Colouring Outside the (Lash) Lines
As far as industries go, lash artistry is a very young one. Despite its relatively short lifespan so far, however, huge advances have been made in products used, safety and quality of lash services, as well as technical artistry.
And according to LashPRO Educator Sadie Welder, many of the best artistic advances were made because of lash artists who weren’t afraid to move beyond the general rules most people thought had to be followed to a tee. “The lash art that we have today is because those artists stepped outside of the box and tried something new. The stuff that moves beyond simply technical skill is artistry — and THAT’S where experimentation is crucial.”
LashPRO Educators, along with many other conscientious lash artists around the world, have been trying to create a set of standards and a baseline around lash techniques so that more people can create beautiful sets. Says Yuel Loo, “Having those standards is so important. When we come up with formulas, it’s to make sure whatever lash sets are created are symmetrical, well-executed, and compliment the wearer’s face.”
But as Sadie notes, at the same time people shouldn’t be afraid to break out. “All lash artists should be creating all different types of sets, not just the everyday wearable ones most people want. Sure, the basic tenets of symmetry and aesthetics should be followed, but it’s by creating those weird unique sets — like chunky lashes, jagged clusters, working on models with unique features like exotic or deeply hooded eyes — that gives you the confidence venture outside of the usual rules and discover breakthrough techniques.”
Fellow Educator, Debbie Vo, agrees. “Techniques like volume gives you the freedom to be creative without boundaries. Because we can manipulate the fans — and develop different types of fans, wide and thin — we can create completely different lash sets that sport completely different effects. With everyone in the industry exploring the texture and spiked route, you can really see how boundaries are broken here, such as by using closed fans or mixing multiple lengths.”
Ultimately, it comes down to educating in a way that gives students the basics needed to create good sets, but also gives them the opportunities to experiment and discover new techniques that uplift the entire industry. Says Debbie, “What I want to pass down to my students as a volume educator is to be open minded, be creative and practice, practice, practice! Not to rush the process but instead enjoy the journey and everything that comes with it, both the ups and downs. For me, that was how my texture technique was born — through the struggles and exploration of creating the striplash effect.”