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

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)

​​ 

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.

Henna is Not Black: Stopping the Illegal Use of Para-phenylenediamine (PPD) on Skin

 

It happens every summer. As soon as school lets out and families go on vacation, a handful of news reports go viral about a vacationer getting a “black henna” tattoo and ending up in the hospital. Too often, they are children. Severe reactions to “black henna” can result in painful, weeping blisters, permanent scarring, and a multitude of other symptoms. In some cases, a reaction may be life-threatening.

 

 

This image was from a viral news report in 2017.

 

 

Without proper public awareness, and without an effort on the part of the local law enforcement to stop the use of “black henna” in tourist destinations, these occurrences continue. “Black henna” is not henna. Too often, the news stories conflate the two, leaving readers to believe that henna is the culprit. While black henna mixtures may sometimes include some true henna, the active ingredient is a high concentration of para-phenylenediamine, or PPD. This highly sensitizing compound is used at a lower concentration in commercial hair dyes, where it is legal. In the United States, hair dyes can contain up to 6% PPD. However, any use of PPD directly on the skin is illegal. ​​ Chances of sensitization and reaction increase with the concentration of the product, as well as frequency of exposure. Because “black henna” involves the application of 25% PPD or higher directly onto the skin, there is a very high likelihood of becoming sensitized, even after a single application.

For every story that hits the news, there are likely dozens that go unmentioned. And for every person who experiences a severe reaction to “black henna,” there are even more who become sensitized without any initial reaction. About 50% of people who get a “black henna” tattoo become sensitized to PPD. Of those people about 40% of them will have a future reaction severe enough to need hospital care [1,2]. Too often, a person seeking medical care for a reaction to hair dye is found to have had a “black henna” tattoo in the past [3]. To learn more about PPD, read the article, What You Need to Know about Para-Phenylenediamine (PPD) and visit The Henna Page.

 

 

 

 

Photographs of black henna injuries on children from Florida Department of Health. Photo source: Florida Department of Heath, Bureau of Environmental Health, Division of Disease Control and Health Protection. “Black Henna.” Florida Department of Heath. http://www.myfloridaeh.com/community/Black_Henna/index.htm

 

 

This article will explore the difficulties in detecting and stopping “black henna” use, and explain what steps a person can take if they believe someone is using “black henna.” If you have recently had a “black henna” tattoo applied and are experiencing a reaction, please seek immediate medical care, and also schedule an appointment with an allergist. It will be important to determine whether your PPD sensitization has led to cross-sensitization to other substances, in order to avoid future reactions.

​​ 

The Spread of “Black Henna”

While traditional henna has been used to decorate the skin for 6,000 years, “black henna” is relatively new. In the 1970s, people in East African countries began adding concentrated hair dye to their henna, or using it to replace henna altogether. Whereas a traditional henna requires keeping the paste on the skin for several hours, and results in a deep red to coffee brown stain, PPD stains the skin jet black within an hour. The result looks very similar to a real tattoo, and the dark stain was more visible on darker skin tones.

The practice first spread within regions where henna has been traditionally used, and then moved out to the western tourist markets. Concentrated PPD is cheap and easy to obtain, in the forms of powdered black hair dyes and “henna stone.” Often advertised as a natural product harvested from the banks of the Nile river, “henna stone” is neither henna, nor natural. It is a chunk of industrial-grade, ​​ PPD at an extremely high concentration.

​​ 

 

Peacock brand, often referred to as “piku,” is commonly used to create “black henna” paste. It has about 50% PPD. Because the product comes in a powder form, concentration can be higher depending on how little liquid is used to dilute.

 

 

​​ 

Often referred to as “henna stone” this is a chunk of industrial grade PPD, at up to 90% concentration.

 

 

Black henna” was offered in tourist areas in Northern Africa, South Asia, and the Middle East, before it jumped to Europe and North America with the help of pop culture and music. ​​ In 1998, “black henna” gained a boost in popularity when Madonna appeared in a music video wearing it on her hands. Now, it is widely available around beaches, resorts, amusement parks, malls, and festivals. It is especially popular with children and young adults because it mimics the looks of a “real” tattoo. About 25% of UK school-aged children report having gotten a “black henna” tattoo while on holiday [4].

 

 

 

 

This map shows the areas where “black henna” is offered to tourists, and the home countries of tourists who travel to those locations for vacation.

 

 

Catching “Black Henna” Artists

If using PPD on the skin is illegal, why is it still happening? Concentrated forms of PPD hair dye are cheap and easy to obtain. There have been cases of vendors selling “black henna” kits to people looking to make extra money in tourist areas. Applying “black henna” takes very little skill, especially when stencils can be used, and can be quite lucrative. Some artists may not know that their materials are harmful.

Those who offer “black henna” to vacationers often move around, setting up a stall in one location, then packing up and moving elsewhere. An artist can easily operate with just a small kit, a stool, and a sign. PPD exposure often results in a delayed hypersensitivity reaction, which does not occur for 3-30 days after application. By this time, the customer may be home from their vacation, and the “black henna” artist is nowhere to be found.

 

​​ 

 

A “black henna” artist applying a design on a beach. Photo source: Amber Yarbrough. My Life as an Expat. Tuesday, August 28, 2012 http://amberslifeinjakarta.blogspot.com/2012/08/bali-part-one-1.html

​​ 

Additionally, it is difficult to prove that an artist is using PPD. Many artists use packages without ingredients labels, storing their dye powder in small bags or bottles. They may claim that they are simply using black paint, the ink from black magic markers, or some other lie. Authorities need to be able to test a sample of the substance to determine whether or not it contains PPD. Finally, local authorities simply do not allot enough time and resources to catching people who offer “black henna.”

 

Taking Action

PPD sensitization is a serious problem. If you suspect that a body artist is using “black henna,” please take the following steps. Doing so will help stop the spread of PPD sensitization by making it harder for “black henna” artists to go unchecked. If an illegal vendor knows that people are spotting and reporting “black henna” users, they will be more hesitant to set up shop.

 

​​ 

 

A “black henna” booth.

Photo source: cyncymc, comment “Have a Henna Tattoo” posted to Tattoo in Borocay Island, Philippines March 8, 2010 ​​ http://www.virtualtourist.com/travel/Asia/Philippines/Province_of_Aklan/Boracay_Island-1407255/Things_To_Do-Boracay_Island-Tattoos-BR-1.html

 

 

Recognizing “Black Henna”

True henna is a paste, often applied with a cone or a needle-tip bottle, and sometimes a brush or stick. It is a dark green or brown color, and often smells of plant matter and essential oils. It smells “good.” Its initial stain is a deep orange color, which darkens over 24-48 hours. You may see orange to coffee-brown stains on the artist’s hands. If the artist makes their own paste and cones, the cones will usually be made of a plain or patterned cellophane wrap, like those in craft stores.

“Black henna” is a dark gray or jet-black liquid, applied with a needle-tip bottle, or a brush. Look for bottles of grayish powder. There may also be bottles of peroxide for mixing. This liquid has very little scent. The stain is immediately black. You may see black stains on the artist’s hands. “Black henna” must be mixed fresh and used within about an hour, so you may see bowls or containers for mixing, or you may actually see an artist stir together a gray powder with water or peroxide.

 

​​ 

Mixing “black henna.” The small, brown bottles are consistent with those in powdered hair dyes. Photo source: Peta Rasdien, “Bali black henna health alert” The West Australian. September 4, 2013.

 

 

Some pre-made henna cones contain PPD. Even if they don’t, they likely contain a cocktail of ingredients that are not safe for the skin. These cones have printed labels with brand names and images. ​​ They do not always include a list of ingredients.

 

 

These manufactured “henna” cones are easily available through the internet, despite laws preventing their sale.

 

To learn more about the differences between true henna, pre-made henna cones, and “black henna,” read this article.

 

Reporting “Black Henna”

If you believe that someone is using “black henna,” gather as much information as you can. It is not recommended to confront the person. Take photos of the stand, materials, and the artist. If possible, get a photo of the artist’s face, while they are in the act of applying ​​ “black henna” to a client. Ask if they have a business card. Take note of the exact location where you found them. If at all possible, obtain a sample of their materials. Contact the local health department and provide them with all of the information you have gathered. It is likely that the artist is operating without a license, so even if the authorities do not manage to prove the existence of PPD in their materials, they can prevent the artist from continuing.

If you are at a festival, contact the organizers of the event, as well. If it is at a hotel, amusement park, or other business, contact the owners. Businesses and events can be hit with fines, penalties, or even legal action if they are caught offering “black henna,” and they are aware of this. Most businesses will take reports of “black henna” use seriously.

 

Spreading Awareness

Black henna” artists will continue as long as there are customers. Too many people are unaware of the dangers of PPD. They do not understand that while true henna is safe, “black henna” is not. While many have heard about injuries from “black henna” through the news reports, some still believe that the likelihood of suffering a reaction is low. This “it won’t happen to me” attitude is exactly what perpetuates the demand for “black henna” in tourist spaces.

It is important that local communities spread awareness about the truth. Some communities will put up signs, or hand out pamphlets. Here is an informational pamphlet that you are free to use. Print it out to take to festivals, or local areas where you suspect “black henna” may be used.

 

Click Here to Download the Printable “Black Henna” Pamphlet

Black Henna” Use in Traditional Henna Cultures

This article has mainly focused on the use of “black henna” on western tourists. It is important to acknowledge that it also widely used in cultures where natural henna was traditionally used. Too often, people are ordering materials online or going to their local shops for pre-made henna cones and black hair dye, rather than mixing their own natural henna paste.

Because henna is used for holidays, celebrations, and weddings, as well as an everyday cosmetic, the people of those cultures have a higher chance of repeated exposure to “black henna.” In fact, the rates of PPD sensitization in African, Middle Eastern, and South Asian countries are often higher than those of North America and Europe. It may be more difficult to stop because the use is often within homes, among family and friends, rather than as a business. A deep sense of culture and tradition may make people more defensive of their use of “black henna.” But remember: “black henna” is only a few decades old, and true henna is an option that has existed long before PPD entered the market.

 

 

This map shows where henna was traditionally used. Many of these areas now use “black henna” as well.

 

 

If you feel that members of your community are using “black henna,” decide whether you feel comfortable approaching them about it. Try to suggest natural henna instead. Common responses may be that traditional henna is too time-consuming, too expensive, or not dark enough. Many people will claim that they have used “black henna” for years, and have never had a problem. If possible, try to convey the facts about the likelihood of sensitization, and the severity of potential reactions. Feel free to refer them to this blog, and to the resources here.

 

Final Notes

The consequences of “black henna” stay with people for life. Once sensitized, a person will experience a reaction each time they come in contact with PPD. ​​ Often, these reactions worsen with each exposure. PPD is commonly found in hair dyes. It is also used in fur and fabric dyeing, rubber manufacturing, and in printing. PPD sensitization can lead to cross-reactions with numerous related compounds, such as PABA, found in sunscreens. Others include those found in synthetic fragrances, anesthetics, and even food dyes. This means that one “black henna” tattoo can lead to a lifetime of continual allergy problems.

Currently, the rate of PPD sensitization is growing, with an estimated 16% of western adults expected to have a PPD allergy by 2030. Putting an end to the illegal use of PPD on skin will prevent tens of thousands of future injuries by preventing initial sensitization. If you see “black henna” being used, please do not hesitate to act.

 

 

 

References

[1] Kligman, Albert M. "The identification of contact allergens by human assay: III. The maximization test: A procedure for screening and rating contact sensitizers." Journal of Investigative Dermatology 47, no. 5 (1966): 393-409.

 

[2] Smith, Vanessa M., Sheila M. Clark, and Mark Wilkinson. "Allergic contact dermatitis in children: trends in allergens, 10 years on. A retrospective study of 500 children tested between 2005 and 2014 in one UK centre." Contact dermatitis 74, no. 1 (2016): 37-43.

 

[3] Søsted, H., T. Agner, Klaus Ejner Andersen, and T. Menné. "55 cases of allergic reactions to hair dye: a descriptive, consumer complaint‐based study." Contact Dermatitis 47, no. 5 (2002): 299-303.

 

[4] Cartwright-Jones, Catherine. “‘BLACK HENNA’ AND THE EPIDEMIC OF PARA-PHENYLENEDIAMINE SENSITIZATION: Demographics of Extreme Allergic Reactions to Oxidative Hair Dye.” Lecture. The Society of Cosmetic Chemists’ 70th Annual Scientific Meeting

New York, New York, December 10, 2015. See http://www.hennapage.com/henna/ccj/SCCPPD12_7-15.pdf

 

Henna for Body Art 101: How to Sift and Strain Henna for Smooth, Clog-free Paste

 

Chunky henna paste easily puts a damper on a good henna session. It stops an artist from getting into their rhythm, and can ruin a pattern with broken lines or unexpected paste eruptions. An artist may try to clip a larger opening at the tip of their cone, sacrificing lovely thin lines and minute details. Smooth, clog-free paste makes all the difference. To avoid henna mishaps, it is best to be proactive by sifting henna powder and/or straining paste before it goes into your cones. Luckily, both are quite easy and quick to do, if only a little bit messy.

 

Why does henna need to be sifted or strained?

Henna powder varies greatly in quality. Depending on the manufacturer, it will be ground and sifted to one degree or another. Henna that is sold for hair sometimes contains larger plant particles. Low quality henna may also contain sand and other debris. Cheap henna powder may seem like a good way to save money, but it will cause more headaches in the long run. After sifting and straining, you’ll find that you have lost a good fraction of your product.

It is best to start with a high-quality body art henna powder which has been finely ground and already sifted to a high degree. You can choose to sift it again if you wish, but will find that there is very little that is left behind, in comparison to a lower quality powder. High quality powder will not contain sand, stems, and leaves. Sifting may be helpful to prevent clumps when mixing, but clumps tend to smooth out after dye-release, anyways.

 

 

​​ 

 

I rarely ever sift my henna, but I do strain the paste after it has been mixed and dye-released. Straining henna paste alters its consistency by breaking apart and/or removing larger plant particulates. This leaves the paste with a smoother consistency. Straining is also helpful if you used fresh-squeezed juice, and some pulp made its way into the paste. If you prefer to use very thin lines and intricate details in your henna patterns, you will need paste that can squeeze through a very fine tip without interruption.

If you find yourself in possession of chunky powder, or if you simply want to be 100% positive that your paste will flow smoothly, sifting and/or straining can make a huge difference.

 

How To Sift Dry Henna Powder

To sift dry henna powder, you’ll need a tall, plastic container with a lid, a pair of nylon stockings, and a handful of coins (or other small, heavy objects).

Layer one stocking inside of the other.

Put the toe in the container and stretch the stockings over the opening, like lining a trash can.

Put your henna powder in the stockings, and drop your coins in.

Make sure your lid fits tightly. If not, henna powder will get all over the place.

Shake your sifter while holding the lid on firmly. The finely sifted powder will end up in the container, and the remaining chunks and debris will stay in the stockings.

 

 

​​ 

 

To see a step-by-step with images, click here.

 

​​ 

How To Strain Henna Paste

You can also use a nylon stocking to strain your henna paste once it is made. A second option is to use a fine mesh strainer or sieve. I prefer the latter, as using a stocking can be difficult, depending on the elasticity and thickness of a stocking. If a stocking is made with a lot of spandex, you will be pulling forever. If it is a thicker weave, too much of the plant matter will remain inside the stocking, and the resulting paste will be too thin. Both methods will work well, and are a matter of personal preference.

 

How to strain henna paste with a stocking, directly into a carrot bag.

Make sure to wear gloves while doing this, as it will be messy.

Use a sheer, nylon stocking (but not “tights”! Tights are too thick). Dollar stores often sell multi-packs for cheap. If you are not using a knee-high or thigh-high, simply cut one of the legs off of a pair. You will also need a cup, carrot bag/plastic icing bag, and a rubber band, if you prefer.

Put the toe of your stocking into the cup, and stretch the remainder of the stocking over the edge of the cup, like lining a trash bag.

Scoop your henna paste into the toe of the stocking.

Pull the stocking off the cup, and transfer it into the carrot bag, so the henna is inside the bag, and the remainder of the stocking hangs outside.

Hold the opening of the carrot bag tight with one hand (use a rubber band if it helps) and pull hard on the stocking with your other hand, until the paste is extruded through the stocking and into the carrot bag.

The strained henna will be left in the carrot bag. From here, you can go straight to filling cones.

 

 

To see a step-by-step with images, click here.

 

How to strain henna paste with a fine mesh strainer or sieve

I personally find this method to be easier on the hands, less messy, and just as effective. It does take a little longer, especially if you are straining a lot of paste. Because the strained henna goes into a bowl rather than into a carrot bag, you can still adjust the consistency as needed after it is strained. I like to add my sugars and essential oils after straining, rather than before, so I can control the consistency better.

​​ 

 

​​ 

 

You will need a sieve or fine-mesh strainer, a bowl, and a spoon or silicone spatula.

Place the strainer over the bowl, and spoon your dye-released henna paste into the strainer.

Press and stir until the paste moves through the strainer and into the bowl.

 

 

 

I prefer to do a few spoonfuls at a time, adding more into the strainer as it empties.

The chunky bits will remain in the strainer. If they begin to block the paste’s passage, just rinse the strainer and continue until all of your paste has been strained.

 

 

​​ 

 

Once you have a bowl full of silky smooth paste, you can test it for consistency. If you find it is too thin, add a little more henna powder. Strain again, if desired. If it is too thick, add a few teaspoons of liquid until it is at the right consistency.

From here, you can bag, cone, or freeze as you’d like.

 

​​ 

Here you can see the larger debris left in the strainer after it has been rinsed. There is relatively little, as the paste was made with high-quality henna powder, but these few small pieces would have caused the occasional clog.

​​ 

​​ 

If you have additional questions about sifting or straining henna paste for body art, feel free to leave a comment, and/or visit www.hennapage.com.

Henna for Body Art 101: How to Achieve a Dark, Long-Lasting Stain

 

 

Henna for body art is a beautiful and safe way to adorn the skin. One of the qualities that makes henna so well-loved is its ability to stain the skin for as long as two or three weeks. This makes henna one of the few cosmetics that does not need to be reapplied daily. Henna can last through long celebrations, vacations, and special events.

 Elaborate designs, such as those applied for weddings, take several hours to apply. Naturally, one would like to achieve a dark stain, and to have the design stay on the skin for as long as possible. It can be quite disappointing or frustrating to see a beautiful pattern turn out too light, and then fade in a couple of days. Ensuring a dark, long-lasting stain begins with the placement of the design, and ends with proper aftercare. Keep reading to learn how to get the best results out of your henna.

 

 

Location Matters

Henna works best on areas of the body where there are several layers of stratum corneum, and where skin is thicker and rougher, such as on the hands and feet. The dye molecule can penetrate and bind more fully to these layers. The stain will fade slowly, as the skin is exfoliated away naturally over time.

Areas of the body where the skin is thinner and smoother will not work as well with henna. Upper arms and legs, and the torso will see lighter stains that will fade faster. These stains will never reach the deep, espresso-brown shade one might achieve on fingertips, no matter what you do. The skin simply isn’t thick enough.

 

​​ 

​​ 

 

 

Start with Dry, Clean Skin with No Oils

The skin is naturally hydrophobic, and does well to prevent many substances from entering across its barrier. The skin naturally produced sebum to protect and moisturize the skin. Oils from sebum, or from moisturizing products will prevent henna from successfully binding to the keratin in the skin.

The day that you plan to apply henna, avoid applying lotion or other moisturizing products where you plan to have henna. Immediately before application, thoroughly wash the area with soap and water, or wipe with rubbing alcohol to create a clean, oil-free surface.

 

Use Quality Henna Paste with Terps

A good henna stain cannot happen without good henna. Mass-produced pre-made pastes contain low quality henna (or none at all), cheap solvents in place of essential oil based terps, and an assortment of concentrated food dyes. If you’ve ever gotten food coloring on your skin, you’ll see that it stains immediately, but washes away within a couple of days. This is because such dyes do not bind to keratin on a molecular level the way lawsone does.

Pre-made pastes may also contain PPD, which can create a dark, long-lasting stain, but at great cost. (To learn more about PPD reactions, click here)

Insist on using only hand made natural henna paste. Quality paste made from high dye-content henna and aromatherapy grade essential oils is not only safer, but more effective. However, not all essential oils are effective for darkening henna. “Terps” are essential oils nicknamed for their monoterpene alcohol content. The monoterpene alcohols are what allow for stronger dye release and a darker result on the skin. To learn more about Terps, click here.

 

Leave The Paste On As Long As Possible

With henna, patience makes all the difference. Manufacturers of mass-produced henna paste have tried to create a faster, darker product to serve customers who want immediate results. Same goes for commercial hair dyes which promise coverage in 30 minutes. In the long run, “fast and dark” often translates into “cheap,” “unsafe,” and “quick to fade.”

If you want a beautiful, dark henna stain, go into it with the awareness that you may be spending the better part of a day with limited use of your hands, or other parts of your body. Henna has been used on brides and on women about to give birth, with the benefit of forcing the woman to sit or lie still for several hours. Elaborate, intricate henna designs were a sign of social status, because they indicated that the people who wore them could afford to not work for several hours as the paste was applied and left on.

If you are unable to afford a day of idleness, plan to have your henna done in the evening. Wrap the design, and leave it on overnight. Henna needs to be left on the skin at least three or four hours for a good result, but some choose to leave it on as long as twelve hours or more.

 

The toes and outline of this beautiful slipper design are a dark, oxidized stain, while the light orange fill is from henna paste that was applied and then removed quickly.

 

 

Seal It

Henna doesn’t always like to stay on the skin. Sometimes, henna will dry and flake off within a couple of hours despite your best efforts not to mess with it. This will depend on the level of humidity in your area, and the henna paste formulation. If the paste is drying and flaking off too quickly, this means it will have less time to transfer dye onto the skin. There are a number of methods for sealing henna so it stays moist and in contact with the skin for as long as possible.

Many artists use some sort of lemon-and-sugar mixture which they apply over the design once the paste is dry enough to touch. This method seems to work fairly well in keeping the design sticky and flexible. However, it may not be the best for summer days, as citrus can cause photo-sensitivity, and the mixture may be quite appealing to bees and other little winged friends.

Strong setting hair spray is also a good trick. Get the kind that is meant to keep your hair locked in shape through hurricanes. Spritz it over the design and allow it to dry. Sprinkle glitter over top of it if you wish.

Other options involve applying medical tape over the design, or wrapping it with a soft paper or cotton. Wrapping a design is especially handy if you need to leave it on overnight without worrying about waking up to a bed full of henna crumbs. The following section will discuss wrapping.

 

 

Heat and Moisture Help

One reason why wrapping is effective is because it keeps the design moist and warm while it is on the skin. Henna’s dye will continue to migrate into the stratum corneum as long as the paste stays mildly damp. A warm environment causes the skin to be more receptive to the dye. Be aware that the paste should stay dry enough that it is not at risk of smearing or bleeding.

 Carefully apply a good layer of toilet paper or pulled-apart cotton balls directly over the design, then wrap the whole thing with a layer of plastic, and keep it in place with tape. If the design is on the torso, lay the paper or cotton flat over the design, cover with plastic, and seal the edges down with tape. Wearing a tight-fitting shirt can help to keep the covering flat over a belly, back, or chest design.

 

​​ 

To learn more about how to wrap a henna design, click here.

 

Medical tape works well for smaller designs. Simply apply the tape directly over the design until it is completely covered.

If you are not able to leave the paste on for several hours, heat can help speed up the staining process. Put a heating pad on the area, or use a hair dryer on the low setting

Once the paste is removed, heat will also help to facilitate oxidation. When henna is used on fabric, ironing the stain causes it to go dark very quickly. Hair that is dyed with henna will become darker if the person uses heated styling tools. Obviously, it would not be a good idea to press an iron to one’s skin, but exposing the skin to warm steam, a heating pad, or a nice summer day will help the stain darken.

 

 

Be Patient; The Stain Takes 24-48 Hours to Darken Fully

After the paste is removed, the henna stain continues to darken by way of oxidation. It won’t achieve its darkest state until a day or two later. The initial stain may be light orange, or even a deep red. Over time, the stain oxidizes to burgundy and coffee brown shades and darker, depending on the area of the body. Do not be disappointed if the stain you see at first is too light. In fact, you should be more concerned if a henna stain is fast and dark, as that is a strong indicator of harmful additives.

If you are getting henna for a special event, it is best to have it done a couple of days beforehand, or at least the night before. Otherwise, the stain may still be too light during the event.

As explained above, heat can expedite the oxidation process. Take care to only use gentle heat for short periods of time, to prevent skin damage.

 

​​ 

A henna stain just after paste removal, and the same stain after oxidation.

​​ 

 

Avoid Water, Chlorine, Alcohol, and Scrubbing

It is often recommended that a person avoids having their hennaed skin make contact with water for 24 hours after the paste is removed. This prevents the dye from loosening from the skin while it is still in the process of binding. Use a wooden tongue depressor, or the blunt side of a butter knife to scrape away the paste rather than rinsing with water.

When a henna design fades, it is due to the outer layers of the skin naturally shedding. Therefore, avoid over-washing the skin and using products that contain a high level of alcohol, like hand sanitizer. Try not to scrub or use exfoliating products in that area. Spending a lot of time in a pool or hot tub may also cause a design to fade more quickly.

If you ever end up with a henna design that you don’t like, or must fade as quickly as possible for whatever reason, simply do the opposite: go swimming, wash your skin frequently, scrub, and cover yourself in hand sanitizer.

Henna actually helps the exfoliation of rough, calloused skin. If you have feet that are in need of some love, cover your soles and toes in a solid slipper of henna. You will see the thickest skin acquire a dark, nearly-black stain. Every few days, soak your feet in warm water and scrub with a pumice stone. You’ll see those dark patches slough off, little by little, until your skin is much smoother.

  Bonus: Henna is antifungal. Learn more about henna’s beneficial properties, and how to use henna on the feet here.

 

 

Keep Skin Moisturized

Again, the best way to maintain a long henna stain on the skin is to slow down the natural exfoliation process. Especially if you tend to have dry, flaky skin, it is a good idea to keep the hennaed area moisturized. Some henna artists provide a kind of after-care balm that is meant to prolong the stain. They are usually a homemade mixture of oils, essential oils, and beeswax. If you don’t have this special balm, no worries; a regular lotion or oil made for the skin should do just fine. Not only does a moisturizer keep the skin from drying and shedding, but provides an additional hydrophobic barrier to keep water out. You may want to reapply throughout the day, especially if the design is on your hands and you are washing your hands frequently.

If you want to treat yourself to some wonderful smelling, all-natural lotions, body butters, and oils, Mehandi has you covered.

 

 

These body butters are hand-made in small batches, and they smell delicious.

​​ 

 

Reapply If Possible

If you got your henna done on a trip, or hired a professional, it may not be possible to have the design reapplied once it starts fading. If you have a steady hand and access to some good henna paste (for best results and safety, mix it yourself), you may try tracing over the pattern yourself.

If you applied your henna yourself, and are very happy with the design, simply retrace the design once it starts fading to keep it fresh. Henna stains build on each other, causing increasingly darker results. I tend to maintain a henna slipper on my feet during the summer months, and after the second or third application, my soles are nearly black. They stay that way as long as I reapply about once a week.

 

If you have additional questions about henna after-care, feel free to comment below or visit www.hennapage.com for all things henna!

Henna For Body Art 101: How to Make a Basic Henna Paste

 

Creating a great henna paste for body art is relatively simple. It requires only a few ingredients, and the right combination of temperature and time. Many people avoid making their own henna paste because they believe that it is too complicated, choosing instead to purchase pre-made paste from other body art suppliers, or worse, the dreaded “chemical cone.” Making homemade BAQ henna paste is much cheaper than buying it from a henna supplier, and definitely much safer than purchasing manufactured henna paste cones. This article will describe how to make a basic henna paste for body art use, and dip into the science behind it.

 

The Ingredients

Paste recipes will vary depending on the type of henna powder used, the humidity of the environment, and the personal preferences of the artist. Any basic henna paste will likely have the following ingredients, each with their own purpose:

  • Body art quality (BAQ) henna powder

  • An acidic liquid (for effective dye-release)

  • Essential oils (for a dark stain)

  • Some kind of sugar (for a smooth consistency and better adherence to skin)

 

BAQ Henna Powder

Not all henna powder is made equal. Cheaper powders can contain a variety of additives, such as dyes, sand, metallic salts, and chemical adulterants. They can be poorly sifted, and contain stale powder that releases little dye. Henna that is sold for hair is sometimes a premixed blend of henna and other plant powders. You need to look for a henna that is finely-sifted, and tested to be 100% pure henna, free of adulterants. The product may be labeled BAQ, but be aware that companies often use that term as a method of advertising, regardless of the henna’s quality.

It is unlikely that you will find a quality henna powder in a brick-and-mortar store. Don’t be fooled by packaging. “Made in India” means very little when it comes to the product’s safety, as does “100% safe” or an ingredients list that only reports henna as the ingredient.

 If you are interested in seeing an experiment on pre-made henna pastes that claimed to be safe and pure, read this.

Your safest bet is to order directly from a reputable company dealing in henna body art products, and/or pure bulk henna powder. Check to see if they have lab-test documents on their powders.

BAQ henna powders will differ from one another. Henna is grown in a number of regions, and the crops themselves will vary season by season. Some hennas will create a creamier texture, like smooth mashed potatoes, while others will be stringy and stretchy like melted caramel. Each artist has their preference. The consistency can also be manipulated with the amount of liquid and sugar used.

 

Acidic Liquid

The henna powder provides the dye molecule responsible for leaving beautiful, deep red stains on the skin. The molecule is called Lawsone. When henna powder is mixed with a liquid, the intermediary molecule, called an aglycone, is released. This is often referred to as dye release.

 The aglycones quickly bond with oxygen molecules to form its final state. Once oxidized, the dye is no longer able to attach to the skin. This process is called demise.

The goal is to keep the aglycones available for a longer period of time, allowing as much dye as possible to stain the surface layers of the skin before oxidizing. An acidic liquid provides a low pH, hydrogen-rich environment, which allows for a longer period of time before demise.

Therefore, lemon juice is one of the most popular liquids to mix with henna. Henna pastes which are made with an acidic liquid, like lemon juice, need to rest for a longer dye release time before it is ready to use. Pastes mixed with water release very quickly, but also demise much faster.

 

Essential Oils

EOs make henna paste smell great, but they have a more important function than that. Certain types of essential oils contain monoterpene alcohols, which act as solvents. Often referred to as terps, these essential oils help create a much darker stain on the skin. Without terps, a henna design may remain a lighter, orange color rather than oxidizing to a deep brown. The dye molecule in henna is hydrophobic, rather than hydrophilic (it is not friends with water). The terp acts as a solvent to release the dye more effectively within the acidic liquid.

Not all essential oils contain monoterpene alcohols. Some essential oils which contain monoterpene alcohols are not safe to use on the skin. Tea Tree, Cajeput, and Ravensara essential oils contain a high amount of monoterpene alcohols, and are safe to use. Lavender, Cardamom, Geranium, Cypress, and Cypress Tips oils are good, as well. Neroli, Pine, Juniper, Thyme, Rosemary, and Marjoram essential oils have lower levels of monoterpene alcohols, but will still darken henna somewhat.

Oils to avoid: Citrus oils are phototoxic. Cinnamon and Clove are irritating to the skin. Camphor is a transdermal intoxicant, and can make a person ill.

 

​​ 

 

 

 

The oils you choose to use will be dependent on your preference and needs. Lavender is popular because it is the best for sensitive skin. Whatever your choice, make sure to use high quality, aromatherapy-grade oils. You will need about 10ml of essential oil for every 100g henna.

 Learn more about terps here.

 

Sugar

This last ingredient is not absolutely necessary, but it is helpful. Many henna artists add some type of sugar into their paste. It gives the paste a smooth, silky consistency that is easier to work with. The sugar also helps the paste stick onto the skin and stay moist longer. For a dark, long-lasting stain, the pattern needs to stay on the skin as long as possible.

Regular white sugar works fine enough. Dextrose is great, too. Some henna artists report using molasses, honey, or corn syrup. The amount of sugar needed is dependent on the humidity of your current climate. In dry areas, more sugar may be necessary. In warm, humid areas, a paste with too much sugar will remain very wet, and “melt,” meaning the design on the skin turns to blobs.

Some artists prefer more sugar in their paste, as it allows them to “stretch” the paste and drape long, fine lines. Some prefer their paste to be creamier, akin to the texture of icing. If you are just starting to mix your own henna, it is best to add just a little sugar at a time, testing the paste until you find a consistency that you like. Henna paste can still be effective with no sugar at all.

Learn more about henna and sugar here.

​​ 

​​ 

 

This henna has been mixed with dextrose. The paste is smoother and stretchier.

​​ 

 

Temperature and Time

While there is some variation between henna powders, henna normally dye-releases in an acidic mixture within 8-12 hours at room temperature. Some powders may need as long as 24 hours. A warmer environment will speed dye-release, while a cooler environment will slow it. A long dye-release creates a better paste than a fast one. Do not mix henna with hot liquid. This will cause a very fast dye-release, and a very weak stain.

 

​​ 

 

​​ 

To learn more about dye-release, read this Ancient Sunrise® Blog article. It is about henna for hair, but the science is still the same, no matter where you plan to put your henna.

 

Putting It All Together

I am not going to provide a “recipe” because, as you can see, there are many variables to take into account, as well as personal preference. One recipe may work well for me, with the crop of henna I use, the humidity of my environment, and my personal preference, but may be completely off for you.

I would prefer to provide a guide for discovering a henna mix that works best for you and your needs. Experiment a little, and take notes. That way, once you have mixed your perfect batch, you will be able to recreate it.

 

However, you will generally need about equal parts henna powder and liquid (when measured by volume), and a much smaller amount of sugar. Essential oils will be the most scant ingredient in your mix, as they are very strong. Again, 10ml (about 2tsp) terps is plenty for 100g (roughly 1 cup) dry henna powder. EOs with high levels of monoterpene alcohols can be used even more sparingly.

​​ 

​​ 

 

Begin with a small amount of henna powder, perhaps a few tablespoons. You can always make a bigger batch of paste once you’ve perfected your mix. 20 grams of henna powder will still create enough paste to fill several cones, and there’s no point making mistakes on an entire packet of henna powder.

 Add lemon juice little by little, stirring until the powder is completely wet, and has the consistency of thick mashed potatoes, and any large lumps are gone. A whisk is handy to use.

Add the essential oils, and stir until fully combined.

Cover the paste with plastic wrap, pushing the plastic down so it is against the paste. Check the temperature of where you plan to leave it, and check the chart above to know how long to leave it. Set an alarm on your phone, or write a reminder to yourself. Mixing the paste in the evening and leaving it overnight is an effective method.

Leave it alone. Poking and stirring every few hours won’t do anything to speed it up. Once you believe the paste is ready, check for dye release. There are a few indicators you can use.

First, the surface of the paste may be several shades darker than the paste underneath. If you mixed in a glass bowl, you can see the layers quite clearly. Or, you can use a spoon to scoop away the top, and compare it to the paste that you reveal underneath.

Second, there may be a deep orange-red liquid that collects around the surface of your paste.

Finally, you can test some of the paste on your skin by applying a drop to the palm of your hand, and leaving it there for a few minutes. When you wipe it away, you should see a bright orange stain. If the stain is very light, leave the paste for another hour, and check again.

 

​​ 

 

You can see that the surface is darker, and there are puddles of a deep red liquid collecting on the surface.

 

 

Consistency

Once your paste has dye-released, add liquid and sugar as needed until it is the right consistency. You can use water, or more lemon juice. Add the sugar in a fraction of a teaspoon at a time. Liquid sugars, like molasses, require very little to get the job done. Many artists prefer a paste that “ribbons” off of the spoon. Some may prefer a slightly thicker paste.

Test the paste by coning a small amount, and squeezing a simple design on your skin. You want the paste to come out of the cone in thin lines without using too much pressure. You may want to see how far you can drape a line before it breaks. Try a few swirls and varying the thickness of your lines. Wait for about fifteen minutes.

If your design dries and cracks quickly, or doesn’t drape well enough, add a little more sugar. If the paste was too thick, add a little more liquid. If the paste is too thin or wet, add a little more powder. Keep adjusting and testing until you get the paste to your preference.

 

​​ 

 

Stringy” paste makes fine lines easier to drape.

 

​​ 

Storage

If you want to use your henna paste right away, cone it up and get doodling! If you plan to use your henna paste in the next day or two, you can keep it in the refrigerator. If you are not sure when you will be using it, or would like to keep it for a long time, keep it in the freezer. You can either put your henna into cones before storing it, or defrost and cone when you choose. An easy way to keep frozen henna is to wrap it in plastic, like in the article here.

However you store it, I find it helpful to write a note that includes the date and the ingredients. I use a permanent marker and write it on the plastic bag holding my cones. This way, you can differentiate between batches. For example, I have cones that are citrus-free and contain only lavender oil, for use on those with sensitivities. I wouldn’t want to get my batches confused and accidentally apply my regular mix on someone with a citrus allergy.

If you need help learning how to roll cones, watch this video here.

 

Learn more about mixing henna at the Henna Page. If you have questions, feel free to comment below.

Eight Great Gift Ideas from Mehandi.Com

 

The holidays are coming fast. Ancient Sunrise® and Becoming Moonlight® products from www.Mehandi.com make great gifts for a variety of people. You might know someone who has been interested in trying henna, or someone who has been a devoted henna-head for years. Maybe you have a cosmetics-lover in the family, an artist, a frequent flyer, or someone who is always busy but wants to look their best. Here are eight gift ideas to make everyone happy.

 You could also share this post with loved ones (nudge, wink) to point them toward what you might want this season.

​​ 

1. A Stocking-Stuffer Starter Kit the Curious But Hesitant

Your friend has been admiring your hair for ages, and they’re finally ready to try henna, but they don’t know where to start. Put together a sweet and simple gift bag with everything they need to begin. ​​  

 If they’re not sure about their mix, start them off with a few kit samples that are closest to what they want. They can use these to conduct strand tests to help them decide on their mix. Add in a packet or two of our famous Ancient Sunrise® Rainwash treatment, some disposable gloves, hair clips, and a warm knit cap. Write a nice note offering to order their first kit and help them apply it once they’ve figured out what they want.

​​ 

Sample orders ship free!

​​ 

Toss in some extras goodies that are sure to please anyone:

Ancient Sunrise® Zizyphus Spina Christi is a wonderful cleanser and conditioner for any hair type and color. Learn more about Ancient Sunrise® Zizyphus here.

Ancient Sunrise® Cassia adds strength and shine with minimal color change.

Spellstone hair ornaments make beautiful, unique gifts, and are 50% off with coupon code “Spellstone” until January 6th! They come in a variety of designs to fit every hair length and texture. Each design has a unique meaning. Each piece is made from ethically sourced water buffalo horn or bone.

​​ 

 ​​​​ 

 

2. The Ultimate Pampering Package

Know someone who likes to turn their henna day into a full spa day? Make them a basket of Ancient Sunrise® products to make their experience extra special.

Ancient Sunrise® body oils, lotions, and body butters come in soothing and decadent scents, ​​ and are made in small batches with all natural ingredients.

Ancient Sunrise® Amla powder makes for a great facial mask that cleans, exfoliates, tightens, and brightens. It is high in Vitamin C which is known to brighten complexions, and has anti-microbial properties. Ancient Sunrise® Amla powder is tested for purity by an independent laboratory. Amla has many beneficial uses which you can learn about here.

 

Ancient Sunrise® Amla powder is great for the face. Just mix with water and apply for 3-5 minutes once or twice a week.

​​ 

​​ 

Ancient Sunrise® Shaving Soaps make for a smooth, easy shave and leave the skin moisturized. They are great for shaving the body and the face. They come in Amber, Cedarwood Atlas, and Vetiver scents.

Ancient Sunrise® Henna Attar has a wonderful earthy aroma reminiscent of chocolate and tobacco with a faint, sweet floral note. Dab it on the wrists, behind the ears, or dilute it with a carrier oil. A little goes a long way.

Add in a comfy robe or a candle, and this gift is a winner.

 

​​ 

3. For the Constant Doodler and/or Glitter Lover

Becoming Moonlight® body art products are wonderful for those who have an artistic spirit, or those who were a unicorn in a past life.

 The Gilding Kits are a great introduction for those who have not used gilding paste. They can be used to create beautiful, sparkling “white henna” patterns and more. Each kit comes with a cone of Becoming Moonlight® gilding paste, glitter, gilding powder, gems, alcohol swabs, and instructions.

​​ 

​​ Create gorgeous works of art on your skin with Becoming Moonlight® body art supplies.

​​ 

 This is a great gift for teens who can’t stop drawing on themselves, and is much safer than those “white henna” tutorials online which use anything from white acrylic paint to white-out. Becoming Moonlight® gilding paste is specifically designed for body art use, and is non-toxic and latex-free. As it is flexible and water-resistant, Becoming Moonlight® gilding paste lasts up to a week or longer on the skin.

 Print out the free 2018 Henna Page Calendar or one of the many free pattern books, to provide some artistic inspiration.

Becoming Moonlight® glitters, gilding powders, and gems are all body-art quality and make for great stocking-stuffers, too. The gilding powders are wonderful as eye-shadows and highlighters.

 

4. For the Frequent Flyer

You may know someone who is always traveling, be it for work or for wanderlust. Put together a travel bag they can easily take with them wherever they go. These products are much better than those little bottles in hotel bathrooms, and won’t be a problem when going through airport security.

Ancient Sunrise® Shampoo bars are fantastic for travel. Your loved one won’t have to worry about bringing another liquid through TSA, or having a shampoo bottle leak in their luggage bag. They can even cut off small pieces rather than taking the whole bar. The shampoo bars are made from all natural ingredients, are vegan, cruelty free, and pH balanced. They leave the hair soft and moisturized; ​​ following with conditioner isn’t necessary, so that’s yet another bottle they won’t have to pack!

 

​​ 

Each Ancient Sunrise® shampoo bar lasts several months. As they are water-soluble, keep them dry to make them last longer.

​​ 

 

 Water quality varies greatly from place to place, and hard water wreaks havoc on the hair. Luckily, Ancient Sunrise® Rainwash Treatment is easy to pack and clarifies the hair to leave it smooth, soft and manageable. It comes in both single-use packets and 50g jars (enough for about ten uses).

Ancient Sunrise® Zizyphus is a great option for those who are going to the beach. It is a natural 2-in-1 shampoo/conditioner that protects the hair from salt water and wind. It comes in a powder form which is mixed with water to form a paste. For campers, it’s safe to rinse outside or in a body of water because it does not contain anything that is harmful to the environment.

If the person in mind colors their hair with Ancient Sunrise® henna, ask them what they use, and portion it out into single-use packets that they can take with them to touch up their roots when away on long trips. Root touch-ups usually take about 50g of powder. Add a fruit acid powder into their henna/cassia so they can just add water. Just remember to keep the indigo powder separate from the rest.

 

​​ 

5. For the Busy and Bearded

You may know someone who colors their facial hair or beard with henna. As facial hair grows quickly, it can become time-consuming or annoying to do frequent touch-ups. Give the gift of convenience by mixing up a batch of henna and separating it into single-use portions which can be kept in the freezer and thawed quickly.

 

​​ 

Dye-release henna and separate into plastic bags for easy application.

​​ 

If this person uses a henna/indigo mix, measure portions of indigo powder into individual baggies so they can just thaw their henna, mix their indigo, combine, and apply. This is a great idea for root touch-ups, too.

 Throw in a tinting brush or toothbrush for easy application, and a cool handkerchief so they can keep the paste warm and look like a bandit at the same time.

Add in an Ancient Sunrise® shaving bar for the times they decide to change up their look. Their skin will thank you.

 

​​ 

6. For Those Visiting From Afar

Shipping costs can add up quickly, especially for those henna-heads who live on the west coast, or outside of the United States. If you live closer to Ohio and have friends or relatives visiting from a far-off land, offer to order their favorite plant powders in bulk. Ancient Sunrise® products can be brought across borders without problem. If you order for the both of you, you get the benefit of a bulk discount as well.

Just make sure to account for shipping and handling times so they don’t go home without their goodies. Most orders take about 5-6 business days. Shipments within Ohio can be faster.

 

​​ 

7. For the Henna Nerd

 

​​ 

 

The Ancient Sunrise® Henna for Hair E-book has become something like the henna for hair bible. Many long-time henna users still visit it over and over again. The newest chapters include wonderful knowledge about the history of henna use. The best thing is, it’s free to download.

Create a unique gift by downloading the chapters onto a USB drive, and taking it to a printer to have it printed and bound. It will be a lovely addition to a library or coffee table, and very useful for when your loved-one is midway through mixing their paste and just needs to do a quick check.

 

​​ 

8. Visit The Empire of Magical Thought

​​ 

Empire’s windows have placed in the Main Street Kent holiday window decorating contest for several years in a row.

​​ 

If you live near Kent, OH, or will be visiting the area, stopping at Empire is a must. As the brick-and-mortar shop of Mehandi.com, it carries Ancient Sunrise® and Becoming Moonlight® products, chocolates from Bittersweets (which you should definitely also visit), and a plethora of items not available on the online store. From clothes, coloring books, and puppets, to an amazing selection of incense, tarot cards, and crystals, there is truly something for everyone. It is also a beautiful place to browse and wander.

 

​​ Empire is full of gifts and treats.

 

 A little goldfish pond near the entrance fills the store with the soothing sound of trickling water. Hand-painted kites float along the embossed tin ceiling. During the holiday season, a beautiful window display can be seen from East Main Street, and the inside sparkles with hundreds of tiny lights.

On select days, Empire offers free body art or tarot card reading with a minimum purchase, so you can grab your henna supplies, buy gifts, and treat yourself as well. (Make sure to leave a tip for your free service! They greatly appreciate it.) Check Empire’s Facebook page to find out what days they are offering free services.

 

Becoming Moonlight® body art done by Alex Limbach.

 

 

The staff at Empire is fully trained on Ancient Sunrise® and Becoming Moonlight® products, just like the Customer Service team. If you have questions about your mix or want to change things up, don’t hesitate to talk to them! This would also be a great opportunity to bring along any friends or family members who have been interested in starting.

The Empire of Magical Thought is located at 135 E. Main St, in Kent, Ohio.

 

 

Final Notes

When ordering your items, remember to check how long the shipping will take, to ensure your package arrives on time. Express shipping is available at extra cost if you order directly with Customer Service through phone, email, or online chat.

Office hours may change during the holidays. Liking and following our Facebook pages is the best way to keep up to date on any changes. Mehandi’s Facebook page is here, and also be sure to join the Ancient Sunrise Henna group if you haven’t already.

Indigo powder, Ancient Blue® indigo crystals, and gilding paste are affected by cold temperatures. If you live in an area whose temperatures fall below freezing, you may want to request extra insulation or express shipping to make sure your indigo stays safe.

Be sure to check the return/exchange policy here.

 

We wish you a wonderful holiday and hope your friends and family absolutely love their gifts.

A Comparison of Body Art Quality Henna Paste, Pre-Made Pastes, and “Black Henna”

 

 

 

A little while ago, I read a post by a henna artist on a social media site bemoaning that yet another person contacted her to say that henna was dangerous and that it would cause allergic reactions. This is not uncommon in the henna body art community. Henna paste for body art made from body art quality ​​ (BAQ) henna and other natural ingredients is completely safe. This person had most likely heard of the dangers of “black henna.” Then, there are those people on the opposite side of misinformation who believe that if a product is called “henna,” it must therefore be natural and safe 100% of the time. ​​ Also not true.

The sad truth is that there are innumerable mass-produced products easily accessible online and on international store shelves which claim to be “henna” but are a mixture of food dyes, solvents, preservatives, para-phenelyendiamine (PPD), and other additives. These products are labeled as “henna,” but may not contain any material from the lawsonia inermis plant.

These products are designed to be a fast, cheap, and easy alternative to mixing true henna paste from scratch. True henna paste must be mixed, dye-released, and coned. It degrades at room temperature. True henna must be left on the skin for several hours for a deep stain; after paste removal, the stain is light at first, then oxidizes to a deeper color over the subsequent 48 hours. Stains from true henna paste vary depending on skin thickness and texture. Pre-made pastes are designed to have long shelf-lives, and quick, dark stains, but at potential risk to the consumer.

 As the word “henna” is not regulated, it can be used simply to describe a form of body art which involves temporarily staining the skin, rather than the product of the henna plant. To learn more about the differences between pure, BAQ henna, mass-produced henna cones, and “black henna,” click here. To learn more about the dangers of PPD and “black henna,” click here.

The population is very diverse in my neighborhood of Montreal, Quebec, and as a result, there are several international grocery stores within just a few blocks of my home. I went out to the nearest two and purchased all of the pre-made “henna” cones I found on the shelves. I also purchased two types of powdered black hair dyes popularly used to create “black henna” paste. I compared each of these products to my own BAQ paste in terms of texture, odor, and color. I also recorded notes on the packaging and instructions, and conducted a paper chromatography test to observe dye separation. Here are my findings.

 

Comparing BAQ Henna Paste, Pre-made Pastes, and Paste Made From Powdered Hair Dye

The purpose of this study is to note physical and chemical differences between true, BAQ henna paste, and products which are used as alternatives. As I sampled only the products available within a short distance from my home, future studies may be done on a wider range of products such as those most popular on online shopping sites.

Without more advanced methods at my disposal, it is impossible to determine the exact ingredients in the products, and therefore their level of safety. To err on the side of caution, I assumed that all of the store-bought products were potentially harmful, taking the safety measures described in the section below. The powdered hair dyes clearly indicated their ingredients, which included para-phenylenediamine, known to be highly sensitizing when in contact with the skin.

The purpose of this study is not to comment on the quality, popularity, or reputation of any of the products involved, but rather to report on the attributes which can be noted through basic observation.

 

Safety Measures

Please note that I do not, under any circumstance, recommend replicating this experiment. There was no way to determine what the products contained and whether they were dangerous. The powdered hair dyes contained a concentrated amount of PPD, which is known to be highly sensitizing, as well as toxic if ingested. Many of the pre-made pastes possessed no ingredients label; those that did were likely to have excluded ingredients from their list due to lax regulation. I wore protective gloves and worked in a well-ventilated space to prevent skin contact and inhalation of fumes. Afterward, I thoroughly cleaned all surfaces to prevent future exposure or contamination.

 

Product Selection

For this experiment, a product qualified if it met one or more of the following: 1) It was labeled “henna” and came in a cone or tube; 2) it did not have the word “henna” but packaging showed images of decorated skin; 3) it was packaged and marketed as a black hair dye, but is known for use on skin.

I purchased every product available in two local international stores, without purchasing duplicates, or more than one product from each brand. In the case of two products from the same brand, I chose that which advertised a darker color.

In total, I purchased six pre-made pastes and two powdered black hair dyes. All products except Cone 4 (Kanza) are shown in the image below.

 

 

 

 

 

Procedure

Using written notes as well as visual and audio recording, I commented on each product’s packaging, including the presence of ingredients lists, instructions, warnings, promised results, and country or manufacture.

After opening the packaging, I noted physical qualities of the paste: consistency, color, and odor. I tested each paste by drawing lines and dots. In the case of the two hair dye powders, I mixed each with water to a consistency similar to the pre-made pastes.

I then conducted two additional tests: one for flammability, and the second a chromatography test to compare dye separation between products. The procedures and results for these two tests will be discussed in detail later in this article.

All products’ results were compared to a cone of BAQ henna paste which I created using henna powder, lemon juice, water, sugar, and essential oils.

 

Packaging

The pre-made pastes were relatively similar in packaging. They were either in a plastic tube with a small twist cap, similar to the type of packaging for an ointment; or, they were in a rolled foil cone which was taped at the top and sealed with a pin at the tip.

Nearly all of the products came from Pakistan, with the exception of Cone 4, which was from Dubai. Only two products featured ingredients lists, and only one recommended a patch test. Very few instructions were present. Cone 5 read, “Wash hands after 15 minutes” which could be interpreted either as instructions, a warning, or an advertisement of the speed of the product’s staining ability.

Four of the six pastes had “Export Quality” printed somewhere on the packaging. I could not find clear information about the countries’ standards for determining this. More likely than not, they are just words put on there to sound fancy.

The two powdered hair dyes had complete instructions, warnings, and ingredients lists. Warnings and ingredients were printed on the box; the pamphlets inside repeated the warnings, and provided instructions for conducting a patch test as well as mixing and application.

The boxes of hair dye each contained a small glass bottle with a twist cap, underneath which was a rubber stopper. Each supplied a small measuring cup, and one supplied disposable gloves.

Both hair dyes were marketed toward Eastern Asian customers, and/or included Eastern Asian elements on the packaging. One was from a Japanese company which outsourced its manufacturing to India; the other was produced in Pakistan. Both boxes included promises of no ammonia or peroxide, adding to the sense that the product was safe or healthy. (Side note: the woman who rung me up commented that these dyes were “natural,” and “much safer than what you’d get at a drug store.” I just smiled and nodded.)

 

Below are details for each product’s packaging.

 

Cone 1

Name of Product

On Box: “Almas / Cone Henna Paste / Henna Body Decoration Paste”

On Tube: “Special Cone Henna Paste”

Type of Packaging

Plastic tube with thin tip twist cap, within a paper box

Country of Manufacture

Pakistan

Ingredients Listed

None listed

Instructions

Warning

“External Use Only”

Additional Details

On Box:

Black”

One of the finest quality and largest selling Henna in the world”

On Tube:

“100% Color”

“No side effect.”

“We feel proud that your trust is on our product...”

Export Quality From Pakistan”

An email address provided

 

Cone 2

Name of Product

“Shama / Cone Henna / Henna Body Decoration Paste”

Type of Packaging

Plastic tube with thin tip twist cap, within a paper box

Country of Manufacture

Pakistan

Ingredients Listed

Natural Hinna, Hinna Oil, Citric Acid & Water” (sic)

Instructions

See Image Below

Warning

Warning: Not to be used on lips and aroun the eyes area” (sic)

Additional Details

Extra Dark Color”

Finest Quality Henna in The World”

Halal”

 

​​ 

Shama Instructions and Warnings

 

​​ 

Cone 3

Name of Product

Special / Najma / Gel Cone / Mehndi”

Type of Packaging

Foil cone with pin tip, within paper box

Country of Manufacture

Pakistan

Ingredients Listed

None

Instructions

None

Warning

None

Additional Details

Export Quality”

 

Cone 4

Name of Product

Kanza / Henna Cone”

Type of Packaging

Foil cone with pin tip

Country of Manufacture

Dubai, UAE

Ingredients Listed

None

Instructions

None

Warning

None

Additional Details

The Supreme Quality Henna Selling in the World”

“Trademark 383381”

“Emergency Cone Henna”

“Export Quality”

“A Product of Noorani & Company”

A website provided

 

Cone 5

Name of Product

“Anarkali / Brown Out Liner”

Type of Packaging

Foil cone with with pin tip

Country of Manufacture

Pakistan

Ingredients Listed

None

Instructions

“Wash Hands Within 15 Minutes”

Warning

None

Additional Details

Registered 152393”

An email address provided

 

Cone 6

Name of Product

“Al Qamar / Nail Henna”

Type of Packaging

Small foil tube with twist cap, within paper box

Country of Manufacture

Pakistan

Ingredients Listed

Instructions

None

Warning

None

Additional Details

Export Quality”

Approved by PCSIR”

Company address and phone numbers provided

 

Powder 1

Name of Product

“Bigen / Permanent Powder Hair Color / 59 Oriental Black”

Type of Packaging

Paper box containing glass bottle of powder sealed with rubber stopper and twist cap. Box also contained a small plastic measuring cup and pamphlet of instructions.

Country of Manufacture

Pakistan

Ingredients Listed

Instructions

See Image Below

Warning

See Image Below

Additional Details

Contains No Ammonia”

Requires No Hydrogen Peroxide”

 

 

Instructions for Bigen Hair Dye

 

 

Warnings and patch test for Bigen Hair Dye

 

 

Powder 2

Name of Product

“ShoHan / Japanese / Instant Powder Hair Color”

Type of Packaging

Paper box containing glass bottle of powder sealed with rubber stopper and twist cap. Box also contained a small plastic measuring cup and pamphlet of instructions.

Country of Manufacture

India

Ingredients Listed

Instructions

See Image Below

Warning

See Image Below

Additional Details

Contains No Ammonia Peroxide”

100% Gray Coverage”

 

​​ 

ShoHan Hair Dye instructions and warnings

 

 ​​​​ 

ShoHan Hair Dye Special Features and Patch Test Instructions

​​ 

 

Physical Qualities

Notes were made on the texture, color, and odor of each paste. It is important to first note the qualities of a true henna paste, to use as comparison.

BAQ henna paste is green-brown in color when it is first applied. The paste is smooth and opaque, but with a very fine natural grit, as it is mixed from a plant powder. It dries to a matte deep brown. The stain that is left begins as a bright orange, then oxidizes to deep reds and browns. The odor is that of wet grass, citrus, and essential oils. It is a pleasant odor. The pre-made pastes were all relatively similar in their textures, colors, and odors, but completely different from the BAQ paste.

 

Texture

As indicated on many of the labels, the pre-made pastes were “gels.” They were extremely smooth and glossy. Some pastes were thicker, while others were runny. Cone 1 (Almas), was the most liquid-like; lines did not hold, and the product formed runny puddles. Nearly all of the pre-made pastes had a sticky or stringy consistency. If I dipped a toothpick in a sample of product and pulled it out, the product would stretch in thin strings. There was clearly some sort of binding or thickening agent added into the products to give them such a consistency. This is different from the stringy consistency one might find with BAQ henna paste, which allows the paste to be draped in thin, even lines. While BAQ henna drapes the way a smooth icing might, the gel pastes were more comparable to sticky paint.

The pastes I mixed from the hair dye powders were denser and grittier. The pastes turned smoother with stirring, but retained some grit. While evidence of some sort of thickening agent was present, these pastes were not as sticky and glossy as the pre-made pastes.

 

 

Texture tests for BAQ paste and pre-made pastes

 

 

 

Color

With the exception of Cone 1 (Almas), which was blue-black in color, the pre-made pastes showed variations of deep reddish brown to coffee brown when first squeezed out of the tube or cone. When smeared across a surface to form a fine layer, one could see that the gels were all translucent, and orange-red to brown-red in color.

The hair powders were gray before mixing with water. Once water was added, the pastes deepened from gray-brown with hints of blue or purple, to deep brown, to off-black.

 

Odor

All of the pre-made pastes had an overwhelmingly solvent-like odor that was noticeable within seconds of squeezing out a sample. The smell was similar to turpentine or gasoline. Even in a well-ventilated area, the odor took hours to dissipate after completing the tests. While I would describe BAQ henna as having a strong scent, the pre-made pastes emitted fumes, in the same way that an open bottle of nail polish remover quickly fills a space with the smell of something flammable. Cone 6 (Al Qamar) had a faint menthol or eucalyptus odor in addition to the solvent. The hair dye powders did not give off any notable odor, in neither powder nor paste form.

It is interesting to note that Cone 2 (Shama) had an ingredients list that is very similar to a true henna paste—henna, oil, citric acid, and water—but basic observation showed that this was far from the truth. Like the other products, this paste was a glossy gel with a deep red-brown color and strong odor. This goes to show that looking at an ingredients label is not enough when shopping for henna products.

 

Flammability

The flammability of the pre-mixed pastes was tested by saturating pieces of cotton with one of each of the products. Each piece of cotton was then held with tweezers over a flame for a few seconds. The BAQ henna paste was also tested using the same method. This test was not done with the hair dye pastes.

None of the samples ignited. A few sizzled and emitted dark wisps of smoke, but otherwise showed no difference in reaction when compared to the BAQ paste. The BAQ paste became dark and dry. An absence of combustion does not exclude the possibility of the pastes containing flammable ingredients; there may not have been high enough concentrations to cause combustion, or the additional moisture may have acted to prevent a flame.

 

Paper Chromatography

Chromatography tests are used to separate dyes. The paper chromatography test involves allowing a strip of absorbent paper holding a sample to wick a solvent such as isopropyl alcohol. As the solvent travels up the paper, it brings any dye contained in the sample along with it. Dyes will travel varying distances, resulting in unique bands of color to appear. This test alone cannot determine the exact dye ingredients, but comparing results can provide an idea of what types of dyes were involved. Below is a sample conducted on standard food coloring one can buy from the grocery store. One can see that the green dye contained both the blue and yellow dyes.

 

 

 

 

Using gloves to prevent my skin’s oils from contaminating the test, I cut 2 x 16cm strips from coffee filters. I measured and marked a line 2cm from the bottom of each strip. I applied a sample of each product along that line. All the strips were clipped to a rod and hung above a flat glass dish containing isopropyl alcohol (99% USP) so that the bottoms of the strips were in the alcohol, but the sample lines remained above. The samples were left for 60 minutes, and observed during that time.

 

Below are images of the process. The timer indicates remaining time.

 

 

Within seconds, the solvent began moving up the paper. Cone 1 (Almas) bled down into the solution. Luckily, this caused no noticeable contamination of results.

 

 

 

 

After five minutes. Cone 3 (Najma) begins bleeding into the solvent as well. Both cones 1 & 3 had been noted to be thinner and more liquid when tested for texture earlier.

 

 

With just over 20 minutes remaining, dye separation is quite apparent. Notice that the BAQ sample on the far left is very pale in comparison to all other samples.

 

 

 

 

 

Analysis of Pre-made Paste Chromatography

It is important to know that BAQ henna paste contains only one dye molecule, which is lawsone. Lawsone stains the skin by binding to the keratin. Initially, the stain on the skin is light, and then it oxidizes to deeper shades. BAQ henna usually contains 1-3% lawsone concentration. The dye is kept stable in an intermediary state by the low pH liquid used to mix the paste-- in this case, diluted lemon juice.

Cone 1 (Almas) was the only pre-made product I found which claimed to give a black result. Initially I assumed that it must have contained PPD. The results of this chromatography test showed that to be untrue; the dye is a deep blue color and most likely a concentrated food dye, or something similar. Below I will show the chromatography results for PPD hair dye. Strangely enough, a small amount of red-orange dye also separated from Cone 1’s sample, but it is clearly not lawsone.

Cones 2-6 showed similarities in the presence of highly concentrated brown-red dyes. Cone 2 (Shama) also exhibited an additional lighter dye strip at the top. It appears similar to that of Cone 1, but is present at a different height. Also interesting to note in Cone 2 is how the solvent turned the initial sample stripe a bright yellow color. This could be because all of the other dye was dissolved and wicked upward. The BAQ henna shows a similar result, as the initial line turned dull gray.

 

Powdered Hair Dye, and Additional BAQ Chromatography Samples

I conducted another chromatography test on the two powdered hair dyes, and to re-sample the BAQ henna which I felt may have been contaminated when Cone 1 bled beside the first BAQ sample.

 

Three identical BAQ samples on the left. On the right, Powder 1 (Bigen) and Powder B (ShoHan) respectively.

 

While both powdered hair dyes were labeled “black,” the pastes appeared to be very deep brown at the beginning of the test. These dyes are oxidative, meaning they darken as they process within the hair shaft (or in the case of “black henna,” while on the skin). Both PPD hair dye samples bled into the solvent, which made sense given that they were created by mixing the powders with water.

 

This photo was taken forty minutes in. I noted that both hair dyes samples showed a violet tinge as time went on.

 

 

 

 

The hair dyes appeared nearly identical in their chromatography results. The initial brown color darkened through a deep, muddy violet color, to a cool, charcoal black. As both products included full ingredients lists, there was no need to guess the presence of PPD.

These products were not marketed as henna, or for use on skin. They do not claim to be or contain henna. However, powdered black hair dyes such as these are very often used to create “black henna” which is applied in stalls and kiosks in tourist areas. They are simply highly concentrated PPD mixtures.

 

 

 

 

The additional BAQ samples were relatively similar to the initial sample. Here, the lawsone lines are more visible. A faint, green-brown line present beneath the orange dye lines was most likely due to plant reside which was wicked up along with the solvent. While the sample on the left appears as if there are four distinct dyes, one can see that the shape of the lines is uneven; rather than going straight across, indicating a clear separation of dyes, this separation is more likely due to inconsistencies in sample application, and solvent absorption/evaporation. Below are the results from the pre-made pastes, once again, for comparison.

 

 

 

Conclusions and Limitations

The purpose of this study was to investigate and report observable differences in texture, color, odor, flammability, and dye qualities of six pre-made “henna” pastes, and two “black henna” pastes. These products showed little to no similarities with BAQ henna paste, but were very similar to one another. Unlike BAQ paste, pre-made pastes were glossy, translucent gels. These pastes emitted a very strong solvent-like odor and contained highly concentrated dyes. Despite a possible presence of flammable ingredients, none of the pre-made pastes ignited when exposed to flame. Pastes mixed from powdered hair dye were dark brown to black and had no odor. Hair dye pastes were not tested for flammability.

Access to advanced laboratory equipment and methods would help to shed light on the chemical qualities of the products, and even determine the ingredients within them. Equipment such as a mass-spectrometer can do just this, but is very expensive and difficult to access without an established relationship with a lab.

However, the simple methods used in this study are more than enough to determine that pre-made pastes are far from true BAQ henna. True henna is made in small batches, and must be kept cold to prevent demise. The paste is opaque, green/brown, and smells pleasant. If you come across a product and are unsure of its ingredients or safety, err on the side of caution and do not use it. If you are very curious, squeeze a small amount onto a napkin and note its texture, color, and odor.

True henna is wonderful. It has been used for centuries in numerous countries. It has been observed to provide benefits to skin and hair. Commercialization has tainted the term, “henna” with innumerable products which are far from the real thing. For quality and safety, it is best to skip the cheap, fast stuff, and mix your own henna paste using BAQ henna from a reputable supplier.

 

PPD Sensitization in Men: Unique Risks and Gendered Behavior

This article was originally published at AncientSunrise.Blog.

​​ 

 

Introduction

Para-phenyelenediamine (PPD) is one of the most common allergens in cosmetics. While genetics can increase chances of allergy, anyone can develop a PPD allergy. High concentrations and repeated exposure increase the likelihood of becoming sensitized. Basic information about PPD is covered in an earlier article, What You Need to Know About Para-Phenylenediamine.

 Occupations that involve repeated exposure to PPD, such as hair stylists, and fur and textile workers, show higher rates of employees with PPD sensitization [13]. Outside of occupation-related sensitization, the average person is sensitized to PPD through a black henna tattoo, or through the use of hair dye. Prevalence rates of PPD sensitization are about 6.2% in North America, 4% in Europe, and 4.3% in Asia [1]. Overall, sensitization rates appear to be increasing over time [2]. Rates are higher in populations with darker hair, as dark hair dyes contain higher PPD concentrations. ​​ Rates of sensitization are also higher in countries where “black henna” is commonly used in place of traditional henna.

 PPD sensitization rates also vary between genders. Both body art and the use of hair dye are gendered behaviors; more women participate than men. This leads some to presume that PPD sensitization is more of a concern for women. While it is true that, overall, a higher percentage of women have PPD sensitization than men, it is important to discuss issues specific to men’s self-grooming and help-seeking behaviors that put the male population at unique risks. Certain populations of men experience higher rates of facial dermatitis due to frequent beard dyeing. Men who work in industries involving frequent contact with products that contain PPD or cross-reacting allergens may be forced out of their jobs to avoid continual allergic reaction. Men show reluctance to seek medical attention; this puts them at risk for future complications which could be avoided. Understanding gendered behavior may lead to better education, prevention, and treatment of PPD sensitization in men.

 

​​ 

This man will have permanent scarring from his “black henna” body art, and is now sensitized to PPD.

Source: https://shewhoseeks.blogspot.ca/2012_02_01_archive.html

 

​​ 

Avenues of PPD Sensitization

Traditionally, self-grooming and concerns for beauty have been characterized as feminine behaviors. Men spend less time and money in the use and consumption of beauty products and services. ​​ Gender-specific grooming practices will be explored further in the next section. About 30-40% of women and up to 10% of men in North America are regular hair dye users [2],[3]. Another study estimated that 70% of women and 20% of men have used hair dye at least once in their lifetime [4].

On the other hand, getting a “black henna” tattoo is much less gendered in western cultures, leading to a fairly even split in the numbers of males and females getting a temporary “black henna” tattoo. Traditional henna body art is highly gendered; it is used for decorating and beautifying women, especially for celebrations and social events. In contrast, “black henna,” when it is used in spaces of tourism, is used to mimic the look of true tattoos. It is not limited to a specific custom or style.black henna” is readily available on boardwalks and beaches, and in shopping malls, resorts, amusement parks, festivals, and fairs. Those who get “black henna” body art are usually children or young adults. [5], [6]. Children are attracted to body art that mimics tattoos because they like to imitate adult behavior. Parents who believe that “black henna” is harmless allow their children to have body art done, unaware of the risk of sensitization. Thus, both young boys and girls get “black henna” body art.

​​ 

​​ 

​​ 

A young boy is scarred and sensitized by a “black henna” tattoo.

Source: Daily Mail

 

​​ 

Of those who get a “black henna” tattoo, an estimated 50% will become sensitized [6], [7]. Some will experience a delayed contact dermatitis reaction following; some will not. A person can develop a sensitization even if they did not react to their first exposure. It is rare for consumers of “black henna” to understand the connection between the product used to create “black henna” body art, and hair dye. Children become sensitized to PPD through “black henna,” then later on may choose to dye their hair. The chances of a person previously sensitized by black henna having a severe (+++) reaction to PPD hair dye is about 40% [8]. A study found that 16% of adolescents in Manchester, England had a PPD allergy. Most of this was likely caused by the “black henna” they had gotten on holiday [8]. We will see a wave of hair dye reaction cases around 2030, when this population begins showing gray hair.

 

 

Source: Presentation to USFDA June 30, 2016: ‘‘Black Henna’ and the Epidemic of para-Phenylenediamine Sensitization: Awareness, Education and Policy, Catherine Cartwright-Jones PhD

 

​​ 

 While girls and women favor delicate designs, boys and men are more likely to choose tribal-style patterns that cover large areas of the skin with a solid application of “black henna.” This larger surface area increases the amount of PPD to which the person is exposed, thus increasing the risk of sensitization. If the client experiences a delayed hypersensitivity reaction to the body art, a larger area of their body is subject to dermatitis symptoms such as blistering, permanent scarring, and hypopigmentation. This is only just one way gendered behavior creates unique variables in PPD sensitization.

If a parent sees that their child is suffering from a reaction to their “black henna” tattoo, they will probably take the child to a medical professional. Adults, especially men, may be less likely to seek medical attention for their own allergic reaction, especially if it is not severe. Neglecting to seek medical attention causes a person to remain uneducated about the nature of their allergy, putting them at risk for repeated exposures and reactions. Men’s help-seeking behaviors will be discussed later in this article.

 

 

Grooming Practices as Gendered Behavior

Conventional ideals for appearance differ greatly between those for men and those for women. Entire books are dedicated to the sociology behind gendered beauty norms; therefore, it is impossible to cover this subject in its entirety within this article. One salient feature is that feminine and masculine norms are often presented as binary, and in opposition with one another [9]. If one behavior is used in traditionally feminine self-grooming, it is avoided in traditionally masculine self-grooming [9], [10], [11]. This is particularly evident in the way we treat hair. ​​ In western societies, most men keep their hair short, while most women have longer hair. Of course, there are many exceptions, and there are people and groups who intentionally choose to defy norms through their appearance. As societal constructs of masculine and feminine ideals shift, so do people’s choices in personal style. However, there is still an overall trend in gendered grooming behaviors. Cosmetics companies actively seek to maintain these norms in the sorts of images they use in marketing their products.

 

​​ 

Use self-grooming products while still being manly… Because sports...Or something. Source: Media in Canada

 

​​ 

Overall, women dye their hair more than men. Women’s fashion trends change more rapidly than men’s, and women change their personal style more frequently than men do [10], [11]. They do so by altering the length, color, and texture of their hair. Cutting, dyeing, curling, straightening, braiding, and using tools, products, and accessories all help in keeping a style “fresh” or “up-to-date.” Conventional feminine beauty values youth, and fears the appearance of age [9]. Women are much more likely to dye their hair to mask grays, while gray hair is less of a concern for most men. These behaviors play into the higher rate of PPD sensitization in women.

 Men’s styles focus on conformity, consistency, and professionalism. Men do not change their hair as frequently. ​​ Feminine beauty is associated with youth; gray hair is undesirable. ​​ On the other hand, men are less concerned with going gray. Gray hair may even increase a man’s attractiveness. It is “distinguished.” The term “silver fox” is used predominately to describe mature, attractive men. Younger men in white-collar professions have even been told that adding some gray into their hair may help their appearance and rapport with clientele [9]. The brand Touch of Gray promises to dye men’s hair while leaving just enough gray to maintain that distinguished, mature image. While traditional concepts of masculinity once idealized the perfect man as rough and rugged, the increase of educated and white-collar careers caused a gradual shift to the image of a clean-cut, well-groomed, professional man, whose power comes from his professional success and wealth, and his ability to attract women [9], [10], [11].

 ​​​​ 

 

The products on the left all contain PPD. They are marketed toward men, or claim to be “natural.”

The image on the right shows the warning and patch test advisory on Just For Men dye.

 

 

 ​​​​ 

 Many men do dye their scalp hair and facial hair to mask their grays. The popular brand, Just for Men, directly targets men with its very name. Grooming products marketed toward men attempt to both reinforce the masculine ideal, and present self-grooming as a valid, masculine behavior. Marketing focuses on how the product will augment a man’s ability to attract women, or his image of professional success. By re-framing the use of hair and beauty products as a masculine behavior, companies can increase their number of male consumers.

Men’s use of hair dye is increasing, and the age of the average hair dye user is decreasing. More and more young people are using hair dye as a means of beauty and self expression, rather than for masking gray [22]. This shift in the demographic will lead to higher rates of sensitization and at younger ages, for both men and women.

 

Dyeing Beards

Facial hair is rather unique to men. Biologically, higher levels of androgen hormones lead to thicker, longer facial hair. While women also have facial hair, it is traditionally minimized through plucking, shaving, or bleaching. Few women have the biological ability to grow thick beards. ​​ Just as scalp hair can be cut, dyed, and styled to express a person’s identity, so can facial hair. Because it is mostly men who have noticeable facial hair, the use of dyes on facial hair and the repercussions are a uniquely male issue.

Facial skin is thin and sensitive. Facial hair, on the other hand, is coarser and more resistant to dye [12]. Those who dye their beards might choose stronger, more concentrated products, or leave the dye on for longer periods of time. This increases the chances of becoming sensitized to PPD. Additionally, a person who dyes their facial hair most likely also dyes their scalp hair, and possibly dyes both at the same time for the sake of convenience. Those who are already sensitized may experienced more severe reactions when the compound comes in contact with their face. The proximity to the nose and mouth leads to further risks. ​​ 

Because facial hair grows quickly, a person wishing to mask gray roots will have to dye frequently. Men who use beard dye do so as frequently as once every five days [12], [13]. Men who keep their scalp hair short will also show gray roots more quickly. Repeated exposures both increase the chances of becoming sensitized to PPD, and worsen symptoms for those who are already sensitized.

Furthermore, PPD sensitization can lead to cross-reactions with several structurally similar compounds, including those found in synthetic fragrances. If a man later chooses to shave their facial hair, the process of doing so can create cuts and micro-abrasions that leave the skin vulnerable to reactions from soaps, lotions, and aftershaves [14].

 

​​ 

This man is in the hospital for a severe reaction to beard dye. Source: Consumer Affairs

​​ 

Ethnicity, Culture, and Class in PPD Allergy Variability

A population’s variation in PPD allergy prevalence rates is dependent on several factors, such as behavior, the accessibility of PPD products, and the concentrations within those products. Demographics and geography play into these factors. In many European countries, laws have limited the maximum concentration of PPD allowed in hair dyes, and a related compound, para-toluenediamine (PTD) is often used instead [2]. (Side note: PTD is believed to be less sensitizing than PPD, but those who are already sensitized to PPD are likely to experience a cross-reaction with PTD. We’ll save that can of worms for another time.) In countries where PPD concentration in hair dye is restricted, or where PTD is more commonly used, sensitization rates to PPD are lower [4]. The same goes for countries with greater light-haired populations [1].

Conversely, in countries with less restriction on PPD concentration, and with larger dark-haired populations, we see higher sensitization rates. In many Asian countries, hair dyes with high PPD concentrations are easily available. Popular hair dye brands can contain up to 80% PPD. ​​ “Henna stone,” ​​ which is solid industrial PPD, is widely sold for use in hair dye and body art [6], [7]. The median prevalence rate in Asia is 4.3%, but ranges from 2-12% within regions and sub-groups [13].

 In Saudi Arabia, and among Arabic men regardless of their location, growing and coloring beards is common practice. The prevalence rate for facial dermatitis from dye is high among this population [12]. A Korean study found that about 64% of adults with gray hair had experience using hair dye, and of that group, about 24% experienced a reaction [15].

A study conducted by the Cleveland Clinic investigated sensitization rates in white and black racial groups, and found that rates were similar among both groups for all allergens except PPD. Black people overall showed much higher rates of PPD sensitization than white people (10.6% vs. 4.5% respectively), and black men had much higher sensitization rates than black women (21.2% vs. 4.2% respectively) [16]. This is likely influenced by a combination of hair dye use/exposure, occupation, and genetic differences.

 Black hair care is nearly a multi-billion dollar industry. Black women spend more money on cosmetics than non-black women. However, this alone does not explain why black men have significantly higher sensitization rates than black women. One factor could be that black men who dye their beards must do so frequently, and with high PPD concentrations, similar to the phenomenon seen in Arabic men. ​​ One class-action lawsuit against the Just For Men hair and beard dye brand claims that JFM unfairly targeted African American men in their marketing of a product that contained higher levels of PPD.

​​ 

Various iterations of Just For Men “Jet Black” hair and beard dyes all feature black men on the packaging. Source: Amazon

 ​​​​ 

Additionally, there may be a higher proportion of black men (in comparison to non-black men, and black women) in industries which handle PPD and related compounds, such as fur/leather/textile dyeing, and the manufacture and handling of black rubber products in rubber and automotive industries.

One can look at a statistic for PPD sensitization in, say, North America for example, and make an assumption that all of the population is at equal risk. This is far from the truth; sensitization rates vary greatly between sub-groups. More research needs to be done on specific populations to determine these sub-groups, and the factors which lead to higher rates of sensitization. Hair dye and “black henna” use, as well as occupation cause significant variation. More nuanced demographic data will create a clearer picture of the populations that might require additional attention.

 

 

Help-Seeking Behavior, Education, and Prevention

Sociological studies in men’s help-seeking behavior affirm that men are less likely than women to use medical services. Studies have focused on mental help and addiction, as well as common physical ailments such as headache and backache [17], [18]. There has yet been a study specifically regarding the help-seeking behaviors of men and women who experience a reaction to “black henna” tattoos, or PPD hair dye. However, one can infer from the general trend of help-seeking reluctance that there is a large population of men who are sensitized to PPD, who are entirely unaware of the allergy or how to manage it.

 Overall, most people who become sensitized to PPD from a “black henna” tattoo are not aware that the sensitizing agent, PPD, is the same compound used in hair dye. Numerous case reports have described patients seeking medical care for reactions to hair dye, who reported having gotten a “black henna” tattoo in the past [1-8], [13], [19-22]. It is estimated that, of those who experience a severe reaction to hair dye, only 10-30% of cases will be seen by a doctor, and even fewer by a dermatologist. [19], [20]. In a survey of 521 Korean adults with graying hair, a whopping 74% of those who reported experiencing a reaction to hair dye said that they did not visit a medical professional. The primary reasons were that they did not feel the reaction was severe enough (44.6%), and that they saw the side effects as a normal part of dyeing their hair (39.3%) [15]. Another article estimated that only 15% of people with a hair dye allergy seek treatment, and only a fraction of these people are patch-tested for allergies [22].

 Societal influences cause men in particular to choose to “tough out” medical problems rather than seeking help. If a man experiences a reaction to PPD and chooses not to seek medical help, he deprives himself of crucial information related to his sensitization. Most likely, he will think it was a one-time fluke. He might not learn that “black henna” and conventional hair dyes both contain PPD. He might not learn that PPD sensitization can lead to cross-reactions with other products such as black rubber, fabric dyes, photographic developer and lithography plates, photocopying and printing inks, ​​ oils, greases and gasoline.

 Without consulting a dermatologist or allergist, someone who is sensitized may never learn how to properly manage their new allergy, putting them at risk for repeated exposure and worsening symptoms. Furthermore, PPD sensitization can limit prospective occupations, or force workers to leave their jobs due to continuing and worsening reactions to the materials involved. This would affect people in cosmetology, fur and textile industries, rubber industries, automotive industries, work that involves printing and photo development, and numerous other fields [2].

Studies suggest that men’s help-seeking choices are influenced by the perceived potential for embarrassment, as well as the perceived normality of a problem. If an issue is ego-centric, meaning that it may affect a person’s self-image, men are less likely to seek help. The same goes for if a man perceives a problem as abnormal [17]. Advertisements for erectile dysfunction medications have focused on normalizing ED, as well as reinforcing the notion that the embarrassment of ED is worse than the embarrassment of consulting a doctor. This is an example of an attempt to normalize a medical issue and decrease the help-seeking behavior’s threat to a man’s self-esteem.

 

​​ 

This ad for Viagra affirms traditional masculine ideology. Source: Outsource Marketing

 

​​ 

While statistics show that few people seek medical treatment for reactions to hair dye, additional factors may cause men to do so even less. First, men are less likely to seek medical help than women. Second, because traditional masculine ideals enforce the belief that preoccupation with beauty, especially hair, is a feminine behavior, many men may be hesitant to seek help for reactions to hair dye. Doing so requires admitting to the use of hair dye, which can create a blow to a masculine self-image. While PPD is one of the most common allergens (named Allergen of the Year by the American Contact Dermatitis Society in 2006), people remain largely unaware of its risks. Women are more familiar with hair dye reactions than men. Men may perceive a reaction to hair dye to be both non-normal and a threat to self-image. Thus, it is essential that efforts be made to increase awareness about PPD sensitization, focusing on its severity, high likelihood, and prevalence.

 

 

Just for Men Class-Action Suit

The hair dye brand, Just For Men, is currently at the center of several class-action lawsuits. Users reported experiencing adverse reactions to the products on their scalp hair and/or facial hair. Some suits claim that the patch test advised in the packaging was not sufficient for determining how the product would affect the skin on the scalp and face. In fact, conducting a patch test may increase sensitization. As mentioned earlier, other suits claim that the company intentionally and unfairly targeted black men in their marketing of their Jet Black hair dye, which the legal group claims to contain 17 times more PPD than other dyes from the same company.

If you are a man who has experienced an allergic reaction to Just for Men, consider looking to find if there is a legal group with an open suit in your area.

This series of class action suits is a positive move forward in demanding stricter regulation and more responsibility on the part of hair dye companies. Such legal action has rarely occurred against companies marketing hair dye to women, and fewer acts have been successful. Overwhelmingly, users of hair dye see adverse effects as a “normal” part of the hair dyeing process, and even choose to continue using products that cause reactions because the thought of going gray is worse than enduring contact dermatitis symptoms [15].

 

Conclusion

Because women make up the majority of hair dye users, there is a paucity of research specific to men’s use of hair dye. It is likely that more men are sensitized to PPD than current numbers suggest. Data taken from medical databases and case reports only include those people who seek medical attention or make themselves available to researchers. Surveys depend on honest self-reporting of behaviors. Men’s help-seeking behaviors may have cause research numbers to be lower than the reality

Based on available data, men make up a smaller proportion of the PPD sensitized population, in comparison to women. There is an exception in the case of black men in the United States. While hair dye allergies are often framed in the context of the female consumer, it is critical that the male population not be forgotten. The use of dye on beards is unique to men and poses special risks. Studies on help-seeking behavior suggest that men are less likely to seek medical attention if they were to experience a reaction. The idea of self-grooming as a gendered behavior further prevents men from openly discussing their use of hair dye.

Young boys who get a “black henna” tattoo on vacation, while at an amusement park, or in other tourist settings, are at risk of experiencing a reaction later on in life if they choose to use oxidative dyes. “Black henna” tattoos contribute significantly to the number of people who have PPD sensitization. In the future, we will see an increase of both men and women who develop severe reactions to hair dye. ​​ As societal ideals of beauty, self-grooming, and gender norms change, hair dye use may increase among men. Already there is a shift in the use of hair dye as tool for masking age, to an avenue of self-expression in younger populations [22].

In order to ensure that both men and women are properly educated about the risks and prevalence of PPD sensitization, continued efforts must be made in raising awareness. Consumers should be aware that PPD is highly sensitizing, and that reactions from hair dye are quite common. Steps must be taken to prevent PPD sensitization before the onset. This includes continuing to raise awareness about “black henna” body art, pushing for stricter regulation of products containing PPD, and presenting safe alternatives for altering hair color and masking grays.

 

​​ 

To learn more about PPD sensitization, visit the following links.

The Henna Page: Black Henna Warnings

Catherine Cartwright-Jones’ PhD Dissertation, “The Geographies of the Black Henna Meme Organism and the Epidemic of Para-phenylenediamine Sensitization: A Qualitative History”

AncientSunrise.Blog: What You Need to Know About Para-Phenylenediamine

 

To learn how to use plant dyes as a safe and effective alternative for coloring hair and masking grays, read the Ancient Sunrise® Henna for Hair E-Book and visit www.HennaforHair.com, and ​​ www.Mehandi.com.

 

References

 

[1]Mukkanna, Krishna Sumanth, Natalie M. Stone, and John R. Ingram. "Para-phenylenediamine allergy: current perspectives on diagnosis and management." Journal of asthma and allergy 10 (2017): 9.

[2]Hamann, Dathan, Carsten R. Hamann, Jacob P. Thyssen, and Carola Lidén. "p‐Phenylenediamine and other allergens in hair dye products in the United States: a consumer exposure study." Contact Dermatitis 70, no. 4 (2014): 213-218.

[3]Redlick, Fara, and Joel DeKoven. "Allergic contact dermatitis to paraphenylendiamine in hair dye after sensitization from black henna tattoos: a report of 6 cases." Canadian Medical Association Journal 176, no. 4 (2007): 445-446.

[4]Schuttelaar, Marie-Louise Anna, and Tatiana Alexandra Vogel. "Contact Allergy to Hair Dyes." Cosmetics 3, no. 3 (2016): 21.

[5]Goldenberg, Alina, and Sharon E. Jacob. "Is the Use of PPD in Black Henna Tattoo Criminal or Remiss?." International Journal of Integrative Pediatrics and Environmental Medicine 1 (2014): 22-26.

[6] Black Henna’ and the Epidemic of para-Phenylenediamine Sensitization: Mapping the Potential for Extreme Sensitization to Oxidative Hair Dye, Presentation at Society of Cosmetic Chemists’ 70th Annual Scientific Meeting, December 10, 2015, Catherine Cartwright-Jones PhD

[7]Presentation to USFDA June 30, 2016: ‘‘Black Henna’ and the Epidemic of para-Phenylenediamine Sensitization: Awareness, Education and Policy, Catherine Cartwright-Jones PhD

[8] Smith V, Clark S, and Wilkinson M. “Allergic contact dermatitis in children: trends in allergens, 10 years on. A retrospective study of 500 children tested between 2005 and 2014 in one U.K. centre.” British Association of Dermatologists’ Annual Conference. Leeds Teaching Hospitals NHS Trust, Leeds, U.K. (2015).

[9] Synnott, Anthony. "Shame and glory: A sociology of hair." The British journal of sociology 38, no. 3 (1987): 381-413.

[10] Ricciardelli, Rosemary. "Masculinity, consumerism, and appearance: a look at men's hair." Canadian Review of Sociology/Revue canadienne de sociologie 48, no. 2 (2011): 181-201.

[11]Barber, Kristen. "The well-coiffed man: Class, race, and heterosexual masculinity in the hair salon." Gender & Society 22, no. 4 (2008): 455-476.

[12]Hsu, Te-Shao, Mark DP Davis, Rokea el-Azhary, John F. Corbett, and Lawrence E. Gibson. "Beard dermatitis due to para-phenylenediamine use in Arabic men." Journal of the American Academy of Dermatology 44, no. 5 (2001): 867-869.

[13]Handa, Sanjeev, Rahul Mahajan, and Dipankar De. "Contact dermatitis to hair dye: an update." ​​ Indian Journal of Dermatology, Venereology, and Leprology 78, no. 5 (2012): 583.

[14]Jensen, Peter, Torkil Menné, Jeanne D. Johansen, and Jacob P. Thyssen. "Facial allergic contact dermatitis caused by fragrance ingredients released by an electric shaver." Contact dermatitis 67, no. 6 (2012): 380-381.

[15]Kim, Jung Eun, Hee Dam Jung, and Hoon Kang. "A survey of the awareness, knowledge and behavior of hair dye use in a Korean population with gray hair." Annals of dermatology 24, no. 3 (2012): 274-279.

[16]Dickel, Heinrich, James S. Taylor, Phyllis Evey, and Hans F. Merk. "Comparison of patch test results with a standard series among white and black racial groups." American Journal of Contact Dermatitis 12, no. 2 (2001): 77-82.

[17]Addis, Michael E., and James R. Mahalik. "Men, masculinity, and the contexts of help seeking." American psychologist 58, no. 1 (2003): 5.

[18]Hunt, Kate, Joy Adamson, Catherine Hewitt, and Irwin Nazareth. "Do women consult more than men? A review of gender and consultation for back pain and headache." Journal of health services research & policy 16, no. 2 (2011): 108-117.

[19] Søsted, H., T. Agner, Klaus Ejner Andersen, and T. Menné. "55 cases of allergic reactions to hair dye: a descriptive, consumer complaint‐based study." Contact dermatitis 47, no. 5 (2002): 299-303.

[20] de Groot, Anton C. "Side‐effects of henna and semi‐permanent ‘black henna’tattoos: a full review." Contact dermatitis 69, no. 1 (2013): 1-25.

[21]Jacob, Sharon E., and Alina Goldenberg. "Allergic."

[22]McFadden, John P., Ian R. White, Peter J. Frosch, Heidi Sosted, Jenne D. Johansen, and Torkil Menne. "Allergy to hair dye." BMJ: British Medical Journal 334, no. 7587 (2007): 220.

 

 

“White Henna” and Becoming Moonlight® Gilding Paste

 

 

 

You may have seen images of beautiful henna-style body art done in white, silver, gold, or other colors. This technique is often referred to as “white henna,” and has gained popularity in both regions where henna is traditionally used, and in western societies. “White henna” is an interesting new twist on traditional henna. It’s great for formal looks in weddings or events, as well as casual summertime adornment.

 

 

 

What is “White Henna?”

“White henna” is not actually henna. The red-brown stain of traditional henna paste comes from the dye that occurs naturally in the leaves of the henna (lawsonia inermis) plant. To make traditional henna paste, the leaves are harvested, dried, ground, and sifted into a fine powder. This powder is mixed with a mildly acidic liquid, such as lemon juice, which releases the intermediary dye molecules which bind to keratin in skin, hair, and nails. This stain oxidizes from a bright orange to deep red and brown tones. The color stays in the surface layers of the skin until the skin cells shed, allowing the pattern to last a couple of weeks.

On the other hand, “white henna” is a style of body art that involves applying a product to the surface of the skin for a temporary, henna-like effect. It has been done with body paint, adhesives, homemade flour-based pastes, and—as a quick search on YouTube would reveal—acrylic paints, white-out, and other materials that are not safe for skin. Some “white henna” products on the market claim to “stain” the skin white, and may contain some kind of bleach. The problem with many “white henna” products or DIY techniques one might find online is that the product is not safe for use on skin, ​​ and/or does not stay for more than a few hours before cracking or washing off.

Although “white henna” has gained popularity in the past couple of years, Catherine Cartwright-Jones, PhD, began exploring “white henna” work in 2003. In 2012, Becoming Moonlight® Gilding Paste was developed through a collaboration between Catherine and her company, TapDancing Lizard® LLC, and Olena Wilshanetsky.

 

What is Becoming Moonlight® Gilding Paste?

Becoming Moonlight® Gilding Paste was the first product developed specifically for creating henna-like patterns on the skin. It is based on Pros-Aide medical adhesive. It is water resistant, flexible, and latex-free. It is not a paint nor a dye, but rather an adhesive paste that can be applied with a cone just as henna would. The paste dries after 5-10 minutes, and is tacky to the touch. The artist then seals the paste with any body art quality glitter or mica powder for the desired effect.

 Pros-Aide adhesives were originally produced for medical use, but have been widely used by body artists to apply durable, colorful, and sparkling patterns to skin. Both the liquid and cream adhesives tend to dry flat, and transparent. Becoming Moonlight® worked directly with the manufacturers of Pros-Aide to create a skin-safe* adhesive specifically for body art use. Unlike the original Pros-Aide cream adhesive, Becoming Moonlight® gilding paste dries raised and opaque white, making glitters and powders “pop.” The formula is thicker, allowing it to be applied in thin lines and intricate patterns, the same way as traditional henna paste.

 

 

Setting the paste with white or pearlescent mica powder creates the classic “white henna” look. However, any color or combination of colors can be used over the paste. This makes it wonderfully versatile. The design stays in place for up to a week, depending on placement and aftercare. It can be easily removed with mineral oil or by rubbing sticky tape over the design.

Because Becoming Moonlight® gilding paste does not stain the skin, it is an ideal product for school children and workers whose dress codes would not allow them to have visible “tattoos.” The design can be worn for the desired period of time, and then removed prior to returning to school or work.

​​ 

How to Use Becoming Moonlight® Gilding Paste

Mehandi.com sells Becoming Moonlight® gilding paste in both single-use cones and in 4oz jars. A single cone contains enough gilding paste to create several small patterns, or 1-2 large patterns, depending on intricacy. A 4oz jar contains enough paste to fill about twenty cones. Becoming Moonlight® offers body art quality glitters, mica powders, and gems in a large assortment of colors. You can also purchase pre-rolled cones, or mylar triangles to roll your own cones.

​​ 

​​ 

 The following videos demonstrate how to roll mylar cones, and how to fill cones with Becoming Moonlight® gilding paste.

 If you are familiar with applying traditional henna, applying gilding paste feels very similar. Simply snip the very tip of the cone, enough to draw thin lines. Clean the skin with isopropyl alcohol, and create the pattern. Allow the paste to become firm and tacky. Once the paste has set, apply your choice of Becoming Moonlight® gilding powders and glitters to seal the design, and dust off the excess.

Here’s a video tutorial for creating a simple but elegant Halloween look.

 

For more tutorials and patterns, visit www.becomingmoonlight.com and http://www.hennapage.com/henna/white_henna/index.htm

 

* Note: Those who are sensitive to adhesives, such as those ones used in bandages, should conduct a patch-test with Becoming Moonlight® gilding paste first.