Edible Beauty: Is It The Real Deal?

Collage photos by Getty Images

The experts weigh in

Over the past few years, there’s been a rise in the popularity of a new form of skin care: edible beauty.

Every day it seems like there's a new line of products you can ingest rather than slather on your skin; whether they're drinkables, smoothie powders, supplements, or even chocolate bars, they all claim to leave you with fresh, glowing skin. But the question is, do they actually work?

We chatted with expert dermatologists and nutritionists to get to the bottom of the hype—and we definitely got a mix of opinions, with quite a bit of skepticism.

Dermatologist and RealSelf contributor Dr. Anthony Youn thinks that these products should be embraced. He explains that ingesting certain antioxidants can be very beneficial to the skin and overall health. “They fight free radicals and oxidation, which are some of the chief agers of our bodies,” he says.

However, he stresses that we don't have to turn to a packaged product to reap the benefits of ingestible beauty. “Many foods you can buy at the grocery store can be powerful anti-agers, such as colorful fruits and vegetables, green and black tea, green smoothies [not juice], bone broth, and grass-fed beef and wild caught fish," he says. "These can be just as good for your skin as a fancy nutraceutical drink.”

Then there are those experts who don't believe in these products' claims at all. Dermatologist Dr. Neal Schultz, founder of and BeautyRX by Dr. Schultz, explains that while a lot of the skin-benefitting ingredients used in mainstream edible beauty products aren’t necessarily harmful when ingested, consuming them in larger amounts than recommended can be. He explains that a lot of the products on the market are purely a marketing hoax and that while they’re “generally harmless to your health," they're "maybe not [so harmless to] your wallet.”

Dr. Elizabeth Tanzi, founder and director of Capital Laser & Skin Care, isn’t convinced either: “Ingesting collagen [one of the most common ingredients in these edible beauty products] itself is, in my opinion, worthless.”

However, she isn’t knocking the hype entirely: “For general nutrition, most supplements are an ‘act of faith,’ meaning they’re relatively harmless, and if you feel better or think you look better taking them, then go for it. I have a great deal of respect for the placebo effect and the ‘power of suggestion’ in terms of self-perception. When you take these supplements, you’re taking a proactive step to bettering yourself, and that alone—without objective benefits—can make you feel good.”

Nutritionist Vanessa Rissetto has a similar view. While she isn’t disagreeing that some ingredients may have skin benefits, she feels strongly that there’s no such thing as a magic product. “Lines and wrinkles start deep beneath the skin’s surface, and some of the ingredients wouldn’t work applied topically. But just because something has proven efficacy in one area doesn’t mean it’ll work in another,” she says. “People hear that collagen repairs the skin or that biotin will grow your hair, and they automatically think that these are magic pills. The reality is that there actually isn’t a magic pill, and even though certain ingredients are being promoted in that way, they may not be as beneficial as one might think.”

Another thing to consider is that no two ingestible beauty products are created equal. All have a star ingredient or a combination of two or more—and this is where efficacy comes into play. Dr. Sonia Batra, board-certified dermatologist and recurring co-host of The Doctors, outlines some of the most common ones (some of which were mentioned above), below. Not surprisingly, not all are what they’re cracked up to be. Here's what you should know:

Collagen is probably the most common ingredient in ingestible beauty, promising to have an anti-aging effect on the skin. However, Batra mentions that collagen comes in many forms (at least 16, to be exact) and that many products marketed as anti-aging products don’t specify exactly what type of collagen they contain. She also mentions that, when ingested, collagen will undergo digestion. While the amino acids and small peptides that make up collagen will be absorbed and can act as building blocks for other proteins, they aren’t automatically transported back to the skin intact. Rissetto agrees, and suggests seeking out products with hydrolyzed collagen, which is composed of a smaller chain of amino acids that the body can more readily absorb, “leading, ‘in theory,’ to faster collagen production.”

Tocos, or tocotrienols, have been making their way into edible products as well. Tocos are an unsaturated form of Vitamin E that is fat-soluble. Batra describes it as a potent antioxidant that has the research to back it up: “Research suggests that it promotes collagen synthesis as well as inhibits collagen degradation.”

Baobab is a powder made from dried fruit that’s been used in Africa as a natural skin remedy for a long time and can regulate the immune system of our skin. Batra mentions that it also contains a ton of great nutrients, including antioxidants, potassium, calcium, magnesium, and protein.

Adaptogens are another common ingredient. They include herbs such as he shou wu, reishi, and ashwagandha that are said to have healing effects on the body, including things like boosting energy and the immune system to helping the body adapt to stress. However, Batra mentions that the data on whether they have any effect on the skin is still pretty limited.

Biotin has been marketed as a miracle worker for the hair, skin, and nails, but it’s not particularly essential; in fact, it can have a negative effect if you’re not careful. If you aren’t deficient in it, Batra says, an excess amount can decrease Vitamin B5 absorption in the gut and even worsen skin rashes and acne.

Of course, there’s also good old vitamin C, which Batra agrees does benefit the skin when ingested. It’s an antioxidant that helps protect the skin from free radical damage and also helps in the production of collagen. However, check your labels. Orange juice is brimming with excess sugar, which isn't great for the skin (or anything), so make sure you’re ingesting your vitamin C in a way that doesn’t include unnecessary nasty stuff. She also recommends looking for omega fatty acids, as they decrease skin inflammation and benefit the skin’s barrier function.

Dr. Nu Dastaran, maxillofacial surgeon at Santi London, also mentions a new ingredient being tested that has, so far, yielded quite beneficial results for the skin: aloe vera sterol, which is the flesh of the aloe vera plant. “It’s clear that this segment of the beauty industry will establish itself on firm foundations,” she says.

Overall, while some of the above do have research to back up skin-care benefits, the experts recommend ingesting these through natural foods rather than opting for a packaged beauty product.

Why? Because many of these products are filled with unnecessary (and sometimes combative) filler ingredients. Just like you would with the food you eat on a daily basis, you should be avoiding anything processed or full of preservatives. “Any processed food and drinks should be scrutinized. If it’s made in a factory, then check the ingredients to make sure it doesn’t contain added sugars, chemicals, and preservatives,” says Youn. “Even if it has a great antioxidant, like vitamin C, if it’s also filled with horrible ingredients like high fructose corn syrup, then it can actually be bad for you and your skin.”

Dastaran agrees: “I’ve seen collagen in brownies—obviously sugar is not good for the skin. I’ve also seen alcohol infused with collagen—but alcohol is detrimental to skin health.”

That said, if the products don’t pose any particular health threats (meaning, the ingredients are natural and simple and you don’t take a higher dosage than needed), there’s no harm in satisfying your curiosity and giving them a try.

If you do find yourself curious, Michelle Miller, Clinical Nutritionist at Physio Logic, does have some guidelines for ensuring a product you’re interested in taking is safe. First, she suggests you do research into where the company sources its raw materials and investigate other ingredients in the product. Check for the main ingredients—have any specific studies or research been done on them? “If not, you might be the experiment,” she says. She also notes to remember that more doesn’t always mean better results, basically a reminder that high doses can potentially be harmful. She also recommends monitoring how you feel when using a product and getting regular blood work done and always discussing with your physician when you have health concerns.

Remember, at the end of the day, these beauty supplements shouldn’t be making up for an inadequate diet. As Batra says, “For the health of the skin, the best formula is still a balanced diet with protein, antioxidants, and nutrients—as well as adequate sleep and exercise.” Tanzi agrees, reminding us that it’s possible to have skin look and feel its best by having a good diet. “An anti-inflammatory diet rich in vegetables, good fats, protein, and low carbohydrates can be helpful to the skin,” she says. “Also, not smoking and reducing excessive sun exposure. When the body is in a low-inflammation state, the skin can produce collagen efficiently, which is the goal.”

So go ahead, pour in that $5 packet of Beauty Dust into your $6 matcha latte if it makes you feel good. Just don’t expect it to take years off your skin.

Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

"I am honored to share this bonding experience with my own daughter"

In a heart-warming Instagram photo, Serena Williams shares the history of hair braiding and the importance of the tradition. The tennis player shared a photo of herself braiding her daughter Olympia Ohanian's hair and spoke about how "honored" she was to be able to "add another generation" to the tradition of the practice.

The photo shows Williams attentively braiding her daughter's hair while Olympia smiles, obviously loving the experience. Williams noted that hair braiding was created by the Himba people in Namibia, Africa, and that "we have been braiding our hair for centuries." "In many African tribes braided hairstyles were a unique way to identify each tribe," she continued.

Williams pointed out that braiding is a bonding experience. "People would often take the time to socialize," she wrote. "It began with the elders braiding their children, then the children would watch and learn from them. The tradition of bonding was carried on for generations, and quickly made its way across the world."

Williams closed her post with a sweet message about her daughter, saying that she's "honored to share this bonding experience" with her.

See the post, below.

Courtesy of Adidas

The Stan Smiths are a must-have

Adidas just shared its capsule of sneakers paying tribute to Keith Haring, and TBH I can already feel my wallet emptying (and they're not even on sale yet). The new collection features three shoe silhouettes, all including the late artist's iconic imagery as embroidered designs.

The standout style of the collection is the Rivalry hi-top; with bright blue and orange stripes and piping along the edges, Haring's stars and cartoon bodies, in black thread, pop right off. If you're looking for something less over-the-top, the quirky white Nizza Hi RF sneakers show a snake wrapping around the back of the shoe and chasing one of Haring's cartoon bodies toward the toe. There's also a minimal embroidered design on the toe of a classic Stan Smith pair. Look a little more closely at the tongue though, and you'll notice the traditional image has been swapped with a caricature of Haring himself.

Peep the three silhouettes, below, and set your calendar for the official drop at the end of the month.

Adidas, Rivalry Hi Keith Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

Adidas, Nizza Hi RF Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

Adidas, Stan Smith Keith Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

NYLON uses affiliate links and may earn a commission if you purchase something through those links, but every product chosen is selected independently.

Photos by Frazer Harrison/Getty Images, Pascal Le Segretain/Getty Images

Hopefully this one will be typo-free

In an Instagram Live on Thursday, Taylor Swift announced that she would be creating a collaboration with fashion designer Stella McCartney inspired by her upcoming Lover album. Although she kept it vague, we can only assume that the two are working on a collection of luxe merch.

Swift noted in the announcement that she has been friends with McCartney "for a really long time," and that the designer already heard the new album. "I respect what she creates, how she creates it," Swift continued. "There's so much whimsy and imagination and romance to the clothing that she designs." Swift has been wearing McCartney's designs "a lot recently," so maybe we should have seen the collab coming.

One eagle-eyed fan pointed out that Swift wore Stella McCartney rainbow-hued shoes during her Wango Tango set. If the collab is anything like these shoes, you can bet I'll be copping it as quick as I can.

Swift detailed in her Instagram Live that the album Lover would be all about romance, which makes McCartney and her feminine designs perfect for the collaboration. We just hope that this collection doesn't have any typos, like some of Swift's "ME!" merch did.

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Photo by Kevin Winter/Getty Images

And spreads the message that "we all got crowns"

Late on Thursday, Taylor Swift dropped a new single, "You Need To Calm Down," and announced her forthcoming studio album, Lover, out this August. Following her lead single "ME!" Swift continues to spread her message of self-love and call out haters—particularly the homophobic ones—in this latest song.

Swift "ended homophobic locals," as one fan put it on Twitter, with one particular lyric: "'Cause shade never made anybody less gay."

Along with the song, Swift shared a lyric video via YouTube which made her sentiments even clearer. With her lyric, "Why are you made?/ When you could be glad?" she spelled "glad" as "GLAAD," referencing the queer media advocacy organization.

Swift sings of homophobic protestors in the second verse: "Sunshine on the street at the parade/ But you would rather be in the dark ages/ Makin' that sign must've taken all night." In the pre-chorus, she adds, "You just need to take several seats and then try to restore the peace/ And control your urges to scream about all the people you hate."

Swift additionally comments on women being pitted against each other—"We see you over there on the internet comparing all the girls who are killin' it"—asserting that "we all got crowns." There's nothing trolls can do to rain on her parade anymore.

One fan pointed out the possible symbolism of the crown lyric. In "Call It What You Want," track 14 on Reputation, she sings "They took the crown but it's alright." Now on "You Need To Calm Down," track 14 of Lover, she sings that there's not just one crown—we all have them.

Some fans are pointing to the double meaning of the track title. If I had a dollar for every time someone said those words to me in a totally condescending way, I'd probably be richer than her! What woman hasn't been told to calm down about an entirely not-calm situation or while expressing their distaste?

During Swift's live stream for the release of the song, she also announced a fashion collaboration with designer Stella McCartney, a peek of which we got during the singer's WangoTango performance.

Lover is set for August 23 release.

Credit: Frederick Elmes/ Focus Features

"I was like, 'Did I sleep with this critic's girlfriend, or what?'"

The day I meet Jim Jarmusch, the sun hangs so bright and hot and yellow and solid in the sky that it's hard to believe that it will actually set at night. It's one of those New York June days that suggests we might be in permanent daylight; it's got a completely different feeling than the crepuscular atmosphere of Jarmusch's latest film, The Dead Don't Die, which takes place in a small town in what feels like one long twilight, maybe the last one.

But for today, Jarmusch and I are sitting at a table in a sun-filled restaurant, though we're in the shade. We're in a part of the city that used to be very punk rock, and is now very NYU, yet being there with Jarmusch, who looks so at home, like he's holding court in the booth (it helps that Larry Fessenden, an old friend of Jarmusch's and a writer/director/producer/actor, who appears in The Dead Don't Die, happens by the table to say hi), makes the area feel a little punk rock again, even with all the sun.

The Dead Don't Die is a very punk rock zombie movie, by which I mean: It's not very scary, but it is very cool, and even when it's sneering, it's a little bit tender. Starring Bill Murray, Adam Driver, and Chloë Sevigny as a trio of small-town cops who fight back against a nascent zombie apocalypse caused by fracking, the film is cast with a who's who of Jarmusch regulars, like Steve Buscemi, Tilda Swinton, Iggy Pop, and Fessenden, to name a few; but it also features younger stars like Caleb Landry Jones, Selena Gomez, and Luka Sabbat—and there's a real earworm of a theme song, courtesy of Sturgill Simpson.

Below, I speak with Jarmusch about the movie, being a dilettante, and why he only reads his negative reviews—which is definitely one of the most punk rock things I've ever heard.

Photo by Gareth Cattermole/ Getty Images

This was filmed on a pretty condensed shooting schedule, right?
It was a very rough schedule. A very difficult one, actually.

We only had seven weeks to shoot, and we had to shoot Adam Driver out in three weeks because he had to be delivered to Star Wars, and the financing of the film was incredibly grueling and took a long time, so we were pushed so far that we had about one month of prep, and then three weeks with Adam. And then all these different actors coming in and out; I don't know how Carter and Josh, the two producers, organized it all. And then we'd shoot 15-hour days, and halfway through, I had walking pneumonia; I had two coats; it was 95 out; I was shaking. You know, just weird stuff like that. But it's all okay because we had such great people—our crew—everybody. And then, the visual effects were very taxing and complicated.

How did that all work together? Because there's more than one decapitated head.
Yeah, it's a mixture. First of all, we mixed prosthetics with makeup with masks for some of the zombie stuff, but all of those effects with the decapitations, we had to just imagine. So we had to choreograph everything and then only imagine kind of what it would be like, which was, for me, very abstract because I'm not very versed in visual effects. You know, you had to really kind of trust your instincts, because Adam Driver's chopping away with a machete with no blade.

It could've been a machete, it could've been a lightsaber, who knows? So, to what degree is this a sequel of Paterson with Adam Driver's character's last name being Peterson?
Well, I just do these things to amuse myself while writing, you know? Bill Murray in Broken Flowers was named Don Johnson, and in this, I gave him the name Cliff Robertson. Tilda Swinton's character is Zelda Winston. Rosie Perez is named Posie Juarez. You know, I'm just kind of amusing myself.

And Peterson, Paterson. While we were filming Paterson I was always teasing Adam that the next one, we would make was gonna be a sequel about a psychopathic murderous bus driver named Peterson. Tag line: "Get the fuck off my bus!" Or "Next Stop Hell!" You know, stuff like that. It's just to make them... I love trying to make Adam Driver laugh, because he has a very odd and wonderful sense of humor, but it's on the dry side, so I'm always joking around with him between work to try and see what makes him laugh.

But yeah, there's no sequel of any kind, and I don't think that way, and I don't plan, and I don't see my films from the past ever again. I just look toward the next thing.

Credit: Frederick Elmes/ Focus Features

What was the original concept for this? When did you start coalescing all of these different elements into knowing that you wanted it to be your next film?
Some years ago after Only Lovers Left Alive, Tilda kept teasing me, calling me, saying, "When do we do the zombies? When are we doing the zombies?" And in between I made Paterson and Gimme Danger, but then after those I started writing the zombie one, and my original conception was: I wanna make a film that's really funny and silly like Coffee and Cigarettes, where people talk about whatever nonsense I want them to, and I want to get actors I love, you know? So I thought, okay, if I make a zombie film, I can have a structure where different groups are cordoned off against the zombies, and the zombie attacks will be intermittent and not very long, so I'll have long lags where they're just stuck there, like in the house of The Night of the Living Dead, where they can talk about any kind of nonsense. So that was my first idea, and then when I started writing it, for some reason, I wanted to have a small town, Centerville, and I just followed my intuition, and it became this, I don't really know why beyond that.

What is it about small towns that make them the perfect setting for existential terror?
They're insular. They're kind of… everyone kind of knows each other. It's controllable by the characters. It's believable that everyone kind of know each other. I don't know. I'm not very good at analyzing that. And also, this is not a horror film because horror films use devices that are necessary to frighten people, like suspense, and then you get scared. We have no interest whatsoever in that. This is more of a metaphorical zombie film, but I would not call it a horror movie. It's a comedy with zombies with a kind of sad ending. Beyond that, I don't know what it is.

And horror nerds may not like it if they're expecting creepy, creepy, scary thing! They're not gonna get it. They're not gonna get that delivered to them.

What's interesting about it is seeing who fights back against this existential dread. Or, like, Chloë Sevigny's character, Mindy, doesn't fight, she is on her own separate trip, avoiding the end till she embraces it.
It's a character film. It's not even a plot film, really, although critics say that about all my films. But Chloë… it's a complicated thing, because when I first called Chloë, I told her... I wrote her a letter, and then she said, "Yeah, yeah I'd like to do this." And I said, obviously, this is not a feminist character. She's reactive. She's our sort of "Scream Queen." She screams like six times. But Chloë is the master of reaction, and I love watching her react.

She definitely feels like a stand-in for what a normal person would feel during these absurdist experiences, which is nice to have. It's not necessarily that you need a relatable character in a movie like this, but...
Yeah, but she's an empathetic human that's in a job with some authority, but in a small town where that means taking care of whatever, you know, as a police officer, pretty minimal [stuff]. There's not a lot of rampant crime or anything going on… or anything at all, really.

Credit : Frederick Elmes / Focus Features

A lot of people are going to be projecting tons of different meanings onto this film, like with all your films. To what level do you participate in that or pay attention to that? Or, once you're done making a film, is it just out there, and you just let people project onto it whatever they will?
I've always felt that anyone's interpretation of a film that I write and direct is probably more valid than my own. Because it's a funny thing, the beauty of films is going into a world—or a book or whatever—but going into a world that you don't know, and you are entering a world, and it takes you. And if you wrote it, and you were there filming it, and you're in the editing room every day for six months, the mix, and all that... I can never possibly see it. I like hearing what friends or people I know... I like Q and As after screenings because they have no agenda except their interest. I like that a lot, and I value that. I don't really like to read a lot of reviews unless they're really negative. I love the negative ones.

You do?
Yeah, because they must be very far from me in their perception of the world, and that is interesting to me. But I try not to read a lot...

I think you're probably the first person who I've ever spoken to who says they like to read the negative reviews.
I really like them. The worst one I ever got in my life, I laminated and used to carry in my wallet. It was a brief thing from a right-wing French [paper], maybe Le Figaro or something, of a film called Dead Man that we made, and they said—this is the English translation—"The French intelligence celebrates Jarmusch in the way death and blind parents would celebrate their retarded child. Jarmusch is 33 years old, the same age as Christ when he was crucified. We can only hope the same for his film career." I was like, Whoa! That is harsh! I'm keeping that one!

It gets personal.
But that was vicious. I was like, Did I sleep with this critic's girlfriend, or what? What happened? It was really... the knife was sharpened, you know.

That speaks to a very specific kind of agenda for sure.
A friend of mine Amos Poe, he's sort of a mentor of mine, a punk filmmaker, whatever, and when we were young when he made, in the late-'70s, one of his films—The Foreigner or Unmade Beds—the New York Times called it "the cinematic equivalent of kindergarten scribbling," and he put that on his posters and put "New York Times" and we were like punks, we were like, "Yes! Amos! That's great!"

I mean, it genuinely is a pretty great pull quote, and I think also a little bit oblivious to the charms of a kindergartener's scribbles and what the value is in that anyway.
Yeah, it was kind of accurate in a positive way, and they intended it as very negative.

In this film, there are so many actors who are veteran actors, but there are also a lot of younger actors. What do you like about the combination of that dynamic?
I just like the variety of sort of world perceptions—indicated in a very minor way when Bill Murray's character says, "I've known Hermit Bob since we were in junior high," and Adam's character says, "Oh, wow! That must've been like 50 years ago!" And Bill says, "Yeah. It was." But just the kind of difference of perception of age I find as I get older really interesting. And I'm very interested in young people, especially teenagers, because I think they form our sense of style, of music, of so many things, and yet they're kind of pushed around and treated badly and constantly told, "You don't know how the world really works! You're just a teenager!" But they gave us poetry. They gave us Mary Shelley and Rimbaud and chess masters, and all the great music comes a lot from teenagers. So I tried to keep a pulse, that's why the three teenagers, I would not let them turn into zombies. There are only four people [who don't get turned by zombies]: those three that are delinquents, and the Tom Waits character, who's already removed himself from the social order long before.

When the zombies become zombies, they all have one inciting thing that they're still pursuing in the real world. Do you have one thing that you think you would pursue if you were a zombie?
You know, it's hard because I'm a self-proclaimed dilettante. I'm interested in so many things, I don't know if I would be breaking into a bookstore, or if I would be in the alley outside of a movie theater, or if I would be trying to get into a guitar shop. I'm not sure. I have a lot of interests.

I mean there's a way in which it's a really tender portrayal of the human impulse to just seek out these things that they love.
It's not totally a critique; it's their vestigial memory of some things that they were drawn toward, whether it was power tools or oxycontin.

The Dead Don't Die is in theaters now.

Credit: Frederick Elmes/ Focus Features