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Welcome to the Glam Life Podcast, where we empower and inspire beauty professionals to take their careers to the next level. Your host, Victoria, is a certified business coach with over a decade of experience in the beauty industry, helping countless beauty professionals start and grow successful businesses. Now she's sharing her knowledge and expertise with you.
Whether you're just starting out in the beauty industry or looking to take your business to new heights, this podcast is for you, covering topics like community, management, branding, and much more. So join us on this journey to build the beauty business of your dreams. You might know me as Victoria Glam if you follow me over on Instagram, which you totally should.
You can also follow this podcast on Instagram at Victoria Glam. And I'm sure you know my far, far superior and more famous guest. It's Miss Taryn Darling of Girls Inc.
out in Las Vegas. How's it going? Good. How are you doing? Doing well.
Are you guys able to see the eclipse going on today? No, we are not in the path. Not even a little bit, but the path of the total eclipse, you know, they're showing it on the news, and it is in Maine, where I'm from. Oh, so you should have just gone home.
I know. I know. It's in a place called Holton, Maine, which is probably, it's in northern Maine.
Probably maybe an hour and a half north of where I grew up, which was Portland. So yeah, I got some friends and family driving to Holton to see the total eclipse, so I'm a little jealous. And, Victoria, Holton, Maine is, they're predicting the best place in the United States to actually see the total eclipse today because there's only, like, there's no cloud cover, whereas like Texas, they've got like 75% cloud cover and rain, and yeah, so Holton, Maine is the place to be today.
The place to be. I drove up to Arkansas this weekend, because I'm down in Louisiana, and we should have something like 90% viewing of it, but we're cloudy today. We're rainy and cloudy.
So we drove up to Arkansas, and we were camping up there, but my older son got a head injury, so we came home. Oh, he did? A little Cain and Abel situation. My younger son decided to throw a big rock off of a Vista at the same time my older son decided to walk in front of him, so we had to get, yeah, just kids being kids, but so they're at school, and we're just going to miss it, I guess.
But I saw it on live in another place. I don't know where it was. I was just scrolling on TikTok, and I saw on live people cheering.
They were cheering for the moon, and they were like, yay, you're doing amazing. Like the moon can't hear you. I know.
I think it's, you know, people that have seen it, like I've never seen it, and it's not going to happen again for another 20 years. More. Yeah.
Yeah. You know, but they say that the people that have seen it, they describe it as, like, that's like the instance you really realize how small we are, and how massive and magical and amazing, like, the earth and the moon and everything outside of us really is. Like those two, three, four minutes, it's just, it really moves people.
I guess the animals all react. It's really quite magical and mystical. So, you know, 20 years, me and Kat were talking about it this morning.
I'm like, man, 20 years, man, you know, I don't know, but I would love to see it before I die. I really would. Yeah.
Maybe next time. Maybe the next 20 years. We'll see.
We'll see. Yeah. Yeah.
In the meantime, we have some magical stuff going on in the world of permanent makeup. Yeah, we do. So over the last, I don't know, two or three years, everyone has been talking about pigments, pigment quality, understanding CI numbers, all of the reach compliance.
People really want to understand their pigment line, and they're getting into this big debate of organics versus inorganics, and do we want it to last longer? Do we want it to fade out more softly? There's a lot of conversation going around with pigments. You recently redid your color theory webinar. Yes, yes, I did.
It's launching Wednesday. It's launching Wednesday. So yours was one of the first truly comprehensive color theory webinars where you went into what makes up a pigment and what all goes into it and how it fades out and how it lives in the skin.
What's different about the new one? What new one? Your new like revamped version. Oh, color theory? Well, it's a living course, right? Because everything in the industry is evolving and changing. Technology's changing.
Trends are changing. Techniques are changing. The artists themselves and the industry is changing.
So if you don't refresh a course and your course gets flat, old, stale, and dated, and I'm not flat, old, stale, and dated. I'm not going to ever let myself get like that. So you can't let your course get like that, especially a course like this, color theory, because it's one of the key components in mastering your results.
You're healed in color results for your clients. That is a key component. And every PMU artist must learn it.
They must put in the time and the hours and the dedication that it takes. And this is not a subject that you learn in a day, a week, a month, and not even a year, Victoria. This is a deep layered topic that does have its complexities, but I think I've done a really good job at teaching it in a way that allows the artist to navigate through those complexities and really understand it on an artist execution level, which is really important.
Some courses, they're too complex. I've really learned that the artists, yeah, now they want to really understand the difference between organics and inorganics. They want CI numbers.
The artist is getting smarter because the industry is getting smarter. But if you go too deep and get too scientific, you're talking chemist level, then you can lose them. You can lose the artist.
It's too hard to wrap your mind around. So I wanted to make it very science backed, but also in a manner that any artist, no matter who you are, you can really wrap your brain around it and learn it. So it really addresses when, what skin type that an organic is going to be really good on and what skin type that an organic or any, not even an organic, but any pigment that contains black carbon may not be ideal for, right? Just like there's skin types that some techniques might not be most ideal for, there's skin types that some needles might not be most ideal for, there's skin types that pigments may not be most ideal for.
And so I really got into that, giving examples of faces where pigments, because hybrids are becoming really popular now. And I think a lot of people think hybrids are new, but they're not. I mean, aqua's been, some of those shades in the aqua line are hybrids.
So Darlene at LI Pigments has been making hybrids for almost 30 years. She's always taken advantage of both the inorganic and the organic colorants to create balance and harmony and very specific shades. Some of the shades in the aqua line, she couldn't have achieved if she didn't combine inorganic and organic.
Aqua and velvet is more inorganic dominant, but some of those shades certainly have organics in them. So some of those shades are definitely hybrid shades. So hybrids are not new.
It's just the industry's getting smarter. Artists want more information. So all this information that's always been available, all these technologies that have always been out there and in pigments, now the industry just wants it, which is great.
It's great. You know, because, and I love it. I love it.
It's good for the consumer too, because an informed artist is one with better long lasting results, better healed results. Need some PPE? Out of gloves? Out of masks? Head to browsister.com. We've got your back. Yeah.
Yeah. You know, I've always been, I remember, look, the debate between organics and inorganics is not new. It's been around ever since the day I got my license.
I was an artist that I was taught to never use one needle, never use one technique, never use one pigment, one, you know, to be versatile and take advantage of everything out there that's going to get me to my healed result, the quickest, the most efficiently and bring me the best results. So as a young artist, I was using both inorganics, hybrids and organics. I never, I never really liked inorganics for my lip work.
They were just a little too muted and a little too dull. I was always... Tough to get in that skin too. Yeah.
You know, some inorganics are, you know, and some inorganics are not, like aqua's not hard to get into the skin because of the quality of colorants Ella uses, but they're muted and they're dull, which is what an inorganic is. And the lips, you know, we all know shed so much color and intensity during the healing process that I think you need something more intense, more vibrant to withstand all that color loss during the healing process. So I was always an organic person and years ago, maybe 15, 16 years ago, you know, the gal running the SPCP back then at that time, I mean, she really came down on me hard and gave me a rash of shit because I was using organics.
That's because the industry was so inorganic. They were just inorganic. And if you use an organic, you are a rebel.
You are using fatty tattoo inks and you are a rebel. And you know, and I got a lot of shit, Victoria, a lot, a lot of shit. I can't even tell you how much shit I got and because I used organics and I was proud of it.
I was proud of my lip work. I was proud of the healed results. I was proud that my, I went for my, my clients and no one else.
So if I'm getting really great results and I'm using a safe, high quality pigment, um, you know, back off. Leave me alone. Don't give me no shit.
I was about to ask, like, why does anyone care? Why does anyone care what you're doing with your clients? Back then they did care because they weren't informed. And, and, and these were women that were a lot older than me. So they came into the industry during the eighties, right? And uh, and, and, and weren't, weren't progressive.
Okay. I came into the industry 22 years ago, but I'm not, like I said, I'm not stale. I'm not flat.
I'm not old fashioned. I am super progressive. I am evolving as the industry evolves.
And I want to, because this is where my passion lies. This is the industry and everything about it. The technologies, the, the, uh, the movements, the pigments, the artists themselves, the trends, they all excite me.
I may not be into all of it or all of it may not be my cup of tea or my personal choices. Yeah. But, but I love it.
I, they all excite me. They all sparked my interest. I want to learn about them all and, uh, over my dead body, am I going to get stale old fashion unrelevant and you know, I'm just not going to, um, but back then they did, they did not keep up and evolve and stay progressive with the industry.
And I think that's why so many of them, uh, tried to govern the industry, police the industry when Michael Blading came around, do you know when the, when the organics hit the scene? I think that's why a lot of them, uh, not all, of course, I'm just talking about, you know, some of them, uh, yeah, became bitter and like, do you know, because, you know, because they didn't understand. It's kind of like our grandmothers, you know, our grandparents, they don't understand. Social media or why we're on our phones or why we do our banking.
Like my dad will look at me and like, he gives me shit for doing my banking on my phone, on my mobile phone. Like, you know, he just thinks I'm crazy that anybody would do their banking on their mobile phone. But you know, but you know, he's 80.
Yeah, he's supposed to feel that way. I guess he doesn't understand texting. Yeah.
As you get older, the technology kind of outpaces you and trends kind of outpace you, but it's supposed to be that way. I think it's supposed to be that way. It is supposed to be that way.
Out of things. Yeah. Yeah.
It's, you know, it is supposed to be that way, but I do feel if you want to stay a relevant part of this industry, if you want to stay a leader, if you want to, uh, yeah, I mean, if I want to be able to hang out with Victoria Glam and get invited to do YouTube lives, Instagram lives, be on your podcast. If I want to be able to hang out with, you know, Shay Daniel and you know, all these young artists, I have to stay relevant. Wait, are you coming to PMU world? Uh, well, I don't know.
When is that? August 5th through the 9th. Shay and I are the red carpet hosts. Oh, you are? Oh, I'm so happy.
Is it, is it this month or next month? August. No, I'm in Maine. I'm in Maine and Boston for a whole month.
That's why I couldn't go. Oh, I know. I know everyone's going.
We're going to be there on here. I see Katie on here. Yeah.
Yeah. The whole crew. Everybody.
Yeah. See Katie. She's got nothing to do with me.
Yeah. If I was old and irrelevant, she'd have nothing to do with me. You know, a lot of my, a lot of my friends in PMU are, are younger artists because I'm so relevant and progressive and evolved because a lot of my, you know, people that came into at the same time I am either they're stepping back or they're not evolved or, you know, things like that.
So, um, thank God for younger artists and, you know, all the generations in this, in this industry. Conversely, thank God for artists who have been around and have experience and aren't leaving. You're not just packing up and saying, okay, I'm out of here.
And so we need your valuable experience. Like people like Katie and I, who are mid-level in our careers need to have someone that we can go to and say, what do we do? Like the kids are getting crazy. What do we do? Yeah.
You know, well, you know, I think I've told like Shea Daniel this, um, you know, lots of the, the younger artists, you know, your generation. Um, it's like, thank God for people like you, Victoria, because you all in, in that group, in that generation, because you are the ones that will take over and be the leaders of the industry and take it into, you know, the 2030s for Pete's sake, I probably won't be in the industry, you know, in the 2030s, um, you know, hopefully, but, you know, realistically I think you'll still be relevant though, because it's almost 2025. That's only five years.
Oh, that's only five years. Okay. It was 2040s then.
Yeah. Yeah. Only five years.
Drop a product and leave, Taryn. No, but the 2040s, think about it. I probably really won't be, you know, in the industry, you know, at that point, you know, maybe on some level as a mentor, but, um, you know, your, your, your role in the industry, you know, changes, I think every decade, you know, I think every artist has their decade, right.
I was, I've been kind of lucky where I'm going into my second decade, but, um, you know, every artist has that decade and, and, and their role in the industry, if they want to play a role in the industry changes. So it's, it's you all, it's you all, um, that are going to take over and lead the industry. Um, and for this industry to, uh, you know, maintain respect and be the industry that I know it can be, it's going to take really strong leaders that are honest, authentic, and have all good intention without hidden agendas.
It's going to take people that have the courage to teach what needs to be taught and to you know, and just lead, lead, um, you know, Integrity has to meet a wall where it can't be purchased. At 100%. Otherwise we're going to keep getting, you know, two day courses with people who took a class three months ago and the industry will just continue to devolve, which I think is kind of how we got into the spot that we're in now.
But as long as we keep putting out quality courses and holding the line there, um, we keep putting out quality education after the sale. Yeah. You took a class with me, but you need to, I have two refreshers this month alone of people who took the class a year ago or more and say, Hey, I got a new job.
I'm getting back into it. Can I come train with you? Hey friends. If you're looking for some kind of coaching or guidance in your business, that's not going to break the bank and doesn't cost $10,000.
I have a couple of different offers for you. Head over to victoriaglam.com backslash consulting and let me know what you want to work on. I'll give you some options.
There's no charge for that. Come because you're a product of my house. So I don't want you going out and doing shitty work because you didn't want to pay me more money.
Come and do a one day refresher. Keep the line of communication open. Like you have to put integrity of work and integrity of your work as an educator above a dollar.
And I think that's kind of where we went wrong, but people have that issue with products too. There's a whole lot of people who haven't thought one iota about what's in the products they just slapped their name on it and started selling it, which is part of why you took your sweet time coming out with your own line. You wanted to make sure it was perfect.
Yes, yes. I want to make sure it was perfect. You know, and I was doing the color theory, redoing the color theory course too.
And that's, that was a year and a half of my life. And, you know, that's why I haven't been, um, as active on my own, you know, Facebook board. And, you know, I feel like I've been, I've stepped back a little bit this last year and a half and haven't been as present, um, as I would have liked to have been because this, this color theory course was, it was a big undertaking to, to write it and make sure it was accurate and relevant.
And, um, and it's, it's non pigment brand bias. It was very important. That was a very conscious decision of mine to me.
Uh, I didn't want, it's such a good course, Victoria and the information is such good information. I didn't want anybody to overlook it because they think maybe I'm pushing Li or you're trying to make a sale in the course. So it is non pigment brand specific.
Uh, it's just non brand specific. So, uh, you know, in the, in the science section, I do reference Li here and there where, where, when I need to make a point and I need to make an analogy because Li is the only line that I know. But, um, in the skin section, depth, saturation, um, modified, you know, and, and, and 80% of the course, you know, I don't even reference Li.
I mean, this is universal information. So it was a big undertaking. Uh, it felt really burdensome at time if, if I'm to be honest, you know, getting this ready, um, but it's ready.
It's relaunching on Wednesday, which I'm excited. So at the same time I took on, um, it was, it was time for me to come out with my own pigments. You know, I I've helped so many other art.
I know, I know. Like if I don't do it now, it's like, I'm not, I'm not going to do it. And, uh, and I've helped so many other artists with their own lines, you know, and help get, get aqua, you know, we revamped aqua.
We've spent, you know, a couple of years revamping aqua, getting it a little bit thinner, getting it more concentrated. So it worked, you know, much better with the single needle and low setting, you know, when artists that like that low saturation, we increased the concentration across the board. We got it a little bit thinner.
Uh, we got brand new labels and a whole new look launching in, in just a few weeks. So that was a, and we had to get an EU compliant. So there's been a lot going on for me in the last three years that really took, um, a lot of time.
So yes, in there, I carved out time to do my own pigment line. So I've got eyeliner, brows and lips coming and the eyeliner pigments just happened to kind of, um, come together first, meet my standard and exactly what I wanted out of these colors first. So they're launching first.
I believe my lips, my lip colors will launch second, and that will probably be in two or three months. And then my brows are coming. I've got two brow.
I got three brow colors approved, approved and done, but I got two colors in that brow line that I'm still adjusting and playing with. So they're not quite ready, but yeah. How exciting.
Okay. So what can you tell us to expect with your eyeliner line? Okay. Do you want me to show it to you? I'm going to show it to you.
Okay. So, all right. I'm going to see if I can hold them all up at the same time.
Okay. Can you see them? I love it. I love that it's OMG brand.
I like the foiling on the letters. Yeah. Yeah.
So to get that trademark. Yeah. So this is super black.
So to get the OMG trademark, that was a year, almost two years in the making. That was really difficult, but we finally got the trademark. It's done.
It's legit. It's registered. So OMG.
I thought that was really super fun and I say it all the time. Oh my God. Oh my God.
So it just felt like the perfect name. And I love the color. So super black is my inorganic and it is super duper black.
It's got a thin consistency, but not too thin. You know, I know people don't like it watery. I don't like it watery.
We made it so if you use finger caps, it's not going to spill out, but it's definitely thin enough to where it will flow with any needle. Really great. Let me see.
So it's inorganic, you said? It's all inorganic. So what we did was I played, you know, there's hundreds of black carbons. There's hundreds of black inorganics, right? And within those inorganics, you know, we all know that inorganics have a larger particle size than organics, not by like massive amounts, like some people think, you know, when you're talking colored pigments, like the colored organics, like the reds, the blues, the greens, the yellows, and you're talking the colored inorganics, they're pretty comparable in particle size.
They're both, yes, 100%. And that's where there's a misconception. They both fall in the medium range size when it comes to particle size.
Within that medium range, yeah, there's variances, but they're pretty comparable. They're not big differences in particle size when it comes to the colored pigments. When it comes to black, like inorganic black and non-organic black, like carbon black, there is a massive difference because carbon black, as you know... They're small.
Yeah, super, super small. And then inorganic black has a medium particle size. So there is a difference.
But within the organic family, some of those inorganic blacks, the particle size is a little smaller. Some of them, it's a little bit bigger. So we played and experienced with multiple different inorganic blacks.
The other thing people may not know when it comes to inorganic blacks, there's only one CI number that represents all those hundreds of inorganic blacks. Oh, I didn't know that. Yeah, there's not a different CI number for each inorganic black.
It's like inorganic black has one CI number, but there's all kinds of different inorganic colorants that can be purchased from multiple different raw pigment manufacturers. So same with carbon black, right? There's hundreds and hundreds of carbon blacks. Some are blue based.
We don't want those. Some are gray, you know, ashy gray based. And then some have a truer black base.
And there's, you know, high quality, low quality. So with all those hundreds and hundreds of carbon blacks, one CI number represents all those hundreds of carbon blacks. So how do you tell the difference? You have to really rely and trust your manufacturer that they are sourcing and using, doing, you know, research and development.
It really boils down to that research and development on the manufacturer's side and trusting that they are first sourcing really good raw colorants from raw pigment manufacturers. And that they're using, you know, super high quality, high light fastness that, you know, I mean, LI, we only use carbon blacks that have that truer black based, you know, carbon blacks that have a blue base don't belong in an eyebrow formula. Are you kidding me? You know, yeah, but there's not different CI numbers to represent carbon blacks with a bluer base, carbon blacks with an ashy or gray base or carbon blacks that have a truer black base.
There's not different CI numbers to represent all the different carbon blacks in the different levels of quality. There's just not. There's one CI number.
So this is where really trusting your manufacturer, you know, comes into play. So although LI, you know, sources and uses, you know, really high quality inorganic blacks and carbon blacks, I wanted to make something really, really, really different. And I wanted to experience with carbon and inorganic blacks outside of what they normally use and formulate with.
And so that's what we did. It was expensive ordering, you know, different blacks. Some perform, some don't.
And then you play with different carriers. The carrier is what, you know, takes your color. Where it all sits in.
Yeah, where it all sits in. So we played with different carriers and, you know, some carriers, I mean, I couldn't get the pigment to really implant, you know, and then some carriers, you know, implant pretty well. And then, you know, and then finally, yeah, Blanca made me, you know, this one sample.
And it's just like, oh my God, it's just. And this is my inorganic, just implant, implant, implant. Super quick, super easy.
And that's what I wanted because I think a lot of artists want to get off carbon because they're afraid of migration. Yeah, but yet they are afraid of it. They're afraid that inorganics are too hard to implant or they don't heal as black.
And that can be true in some cases, but that's not necessarily true across the board, not by all means.
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