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10 THINGS YOU NEED TO KNOW WHEN WORKING ON A VIDEO SHOOT

10 THINGS YOU NEED TO KNOW WHEN WORKING ON A VIDEO SHOOT

10 THINGS YOU NEED TO KNOW WHEN WORKING ON A VIDEO SHOOT

Session stylist Laura Chadwick shares her top tips for success when styling onset of a music video.

Laura Chadwick

Laura Chadwick

With a background in fashion, I never imagined myself working on music videos.  

However, fate had other plans, leading me on a journey filled with unexpected opportunities and thrilling experiences. 

 It all began during the Covid pandemic when I was brought in by a make-up artist to provide haircuts and styling for a music video shoot for Inhaler in Dublin. Despite the challenging circumstances, my skills as a qualified barber impressed the production team, opening doors to a world I had never considered. 

Working on that first music video was a turning point for me. It made me realise that there was so much more to my craft than just fashion. Music videos offered a whole new realm of creativity and expression. 

With my foot in the door, my journey in the music video industry continued to unfold. A contact in Sony recognised my talent and offered me opportunities to work with various music artists, ranging from emerging talents to established names. These experiences working with smaller artists gave me a solid foundation and understanding of the industry. I learned to adapt to different styles and visions, honing my skills along the way.  

Becky Hill’s music video for Outside of Love

It was a connection through a stylist named Kyle Devolle that would change the trajectory of my career. Through Kyle, I was introduced to Becky Hill, a chart-topping artist known for her powerhouse vocals and dynamic performances. Working with Becky was like stepping into a whole new world. The scale of the productions was immense, with elaborate sets and breath-taking locations. It was an exhilarating experience, and I felt privileged to be a part of it.  

Despite my initial focus on fashion, I have found a new passion in music videos. Each project brings its own challenges and rewards, but there’s something special about seeing your work come to life alongside the music. As I continue to make my mark in the music video industry, I remain grateful for the opportunities that have come my way. I never could have imagined this journey when I started out, but I’m grateful for every twist and turn that has led me here. My story serves as a testament to the power of following unexpected paths and embracing new opportunities. With passion and determination, there’s no telling where my journey will lead next. 

10 things you need to know when working on a video shoot 

  1. Creative collaboration: Working behind the scenes on a music video as a hairstylist involves collaborating closely with the creative director, stylist, make-up artist and artists to bring their vision to life through hair design. I usually receive a brief or a ‘feeling’ of what’s wanted, then I create a separate hair mood board to complement the theme. Ensuring we all know what the outcome is going to be reduces any changes or wasted time.
  2. Versatility is key: Be prepared to create diverse hairstyles that match the concept and theme of the music video, ranging from edgy and avant-garde to classic and elegant. This is where all my years assisting on fashion shows really helped as I’ve learnt so many techniques that’s you’d never use in the salon that I can put to good use.
  3. Time management: Music video shoots often have tight schedules, so being efficient with your time and able to work quickly under pressure is essential.
  4. Attention to detail: Every strand of hair matters, as even the smallest details can make a big difference in the final look on camera. I am always right there behind the scenes, ready to jump in at any moment to keep the hair looking perfect. Of course, on video you’re going to get a certain amount of movement so it’s important to take that into consideration when choosing your style, especially when shooting on location and being open to the elements.
Becky Hill

@hairbylaurachadwick

  1. Adaptability: Conditions on set can change rapidly, so you must be adaptable and able to adjust your hairstyling techniques accordingly. On my last video with Becky Hill there was a last-minute decision to shoot in the water next to some waterfalls, so I adapted the hairstyle by creating a wet look with some oil-based products, so it retained the texture and suited the environment.
  2. Communication skills: Clear communication with the director, artists, and other crew members is crucial to ensure everyone is on the same page regarding the desired hairstyles.
  3. Product knowledge: Familiarise yourself with a wide range of hair products and tools to achieve different textures, volumes, and styles as needed for the shoot. Over the years I’ve collected a large collection of products to suit every hair type and environment.
  4. Continuity: Pay attention to continuity throughout the shoot to ensure that hairstyles remain consistent across different scenes and takes. I always take pictures of the screen to look back on so the styles can be matched down to the smallest detail.
  5. Problem solving: Be prepared to troubleshoot any hair-related issues that may arise during the shoot, such as frizz, flyways, or unexpected changes in weather conditions.
  6. Professionalism: Always maintain a professional demeanour, as working on a music video set requires teamwork, reliability, and a positive attitude to deliver the best results. They are usually very long days and keeping positive and upbeat always keeps the team and artist on a positive vibe.

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SHOOT TOO PRICEY? GRAB YOUR PHONE!

SHOOT TOO PRICEY? GRAB YOUR PHONE!

SHOOT TOO PRICEY? GRAB YOUR PHONE!

Roman Sys from Brooks & Brooks talks about his Paradigm collection which, due to rising costs, he shot on his iPhone.

Stylist, image maker and visionary, Roman Sys is a stylist at the iconic London salon, Brooks & Brooks. Always keen to push boundaries and create new visually striking collections, Roman was forced to get creative with his latest collection Paradigm. Due to shoots becoming just too expensive, he reached for his iPhone instead… and got busy with his collage skills! 

The process  

Some people have a fixed process; they know the motions they need to go through to produce the results. For others, it’s different altogether. My creative process is not fixed at all! I’m inspired by everything and nothing at the same time. If I’m harvesting references from outside sources such as literature, art, nature, or music, my approach is very neutral. I will overlap images and text and sounds to fit my own mindset. More often than not there is an internal feeling I express subconsciously or consciously in my work. That excites me most – the idea of leaving the work open for interpretation and not being so literal.

Roman Sys

Roman Sys

The moodboards 

My boards work like mind maps. Sometimes it’s hard to explain ideas when you’re in the thick of it and your mind is in creative overdrive. Creating a board that makes sense can take anytime between a week and a month. I find that when I overlap images, there is often more than just one feeling I’m conveying, it’s never singular. I can read between the lines of the imagery that I have collected; this helps me to find my perspective and ground the ideas that are flowing in my head.  

I don’t necessarily create the boards directly for a project or collection. I will just create a board to understand where I am and then it goes in the cupboard! I might decide to work with it for a project, or it will be reworked into something else. A cool thing happened when Sally and Jamie Brooks asked if I would contribute to the salon art for our new Brooks & Brooks home at Great Queen Street. I created an A1 board of collage, ink and paint with gentle textures that was an exploration of ‘familiar feelings and potential’.  

The vision 

My vision extends beyond what I produce creatively but is interwoven into the work I create and how I choose to capture it. I want to promote accessibility and cultivate a starter-friendly industry. Therefore, what I frequently create is artistry without excess. Image making is how I would describe my process; I street cast my models, and I’m inspired by them. This is my starting point and they influence the project. Everything I’ve done is based on collaboration. There is something about creating in the moment and then capturing it on an iPhone that allows me to have full creative control on the project. This bridges the gaps of high standard imagery, affordability, and accessibility.  

Mini-series – Paradigm  

The definition of paradigm is the current example of a system or idea. With this collection I wanted to shift our mindsets away from what we have seen before. I wanted to combine my hair work, my photographic style and collage together for something that feels totally DIY, yet with moments of interest and curiosity. I wanted the process to be the result, it was a last-minute urge to just do something. It was quite amazing to me how the clippings I had collected and the photos of textures and colours I had taken (that I would later go onto rip up and use in the collage) had this relationship with the hair work I had created.  

This collection was shot completely on my iPhone, to inspire and encourage other people to create for the love of it. I decided to collage over the images after I had taken the photos. I hadn’t planned the collage around the photographs in advance. I like to leave some things down to instinct, which allowed for the process to feel authentic. 
No apps or Photoshop were used to produce the collage/artwork. I created the collage around the image then scanned it to create a digital copy. It was important for me to bring the contrast of the instant digital element of iPhone photography with the tactile physical application of collaging over the printed images, and then using ink and paint to produce variation in the texture.  

Hair, creative concept, collage and photography: Roman Sys at Brooks & Brooks. 
Make-up: Ivory Raine  

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DOES OUR INDUSTRY LACK STRONG LEADERSHIP FROM GEN X AND MILLENNIALS?

DOES OUR INDUSTRY LACK STRONG LEADERSHIP FROM GEN X AND MILLENNIALS?

DOES OUR INDUSTRY LACK STRONG LEADERSHIP FROM GEN X AND MILLENNIALS?

Is Gen Z really the problem? Tony Walmsley of Anthony Salons discusses why strong leadership is paramount to the success of the newest generation entering the industry. 

Tony Walmsley

Tony Walmsley

When I am mentoring or educating fellow salon owners, managers and leaders, the same conversations tend to arise. Currently, always one of the top three conversations is around managing Gen Z and the headaches it brings. What I question is whether it’s the behaviour of Gen Z that is the issue, or is it a lack of strong leadership from Gen X and Millennials? 

 Let me explain. 

 In our industry and beyond, the people in leadership positions seem to be so quick to write off Gen Z because of their attitude, behaviour, and beliefs. For me that’s lazy leadership. 

What I see in that generation is more and more people wanting to be something. They have more ambition than ever and are in a rush to get there. Are these bad traits? Certainly not! In fact, 15 to 20 years ago the problem was that there was a lack of those things in a workforce. But maybe that’s what lazy leaders look for – compliance from a workforce. 

Each generation has its own quirks, their own behaviours. It stems from the environment they have been brought up in and what they have been exposed to. 

Tony Walmsley with team

Tony with his team at Anthony John Salons

Gen Z has been brought up in a world where everything is instant. Think about it – most things in their life have been there at a click of a button. Also, and importantly, they have not been allowed to build the same resilience, due to not being exposed to enough challenges and therefore micro doses of failure. This is due to helicopter parenting and the removal of things such as competitive sport and regular tests at school. Third, they have seen people become famous and earn large sums of money for (from the outside at least) appearing not to do very much. And their role models appear more touchable than ever because of social media. 

Then these young adults are thrust into the world of work, and we just expect that they are going to be patient, are going to take constructive feedback well, and that they are going to put the hard yards in before they ‘become somebody’. Why would they do this when up to this point in their life they feel the opposite is true?  

We must show them, teach them, and nurture them to follow us. It’s easier than you think but it’s us as leaders that must adapt to them, not the other way around. 

Each generation has its own quirks, their own behaviours. It stems from the environment they have been brought up in and what they have been exposed to.”

Tony Walmsley

When you look at surveys of what Gen Z want from an employer number one right now is LEADERSHIP. They want leading. For me the problem, is the lack of leadership skills of the people leading them. As leaders we must not be lazy and pivot accordingly. My leadership team members are banned from saying things like, ‘it wasnt like that in my day’. We’re no longer in the90s or early 2000s, which is when most people in management positions trained. This generation is different – our environments and communication styles should be different because of it.  

As leaders we must not be lazy and pivot accordingly.”

Tony Walmsley

I believe it all starts with building strong relationships and trust. This should be the main focus of your induction process. We are more likely to follow people that we like, and it’s your job to make them like you not the other way around. This in turn brings trust, and only then can you start to fully guide your people to get them to realise their potential. 

Gen Z will not be dictated to, they do not want to be managed, but instead coached and mentored. A position in an organisation is no longer enough to bring authority, instead it’s the relationships we build, with clear communication. This creates the feeling of growing together that people look up to and will, in turn, follow. We must create an environment of high challenge AND high support. 

Tony Walmsley at Salon Smart

Tony at Salon Smart 2024

I personally like people who challenge the status quo, who want to be something, who want more and want it NOW. I embrace it, I promote it and I grow from it. Why wouldn’t I want people who are all these things on my team?! In fact, where I struggle is to lead people who aren’t all those things. 

Build relationships, build trust, show them you can help, show them you can help them reach their goals. Always communicate to them the timelines and manage expectations. Motivate, incentivise, and reward them. Mentor them, coach them, and give them the leadership they are so obviously craving! 

Bad leadership will blame a generation. Good leadership will galvanise one. Don’t be intimidated… Grow together. 

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IHF STAR TEAM LAUNCH JUNIOR STYLIST CHALLENGE 2024

IHF STAR TEAM LAUNCH JUNIOR STYLIST CHALLENGE 2024

IHF STAR TEAM LAUNCH JUNIOR STYLIST CHALLENGE 2024

The challenge is open to trainee hairdressers of any level who are still undergoing training.

model with braids by Ciara Harrington

Current Star Team member Ciara Harrington’s example of ‘Runway Ready’

A unique opportunity to get your trainees involved in crafting a creative competition look, the Irish Hair Federation Star Team has launched the junior stylist challenge with the theme of ‘runway ready’.  Open until 30 April, the purpose of the task is for trainees to demonstrate their creative spark, with the winner getting to spend the day with the Star Team on one of the education days.  

How to enter 

Create a look 
Embrace the ‘Runway Ready’ theme and let your creativity shine. Whether it’s styling mannequins, yourself, or a model’s hair, now is the chance to unleash your imagination and craft a look that steals the spotlight. Before and after images must also be included in each post or Reel.  

Post to Instagram 
Snap a picture of your creation and post it on Instagram with the hashtag #THESTARTEAMCHALLENGE24.  Don’t forget to tag @irishhairfed in your post.  Ensure that your Instagram profile is set to public, so the team can see your entry. 

The winner will be announced on 10 May. Good luck!  

 For the full list of rules, click here.

 

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WHAT YOU NEED TO KNOW ABOUT WORKING WITH HIGH PROFILE CLIENTELE

WHAT YOU NEED TO KNOW ABOUT WORKING WITH HIGH PROFILE CLIENTELE

WHAT YOU NEED TO KNOW ABOUT WORKING WITH HIGH PROFILE CLIENTELE

Jay Birmingham brings us backstage at Fashion Week to share his advice for handling a packed calendar of clients.

Jay Birmingham at BRIT awards

Jay Birmingham backstage at the BRIT Awards with Maya Jama

“Fashion month is always a huge whirlwind. Going between London, Paris and Milan is a great opportunity to immerse yourself in the buzzing atmosphere of each fashion capital.

As a hairstylist deeply entrenched in this world, I’ve had the privilege of witnessing firsthand the magic that unfolds backstage, and now more regularly working with clients who are attending the shows. More than ever, all eyes are on those sitting front row, therefore it is so important to nail the look head to toe.

Managing your time effectively during Fashion Week, which is typically a fast-paced and hectic period, requires careful planning and organisation. I start by looking at the schedule well in advance and the timings of the bigger shows. This allows me to predict where the buzz will be. It’s also important to prioritise, as you can’t be in two places at once. This involves carefully planning my own schedule, as travel needs to be factored in, alongside extra ‘buffer’ time to account for unexpected delays or last minute changes. Doing so helps reduce stress and ensures that I arrive on time for each commitment.

Conversely, it’s vital to stay flexible for last minute bookings which can lead to great opportunities with new talent, some of which I might not have worked with if it wasn’t for Fashion Week. Behind all the glamour is a lot of prep and hours of travel, from prepping wigs to making sure my kit is stocked, so planning in advance is key.

This Fashion Week I worked with some incredible talent, including the wonderful Maya Jama for the Albert Ferretti show in Milan. Maya’s look featured a choppy cut with bangs and lots of movement throughout the hair.

I also had the privilege of styling Maya for the BRIT Awards, which fell during the Fashion Week craziness! Maya was one of the hosts for the night, and we decided on a style featuring the ‘butterfly effect’. This involved adding numerous layers to the hair to create a textured yet sleek look, which complimented her stunning black gown. I was on hand at the O2 Arena to help with final touch ups, both behind the scenes and on the red carpet.

Jay Birmingham backstage
Jay Birmingham's hair kit
Jay Birmingham doing wig prep

L-R: Jay with Blanca Soler and wig prep for Maya

London Fashion Week also saw me create one of my favourite looks for my client, Munroe Bergdorf. It was for the Self Portrait show and focused on crafting a playful style to showcase her new bold copper colour. I love to look at the client’s colour and shades and find ways to style the hair to complement the overall aesthetic. This season also saw me work with the amazing Blanca Soler for Burberry, Amina Muaddi for the Tiffany X British Vogue event, and Xenia Adonts for the Prada and Gucci shows. All were very different and contrasting looks to one another, but it’s great to experiment with different styles and get creative. After all, this is what Fashion Week is all about!

As a hairstylist, Fashion Week serves as both a showcase of our skills and a testament to the transformative power of hair in the world of fashion. Until next season, we’ll continue to push the boundaries of creativity and innovation, one hairstyle at a time.” 

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