.2). In our philosophy of medical pigmentation, less is more, so when planning a treatment, we try to ensure the best effects for the patient.

THIS IS A MULTI-STAGE PROCESS OF CREATION WORK ON DIFFERENT LAYERS CREATE SIMILARITIES

WORK WITH WHITE PIGMENTS CREATE VESSELS ON AREOLA AREA MAKE STAMPS

WORK ONLY WITH LIGHT AND SHADOW AND OPTICAL TRICKS FIG.2 PRINCIPLES OF PIGMENTATION ACCORDING TO AMAZINK TECHNIQUE (AMAZINK RULES).

HEALED RESULTS AND TOUCH-UPS The final effect of pigmentation is compared to the natural areola nipple complex. The shape, colour and structure should be similar. Areolae and nipples should be like sisters (not necessarily twins), that is, they should contain similar features in their drawing. If the effect is aesthetically pleasing, we put on the bandage and arrange a control appointment after 6 weeks minimum. The pigment will then have time to settle in the skin and even out the colour. In the photo we can see the effect of healing in two months after one pigmentation procedure. (Fig.3)

FIG.3 THE HEALED EFFECT AFTER 2 MONTHS; ONE PIGMENTATION PROCEDURE. 

Over time, pigmentation fades, but with well-chosen pigment colours, it fades evenly and looks just like a natural areola. Even after a few years it looks very natural (Fig.4), although the 3D drawing may require slight corrections (Fig.5).

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FIG.4 THE EFFEC T OF PIGMENTATION T WO YEARS AF TER THE L AST TREATMENT.

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FIG.5 PATIENT BEFORE THE PROCEDURE, 2 YEARS AFTER THE PROCEDURE, THE EFFECT OF NEXT GENTLE PIGMENTATION TO STRENGTHEN THE 3D EFFECT AFTER 2 YEARS (HEALED RESULT).

CONCLUSION Corrective makeup therapy is an important supportive method of a long-term medical treatment, as well as a therapeutic alternative for patients. It is especially useful because patientâ&#x20AC;&#x2122;s psychological satisfaction is an important factor which increases the effectiveness of medical treatment and allows the patient's faster recovery. One of the forms of such therapy may be non-surgical reconstruction of areolas and nipple s with dynamically developing techniques of medical pigmentation. Supplementing the reconstruction with micropigmentation procedure of nipple and areola additionally leads to a natural breast appearance. Corrective makeup techniques and micropigmentation (dermatography) allows obtaining a permanent optical effect that changes the quality of a patient's life to the better and significantly improves self-confidence of a person affected by the disease or the effects of its treat-

ment. Improving the comfort of living using the above techniques should be an integral part of the therapeutic strategy in medicine.

PROS

CONS

MINI-INVASIVE

RE-TREATMENT ONCE PER T WO YEARS FOR A BET TER 3D EFFECT

LOW COST

THE POSSIBILIT Y OF COLOUR CHANGE

SHORTNESS OF PROCEDURE

FLAT DRAWING IN FULL RECONSTRUCTION

LOCAL ANAESTHESIA AND MINIMAL PAIN

MINIMUM T WO SESSIONS

OUTPATIENT TREATMENT PMUINTERNATIONAL.COM

GALLERY OF ARTISTS What I really appreciate in people is their personal features, their individuality, and PM has become a tool which helps me emphasize those qualities. I try to make permanent makeup look as natural as possible, because what I want to see is not a high quality tattoo but a beautiful person. Fashion trends come and go, but elegance and delicacy of the image will remain classic forever. With the expansion of knowledge in the field of medicine, the issue of health, as well as the results of a permanent makeup procedure, is as important as aesthetics. In general, I believe that permanent makeup is a kind of magic, and if it is beautifully done by an experienced and skillful professional artist, it can actually change oneâ&#x20AC;&#x2122;s life for the better. A chain of events created by a permanent makeup artist can boost your clientâ&#x20AC;&#x2122;s selfconfidence, can inspire them and even make them feel like a brand-new person who will then be able to create a fairy tale in their own life.

ANNA FEDYANINA RUSSIA Experience: over 8 years Participant and winner of various PM congresses and competitions Certified trainer of Amiea (Germany) Degrees in art, medicine, and style & visage

@ANNA_FEDYANINA_PM

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GALLERY OF ARTISTS I live by the motto “Innovation is sharing.” My passion with the world of dermopigmentation can be seen through my global travels to New York, Paris, Berlin, Moscow, Sydney, Johannesburg, Florida, Vietnam, etc., where I gladly share vast experience and knowledge in the field.

LINDA PARADIS Permanent makeup artist Experience: 25 years CEO and Founder of Linda Paradis Group Tattoo removal trainer, inventor Multilingual trainer and speaker on international permanent makeup events.

@PARADISLINDA

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GALLERY OF ARTISTS Artistic talent: nature or nurture?

CLAUDIA PRATA BRAZIL Businesswoman PMU Specialist and Instructor Beautician and Physiotherapist Precursor of the microblading technique in Brazil “Artistic Brows” at the Worldwide Eyebrow Festival in Rotterdam 2017

CLAUDIA.PRATA.16

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It is possible to develop your talent even if it is not your natural ability. The vast majority of people believe that you must have flair for drawing and painting, so it is not necessary to spend money developing your talent. Artistic talent is something people are born with. Can this quality be considered an advantage? Absolutely; there are some people who were born with artistic flair, while others have to go through a lot by studying hard, working on their techniques, mastering their skills and cultivating the aesthetic sense. Studies of neuroplasticity show that it is possible to activate the process of change in your brain through practice, repetition and perseverance. I’m proof that anyone can develop their artistic skills, because during my twenty five years of experience in PMU I have learned how to draw eyebrows through constant training, trying to improve my skills all the time. I have developed my artistic talent through a lot of practice. My secret is that I love what I do, and I always try to push myself to the next level. If you have those qualities and ready to work hard, it is possible for you to become a good artist. If you are a beginner and want to learn the basics, I would recommend attending special classes, or finding a tutor; those who already have artistic talent should always look for ways to improve their skills and expand their knowledge. Art, just like any human enterprise, requires a lot of effor t and practice; if you strive for excellence, it is absolutely essential to work hard. Throughout my career, I have learned many things from my own mistakes, researching, observing and analyzing my own experience and correcting errors. Despite the fact that 10 years ago there weren’t a lot of information and quality products that could help artists to achieve great results, I found it very important to invest in my career. When I started microblading in 2013, it was a new area in PMU. Today, when I look at returning customers, it is very clear to me that microblading is not 100% suitable for some skin types, for example oily skin. Pleasant healed results on different skin types is something that I’m constantly fighting for. Currently, I have been using Microblading + Shadow techniques in various cases, and yet it seems to be difficult to achieve satisfactory results while keeping eyebrows look natural.

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D A R I N A Permanent Make Up Artist Darina Salathova is an established and sought after PMU artist running a successful Permanent Make Up studio and academy located in a lovely historical town in Slovakia in Central Europe. Her academy offers training on most recent PMU procedures for eyebrows, eyeliners, eye shadows and full pigmented lips. For achieving the best results on a regular basis she works with the high-end Italian Biotek equipment with their own selection of pigments. Quality is her core value and it is reﬂected in the work itself, materials and equipment used. After ﬁnishing a course, her students are fully able to work independently whilst they have access to continuous help and support. Darina has been gathering her knowledge and experience for over two decades now by regularly attending world’s top seminars, conferences and competitions as well as learning from some of the top leaders in the industry. She is eager to pass over to her students this invaluable knowledge adding her own personal hints and industry secrets discovered throughout the years of her practice. Her motto is to walk the path of success with slow but authentic steps.

darina_salathova_pmu_studio_ Fb: Beauty center Komarno

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SPECIAL PROJECT

LEARN MORE

= EARN MORE

Permanent makeup is a popular procedure among our clients. One of the biggest advantages of this treatment is the effect of instant transformation which makes an indelible impression on people. If the artist performed the procedure perfectly well, with the use of modern equipment and high-quality pigments, then there is a high chance that the client will be using the artist’s services again and again. However, people’s lives can change a lot over time. Moreover, there are lots of schools and academies teaching young artists how to become a specialist in PMU, and those newbies are ready to fight for their place in the sun. This means that even if you are much more experienced and just better than others in many ways, there is also a chance that your client will prefer someone else’s services due to various factors and reasons. It is also important to remember that your client doesn’t normally wake up thinking “I wonder how my permanent makeup artist is doing today?” Your client doesn’t spend time worrying about your mood, your headaches, your family stuff, whether you have eaten today or not, and so on. We all have our daily routines and things to do, so frankly speaking, becoming a part of the client’s life seems to be an impossible task. So, what are we supposed to do? How can we keep loyalty of our customers without being intrusive? In my opinion, the most effective way is to introduce an additional service that is related to your main activity. The recommended procedures which are not very expensive and do not require serious investments are lash lamination, eyelash extensions and eyebrow architecture treatments. The main benefit for you is the fact that the periods between procedures are quite short, usually about 1 month, which means that every month your clients will contact you again; in addition, they can recommend those services to their friends who, for some reason, are not ready for permanent makeup, but would like to try something new. Another important point is that these procedures can help you fill your daily schedule more effectively. Yes, the price of these services is lower, but it is always better to make a little money rather than no money at all, do you agree? Therefore, you are killing two birds with one stone: attracting new clients while keeping your regular customers satisfied. Another opportunity to increase sales is to create special offers and include them in your price-list. For example, you offer a procedure of eyebrow permanent makeup and, as a gift, an eyebrow architecture treatment. Such offers will help you to sell more without any additional effort in terms of promotion. After all, it is so nice to receive gifts! Courses in lash lamination and lash extensions normally take two days, and after that you can start offering your new services to your clients. And eyebrow architecture is basically a part of your skills anyway; the only thing to be mastered is tinting hairstrokes, which is not difficult at all. We have spoken with three artists who have long known the secret of these additional services which play an important role in the formation of financial profits. Read the articles of our special project, and you will be able to make your own decision and include in your list of services the procedure that you personally enjoy most.

NATALIA ZUBOVA Head of PMU International Project

• ALEX ANDRINA MARTYNOVICH

• TATJANA ANTONOVA

• ANAHITA MOSHFEGHI PMUINTERNATIONAL.COM

LASH LAMINATION: IMPRESSIVE EXPRESSIVENESS I am a permanent makeup artist and an image-maker; in this article I am going to tell you about an additional service provided in my studio which has been very popular among my clients for many years. Surprisingly, most often this service is used by clients who have permanent makeup done on their eyelids and eyebrows. The power of women’s eyes is commonly known; it is a weapon that has served women faithfully in achieving their goals. There are a lot of poems written about just one glance that went straight to the poet’s heart and made it beat faster. History tells us about some situations when one glance of beautiful eyes was enough to start a war. Sparkling female eyes with beautiful lashes are able to dazzle, encourage, intrigue, seduce, make people fall in love and experience a wide range of emotions. So many tricks have been created to make the eyelashes look longer, thicker, and more expressive. Eyelash mascara, fake and extended lashes, and now lamination can help to achieve these goals.

WHAT DO WE MEAN BY LASH LAMINATION?

ALEXANDRINA MARTYNOVICH RUSSIA @ALEXIA_MART YNOVICH

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The revolutionary lash lamination treatment was invented by Karen Betts and Bridgette Softly, the founders of the LVL Lashes brand. They were looking for a way to help people who fight cancer and suffer from hair and eyelashes loss after undergoing procedures of chemotherapy. Eventually, they worked out a formula for laminating eyelashes — LVL. Using only natural components was their main goal and considered condition. After visiting various thematic exhibitions and conferences, in 2005 in Hong Kong Bridget and Karen first learned about the technology of treating and curling eyelashes, which made an indelible impression on them. This experience made them try and search for a way of treating eyelashes and preventing their loss. This was the time when Karen and Bridgette had the idea of healing eyelashes from the outside in order to get the effect of density, volume, length and color saturation.

Healing and restoring eyelashes remained their priority, while an aesthetic effect was secondary. The developers refused to use any synthetic products and relied on natural and organic ingredients, oils and vitamins. In just one year, LVL developers conducted more than 100 studies. All the tested products were of plant origin, for example, dandelion sap, zucchini sap, some mineral oils, etc. As a result, developers were able to identify the optimal ratio of the proportions of components and find a truly ideal and revolutionary way to prolong the effect of strengthening eyelashes; the effect which no-one else could achieve. The technology of Yumi Lashes appeared several years after LVL Lashes in Switzerland. Its author, Sandra Viglino, is the founder of the Dermos research center, a dermapigmentologist and a well-known teacher in the field of permanent makeup. The formula also includes hydrolyzed low molecular weight cytokeratin, plant extracts (Aloe Vera), and oils. As the producers say, the product includes a unique complex that separates the Yumi technology from other technologies. The cost of Swiss materials is slightly higher than that of English materials. For me as a permanent makeup artist working with these two high-quality products, there is a difference between them. However, I have learned to use the advantages of both brands, depending on what problem I need to solve. After the Yumi treatment, eyelashes are stronger, which is important for those girls whose eyelashes are really weak and thin. On the other hand, those lucky ones whose eyelashes are strong but, for example, not curly enough, will benefit from the use of the LVL complex. It is very funny sometimes to read the comments of lash artists advertising their services and saying that the effect of lash lamination lasts for 2 months. If the specialist is familiar with anatomy (which they are obliged to know by heart), than it should be clear that the cycle of eyelash renewal takes 3-4 weeks. During this time, eyelashes will be replaced with new ones; however, they will have a healthier look and state. This is a great alternative to eyelash extensions and curling procedures such as eyelash perms. The results that the procedure of lash lamination allows us to achieve are the following: 1. Eyelashes are restored and separated from one another. 2. Eyelashes get a beautiful curl which is made by a professional lash artist and selected according to the shape of your eyes and the length of the eyelashes. 3. The color of the eyelashes gets brighter and will stay for a long time. 4. There is always a possibility to repeat the procedure without harming the eyelashes. 5. There is no need to be afraid of destroying your lashes during water exposure. There are no restricPMUINTERNATIONAL.COM

tions on the use of cosmetics, particularly mascara; it’s like living with your own natural eyelashes. 6. The procedure takes exactly 60 minutes. 7. The procedure makes eyelashes stronger and healthier, because it fills them with keratin and creates an invisible layer on each eyelash which works like a protective shield. Why do I focus the artists’ attention on this procedure as an addition to permanent makeup? This procedure will help to expand your services and improve your financial situation. Nowadays, when the competition is really tough, it is absolutely clear for everybody that the procedure of permanent makeup application is no longer considered rare or unique. Thanks to the so-called “one day artists’ (by using this term I mean those who paid a little money, completed a 1-3 day training course of a questionable quality, and now perform the procedure of PM application in some low-end hair dresser’s), so thanks to this disappointing trend, many artists lost some of their clients. When I hear from Russian artists that their procedure is 5 times more expensive than the average cost, and that they are fully booked for 2 months in advance, I just try not to smile. The procedure of lash lamination will fill the gaps in our schedule and will allow you to make money without wasting your precious time. My clients are really fond of lash lamination; in their opinion, it is a very effective procedure that gives an immediate result. Here are some examples of situations when I offer lash lamination: 1. My client and I decided to use lash lamination as a final touch after the procedure of permanent makeup application; 2. My client wants to have permanent eye makeup done, whereas I try to talk her out of it (for various reasons) and, as an alternative, can offer the procedure of lash lamination; 3. The client came for a touch-up procedure, but I can see that it is too early. All artists know that it is absolutely unacceptable to overload the skin with procedures. This is a good opportunity for me to offer lash lamination as a nice bonus or consolation, so the client doesn’t feel like she just wasted her time. It works flawlessly! 4. There is, of course, a special category of clients who visit my salon specifically to have their lashes laminated. There are different reasons why these clients want to have the procedure done. Someone just doesn’t want to apply mascara every day (although there are no restrictions on the use of cosmetics after lash lamination). Quite often I hear my clients complain about the inability to use mascara because of allergies. Also, the procedure is very much in demand with mothers with young children; these women want to look perfect, but very often spend most of their day looking after their babies and have pretty much zero time for themselves.

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Another very interesting category of clients are teenage girls. Every mother who has a teenage daughter knows that one day, inevitably, the moment comes when the girl wants to do something with her appearance. This period can be quite challenging for any mom who sees her daughter with a new tattoo, green hair, piercing, permanent makeup, etc. Some of my clients also have teenage daughters, and in this case I can offer them to try an eyelash lamination procedure before some important event (birthday, graduation party, any sort of party, actually). This satisfies their desire to do something “grown-up”; it is not dangerous and aesthetically does not harm the youth and freshness of a young person. In addition, it allows young ladies to feel slightly older, while their moms can just relax for a while. It is also important to note that certain seasons are of increasing demand; most often it is about New Year holidays and the season of holidays at sea. 5. The most unusual situation, but I am sure that all artists have clients like that — you know, they let you know straight away, from the moment they enter your salon, that you are basically working today specif ically and exclusively for them. Obviously, neither the shape, nor the technique or anything offered by the artist is not going to be good enough. This client should be offered a harmless procedure; this is the time when you would recommend a lash lamination procedure. Of course, you are going to lose some money as the procedure of lamination costs less than permanent makeup; however, it is still a win-win situation, because it will keep your peace of mind, and the client will be satisfied. I’m always suspicious of those versatile artists whose service includes cosmetic procedures, epilation, manicure, eyelash extensions, permanent makeup procedures, and many others. In my opinion, the quality in this case is sacrificed, because it is physically impossible to keep up with everything and perform every type of procedure perfectly. They might ask: but how can we survive when the competition is so tough? I believe that high-quality lamination is not time or money consuming, and this makes it possible to introduce this procedure without sacrificing quality of other procedures. It is a very good idea for permanent makeup artists to offer the procedure of lash lamination to their clients. It expands the range of services and brings additional income. Eyelash lamination can also add a beautiful final touch to the client’s appearance, harmoniously complementing the results of permanent makeup procedures. Laminating eyelashes is certainly a very good offer in the beauty industry. PMUINTERNATIONAL.COM

EYEBROW ARCHITECTURE

ANAHITA MOSHFEGHI IRAN ANAHITA22

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Women from the Middle East are different in so many ways, but there is one thing they have in common: it is the significance of eyes and looks in their culture. Therefore, eyebrow and eye makeup is quite a big and a very important part of their beauty routines. Eyebrow architecture is a cosmetic procedure that requires certain artistic skills, innate aesthetic taste and special knowledge. The process consists of selection and creation of the shape of eyebrows in accordance with the color of skin and hair, as well as the shape and features of the face. My career in the PMU industry started almost 10 years ago when I was at my mid-20s. In the early stage of my career, I was very curious and eager to learn every new PMU-related skill. I made a lot of effort to learn as much as I could, and I was looking forward to every new master class which could help me upgrade my skills. Due to spending so much time and energy, I am now a proud holder of several PMU diplomas and master degrees. Something like a breakthrough that changed the situation with my business for the better was meeting with Alina Soloveva in 2014. A combination of her methods and mine turned out to be completely satisfactory for my clients, and my business has been booming since then. I use Alinaâ&#x20AC;&#x2122;s methods when teaching my students as well. Being a pioneer in this field in Iran, I have made a special effort to promote and develop the permanent makeup industry in my country, the industry in which I consider myself a successful person. Nowadays, there are many people in Iran who opt for modern and fashionable techniques and trends of pigmentation over old-fashioned tattoos. Beauty is an important part of every Iranian personâ&#x20AC;&#x2122;s lifestyle. Therefore, I have a number of different people from various parts of Iran with different tastes seeking for different services; however, if I was to choose one service as the most popular, I would go for PMU of eyebrows. The most

popular type of eyebrows requested as a PMU procedure is wide and thick light brown brows, but fashion in Iran changes quickly. Consequently, its followers change their eyebrow colors and shapes frequently. Most of my clients have an image of their favorite eyebrow shapes, but all of them without exception ask for my opinion as an expert. Most of the time, I use the hybrid method for eyebrow permanent makeup application. This method seems to be the most suitable for the Iranians’ skin. This is mostly because of its long lasting color, and the fact that the eyebrows after the procedure look very natural. The time it takes to be applied is almost an hour, and it is certainly less painful comparing to microblading. Eyebrow architecture is an inseparable part of the PMU industry. As a matter of fact, every PMU artist needs to know how to do it flawlessly, because this is our responsibility to keep our clients’ eyebrows in a perfect state, that’s what I think anyway. This is how we should keep our clients satisfied. In Iran, this service is gaining popularity day by day. Since the procedure of eyebrow architecture is not an expensive one, I mostly use it as a way to advertise my services, and I offer it to my clients for free. In this way, they are more likely to recommend my salon to their friends and family. The procedure is rather simple: first of all, it is necessary to pluck the excessive eyebrows; after that I cut the hairs to the size that looks fresh. And lastly, it is returning the eyebrows to the shape that looks as if it is the very first day after a permanent makeup application procedure. It normally takes approximately 45 minutes, and is almost painless. Eyelash tinting is a growing service, becoming more and more popular nowadays. Black is the most frequent color that my clients ask for when using this service. It is rare when people ask for other colors for eyelash tinting. Henna, though a new trend in the world, is outdated in Iran due to vast usage of it in past decades. As a result, now there are not many people asking for it. The price for these services is lower in Iran in comparison with European countries. Many people from other countries come to my salon seeking for quality and affordable prices. The reactions of different peoples’ skin to the pigments are different from each other. It is a typical situation here in Iran when after the procedure of permanent makeup application the pigment fades away in a short time. In order to have flawlessly looking eyebrows, clients should have touch-up procedures for their eyebrows quite frequently, sometimes every 6 months. One of the most remarkable merits of providing these services is that a specialist will have enough skills to run their own business, just like me, and in order to keep it up, it is possible to upgrade the artist’s skills by attending various master classes that are held every year all over the world. PMUINTERNATIONAL.COM

EYELASH EXTENSIONS ABOUT MYSELF I moved to the UK in 2004 because I wanted to change my life. Originally I am from Latvia, but for some reason I never felt comfortable there, canâ&#x20AC;&#x2122;t really explain why. Anyway, I decided to move to England without knowing the language, having no friends there, and with zero experience. I got my first job in a warehouse ASDA where I was working night shifts; it wasn't an easy job but not too bad as a starting point. Since I was working at nights, I had some time in the mornings to attend English courses. One day, while booking my holiday, I decided to try and have my eyelashes extended in order to save time in the mornings instead of applying waterproof mascara. I was absolutely happy with the result, and when I got back home after my holiday, I started thinking about becoming a specialist in lash extension. I found a training centre and started attending courses in order to learn everything about this treatment, to get a qualification, so I could start working in this area. My friends were my first clients, and my life was like this: working in the warehouse at nights and practicing lash application procedures during the day. I caught myself thinking that I really enjoyed performing the eyelash treatment. After six long years of working in the warehouse, I decided to quit my job and started working for myself; honestly, that was the best decision Iâ&#x20AC;&#x2122;ve ever made.

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Today I am Qualified NVQ Level 3 Beauty therapist, a semi-permanent makeup artist, and have various qualifications, such as in VTCT Level 3 Laser treatments, PTLLS Level 3 Teaching qualification, and a lot of qualifications as a specialist in different treatments. I have been doing various beauty treatments in the UK for more than 8 years. When I started working for myself, I really wanted to focus on a service I absolutely loved, which is where the Individual eyelash extensions treatment came in. So what exactly is Eyelash Extensions as a service?

EYELASH EXTENSIONS Eyelash extensions are a very popular trend in the beauty industry, and its popularity is growing day by day. It is a perfect solution for those who want to have long, full and beautiful lashes without having to spend time every morning applying mascara on them. Establishing an eyelash extension business could be a very promising business idea, and for a permanent makeup artist the lash service can be a way of bringing more clients, therefore having increased regular income. The latest innovative technique is developed to enhance the length, curliness and thickness of natural eyelashes. Not all eyelash extension services are the same. Extended eyelashes should look as natural as possible and cause zero discomfort to the client. In our salon MARUSSIA Beauty & Permanent makeup we offer Individual Eyelash Extensions and Russian Volume Lashes; however, I personally believe that as an artist and a trainer you have to first of all get enough experience with Individual Eyelash Extensions before you start offering Russian Volume.

TYPES OF EYELASH EXTENSIONS The false lashes may be made of various materials including silk, mink fur or cashmere. All synthetic lashes are made of plastic man-made fibers called PBT, Polybutylene Terephthalate. PBT is a thermoplastic semi-crystalline polymer; it is heated, molded into the desired lash shape and set as it cools. Today on the market we can find different types of lashesÂ â&#x20AC;&#x201D; silk, mink, cashmere lashes, and some others. Some manufacturers say that the only difference between those types is the way they steam and process the curl. It is true; those types are so similar that it is very difficult to name the exact one when looking at the result. Synthetic Mink is the most popular type, and it maintains a more pronounced curl with which it is possible to create more dramatic looks. Synthetic Silk is a little lighter than Synthetic Mink. It also holds curl pretty well; however, it is slightly softer, and the look it creates is less dramatic and more natural. With the use of surgical grade adhesives, usually cyanoacrylate, synthetic lashes are applied on natural lashes, but not on the skin, because the application of the adhesive directly on the skin can cause irritation. The procedure takes approximately one hour and a half for a full set of Extensions. As the hair has its natural cycles, after the growth and the transition phases lashes fall out naturally during the third (shedding) phase, and so do the extensions. After that, a new growing cycle begins. Eyelash extensions give the appearance of having eyelash makeup done; however, there are no messy clumps, and no need to worry about smudging makeup. Most technicians apply eyelash extensions with the use of two pairs of tweezers: the first one is used to separate natural lashes from one another, while the second pair holds the lash extension which is dipped in special glue and then placed on top of the natural lash. In a few seconds, the natural and the false lashes are glued together. Typically, the number of applied eyelashes is between 60 and 100 eyelash extensions per eye. PMUINTERNATIONAL.COM

EXTENDING LASHES DEPENDING ON THE EYE SHAPE ROUND EYES: For this type of eye shape, shorter length with a looser curl should be used; the lashes should gradually get longer towards the outer corner of the eye and get shorter towards the inner one. ALMOND EYES: In general this eye shape can take the same length throughout, dropping down to slightly shorter at the inner corner. The choice to put slightly longer lashes on the outer eye is optional. DEEP SET EYES: This eye shape allows specialists to use slightly longer lashes, since the eyes are set deeper, therefore some extra length would make the lashes and the eyes in a whole more pronounced.

EYELASH SHAPES, LENGTH AND THICKNESS Nowadays, it is possible to create different looks suitable for various age groups, facial features, and even for different occasions, by changing the length and thickness of lash extensions. However, the choice also depends on the state and growth phase of natural eyelashes. Length varies from 7mm to 15mm. In order to achieve great results, it is better to use lashes of various lengths to imitate natural lash growth. Thickness starts from 0.15 which is the closest to the thickness of natural lashes; in my opinion, it is better to use lashes which thickness is close to natural ones if the client is planning to wear them regularly. There is also 0.20 which creates a mascara effect, and 0.25 for a more glamorous dramatic effect. Lashes also come in different curl shapes: • J-curl is a more natural curl; • B-curl is slightly curlier; • C-curl is the most popular type for a more glamorous look; • D-curl is suitable for people that already have very curly lashes; • L- and LC-curl lashes are great for use on clients with single eyelids or deep-set eyes. There are different types of lashes with different benefits. When it comes to the client’s eyelashes, choosing the right length and curl for them is absolutely essential. It is very important for an artist to be able to satisfy the client, but it is also necessary to make sure that the client’s expectations are realistic. So the right thing to do would be to find balance between giving the desired look to the client and providing safe, high quality service with a long-lasting effect.

THE ADVANTAGES OF INDIVIDUAL EYELASH EXTENSIONS: • • • •

Similar to original lashes, they give a very natural look; The eyes look bigger due to the volume of lashes; The lashes create a glam look with no daily effort; By applying longer lashes on the outer corner, it possible to enhance the eyes and add depth to the look. PMUINTERNATIONAL.COM

IS THERE ANYTHING THAT CAN GO WRONG? Certainly, anytime you touch an area near the eye, there is a reason to be a little concerned. However, with eyelash extensions, problems don't usually result from sharp tweezers. Instead, most problems are caused by the glue that is used to apply synthetic extensions, because very often this glue contains formaldehyde or other chemicals that can cause irritation and allergic reactions. Just like in any other type of business, you have to be sure that the service you are providing is very high quality. Eyelash extensions should look natural, be very comfortable and not noticeable to wear. It is important for any specialist working with people to be polite, understanding, flexible, and of course, skillful and knowledgeable. In this case, your business will always be successful.

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