Velvet Super Mink Cobalt Blue in front of pink background with open case.

Velvet Super Mink Cobalt Blue in front of white background with single lash close up.

Velvet Super Mink Cobalt Blue with open case close up.

Super Mink lashes chart with Curl, Thickness and Length sizes.

Velvet Super Mink Cobalt Blue with open case.

Super Mink, Spike Closed Fan, Lashfolio Wet Promade and Wispy lash comparison.

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Super Mink de terciopelo de 0,07 mm, azul cobalto

Name: Super Mink de terciopelo de 0,07 mm, azul cobalto
Brand: Curacoro
Price: 20.99 CAD
Availability: OutOfStock
Rating: 5.0 (1 reviews)

Libere el poder del color con la colección de colores Supermink de Curacoro

Transforma tus pestañas en una obra de arte

Explora las pestañas Curacoro Velvet Super Mink en azul cobalto. Estas pestañas, confeccionadas a mano con materiales PBT de primera calidad, ofrecen la máxima suavidad, ligereza y una sensación natural, perfectas para el uso profesional en salones de belleza. La innovadora tira de transferencia con parte posterior de aluminio no deja residuos, lo que hace que la aplicación y la separación de las pestañas sean sencillas y sin torceduras.

Ya sea que busquen un toque sutil de color o un estilo atrevido y llamativo, ¡Curacoro Velvet Super Mink en diferentes tonos ofrece resultados incomparables!

Product details

Trend/Popularity: Coloured lash work has moved from festival novelty to a standing creative service, and vivid blues are among the most requested tones for editorial, festival and statement sets.
Ease & Speed: A full colour tray means the artist can build blocks and gradients rather than scattering single accents, which is both faster and more controllable than working from a small accent supply.
Income Opportunity: Full colour sets are priced as creative services rather than as accent upcharges, and they generate the portfolio images that bring in more of the same work.

Creative and editorial artists: A full tray supports colour blocking and gradient work that accents cannot.
Festival and event specialists: Vivid blue is a core festival tone.
Artists with warm-toned and brown-eyed clients: Cobalt is a strong complementary contrast against brown and hazel eyes.
Studios building a colour service: A full tray is the basis of a real colour offering rather than an add-on.

The construction that makes a coloured tray behave like a professional one.

Handmade top-tier PBT - Softness and lightness that a coloured novelty fibre typically lacks.
Foil back transfer strip - Releases cleanly with no residue and no kinking, which matters as much on colour as on black.
Vivid cobalt pigment through the fibre - Colour stays consistent as the set grows out rather than wearing off the surface.
0.07mm diameter - Enough body for a saturated colour to register clearly.
Segmented 8-11mm and 12-15mm plus mixed 7-15mm - Segment ranges support colour blocking; the mix supports full-set mapping.
C, CC and D curls - Colour lashes can be curl-matched to a black base set exactly.
16 lash lines per tray - Enough for full colour sets rather than accents only.

Cleanse and prime the natural lashes and tape the eye.
Preview the colour against the client's lashes in daylight - blue shifts more than most tones between light sources.
Decide on the design: full colour set, colour block, or gradient from black.
Lift each lash from the strip at the base rather than mid-fibre.
Isolate a single natural lash and dip the base into a fresh glue dot.
Keep adhesive off the fibre, where it dulls saturated pigment.
Place with the bases aligned, keeping the colour pattern identical between eyes.
Compare eyes for symmetry before finishing, then cure fully.

Scattering blue as an accent - cobalt reads as dark depth rather than as visible colour when spread thin. Use blocks or a full set.
Placing on the lower layer - the colour disappears entirely behind black lashes above it.
Skipping the daylight preview - blue is one of the most light-sensitive colours and can read almost black in low light.
Adhesive on the fibre - dulls saturated pigment. Keep dips at the base.
Mismatched colour placement between eyes - colour asymmetry is far more visible than length asymmetry.

COLOUR BLOCKING VS. SCATTERED ACCENTS

Visibility - Colour block or full set: High - the colour reads clearly | Scattered accents: Low for deep tones like cobalt
Placement effort - Colour block or full set: Simpler - a defined zone | Scattered accents: Requires precise symmetry counting
Best tones - Colour block or full set: Deep and saturated colours, including cobalt | Scattered accents: Bright, high-contrast colours
Client brief - Colour block or full set: A colour set | Scattered accents: A hint of colour
Product used - Colour block or full set: Most of a tray | Scattered accents: A small fraction
Pricing - Colour block or full set: Creative service | Scattered accents: Accent upcharge

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

Why does cobalt disappear when I scatter it as an accent?

Because its contrast against black is in hue rather than in depth, and at a distance a scattered deep blue simply reads as dark lash. Concentrating it - a block through the outer third or a full top layer - gives the eye enough of the colour to register it as colour.

What are the segmented 8-11mm and 12-15mm ranges for?

Colour blocking, primarily - having a narrow range in one segment lets you build a defined coloured zone without the length varying within it, which is what keeps a block reading as a deliberate design. The 7-15mm mix is for full-set colour work.

Does cobalt suit any eye colour?

It reads best against brown and hazel eyes as a complementary contrast; on blue eyes it competes with the iris and can flatten both. On green eyes it works but reads cooler than most clients expect, so a preview matters.

Can I gradient from black into cobalt?

Yes, and it is one of the better ways to use a deep colour - black through the inner half transitioning into cobalt through the outer third reads as depth becoming colour. Keep curl and length constant so the gradient is purely tonal.

Does coloured fibre affect retention?

The bond is at the base, so pigment is not the variable - but artists frequently under-glue coloured lashes while trying to keep adhesive off the visible fibre. Use your normal dot and simply keep the dip confined to the base.