Influencer content that touches on something genuine—not aspirational or carefully chosen, but simply honest about something most people in that field would prefer to ignore—tends to do particularly well. Paige Lorenze’s TikTok video from December 2025 about getting rid of her breast implants fell into that category, and it’s important to pay attention to not just what she said but also when she said it and how she presented the entire narrative.
In her early twenties, Lorenze, who founded the lifestyle brand Dairy Boy and has amassed a sizable fan base through a combination of fashion, relationship content, and open personal disclosure, had implants during what she called a truly challenging period. After being repeatedly betrayed in a committed relationship, she realized that there was something off about the women involved. Each of them had breast augmentations. In the immediate aftermath of betrayal, the reasoning that followed—that she would feel more desirable with implants—makes perfect emotional sense, but it makes much less sense in hindsight. In the video, she stated this clearly and without much self-pity. “Avoid having surgery. Avoid getting filler. “Do not get any cosmetic procedure,” she advised, speaking especially to those who were going through a traumatic event or a significant life transition. The cosmetics industry tends to volunteer, but that’s not advice.
She had been discreetly working through a longer reversal process, which included the removal of the implant. After observing migration issues in 2024—a condition where filler shifts from its intended location, creating a look that no amount of follow-up injections can completely correct—she sought out specialists to dissolve the Russian lip filler she had accumulated over several sessions. In her podcast, she talked about how she had overdone Botox treatments and how it had begun to interfere with her ability to make normal facial expressions. Some of her audience responded favorably to that specific admission because they had observed changes in her face over time without fully understanding what they were witnessing. Some of them might have recognized it because they had noticed something similar in their own mirrors.
Reversal stories are much less common than procedure stories in influencer culture, which is the most obvious reason why it’s interesting to watch this develop publicly. Instead of rewarding second-guessing, the economics of beauty content typically reward aspiration and enhancement. People who find the typical beauty content cycle tiresome have taken notice of Lorenze’s willingness to document the removal surgery—the recuperation, the before-and-after reality, the reasoning. She may be one of the more well-known individuals to remove implants and dissolve fillers while actively addressing the psychological aspect, particularly the notion that cosmetic procedures can exacerbate rather than alleviate body dysmorphia. For years, plastic surgeons and psychologists have been framing surgery as a possible cause of the issue rather than a solution, but this framing has not had much of an impact on the general public.
Here, the larger context is important. Lorenze, who is in her mid-twenties, works in a media setting where topics like filler migration, Ozempic faces, and the long-term effects of early cosmetic intervention are becoming increasingly prominent. In their late twenties or thirties, an increasing number of women who underwent surgery in their early twenties during the height of Instagram Face—the homogenized look Jia Tolentino wrote about in her now widely read New Yorker essays—are dealing with results that either aged poorly or don’t reflect who they want to be. Lorenze’s timeline nearly perfectly matches that pattern.
She is still upfront about what’s left, including veneers, which some online observers are still debating. However, the general course of her public cosmetic story has changed, and it’s noteworthy that in recent months, her most popular content has focused on removing rather than adding. It turns out that story has a sizable audience. It’s more difficult to determine whether that represents a true cultural shift or just a different type of content strategy. Given how these things typically operate, it’s probably both.
