arTicle | LIP ENHANCEMENTS |
Hyaluronic acid
enHance lips witH
How to
Lakhdar Belhaouari illustrates how any aesthetic treatment requires a perfect
understanding of anatomy, physiology and the ageing process
T
LAKHDAR BELHAOUARI, MD is Plastic and Aesthetic surgeon in Toulouse, France. Member of the French College and French Society of Plastic Reconstructive and Aesthetic Surgery, of the European Board of Plastic Reconstructive and Aesthetic Surgery. Lecturer and teacher in numerous aesthetic courses and congresses, author of many publications including the book “L’art de la Toxine Botulique en Esthétique” and the report on aging face for the FSPRAS
email
belhaouari.l@wanadoo.fr 14 ❚
he arTicle describes how we can enhance lips with hyaluronc acid, especially the red lip, and proposes an original scale regarding the volume of the red lip and the length of the white lip. as the face is often a ‘glance’, a ‘smile’, we
understand the importance of the lips. it is evident that ‘lip rejuvenation and enhancement’ is a frequently requested aesthetic procedure. it is evident that any aesthetic treatment requires a perfect understanding of anatomy, physiology and the ageing process. we have to consider first the patient expectations. The
analysis concerns the different parameters of the lips: shape, volume, roundness, projection and eversion of the red lip, wrinkles and length of the white lip, smoothness of the vermilion surface, and definition of the vermilion border, the philtrum and its columns, and the cupid’s bow of the lips. This article suggests the appropriate treatment, explains the technology, its safety, and potential adverse events. Patient assessment requires consideration of the best cosmetic investment for the patient.
Artistic anatomy of the lips The lips are composed of two parts: the red lip and the white lip. For the upper lip, the white lip includes the skin
March 2011 |
prime-journal.com
from the subnasale to the vermilion border and contains hair, sebaceous glands and eccrine glands. The red lip, that is, vermilion, is red because the closely vascular plexus under the mucosa includes the dry mucosa, exposed to air and the wet inner portion (Figures 1 and 2). To artistically analyse the lips, we must consider: The shape of the red lip: especially the central part
which forms the kiss, its volume and roundness, its eversion, its convexity and the smoothness of the vermilion surface. The length of the white lip and the surface and
regularity of the skin, either smooth or wrinkled. The definition of the vermilion border, the philtrum and
its columns and the Cupid’s bow. Structurally, the skin of the lips is thick and adheres to
the orbicularis muscle, like a ‘close couple’ [1]. ‘Close couple’ means that the subcutaneous fat is extremely thin in the central two thirds of the upper lip. So the hypodermis between the dermis and orbicularis muscle is very thin. In fact, the external skin and internal mucosa of the lips envelop the orbicularis muscle and take its shape. The accessory salivary glands, inside the mouth, lie between the mucosa and the orbicularis. The orbicularis muscle is essential: it gives volume, eversion and projection to the lip. These three factors are linked. Projection is also explained by the positioning of the
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80