Every client eventually discovers the gap between when a set needs a fill and when it looks like it needs one. It is about five days wide, and it is the difference between a fill and a partial set.
You shed two to five lashes a day. At day fourteen a classic set has lost roughly a third of its extensions, and it still looks fine, because the remaining two thirds are evenly spread and your eye reads density rather than count.
Somewhere between day eighteen and day twenty-two, the loss stops being even. Clumps of the map open up, and the set goes from “fine” to “I need to do something about this” in about two days. By then you are usually past half.
So the calendar says day fourteen to twenty-one and the mirror says day twenty-two to twenty-six, and the mirror is the one that costs money.
A fill is priced on about an hour of work: removing outgrown extensions and placing new ones on the lashes that have come forward. Below half, that fits. Above half, your artist is rebuilding the map rather than maintaining it, which takes closer to two hours and is priced as a partial set.
That is not a penalty. It is what the work costs. But it means the cheapest thing you can do is book the next appointment before you leave the current one.
Classic $70 × 26 a year plus a set: about $1,999. Volume $95 × 26: about $2,705.
You never see the thin phase. This is what most people who wear volume properly actually do.
Classic $70 × 17 plus a set: about $1,369. The last four or five days of each cycle are visibly thinner.
The most common cadence here, and a perfectly good one on classic or hybrid.
Five full sets a year at $179: about $895, and the worst outcome of the three. You spend most of every cycle thin, and put your lashes through five removals instead of one.
The single most useful habit, and the reason membership exists at all. When the next appointment is already in the calendar, the decision stops being “is it bad enough yet” and starts being a standing Tuesday.
The desk will put the whole quarter in at once if you ask. It costs nothing, it moves freely with twenty-four hours’ notice, and it is the difference between the second and third columns above.
If you are going somewhere hot and wet for a week, a beach holiday or a humid wedding, book the fill for the week you get back, not the week you leave. Humidity accelerates the cure and then the salt and sunscreen work against the bond. A fresh fill on Friday before a Saturday flight is money spent on a set that will be half gone by the time anyone photographs you in it.
Every two to three weeks for classic and hybrid, every two weeks for volume and mega. On the calendar rather than in the mirror: the mirror answer is about five days later and that is what costs money.
Past about fifty per cent loss it is a partial set rather than a fill. Your artist is rebuilding the map rather than maintaining it, which takes closer to two hours and is priced accordingly.
After. Humidity accelerates the cure and then salt and sunscreen work against the bond, so a fill the day before a flight is largely wasted.
The desk will book the whole quarter if you want. It moves freely with a day’s notice.
Example interactive prototype. Not a real business. Names, photographs, reviews and figures on this page are illustrative. Identifying details on real client work are changed to protect their privacy. This is what Yeti can build for a lash and brow studio in seven days.