Correction Work
Reshaping, recolouring and rebalancing existing permanent makeup.
What it is
Correction work addresses permanent makeup that has not aged well — brows that have turned warm orange or cool grey, lost symmetry, were mapped too thick, or sit at the wrong height. It starts with an honest assessment of what is actually in the skin, because old pigment governs what is realistically achievable. Sometimes correction means neutralising a colour, sometimes reshaping, and sometimes lightening first before anything new goes in.
Is it right for you?
A good fit if
- Existing permanent makeup that has changed colour
- Brows that healed asymmetrically or too heavy
- Old microblading that has blurred
- Work from another artist you are not happy with
Not right if
- Very dark or heavily saturated old work — this usually needs removal sessions first, which are quoted separately
- Anyone expecting a single appointment to erase previous work entirely
- Pregnancy or breastfeeding
Your skin, specifically
- Skin tone
- Works across all skin tones, but the approach changes. On deeper skin (Fitzpatrick IV–VI) the risk is post-inflammatory hyperpigmentation and pigment healing ashy or grey, so we choose warmer pigment bases, work shallower and build in more than one session rather than forcing saturation in a single sitting. On very fair skin the opposite applies — cool-based pigments can heal grey, so warmth is added deliberately. A patch test is available for anyone who wants one.
- Skin type
- Oily skin pushes out crisp detail: hair strokes blur and soften faster, so powder, ombre and combo techniques hold much better and are what we normally recommend. Dry and normal skin holds fine individual strokes beautifully. Combination skin usually does well with a combo approach — strokes at the front, shading through the body.
- Age & skin maturity
- Younger skin is firmer and holds pigment crisply, but also regenerates fast, so colour can fade sooner than expected. Mature skin is thinner and more delicate — we work with a lighter hand, softer shapes and expect a gentler result, which is usually what suits the face anyway. Skin that has had a lot of sun over the years tends to hold pigment less predictably regardless of age.
Before & after care
Before your appointment
- Skip alcohol and caffeine for 24 hours — both thin the blood and increase bleeding, which pushes pigment back out during the appointment.
- Stop retinol, glycolic and other actives on the area for 7 days.
- No waxing, threading, tinting or lamination for 7 days beforehand.
- Avoid sun exposure and tanning for 2 weeks — pigment cannot be matched accurately to burnt or freshly tanned skin.
- If you take blood thinners or have a medical condition affecting healing, tell us before booking so we can plan around it.
- Come with your brows or lips as they normally are. Seeing your everyday shape helps the mapping.
Aftercare
- Keep the area dry for 7–10 days. No swimming, sauna, steam rooms or long hot showers.
- Do not pick, scratch or peel the flaking — lifting a scab early lifts the pigment with it and leaves a patch.
- Blot, do not rub. Apply the aftercare balm in a thin layer exactly as directed; too much suffocates the skin.
- No makeup, sunscreen or skincare directly on the area until it has finished flaking.
- Sleep on your back if you can for the first few nights.
- No exercise that makes you sweat heavily for 7 days — salt in sweat fades fresh pigment.
- Once healed, wear SPF on the area daily. Sun is the single biggest cause of premature fading.
Common questions
Can you always fix it in one session?
Not always, and we will tell you that upfront. Heavily saturated or very dark existing work often needs lightening first. What we will not do is layer new pigment over something that cannot carry it and hope.
Do I need removal first?
Sometimes. If the old pigment is too dark or too large to work around, removal comes first. Your assessment will tell you which path applies before you commit to anything.
Why is correction more expensive than a fresh brow?
It takes longer, needs colour theory to neutralise unwanted tones, and carries more risk. You are paying for problem-solving, not just application.