The ALPINE series – The Eye brushes

After launching the Alpine face brushes on April 13th, 2026, we are now ready with the eye brushes that feature the same handles. Just like the face brushes, these eye brushes are also bundled with yasha dyed saikoho goat bristles!

I would love to share a little more about the craftsmanship behind their making; understanding this process also helps explain why these brushes can only be produced as limited editions, which is a question I am often asked.

Both our handles and ferrules are made in Japan from scratch. The handles are individually sanded by the artisans using specific techniques at different stages. Also, each handle requires a different technique depending on the collection (lacquer) and also the characteristics of the wood grain.

I have had the chance to see them at work and the consistency of the artisans’ work is absolutely mind-blowing. They are fast and yet production takes a very long time. For one batch, our handles take approximately 3 months end to end to manufacture.

I have already mentioned that our gradient coating and the special lacquers used on our handles increase our production time and cost significantly, but there is one more detail I would especially love to mention today and it’s about these grey ferrules.

The ferrules have been coated with the same grey lacquer and sparkles used on the upper part of the handles. In Japan, matching ferrules to handle colours in this way is quite unusual, so we are happy that it was possible for this series.
It is unusual because it adds extra steps to production, along with risks and further technical challenges. One of those challenges is that the ferrules are metal while the handles are wood, so achieving a consistent color match across two very different materials is far from straightforward.

These brushes are handmade, with many stages carried out by artisans rather than machines, and artisan time is inherently costly. I think it is helpful to share this, especially for those discovering handmade brushes for the first time, because something that appears simple can in reality involve a great deal of complexity behind the scenes.

We face various challenges nowadays, for example the availability of the lacquers at this particular time, together with other factors that impact production costs, it’s also part of the reason why we have to consider them as limited editions. So, to say that we are happy that these Alpine eye brushes have now arrived at the warehouse is an understatement!
As we have not yet received the full production, the first launch will be with the sets, and once the remaining stock arrives, these eye brushes will also be available individually.

The face handles vs the eye handles

The handles for the eye brushes are 1 cm longer in comparison to the face brushes. The gradient is going to look slightly different in proportions but they also transition from black to grey with sky blue in between.

Today I am so excited to finally introduce these new eye brushes, share the inspiration behind them and walk you through all four designs and comparisons.

I’ve previously shared the full story behind the Alpine handles, along with detailed information about the yasha bristles and comparisons between the yashabushi and the kakishibu dyes. If you’re just discovering these brushes and are interested to read more about these topics, you can either expand the sections below by clicking the + sign, or find these same subjects addressed in the Alpine face brushes post linked here.

The Inspiration behind this series+

The name of these series is inspired by the Swiss Alps. I don’t live in the Alps but I am not very far from them, we are in a tiny ski-resort village that’s perfect for long walks and mountain views. One of the perks of being at a higher altitude is that the fog and clouds often sit just below us, which makes the scenery feel even more magical.

I often go on hikes in order to improve my health. This activity has played a very important role in the past 2 years.
The good news is that the views are quite extraordinary, seeing the clouds stretch like a soft blanket beneath the mountain peaks is both grounding and deeply inspiring.

I’m lucky to see the Mont Blanc directly from home, although this peak is in France.

We all have places and landscapes that calm us and stun us at the same time, so beautiful they take our breath away. For me, it happens whenever I’m by or in the sea, or surrounded by mountains. In Japan, it’s the Mount Fuji; in Switzerland, it’s the Alps.
These places may be worlds apart, but they stir the same emotions in me, a mix of peace and awe.

Most of the photos I have of the Alps include my family, but I’ll be back in the Alps this Thursday and I will make sure to take new pictures that I can share here.

I had an Alpine theme ongoing, and I also wanted to showcase Yasha dye for the bristles, this felt like the perfect opportunity to bring both elements together in the same project.

Update March 20th, 2026

Walk with me on Peak Walk Tissot at an altitude of 3000 meters. This is located in Glacier 3000, approximaterly 1 hour 30 drive from home.

You can ski starting at 3000 meters and end at 1,300 meters altitude, quite a distance! But you can also walk, they have the Glacier Walk that is quite easy and the views are breathtaking.

I’ll be doing the walk again this month, since I have to walk a lot, getting to do it in such a beautiful place feels like a very special treat. 🙂

The Yasha Bristles+

Like many of you, I love discovering new designs, craftsmanship, and different bristle types. If you’ve been with me for a long time, you already know that high‑quality natural bristles are becoming increasingly scarce as demand continues to rise. Even so, there’s still plenty to explore in the Fude world. What I enjoy most is creating new designs, challenging the artisans, and bringing fresh interest to our collections and daily routines.

We could have created these brushes using undyed saikoho goat bristles, but whenever I have the opportunity to incorporate a traditional technique, that’s the direction I choose. It may be more complex and more expensive, but it results in a far more distinctive project and, importantly, contributes to preserving the artisans’ craft for the future.

The saikoho goat bristles that we used for these series were dyed using Japanese Green Alder (Yashabushi) dye. It may not be the first time that you hear about this type of dye.

If you’ve travelled to Japan, you may have noticed how deeply natural dyeing techniques are valued and how widely they’re used, especially in textiles. You’ll see them on traditional garments, everyday clothing, and handcrafted goods. There’s a long history, and a genuine love for natural dyes woven into Japanese craftsmanship.

The Master Artisan who worked with me on these brushes is passionate about natural dyeing, and it’s a craft he has practiced for many years. His dedication and love for this particular craft are the reasons he looks for ways to blend this traditional art form with the world of Fude.

These ALPINE brushes were all bundled with saikoho goat hair that has been dyed with yashabushi dye -hence the grey colour of the bristles.

I wanted to showcase this dye for a long time. We all felt it would be especially meaningful for this series, because of their colour, and because there is a very particular feel of airiness to these bristles.

Yashabushi dye comes from the Japanese Green Alder, a small deciduous tree growing throughout Japan. Its flowers bloom from March to April and in autumn, the fruit is taken and used for dyeing. This dye has been used since ancient times, and its applications have evolved over the years. It has also been used as medicine to reduce skin inflammation.

Known for its lightfastness, stability, and pH-neutral properties, it is used in traditional mounting studios to dye lining paper for scrolls. It’s also used to dye wood and in textiles for modern, sustainable fashion. It has proven its stability and durability which makes it highly suitable for conservation.

YASHABUSHI DYE vs KAKISHIBU DYE+

You may already be familiar with the Traditions Kakishibu brushes that are dyed using the persimmon fruit dye. The bristles used for these ALPINE brushes have been dyed using Yashabushi dye, this dye comes from the Japanese Green Alder cones.

Both dyes come from a fruit, but the technique is different. The yasha dye requires a mordant that will modify the hue of the dye – it is usually yellow-brown but the mordant used by the artisan is going to change the final hue to either black, grey, purple, green or brown.

The bristles’ feel and performance vary depending on whether they’ve been dyed with yashabushi or kakishibu. But this is also influenced by the particular batch of bristles and the selection process that happens before dyeing. In other words, the dye alone doesn’t fully dictate how the bristles will feel or perform. It’s also important to note that these differences in feel and performance are based on my personal observations, they’re not scientifically proven. For the Master Artisan, the primary reasons for dyeing the bristles are aesthetics, and his love for the craft.

In this series, the yasha bristles were dyed as one batch, giving them a consistent hue and softness. Should we restock these brushes later on, the hue will inevitably shift. Each new batch of natural bristles is unique, and the Master Artisan’s fully hand‑done process also contributes to noticeable variations. The same applies to the kakishibu dyed bristles, each batch is slightly different. The dyed bristles may sometimes show little variations even within the same brush. It’s similar to dyeing our own hair: each strand absorbs colour differently, so the result can vary. With goat bristles, the reaction is even harder to control, making the process exponentially more challenging.

From my own observations, these two dyes influence the behaviour of the bristles in distinct ways. I’m personally obsessed with kakishibu, there’s something about the way this dye adds body and strength to the bristles that I believe truly elevates their performance. With the yasha dye, what I appreciate is the airiness it imparts. The distancing between each bristle feels just right and allows the bristles to work with more finesse.

I’ve tried the exact same brush designs in both dyes, and I genuinely appreciate how differently they perform. I feel Kakishibu works with more noticeable grip and strength, whereas yashabushi has more lightness in its approach. This feeling can also vary depending on the bristles’ softness and structure before each dye process is even done. Other than the different aesthetics of both types, this is the main difference that I could note.

Yashabushi‑dyed bristles will lighten over time, while kakishibu‑dyed bristles are more likely to darken as they age. Both types may release a bit of colour when washed (which is normal and completely safe). Though I personally haven’t noticed any bleeding in any of the dyes, it’s good to know it can happen. There are similarities with both dyeing methods, but with Yasha, the dyeing takes longer, the process is more complex and challenging and the variations in hue from batch to batch may be more noticeable.

If you are interested in Kakishibu bristles, you can find two posts with information linked below:

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The Alpine Handles+

For this Limited Edition series, the handles are black at the bottom, they transition to light blue and then light grey.
The logo, “JAPAN,” and each brush name are printed in a light blue shade. The brushes are named ALP5, ALP6, ALP7, and ALP8, with the letter A designed to look like a tiny mountain peak.

The ferrules are finished with the same lacquer as the handles, creating a continuous look. In this photo you’ll notice the subtle sparkles that begin at the base of the handles and flow seamlessly onto the ferrules.

We revisited the Lotus series concept and used the same handle shape and length. The handles also have a gradient lacquer and bespoke ferrules, although for the ALPINE, the same colour of the handle flows onto the ferrule.

We dedicate this launch to Mr Norihisa Fujita, an artisan who worked very closely with one of our brush suppliers. He worked on many of our projects (including this release), mixing colours for the logos and applying them. Mr Fujita sadly passed recently, he will be remembered by everyone for his extraordinarily kind heart and cheerfulne

THE ALPINE EYE BRUSHES

These natural goat bristles are grey because they have been dyed using yashabushi dye which comes from the Japanese Green Alder tree. Just like the ALPINE face brushes, these eye brushes were designed taking into consideration the structure of these particular bristles after the dye process is done. Dyes or treatments have a big impact on the feel and performance of the bristles, I feel that yasha bristles work particularly well for brushes that need airiness and softness in the way they work.

For the Alpine face brushes, the design process was strongly guided by the special ferrules that I wanted to use, I aimed to create brush shapes that would be enhanced by those distinctive ferrules we had been developing.
With the Alpine eye brushes, however, the approach was different.
Most of the brushes I was using around 2010-2012 have long been discontinued, others have considerably changed. With the Alpine eye brushes, I wanted to create brushes that in some way would connect me to that time and to the early days of my blogging journey, whether it is through their functionality, their shape, or a particular wish or memory.

I remember the joy of playing with makeup and brushes every morning before going to work, not only because applying make-up was so much fun, but talking about it with my friends was so exciting! We would talk about the brushes we found, the products we discovered or re-discovered with a different brush. I have so many memories tied to that time and to those brushes, and I still own every one of them. They’ve all stayed with me, and they’re not going anywhere.

These four Alpine eye designs are, in one way or another, connected to brushes I loved or brushes I wish I had in my collection. I will share more details under each brush but if you wish to share, I would love to know if you miss brushes from the past and what brushes you used and enjoyed most, I am sure that many of us would love to read about them!

THE ALP5

The ALP5 has a round ferrule, and the bristles are 10.5 mm long. It has a pencil type of shape, but with a bit more give and fluidity in the movement.

Traditional pencil brushes tend to be dense and firm, they are directional and usually quite bold or opaque with the application. While the ALP5 still allows us to work within a small area, it builds intensity more gradually, we have time to shape the placement without having to deal with the harsh edges that a firmer pencil brush may leave.

Why this design
I had many pencil brushes back in 2012, but in some situations, I felt that they were too firm and I was looking for a brush with more airiness and fluidity, but not much bigger than a pencil brush.
Many of my friends had the same features as I had: hooded eyes, heavy brows and therefore little space to play with… so we were often discussing detail brushes. It was not easy to find a small detail brush with strength at the tip, blending power but also enough fluidity and softness just to make the process easier.
When a classic pencil brush feels too firm and a small crease brush doesn’t provide enough control, that’s where the ALP5 can become the ideal in-between, this was the reason behind its design.

FUNCTION AND PURPOSE

The ALP5 was designed to build the intensity of a placement softly but quickly, to work on smaller areas like the outer v, or along the crease, or to place a shadow in the inner corner.

It’s a pencil brush, but instead of tapering all the way to a sharp firm point, the bristles have a little bit more give and movement.
For example, when placing product on the outer V or when you want to intensify the crease placement somewhere, a traditional pencil brush will allow for more precision and control, but it may also deposit too much product and sometimes we don’t want the harsh edges. This brush is more forgiving when you don’t want the perimeter of the application to be as defined, the opacity is not going to be as bold upon first contact.

Unlike the Alpine face brushes that we do not recommend to be used with creams, this brush can be used for spot concealing. It’s small, but there is enough movement in the bristles to diffuse the product yet stay focus on the spot area.

COMPARISONS AND ALTERNATIVES

It’s tricky to show you the nuances between these brushes based just on swatches, but the longer the bristles, the more difficult it is to work on a very small area so while the swatch of the Lotus Soft Definer and the ALP5 are not too different, if you need to work with more control and precision, the ALP5 will handle that task better.

The shadow used for the swatches is Shiseido 15 Bachi-Bachi Plum, these shadows are extremely beautiful, long-lasting and look gorgeous on all lids (not sponsored).

Here is the ALP5 with the Suqqu S and the Nars 12, I have used these brushes so much and you have probably heard about them!
They have both been discontinued for a very long time but I would love to mention them here because I was aiming for a brush that would be somewhere in between these two. A size close to the Suqqu S but with bristles that opened more, although not as much as the Nars 12.

THE ALP6

The ALP6 has a round ferrule that is just very slightly curved at the top, it’s domed and the bristles are 10mm long.

This is a dense brush, but these yasha bristles give it just enough airiness and movement so it doesn’t feel too firm or too stiff on the skin.

Brushes with this particular shape may sometimes feel rough on sensitive skin, this is mainly because for this kind of shape to have enough fullness but still movement and stability, we need to use thicker, coarser bristles, and these will potentially feel pokey at the tip. For this shape, it’s ideal to use bristles that have thickness, but that flex and that are soft at the tip so the brush remains comfortable to use. I thought that yasha bristles fulfilled this requirement quite nicely!

There is another challenge with small domed or round pencil brushes: I don’t know if you have already noticed that sometimes, there are just a few bristles at the very center that “lead” the application and don’t flex in the same manner, then the brush doesn’t move evenly and the application can be a little uneven or end up extending onto a larger area. I find that Yasha bristles can minimize that effect, these bristles move with discipline and are soft, while retaining that thicker structure and efficiency.
You can do the test with your brushes at home, if you have a big pencil brush with a domed or rounded shape, you can try the following: pick up a pigmented product, place the brush perpendicular to the skin, and make really tiny circular motions. If the bristles flex and move together, the blend looks even, the skin doesn’t move too much, and you can blend within a small area. If the bristles don’t flex together and you feel a firmer “core” in the center, then the pressure across the surface isn’t evenly distributed and you may need to work on a larger surface to obtain an even blend.

Why this design
Back in 2012, when I was looking for brushes similar to this one. My friends were very much obsessed with crease brushes, I was too, but right behind crease brushes was this type of brush, which I think was much harder to find: a domed shape with relatively short bristles, and a slightly curved ferrule at the top. It was so hard to find a brush like this that was soft enough on sensitive skin and I was seriously searching for one. I just loved this shape so much, but maybe we are also just unconsciously drawn to things that are more difficult to find…

FUNCTION AND PURPOSE

The ALP6 has density, but it still stays flexible at the tip. Think of it as an oversized pencil brush: you can use it in small circular motions or in short strokes to build intensity, smudge, or soften the edges of an existing placement.

I love it for shaping the outer V, adding a touch of shimmer to the center of the lid, and placing highlight under the brow bone or in the inner corner.

In the same way the Jumbo Blender can “fix” and smooth over a larger area, the ALP6 can do that on a much smaller scale. If something looks slightly uneven or an edge needs targeted refining, it’s the perfect brush to reach for.

COMPARISONS AND OTHER OPTIONS

The most similar is the Pencil L but it’s more directional and firmer in comparison to the ALP6.

The ALP6 is somewhere in between the Pencil Pro and the Compact Crease in terms of shape and size. The Compact Crease has a wider surface and much more movement in the bristles.

I just wanted to show you some swatches of the Pencil Pro, vs the Pencil L and the two ALP brushes. So basically, if you want to obtain a more defined placement, it’s better to go for a brush like the Pencil Pro or the Pencil L because of their tighter firmer bristles. But if you prefer working with a detail brush that will deliver a softer application, with more diffused edges, the ALP brushes are more ideal for that purpose.

Do you remember Paula Dorf brushes? I loved all her brushes and I have so many memories with them! We were all looking obsessively for her brushes at the time (around 2010-2012), especially her crease brush!

Here is the ALP6 with the PD Smokie Lid and the Inglot 18SS (this one is still available today).
The PD has a more tapered point and the Inglot a flatter shape but the ALP6 may remind you a little bit of these two.
The ALP6 has a bigger surface and more flexibility in the bristles.

I don’t really know who could still have these brushes today but if you do, they are a little similar so I wanted to show you the swatches just in case. The ALP6 is just bigger and it has quite a lot of flexibility in comparison to the Inglot that is much firmer.

ALP5 vs ALP6

You may be wondering whether these two brushes serve a similar purpose. They do overlap to some extent, but they’re not the same. The ALP5 offers more control overall. If your focus is the lower lash line, I think the ALP5 is the better choice of the two. If you want to work more on the mobile lid, the ALP6 is better suited for that.

If you work on the outer V, if you have more space, the ALP6 is better because it gets the job done faster. However, if you find the outer V difficult to work on because you have limited space, the ALP5 will give you more precise placement. When space is an issue, I personally like to start with the ALP5 to place and build the application, then softly diffuse the edges, and finally go in with the ALP6 to blend or simply soften everything at the end. That said, this isn’t necessary at all, it’s just a way I enjoy using them. For me, the two brushes complement each other, and one doesn’t replace the other.

THE ALP7

The ALP7 has a pinched ferrule, a slightly rounded shape and the bristles are 16mm long. It’s a blender and a crease brush in one, it has density but the bristles open and flex easily, they adapt so perfectly to the crease or the transition area.

I always recommend starting with a good blending brush when building a brush set, it can make such a difference and we get the best cost per use. This is the kind of brush that I would recommend to anyone, whether you are starting or not, it’s a workhorse.

Why this design
This shape will probably ring a bell and recall the MAC 217, and yes, it’s very close as I was inspired by the functionality of the MAC, but the ALP7 has a bigger ferrule, a more rounded shape, more bristles and they are also finer.
I feel deeply nostalgic about the MAC 217; it was the brush everyone had -and probably still has today. I can hardly remember talking to anyone who loved makeup and didn’t own one! When I compared brushes in my reviews, I often used the Mac 217 as reference.
If you’re familiar with the MAC 217 and decide to try the ALP7, you’ll definitely notice some similarities and if you love the MAC 217, I think you will really love this one.

FUNCTION AND PURPOSE

We can use it to laydown product in the crease, in the transition area, or the entire eye area. It has a lot of bristles, these are fine and airy and the curved silky surface is absolutely ideal for blending.

COMPARISONS AND OTHER OPTIONS

The Worker Pro is similar but it’s a smaller version, it allows more precision and control with the placement in comparison to the ALP7.
The Traditions T5 is quite similar but the ferrule is smaller. There are less bristles, they open more but they are firmer and stronger, the application with the T5 is a little more intense towards the center while with the ALP7 it is more diffused. Not something that is easy to differentiate but there are some nuances depending on the products used. Not enough to justify having the two, unless you really love this type of brush!

So here is the ALP7 besides the Mac 217 (goat bristles and discontinued) and the Hakuhodo J5523 (still available, mine is the first release from 2012). You can clearly see the difference in the thickness of their ferrules when placed sideways.
The bristles of the ALP7 are slightly longer in comparison to the Hakuhodo J5523, my J5523 splays quite a lot here but it still feels more directional than the ALP7 (“more directional” means that the working surface touches less skin with even strength).
These are all amazing brushes, just truly wonderful workhorses.

THE ALP8

The ALP8 shares a slightly similar silhouette with the ALP3 face brush but scaled for the eyes. It’s a soft blending/laydown brush and when you turn it sideways, it looks like a fluffy tapered crease brush.

The bristles are 20 mm long, and while the brush is dense at the base, it becomes very airy towards the tip and has a lot of movement in the bristles.

Why this design
I have always been tempted by very pointy large crease brushes so I have quite a lot of them. Sometimes, though, they become a little too wide through the middle, and when working close to the crease, they can also end up touching the mobile lid.
I started wondering whether we could create a similar type of brush, but one that would give us the flexibility to either work over a slightly larger area or target just the upper lid, for example. I wanted something pointy and airy, but not floppy, and that is exactly where the structure of the yasha bristles becomes so helpful.

FUNCTION AND PURPOSE

The ALP8 is a soft blending or laydown brush with a tapered shape. The yasha bristles really enhance the airiness of this brush, so while the tip feels very wispy, it does not feel floppy. In practice, this means that when you want a softer blend, the brush won’t disturb the work underneath, and when you want to place shadow, it won’t deposit it too heavily.

This shape makes it especially intuitive to work close to the inner eyelid, where it fits the contours very naturally. By adjusting the angle, you can also use the brush in different ways. For example, if you place it into the crease at an angle, it works beautifully through the transition area.

COMPARISONS AND OTHER OPTIONS

I have picked up some brushes to give you better idea of the ALP8 size, it’s the longest brush here. Sideways, the ferrule is almost as thick as the Jumbo Blender or the Worker M.
The closest in shape is the Soft Blender brush from the Mini Essentials but with a round ferrule and more density, the ALP8 has a narrower profile which allows the brush to fit with more precision in the crease.

The Jumbo Blender or the Worker M have a much denser working surface in comparison to the ALP8 so the blending is going to be more powerful with those two.

I will show you some other amazing eye brushes to give you a better idea of the size and shape of the ALP8. As you may know, depending on the batch, these brushes can look very different, for example, there are several Suqqu L versions, some are more tapered, others are thinner.

The bristles on squirrel brushes tend to be bundled more tightly together, they are more appropriate for laydown purposes while the bristles on the ALP8 remain airy which makes this brush more appropriate for blending rather than laydown, which was the intention behind this ALP8.

Someone kindly asked me to do these swatches using the four ALPINE brushes, so here are some swatches using two different types of shadows, the Shiseido is a powder gel shadow while the Mac Haux is a more traditional powder formula.

Although the swatches may look similar in terms of opacity and thickness, the real difference lies in the level of control each brush provides.

The ALP5 is going to be able to build and blend within a smaller area in comparison to the ALP6. Then, the ALP6 will be able to build and smooth the application within a smaller area in comparison to the ALP7. The ALP8 is a bigger brush with longer bristles that will have much more movement so it won’t be able to achieve targetted blending or placement, but instead, it will work in a soft diffused manner.

ALPINE EYE BRUSHES – TECHNICAL SPECS AND PRICING

FAQ SECTION

Can these yasha brushes be used with cream products?

I mentioned the ALP5 can be used with creams because the bristles are quite short and it is strong enough, it has firmness and can handle more pressure, same applies for the ALP6. 

These yasha dyed bristles can sometimes be used with cream products. Whether that works well depends on:

1. how short/dense/strong the bristles are
2. what cream product is being used
3. how the brush is being used (a soft blending is not the same as a stronger buffing or stippling)

For yasha bristles, the manufacturer usually does not recommend frequent cream use because these yasha bristles are fine, the dye is very soft and using cream products will demand more frequent washing, which can reduce the lifespan of the brushes and affect the dye in the longer term. So, with yasha bristles, cream products are best used only occasionally, and only when the brush can handle the product easily.

On the other hand, with kakishibu dyed bristles it’s different because that dyeing process is different, it makes them stronger, firmer, and more suitable for heavier pressure.

Why are these brushes limited edition?

These brushes are limited edition due to the complexity of their manufacturing and the current availability of the materials that allow us to fully manufacture them in Japan.  

AVAILABILITY

The ALPINE series are limited edition due to their particular bristles and lacquers, they will be available only as sets with this first launch on May 19th, 2026 at 10 am PT on Beautylish. For this first launch, we will have the full eye set with the 4 brushes, also the duo ALP5/ALP7 and the duo ALP6/ALP8. I will add the direct links to Beautylish for the 3 sets directly on this page on Monday 18th.

The eye brushes will be available for purchase individually soon (once we receive the remainder of the order).

With regards to the ALPINE face brushes, some are sold out or close to sold out at the moment, but we may have a little more individuals available on May 19th, so please check at 10am if you wish to get a particular brush that is not available today.

We all sincerely hope you will love them and really enjoy using them! Thank you so much for taking the time to read this long post and if you have any questions, or want to talk about your very first brushes or anything, I’ll meet you in the comment section below!

– Links to the sets on Beautylish –