New to White Henna – Part 2

Becoming Moonlight®
Diamond Kit

The idea that you have to be an artist to use a Becoming Moonlight® gilding cone for body art is false. I’ve only used a gilding cone once before this, which was tracing my mermaid tattoo. The keyword there is “trace”. I am not really artistic, so I am going to share my beginners’ experience using a Becoming Moonlight® gilding cone with you.


For my first design, I attempted a starfish. Truthfully, it was awful. My lines were messy and too close together and the right pressure wasn’t applied to the cone for the paste to come out evenly. My next step was dumping the powder and glitters onto the paste right away. I didn’t follow the instructions (which is to let the paste sit for 5 to 10 minutes first). Oops!  This resulted in my design being messed up further. 

I used lighter colors, which made it hard to see on my pale skin.  I felt frustrated throughout most of the process and disappointed that I didn’t just get it right.  I decided to try again.


My second design was a flower in the same spot as my starfish, the underside of my wrist.  The design was cramped and I used lighter colors again, however, my lines were a little better! I let the paste sit for a few minutes to get tacky, which allowed the glitter and paste to stick a little better for me.  Overall, my second time making my own design wasn’t as frustrating as the first time.


What is it they say? “Third time’s a charm?”  I mastered my design! It’s not perfect, but it is much better.

This time, I did a flower on the back of my hand using “Jet” Becoming Moonlight® glitter. My lines were better and the design was a little more spread out. I followed all of the steps, and I’m pretty confident that had something to do with my design turning out better.  


Using this method of body art was awkward at first because it takes time to adjust to holding a cone.  The more I practiced, the better I became at adjusting the pressure of my hand squeezing the cone so I would have even lines.    I think we all have artistic abilities within us, but sometimes you have to dig! If I can do this, so can you!

Read Liz’s first-time experience here: http://www.becomingmoonlight.blog/2020/01/17/new-to-white-henna-part-1/

PattyAncient Sunrise® Specialist

New to White Henna – Part 1

I have only ever worked with the Becoming Moonlight Gilding Paste cone one time before. It is a great product for beginners like me, as well as those experienced with body art. The paste stays white and raised which I really like because it makes it easy to see where you are working. Getting used to the feel of the cone is different than working with a paintbrush or pencils. You have to hold it so that you have firm pressure, but not so tight that the paste flows unevenly. This can take some time to get used to.  I have learned a lot when working with the Becoming Moonlight Gilding cone.

Practicing on paper helped a lot!

For my design, I practiced freehand on paper before drawing on my hand. This was to get used to the feel of the cone, and how much pressure you need to allow the paste to come out evenly. Once I was happy with my design on paper, I mimicked the design on my left hand. 

My first few lines were a little shaky and not very symmetrical. Having clean and even lines come with the experience of using a cone for body art.  Your art does not have to be perfect to look good. Becoming Moonlight® Gilding paste is not permanent and can be easily taken off.

Parts of my design were not touching when I finished, however, I was able to fix this by adding a little more paste, then powder and glitter to touch it up.

Once the paste is on the skin, it has to sit for 5 to 10 minutes for the paste to become tacky before it can be sealed with mica powder or glitter. I made the mistake of not waiting long enough and had to redo a small part of my design.  

The small flat brush I used for the mica powder was perfect because the mica clumped together on the tip of the bristles. I cleaned the brush in between colors so that the powders did not mix. I used the same brush for applying glitter, which did not work as well.  I learned that I need a wider flat brush for applying the glitter to the design.

Using a brush to wipe the extra powder away is helpful.

I chose teal glitter and purple mica powder for my design because I like the way that those colors complement each other.  Lighter colors would not look as good on my fair skin as they would on someone else. By contrast, the colors I chose may not look good on everyone either.

  In conclusion, I like working with the Becoming Moonlight Gilding Paste cone. The freedom to draw and express ones-self in body art feels awesome! You can trace a design or make up your own. If you mess up, you can wash it off and start over. This is not easily done with other types of body art mediums. The paste can also be peeled off for work or school. It is great for a day or weekend event.

Tips:

  • If there is an air bubble in the cone, the paste sputters when coming out. This can be wiped off with an alcohol covered cotton swab. The area should be dry before reapplying the paste.
  • If the paste is not tacky, the adhesive will stick to the brush being used to apply the glitter or mica powder and lift from the skin.
  • To use multiple colors or glitters in your design, I found it easier to complete the part of the design for one color, then go back and add additional paste for other colors.
  • The mica and glitter colors should complement each other. The colors you or the client chooses should also look good with the skin tone they are being put on.

Read Patty’s experience with white henna here: http://www.becomingmoonlight.blog/2020/01/31/new-to-white-henna-part-2/

LizAncient Sunrise® Specialist

You can become an artist, too! Order cones, powders, and glitter here: https://www.mehandi.com/Becoming-Moonlight-Gilding-Paste-p/3979.htm
https://www.mehandi.com/Becoming-Moonlight-Glitter-p/glitter_01.htm
https://www.mehandi.com/Becoming-Moonlight-Gilding-Powder-p/gild-pwdr_01.htm

The Art of Decorating Eggs and How to Decorate Eggs with Becoming Moonlight®

Every spring, our world becomes inundated with eggs. Adults fill colorful plastic eggs with treats and hide them for their children. Stores are packed with candies and chocolates in the shape of eggs. We decorate our homes with images of eggs. And of course, we decorate eggs. These eggs are most often associated with Easter, the holiday that celebrates the return of Jesus from the dead. However, the story of his resurrection does not have any mention of eggs.

How a Christian holiday associated with the return of Jesus from the dead became so synonymous with colorful eggs and rabbits comes from a history of blending between old European pagan traditions and folklore, and the introduction of Christianity to those areas. Oftentimes these traditions are aligned with a celebration of springtime. Egg decorating can be traced back thousands of years, with decorated eggs being found in Egypt. Persian traditions also include painting eggs for Nowruz, the Persian new year, which falls on the vernal equinox. As Christianity came into dominance in certain egg-decorating cultures, specifically those in Slavic Europe, the practice was adopted. Many common motifs and patterns from pre-Christian times remained, while new ones were introduced.

Traditional Ukrainian Pysanky Eggs. Image source

Perhaps the most well-known are the elaborately dyed eggs from Slavic cultures, such as Ukrainian art of pysanky or pysanka, which is a wax-resist method. The technique involves alternating applications of beeswax and dye in such a way that the wax protects the color of the dye underneath it. It is also practiced in Hungary, Lithuania, and Romania. The video below shows a woman in a historic village of Romania practicing her home’s techniques.

The Technique

Traditionally, the beeswax is applied with a tool called a kistka, which is a small funnel attached to the end of a stick. It may also be a pinhead or a wire. The tool is used to draw intricate patterns with wax onto the surface of the egg. The first application of wax protects the white of the shell from the dye. The egg is then dyed first with a light color and dried, after which more wax patterns are applied. This continues with successive darker colors of the artist’s choice, with each color protected by the wax that covers it. When all layers are completed, the wax is gently melted away by warming the egg over a flame or in an oven and then rubbed away with a cloth, revealing beautiful, colorful designs.

Traditional Kistka tools for applying wax. Image source

Eggs are either hollowed of their contents, baked, or hard-boiled. Certain patterns hold symbolic meanings associated with springtime, fertility, farming, and nature. Egg designs will vary from region to region, as individual villages teach the tradition to their younger generations. Those who decorated eggs are most commonly women, and the technique is taught to the daughters. A skilled artist might complete hundreds of eggs each season and sell them to locals and tourists.

Pysanky with Becoming Moonlight®

I decided to give this method of wax-resist a try, using materials from Becoming Moonlight in place of the dyes and techniques that would be traditionally used. Many of the patterns you will see below come from the Spellstone Europe pattern book by Alex Morgan. The patterns in this book are based on traditional patterns related to springtime, the vernal equinox, and fertility. This book and others are available for free download at Hennapage.com. Follow this link to go straight to the E-books.

Spellstone Europe” and other free pattern books are available at HennaPage.com

Because I did not have a traditional tool, I created a few. One was simply a pin pushed into the eraser end of a pencil. I could dip the end of the pin into molten wax, then use it to create small lines and dots on the eggshell. This is called the “drop-pull” method and could spread wax only across short distances until there was no wax left on the pinhead. The lines would begin wide, then taper off. I did not quite get the hang of this specific technique, but I did mimic it using Becoming Moonlight® gilding paste and mics powders, which you can see further down in this article.

I also constructed a tool similar to the traditional kistka by cutting a circle of aluminum from the side of a soda can and rolling it into a pointed funnel, not unlike a tiny mylar cone used for gilding paste or henna. I cut a very small amount from the tip to create a hole through which the melted wax could flow, then attached the cone to a pencil by hammering two small brads through the metal and into the eraser end. The funnel can hold more wax, which flowed through the tip like a fountain pen when touched to the surface of the egg. This tool allowed for longer lines of consistent width.

Constructing kistka from items available at home .

Through my research, I learned that it is best to keep the hand holding the tool steady while rotating the egg. I also found that there were two ways the kistka was used: it was either dipped into molten wax, or it was heated over a flame then used to scoop a small amount of solid wax. By keeping the tool warm, the wax would melt and gradually flow through the tip. I found the latter method to be easier to control.

When the kistka is held over a flame, the wax is darkened by soot, making it easy to see as it is applied to the egg.

Ancient Blue®: Crystallized Indigo Vat

Ancient Blue® is a product from Mehandi which can be used to create blue designs on the skin. It is created by turning a fermented indigo vat into a crystalline state. The crystals are added to water and the resulting liquid can be painted onto the skin creating a stain that will last several days. The effect mimics the blue body art known as woading from the Iron Age of Britain. This indigo is the same kind of dye originally used for denim, as well as fabric-dyeing traditions from India to Japan. Ancient Blue® can be found here at Mehandi.com. More information about its use as body art can be found here.

Legs painted with Ancient Blue®. Free pattern book available at Hennapage.com.
Indigo-dyed eggs using wax resist and “false wax resist” methods.

I filled a jar with enough water to fully cover a submerged egg, sprinkled in about a teaspoon of indigo crystals, and let them dissolve for a few minutes. When I dipped the eggs into the dye for a short amount of time, they turned a lovely shade of soft indigo. The eggs became darker with each successive layer. This way, I was able to create monochromatic designs on an egg using a method similar to traditional pysanky, but with one color rather than several. By adding more Ancient Blue® crystals into the vat, I increased the intensity of the dye to achieve darker hues.

An egg after several layers of wax and indigo.
When the wax is melted away, the patterns are revealed.

If you would like to try this method, I would recommend using boiled or baked eggs rather than hollow ones, as the eggs need to submerge completely under the surface of the dye in order to achieve a deep, consistent color. You could also hollow raw eggs after dyeing them.

I also played around with turmeric paste and found I could achieve a pale yellow color on the eggshell. I mixed turmeric powder, water, and a small amount of vinegar into a thick paste and coated the egg, letting it sit for a couple of hours. The result was a pale, bright yellow similar to a highlighter color. I then waxed those areas I wanted to keep yellow, and dyed again with indigo.

An egg first dyed with turmeric, then again with Ancient Blue® Indigo. The design is revealed as the wax is warmed and rubbed away.
Finished egg with Becoming Moonlight® gilding paste, powders, and gems.

Becoming Moonlight® Gilding Paste and Gilding Powders

A Becoming Moonlight® alternative to wax resist is the gilding paste resist. Becoming Moonlight® gilding paste is an adhesive which is applied via a cone, much in the same way traditional henna is done. Unlike traditional henna, the paste contains no dye and sits on the top of the skin. It is sealed with a glitter or mica powder, allowing for a henna-like design in any imaginable color. It is especially nice for “white henna” body art. Because the paste is water-resistant, it is a suitable material for resist dyeing. One can apply a design using gilding paste, seal the paste with mica, then apply Ancient Blue® overtop. When the gilding paste is removed, a white design is left behind where the paste protected the eggshell from the indigo dye. Be sure to peel off the gilding paste immediately after the Ancient Blue® indigo dye has dried, as gilding paste will be very difficult to remove from the egg after it has been left too long. Unlike skin, eggshells are hard and brittle, which can make removal of gilding paste more difficult.

The gilding paste can also be used as a decorative material itself, to mimic the beautiful golden and jeweled designs of Faberge eggs. Simply apply gilding paste designs to a dyed egg, allow the paste to set for about ten minutes, and finish with shimmery mica powder and crystal gems. Note: gilding paste cannot be left unsealed, as it is an adhesive and will be very sticky to the touch even when dry.

Becoming Moonlight® Gilding Kits contain enough gilding paste, glitter, mica powder, and gems to easily complete several eggs. You could also use it for its original intent, which is to create sparkly designs on the skin which can last for several days. Paste, glitter, mica, and gems can also be purchased individually here.

This egg was dyed solid blue with indigo, then decorated with Becoming Moonlight® gilding paste, powder, and glitter.

False Resist with Henna Paste

Another way to achieve a similar result as a wax resist is to dye the entire egg with Ancient Blue® indigo, then apply designs in henna after the dye has dried. I discovered this through experimentation, expecting the henna to deposit additional dye over the deep blue color. Instead, the indigo dye detached from the eggshell where the henna was applied, leaving the original white. This is because Ancient Blue® indigo vat is alkaline, as is the calcium in the eggshell, and henna paste, which is made with lemon juice, is acidic. I confirmed this hypothesis by rubbing an indigo-dyed egg with regular vinegar and saw that the blue dye was removed.

A “false resist” created by applying henna paste over an egg dyed with Ancient Blue®.

I found that I could also apply wax designs to an indigo-dyed egg, then rub it with vinegar until only the dye protected by the wax remained. This resulted in a design opposite to a regular wax resist wherein the majority of the egg is white except for where the wax was applied.

Wax was applied over indigo and then the remaining dye was removed with vinegar.

Some excess indigo dye transferred onto the shell during wax removal, coloring the shell a light blue. I didn’t mind this; it looked quite pretty this way. I then began filling in spaces with Pros-Aide liquid® and Becoming Moonlight® mica powder for a stained-glass effect. Like Becoming Moonlight® gilding paste, Pros-Aide® liquid is an adhesive that dries tacky and is then coated with a powder or glitter. The liquid can be applied to a brush and it dries flat. Unfortunately, I dropped this egg before I was able to complete it.

Reverse-resist egg with stained glass pattern.

Temptu® Dura Temporary Tattoo Paints and Mehron® Powders

Mehandi also supplies body art products such as paints and powders. Temptu®DuraS paints are acrylic-based and water resistant, making them great for egg-decorating. I decorated one egg entirely with Temptu® Dura body paints in the style of a traditional pysanky wax-resist egg. Because Temptu® leaves a tacky surface when dry, I dusted the egg with baby powder between applications to make it easier to handle and to prevent fingerprints. When the powder had set, I rubbed off the excess with a soft cloth and continued painting. Find Temptu® Dura paints here at Mehandi.com.

Pysanky-style egg decorated entirely with Temptu® Dura Temporary Tattoo Body Paint.

Mehron® metallic powders and precious gems powders are ultra-fine and intensely pigmented. The metallic powders create a gorgeous flat shine and the precious gems powders come in a variety of shimmering colors. They can be mixed with Mehron® mixing liquid and applied with a paintbrush, or dusted over Temptu® paints and Becoming Moonlight® gilding paste. I decorated an egg in the drop-pull style using Mehron® powders. I first painted the entire surface of the egg with Temptu® Dura in white, then buffed it with silver Mehron® powder. I then applied Becoming Moonlight® gilding paste mimicking the drop-pull wax-resist style and dusted the pattern with Mehron® precious gems powders. I then finished it with Becoming Moonlight®gems. Mehron® products can be found here.

Egg in drop-pull style with Mehron® powders.

Final Notes

Before beginning your project, be sure to wash your hands so they are free of oils or dirt which may transfer to the eggshell and cause uneven dye results. It also helps to rub the eggs clean with vinegar. You can plan out your design by drawing on the egg very lightly with a pencil, but do not use the eraser. To remove unwanted pencil marks, rub them with a cotton swab dipped in vinegar.

It is helpful to use rubber bands and circular stencils to guide your pencil marks for straight, symmetrical lines. Ground your wrists on a stable surface when decorating to help prevent mistakes. I found that keeping the egg nestled in a soft cloth, or on a plastic ring (such as one from a milk bottle) was also useful to prevent excess movement.

Be patient and allow each layer of wax, dye, or body art product to dry fully before continuing. You will not want to ruin one side of the egg by continuing onto the other side too hastily. Wash your hands often to keep your egg clean as you handle it.

Wax-resist eggs, especially if they are hollow, can last virtually forever due to the thin wax coating left behind when it is finished. As long as the shell is not cracked, the egg inside should not rot. If the egg is hollow, it will definitely last. Many traditional eggs have lasted for decades, kept within one home or passed down through generations. Be sure to store and move them with extra care, as they will crack if dropped. For extra protection, I preserved all of my eggs by spraying them with a clear gloss sealant that can be found at any craft store.

If you have Becoming Moonlight® body art products at home or are interested in putting a new spin on your egg-decorating this Easter, feel free to try any or all of these techniques! None of the Becoming Moonlight® body art products are toxic, nor will they permeate through the shell, but I do not recommend eating your decorated eggs. These products are not graded for food safety. Keep your eggs for seasonal display for years to come. They will be sure to stand out in your home and celebrations. Comment below with your egg creations, or if you have any questions about the products and methods

How To: Celtic Style Designs in Temptu® Body Paint and Becoming Moonlight® Gilding Powder.

History tells of Celtic warriors painting themselves blue before battle. We see these images on the screen in such as Braveheart and King Arthur. In the television show, American Gods, based on the book by Neil Gaiman, the character Mad Sweeney appears with shining blue streaks across his face and chest– clearly a brighter, more stylistic homage to the traditional body art called woading.



Mad Sweeney appears with blue markings in this short video shared on Twitter.

Woad was made from the isatis tinctoria plant, a relative of the indigofera tinctoria that is used to dye fabrics and to create vashma, which is used in the hair in conjunction with henna. Both plants create indigo dye which stains the skin when prepared into a vat. Painting the skin with an isatis tinctoria woad vat involves a rather tedious and odoriferous process. Becoming Moonlight® has developed a product called Ancient Blue® made from the indigofera tinctoria plant, which is much better suited for today’s body artists. To learn more about the history and use of traditional woad, visit these books on The Henna Page. To Purchase Ancient Blue® Indigo crystals, click here.


Learn the history of woading and Ancient Blue® technique here.

For those who wish to recreate the woad look with a glowing shimmer, another technique works stunningly well. By creating a design with Temptu® Dura body paint and dusting it with a shimmery blue Becoming Moonlight® Gilding Powder, an artist can create Celtic designs in with a contemporary twist. Temptu® Dura body paint has been widely used by professionals to simulate tattoos because of its opacity, high pigmentation, and staying power. The paint is water-resistant and dries slightly tacky. It is normally dusted with a translucent powder to seal the design and to make it appear more like a true tattoo. By replacing the translucent powder with a pigmented mica powder, an artist can achieve a long-lasting glowing effect that really grabs the eye. The design can last up to a week with careful maintenance.


Body art by Alexander Limbach; inspired by patterns by Alex Morgan.

Shimmery, water-resistant designs would be great for a festival or faire, to show your Celtic pride, or simply to add a little sparkle and beauty to your everyday life. Remove the design with isopropyl alcohol or mineral oil. For free patterns and inspiration, click here.

To learn the technique, watch the video below.

Mehandi Employees’ Favorite Products

 

One of the great things about working for Mehandi is that we, as employees, really do love the products. We use them at home every day. Nearly all of us use Ancient Sunrise® Henna for Hair products to dye and/or condition our hair. We use Ancient Sunrise® hair care and body care products in our daily routines. Many of us use Becoming Moonlight® body art products. Several Mehandi employees are licensed cosmetologists and/or body artists who use the products professionally. We also love to recommend products to our friends and family, and sometimes to complete strangers. Anyone who has used Ancient Sunrise® Henna for Hair long enough knows how common it is to be stopped in public by people admiring their hair. We’ll even keep business cards on hand for this very reason.

I had been using Ancient Sunrise® Henna for Hair for several years before I began working for the company. My enthusiasm for the products was one of the reasons I decided to apply. When I was a Customer Service representative, I loved that could recommend products I genuinely believed in. I never felt like I was pressured to “get a sale” or to talk up a product that I didn’t feel was great. It was more like I was getting paid to teach people about an awesome part of my own life. Now, I continue to do so through the blogs.

I asked my coworkers to list their favorite products from Mehandi.com and to explain why they love them. This article features our responses. It was interesting to see how our top picks differed depending on our own hair, skin, and professional needs.

 Click on the names of the products to find them at Mehandi.com. We hope you fall in love with them, too!

 

 

Rebecca

Writer for AncientSunrise.Blog and BecomingMoonlight.Blog

Body Artist

 

 

Ancient Sunrise® Zizyphus and Juniper Shampoo Bar. This has been my go-to shampoo bar for a couple of years. It cleanses well and leaves my hair clean and conditioned without feeling too heavy. I love that one bar lasts for several months.

Ancient Sunrise® Amla Powder. I use it as a face mask about once a week. It helps to fight my acne, and exfoliate away dry skin. My skin looks more awake and feels smooth after I use an amla mask.

(To learn how to use amla as a skin treatment, click here)

Ancient Sunrise® Rainwash Mineral Treatment. It never fails to perk my hair up. I use it before henna treatments and whenever my hair feels a little unmanageable and dull. It makes my hair soft again.

Becoming Moonlight® Gilding Paste. It is easy to use, creates beautifully fine lines for intricate designs, and I love that I can use a variety of colors and finishes over it for a wide range of looks.

Becoming Moonlight® Gilding Powder in Bridal Gold. The color is just gorgeous. It's one of my favorites to use when doing body art, and it compliments a variety of skin tones beautifully. Also works well as a subtle highlighting powder or eyeshadow. All of the gilding powders are extremely fine, so they are easy to use and a little goes a long way.

 

 

 

Liz

Customer Service Representative

Shipping Department

 

Ancient Sunrise® Rainwash Mineral Treatment. Makes my hair soft and more manageable.

Ancient Sunrise® Vetiver Shaving Soap. I love shaving my legs with the shaving soap. My legs are smooth and moisturized. I like that they have no artificial fragrance in them.

Ancient Sunrise® Amla Shampoo Bar. It removes the oils on my hair leaving it looking great. ​​ I don't need to use as much conditioner now. You can also use it as an exfoliating body bar.

Ancient Sunrise® Mango Seed Butter. I use this year product year round, it keeps my feet and hands from cracking. The butter absorbs quickly into the skin, without feeling greasy. I like that the scent is not overpowering.

Ancient Sunrise® Nettle, Comfrey, and Peppermint Shampoo Bar. My boyfriend Pete, loves this shampoo bar! This is the only dandruff shampoo that works for him.

 

 

Maria

Licensed Cosmetologist

Customer Service Supervisor

Ancient Sunrise Educator

Social Media Coordinator

 

 

Ancient Sunrise® Rainwash Mineral Treatment is gentle enough for my kid with sensitive skin to use. It makes a great alternative to a clarifying shampoo!

Ancient Sunrise® Rajasthani Twilight Henna and Ancient Sunrise® Zekhara Indigo are so easy to use and great for the hair. I've never seen hair look so good after being colored! The fact that fading doesn't occur is a huge bonus!

The Mehron “Paradise” 30-Color Pallet allows my creativity to be limitless! I can take it with me anywhere and use it for the simplest design or use it for something complex. This is a must have for anyone who has an artistic bone in their body.

Becoming Moonlight Glitters are rad. I love these because I can get a variety of shades of shine to suit my mood. My current fave is Garnet.

 

I honestly could go on and on with my favorite products we carry. ​​ I love all the things!

 

 

 

Alex

Shop Supervisor for The Empire of Magical Thought

Body Artist

 

Ancient Sunrise® Zizyphus Spina Christi Powder. It makes my hair more manageable and reduces the amount of random flyaway hairs, it's easy to use and in general just makes my hair look better.

(To learn more about Zizyphus, click here.)

Becoming Moonlight® Gilding Powder as eyeshadow. The range of colors is amazing and I never fail to get compliments on my eye makeup when I use them.

Becoming Moonlight® Gilding Paste. It is great for extremely detailed work, it can be applied pretty much anywhere (given common sense) the mica and glitter colors are amazing, and I like that there is the choice between mica and glitter to suit the kind of design you are going for.

(To learn about how to use Becoming Moonlight® Gilding Paste, read this article and visit www.becomingmoonlight.com)

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Feel free to comment below to let us know your favorite Mehandi products! If you have any questions, don’t hesitate to contact Customer Service at www.Mehandi.com.

Becoming Moonlight® Gilding for Body Artists: How to Expand your Business by Offering “White Henna” and “Glitter Henna”

 

 

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Becoming Moonlight® gilding paste, used in combination with Becoming Moonlight® gilding powders and glitters, is a beautiful and versatile alternative to traditional henna. “White henna,” and “glitter henna” are becoming increasingly popular. These designs look especially stunning when the wearer is out in the sun, where the designs catch the light. They contrast beautifully with tanned skin. Spring and summer are great times for offering Becoming Moonlight® gilding paste designs. Becoming Moonlight® is available exclusively at www.mehandi.com.

If you would like to learn more about the product itself, read “White Henna” and Becoming Moonlight® Gilding Paste, and see the product here.

If you are a body artist interested in offering Becoming Moonlight® gilding paste, here are a few tips to ensure success with this new medium.

 

Play with the materials before you begin to use them on customers.

If you are familiar with using traditional henna paste in a cone, Becoming Moonlight® gilding paste has a very similar feel. It was developed specifically with body artists in mind. That being said, it is always a good idea to practice with new materials before using them on clients. Most of the artists I've talked to who were not happy with the product did not take enough time to play around with it before offering it to customers. Don’t assume that it will work just like henna. It is similar, but has its own personality. Check this blog, as well as www.becomingmoonlight.com for tips, tutorials, videos, and patterns. If you are completely new to this product, check out the Introduction to ‘White Henna.’

 

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Becoming Moonlight® gilding paste feels a little different from regular henna, and there are some things that one can do that the other cannot. Becoming Moonlight® gilding paste does well with fine lines, but large, solid shapes do not work as well. Like with traditional henna, the tip of the cone may clog from time to time due to product drying there. Keep alcohol swaps on hand to keep the tip clear and the paste flowing easily. Unlike traditional henna, Becoming Moonlight® gilding paste works best if the tip of the cone is gently touching the skin rather than floating above it.

After practicing with the gilding paste you may find that you develop a style that is different from the one you use when applying traditional henna. I’ve found that gilding is great for soft, lace-like styles, and floral themes.

 Remember that the design must be sealed. The paste itself is only the first step. It is an adhesive, not a body paint. Once the paste has become firm to the touch, the surface will be tacky. Finish the design with Becoming Moonlight® gilding powders, body art quality glitters, and gems. This second step is not optional. Even if you want to keep the design white, you must apply a white powder over top of it.

Becoming Moonlight® gilding paste can be used alongside other body art media. It looks great as a highlight on traditional henna stains and works well with Temptu paint and Pros-Aide liquid. The wonderful thing about Becoming Moonlight® gilding paste is that it remains opaque and raised, and can be set with any color powder or glitter. Don’t limit yourself to white; try metallics, bright colors, and rainbow effects!

 

 

Becoming Moonlight® gilding paste and gilding powders, used in conjunction with Temptu white body paint, create a unique lace effect. Body artist: Rebecca Chou. Photography by Roy Jones. Graphic montage by Alex Morgan.

 

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Wear it on yourself to advertise.

Becoming Moonlight® gilding is very eye-catching. It looks like henna, but it’s sparkly and colorful. I have had numerous people stop me and even take pictures of my body art when I wear it out and about. It is a gorgeous, modern twist on traditional henna body art, and that’s why it is becoming so popular.

While you’re working the fairs and festivals, and any other time you like, wear gilding paste on your arms or legs, and keep your business cards on hand. Be sure you feel comfortable answering questions about the product, like how it works and how long it lasts.

 

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Gilding looks absolutely stunning on darker skin tones. Body Artist: Wendy Rover. Photography by Roy Jones. Graphic Montage by Alex Morgan. Words by Gwyneddh Jones

 

 

Make sure the customer understands the difference between Becoming Moonlight® gilding and traditional henna.

Traditional henna is applied to the skin and left on for several hours to allow the paste to stain the skin. The resulting design comes from the lawsone molecules that have migrated into the skin’s outer layers. With Becoming Moonlight® gilding paste, the paste itself is the design. It does not stain the skin. When the paste is removed, the design is gone. However, the paste is flexible and water resistant, allowing it to last for up to a week with proper care. Make sure your customer knows exactly what they are getting before you start.

One of the great things about using Becoming Moonlight® gilding paste is that once you have set the design with powders and/or glitters, it is done. Customers don’t have to worry about wrapping their body art or moving carefully to avoid smudging. It is great for people who can’t have a stain on their skin for work or school. They can simply peel it off or rub it away with baby oil. This works well for kids whose parents don’t want something that will stain their child’s skin. I used to bring my body art supplies into the after-school program where I worked, and it was a huge hit. However, younger kids will have a tendency to pick at their designs within minutes of getting them done.

 

 

Remember to ask customers whether they are sensitive to adhesives.

Becoming Moonlight® gilding paste is developed from a medical adhesive. It is non-toxic, skin-safe, and is latex-free. That being said, those who are sensitive to adhesives, such as those on bandages or medical tape, may want to avoid using Becoming Moonlight® gilding paste. Ask your customer if they are sensitive to adhesives before starting.

 

 

Know that Becoming Moonlight® gilding paste does not comply with wudu for Muslim clients.

People of Islamic faith practice ablution, or ritual cleansing. They may do this several times a day, usually prior to prayer. This requires that the water freely and fully reaches the skin on the hands, feet, and face. While traditional henna is acceptable, as it is a stain, Becoming Moonlight® gilding paste covers the surface of the skin and is water-resistant. Be sure that your client understands this. You may want to suggest that they have their design placed on their upper arms, above the elbow, or on their legs, above the ankle. Luckily, these areas of the body work better for Becoming Moonlight® gilding paste, anyway. Read the next section to find out why.

Know that religious practices differ, and that some may follow wudu more strictly or loosely. Remember to be respectful in the way you discuss this, and allow the client to make the final decision for themselves.

Additionally, ask if it is okay to use alcohol to clean the area prior to applying the design. Skin needs to be clean, dry, and free of oils in order for the gilding paste to adhere well. If you believe you will have clients who cannot have alcohol on their skin, keep other alternatives such as soap and water available.

 

 

Becoming Moonlight® gilding paste works best on flat areas where there is little joint movement and stretching.

The best areas to use Becoming Moonlight® gilding paste are often the opposites of the ones where you would use henna. Sure, it looks gorgeous on the hands, but all that bending and stretching will cause the design to come off more quickly. Make sure your customer is aware of this when deciding on placement. Hand designs are good for one-day events, like weddings or parties.

Becoming Moonlight® works beautifully on the chest, torso, back, and upper arms and legs. Use this to your advantage to create new and interesting designs for body parts you might not usually work with. You can find tons of inspiration on The Henna Page, and BecomingMoonlight.com.

 

 

 

Use Becoming Moonlight® body art products to make a beautiful belly design. Body artist: Alexander Limbach. Photography by Roy Jones. Graphic Montage by Alex Morgan.

 

 

It is also important to be aware that the paste is more difficult to apply and remove from hairy skin. Hair will interrupt the flow of the paste, causing uneven lines. Because the paste is an adhesive, removing it from hair skin can be painful, and pull out hairs. Have client shave their arms or legs prior to a private appointment. At a festival or fair setting, politely suggest a different placement, such as on the inner arm, the upper arm or the upper back.

 

The image on the left shows areas where henna stains well. The image on the right shows areas where gilding works best.

 

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Figure out how you will manage the flow of clients if you are working a stand.

If you are offering Becoming Moonlight® gilding at a stand or booth, you will need to figure out the best way to keep your clients moving through smoothly. Decide whether you want to offer both traditional henna and Becoming Moonlight® gilding, or only the latter.

 The paste needs to set for about 5-10 minutes before you are able to seal it with powder or glitter. If it is particularly humid out, the paste will take longer to dry. This means there will be customers waiting around between the first step and the second. If the event is slow, you can simply hang out and chat. If there is a line, you may want to have a partner seal the designs after you have done them, and have a space where customers can wait off to the side. Make sure that the customers don’t run off after the first step, thinking it is done. This will happen. Maintain a clear system for cycling customers through your stand in a timely manner.

 

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Decide on pricing.

By weight, Becoming Moonlight® gilding paste is pricier than homemade BAQ henna paste. In addition, you will need to have a few gilding powders, glitters, and perhaps gems. (If you offer body art as a business, contact Customer Service about getting a 25% body artist discount on Becoming Moonlight® body art products.)

You may want to charge more to make up for the cost of materials, and because it is something unique and different in comparison to traditional henna. On the other hand, many customers are unfamiliar with gilding and are deterred by its shorter duration. Pricing will depend on region and client demographics, as well as your personal business sense. Advertising is important. Make sure you have several lovely images of your gilding work where they can easily be seen, to draw in customers.

 

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Start by offering a few simple patterns and a limited color selection.

Part of maintaining a seamless flow is not overwhelming yourself and the customers with too many options. Have a pattern book ready with around a dozen designs which you can complete in ten minutes or less. Offer a few powders or glitter colors to choose from. It works well to offer white, gold, and silver, as those will be the most popular. Decide if you want to offer gems as well, and whether you will charge extra for it.

If you are doing a private appointment, have more options available and consult with your client beforehand to decide on a color palette. Remember that glitters and powders can look different in the jar than when on the skin. Doing a test run of the design, or creating color swatches can be helpful. ​​ 

 

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Becoming Moonlight® gilding powders are cosmetic-grade mica powders. They come in a wide variety of colors. ​​ Find the whole selection here.

 

 

Make sure your customers know about proper aftercare.

Your customers will want to be careful when washing and drying the area where you have placed the design. The product is water resistant, but will be a little softer and prone to peeling when the skin is wet. They will want to avoid harsh rubbing, and only use gentle patting motions when washing and drying. They will also want to avoid using oils, lotions, and alcohol-based hand-sanitizers on the area.

The design may peel more quickly for those who sweat and move a lot when sleeping. I find that dusting the design with more gilding powder, or a talc-free body powder before bedtime helps keep it dry and intact. If you do a large design for a special event, you may want to consider leaving them with a small sample of the powder you used, which they can reapply to keep the design fresh.

 

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This design stayed impressively long for being on my foot. I dusted it with more powder every night to protect it while I slept. This is about five days after application. You can see where some areas are peeling. On another part of the body, the design would stay even cleaner.

 

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When applying gilding for special events, it is best to do it close to the time of the event.

Becoming Moonlight® gilding lasts for up to a week with proper aftercare, but it will always look its best when it is fresh. After a few days, the surface can become slightly tacky, and pick up bits of dirt and lint, dulling the colors. Some parts of the design may lift, and begin to peel. You can avoid this wear-and-tear, and prolong the beauty of the design by dusting it with powder or glitter daily.

If someone has hired you to apply Becoming Moonlight® gilding paste for a wedding, party, or another special event, it is best if they are able to have the appointment the same day as the event. This will ensure that the body art looks its best, and gives it less time to dull or peel. Make sure you feel comfortable doing large designs, know roughly how long it will take you to complete it, and allow time for mishaps.

 

 

Create a stunning collar piece to match an outfit for a special day. Use gems and ribbon to make the piece stand out even more. Body Artist: Alexander Limbach. Photography by Roy Jones. Graphic montage by Alex Morgan.

 

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Final Notes

Becoming Moonlight® gilding is a wonderful addition to any body artist’s repertoire. As white and metallic henna-style body art gains popularity, it benefits you to be able to offer it. It is especially good for weddings and proms, and it is in high demand during the summer months. Make sure you are familiar with the product, and have a plan set for how you will offer it in your own business. Offering Becoming Moonlight® gilding will set you apart from other body artists and is sure to bring repeat customers.

If you have any questions, don’t hesitate to comment below or contact customer service at www.mehandi.com.

 

 

 

 

 

What’s It Like Working for Mehandi.com?

 

 

Writer’s Note

Ask any employee here, and they’ll agree that there is no company quite like Mehandi. Probably because there is no boss quite like Catherine Cartwright-Jones, PhD.. I have worked for Mehandi and our branches for almost three years now, and it is truly wonderful and different. Before starting the blogs this past summer, and moving to Montreal, Quebec, I was part of the Customer Service team in the main office, worked at our brick-and-mortar store, Empire, and was a “body art specialist” for the company. Before that, I was a customer who loved the products.

What makes this company different is the openness and flexibility. Part of it is cross-training, and part of it is that the company recognizes staff’s talents and interests, encouraging them to take on new roles. If I were to write down my job description, it would be long and strange. When people asked me what I did, I’d stop for several seconds, because “Customer service for an online store” did not capture it in the very least. I’d need an hour to give it justice, starting by describing Catherine’s research on henna for hair, the dangers of PPD, and the use of body art throughout history and around the world... and how the company came about in relation to that research… and how we didn’t just sell things, but also provided information and support… and yeah I was on the phone a lot, but sometimes I was covering myself or others in glitter… and sometimes I was doing research… and sometimes I was playing with puppets.

Now, I’m here in my office, in my apartment hundreds of miles away from Kent, Ohio, but still very much connected to the company through the magic of the internet. For this article, I drew on my own experiences, and asked my co-workers to provide their own thoughts. One thing becomes very clear: It’s all about the people.

 

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The Warehouse

First, I’d like to take you on a descriptive journey through the little blue building we call The Warehouse. Just off the highway, on Tallmadge Road, in Kent, Ohio, down a gravel driveway, hidden behind another industrial building, there is a place where magic happens on the daily. There are hummingbird feeders attached to the windows. Jenny the cat, who has been out stalking some small thing, is rolling on the sidewalk leading up to the door.

 

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The warehouse. Photo credit: Roy Jones

 

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Walk inside, and you are greeted with a swirl of scents. It has the classic odors of a warehouse and office space, with its notes of cement, dust, and cardboard. Then, you smell plant powders and spices. Shampoo and soap bars. Incense, which many employees burn in their offices. Burnt sage, if some negative energy had to be dispelled recently. If Lynnette, head of Assembly, has been packaging essential oils, that heady smell hits you square in the nose.

You are standing in the Assembly room. Here, packets are labeled, fruit acid powders are measured and bagged, and henna-for-hair kits are put together. To the right, Lynnette’s office is dimly lit with hanging lamps and smells like a temple. Her office is also the home of one of our printers, whom we call Hal. Hal prints our labels and other things needed for assembly. Val is the other printer.

Walk forward into the next room, and you are in Packing and Shipping. The walls are lined with shelves holding henna for hair kits and big baskets of individual plant dye powder packets. There are drawers full of shampoo bars, soap bars, and smaller items. There are wide tables where Michelle or Melissa are stacking shallow black bins, each containing the contents of an order ready to be packed and shipped. They double-check the order form, and initial it. When an order gets packed, it’s checked and initialed again before the box is taped up. Carl the cat is most likely snoozing under the shipping table.

 

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Melissa and Carl wait for the mail truck.

 

 

Mehandi.com. shipping room – Spherical Image – RICOH THETA

The kitchen is on the left side. There is a counter, a sink, a coffee maker, several teapots and mugs, a refrigerator, and a set of plastic drawers packed with snacks, teas, and coffee.

Through the door straight ahead is Customer Service. Be quiet and keep the door closed. Here are several desks with computers, each area personalized by each customer service representative. The walls are covered with fabric tapestries, hair swatches, letters and photos from happy customers, and cheat-sheets for item codes, mix ratios, and other important information. The CSRs are chatting through their headsets and typing on their keyboards. If the phones are slower, they are answering emails, or responding to posts on our Facebook pages.

A door on the other side of the Customer Service office leads to a hallway. Here are doors to the offices of the administrative positions. Roy Jones, Catherine’s husband, is the man behind anything having to do with technology. He also does the photography for promotional materials. His office is tech’d out and filled with books about computer systems and coding. Other administrative positions have offices in this hallway, as well. Val, our other printer, spits out customer order sheets in the corner.

The Packing and Shipping room is also attached to the warehouse proper, as well as the break room. The warehouse contains huge pallets of boxes filled with henna, indigo, and other plant powders, which we ship from India several times a year. It is dark, quiet, and cool.

The break room is a wide space that holds a large, comfy couch, shelves of packaging materials and office supplies, and a dedicated space for photography. Someone may be having lunch or catching a quick nap while others prepare a body art piece for shooting. There is a shelf full of fabrics and props. The couch is eternally covered in glitter. This is where we have company meetings. Some of the staff will pile on the couch, others will bring in their chairs, and others sit on the floor. The cats will wander from person to person, demanding their due pats.

 

Mehandi.com, the “photo studio” – Spherical Image – RICOH THETA

There are no cubicles here. The furniture is a mix-and-match of used and re-purposed items. There are several very old, very pretty rugs. The whole place looks like it is run by a hippie who went into business, and who has a penchant for digging through Craigslist for antique furniture. Because maybe it is. Catherine works from The Shed, her office at her home, and pops in from time to time. But her presence here is always clear. The warehouse is a home, and the people are a family. We joked among ourselves that the type of person to work here is always a little weird, and maybe you have to be, to be this passionate about something like henna.

 

Rumple guards the entrance to The Shed. Here is where Catherine completed her PhD Disseration.

 

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What is Mehandi.com?

Mehandi is the online store for Ancient Sunrise® hair and skin products, and Becoming Moonlight® body art products. It is the result of years of research by Catherine Cartwright-Jones, PhD., who had an interest in providing safe alternatives to commercial hair dye, and providing research-based information on henna. The company’s origins go back to the Henna Page Forums of the mid-to-late 1990s, when henna began to gain popularity in the Western world.

Our plant powders are tested by an independent lab to ensure purity. Our Becoming Moonlight® Gilding Paste is the first skin-safe adhesive to be formulated specifically for body artists wishing to create “white henna,” and similar designs. We ship across the globe. HennaforHair.com, Hennapage.com, Tapdancinglizard.com, and our blogs continue to publish scholarly and research-based information that is free to the public.

Catherine’s vision went beyond selling a product. It was about educating the consumer and shedding light on safe, effective methods of hair care and body art. Catherine has spoken to the FDA and to cosmetic giants about the epidemic of para-phenylinedyamine (PPD) sensitization. She hopes to influence change in the use of PPD in hair dyes, and to bring henna for hair into the mainstream. Mehandi.com has tens of thousands of customers who now happily color their hair without risks of allergic reaction or hair damage.

 

 

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Our new and improved website launched in 2017.

 

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Happy Staff = Happy Customers

Catherine firmly believes that the success of the company depends on the way her employees are treated. She knows that work can be stressful, and that the staff spends much of their time at The Warehouse. Therefore, work should be a comfortable and enjoyable place. Our kitchen is stocked with coffees, teas, and healthy snacks. There is a request sheet that is filled regularly. Out of chocolate-covered almonds? Put it on the list. Snacks are part of the company’s budget. Roy regularly treats the staff to lunch. If a company meeting is happening, there will probably be food.

In addition to staying well-fed, we are quite comfortable. There is no dress-code policy. Staff are encouraged to wear whatever is most comfortable for them, whether it is jeans, pajama pants, or flowing skirts. Some shuffle around in fluffy slippers. There are a number of seat options available, so whether a person prefers a swiveling office chair or a yoga ball, there is something that will work. The large sofa in the break room is great for naps. The two office cats, Carl and Jenny, who keep us company, provide stress-relief, and lie on our keyboards at inopportune times.

 

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Jenny is very good at getting in the way. Photo credit: Elizabeth Nissel.

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Customer Service

Our commitment to customer service is what makes this company great, as well as unique. I don’t mean it in that cheesy-commercial-slogan kind of way. Catherine understood that the knowledge of using henna was once commonplace, because it was shared among family and friends. In the areas where henna was traditionally used, men and women went to their respective public bathhouses, communal spaces to wash, groom, and interact with others. People washed each other’s bodies, hennaed each other’s hair, hands, and feet, and shared grooming tips. Now that personal hygiene has moved to the privacy of individual homes, Catherine understood that, in order for this knowledge to be spread again, she had to create a modern version of this community.

 

 

 

 

It starts with the customer service team. Each new representative takes the time to read the Ancient Sunrise Henna for Hair E-book and many other resources before being able to work one-on-one with customers. The other team members help each other to make sure that the info they are giving out stays accurate. When needed, the staff re-read material and find new articles to share with one another to keep their knowledge fresh. New members are quizzed on their knowledge by their co-workers. They role-play potential phone calls, and give constructive criticism. It may be several weeks before a trainee is allowed to take a phone call on their own; they begin with emails and responses on social media which are checked by Maria, the Customer Service Supervisor, before being sent. This is all to make sure that our customers get consistent and accurate information.

The customer service staff communicates with customers in several ways: By phone, email, online chat, one of our many Facebook groups and pages, and through social media programs like Instagram and Twitter. We also send out a monthly newsletter. The customer service office is open much later than an average business—often until 10pm EST on the weekdays—so that people can contact them late in the evening for last minute orders, questions or advice.

Customer Service advises henna users on custom mixes and selecting the products that work best for them. They take orders. They troubleshoot. Being a customer service representative is both stressful and rewarding. It requires an amazing amount of multi-tasking. Jumping from a phone call, to a chat session, to a Facebook thread is a normal part of the job.

We know many of our regular customers by name, and even their usual order. CS keeps notes on customers’ files, so if a customer has been working on adjusting their mix, or has been having difficulty achieving their desired color, any representative can pull up their history and continue the conversation where it left off last. (Here’s a secret: We’ll also write notes like “This person is so sweet and a joy to work with!”)

Because of this, we are able to develop a personal connection with our customers, and to grow a community of henna-users who are well-versed in henna for hair. Our online community at the Ancient Sunrise Henna group on Facebook is now well over 3,500 members, and is very active. Customers are able to ask each other for advice, and to share photos of their hair. The group is like our virtual bathhouse, and the CS representatives, Catherine Cartwright-Jones, and I are like the grandmothers, sitting quietly in the corner until someone needs a little help.

 

If you’re not yet part of our public Facebook group, join now!

We also have groups for relaxed and natural hair, and for Becoming Moonlight® body art products.

 

Of course, henna knowledge then spreads in real life, through families, friends, co-workers, and even strangers. This company does very little in the way of advertising; much of our new clients call us after being introduced through word of mouth. In fact, there have been numerous times when a new customer told me that they are calling because they had stopped someone on the street and asked about their hair. Customers regularly report that they are asked about their hair. This happens so often that, by customer request, we began adding an extra business card into each of our shipments.

It is exactly this kind of community that Catherine envisioned when she began Mehandi.com. Her goal was not only to provide quality product, but also the knowledge and support that would allow henna to become a regular, household practice again.

 

Mehandi.com. customer service room – Spherical Image – RICOH THETA

Cross-Training and Interdepartmental Magic

Because we are a small company, many of us wear several hats. When I was living in Ohio, I worked in the Customer Service office during the week, and at our brick-and-mortar store, Empire, on Fridays and Saturdays. I, like many others, was also trained in Shipping, where we pick and pack the items that go out all around the world. I also helped out in Assembly, where the products are put together. I liked to measure the powders for the Henna for Hair Kits, and stick labels on the packaging. At one point, when the bakery and chocolate shop, Bittersweets, was short-staffed, a few of us also filled in there to help at the register and to clean chocolate molds. During the winter months, some of us do body art, hair, and/or make-up for promotional materials and tutorials, and other staff members act as our models.

 

Because most of the staff has experience in several departments, we understand how other departments work. This makes it easier for someone in Customer Service to know what is possible for Shipping, or for Inventory to check on how much time Assembly will need to create more stock. Because the space is relatively small, it is easy enough to run over to the next room to ask someone a question related to their department. Having a small crew of knowledgeable and flexible staff makes everything flow smoothly.

 

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Communication and Collaboration

In addition to the comfort of the physical environment, the feeling of openness and respect extends to the way that we are able to communicate and be heard by those in charge. Company meetings invite brainstorming and collaborating on new ideas. When asking my co-workers for input about this article, many of them said that they feel respected, and that their ideas are heard. I wholly agree. One of my favorite parts about working for this company is that creativity is appreciated.

In fact, these blogs came about because a few months prior to my move to Canada, I mentioned that the blogosphere seemed like a place where we needed a stronger presence. This turned into Catherine’s decision to launch AncientSunrise.blog and BecomingMoonlight.blog, and have me write while in Montreal. It was wonderful that she recognized my knack for research and writing, and turned it into a way to keep me with the company.

 

 

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My home office in Montreal, in its natural state of chaos.

Photography and video happen by the bookcase; research happens all over the desk and floor.

 

 

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Other products of staff creativity include our Instagram accounts, video tutorials, and ideas for promo codes. The Customer Service staff propose events for promos, and create those fun announcements you see on our Facebook pages. We are also listened to when we feel something is not working smoothly. In 2017, when the new Mehandi.com website was launched, Roy gave everybody access to the site-in-progress so we could check the pages and provide input and corrections.

It’s wonderful to work for a company that recognizes its employees as creative and skilled people with ideas worthy of being heard. We can say, “I would like to try this” and the response is more often than not, “Great idea! Go for it!” We know that our co-workers will be excited to see the outcomes of our ideas, contribute suggestions, and give constructive criticism. With so many projects happening at any given time, work never gets old.

Our work takes us around the world and in front of big audiences, too! In 2016, Catherine presented to the Office of Cosmetics and Colors at the USFDA, and then later that year at The IFSCC, International Federation of Societies of Cosmetic Chemists. In spring of 2017, Maria and Gwyn spend a week in Italy, working with a salon interested in incorporating henna into their services and products.

 

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Catherine Cartwright-Jones speaking to members of the USFDA. Photo credit: Roy Jones

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Maria Moore and Gwyn Jones in Italy. Photo credit: Maria Moore

 

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Gwyn presents to a company in Parma, Italy. Photo credit: Maria Moore

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We Are a Family Company in Every Sense

Catherine’s husband, Roy, oversees day-to-day operations and decision making at the office. Her daughter and son-in-law, Gwyn and Todd, run Bittersweets, the bakery and chocolate shop. Gwyn also knows everything there is to know about importing and customs. Catherine’s son, Rhys, is an attorney who helps with legal matters. Mehandi is very much a family-run business.

But the staff’s family matter, too. When I asked my co-workers for input for this article, one of the responses I repeatedly received was how much they appreciated the flexibility they had when it came to taking care of their own families. Many members of the staff have children of different ages and needs. They are able to adjust their schedules when situations arise. Because our jobs are so fluid, it is often possible for one person to fill in for another across departments when needed. Staff members sometimes bring their children to work during school breaks, or on days when school is canceled. In fact, the employees’ children love to play with each other. Jen’s daughters are great models for body art, sitting still while having their hands or faces painted. They have been featured in many of our promotional photos. Maria’s son has also had his face painted his fair share of times.

 

 

Staff kids at the office during the winter holidays. Photo credit: Jenifer Jeney

 

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Playing dress-up, Becoming Moonlight® style.

Body art by Maria Moore and Alexander Limbach, respectively. Photography: Roy Jones. Visual Montage: Alex Morgan

 

 

 

Finally, we are like a family to each other. We bring in snacks and groceries to share with one another. We trade clothes. We talk about our families and our lives. We spend time with each other outside of work. For me, one of the hardest parts of moving out of Ohio was leaving my co-workers. I am still a part of the company, and communicate with them over the internet, but I miss the day-to-day comraderie.

 

 

Thank you!

Mehandi.com is a company that values solid research and creative collaboration. Our staff come from diverse backgrounds, and bring their own unique skills. We love our products and are happy that you do, too. When you order from us, you are supporting a small business, and you are receiving products and knowledge that we are proud of. You are supporting our ongoing research and innovation. You are supporting our families and fur-babies. On behalf of everyone at Mehandi.com, thank you for being part of our family!

 

 

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Alex, Michelle, and Maria (Empire, Inventory, and Customer Service, respectively) after a body art and makeup photoshoot. Photo credit: Alexander Limbach

Chinese New Year 2018: Year of the Dog

Happy Year of the Dog!

 

Chinese New Year follows the lunar calendar, so it falls on a different day of the Western calendar each year, always some time around January or February. The zodiac consists of twelve animals, repeating in a specific order: Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog, and Pig. This year, 2018, is the Year of the Dog. It is my mother’s year. I was born in the year of the Horse. Similar to astrology, it is believed that each animal has specific personality traits.

The legend goes that all twelve animals participated in a race. Near the end of the race, the animals had to swim across a river. The cunning Rat hopped onto the Ox, who was swimming across in the lead, and hopped off once they were back on dry land to win the race.

As a child, I remember seeing dragon dances, hearing fire-crackers popping, and cymbals and drums crashing in parades and performances in the Chinatown area of downtown Cleveland, Ohio. My aunt taught traditional dance, so I’d often watch family and friends perform, waving fans, flags, or silk ribbons, or pounding drums. Seeing the red and gold decorations appearing in restaurants and stores during the preceding weeks always filled me with excitement. The cold, gray, Ohio winter would come to life once again. I remember family gatherings, huge tables of food, and... hong bao (red envelopes)! It is traditional to give younger family members red envelopes of money during Chinese New Year. What kid doesn’t like getting some extra cash?

 

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A packed and decorated temple.

(These next couple images are from my family’s celebration in Taiwan. I was here in Montreal.)

 

 

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Here are a few more traditions and superstitions for Chinese New Year:

 

1. Wearing red and gold attracts good luck and fortune. It is bad luck to wear black or white, which are colors associated with death and funerals.

 

2. Firecrackers, drums, and cymbals are used to scare off evil spirits and bad luck.

 

3. Homes are cleaned before the New Year, but cleaning is avoided the day of, because good luck might be thrown out or swept away with the dirt and trash. Trash is not thrown out for the first three days of the year. People will also avoid bathing on New Year’s Day.

 

4. Similarly, one should not get a hair cut near Chinese New Year, as it symbolizes cutting your life short.

 

5. Mandarin oranges are displayed and eaten, as they are a symbol of good luck.

 

6. Fish are also another sign of luck and fortune, which is why many New Year’s decorations involve fish. A fish dish is placed on the dinner table on New year’s Eve, but it is not eaten then. It is saved for New Year’s Day, so the “leftover” fortune from the old year can flow over to the new.

 

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In the bottom right corner, you can see the fish dish, which is covered with plastic so it can be saved for later.

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7. It is common to go to the bank to exchange old money for crisp, new bills. The money given in red envelopes is always brand new money.

 

8. The number 8 is always a lucky number in Chinese tradition! But avoid things in groups of four, especially when giving gifts, as the word for “four” in Chinese sounds similar to the word for “death.”

 

 

My beautiful grandparents getting ready to dole out some dough.

 

 

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The Body Art

 

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I realized I hadn’t ever done a body art piece specifically for Chinese New Year, and I was excited to give it a try. Henna is not traditionally used in Chinese culture. I saw this as an opportunity to blend boundaries, and create something with a new medium. Henna stains are a lovely deep red color, which pair well with the red and gold gilding I added. I used common images associated with Chinese culture and the holiday: plum blossoms, which are Taiwan’s national flower, and red lanterns. As it is the year of the dog, I placed the silhouette of a dog in the center of my hand. The arched pattern on the fingers is a common pattern seen in Chinese decoration and art.

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I did my makeup to be a modernized version of traditional Chinese makeup. Historical artwork, and images from Chinese operas show women with pale faces, straight, soft brows, red and pink hues on their eyelids, cheeks, and temples, and small, red lips. Styles varied through dynasties.

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I wanted some of the photos to feel like they were from an earlier time. I grew up in the United States, and I loved looking through my family’s photo albums from Taiwan, seeing my mother and grandparents in sepia and soft colors, my young grandmother in an elegant but western dress of the ‘50s. My much of my heritage is held in memories that others made long before I was born. My identity is a mix of Eastern and Western traditions, and they way they came together. Old photos and new celebrations. Hong bao with American bills. Dragon dances in Cleveland slush.

 

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“A Love Song of Pomegranates”

Poetry and Body Art

A Love Song of Pomegranates

 

They say to look for one

that feels heavier than it appears.

I test each fruit

in the palm of my hand,

feeling for the weight

of its buried gems.

 

Back home, I run the tip of my knife

through the thick skin,

just deep enough

so I can crack it open.

I peel back pale membranes,

thumb the fruit

until they loosen and drop.

 

It is a slow process. Methodical.

I work away at each section, wiggling out

the ruby teeth.

It is crucial not to break them.

Of course,

there are always a few mistakes.

 

The bowl fills.

The tips of my fingers blush.

My love wraps his arms around me

and watches the work.

He sneaks a handful

and slaps them into his mouth all at once.

I furrow my brow at him.

He laughs.

 

We are different, that way.

I eat them one by one,

picking them up between finger and thumb.

I hold them up to the light.

I pretend I am eating heartbeats.

I pretend I am

Persephone, though I’ve made my decision

long ago, and it was a good one.

 

Pomegranates are a practice

in patience. I don’t mind

that by the time we are done,

he’s eaten twice as much as I have.

We love in different ways:

He, eager and ravenous,

grinning with a mouth full of juice,

and I, counting each moment,

remembering the work I had done

to get here,

breaking each jewel between tongue and teeth.

“Ugly”

Poetry and body art.

I am ugly.

And that doesn’t mean I’m not PRETTY,

I’m just so ugly-stuffed with life

that it shows on my face and my body.

 

I turn heads when I walk, flaunting my ugly.

I laugh with all my teeth, and nostrils flared, and eyes squinted ugly.

I cry….UGLY, snot streaming over my lips, face red,

back in school some jerks two doors down said,

“she sounds like a monkey!”

ugly.

 

I was the only Asian in my grade, shortest in my class ugly.

didn’t act like all the other girls, scared of my own growing body.

I am flat-chested, no-hips ugly.

I was black eyeliner and loud music,

curtains drawn, scratching at my skin

with safety pins ugly.

 

But out in the daylight, perfect grin,

sweet, smart straight-A student

all that ugly held down with a pile of books.

I knew all the answers,

sitting at my desk with my hand up, pen poised on paper.

I thought I could turn all that ugly

into a perfectly formatted resume.

Toss that ugly up into the sky

like a graduation cap and stroll into adulthood

with nothing but beauty.

 

That’s not how it works.

I am deep, molten mantle around an iron core ugly.

The tectonic plates in my face sent up

eruptions and formed rifts above my brow.

I was ugly with layers of foundation and concealer,

ugly with silence,

ugly with the need to be seen mistaken for consent.

And then ugly for attention shaking ugly ass, flipping ugly hair,

batting ugly lashes, look at me just please don’t see

my ugly.

 

Then it went down into my joints and bones,

tired achy ugly.

My golden summer skin looked jaundiced when winter hit.

Ugly circles under ugly eyes, chapped lips.

I am an expert at ugly. I deserve a degree for the ugly I have been

and the ugly I have seen.

I collect and categorize kingdoms, phylums, classes of ugly.

I speak and transcribe ugly.

Mix pigments of ugly into perfect hues.

I dream ugly dreams.

 

I am ugly like days of rain.

Ugly like thick smoke.

I am ugly like a cat trapped out in the cold, looking for a home.

I’m ugly like death. ​​ 

Ugly like decay.

That sick sweet smell that never goes away.

Like dirt and seeds that struggle to sprout.

Ugly like leaves, ugly like trees.

I am a forest of ugly. I am an ugly country surrounded by angry,

ugly seas, the tides of ugly pulled by an ugly gravity.

I am the ugliness of a galaxy with its raging forces of energy.

I am monumental masses of ugly revolving around a central point.

I am light-years of ugly. My ugly bends space and time.

 

One day I’ll collapse into dense, dark ugliness, but I’m so ugly far away

that from back on earth, you’ll look up for years to come

and see me shine.