There’s been a pivotal shift in how women in their 20s look at their faces. And while the reasons are arguably as multi-faceted as this new generation itself, many would agree on one thing: The impact of social media, from selfies to YouTube videos to meticulously crafted Snapchat and Insta Stories, combined with endlessly retouched photographs in magazines and ad campaigns, can not be underestimated. From the constant stream of supernaturally smooth jawlines and chiseled cheekbones to celebrity plastic surgeons posting before-and-after images of their work, the age of 24/7 self-documentation has spurred a novel set of beauty ideals—and, with it, a dramatic increase in cosmetic procedures. For 20-somethings, there’s no treatment more popular—or controversial—than Botox. Need proof? According to the American Society of Plastic Surgeons, botulinum toxin procedures have increased 28 percent since 2010 amongst 20 to 29-year-olds.

Most doctors suggest focusing on the quality of the skin with a proper regimen that includes daily exfoliation and SPF protection, as well regular chemical peels or specialized treatments such as Clear and Brilliant laser resurfacing during this decade. Still, there are exceptions. If constant eyebrow furrowing has resulted in the first signs of an angry crease or premature crow’s feet due to naturally thin skin are a persistent cause of frustration, injectibles can help. But as any good dermatologist will note, there is a caveat: When it comes to Botox and filler, there’s a fine line between targeted tweaks and doing too much too soon. Here, in-demand experts share their guidelines for women in their 20s.

Preventative Botox Is Real
When women in their 20’s first consider getting Botox, prevention is often the primary factor, since the early signs of aging—such as crow’s feet, forehead wrinkles, and fine lines—are beginning to show. “Lines get deeper and deeper with age,” explains Wexler. “If you start [getting Botox] early enough and it’s done properly, you’re not going to need [as much] in the future.” For younger patients wary of the frozen look—remember, youthful faces move—Wexler likes to employ lower doses of Botox via ultra-targeted micro injections administered on specific areas of the face such as the forehead, brows, or around the eyes.

…But Too Much, Too Fast Will Age You
Botox only lasts three to six months—and yet what’s less commonly discussed is this: Facial muscles naturally weaken over time and going overboard in a certain area could have unwanted consequences. “If you do too much Botox on your forehead for many, many years, the muscles will get weaker and flatter,” cautions Wexler, adding that the skin can also appear thinner and looser. Moreover, as your muscles become weaker, they can start to recruit surrounding muscles when you make facial expressions. “If one stops using their forehead muscles, they may start squinting using their nose and have wrinkles along the side of their nose,” she explains. Translation: You need even more Botox for the newly recruited muscles, says Wexler. To avoid these kind of missteps, researching a doctor diligently is essential, as is approaching injectables conservatively, and asking questions about how the treatment will be tailored to your needs.

Fillers Can Be Problem Solvers for Acne Scars and Dark Circles
“As we get older, we lose volume in our face and hyaluronic acid filler can be used as a replacement,” explains Wexler. “For younger women, injections can be used to treat areas with acne scarring or hollowness under the eyes.” During your ‘20s, when the face is at its fullest and healthiest, it has been argued that a shadowy gaze can even be quite charming. But in other cases, hereditary dark circles can result in a persistently tired look, which is where a few drops of filler under the eyes may be useful. As top dermatologist David Colbert, M.D. is quick to note, however, too much Botox and filler distorts the face and as a result will make you appear older. “When the line is crossed everyone starts looking like they are related,” he also cautions of a uniform cookie-cutter appearance that lacks character or individuality. Or worse. “It’s a snowball effect of people liking something, coming back too soon [for even more], and then it gets too heavy,” adds Wexler.

Lips Are Tricky—Period
It’s safe to say that the mouth is the clearest giveaway of work done too early. Youthful lips tend to have substantial volume and turn up naturally at the corners, meaning the best strategy for flattering them often comes down to a good signature lip color. For women who remain self conscious about the size or symmetry of their lips—think a slightly lopsided appearance, for instance—Botox can be injected into the orbicularis oris muscle along the lip line as an alternative to lip fillers. “When certain individuals smile, the lip flips in and they lose that upper volume,” says Dara Liotta, a New York City-based plastic and cosmetic surgeon. “This relaxes the outer layers of the circular muscle around the lips and looks much more natural than filler.” Additionally, injections along the jawline—or more specifically, the masseter muscle—have risen in popularity to relieve stress-induced jaw clenching and have also been known to refine the area. “A lot of people hold tension in the jaw area and when you relax that muscle, the chin comes out of the shadow of your lower lip,” explains Liotta. But the best advice of all? Forget about those self-perceived imperfections and smile. You’re only in your ’20s once.

Kendall Jenner knows a good It shoe when she sees one. She was one of the first to jump on the now ubiquitous ugly sneaker trend, putting her best foot forward in Balenciaga’s best-selling style when they were just off the runway. The supermodel upped her shoe game yet again while filming a new episode of Keeping Up with the Kardashians in Calabasas yesterday, stepping out in Prada’s flame wedge, what is poised to be Fall’s hottest heel—quite literally.

As die-hard Prada fans will know, the style is back by popular demand, a reinterpretation of a shoe that was first launched on the runway in 1999. Jenner topped her ensemble with just the right cool pieces, namely a fitted, biker-inspired top from Adidas and slouchy jeans.

Photo: Courtesy of Calvin Klein

You might be surprised to hear that there was another photographer on set day, none other than Kendall Jenner. The supermodel pulled double duty with her Contax T2, snapping behind-the-scene images between her starring moments in front the camera. And while the campaign was shot in classic black and white, Jenner captured the scene through a more candid lens, in vivid color. “I’m very observant. I take everything in when I’m on set, even things like lighting, and how to set my camera,” said Jenner via email. She’s has been honing her amateur photography skills over the past year or so—see her personal photos from inside the Met Ball for proof. “It’s nice being on set and getting to take pictures of my sisters again. They’re all so beautiful, which makes them easy to photograph,” she said. ”These are good memories to have.”

Kourtney Kardashian and Khloé Kardashian

Photo: Courtesy of Kendall Jenner

Brothers Roger and Mauricio Padilha keep a list of people they want to do books about. Having completed volumes on the designer Stephen Sprouse, the illustrator Antonio Lopez, and the photographer Chris von Wangenheim over the last decade, Richard Bernstein, the artist responsible for 189 covers of InterviewMagazine between 1972 and 1989 was near the top of it. Late last year, Bernstein’s nephew Rory Trifon reached out via Instagram to ask if they were interested.

Of course they were. But before they committed they wanted to know what Bernstein’s family had access to. The nephew said “not much.” The Padilhas, who live in New York City, made a pilgrimage to Connecticut anyway, and what they discovered was a basement packed floor to ceiling: crates of original artwork for Interview; little seen paintings Bernstein completed in the ’60s, including canvases of abstracted pills that look like they could’ve inspired Damien Hirst; and loads of ephemera—the highlight of which, for the Padilhas at least, was the Candy Darling fold-out poster Bernstein created for Newspaper, a short-lived, much-hyped periodical published in the late 1960s by Steve Lawrence. None of it had been touched since Bernstein’s 2002 death, when it was shipped from the Chelsea Hotel ballroom—kitchenless and bathroomless, but huge—where he lived for decades.

“There was enough there for two books,” says Roger. Mauricio agrees: “You can’t just do Interview, because he was so much more than that.” In the end, RICHARD BERNSTEIN: STARMAKER Andy Warhol’s Cover Artist (Rizzoli, September 4), wound up being about 40 percent Interview covers. And even those will be a revelation to many readers. It’s popularly thought that Warhol did them. “At that point you couldn’t be a commercial artist and a fine artist,” Mauricio explains of Warhol’s apparent reluctance to do the covers. “There was a huge stigma. But Andy loved Richard’s work. He’s even quoted a few times saying that Richard was his favorite artist.”

Sometimes Bernstein took the photo of the cover star himself, other times it was his close friend Bill King or Berry Berenson, to whom he was engaged for a time (and who later died tragically on Flight 11 on 9/11), but Bernstein was always on set and styling. “Because they were camera-ready art but not work that needed to last for a long time, he kind of used everything,” says Roger. “There’s some that have tape and Wite-Out, markers.” He also used an airbrush and pencils. “They’re collage-y. But the effect that they have is so polished once they’re printed.” They’re also iconic. Bernstein’s subjects were a who’s who of mid- and late-20th century superstars: Diana Ross, Cher, Mick Jagger, Debbie Harry, Michael Jackson, Madonna, and on and on. “He would take gorgeous people and make them even more gorgeous,” Roger says.

Bernstein had the looks and the charisma to match his glamorous subjects, but when Warhol died, his gig at the magazine more or less ended. In the ’90s, Bernstein moved away from celebrity portraiture, yet failed to find the success of his Interview years. He died in 2002, a victim of AIDS, a heart condition, or depression, it has never been determined.

Garbo, 1965

Photo: Richard Bernstein / Courtesy of The Richard Bernstein Estate Archive

The Padilhas did their research over the Christmas and New Year’s holidays last year. During his interviews, Roger discovered that Bernstein wasn’t just a terrific artist, he was a prolific connector, with friends in every creative strata. One of his early gallery appearances was a two-man show with John Loring, who would go on to become the design director of Tiffany & Co. for 30 years. Bernstein collaborated with Diana Vreeland when she was the Special Consultant of the Met’s Costume Institute. He worked with Steve Rubell and Ian Schrager on their first nightclub in Queens, The Enchanted Garden, and naturally became a regular at Studio 54. According to Chelsea Hotel lore, Bernstein organized orgies for Salvador and Gala Dali when they passed through town. And he did Grace Jones’s album covers before he introduced her to Jean Paul Goude, who would take Bernstein’s place as Jones’s fashion whisperer.

The cover of Jones’s single, 1977’s I Need a Man, is the cover of this book, and Jones wrote the foreword and Goude the epilogue. But it is Loring who captures Bernstein’s legacy best. He tells the Padilhas: Richard’s work was “a terrific social document of the times, of the celebrity worship of the times, of the look of the times, what celebrity was and wasn’t. He brings it all into very sharp focus. It’s a social document and an important one. And it’s extraordinarily graphically pleasing to look at and totally remarkable work.”

Loring and the Padilhas aren’t the only ones to think so. “Richard Bernstein: FAME,” an exhibition of the artist’s work that gathers 60 of the Interview covers as well as some of his large canvases, will open at Jeffrey Deitch’s Deitch Projects on September 7th.

In Paris this past winter, Lee Oliveira took his seat at the Fall 2018 Rochas show next to two overzealous women. They’d squeezed themselves into the front row, pushing well-known editors and buyers to the side so that they could snap selfies. As the lights dimmed and the models started walking, the women began talking to each other. Loudly. Oliveira overheard one ask, “Who is this designer?” To which the other replied, “I don’t know; who cares?” As a street style photographer for the past seven years, Oliveira has seen it all. Including wealthy, aspiring influencers who approach him to take their picture in a head-to-toe Céline or Gucci look they’d just purchased. They’d ask once, twice, three times, until it became a recurring theme nearly every day of Fashion Week. And he wasn’t the only street style photographer they targeted. Oliveira saw an opportunity and decided to pursue a side career in coaching up-and-coming fashion bloggers.

It started when a PR friend from Brazil, where Oliveira was born and raised, asked him why there were so few Brazilian girls being photographed on the streets during fashion month. “I told this publicist it’s more interesting to photograph an editor with a distinct personality and personal style, or someone who has great relationships with the brands already. I thought, maybe I can use everything I’ve learned from just observing people and help some of these girls with their style and knowledge, and also help them understand how to sustain their influence over the next five or 10 years.” Oliveira took on five clients to start, including Helena Bordon, the daughter of Vogue Brazil style director Donata Meirelles; Brazilian actress Marina Ruy Barbosa; and Camila Coutinho. Not only did he help curate their wardrobes, but he also taught them about proper etiquette for attending shows, how to carry themselves on the street, and the importance of relationships. “Know who the editors are and the designers. Don’t just sit on top of a press release at a show—read it,” he says.

Knowledge for Oliveira has come in the form of years spent dutifully observing the body language and conversations between stylists, publicists, buyers, and editors. “I don’t have very much of a fashion background,” he admits. “When I first came to New York in 2011, I was the second generation of street style photographers after The Sartorialist, Jak & Jil aka Tommy Ton, and Phil Oh. I knew I needed to step back and really observe everything and analyze how everyone acted, and I began shooting people based on my instincts. I watched carefully the new editors going to the shows, how they carried their bags, how they walked, and I learned so much about how to give people a story to talk about or a trend to discuss through one image.”

As the old saying goes, a picture is worth a thousand words, and in the age of the influencer as cash cow, it can help push a business forward. Oliveira also helps his clients with entrepreneurial pursuits. He gave Bordon the guidance and contacts she needed to translate her growing popularity into a sunglasses brand in Brazil. Her label, By Helena Bordon, currently boasts 40.7k followers on Instagram, while her personal account has a following of 1 million. “What’s next after those pictures fade away on Facebook or Instagram?” Oliveira asks. “What if people forget about Instagram entirely in the next few years? Are you going to be able to channel your influence into something sustainable? Can you turn one of your signature style pieces into a business or collaborate with a like-minded brand? These are the questions I ask the girls when we first meet and continue to ask as we work together on reshaping their image.” According to one influencer outside of the fashion space, Josh Ostrovsky aka The Fat Jewish, the era of making money off of an Instagram picture and all of its subsequent likes may be coming to an end. He told CNN last week: “Everybody’s just like, ‘Wait. I could go out and hold those hair enhancement gummies’ or ‘I can go out and hold a product, and I can make money.’ I just think people need to learn how to actually build things from the ground up. That will take you farther than the Internet.”

To get ahead in an oversaturated world of fashion influencers, says Oliveira, it takes not just sharp style but an entrepreneurial drive. And, of course, knowing when to step back and not stand front and center at a runway show (or squeeze into a seat that isn’t yours).

Today, it was announced that Jennifer Lopez would be given the MTV Michael Jackson Video Vanguard Award for her visual achievements in the music industry. (It is quite the award, boasting recipients like Janet Jackson, Britney Spears, and Rihanna.) Lopez debuted a look that couldn’t have been more celebratory of the news. En route to MTV studios in New York City, the entertainer stepped out in a crisp white shirt-meets-dress by Poiret. Her saucy choice? Instead of pants, she sported slouchy denim Versace over-the-knee boots.

Lopez hasn’t been shy about showing her skin as of late. She recently revealed her washboard abs at her birthday celebration with Alex Rodriguez; while on the street, she showed off her six-pack in a teeny crop top. And why shouldn’t the 49-year-old show off her abs or legs? She has worked hard for her career, as well as body. Now is the perfect time for her to be proud of both.