Hung Vanngo on Launching His Namesake Line, His 5 Kit Essentials, and How He Became the Makeup Artist Celebrities Flock To

Summary

Gloss Angeles Podcast Summary

Episode: Hung Vanngo on Launching His Namesake Line, His 5 Kit Essentials, and How He Became the Makeup Artist Celebrities Flock To

Date: September 12, 2025
Hosts: Kirbie Johnson & Sara Tan
Guest: Hung Vanngo

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Brief Overview

In this highly anticipated episode, beauty journalists Kirbie and Sara welcome celebrity makeup artist Hung Vanngo for his first-ever on-air conversation with the hosts. Hung discusses the launch of his long-awaited, namesake makeup line at Sephora, shares the five products he can’t live without, delves into the evolution of his career from Vietnam to North America and ultimately to the top of the beauty world, and offers candid advice and behind-the-scenes stories about working with A-list celebrities. Hung reveals his artistry philosophy, the painstaking development of his new palettes and products, and his commitment to authenticity and user-friendly design.

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Key Discussion Points & Insights

1. Hung’s Entry Into the Beauty World (08:07–17:00)

• Background:
  • Born in Vietnam, fled to Thailand as a refugee for three years before immigrating to Canada.
  • Artistic roots in drawing—initially only in black and white—shifted to color in high school (08:41).
  • Entered hairdressing school post-high school, but always gravitated toward makeup:

    “…in my heart I always want to do makeup… But makeup is self-taught.” (09:32)

• Career Development:
  • Success in Calgary as a gifted hairdresser; eventually moved to Toronto to pursue editorial work.
  • Hairstylist and makeup artist in Toronto, but upon moving to New York, focused solely on makeup for higher recognition (10:17, 10:55).
  • Persistence: often struggled with representation before landing with a top agency (“the Wall Group”), facilitated by a former assistant (16:01).

2. Launching the Hung Vanngo Brand at Sephora (01:29–05:12; 30:41–46:41)

• Brand Launch:

  • Brand debuting in Sephora, with a highly anticipated collection of eyeshadow palettes, lipsticks, liners, and complexion products (01:29-01:48, 30:41+).
  • Emphasis on inclusivity, vegan, and cruelty-free formulas—challenges amplified by ingredient bans in California (“…my goal is to do a vegan and cruelty free brand… we tried to do the best that we could with the ingredient allowed.” 33:32).

• Eyeshadow Palettes:

  • Eight palettes launching first, each with coherent “color stories”—from neutrals to bolds (31:24–32:32).
  • Unique textures, including satin, matte, metallic, and an innovative “3D Matte” for foolproof finger application (36:12–37:19).
  • Palettes are designed to be both pro- and consumer-friendly:

    “I refuse to…do a full eyeshadow look from two palettes or more… I want to put myself in the consumer that I say… they look at the palette, they say, I can do this.” (34:23)

• Other Product Highlights:

  • Lipsticks and lip liners with shades reflecting Hung’s heritage (e.g., “Taste Twin” named after his hometown in Vietnam, 39:24), and hydrating matte formula.
  • Two types of eyeliners: creamy kohl and long-wear, with shades specially developed for all skin tones (41:18–43:40).
  • Upcoming bronzer and blushes: special attention paid to pressing and formula to ensure minimal mess and maximum wear (43:57–45:57).
  • Packaging: Designed for easy cleaning and a luxe feel (46:10).

3. Five Kit Essentials (02:04–05:22)

Hung’s must-haves—spanning rare finds, cult favorites, and his own creations:

• 1. Eyebrow Marker: Discontinued Japanese brow marker, painstakingly stockpiled via eBay (02:04–03:05).
• 2. Aquaphor: For lips and any dry or cracked skin—always in his kit (“…for me, the one that worked the most for me is always go back to Aquaphor.” 04:40).
• 3. Rare Beauty Highlighter ("Mesmeri"): Versatile for damp or dry skin, and even mixed with moisturizer for body glow (03:05, 05:28).
• 4. La Mer Moisturizer: Usually the original crème, but will adapt based on client’s skin needs (“…for me, it feels like it’s healing the skin a little bit…” 07:26).
• 5. iS Clinical Eye Cream: Key element in Hung’s detailed skin prep routine (04:10–04:33).

4. Approach to Artistry & Signature Style (22:07–25:12)

• Philosophy:
  • Inspired by the supermodel era and Kevyn Aucoin—aiming for glamour that keeps the client looking like their best self:

    “I still want them to have that glamour, but they still have to look themselves. Not going to change their look…” (22:23)

• Working with Clients:
  • Known for punctuality, discipline, never being late, and not rushing artistry (“…I like to take my time because I think that’s the art in me…” 23:15).
  • Keeps feedback honest and direct, balancing artistic integrity with client requests (25:18).

5. Celebrity Relationships & Memorable Looks (12:01, 25:59–27:21)

• Big Break:
  • Supermodel Helena Christensen helped launch Hung’s NY career, introducing him to the right people (12:39–16:01).
• Notable Looks:
  • Selena Gomez (Oscars), Jennifer Lawrence (No Hard Feelings premiere), Scarlett Johansson (Transformers in London)—all cited as personal favorites (26:10).

    “I love that just because people went nut for that… she looks so beautiful. And I look back at the picture and I said, I really proud.” [On Jennifer Lawrence, 26:30]

6. Industry Wisdom, Makeup Tips & Trends

• Complexion First:
  • Old-school rule: always begins with complexion before eyes or brows, arguing it creates a better blend and finish (28:02–30:16).
  • Controversial stance backed up by other artists (Helena Christensen, 28:07).
• On Trends:
  • Launching eyeshadow palettes despite trend reports: palette design is rooted in personal passion and client needs (31:54–32:32).
• Pro/Consumer Balance:
  • Every product and shade developed with the broadest possible audience in mind—no intimidating palettes or formulations (34:23–35:44).

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Notable Quotes & Memorable Moments

• On his secret to success:

  “I’m very disciplined… every day I still wake up and then pretend… I’m going to work today, because I think that’s the only way make you feel motivated.” (19:25)

• On makeup philosophy:

  “My goal is to achieve those looks on my client with the modern touch, but still look like themselves.” (22:23)

• On product development:

  “My goal is to do a vegan and cruelty free brand… even like, you know, the palettes… there’s 15 shade that it wasn’t originally… because… ingredient bans.” (33:32)

• On client relationships:

  “For example, Selena, I worked for 12, 13 years. I have never late for her once. And that’s something about me… I will sit in the coffee shop next to their door or something like that.” (23:15)

• On artistry vs. Trends:

  “I’m not launching something that I never use. I launch in something that’s still very me, but the creator is for the consumer.” (32:32)

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Timestamps for Important Segments

• 01:29 — Introduction to Hung and the launch of his line
• 02:04 — Five essentials in Hung’s makeup kit
• 05:22 — Rare Beauty and product testing with Selena Gomez
• 08:07 — Hung’s background: Vietnam, Canada, Art, and Beauty
• 12:01 — Moving to New York, Helena Christensen’s impact
• 19:25 — Early career discipline and approach to freelancing
• 22:23 — Signature style and philosophy
• 25:59 — Red carpet highlights and favorite looks
• 28:02 — Complexion-first philosophy explained
• 30:41 — Launching the makeup line: palettes, packaging, and design
• 34:23 — Palette design for real consumers
• 36:12 — “3D Matte” and foolproof palette textures
• 39:24 — Lipsticks and shades inspired by personal heritage
• 41:18 — Eyeliners and inclusivity
• 43:57 — Bronzer and blush perfectionism
• 46:10 — Packaging, accessibility, and hands-on details

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Final Thoughts

This episode is a must-listen for beauty lovers aspiring to artistry, fans of Hung Vanngo, and anyone curious about the meticulous behind-the-scenes process of creating a modern makeup collection. Hung’s humility, exacting standards, and generous spirit shine through as he reflects on his extraordinary path—and the intentional, inclusive vision behind each product in his new line. His advice, candor, and personal stories offer inspiration and practical wisdom for beauty pros and enthusiasts alike.

Transcript

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[Kirby]

Hi, Kirby.

[Sarah]

Hi, Sarah.

[Kirby]

Welcome to Los Angeles. Okay, we've got.

[Sarah]

We've got a big one today.

[Kirby]

Someone that we have been admiring from afar for so long. Someone that you all probably have been following along too. Hung Van Gogh.

[Hung Van Gogh]

Hello. Hello. Thanks so much for having me.

[Sarah]

It's so crazy that we have not met you before. We've been following you for so long. I know this is a first, I think, for Sarah and I to have a guest that we haven't met before.

[Kirby]

I know, totally, you must come to la, but, like, you're just so busy, you don't want to.

[Hung Van Gogh]

I know you come here for work and I leave. Work, I leave. I never stay. You know, this time I stay an extra day to see you guys, but usually I'm just like, take the red eye and fly right back. Yeah.

[Sarah]

Thank you. Thank you for staying. We're so happy.

[Kirby]

Thank you.

[Sarah]

We're thrilled because Hung is here for a very special reason. He's launching his own makeup brand in Sephora. This is going to be huge.

[Kirby]

It's beautiful.

[Sarah]

You've seen it online already. There's been promo on your socials.

[Kirby]

So much fanfare.

[Sarah]

Yes.

[Kirby]

Especially from your fellow artists.

[Hung Van Gogh]

I think makeup art is excited about this.

[Sarah]

Yes. We definitely want to dive into that. But, Hung, what are five products that you always keep in your makeup kit? Obviously, now you have your own brand, but we would love for you to kind of give us a peek as to what's in your kit.

[Hung Van Gogh]

5 product I always have in my kit. One of them is a eyebrow marker that is not existent anymore that I went on ebay and I buy all them. And I know people always ask was like, why you get that signature brow? And the only people will have it now is my assistant, past assistant, and Mai, because we went and clear everything out before they discontinue who made the.

[Sarah]

Who made it?

[Hung Van Gogh]

It's from Japan, but we. I still have some, but that's a goal that I want to make something like that because for me, it's so amazing. To use. I know people always ask, but I've always like, you can't get them. And people thought I was lying, but it's. We're not lying.

[Sarah]

You bought out the whole stock?

[Hung Van Gogh]

Yeah. Even my own assistant, she's Japanese. She went back and she even go on like the ebay and on Japanese website and everything there. And she cleared out for me. So I stock it up because it was like over 10 years ago. They stopped.

[Kirby]

What was the brand?

[Hung Van Gogh]

It's a Japanese name.

[Kirby]

Yeah.

[Hung Van Gogh]

Okay. But I stock it up and then it was just like. So I have so much still. But I was like, that's something that I always. So that's the first product. I love Aquaphor and I know that I use a lot and I think it's like, you know, I know it's not like the most fancy exciting thing. The number three products is, is a highlighter from Rare Beauty. It called Mesmeri. It's a beautiful powder highlighter. That's number three. Number four. I have so much stuff. And we depart as well too. So that's why. Yeah.

[Kirby]

You think you're thinking about it too?

[Hung Van Gogh]

Yeah. I always love La Mer moisturizer. I know a lot of people think it's too heavy, but I mean they come out very, you know, like a lot different, you know.

[Kirby]

Yeah.

[Hung Van Gogh]

Version of more type like more like lighter too. But I, I, I think I was from Calgary and it very cold, it was very dry there and I use them and it was so amazing. And I start using makeup with those then and then it become a habit and my. I try many different moisturizer and I still use them. But then if I use like I use a lighter serum underneath there.

[Kirby]

Okay.

[Hung Van Gogh]

I would use like the outset, you know the, the peptide serum they have. It's very light serum. And then I put moisturize on top. And if I never sick for you is to know the eye cream because I give you all the prep skin stuff then I would eye cream I use from is clinical. So those are because I just give you the, for the lips and so those are the prep that. Yeah.

[Kirby]

So you do the skincare prep before you do the makeup?

[Hung Van Gogh]

Yeah.

[Kirby]

Okay.

[Hung Van Gogh]

Yeah.

[Sarah]

All right. I have follow ups.

[Hung Van Gogh]

Yes.

[Sarah]

How do you use Aquaphor?

[Hung Van Gogh]

Aquaphor I use for everything. I use for lips. I use for everything. Even like a client the other day and she have these like crack right here and she said oh my God, I use everything. It doesn't work. And I, I didn't, I couldn't give her the Whole pot. I depoted them out because I have to travel. So I. I put into a little container, I give it to her, and she said a few days later, she said, what was that? Do you use. Because it might. Yeah, because, you know, a lot of time you have a cracker and it doesn't go away. Yeah. So it works. So for me, I use for year and years, you know, and I try different lip balm. You know, I have flavorful lip balm in my kit as well. You know, I love Summer Friday and all those lip balm too. And I have them summer. Some people want a little bit more fancy, but for me, the one that worked the most for me is always go back to Aquaphor.

[Sarah]

Okay. And tell us about the Rare Beauty highlighter. Why do you like using this and how do you use it?

[Hung Van Gogh]

That highlighter you can use on damp skin or you can use on top of foundation, or you can do when you set as well. And I love it because you can go very, you know, which one talk of. Right? Yeah, you can go just very little highlighter. You can go really. There are clients who love the really popping. You can create it with that as well. And that's why I love. And you know, a lot of time I even just like rub it out and put moisturizer and put all the on the moisturizer and you put on the body too. So that would be great. So I work like a wet. Like a liquid as well. You can do that way as well.

[Sarah]

Oh, that's a good tip.

[Kirby]

Can I ask another question? I know we're here to talk about your brand, but quickly about Rare Beauty and Selena, obviously, you guys are so close, and I'm sure she confides in you and asks you maybe before she launches a product, like, are you helping her test products? Are you giving her feedback about products?

[Hung Van Gogh]

I mean, I mean, I'm wearing like a family and I'm very honest to her, you know, but she have incredible product developer, you know, like a PD person. Like Joyce Kim and Joyce. Incredible.

[Sarah]

Joyce has been on the podcast.

[Hung Van Gogh]

Yes, I saw that. And then she's incredible and she does wonderful job. You know, I mean, I always see the product is the kind of almost done already. You know what I mean?

[Sarah]

Yeah.

[Hung Van Gogh]

But they have a. She have a really big team, a really amazing team. So.

[Sarah]

Yeah, I was gonna ask you about the La Mer. Yeah, the creme. Is it the creme that you're using the original one and you use that on every client?

[Hung Van Gogh]

I use pretty much.

[Kirby]

Wow. What's the secret. Are you just warming up?

[Hung Van Gogh]

I just warming up. If some people don't want too heavy, then I would use the. Is clinical. You know, the repetitive emotion. And that's a lighter moisturizer, so that I would use that. But I try different moisturizer as well, like I always do. It's not. But I mean, of course, you always have favorites and you go back to. But I mean, there are so many amazing skincare in the market, and I always try them, you know, so you.

[Sarah]

Feel that La Mer, the original creme, is a really good, solid base for most people.

[Hung Van Gogh]

It is. A lot of people, if they feel this heavy, then I don't use them. But for me, it feels like it's healing the skin a little bit. And I feel like it's kind of like a protection underneath the skin before you put, like, sunscreen and makeup on top.

[Sarah]

Awesome.

[Hung Van Gogh]

Yeah, Love. But not a lot of people use them, but you only use a little bit, and you really warm it up, and you just really press on the skin.

[Kirby]

That's. I think the secret is people are applying too much and they're not pressing it. They're not warming it up, and they're.

[Hung Van Gogh]

Not pressing it because you have to melt when you warm it up. When it's not white anymore. That's when you use. And then when people still see that it's all pasty still and put on, you know, might not like it.

[Kirby]

Yeah. Yeah.

[Sarah]

It's like rubbing white paint. Paint on. If you're just, like, sticking it on.

[Kirby]

Yeah. Okay, so we know that you were born in Vietnam and then you immigrated to Canada.

[Hung Van Gogh]

We escaped Vietnam. We live in Thailand first in a refugee for three years when I was young with my sister and my brother. And then we got accepted to go to Canada. I immigrated to Canada and then from Canada, from Calgary to move to Toronto, also in Canada, and I moved to New York after.

[Kirby]

Wow. So what was that like? And how did that impact your career in beauty or inspire you to pursue makeup?

[Hung Van Gogh]

When I was young, I always paint and drawing, but it's always black and white. You know, like mostly pencil and black and white, but never much color until I go to high school. That when I really fascinate with the color and stuff like that. If I say that, oh, I'm really, like, fascinated about color when I was young. No, it wasn't. It was. I love color, but when I draw, it's always black and white. And then in high school, that when I was fascinated about magazine, and that's when I inspired to that. But I was in Calgary and I never thought about becoming a makeup artist because we never heard someone being a makeup artist. They always know people. Someone who work in the mall in the makeup counter. So I thought maybe become a hairdresser.

[Kirby]

Okay.

[Hung Van Gogh]

And that's why I went to hairdressing school three day after high school.

[Kirby]

Oh wow. Okay. So you pursued being a hairdresser first and then when did you make the transition?

[Hung Van Gogh]

This is definitely not a lie because people can listen. They from Calgary they know this hair was a gift. So basically I started doing hair and it was a gift that I was really good right away. Like in Calgary everyone knows me as a hairdresser and I was very young and I work in a salon but I'm always like attracted to the makeup station and do things and I never. It's like a gift that I can just do hair and style and cut and everything really well and. But in my heart I always want to do makeup. So I'm always want to wait for that client to do wedding or graduation and that's when I want to have a chance to do more makeup. But makeup is self thought. Yeah, it just from the salon I would learn from you.

[Kirby]

Wow. Do you still do hair sometimes?

[Hung Van Gogh]

No. As soon I got I. When I left Calgary I decided to work on editorial. I left Calgary, I moved to Toronto and at the time in Toronto if you do freelance you have to do both hair and makeup and also because I have a hair background. So it's. I did well in Toronto also. Just because you can do both really well. Most makeup artists they don't have hair background, they just do a little hair. But then when I moved to New York I completely stopped because I want people take more serious as a makeup artist. And I never tell people that I was a hairdresser either. Like I pretend I don't know much about hair. I mean slowly later on when I did well, that's when people slowly know because I'm like I have a lot of opinion about the look, you know when it comes to hair. And I'm always like give input and I'm always say the term that must be. Hairdressers understand that. So it's cut. People cut up and then now everyone knows. But I don't. I haven't touched hair like since I moved to New York with 2006.

[Kirby]

It's crazy because I heard that from some other Canadian hairstylists and makeup artists is that you have to do both in, in, in Canada because in many.

[Hung Van Gogh]

Countries, in many countries like in Germany, in Australia, you know, like, that was a thought in my head. Say if I couldn't get an O1 visa, maybe the other market I want to try, you know what I mean? So those market people still have to do both if you want to do well, you know.

[Sarah]

So you were working in Canada doing hair, and you said that obviously you're gravitating towards makeup. Was there somebody that inspired you that was like a beauty muse to you that really kind of made you think, okay, maybe one day I can work on a celebrity like her or.

[Hung Van Gogh]

I always dreamed to work at the time was 90 supermodel. You know, like it's of the 90s. So of course, like Cindy or Helene or Christensen or Claudia Schiffer and all those supermodel. I mean, when you high school, I mean, you really fast and you just dream. You know what I mean? And very thankful. I have worked with all of them already, which is like. Is a. That's why I say like dream those.

[Sarah]

Work, you know, that's when you were like, okay, I know I'm on the right path.

[Hung Van Gogh]

Yeah. So it was. Yeah, it was like. It was really the first person who actually helped my career in New York. York. Like. Like is. Is the one that completely changed everything with Elena Christensen as well.

[Sarah]

Wow.

[Hung Van Gogh]

Yeah. I got a chance to work with her and basically she introduced me to many people after that and she was just like, you know, so it's completely changed my career in a lot of way.

[Sarah]

How did you work with her? What happened?

[Hung Van Gogh]

So the story a little long, but I'm gonna make it really short.

[Sarah]

No, do it. This is a podcast. We need you to talk.

[Hung Van Gogh]

So basically in Calgary, I have to. I reach out to modeling agency first and. And because you know, and then a friend of mine, Kelly straight. He actually not. He's a friend now, but at the time he's an agent there as a model agent. So he helped me to teach me all these like, you know, about the business. And then he also the one that took me in New York the first time here. And that's why I said, that's my life, you know. And then he said, you can't because you not really that great to move there because also you need a working visa. So we make a plan. I say I should move to Toronto. So I moved to Toronto. Before I moved to Toronto, I got an offer from a hair salon in Montreal. It's like a big hair salon there. And they're looking for. Remember, they are very young still and creative director. And they Heard of me because I won a lot of like hair awards, hair contests, stuff like that. So they. They offer and I was like hold back Toronto. So I moved. I say I could do two week, two weeks. So two weeks in Montreal in the salon there and two weeks in Calgary with the condition is that in my head. It's like I work only a few days in salon to training and do special client for them. And then the other days I can do editorial which I can do makeup. And that was like the plan. It didn't go so well because in the market they find me a little commercial. I didn't get any work outside the salon there at all. For a few months I was there but then back two week, two week back and forth in Calgary two weekend. And then the hair. The there's a hair assistant in the salon and he's now is a friend of like we are like family basically. And his name is Christopher Michael. He was assisting me in the salon. So a few months later I didn't really get to do all the freelance of fashion that I was hoping for. And I say that's it, no more Montreal. So we changed the plan. I quit the salon in Calgary and Montreal. I completely moved to Toronto. Just no salon and just focus on editorial. Christopher also moved to Toronto and then later on he moved to New York. So he moved to New York before me. He was. He got a job in the modeling agency and then. And it was me that who suggested him to be an agent in Toronto because he's great at talking. And then he was interning in the agents a modeling agency in Toronto that repping me because I couldn't get a rep in Toronto that repped me that the hair makeup, they didn't warn me. They was like you're very commercial. And they always. That's a term always in their head they would say that. And then I end up prepping from a modeling agency that have a department with like hair and makeup as well. And then Christopher was interned in the agency there as well. And then he moved to New York. He worked different agency and then he worked as Helena agency and he was an assistant in the City Agency as well. And then at the time and then I moved to New York Times she working for looking for makeup artists for a shoot for Numero Tokyo shoot. And then he would suggest, he said you should try him out. And that's how we met.

[Kirby]

Wow.

[Hung Van Gogh]

So it's like everything kind of full circle because you know I got my first. You know I had met Helena through My own assistant and you know it's all full circle.

[Kirby]

I wanted to be. Yeah. So when you moved to New York did you assist anyone?

[Hung Van Gogh]

So I, I was in Toronto for three years. Yeah. So I was blessed again. Like I did well in Toronto so I did really well in Toronto right away and But I was like. And then agency asked me to come by say no. I stayed lawyer to my agent Sharon Smith in Toronto. I know I love to give these names because these people are amazing in my life and so I get emotional and say things like that. So I, I moved to when I would, I didn't switch and I moved to Toronto and then I did really well. So I have a great clientele in Toronto. So when I went to see different agency I couldn't get representation as well. They would say you kind of in between you knew New York but you kind of like past the assistant station already. They look my book so. And you don't have any client here so it's really hard to sell. So I couldn't get an repair. So the first year I keep. I didn't have a rep in, in New York. I keep flying back to Toronto to do my commercial work. And the great thing about Toronto in New York it's only one hour flight. I could take the first flight in through to Toronto and then go back to New York in the evening. So I didn't have to pay hotel, nothing at all. And at the time they pay and even if like the flight for $300 I still make like some money even just go like that. So I did that for the first year and then I got a rep, a smaller rep agency called Kramer and Kramer and they, they still around and they work with a lot of Canadian clients so they seen me working with our claim Canadian clients. So they say oh he's still working so he's still making money. So they took me in. So I start working a little bit here and then I keep asking, I keep emailing the agency I'm with right now which is like that's the only second agency I've been in New York for like in 2008 until now. So it's like a long time, like 18 years same agency and after four time meeting them and they took me in. So I'm with them since. Wow. And then that's when I start like slowly I st stopped going back to Toronto just because a lot you know like.

[Sarah]

You'Re booked and busy. Yeah.

[Hung Van Gogh]

Not right away.

[Kirby]

Well you were busy flying from one.

[Sarah]

Place to the other.

[Hung Van Gogh]

Yeah, it's really hard because the thing is that, like, people don't book you back to back. You could have a job here Monday and then you have another booking on Friday or something. You have to fly back and you know what I mean? Because you still want to have to save that money. So you can't just like book hotel or stay with people. You know what I mean? So totally. They still locking for. Yeah.

[Sarah]

Do you have any. I don't want to say crazy, but do you have any fun stories from that time in your life that you haven't told before or that you look.

[Kirby]

Back and you're like, wow, I can't believe that happened.

[Hung Van Gogh]

There's a few things, a lot of things, like people don't realize, but I was. When I first joined the Wall group, I was in the website called off the Wall. So it's like, you know, up and coming. And I was basically a backup makeup artist. Basically, like the Wahl group at the time, they have a lot of makeup artists. And the thing with me is that, like, you just met me, so you don't know, but I'm very disciplined. I'm very like. Like this. So even I'm not booked for job at all. But every day I still wake up and then pretend. Not pretend, but, like, act like I'm going to work today because I think that's the only way make you feel motivated. Because I moved to New York for a career and I said to myself, I say I have to think that today I'm working. And it works because a lot of makeup artists, whether they slept in or something happened home. And with an agency with many artists like that, you always get a call. And at the time, I have a tiny apartment in Chelsea, so it's pretty central as well. So I can just right there. So I actually built a lot of booking from the last minute phone call. Because, you know, every agency, there are people who, you know, slept in, like to be late, anything like that, and the client panicking and sometimes they need somebody right away. You see, I was.

[Kirby]

You're available.

[Hung Van Gogh]

So that's one of the experience, I think. I look back, I was like, I tell my assistant now all the time. I was like, believe it or not, like, if you not working when I'm traveling, you should still go to the studio and be, you know, productive because it become a great habit for you. And I built a lot a great clientele just from be ready every morning. And that was. That was one of the things I look back, you know.

[Sarah]

Yeah, you were prepared. It was Preparation. Yes. Wait, what sign are you?

[Hung Van Gogh]

Sagittarius.

[Sarah]

Oh, interesting. I was gonna say Virgo. I was like, damn, that is discipline right there. Like, very, very, like, funnel vision of, like, what you want. Do you feel like you achieve all the goals you set out to achieve?

[Hung Van Gogh]

I mean, when you come to New York, like, I mean, my life, like, it's. It's. My career shipped a very different direction that I was imagined because when I moved to New York, I. It's a dream because I want to work with supermodels and with fashion. I never thought about working with celebrities. You know, celebrities come later on. So. And that for me was. I was. I want to work with supermodels. And that was like fashion show, you know, like big covers and those. Those was what always my. My. My thing. And when I first with the agency, I mean, I didn't want to do celebrity. I was like, no, I want to work with model, you know, like, that's the glam, you know, that I want. And so the career shipped already. So my goal, the list that you. I want to do when I first move is completely change direction. For sure.

[Sarah]

Yeah. Now, you know, we see celebrities on the COVID of magazines. We don't see supermodels anymore for the most part. So it kind of worked in your favor.

[Kirby]

Totally. Okay, so we know. You know, we know sometimes we see a photo of a celebrity, and we're like, that's a. That's a hunger. That's Hung's work.

[Sarah]

We know that's Hung.

[Kirby]

It's like, distinct. But in your words, what do you. How do you describe the way that you do makeup, your artistry?

[Hung Van Gogh]

Going back what I just said earlier, you know, when I start makeup, it was like, from the Kevin Oukon France and artist. That was like my inspiration when I got in this business, because that's the. The glamming list, and the woman looks just like Amazon and look so gorgeous. So I. My goal is to achieve those look on my client with the modern touch, but still look like themselves. So I still want them to have that clamor, you know, the glamour. But they still have to look themselves. Not going to change their look, but the goal is to. I mean, they're already beautiful, but I just want to look as at the most beautiful they could look.

[Kirby]

Yeah.

[Hung Van Gogh]

You know, I mean, so that's the.

[Kirby]

Goal, if that's what we all wanted, to be the most beautiful version of ourselves.

[Hung Van Gogh]

Yes, exactly.

[Kirby]

Yes.

[Sarah]

If we were interviewing one of your clients, what would they say? You do that other makeup Artists don't do while they're in the chair.

[Hung Van Gogh]

I was never, I'm. I was never late before. So as much as anything today, you see that I'm rushing in because I was like doubt they figured out the elevator and. But I still make it here before call time. I'm always early. It doesn't matter how long. Like for example, Selena, I worked for 12, 13 years. I have never late for her once. And that's something about me. And even I come to her house. I still come early all the time. A lot of time. Drive them crazy. Some clients do not like you come early because they're not ready. I will sit in the coffee shop next to their door or something like that. Or they go to the hotel. I would be in the lobby waiting at least like 15 or 30 minutes before. It's all always a thing for me. I'm not the fastest makeup artist I could be, but I like to take my time because I think that's the art in me that I still want to create. Because I think, like, I'm not a robotic makeup artist. I like to study the face or. Because your face changes each day as well. Someday you, you know, you bit more bloated the other day or someday, you know, like the woman. If I don't see them for a few months, they could lose weight. They could gain weight. So that would change the way you do makeup as well. That's how I see it. So I'm not just doing makeup ABC3. So I still like, like take time and step back and do those things. So I'm not definitely. They will tell you I'm not the facet makeup artist. I'm very straightforward and. And I don't talk very fancy or I don't dance around them. I usually like, say like it is when you first meet me. You think you have very surprised you didn't realize that. But it's just like it just maybe it's a culture as well, you know, and it's just like, you keep it real. It is so that I. Yeah, if I. If I taste something that a little jazzy, they know that it's not me, you know, And I don't want to be like that as well. And you know, like, like today I told you, I said you can ask anything. And I read. I don't know the question, you know, because I think it's more. And that's more me that way. Yeah.

[Sarah]

Have you ever had a moment with a client where you steered them out of a bad decision makeup wise?

[Hung Van Gogh]

I always say my opinion. But the thing is, I like, for example, the clients say, oh, I don't want red lipstick. But I was, I would say to them, I'm not a makeup artist who say, okay, you know, I always say, but you know, which red you don't like because there's many different red, you know, if, like, if they go to an event and I know a red lipstick would be great for that. And I was like, but there's so many different shade red. Should we try different shade on you? See, you might like it. So I'm that kind of person, you know, I'm not gonna like, no, you can. But I have to. If I really strongly believe that it would be a great look, I would like to able to find the option to share with them that this is the best. You know, this is what I think.

[Kirby]

Is there a favorite look, red carpet or, you know, editorial that you've ever done maybe with like a specific celebrity that you often look back on and are really proud of.

[Hung Van Gogh]

There's so many throughout the years, but the most recent would be like, I think Selena this year Oscar, we did more a less color, more monochrome face. And I think like, she looks incredible. I love the look I did for Jennifer Lawrence for no half of premiere.

[Sarah]

Oh, my God. Yes.

[Hung Van Gogh]

I think I love that just because people went nut for that. And I think I was like, oh, she looks so beautiful. And I look back at the picture and I said, I really proud.

[Sarah]

That's the look. I would come to you and say, I need you to give me the Jennifer right now. That's what I want. She's my.

[Kirby]

She's never look better. She looks so good.

[Hung Van Gogh]

And then for premiere of like Transformer in with Scarlet in London last year, I did like a brick colorful and I would really strong lips as well. And usually people say, you should do lips or eye, not both. And I do like, I pin all those three look in there right now. So in my Instagram. So, So I was, I. I say we're going to go for both eye and lips, you know, and it was her idea as well. And I usually was like, maybe too much for both. But I like, I love the idea. And then we go for like both eye and lips and she look incredible. So those are most recent ones.

[Kirby]

You know, what's the secret to balancing an eye and a lip?

[Hung Van Gogh]

I think if you do both eye and lip, you have to keep the skin somewhat fresh, you know, and less on the brow and you have to take away from somewhere else. I Think that's a great balance out. Yeah. But you can do both. Yeah.

[Sarah]

I was gonna say I had heard from Katie. Jane Hughes.

[Hung Van Gogh]

Yes. I love her.

[Sarah]

I love her, too.

[Kirby]

Amazing.

[Sarah]

She taught me something that I thought was so helpful, which I didn't take into account today, but she was like, do your eyebrows and lips first and then decide what else you need. Decide if you need less foundation. If you don't want to do any eyeshadow, maybe no mascara. Do you kind of subscribe to something like that? Or how do you. How do you give tips to people that follow you?

[Hung Van Gogh]

I'm very old school in the way that I do complexion everything first.

[Kirby]

Okay.

[Hung Van Gogh]

Like Helena Christensen. And I agree. One thing is like, this is going to offend a lot of makeup artists, but it's just a way, very, very old way thinking. I always got thought that taught about to do complexion. You do your complexion, you know, foundation, concealer, powder and bronzer and everything first complexion before I even do eye. And I. And I start brow and I start eye, and then I go from there after. A lot of people, they do and they think that because you have to do is after. Because eyeshadow fall off, stuff like that. But if you makeup artist application, you know, is a key that you have to control, it will restrain you how much shadow and how you applying it. Because I think if you rely on drop in the makeup all over the place. But if you know that you don't want to mess up the skin, your application application will be more perfect because you control the shape, the shadow, and everything. So I always do complexion first. And then Helena said exactly the same with me. And she was like, I agree with you. Because she. In the whole school day, she was like, I don't understand why people do complexion last. Because for me is everything is all about blurring, blended. So if you do complexion after, like, you know that, like airbrush that you try and create the blur line from the skin to the eyeshadow. It's hard to achieve after you, you, you have to clean, it's become very sharp. And I mean.

[Sarah]

Yeah.

[Hung Van Gogh]

And then you, you, you try to blend the edge again. And it's never the same. But for me, I like, like when I do the blush or the shadow, it's kind of like kind of diffused together. And if you do complexion last, it's. It doesn't give you that effect.

[Sarah]

I always hate my eye makeup if I do my complexion last because I have melasma on my face. So I'm just like, this does not look good. It doesn't look put together, but when you do your complexion first.

[Kirby]

I am a complexion first. Like, I just. When I tried, like, you know, I tried. I'm trying underpainting. I'm doing all the things, but it feels so unnatural to me. Like, I always do my base first. It's like. I don't know. To me, it's like painting. Right? It's like painting. You have the foundation that's. That's first.

[Hung Van Gogh]

But I think the. It's very old. That's very old school of me. So, I mean, I still have that. I mean, it was. It's always like, Right.

[Kirby]

And also their own technique.

[Sarah]

The right artist, though, like, to Hung's point, the right artist also knows how to manipulate a shadow and understands the formulas of the shadows that they're using, which leads me to my next question. So with your new brand.

[Hung Van Gogh]

Yes.

[Sarah]

You have how many eyeshadow palettes?

[Hung Van Gogh]

We. We have a lot, but we launch in eight. Okay.

[Sarah]

There's more than eight coming.

[Hung Van Gogh]

When? Because I work on all them. There's a story, a theme story, but there's some palettes. It was like, Sephora say, we have to launch this first. And I was like, no. I was like, this is a. A different story. So I was like, no, this is the first A palette we should launch. And I'm like, no, I. I have a vision. These are the A palette. But there's more palette that we. I work on already, and they're really beautiful. They more friendlier palette. Like, it would be, like. It would be, like, the best seller if I do it right away, But I would just like, yeah. That's a beautiful palette that's wearing today.

[Kirby]

Me too.

[Sarah]

I'm wearing this one today. It's more like neutral. Right.

[Kirby]

I mean, it's called new neutral.

[Hung Van Gogh]

Neutral, but still, like, a little punch still.

[Sarah]

It's not too fancy.

[Hung Van Gogh]

Yeah. Sparkle.

[Sarah]

Yes.

[Kirby]

I love the sparkle because it's.

[Hung Van Gogh]

We have four different texture in there. Yeah.

[Sarah]

Yes.

[Kirby]

It's very elegant.

[Hung Van Gogh]

Yes.

[Sarah]

And I also cannot wait to try the cool tone palette. But I was, like, a little too much for daytime for me right now. But I was gonna ask. So this kind of brings us to the, like, the trending topics. Right? Like, right now, eyeshadow palettes aren't necessarily trending.

[Hung Van Gogh]

Yeah.

[Sarah]

Which is why I am kind of obsessed with the fact that you're launching with.

[Kirby]

You're like, I'm doing eight.

[Hung Van Gogh]

No, because the thing is, I, like, it's not like. Because there's not many eyeshadow I launched. Now I always very passionate about colors in terms of doing makeup. You know, like if you look back when I a few years back, I mean, for the Emmy, I would do a crazy blue eyeshadow on Emily Radiskowski and everyone said, oh my God, but she look incredible. And Selena for the Met with a bright pink, you know, like, so I always, like, I'm not launching something that I never use. I launch in something that's still very me, but the creator is for the consumer. You know what I mean?

[Kirby]

But I think also too Kirby and I, we mentioned, you know, when you posted about this, so many artists were so excited because like you need all of them in your kit. You want all eight of them.

[Hung Van Gogh]

The truth also is nowadays in order to create these colors with the vegan and cruelty free brand is harder because it's harder to create this unless you, you know, you all these chemical to get like the color that you know punch. But even, even last year, there's California. California. The band wanted ingredient and there are 15 shades on those eight palettes. We have to rework it. So I have to went to the lab and to, to, to work with the team for the color, but it didn't come close to the original color that I want. But it, there's impossible for them to get those bright like blue or purple or red color the way I want it without put that ingredient there.

[Sarah]

Yeah.

[Hung Van Gogh]

And I was like, no, we can't just create like something separate for California because it's going to be really tricky for production. So I rather just like do it all. So we rework it all. So even like, you know, the palettes, I mean, they are gorgeous, but there's 15 shade that it wasn't originally recreated because. So it's just because. Yeah. And my goal is to do a vegan and cruelty free brand. So I was like, we tried to do the best that we could with the ingredient allowed, you know, I mean.

[Sarah]

So I can't wait to try. So listeners, if you're not familiar these palettes, they. There's a neutral palette which Sarah is playing with right now.

[Kirby]

It's just so pretty.

[Sarah]

But there's a, there's a green palette.

[Hung Van Gogh]

There'S a blue purple.

[Sarah]

So there's their color stories, each of them a color story, which is amazing. How did you, how did you. Did you want to just go through the rainbow?

[Hung Van Gogh]

No, it's not that. It's just because a lot of time, like I hear all the time. And the client will look at the palettes that you see all neutral, and there's a pop of bright color, like, some really crazy color in there. The client said, I don't know how to use them. And I would say, yeah, but there's so many neutral color here. But for people, for anyone as an artist, you can see color and you understand how to play with them. But for people who are not a color person, and you have to lay out color in a way that they don't feel intimidated. If you guys ever see my YouTube channel, you know that I refuse to. To do a full eyeshadow look from two palettes or more than one palette. So I. I only respect the people who create the palette. So when I do an eye look, I always show people how to create a beautiful eye, smokey eye, or anything from just one palette. I'm not one of those people say, and you use this shade palette and this shape. None of my video like that. So that's why when I want to create this, I want to put myself in the consumer that I say show do in the way that when they look at the palette, they say, I can do this because the color is not intimidated. Like, for example, the blue palette and the green as much. If you're not a blue shadow person, don't you think it's really beautiful to look at?

[Kirby]

Oh, yeah.

[Hung Van Gogh]

And it. It is just like the way we lay the color. We. It take us a lot of time, like, create a color just, like, in the way that you want to look at them, you don't feel intimidated, and you want to play with them. Because if I do in the color that just so random, because that's gonna just trick your mind a way that you don't want to play with them. And that's the whole idea for. That's why I call color story. And it was surprising me how many people attract you those colors. Like, you know, I was very, like, surprised. Yeah.

[Sarah]

Yeah. Off the top of my head, I wasn't thinking I needed a blue eyeshadow palette. But now I love that you described it where you. If you need to do blue eye, everything you need is in that palette.

[Kirby]

Yeah.

[Sarah]

That's so helpful for people that are going to.

[Hung Van Gogh]

But then a lot of the shade, even the crazy strong blue, is still very. Not intimidating. You have to play with them. Like, it's. It is like, it's still very approachable blue. It's not like. And they are soft blue in there. They are neutral blue. They are, you know, intense blue. It's not just, like, one type of blue. And Also in the palette, we don't have one or two texture. We have four different texture. So we have, like, some satin, like from matte, and then we have the metallic. It's really incredible. And then we also have this, like, innovative texture. If you. I'm not sure you play with them, it's like I call 3D Matte. It's for someone. Excuse me for the words, but I would think to me, I said, this is for makeup dummies. It means that they as much someone who do not know how to apply eyeshadow, they can use a finger, and they do this, and they still can apply without falling out. So that's what's one of my, like, excited about that texture.

[Sarah]

So I use this palette, the neutral palette. This morning, I was obsessed with how creamy me toos are and how easily they blended on my eye. Because if you play with enough eyeshadows like we do, I mean, sometimes you're like, come on. Why does it keep disappearing?

[Kirby]

It's like I'm erasing it depositing here, but then it's not blending correctly. Yes.

[Sarah]

It was so, so beautiful. So then I have a question for you. With the metallics, do you like to apply with your finger, or would you also use a brush for those?

[Hung Van Gogh]

So the two texture, the metallic and the 3D. So if you want more not intense, I recommend with a brush, maybe you want more, like, pack on you your finger, because you can get really glycerin from that metallic, and you can get quite a lot of depth with the. The. The 3D.

[Sarah]

So that's so fast.

[Kirby]

Super, super pretty.

[Sarah]

I'm gonna go. I'm going to a nice dinner tonight. It's a fashion dinner, but I.

[Hung Van Gogh]

You just like this, and you just. Yeah, no, I'm just gonna go ball.

[Sarah]

Yeah, no, but I'm actually really excited because I'm gonna be all, like, dressed kind of fancy, but I think I'm gonna do, like, a fun eye. You should.

[Hung Van Gogh]

You should blue. Ey.

[Sarah]

Inspired me. I know. I'm like, I should do blue.

[Kirby]

I should do need to see a blue eye.

[Sarah]

I know. I'm excited.

[Kirby]

Okay. So you also have really beautiful lipsticks.

[Hung Van Gogh]

Yes, that's the thing. The truth is, we shot all these images and video in April because Sephora need everything to send in by June. So we just, like, three months before the thing. And, you know, production is we never, like, because, you know, Sephora, they very prepare, and, you know, that's the way work, which is amazing. But for production point of view, it's like really early for a lot of stuff. And so when we shot all these images, we only have a nude lipstick and a red lipstick in final packaging and everything. So our lipstick is so incredible that it haven't been seen much because we don't have images in the video much at all or a lot of images. So that's why people are really excited about the palette. But they know they. I didn't see the chance to see all the lipstick that we have.

[Kirby]

It's so gorgeous.

[Sarah]

I'm obsessed. I really do love this.

[Kirby]

Okay, what is my favorite shade? How do you pronounce it?

[Hung Van Gogh]

Taste twin.

[Kirby]

Okay. And this was the town that you were born in?

[Hung Van Gogh]

Yes. It's a small town near Da Nang in the city of Da Nang in Vietnam.

[Kirby]

Yeah, I'm wearing it right now.

[Hung Van Gogh]

It's just so beautiful.

[Kirby]

I feel like it looks so good on you too.

[Hung Van Gogh]

Yeah.

[Sarah]

He was told to change the name, and he said, no, this is where I grew. This is my hometown. So love that.

[Kirby]

Okay.

[Sarah]

And then I'm wearing Nothing's Impossible, and you said so on me. This is. I mean, if you guys are looking at the shade, how would you describe this shade?

[Hung Van Gogh]

I mean, this is like a. Like a peachy nude. A little, you know, I mean, but I mean, for you, there's a hint of pink as well, so it's really flattering you in a lot of way. People who love pink might like this as well.

[Sarah]

Yeah.

[Hung Van Gogh]

So. Yeah. But, like, it looked different on.

[Sarah]

It does. It looks a little bit different on. Because, like, if I look at. When I.

[Kirby]

It looks like more brown.

[Sarah]

Yeah, the bullet. Yeah, the bullet is a little bit more muted to me than I put it on. But I wonder also if it's because of the lip liner that I have on.

[Kirby]

Oh, I love the lip liner. What are you. I'm. I'm wearing. Fill it in.

[Sarah]

I'm going blind, y'.

[Hung Van Gogh]

All.

[Sarah]

As much as you like.

[Hung Van Gogh]

As much as you like.

[Sarah]

As much as you like this one, too? Yes.

[Kirby]

So pretty.

[Sarah]

Yeah. And this one is like a creamy. Yeah.

[Hung Van Gogh]

Yeah. So basically, we have Nye Eye lip liner. Two. Two of them is. Basically, we do. For the two red, Van Gogh red, New York red, like a blue red and orangey red that we'd. But the red of the seventh shade I want to do. The seventh shade was basically somewhat. You can use for any lipstick shades. So that's a. It's more like without thinking, because I don't want to be like, you have to match the lipstick with the lip liner. So in the way that we call it more like a sultry, sexy, sexy lip liner color a little bit. So you can use with any shade that you want without looking like it's not matching at all.

[Sarah]

And it feels so nice on the lips too.

[Hung Van Gogh]

And the lips is very hydrating because I love a matte hydrating. And you know, sometimes matte is so.

[Kirby]

Yes.

[Hung Van Gogh]

You know, and that's a gold. It's the lipstick that we do. Yeah.

[Kirby]

And then you have eyeliners.

[Hung Van Gogh]

Eyeliner. We have two different type eyeliner. I have coal liner, which is like makeup artists always love it because we love to sketch, we love to blend. And that's what something like an artist in me that I was. There's no way I'm not going to do coal liner. But because people love long wear more because it lasts all day. So I have long wear. And. And it's. We found amazing formula as well for that. But the co liner only three shades. So I'm doing the black and like a, like a lighter taupe and the Kaleida brow. But for me, the taupe and brow, I purposely do that for people who lighter skin to medium because it's harder. I find that it's harder for them to find like a brow or taupe color without looking too dark.

[Sarah]

Okay. I love that you brought this up because when I was looking through like we got this amazing box of stuff. Okay. And I haven't been able to go through all of them, but the eyeliner specifically. I was going to ask you why you made the specific eyeliner that I use today, which I think is more consumer friendly, which is the twist bottom. But you also have the kohl ones.

[Hung Van Gogh]

Kohl ones.

[Sarah]

Okay. I was going to say because I.

[Hung Van Gogh]

Was like, I've been trying to probably use one, the kohl one. I think makeup artists gonna love them because they are. They like to draw because the long way is amazing. Everyone know that because it's long way, it lasts all day and it's great. You know, for everyday people it's easy. But for us, sometimes we want to blend, we want to stretch, and we want to do. Do all the art in me 1. So we need the coal liner because after 15 seconds or 22nd, the long way set. So you can't do anything. So I do the coal liner, but I always think like when I do client like Julian Moore or Julia Garner or anyone like really pale skin and if I use a brown pencil, it always look a little dark on them because the brown is like doesn't look at it's. Like brown. So I purposely do the color in the way that very flat and really like cater to lighter skin. But for deeper skin you still can use them, but it won't give you that punch color that you want to like for deeper skin. Those brown color, if you want to do that soft waterline is amazing or you can do soft blending. Then you know, like sometime you want your water like color in, but you don't want too dark. So you can use those color as well. But these brown, it's an interesting shades of brown. Like I purposely do that. It's not. It's very flattering.

[Sarah]

I'm excited about those.

[Kirby]

Yeah, I'm very excited about those. I love a brown liner and I loved that know you, you, yeah, just. You just developed so many different shades of it. I really appreciated that.

[Sarah]

Hung, what product do you think people are going to love and is going to be your hero product? And what do you think is going to be an unsung hero?

[Hung Van Gogh]

I think the. Well, I love what I just told you already. This is the truth. I'm not making it up at all. I called my, my team and I was like, we need to shoot these lipstick final asap. Also because our bronzer didn't arrive until this week, the final one. And that even Sephora team, they think that would be one would be the bestseller as well. Yeah, because like, for example, the blush and the bronzer is also so beautiful. But because we don't have images and everyone didn't see it, they only see the eyeshadow, but the bronzer is beautiful. I wasn't crazy on the pressing back and forth that it was, it was delayed just because I was so. I don't want to say psycho, but basically in a way because I was like, okay, I'm very gentle when I apply bronzer. I would dab, dab, dab. And I was like, do that. But I see, I watch consumer. They always do like this. So not talking about the formula alone because the formula very blurry and it just feel like like butter is amazing. Fall in love when I, when they, when they do that. And I was just like, I fell in love with that. But even for the pressing, I would send back and forth, second back and forth. My team say, are you serious, Hung? And I was like, you know, I say has to be perfect because I have to be. I have to think of the consumer. I'm not going to think of the makeup artist anymore because, yes, I create beautiful product, but I want people to do that without saying, oh, My God, these are so dusty. And, you know, I'll make a mess on their make makeup bag. And, you know, because sometimes bronze, I see big women, they open their little bag, and it was all cracking, and I do not want that. That's a goal. So I think the bronzer blush, I think the bronzer is really beautiful, and the shade is very beautiful. For example, the lightest shade, the pale shade for pale skin is like. The shade is perfect. It was like. It's not reddish. It's just a nice, neutral bronzer color. It's gorgeous.

[Kirby]

Love.

[Hung Van Gogh]

So things like that, that would be, like, the answer. Yeah.

[Kirby]

Okay. And we have great news. It's available at Sephora now as of this week in stores online. And you cannot miss the beautiful packaging. Like, I'm so obs obsessed with this brand.

[Hung Van Gogh]

I think that people don't realize how beautiful in person because the soft touch. Oh, yes. Yeah. I love it because they don't know what TechNet material is. But soft touch also I want to mention is that I purposely do a packaging that easy to clean and doesn't get dirty. So this packaging, if it get dirty even you get a tissue, you With a dry tissue, you rub it and it's clean. You don't have to try to, like, clean with any kind of thing at all, because that's the whole point is I. I want to be light, and you want to be easy to clean. And. And the point that's for the packaging.

[Sarah]

That's the makeup artist in him making.

[Kirby]

Sure the logo so chic. The hv.

[Hung Van Gogh]

Yeah.

[Sarah]

We're so happy for you. Congratulations.

[Hung Van Gogh]

Thank you so much.

[Sarah]

This is so special. I know our listeners are so excited. We have a Slack channel, and when it was announced, they're like, have y' all heard anything about this? And we're like, maybe. Wait, wait. So we're thrilled that you were able to extend a day and be here.

[Hung Van Gogh]

Thank you for having me.

[Kirby]

I can't wait to, like, play with.

[Sarah]

Us Blue eyeshadow palette.

[Hung Van Gogh]

Thank you. Thank you so much. Thank you for having me. Me.

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