Studio Radiance Skin Tint Stick
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MAC Studio Radiance Skin Tint StickIngredients explained
A nice-feeling, light emollient that makes the skin soft and smooth. It gives a fresh and gliding sensation with a powdery or soft after-feel depending on the exact grade used. It is a popular alternative to replace silicones.
Chemically speaking, it is an alkane (stable, non-reacting hydrocarbon) that used to be produced from petrochemicals, but today's versions are typically vegetable based. It is readily biodegradable.
A clear, slightly yellow, odorless oil that's a very common, medium-spreading emollient. It makes the skin feel nice and smooth and works in a wide range of formulas.
A viscous, thick liquid emollient that gives lubricity and cushion at low use levels. It's great for night creams, eye area products, and skin treatment products due to the substantive film forming ability.
Polyethylene is the most common plastic in the world. It is a super versatile polymer (molecule from repeated subunits) and when it comes to cosmetics, it is often referred to as microbeads. Well, it used to be referred to as microbeads, as it was banned in 2015 in the " Microbead-Free Waters Act" due to the small plastic spheres accumulating in the waters and looking like food to fish. Well done by Obama.
But being versatile means that polyethylene does not only come as scrub particles but also as a white wax. In its wax-form, it is still well, alive and pretty popular. It thickens up water-free formulas, increases hardness and raises the melting point of emulsions and water-less balms. It is particularly common in cleansing balms and stick-type makeup products due to its ability to add body, hardness and slip to these formulas.
A liquid emollient derived from isostearic acid that gives a rich, cushiony skin-feel and unusually high levels of gloss. It also has film-forming abilities but without leaving a sticky residue and it aids long-lasting and water-resistant properties. All this makes Pentaerythrityl Tetraisostearate an ideal emollient for long-lasting protective emulsions, like lip balms.
A thick, paste-like emollient ester that is touted as a vegetable-derived lanolin alternative. It has a smooth spreadability and touch, and it gives a substantive film to protect and moisturize the skin.
We don't have description for this ingredient yet.
We don't have description for this ingredient yet.
Kaolin is a type of clay or to be precise, a naturally occurring hydrous aluminum silicate. When you hear clay, you probably think of a muddy greenish-black mess, but that one is bentonite, and this one is a fine, white powder. It is so white that it's also often used, in small amounts, as a helper ingredient to give opacity and whiteness to the cosmetic formulas.
As a clay, it's absorbent and can suck up excess sebum and gunk from your skin, but less so than the more aggressive bentonite. As it's less absorbent, it's also less drying and gentler on the skin, so it's ideal for dry and sensitive skin types.
We don't have description for this ingredient yet.
We don't have description for this ingredient yet.
Sunflower does not need a big intro as you probably use it in the kitchen as cooking oil, or you munch on the seeds as a healthy snack or you adore its big, beautiful yellow flower during the summer - or you do all of these and probably even more. And by even more we mean putting it all over your face as sunflower oil is one of the most commonly used plant oils in skincare.
It’s a real oldie: expressed directly from the seeds, the oil is used not for hundreds but thousands of years. According to The National Sunflower Association, there is evidence that both the plant and its oil were used by American Indians in the area of Arizona and New Mexico about 3000 BC. Do the math: it's more than 5000 years – definitely an oldie.
Our intro did get pretty big after all (sorry for that), so let's get to the point finally: sunflower oil - similar to other plant oils - is a great emollient that makes the skin smooth and nice and helps to keep it hydrated. It also protects the surface of the skin and enhances the damaged or irritated skin barrier. Leslie Bauman notes in Cosmetic Dermatology that one application of sunflower oil significantly speeds up the recovery of the skin barrier within an hour and sustains the results 5 hours after using it.
It's also loaded with fatty acids (mostly linoleic (50-74%) and oleic (14-35%)). The unrefined version (be sure to use that on your skin!) is especially high in linoleic acid that is great even for acne-prone skin. Its comedogen index is 0, meaning that it's pretty much an all skin-type oil.
Truth be told, there are many great plant oils and sunflower oil is definitely one of them.
The famous omega-6 fatty acid, the mother of all ω-6 fatty acids in our body. It is a so-called polyunsaturated fatty acid meaning it has more than one (in this case two) double bonds and a somewhat kinky structure that makes LA and LA-rich oils a thin liquid.
It is also an essential fatty acid meaning our body cannot synthesize it and has to take it from food. This is not hard at all as plenty of nuts (such as flax, poppy or sesame seeds) and vegetable oils (such as sunflower or safflower) are rich in LA. The hard thing seems to be eating enough omega-3-s, more specifically eating a healthy ratio of omega-6 to omega-3, but that is a topic for a what-is-good-to-eat-site and not for us.
As for linoleic acid and the skin, LA is a really important little guy found naturally in our skin. It is the most abundant fatty acid in the epidermis and it serves as a structural precursor for important skin lipids called ceramides. Knowing this, it will not come as a surprise that Linoleic acid has a central role in the structure and function of stratum corneum permeability, aka healthy skin barrier. LA deficiency leads to an impaired more permeable skin barrier and the topical application of LA-rich sunflower oil can fix this issue rapidly (while oleic-rich olive oil did not have the same barrier repairing effect).
LA is not only important for dry, barrier damaged skin types but also for acne-prone skin. Research shows that problem skin has lower levels of linoleic acid (and higher levels of oleic acid) than normal skin. So LA-deficiency in the skin seems to be connected not only to an impaired skin barrier but also to acne and smearing LA all over your face might help with your problem skin. A double-blind study using a 2.5% LA gel for 4 weeks found a 25% reduction in the size of microcomedones, the tiny blocked pores that can later lead to acne.
If that was not enough, we have one more thing to report about LA. It lightens hyperpigmentation (aka UVB caused sun spots) both by blocking the melanin production of melanocytes (the skin cells that make the pigment melanin) and by enhancing the desquamation of melanin pigment from the upper layers of the skin.
Overall, linoleic acid is a multi-functional skin goodie with barrier repairing, acne-reducing, and skin-lightening magic abilities. It's a nice one to spot on the ingredient list pretty much for any skin type.
The famous omega-3 fatty acid, the mother of all ω-3 fatty acids in our body. Next to linoleic acid, it is the other essential fatty acid that our body cannot synthesize and we have to ingest it from our food. It is also a PUFA, aka polyunsaturated fatty acid with three double bonds, a kinky chemical structure and thus a liquid consistency.
While linoleic acid is abundant in the skin, this is not the case with alpha-linolenic acid (ALA). It is not entirely clear if it is meant to be like that or if this is a consequence of not eating enough Omega-3 with the typical Western diet.
Leafy green vegetables, walnuts, flax seeds and fish oils are rich sources of ALA and if you are not eating a lot from these, supplementing with fish oil is a pretty good idea backed by research. It is a good idea both in terms of general health benefits as well as potentially improving inflammation-related skin issues such as atopic dermatitis or acne.
As for using ALA topically, we have to say that its role and effects seem to be less direct than with LA. ALA's main role in the skin appears to be modulating the immune response of the epidermis. This is probably helpful for inflammatory skin diseases but most studies examine ALA as an oral supplement and not when applied topically. One exception, we could find, is a study that found that topically applied ALA has nice spot-fading abilities.
To be honest, it seems to us that oral supplementation of ALA is more important than smearing it all over your face. However, that is not to say that topical ALA is a bad thing, it is a good thing. It is a skin-identical ingredient, it is probably moisturizing and anti-inflammatory but its topical effects are less established than that of fellow omega fatty acid, linoleic acid.
A handy white powder that likes to absorb oily things. It has great oil and sebum absorption (aka mattifying) abilities and can also act as a thickening agent in the oil phase of a formula.
Far from the tin cans you find in the supermarket, Tin Oxide is mostly used when dealing with so-called effect pigments, tricky composite pigments that can do color travel (change color depending on the viewing angle) or give multiple color effect.
It's often found alongside Mica (as a base material) and Titanium Dioxide (as a coating) to give a glossy, pearlescent effect. Together, they make up a trademarked technology called RonaFlair Blanace from the German manufacturer Merck. According to their info, this combination can balance out undesirable tones in the skin, making it a popular choice for brightening products and highlighters.
Other than that, CosIng (the official EU INCI database) lists its uses as being a bulking agent (to increase the volume of products), as well as a physical exfoliant or an opacifying agent, but being part of composite effect pigments is a much more common use case.
An organic derivative of hectorite clay, Disteardimonium Hectorite is used as a viscosity controller - it thickens up formulations to make them less runny.
It’s most popular use in cosmetics is in sunscreens, under the trademarked name Bentone 38 from Elementis. According to the manufacturer info, it is a real multi-tasker, including the ability to prevent pigments settling during storage, stabilizing a formula for longer, creating a light and smooth skin feel and enhancing the water-resistance of sunscreen formulas.
A common fatty acid that can be found in lots of plant oils. Its name, "oleic", means derived from olive oil, a plant oil rich in oleic acid, but avocado, macadamia and marula oils, just to name a few, are also oleic rich.
Its chemical structure is monounsaturated, meaning it has one double bond (cis-9) that makes it less kinky than polyunsaturated fatty acids with multiple double bonds. Less kinkiness means that oleic acid and OA-rich oils are a bit thicker and heavier than their LA-rich siblings.
Maybe this thickness is the reason that Oleic acid is considered comedogenic, and if you have acne-prone skin avoid OA-rich plant oils, and choose linoleic acid-rich versions instead.
The thickness of OA also means that OA-rich oils are considered more nourishing and moisturizing than their LA-rich counterparts, and are generally considered to be more suitable for dry, mature skin types.
As for oleic acid in its free form (and by free we mean that it is not bound up in a triglyceride structure like it is in oils), it mostly serves as an emulsifier or emulsion stabilizer in small amounts in regular cosmetic products. It is also quite well researched and is used in the pharmaceutical industry as a penetration enhancer.
It’s the most commonly used version of pure vitamin E in cosmetics. You can read all about the pure form here. This one is the so-called esterified version.
According to famous dermatologist, Leslie Baumann while tocopheryl acetate is more stable and has a longer shelf life, it’s also more poorly absorbed by the skin and may not have the same awesome photoprotective effects as pure Vit E.
Pentaerythrityl Tetra-Di-T-Butyl Hydroxyhydrocinnamate is an antioxidant molecule used in small amounts (less than 0.8%) to help products stay nice longer. More specifically, it is great at preventing discoloration or other types of oxidative degradation. It is a trendy alternative to often bad-mouthed synthetic antioxidant and stabilizer, BHT.
A super versatile and common mineral powder that comes in different particle sizes. It is a multi-tasker used to improve skin feel, increase product slip, give the product light-reflecting properties, enhance skin adhesion or serve as an anti-caking agent.
It is also the most commonly used "base" material for layered composite pigments such as pearl-effect pigments. In this case, mica is coated with one or more metal oxides (most commonly titanium dioxide) to achieve pearl effect via the physical phenomenon known as interference.
Ci 77891 is the color code of titanium dioxide. It's a white pigment with great color consistency and dispersibility.
A bit of a sloppy ingredient name as it covers not one but three pigments: red, yellow and black iron oxide.
The trio is invaluable for "skin-colored" makeup products (think your foundation and pressed powder) as blending these three shades carefully can produce almost any shade of natural-looking flesh tones.
A bit of a sloppy ingredient name as it covers not one but three pigments: red, yellow and black iron oxide.
The trio is invaluable for "skin-colored" makeup products (think your foundation and pressed powder) as blending these three shades carefully can produce almost any shade of natural-looking flesh tones.
A bit of a sloppy ingredient name as it covers not one but three pigments: red, yellow and black iron oxide.
The trio is invaluable for "skin-colored" makeup products (think your foundation and pressed powder) as blending these three shades carefully can produce almost any shade of natural-looking flesh tones.
We don't have description for this ingredient yet.
Bismuth Oxychloride has been around since the 1950s and it was one of the first synthetic materials to give a pearl-like effect in cosmetic products. It is a white powder with a fabulous sheen and a nice skin feel and it is still very popular in decorative cosmetics.
It has one major drawback: it is sensitive to light. Upon prolonged UV exposure, it can lose its sheen and become gray.
We don't have description for this ingredient yet.
An inorganic (as in no carbon in its molecule, it is Cr2O3X(OH), the hydrated version of this guy) pigment that gives blue-green shades. It is not permitted in lip products in the US.
An inorganic (as in no carbon in its molecule, it is Cr2O3) pigment that gives dull olive green shades. It is not permitted in lip products in the US.
We don't have description for this ingredient yet.
An inorganic (as in no carbon in its molecule) pigment that has a very intense, dark blue color. It is not permitted in lip products in the US, and only the version Ferric Ammonium Ferrocyanide is permitted in the EU.
An inorganic (as in no carbon in its molecule) pigment that has a very intense, dark blue color. It is not permitted in lip products in the US, and only the version Ferric Ammonium Ferrocyanide is permitted in the EU.
An inorganic (as in no carbon in its molecule) pigment that gives purple or violet shade.
We don't have description for this ingredient yet.
We don't have description for this ingredient yet.
A cosmetic colorant used as a reddish pigment.
Some version of it is a pH-sensitive dye that enables a colorless lip balm to turn red/pink upon application.
We don't have description for this ingredient yet.
An inorganic (as in no carbon in its molecule) pigment that can range in shade from blue (most common) to violet, pink or even green. It is not permitted in lip products in the US.
CI 42090 or Blue 1 is a super common synthetic colorant in beauty & food. Used alone, it adds a brilliant smurf-like blue color, combined with Tartrazine, it gives the fifty shades of green.
We don't have description for this ingredient yet.
A cosmetic colorant used as a reddish pigment.
Some version of it is a pH-sensitive dye that enables a colorless lip balm to turn red/pink upon application.
We don't have description for this ingredient yet.
A super common synthetic colorant that adds a purple-red color - similar to red beet - to a product.
Ci 19140 or Tartrazine is a super common colorant in skincare, makeup, medicine & food. It’s a synthetic lemon yellow that's used alone or mixed with other colors for special shades.
FDA says it's possible, but rare, to have an allergic-type reaction to a color additive. As an example, it mentions that Ci 19140 may cause itching and hives in some people but the colorant is always labeled so that you can avoid it if you are sensitive.
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| what‑it‑does | emollient |
| what‑it‑does | emollient | perfuming |
| what‑it‑does | emollient |
| what‑it‑does | viscosity controlling |
| what‑it‑does | emollient |
| irritancy, com. | 0, 2 |
| what‑it‑does | emollient |
| what‑it‑does | emollient | emulsifying |
| what‑it‑does | colorant | abrasive/scrub |
| irritancy, com. | 0, 0 |
| what‑it‑does | viscosity controlling |
| what‑it‑does | abrasive/scrub |
| what‑it‑does | emollient |
| irritancy, com. | 0, 0 |
| what‑it‑does | skin-identical ingredient | emollient | surfactant/cleansing |
| what‑it‑does | skin-identical ingredient | emollient | surfactant/cleansing | perfuming |
| what‑it‑does | viscosity controlling | emollient |
| what‑it‑does | colorant | abrasive/scrub | viscosity controlling |
| what‑it‑does | viscosity controlling |
| what‑it‑does | emollient | emulsifying |
| what‑it‑does | antioxidant |
| irritancy, com. | 0, 0 |
| what‑it‑does | antioxidant | preservative |
| what‑it‑does | colorant |
| what‑it‑does | colorant |
| irritancy, com. | 0, 0 |
| what‑it‑does | colorant |
| irritancy, com. | 0, 0 |
| what‑it‑does | colorant |
| irritancy, com. | 0, 0 |
| what‑it‑does | colorant |
| irritancy, com. | 0, 0 |
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| irritancy, com. | 0, 1 |
| what‑it‑does | colorant |
| irritancy, com. | 0, 1 |
| what‑it‑does | colorant |
| irritancy, com. | 0, 2 |
| what‑it‑does | colorant |
| irritancy, com. | 0, 3 |
| what‑it‑does | colorant |
| irritancy, com. | 0, 0 |
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| what‑it‑does | colorant |
| irritancy, com. | 0, 1 |
| what‑it‑does | colorant |
| irritancy, com. | 0, 2 |
| what‑it‑does | colorant |
| irritancy, com. | 0, 3 |
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| irritancy, com. | 2, 1 |
| what‑it‑does | colorant |