The Transition Blush Beef & Marilyn Monroe's New Academy Museum Exhibit

Summary

Gloss Angeles Podcast Summary

Episode Title: The Transition Blush Beef & Marilyn Monroe's New Academy Museum Exhibit
Hosts: Kirbie Johnson and Sara Tan
Release Date: June 2, 2026

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Episode Overview

In this lively episode, longtime beauty journalists Kirbie Johnson and Sara Tan dive into two major topics lighting up the beauty and pop culture worlds: the much-discussed "Transition Blush" controversy involving Patrick Ta and Painted by Esther, and an in-depth look at the Academy Museum's new Marilyn Monroe exhibit (in partnership with Chanel). The hosts offer expert insight, personal anecdotes, behind-the-scenes industry context, and an open discussion on broader trends shaping beauty conversations.

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Main Segments & Key Takeaways

1. Inside the Marilyn Monroe Exhibition at the Academy Museum

(Begins at 03:37)

Overview: The hosts recap their glamorous evening at the opening of the Academy Museum’s Marilyn Monroe centennial retrospective, examining Monroe's legacy, her connection to Chanel, and their personal reflections on Monroe’s influence and image.

Highlights & Insights:

• Chanel Event Observations:

  • The Chanel-hosted event assembled LA’s most attractive cater waiters:
    • "I said that there were no hot men in LA ... you know where they went? To the Chanel Marilyn Monroe event." – Kirbie (01:46)
  • Praise for Chanel’s signature details, from food to staff.

• The Exhibit’s Scope:

  • Celebrates Monroe’s 100th birthday; runs May 31, 2026 – Feb 28, 2027.
  • Features hundreds of original objects: posters, letters, rare personal material, iconic dresses (many on display for the first time).
  • Special contributions from Icon Collection, curated by the Is Clinical founders (see 07:22), including wardrobe from Monroe, Elizabeth Taylor, etc.
  • Showcases Monroe’s makeup products: Erno Laszlo, Westmore Beauty, false lashes, chin strap, face charts used by her artist Alan "Whitey".
  • Iconic fragrance link: Monroe’s famous quote, "I only wear Chanel No. 5 to bed," is explored, and an archival bottle is displayed, hand-delivered from France (08:47).

• Reflections on Monroe’s Life and Fame:

  • Hosts express the glamor and heaviness present in the exhibit, especially the tragedy of Monroe’s untimely death at 36:
    • "There’s a heaviness and a sadness to, like, witnessing all of this, because she was 36 when she died, younger than myself and Sara." – Kirbie (09:49)
  • Discussion of problematic treatment by men during her life and after death, e.g., men buried above her, Hugh Hefner’s plot, and non-consensual publication of her nude photos (10:07–11:27).
  • Host commentary on "normal body" narratives around Monroe (11:58).

• Thought-Provoking Auction Ethics:

  • Kirbie shares unease at personal effects (psychiatric letters, X-rays) being auctioned:
    • "I almost was like, do I bid on this just so that it never goes back so you can shred it?" – Kirbie (13:05)
  • Discuss complexity around Monroe’s estate and what should be preserved.

• Lasting Impressions:

  • The exhibit is described as "very moving," beautifully curated, and essential for film, fashion, and history lovers despite some uncomfortable inclusions (14:43).

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2. The "Transition Blush" Controversy Unpacked

(Begins at 15:27)

Overview: Sara and Kirbie provide a fact-based timeline and multi-perspective analysis on the viral dispute between celebrated MUA Patrick Ta and creator Painted by Esther regarding the recent launch of "transition blush" products.

Discussion Flow & Notable Moments:

• Defining the Trend:

  • "Transition blush" (aka gradient blush, blush draping) is not a new technique; roots with Kevyn Aucoin, Way Bandy, Asian makeup trends (16:39).
  • Esther Adami (Painted by Esther) becomes strongly associated with bold, seamless blush looks popularized through social media and celebrity work (17:45).

• Patrick Ta’s Product Launch & Criticism:

  • Ta’s brand developed transition blush duos and brushes, with trademark filings dating back to 2025 (18:25).
  • Pushback online: Product called unnecessary/cash grab; accusations that Ta "stole" the technique from Esther.

• What Actually Happened?

  • Ta’s team did approach Esther for a collaboration/makeup appointment, which her team declined—cordially and professionally—for scheduling and compensation reasons (23:13).
  • Both hosts reviewed the correspondence: "It’s very professional on both ends." – Kirbie (24:49)
  • Esther later clarified she’s always credited previous generations; didn’t invent the technique but helped popularize it on social.

• Trademark Debate:

  • Outrage over Ta trademarking "Transition Blush", but hosts explain this is routine for beauty founders to protect product/vocabulary in their brands:
    • "He’s not trademarking 'Transition Blush' as an entire category. He’s trademarking it in relation to his own brand." – Kirbie (26:23)
  • Sara: "Because we live in a very litigious society and industry, and so you just have to protect yourself." (26:09)

• Industry Context & Broader Trends:

  • Blush, like underpainting or baking, is cyclical; most trends are recycled, repackaged, and trademarked as a matter of business (17:25, 29:44).
  • Comparisons to other viral products, e.g. Rare Beauty, Rhode, Mac.

• Ethical and Representation Concerns:

  • Community perception of "trend stealing" from Black artists and lack of credit/partnership, though documentation suggests attempts were made (25:34, 26:47).
  • Honest acknowledgment of complexity: "For us, it's more just like...there’s a lot of misinformation being spread that’s detrimental to a lot of different people involved." – Kirbie (24:49)

• What Should Be Done?

  • Questioning possible resolutions: collaboration, name-sharing, or not launching the product?
  • "What is the solution here?" – Kirbie (26:47)
  • Reflection on how much of product development is out of artists’ (and even founders’) direct control due to business needs and market expectations.

• Big Picture – No Easy Answers:

  • Acknowledgement that criticism hasn't slowed sales; trend will proliferate across brands (29:10, 34:12).
  • Recognition that Esther’s profile will likely benefit, gaining more partnerships and exposure (31:34).
  • Hosts express hope for peace and less toxicity:
    • "I want peace. Like, how, what's the solution to make this better?" – Kirbie (32:05)
    • "There's just so much sadness and drama in this world. Like, let's all just be friends. It's makeup. It's fun." – Sara (32:18)

• Engaging the Audience:

  • Panel ends by inviting listener opinions, saying there was never going to be an easy way to navigate this and the industry will continue to grapple with similar issues (34:10).

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Notable Quotes & Memorable Moments

• On Marilyn Monroe’s Enduring Appeal:
  • "She’s obviously iconic and fabulous, and they have a room where you can watch her on screen. Larger than life." – Kirbie (09:47)
• On Industry Innovation and Dupes:
  • "Everything is duped in this industry in some way ... a majority of [products] are all dupes of each other." – Kirbie (29:44)
• On Online Controversy Fatigue:
  • "I don't want any more ... people take people down. Like, there's just so much sadness and drama in this world." – Sara (32:18)

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Key Timestamps

| Time | Topic / Quote | |-------|---------------------------------------------------------------------| | 03:37 | Marilyn Monroe museum exhibit preview | | 05:24 | Monroe and Chanel No. 5 story | | 07:22 | Icon Collection's role and tie to Is Clinical | | 08:01 | Vintage makeup brands, face charts, and glam techniques | | 09:49 | Reflections on Monroe’s tragic early death | | 11:26 | Playboy/consent & body image discussion | | 13:05 | Auctioning of Monroe’s psychiatric letters | | 15:27 | Transition Blush drama introduction | | 16:39 | Historical background on gradient blush techniques | | 18:25 | Patrick Ta’s product development and trademark timeline | | 23:13 | Details of correspondence between Ta’s and Esther’s teams | | 25:52 | Trademark norms in the beauty industry | | 26:47 | Hosts’ thoughts on what could/should be done | | 29:10 | Blush trends and product cycles | | 31:34 | Positive outcome for Painted by Esther’s exposure | | 32:05 | Hosts express wish for peace and community | | 34:10 | No clear “winning” in the controversy; invite to audience opinions |

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Tone & Style

The hosts’ signature knowledgeable-yet-casual style shines: witty, candid, lightly self-deprecating, and generous with context. They balance industry authority with human warmth, providing space for nuance while acknowledging the emotional weight of their subjects.

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Final Thoughts

This episode is a must-listen for beauty lovers who care about history, ethics, and culture. It unpacks how nostalgia and celebrity drive trends, while also charting the sometimes-messy, often cyclical reality of product innovation and internet drama in the beauty space. Above all, Sara and Kirbie keep the conversation empathetic and open, encouraging dialogue over division.

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For Further Engagement

Share your thoughts with Kirbie and Sara on their social channels, YouTube, or Spotify comments. Let them know—was the Transition Blush controversy inevitable? Should more personal artifacts be preserved or protected? And does the legacy of icons like Marilyn Monroe mean something different in today’s beauty world?

Transcript

[A]

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[B]

Okay, Sarah, when I say tropical fantasy, where does your brain go?

[C]

Ooh, okay, immediately. Ocean, golden light, and like I'm in a bad bunny music video.

[B]

Okay, same. But I also think love island. And you know what?

[C]

Totally.

[B]

Yes. Macy's is basically saying you don't need a plane ticket to live that life.

[C]

Okay, Fabulous. Their tropical fantasy trend is all about bringing that dreamy, beachy vibe into real life. Think sheer fabrics, flowy silhouettes, sorbet colors,

[B]

a little shimmer like Zara Larson. As if you just totally emerged from the sea. But make it chic and wearable, which she does, obviously. And that's the key. It's not costume y, it's just elevated, light, radiant summer dressing.

[C]

I love that. It extends beyond clothes too. So accessories, fragrance. It is a full vibe.

[B]

Yes. Like you walk into a room and people are like, wait, why are you glowing?

[C]

It's the seashine. You can find the whole tropical fantasy trend at Macy's right now.

[B]

Los angeles.

[C]

Hi, kirby.

[B]

Hi, sarah.

[C]

Welcome to los angeles.

[B]

You know what?

[C]

What?

[B]

I said that there were no hot men in la. I said, where are all the hot men in la? You know where they went?

[C]

Chanel.

[B]

To the Chanel Marilyn Monroe event.

[C]

To every Chanel event. So there is an agency that is basically aspiring models and actors. Specifically handsome men who need part time gigs serving at parties, delivering products to doors, cater waiters.

[B]

I was one of those when I first moved to la.

[C]

And Chanel, I believe, has the exclusive on the most attractive ones.

[B]

Yeah, not literally, but it seems like it seems like it. Because these men are not only good looking, but if they're not straight, they're doing a great job of. Of acting like it. Because I felt very seen. They are.

[C]

They're very communicative, complimentary, look you in

[B]

the eyes, great hair.

[C]

And guess what? At the end of the night, they're holding a Chanel bag waiting for you to take it from them.

[B]

It's every girl's dream. But yes, we tip our hat to Chanel for the fine men that they employ at their events.

[C]

Also, may I add, they always have a great selection of beverages and food. They never let us go hungry. And it's like the perfect size for just, you know, you're chatting with people and you don't want to be shoving your face with food. It's the perfect size. Little hors d'. Oeuvres. So some French fries.

[B]

There's nothing more annoying than when you're trying to talk to someone and you're starving and then you get a chip that's topped with something and you have to literally expend your mouth. Ah. It's all in one side.

[C]

Cheek.

[B]

It's very much not. But you know what? They figured it out.

[C]

Chanel always figures out.

[B]

Always in the details.

[C]

It was a very glamorous evening.

[B]

So the Academy Museum has exhibits every so often, and this is the centennial celebration. Celebration of one Marilyn Monroe, one Norma Jean. And it's kind of crazy because I was telling Sarah this at the event, but our parents were alive when she died.

[C]

Yeah.

[B]

It just feels like she's from a completely different timeline.

[C]

Yeah. Well, Jenna Rosenstein, the beauty director of Harper's Bazaar, was there last night, and we were talking before you came about how there are a lot of people who do not know who Marilyn Monroe is.

[B]

No.

[C]

Or they know who she is, but they don't really know the backstory. They don't know, like, they've never watched any of her movies. They don't know her connection to Chanel.

[B]

Got it.

[C]

Yeah. So it's important to have exhibits like this to educate those who are unfamiliar with how iconic she is.

[B]

Yes. So this exhibit is at the Academy Museum. If you have never been to the Academy Museum, I highly recommend going, especially if you're an LA aficionado. You love film and film history. It's so much fun. They have so many different experiences and really cool artifacts from film. It's just the best place ever.

[C]

Kirby will be a tour guide when she retires.

[B]

I will be working part time at Disneyland and also part time at the Academy Museum. Those are. That's my dream. And like a tour bus down Hollywood Boulevard.

[C]

Yeah. The tmz.

[B]

Yeah. Yeah. No, no. A little something more classy, something less salacious, more history based.

[C]

Right, sure. For sure.

[B]

But this exhibit was really, really well done. It was presented by Chanel. It was made possible by Chanel. And if you are a person that doesn't know the tie between Marilyn Monroe and Chanel. What is it, Sarah?

[C]

So in 1952, she was asked what she wore to bed, and she replied, I only wear Chanel number five. And then a few years later, the photographer Ed finds Gersh, I believe, immortalized Marilyn as she applied number five to herself. It's like one of the. Her most famous photos.

[B]

Yes. And you could not pay for that type of product mention.

[C]

Oh, my gosh.

[B]

Like the Marilyn Monroe mentioning Chanel. Granted, there weren't a lot of fragrances at that time.

[C]

Right.

[B]

But she definitely took them to the house of Chanel.

[C]

Was very happy about that, I'm sure.

[B]

So this exhibit, it opens on May 31 and it runs through February 28. So you have a long, extended period of time. It's time to. Or her 100th birthday. Because Marilyn Monroe famously a Gemini. June 1 Gemini, first of the month. Gemini. There's a letter from a tabloid writer reporter who I'm like, has there been a movie made about her? Her name is, I think Hedda Harper or Hedda Harper, maybe. I'm. I'm missing this. I just remember seeing a letter that she had written to Marilyn and they were both Geminis and she talked about how they have more in common than they don't because she was always very highly critical of Marilyn.

[C]

O.

[B]

But then they kind of made amends and she's like. Because we're both Geminis. So I'm like, see, astrology was still going strong like they were. It was strong back then and it's persevered throughout the years.

[C]

Oh, my gosh. They would have both loved astrological TikTok right now.

[B]

And Ala Kelly and Elisa Kelly. So there are hundreds of original objects. There's posters, portraits, photos, production documents, letters that Marilyn wrote. There's rarely seen personal materials, many on display for the first time. And then also there are dresses she's worn, also dresses from films that she's been in that are so graciously donated by Icon Collection, which has a beauty tie.

[C]

Yes. I had no idea. So Icon Collection is owned and curated by the co founders of Is Clinical and Alec Call and Brian Johns. So they have this epic collection of not only Marilyn Monroe's pieces, Elizabeth Taylor's pieces, just so many amazing dresses, memorabilia from that time period.

[B]

Yeah. If you see any of the wardrobe at this exhibit, it's more than likely donated by them. Which I was like, this is crazy.

[C]

I also loved the little vanity setup they had with all of her makeup. Erno Laszlo, Westmore beauty.

[B]

Yes. Mackenzie Westmore, her family. I'm wearing a bunch of Westmore right now in my Donnie Davey concoction. It's really, really cool to see the history of the products she wore. She had fake eyelashes. There is a compact from Westmore. That's her rouge.

[C]

She had a chin strap.

[B]

Korean beauty borrowed from Maryland Or.

[C]

Or they borrowed from.

[B]

From Korea.

[C]

And then a waist Accenture.

[B]

Yes. There was a face map from her makeup artist. I think he. His name is Alan. He goes by Whitey. I can't remember his only. But he goes by Whitey. And it's a chiseled nose.

[C]

Yeah.

[B]

Like, he contoured her nose. Although it has been, I guess, confirmed that she had a rhinoplasty and a chin implant, which is crazy to think about plastic surgery happening.

[C]

Wow. At that time, I can't even. And then, of course, Chanel number five was on display, and we heard from the Chanel team that this bottle, though it was not her personal bottle, an archival Chanel number five bottle. And they had to, like, hand deliver it from France, from the archives. It was like.

[B]

Like fly on a plane personally bolted into the.

[C]

The vanity, the display, and it will live there until February of next year, and then it will fly back to its home.

[B]

Yeah. I really love seeing all of the amazing portraits of her that we hadn't been privy to before. There were pieces of fabric from that dress where she sang to John F. Kennedy that Kim famously wore, either, like, a recreation or a replica of. I told Sarah this. It was so cool to see all of these things. And she's obviously iconic and fabulous, and they have a room where you can, like, watch her on screen, and she.

[C]

Just Larger than life.

[B]

Yeah. Like one in a billion. But there's a heaviness and a sadness to, like, witnessing all of this, because she was 36 when she died, younger than myself and Sarah. She.

[C]

She had a complicated relationship with her

[B]

fame and just complicated relationships in general.

[C]

Yes.

[B]

Like, was not treated well by men. And even in her death. Have not. Has not been treated well by men. You know, very famously and. And largely reported. There is a man that is on top of her and in the mausoleum because he wanted to be placed there face down. Face down. Yeah. I mean, it's just like.

[C]

And then we can't get peace. Hugh Hefner is buried next to her.

[B]

Yes. And also, there is a part of the exhibit that. It's supposed to be a recollection of her fame. Right. And, like, how she got to where she was. And so I. I Now, I guess I understand why they included it, but when we were there, I was, like, kind of pissed.

[C]

Yeah.

[B]

It's photos of her new nude photos.

[C]

Yep.

[B]

She and she. They weren't taken without her consent or anything. They were nude photos that she posed for when she was trying to make it. Trying to make a buck. And the Company that took those ended up licensing them to Hugh Hefner, and then he published them in Playboy without Marilyn's consent. And she is very much like Dolly Parton in my eyes, where she kind of like, laughs things off and, like, handles everything with grace and charm and stuff like that. And, you know, know, she wasn't above her sexuality. But I. I did find it to be in really poor taste that she was not even consulted before those images were run.

[C]

Yeah.

[B]

And.

[C]

But again, it's part of her history.

[B]

It's a part of her history. So they included it because they were like. This essentially took her to, like, another level as a sex symbol, and it related to all of the other intricacies of her life. Right.

[C]

I totally agree with you. It. It did feel very bittersweet in that way, where obviously, she's just, like, one of the most beautiful women in. In our history. And we talk about how even seeing her body again in those photos, you're like, she was like a real woman. Like.

[B]

Right. You know, there's all these narratives that have gone around about, you know, Marilyn Monroe was a size 6 or 8, and it's like, that's a normal body. Like, y' all are acting like she was big and. And she wasn't. She was a normal sized woman. She had curves.

[C]

Yeah.

[B]

There are images of her that we haven't seen before where she looks older.

[C]

Yep.

[B]

You know, like, there's lines and creases on her face. I think that, you know, you glamorize the most beautiful version of someone, especially when they pass an untime at an untimely death. But I did want to say something about the Julian's auction that has been going on for her anniversary.

[C]

Okay.

[B]

I did bid on a piece of makeup. I'm not gonna get it. Someone outbit me, and I'm like, I cannot be spending so much money on a mascara.

[C]

How much did you bid?

[B]

I b. Wow.

[C]

Okay. What did it go for? It's not done yet.

[B]

It's not done.

[C]

Maybe it's Alec and Brian.

[B]

It's for the iclock and brunch it up. But then I'm going through the rest of the lot, and there are deeply personal, long letters to her psychiatrists that are being auctioned off.

[C]

Oh, weird.

[B]

And you read the description, and it's like. It outlines, like, the trauma of her being in the psychiatric facility and how they put her behind bars, and she wasn't allowed to make phone calls, and other people were, and she was manhandled and, like, all of these things And I'm like, why is this. Like, I almost was like, do I bid on this just so that it never goes back so you can shred it?

[C]

Yeah.

[B]

So we can just, like, have this disappear forever. I know. I don't think that things like that need to be a part of somebody else's life. And I understand.

[C]

Like, what.

[B]

Right. Like, I understand preserving things like her gowns and her makeup and these photographs, like.

[C]

Right.

[B]

Parts of her career. Right. But some of these more deeply personal things. There were X rays that went for $25,000 of her chest, and then there was a side view of her chest and X ray that went for $10,000. What are you doing with a chest X ray of Marilyn Monroe? Is it just a flex to be like, I own this. It's just a weird thing that nobody really should have. And I just. It kind of goes back to the fact that, like, even in death, she has no peace.

[C]

No. And so the estate is auctioning this off or. Who are just the people who owned these pieces?

[B]

There are people that have like, a kind of like, the. It's clinical guys. Like, they have accrued these over the years. Because we were talking about this, too. We were like, who exactly is the estate for Marilyn Monroe?

[C]

Right. Because there are so many things that could not be in the exhibit because the estate owns it. But then we were like, who is the estate? And also, are they related in any way to Marilyn? Because we know she didn't have any children.

[B]

Obviously, she want to provide things.

[C]

Right. I don't know.

[B]

Anyways, you should go see it if you care about movie history and the history of her.

[C]

It's very moving.

[B]

It is very moving. And it's. And it's really beautifully done, those things. There was the. The Hugh Hefner part that really soured me, but I understand why it's included.

[C]

Yes.

[B]

If it's in relation to her fame.

[C]

Yes.

[B]

Right.

[C]

But, yes, if you love movies, if you love Marilyn, if you love fashion, I mean, the clothing was just. It was so fun to see in person. And then the makeup, obviously, even, like, her. Like, I was like, oh, my God, look at her glasses. Like, the little glass tumblers from her home. Like, it was just really cool to see and, like, be part of her little world in that room.

[B]

All right, Sarah. And I really actually don't want to talk about this, to be completely honest.

[C]

This is so messy.

[B]

It's just. It's extremely messy. But it is and has been the biggest news for, like, 10 days at this point. And I'm glad that we didn't cover it when it was starting because so much has happened since and we have gotten more information that I think will just help us, I guess, get it all out there.

[C]

Yes.

[B]

We're not going to commentate on this.

[C]

We're just going to provide the timeline.

[B]

Talk about it amongst yourselves.

[C]

Also, I have to say I've been living offline because I've been moving.

[B]

I.

[C]

When I attended the Patrick Ta event, I did not know that there was any drama and Kirby was like, she texted me to let me know and I found out when I was at

[B]

the event, she's like, are you coming to this event? I was like, no. But also like, he's kind of in deep. And she was like, what? I'm like, have fun. No, that's not why I didn't go.

[C]

No, no, no.

[B]

I was just like, there's so much more than just a blush launch happening.

[C]

Right.

[B]

So welcome to the Transition Blush debacle. Debacle. Debacle.

[C]

Debacle. Tomato. Tomato.

[B]

Sarah, let's go through. First of all, what is Transition blush or transitional blush is really the trend?

[C]

Yes. Okay, so transition blush or transitional blush is also known as gradient blush and blush draping. I think that those two terms I am more familiar with, to be completely honest. I again, offline, but even before then, I had no idea what transitional blush was. I still kind of don't get it. But it is not a new technique. So makeup artists and beauty historians point to artists like Kevyn Aucoin and Wei Bandy, plus Korean and Japanese beauty trends as earlier inspirations. So again, this is not new.

[B]

Nobody in 2026 or 2025 or 2024 or 2023 and so on created this. This is something that's been popular. It's been a thing.

[C]

It's like underpainting when Mary Phillips or baking or baking or literally any trend that has come up or out in the last decade, 20 years, there's always someone who has been doing it long way before.

[B]

Yes, everything's cyclical.

[C]

Exactly. There is a makeup artist known as painted by Esther on the Internet, Esther Adami. And she became strongly associated with this look over the past few years through viral tutorials and celebrity clients like Naomi Campbell, Tyla, Kelly Rowland and Love Island's Olandria. And her signature version emphasized dramatic, diffused blush on deeper skin tones. And she is extremely talented. And the looks that she creates on her clients are so, so beautiful. And she has grown a huge, huge following. She has repeatedly credited earlier artists and has said that she invented the technique herself.

[B]

Yes. Okay, so where does the drama come into play? So Patrick T develops this product according to his team and online trademark filings discussed by fans. It says that Patrick Tall Beauty had allegedly been developing a quote unquote transition blurring blush concept for over a year, with some Reddit users noting trademark filings dating back to 2025. So now fast forward and Patrick Taw has launched his version of Transitional Blush or Blush draping or whatever you want to call it. Patrick Taw is known for blush. If you think of Patrick Taw, his hero product are these Duo blushes, a cream and powder. He really put himself on the map because he would put a powder blush on and then a cream blush on to kind of like liven up the face.

[C]

Right. And according to this article that Sarah Spruchfinder wrote for Glossy, she says that depending on how sales are calculated, the blush often flip flops with Rhodes Pocket Blush for the number one sales spot. So it is an extremely popular product. I love it. I use it all the time. I really do credit him for teaching me how to like, make my blush last longer, but also still look really natural looking.

[B]

Yes. So on this past Wednesday, Ta released the first editions to its Blush family. It's a three piece collection including the Liquid Transition Brightening Blush, the Transition Blurring Blush Duo, and then the dual ended Transition Blush Brush. And these products are essentially designed to make people at home feel more comfortable with creating that gradient or transitional look with product without being a makeup artist. Yes, essentially that's. That's kind of like what this article is getting at. That they were like, because people were saying it was a cash grab, it's unnecessary, we don't need these products.

[C]

Which, at the event yesterday that I was at, Patrick started the conversation saying, you do not need any of these products. You probably also have products very similar at home that you could use to help achieve this same look. However, for me personally, I wanted to make these for my own kit and I wanted to share it with my fans.

[B]

And then the brand also told Glossy that in response to the notion that the product is unnecessary, the brand representative noted the frustration and said it would have been easier and faster to launch a shimmery finish blush or traditional liquid format, since that's how so many other brands end up expanding their blush category. We've seen that with Rare, for example. Right. But they decided to go this route because they felt that it was a

[C]

product that was missing from the category. I think to your point about And I feel like we've, we've talked about this before. It's like when you have a product that does extremely well, you have to

[B]

expand, you have to expand. Category expansion. It's just what it is.

[C]

It is what it is. We, we're seeing, we, we don't know it for sure yet, but another example that's coming up is Road with the highlighter. It's probably a version of the glazing milk. Like it's, it's an extension of that category.

[B]

Yeah. Because that product, shimmery glazing milk, because

[C]

that product is super successful. That's one example. There's a million, like you said with rare, like, you just keep going. They had the blush that is like super viral. They made a bronzer version.

[B]

Yes. So the team initially presented Patrick with the idea of creating a more traditional liquid blush. And he said he didn't feel that it was a forum that he could innovate on and that he was driven by a desire to help people easily achieve the look he creates for his celebrity clients. So then they started looking into this, like, transition blush and like what that might look like for the brand moving forward. This went from just being like, these products are unnecessary. This is a cash grab. Which, like, I think everyone I saw, like Jackie Aina and Manny and Laura Lee review these products, they all said, like, you could use a liquid pink blush. I don't have the products, but I was under the impression the liquid product is actually really sheer so that it's not adding too much pigment in an area so it's not hard to blend out. And that's like the differentiator. But all of them were like, I like this product. It does what it says it's going to do. I don't think it's necessary. But like, if you want to achieve this look and you're struggling, this could be the easy way. Which is like what every single product in a Sephora right now is created for. But then drama ensues because the narrative changed to now. He had basically taken painted by Esther's trend setting esthetic and made it his own. And the brand kind of counters that and says that that was, you know, not the case at all. Esther ends up posting a 10 minute video explaining, like, I don't usually come on here and talk about this stuff. I don't claim to have created this look. I always attribute it to Kevin Aucoin and the people before me. But also Patrick's team reached out and his co founder Rima had booked me for A, you know, makeup session. And I told them no because they wanted to add on social media filming. And she felt weird. And she felt weird about it. And, you know, it was a lot of, like, he said, she said type stuff. So then we now, in this glossy article, are learning that when Rima had booked Esther, they were quoted one price. And then Esther's team came back and said, so sorry. It's actually this price, which included not only the makeup application, but the filming, the social filming component. And the Patrick TA team was like, okay.

[C]

Very graciously said, I'm so sorry, this is not gonna work out, but we would love to find another time for Esther to do makeup. And it seemed very cordial. Yes, Kirby and I have the documents.

[B]

Yeah, we've reviewed them, and it's. It's very professional on both ends. So that's kind of the breakdown of what's. What's been going on. It's now turned into a he said, she said, he said, she said. And also, you're stealing from a black woman, which, if you have listened to this podcast over the past seven years, we ride for our black peers. Like, we're. We understand that we are not black women or black men or a black person. So we aren't trying to make claims on anything. I think that for us, it's more just like. I think that there's a lot of misinformation that's being spread that's detrimental to a lot of different people involved. There's a thing about a trademark that's been going around, like, how dare he trademark Transition Blush? This is not new.

[C]

Right. And we have information that, again, this product has been in development for a very long time. And it is not unusual for Patrick or literally any beauty brand founder to trademark their product after they make it.

[B]

Yeah. If you go and look at the trademarks that Patrick Taws LLC has, it's almost every single product that he has. Yeah. Mary Phillips has it for her brand. Denison Myricks has trademarked a bazillion for hers, such as Yummy Skin. It's just like, what you do, what you do.

[C]

Because we live in a very litigious society and industry, and so you just have to protect yourself.

[B]

And he's not trademarking Transition Blush as a entire category.

[C]

Right.

[B]

He's trademarking it in relation to his own brand.

[C]

Right.

[B]

So that other people cannot use transition. They can use transitional. They can use draping. They can use whatever they want. Another big part of this, too, is, like, for me, I'm like, okay, so this happens, and obviously people are upset about it, but what's the solve? Like, what would you have done differently? And how can we, like, make this better?

[C]

Right.

[B]

Like, I'm like, what's the solution here? A lot of people were like, how dare you not launch with her? This is where it kind of gets dicey for me, because apparently he did reach out to Esther and his team,

[C]

reached out to her team. And we have again seen documents where they have politely declined. It doesn't seem like there's any animosity towards one another. And you can also read about these documents that we're talking about, referred to in the article that Sarah has written about as well.

[B]

But we have also reviewed them. They exist. They're real. But they say essentially, like, Esther's not taking on paid partnerships at this time.

[C]

Right.

[B]

For whatever reason. But they were very polite about it, and they were like, we don't want to close the door on this. We would love to consider something in the future. Whatever. Now we know obviously, she had a big partnership with Kosas, but also she had this big thing with Mac, with Olandria. And people familiar with the Mac situation let me know that this has been a long time. That was shot in April.

[C]

Yeah.

[B]

So divine timing for Mac to have. I mean, someone has a crystal ball over there because literally, I mean, it's Esther and Olandria talking about Blush.

[C]

Yes. Like, in the images is Alandra's blush. It's like, bright pink, gorgeous.

[B]

Yes.

[C]

It is her tech. It is Esther's technique.

[B]

I was like, they must have gotten them on the horn and filmed this on, I don't know, Monday or Tuesday before it came out. And they were like, no, yeah, this. This actually has been going on for a while. It was always even scheduled to go live this week. It wasn't bumped up just to capitalize on this.

[C]

It's so crazy. If you're wondering how Patrick Top is handling, he did respond with a video acknowledging that he does not own the look. He called Esther amazing and so talented, and that gave her credit, saying she helped popularize the technique. But there are critics that still feel like it was too late.

[B]

I just don't know what to feel.

[C]

And what. What's he supposed to do? What is the solution to all of this?

[B]

I guess to us, like, who get pitched products all day, every day in our inboxes. Like, every single brand is pitching a product that they created based off of a trend that got popular on social media.

[C]

And we are going to see so many gradient Blushes to come from countless brands. It is only the beginning.

[B]

Right?

[C]

It is only the beginning.

[B]

Like, and now that Patrick has created, you know, this three step process or whatever, there's going to be rip offs of that too. I just, everything is duped in this industry in some way. I mean, I even wrote about this with Emco Beauty. Like, everything is duped, everything is recycled. If you really want to get down to brass tacks, even the products, a majority of them that we're using are all dupes of each other because they're all white labeled.

[C]

Right.

[B]

For the most part.

[C]

Right.

[B]

And it's not really like a special innovative formula. It's all just repackaging it to fit a lifestyle choice of the consumer.

[C]

I do wonder like, what is the.

[B]

What do you do?

[C]

What do you do in the situation? What does Esther want out of the situation? I don't know.

[B]

Yeah, I'm like, yeah, what do you, what would you have done?

[C]

Would you have wanted a collaboration? Like what she wanted to have, like shared the name with Patrick, which is not something that Patrick Ta does.

[B]

He also has a business that he has to fulfill at Sephora. So I don't like the day not coming out with the product is, yes, maybe not that product, but I don't know.

[C]

I think at the end of the day all of this comes down to like the business of his company and it was probably not even his own decision making. Like, he probably has like, I don't even know how many products down the line that are going to come out in the next like five years that when they launch, people going to be

[B]

like, oh, he stole this.

[C]

Or he just came up with this based on like a recent viral trend. Like that's just not like, we just, we don't know what's happening behind the scenes. And I feel like so many people are quick to judge and they just don't have the knowledge or the experience of like running a huge beauty business like this. And I'm not saying this to say that he is right and that he is innocent in this situation, but I just feel like there's so much that we don't know. And I also just want to know how is, how can he make this right?

[B]

I mean, we talked to a very popular name in the industry this week about this and he was literally just like, you don't make it. You. You don't.

[C]

Yeah. You just don't make it. Yeah.

[B]

You don't call it that.

[C]

Yeah. And maybe that was the call. Maybe he shouldn't have done It.

[B]

I don't know. I'm literally like, is there any conscious consumerism under capitalism at this point? I don't know.

[C]

I will say Esther's following has grown tremendously. There will be more partnerships from her. So at the end of the day, like, this is great.

[B]

I think honestly. And like, as a beauty community, yes, we know painted by Esther, but the larger scale person on the Internet did not. And now they do.

[C]

And now they do.

[B]

At least this is benefiting her in a positive way.

[C]

100. I'm extremely happy for her.

[B]

She's going to thrive. So I'm not even worried about her.

[C]

But maybe she'll want to. Come on Los Angeles.

[B]

I'm just like, I want to know Patrick and Esther together. Let's make up. I saw this whole situation happen and I'm just like, I want peace. Like, can we. Like, how, How. What's the solution to make this better? I don't know what it is.

[C]

I don't want any more. I don't want to watch people take people down. Like, there's just so much sadness and drama in this world. Like, let's all just be friends. It's makeup. It's fun.

[B]

Totally. I, I would really love that. But what do you guys think? You heard us ramble on about this in circles because there's literally so many different elements to this to consider. But what do you think? Do you think that Patrick should have called this product something else?

[C]

If he had called it Sunset Blush, Gradient Blush with Trifecta, the Blush Trifecta, would he still have gotten in a lot of shit because the technique at the end of the day is still the same. Or is it simply because he calls it that?

[B]

I. If I, I said it, we weren't going to give commentary then. We did. But, like, I think that if he did didn't call it Transition Blush, I don't know that this would have gone. Gotten to the levels it did.

[C]

I think it still would have. I think. I think people would have said.

[B]

But I don't think they would have been as mad because I think what sent people over the edge was the trademarking of Transition Blush.

[C]

But don't you think that's also an SEO thing? Like, when people are searching for that

[B]

100%, it is like, yes. And we know that, like the general person does.

[C]

That's what I'm saying. People don't think about that stuff. It's like, you have to think about that stuff. You have to think about the conversations that his team was having with Sephora, the way that it needs to be marketed so that it can reach the audience on TikTok who is looking for this stuff. Like, there's just so much that we don't even know.

[B]

Also, if he had called it something like the Blush trifecta, because it's the same concept, I'm sure people would be like, you're trying to rename what this thing is and this is not reading and then this is not right. Yeah, I know, I know. I don't think there was any winning in this situation. I think everyone loses.

[C]

Well, no, but we'll see how this

[B]

affects the sales, if at all. I don't think it will. I think if anything, it's just going to sell Blush for him, which kind of is the point.

[C]

So we'll see.

[B]

What do you guys think? Let us know in the comments. Let us know on Spotify, YouTube, all the places. Send us a DM. Send us a long email if you desire.

[C]

Voice note.

[B]

Just be nice.

[C]

We still have our hotline.

[B]

No, we killed it. We killed the hotline.

[A]

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