1. Cleanse and prime the natural lashes and tape the eye.
2. Preview the colour against the client's lashes in daylight and agree the design.
3. Map the placement pattern on both eyes and count it.
4. Build the black component first, leaving marked lashes free.
5. Lift each coloured lash from the strip at the base and isolate a single natural lash.
6. Dip the base into a fresh glue dot, keeping adhesive off the fibre.
7. Place on the top layer, matching curl and length to the surrounding lashes.
8. Compare both eyes for symmetry, then cure fully.

• Placing on the lower layer - even a visible colour disappears in shadow.
• Uneven counts between eyes - colour asymmetry is far more noticeable than length asymmetry.
• Adhesive on the fibre - dulls the pigment. Keep dips at the base.
• Combining purple with a warm colour - purple bridges cool tones well and clashes with warm ones. Pair with blue or pink.
• Over-accenting - purple's reliability tempts overuse; a set can tip from accented to coloured without the artist noticing.

BUILDING GRADIENTS WITH ORCHID PURPLE

Purple is the most useful bridging tone in the colour range, because it shares warmth with pink and coolness with blue.

• Black to purple - Depth at the root moving into visible colour through the outer third
• Purple to blue - A cool transition that reads as deepening rather than as two colours
• Pink to purple - A warm-to-cool shift that flatters most skin tones
• Purple block on black - The simplest high-impact design - a defined coloured zone with no transition

Keep curl and length constant across a gradient so the only variable is tone; changing two variables at once makes the transition read as an error rather than a design.

Materials: Top-tier PBT fibre with orchid purple pigment, on a foil back transfer strip. No animal-derived fibre. For professional salon use. Patch test new clients for adhesive sensitivity.

Purple or pink for a client who wants colour but not a statement?

Purple, in most cases - it reads as dimension against dark lashes where pink reads as a deliberate graphic accent. Clients describing what they want as "colour but subtle" are usually describing purple, and showing both against her lashes confirms it quickly.

Does purple work on brown eyes?

Yes, though differently than on cool eyes - against blue and grey it echoes the iris, while against brown it acts as a cool contrast that makes the eye read warmer. Both are good outcomes; it is worth telling the client which one she is getting.

Why is purple better for gradients than other colours?

Because it sits between pink and blue in temperature, so it transitions cleanly to either without an obvious jump. Gradients built between two colours that do not share a temperature tend to show a hard seam at the transition point.

Can purple be a full set rather than an accent?

Yes, and it is one of the more wearable full colour sets, because it reads as dimensional rather than costume in most lighting. It is the colour most likely to satisfy a client who says she wants "a coloured set" but does not actually want to look like she is in costume.

My purple looks grey in some lighting - is that expected?

Yes. Cool pigments lose saturation under low or cool light and can flatten toward grey, particularly against dark natural lashes. It is a lighting effect rather than a product fault, and a daylight preview before the set prevents the client being surprised.