explore news CONVERSATIONS HEADER Creative head x authentic beauty concept techniques header inform home inform freelance content connect home connect inform header home explore documents header creative projects header
“Keep Working Like Nothing Is Wrong”

“Keep Working Like Nothing Is Wrong”

“Keep Working Like Nothing Is Wrong”

When Creative HEAD held a discussion on the impact of problematic periods, a female salon boss wrote to us saying: “This exact woke attitude is why women aren’t taken seriously in business.” Why the lack of sisterhood? Periods are not fun for anyone, but the fact is that some are hit so badly they need sporadic time off to deal with them. Surely they need a workplace that’s supportive, not one that expects them to suffer in silence?

by CATHERINE | CONVERSATIONS

Hairdressing is an industry that’s powered by women – around 88 per cent of workers in hair are female. Obviously, a big chunk of them are having periods, and according to statistics, for around 40 per cent period pain is so bad they will have to miss work. Yet despite there being a flurry of activity around the menopause in recent years, there hasn’t been any real discussion around how to help women working in salons or as independent business owners with troublesome periods. Slightly baffling.

Menstrual leave, launched in Spain in 2023, is widely derided in Britain as a woke European thing, so the offer of three to five days of paid leave per month won’t happen here just yet. That means the only tangible workplace support for problem period sufferers in the UK – reasonable adjustments like reduced or flexible hours, home working and the provision of special equipment – is if they meet the threshold for disability.

If we want women to be able to work – to be able to function – as humans despite the various nonsensical menstrual conundrums bestowed upon us, we need not just to look into what’s causing problem periods but also to give women the time and space to deal with these things. That is why Creative HEAD gathered a group of women to discuss the impact of problematic periods on working women, to consider how best to manage them and find solutions – and to learn how to better advocate for yourself with employers who might have a similar attitude to our email correspondent.

Cristina Fazzone – independent colourist

@cristina_fazzone

“I find it shocking that we don’t speak about periods. For the 40 per cent of women who have to miss work due to painful periods, it means we’re suffering in silence. I would love to break the taboo, start seeing change in the workplace, and to do that, we need to start talking about periods openly, because it’s definitely a topic that we steer away from. We push through and we hope everything’s going to be okay, and that isn’t the way to deal with it.

“The most important thing I wanted to raise here is the impact of my periods on my work, and how it started to affect my job as a hairdresser. When I was employed, it was a nightmare – a sick day meant rescheduling a whole day of clients, losing clients potentially because of it. But on top of that, there was a lack of empathy from my bosses around why I was calling in sick.

“Things got a lot worse when I became self-employed because it affected my income so much more. I also started to notice the impact of my periods on my creativity and being able to give my full energy to a client. Our creativity is affected by our cycles. We can’t expect to deliver the same results every time.

“So essentially, the question is, how are we catering to women in the industry? I feel it’s time for change. For women to be taken seriously, the process taking place within our body needs to be understood, because we can’t deliver the same efficiency if we are just pushing through and pretending that it doesn’t happen.”

Connie Owen – Cristina’s period coach

@conniemarieowen

“I am a cycle awareness guide. I help women rediscover the sacredness of their cycle, which is the rhythm that we live to as women. As cyclical beings, just like nature has seasons, we’re never the same person all the time. Understanding our cycles can help us be more creative, be more efficient.

“The menstrual phase, our bleed, is when many of us have our lightbulb moments. When an idea does come, write it down rather than pursue it at full force because I wouldn’t advise embarking on a project during your bleed. 

“When you move into the follicular phase, this is a time to break your idea down, perhaps with a moodboard. Then, as you move into the ovulatory phase, you can really shift the gears into making your dreams possible. You’ve got this surge of energy, you’re glowing, you feel determined to bring your idea to life.

“Finally, you go into your luteal phase, which is when you start cocooning back into the darkness to reflect on your creativity and the month that you’ve had – what went well, what needs to change. And you then carry that into your bleed and the cycle begins again. Every phase can help you with your creativity. It’s just knowing when to go full force with something and when to hold back a little bit.

“My advice to working women who suffer from painful periods would be to not push through. The energy that we have on our bleeds is meant for healing, and when that’s outsourced, we can end up being really depleted and fragile. It’s about having boundaries with yourself, giving yourself permission to say no or to rest, because you can’t expect other people to allow that for you when you don’t allow that for yourself.”

Anna Cooper – co-founder of charity, The Menstrual Health Project

@menstrualhealthproject

“I’m a nail technician and co-founder of The Menstrual Health Project, a patient-led charity that seeks to improve education around menstruation and help people navigate these conditions more confidently, accurately and comfortably. Our vision is a world where gynaecological health is no longer stigmatised – society sees periods as dirty, and we’ve ignored the topic far too long

“We’re up against it in this industry, having to cancel a day of clients due to period pain, but actually, the biggest thing is communicating with your clients and your boss, if you have one, so they understand what you’re going through. Often, people just don’t understand conditions like endometriosis, that it causes long term pain, that there is no cure and that it comes under the disability bracket, and that actually comes with rights.

“I urge anybody who manages staff to educate yourself on these conditions, because we’ve gone for far too long with the attitude that women have to put up and shut up. Did you know, when a woman goes to a GP it takes an average of 10 GP visits for her to be taken seriously? It takes an average of one GP visit for a man to be taken seriously. So, we have a huge gender health gap within our health system, which doesn’t help.

“Being aware of your healthcare and employment rights is crucial, they’re there to protect you. Make sure you are going to your boss with accurate information about your condition. Tracking pain and symptoms is not just for when you’re going to the doctor, it also can help within the workplace, because it can show your bosses what you’re having to deal with. Don’t be afraid to ask if you’re able to have flexible working; explain why you need it and how.

“Be your biggest advocate. Trust your body as you know it best. Don’t feel afraid or embarrassed to speak up. Talking about mental health is not shameful. We need to understand that the only way things will change is if we open up. As women, we don’t get a choice whether we have periods or not, so we shouldn’t have to make a choice whether we speak out about it or not.”

To find out more, visit menstrualhealthproject.org.uk

Have Periods Caused You Problems At Work?

Have Periods Caused You Problems At Work?

Have Periods Caused You Problems At Work?

Cristina Fazzone shares her experience… join her on a webinar on 27 January

by AMANDA | CONVERSATIONS

From waiting lists doubling to a Westminster report warning about misogyny in medicine, conversations around women’s reproductive health and the pain that many experience has suddenly – and finally! – become big news.  Women with conditions including heavy periods, endometriosis and adenomyosis are being dismissed when they ask for help, members of Westminster’s Women and Equalities Committee concluded in December… something freelance hairdresser Cristina Fazzone knows all too well.  

She is now urging our female-driven industry to take notice and act – and she will be joining Creative HEAD, alongside The Menstrual Health Project team and period coach Connie Owen (@conniemarieowen), to discuss how to support those with menstrual health challenges in work in a Zoom on Monday 27 January (you can sign up here to take part).  Here, Cristina shares her personal experience of living – and working as a hairdresser – with regular, debilitating period pain… 

Cristina Fazzone

“Menstrual health can be a scary thing to wrap your head around. My first scan revealed I had polycystic ovaries. I was told one of the reasons I was experiencing severe pain could be because the cysts can expand to such a big size and even potentially explode. A graphic image, I know! And scary to imagine this might be happening inside your own body.  

“The delivery of this news (from mainly female doctors) has always been abrupt. The topic is taboo and there is little education around it. Why is there a lack of empathy, even from females?  

“We all know hairdressing is a female-driven industry – it’s estimated that 87 per cent of workers are female. So, consider this: 90 per cent of women with periods say they experience pain; 40 per cent say this pain is so bad they miss work; and more than one in 10 (14 per cent) of women have menstrual health complications and debilitating pain every month. 

“These are statistics I know all too well and have experienced firsthand throughout my adult life. So, as a female-driven industry, why are we not talking about it? 

“Besides a handful of good months, I’ve experienced period pain as an obstacle and distraction from school and work for 16 years. From the first day I started my period in year 7 through to today at 28 years old, when I’ve finally started to understand more about menstrual health and how to improve my periods myself.  

“On the first day of my cycle I’m almost guaranteed to have to cancel any plans. The pain leaves me cramped up, unable to move my body, often throwing up, howling in pain and occasionally ending with a 999 call. Statistically, most women have experienced something similar. 

“When I worked in salons, I often faced issues from female bosses when I called in sick or cancelled clients due to my period pain. There was a lack of conversation around the topic and I would love to see this change.   

“Calling in sick became a monthly thing for me. As a hairdresser, this is a nightmare. When I became self-employed eight years ago, this became even more of a problem, I had to manage and rearrange a fully-booked column while in pain. Luckily, I have been blessed with loyal and understanding clients, but this isn’t the case for everyone and menstrual health can become a huge barrier to growth at work.  

“Females who don’t experience period pain on this level can wonder if people like me are exaggerating. We need to shatter this judgment to help women navigate and manage this pain in their personal and working lives. 

“There are several things I’ve learned along the way to help avoid my periods becoming an issue in my work, including using natural remedies. With a regular cycle this is somewhat manageable, forecasting is possible. But Mother Nature is Mother Nature and she’s always got her own plans!  

“If you’re reading this and can relate, remember that it’s going to be okay. Whether you cancel work due to pain, lose clients, face difficulty with bosses due to sick days, struggle to manage your own column because of it, or battle with the pain… in the end health comes first. You can try and fight against it and force your way through it, but you will only make it worse long term. Dedicate time to healing yourself first, and everything else will slot into place. Without your health you have nothing. 

“I’ve been diagnosed with polycystic ovaries, dysmenorrhea, potential endometriosis, low iron, B12 deficiency – all related to menstrual health. There’s an empowerment that comes with investigating your own health and understanding what might help. I’m channelling the energy of my experience to help my sisters in the industry!  

“As a predominantly female industry I truly believe this is a topic of conversation we need to navigate and normalise. And I hope this is the start of a beautiful shift.” 

Join The Discussion!

Join Cristina and Creative HEAD on a Zoom workshop with The Menstrual Health Project team and period coach Connie Owens to discuss how to support those with menstrual health challenges in work. 

9.30am on Monday 27 January

We Have Zero Option But To Stand Down For A Few Days”

Ruth Lundstrom, founder of The Freelance Suite, shares her own journey

Ruth Lundstrom

“Once a month, cis women are rudely interrupted by our periods. For some they’re almost unnoticeable, but for others they can be debilitating. This can have a huge impact on how we show up for work and for our clients – if we can even show up at all. 

“For many years mine were very heavy and the first few days were unbearable. This can put some of us out of work. We have zero option but to stand down for a few days and if you’re freelance, this can lead to a drop in earnings and a rescheduling headache. 

“I had a breakthrough 10 years ago when I removed sugar from my diet. I no longer experienced the bloat, pain or heaviness. 

“As I switched out sugar, I naturally ended up eating a wholefood diet. This helped balance my hormones and made my cycles easy to sail through and I don’t endure the same dip in mood. 

“My approach to health is always, ‘what are we putting in the tank?’. It’s my first approach before I go down the medication route. I believe the body and mind are even more powerful if they are fed the  
right ingredients.” 

The It List’s Salon Stylist, Norman Boulton, has Decided to Become His Own Boss

The It List’s Salon Stylist, Norman Boulton, has Decided to Become His Own Boss

The It List’s Salon Stylist, Norman Boulton, has Decided to Become His Own Boss

One month into the transition, Norman shares stories of running his own business, chasing his dreams and building on his hard work at Not Another Salon to become his own boss 

by CAITLYN | CONVERSATIONS

Norman Boulton’s journey is one of reinvention and the pursuit of authenticity. Transitioning from winning the Creative HEAD It List Salon Stylist award while working at the iconic Not Another Salon to becoming his own boss at Glitterdoll Balayage in Highgate brought new challenges and opportunities. One month into the transition, Norman shares his lessons from carving out his own path for stylists considering a similar leap. 

Leaving the vibrant energy of Brick Lane behind was no small decision. Norman had built a reputation at Not Another Salon, a space as colourful and creative as his own approach to hairdressing. Founded by Sophia Hilton, the salon was not just a workplace but a source of inspiration. “I’ve always admired Sophia,” Norman says. “She built something truly iconic, and I learned so much from being part of her team.” But when the time came to step out on his own, Norman knew it was the right move. “I’d been thinking about it for years,” he admits. “I waited a long time for this opportunity and jumped when it came.” 

Setting up shop in Highgate, known for its quieter charm and North London clientele, marked a stark contrast to his previous environment. “It’s a completely new area for me,” he explains. “I had no expectations about who would follow me.” Instead of dwelling on what he was leaving behind, Norman focused on creating a warm, welcoming space that would attract a fresh clientele. “I wanted people to feel like family when they walked through the door.” 

The transition to running his own business came with its fair share of challenges. From creating his own booking system to navigating the financial realities of being self-employed, Norman faced a steep learning curve. “The uncertainty was the hardest part,” he admits. “You’re not just doing hair anymore – you’re running a business.” 

Fortunately, he found support in the form of an accountant specialising in the hair industry. “She’s been incredible, helping me figure out the whole tax thing, which is so confusing,” Norman explains. This support allowed him to focus on growing his clientele while easing the logistical burden of managing his finances. 

Social media also played a pivotal role in his early success. Having built a loyal following over eight years of consistent posting, Norman leaned on Instagram to spread the word about his new venture. “What you put into it really is what you get back,” he says. “You just need to keep it authentically you.” 

Norman began posting regularly when he first started at Not Another Salon, inspired by its reputation as a social media trailblazer. “It was so iconic, especially when it first opened,” he recalls. “I wanted to have a page of my own work and my own messages.” His dedication to creating high-quality, engaging content has paid off in spades, helping him build a personal brand that extends far beyond the salon. 

Now, as his own boss, Norman’s Instagram plays a pivotal role in his business strategy. “Social media has changed my life,” he says. “I’ve been able to get booked in America with my reach.” From showcasing his latest work to connecting with new clients, his online presence is a cornerstone of his success. Norman even dedicates one day a week to social media and admin tasks, ensuring his content remains fresh and engaging. “You’ve got to give it the attention and love it deserves,” he adds.

As Norman adjusts, he has discovered the importance of balance. Initially, he filled his schedule to capacity, eager to establish himself. “I was in a scarcity mindset at first,” he confesses. “I overbooked myself just to feel secure.” 

However, with time, he realised that structure was essential for sustaining his energy and creativity. Norman now dedicates one day a week to admin tasks, which allows him to be fully present with clients during salon days. “When I’m with clients, I’m 100 per cent there. And when I’m doing admin, I give it the attention it deserves,” he explains

This approach has not only helped Norman manage his workload but has also opened the door to new opportunities beyond the salon. 

While his initial focus was on building a client base, opportunities for education have started to flow in naturally. “In the past few weeks, brands have reached out to me,” he says. “It’s amazing how quickly things are happening now.” For Norman, these opportunities represent the next stage of his career. “Education makes my inner child so happy,” he adds. “Some of my best career moments have been while teaching.” 

Education has always been a passion for Norman and now he’s embracing it more than ever. Inspired by industry icons like the owner of Not Another Salon, Sophia Hilton, and colourist Lesley Jennison, Norman is carving his own path in this space. “Sophia and Lesley are just so cool,” Norman says. “They make it look so effortless. Watching someone who’s dedicated most of their life to their career is so inspiring.” 

Sophia’s ability to juggle salon ownership and education left a lasting impression on Norman. “I’ve learned so much from her approach,” he shares. “She’s shown me what’s possible when you’re passionate and committed.”  

At the heart of Norman’s journey is his commitment to authenticity. From his vibrant social media presence to the intimate relationships he builds with clients, staying true to himself has been the cornerstone of his success. “I love what I do, and I think that passion resonates with people,” Norman says. 

His Instagram reflects his creativity and personality. “It’s a mix of hairdressing, humour and colour work,” he explains. “It’s a way to show who I am and connect with people on a deeper level.” For Norman, being authentic isn’t just a strategy – it’s a way of life. 

“Greatness doesn’t come from your comfort zone,” he says. And for Norman, the leap into independence has been worth every step. 

The Wonderful World of Wicked’s Hair Design: An Exclusive Conversation with award-winning hair artist, Frances Hannon

The Wonderful World of Wicked’s Hair Design: An Exclusive Conversation with award-winning hair artist, Frances Hannon

The Wonderful World of Wicked’s Hair Design: An Exclusive Conversation with award-winning hair artist, Frances Hannon 

Behind the scenes with the creative force who gave each corner of Oz its own hair identity in this year’s most-discussed film 

by CAITLYN | CONVERSATIONS

Frances Hannon
When tasked with creating the hair designs for one of the most anticipated film adaptations of the decade, Frances Hannon knew she had to strike a delicate balance between honouring the beloved source material and crafting something timelessly cinematic. As the award-winning hair designer reveals in our exclusive interview, bringing Oz to life required an army of talented artists, innovative techniques and meticulous attention to detail. Having just completed what she describes as “maybe the hugest creative film I have ever had the pleasure of working on,” the veteran hair designer is eager to share the magic behind bringing Oz to life, one strand at a time. 

From 4 AM call times to managing teams of over 100 artists, the scale of Wicked‘s production required military-like precision combined with creative innovation. “We had roughly 300 crowd in the chair, as well as 80 plus principals on set at a given time,” Frances explains. “The main actors, like Cynthia and Ariana, would often be in the chair at 5 AM, which means your artists are there at 4:30 to be ready and set up for them.” 

But such a massive undertaking doesn’t materialise overnight. Let’s go back to the beginning of the story, before the magic of Oz came to life, before the first wig was styled or character was designed. 

 “When Wicked came out, I took my two daughters to see it several times because they adored it,” she shares. “I loved the theatre production, and The Wizard of Oz was such a part of my world growing up. So, when Jon [Chu] chose me, I felt incredibly lucky.” 

This personal passion shaped Frances’ approach, but collaboration was key. Working closely with costume designer Paul Tazewell and director Jon M. Chu, she developed distinct visual identities for every corner of Oz. “We weren’t tied to anything,” Frances explains. “Jon and Marc [Platt, producer] were wonderful collaborators and allowed me to bring all my ideas to the table.” 

The process began with the principal characters. An early test with Cynthia Erivo revealed a critical insight for Elphaba. “We had the green ready, but the original hair colour didn’t work. It was immediately clear that it needed adjustment,” she recalls. 

The Inspiration  
For Elphaba, the journey is reflected in her hair. “Elphaba as a character has no vanity,” Frances explains. The solution came in the form of micro braids, which brought depth, texture, and a sense of history. “It really had a background to it that worked for our Elphaba,” she says. 

As Elphaba grows in her power, her hair evolves subtly. “We made her hair longer, darker, and slightly wilder to reflect her strength,” Frances adds. These changes had to work in harmony with the rest of her design. “With the dark hat and high-necked black costumes, it was important to keep her face clear so the audience could always read her emotions.” 

For Glinda, the keyword was “timeless.” Frances designed her early look to feel soft, accessible and glamorous. “For her younger days, we kept her hair shorter, a much warmer blonde, and styled it very simply — like a little clip to one side, sort of keeping her quite old Hollywood looking, but being very accessible to our world now,” she explains. 

As Glinda steps into her role as the Good Witch, her hair transforms into something more elaborate. “It becomes longer, paler and the styling follows the curves of the set and costume design,” Frances notes. “We wanted her look to feel timeless, so it could still resonate in 30 or 40 years.” 

But creating these distinct character looks was only part of the challenge. Frances and her team had to develop unique visual identities for each region of Oz, ensuring that every citizen’s hair told a story about where they came from and their place in this magical world. 

For Munchkinland, the aesthetic was textured and colourful. “It’s an agricultural region — their hands are stained with tulip dye, and their hair reflects that working life,” Frances explains. “We went for reds of a million shades and simple styles as if they’d done it themselves under their hats.” These choices weren’t just aesthetic – they helped identify Munchkins even when they appeared in other settings. “You had to be able to distinguish them in any room, like in the Shiz University, or Ozdust Ballroom.” 

Emerald City, in contrast, was sleek and extravagant. “It had to feel sophisticated, architectural and controlled,” Frances says. “We mirrored that in the hair, beards and facial hair, drawing inspiration from shapes in architecture and nature.” 

Even smaller details were meticulously considered, like the beauticians in the Emerald City nail salon. “They only had two types of coloured hair,” Frances reveals. “I used that kind of uniformity in several areas to create visual cohesion.” 

For Winkie Country, the palette was cooler and more polished. “It’s all blues and darker, cared-for hair,” Frances says, while the Uplands, Glinda’s homeland, were inspired by Scandinavian tones. “We kept it blonde and fairer, reflecting that softer, lighter palette.” 

Technical Execution 

The ambitious scale of Wicked demanded technical mastery. “Wigs were the backbone of the film,” Frances explains. “We baked hundreds of wigs overnight in industrial ovens to ensure they held their shapes throughout 12-hour days of dancing, singing and stunts.” 

For Elphaba’s character, those micro braids became a cornerstone of her look. “We plaited them directly into the wig to add structure and control. It was labour-intensive but worth it because the braids held beautifully while giving us that raw, textured edge we wanted.” 

Glinda’s hair, in contrast, required a delicate touch. Frances relied heavily on steam-heated rollers and tonging to create soft, sculptural waves. “Her hair had to look light and romantic but still hold its shape. We used very lightweight products to keep the texture alive without weighing it dow.” 

Durability was a constant focus, especially for Elphaba and Glinda. “You can’t have hair falling apart halfway through a scene,” Frances notes. The solution came in the form of hand-tied, layered pieces and strategically hidden micro braids that locked styles into place without sacrificing movement or realism. “We had to think about every action the actors would take — from running to spinning to cartwheeling — and prepare for it.” 

From intricate braiding to maintaining durability for high-energy choreography, the sheer scope of the project demanded nothing less than perfection. 

For the crowd scenes that brought Oz to life, speed and precision were key. “We sometimes had just minutes to transform hundreds of extras,” Frances shares. Munchkinland’s textured, colourful styles relied on a mix of pre-dyed wigs, quick setting, and clever styling tricks. “We wanted it to look organic — like they’d done it themselves — so we focused on layers, natural shapes, and imperfections.” 

In stark contrast, Emerald City’s sleek and sculptural looks required meticulous styling and polishing. “It was architectural in its detail,” Frances explains. Beards and facial hair were just as carefully considered. “Everything was about control and sophistication — from the angles of the hairlines to the way curls were set and positioned.” 

Frances’s team had to be concerned with more than just human hair, including the hair on Fiyero’s horse. “We shaved and dyed the horses’ manes and tails with a Japanese product that had been rigorously tested for safety,” she reveals. To enhance the look, they added blue-dyed hair extensions, adjusting the direction of the manes to ensure a uniform visual flow on screen. “It’s the kind of detail most people won’t notice, but it all contributes to the film’s overall aesthetic.” 

Words to the Wiser  

For those aspiring to work in film and television, Frances shares practical advice, grounded in her years of experience. The first step? Develop a wide-ranging skill set. “You need to learn wigs, extensions, cutting and dressing,” Frances emphasises. “You’ve got to know all of it. If you can get experience in theatre, I’d say go for it because theatre teaches you durability — that’s so important in film.” 

Durability is a recurring theme in her work. “Whatever you’re creating, it has to last. On a film set, the style might have to hold up for hours, through stunts, movement, lighting and sweat.” Knowing how to prepare hair to withstand these conditions is an essential part of the job. 

Equally important is the ability to collaborate. Hannon stresses that film is a team effort, requiring open communication across departments. “You’re constantly working with the costume designer, the director and the actors to align everything. It’s about the character, not the hair itself. You’re there to serve the story.” 

 

 

For those just starting out, persistence is critical. “You’ve got to keep going and keep knocking on doors,” she advises. Breaking into the industry takes determination and a willingness to begin wherever opportunities arise. 

Above all, Frances encourages young artists to stay curious and committed to their craft. “Learn as much as you can, take every opportunity to practice, and never stop trying.” 

Additional Credits:

Principal Key Make-up and Hair artist- Sarah Nuth

Key Hair and Make-up- Johanna Neilsen

Crowd Supervisor- Laura Blount

Make-up artist to Elphaba- Alice Jones

Hair stylist to Elphaba- Sim Camps

Make-up Artist to Galinda- Nuria Mbonio

Hair stylist to Galinda-Gabor Kerekes

Make-up artist to Jeff Goldblum-Vicky Lange

Make-up artist to Jonathan Bailey- Lara Prentice.

 

“Going Grey Is Fine If A Client Suits Grey Hair, But They Are The Exception”

“Going Grey Is Fine If A Client Suits Grey Hair, But They Are The Exception”

“Going Grey Is Fine If A Client Suits Grey Hair, But They Are The Exception”

Salon owner Gustav Fouche discusses the pros and cons of clients transitioning to grey and why ‘growing old gracefully’ isn’t the same for everyone

by KELSEY | CONVERSATIONS

bebop team members
Gustav Fouche
“I always say going grey is fine if a client suits grey hair, but they are the exception. For most people, they see ‘going grey’ as just leaving the hair to go grey naturally, which doesn’t work, because it doesn’t suit the skin tone. It requires work to make grey hair look good.”

“More and more, I see other hairdressers suggesting clients transition to grey but that massively impacts business. All of a sudden, clients think, ‘Oh, we can just leave our hair.’ It encourages them to leave the salon and do nothing with their hair going forward. The result? You have regulars who used to visit every six weeks now no longer visiting at all.”

“A lot of people discuss growing old gracefully, but what does that even mean? It’s each person’s individual wants and needs. For my clients, I encourage them to be outrageous. I love outrageous. Let’s shock the people. When people walk in the street, let them look at us, be quirky and bring out all your uniqueness. That’s what I love. If your uniqueness is to be very Chanel, then that’s fine. And if your uniqueness is to be very Alexander McQueen, then that is also okay. But let’s bring some personality, whatever level of scale that is, let’s encourage clients to show it in their looks, whatever their age.”

“Really look at your client. To give them the most flattering result possible, the perfect grey requires salon services. That may not be every six weeks, but rather an appointment every eight to 10 weeks (or at the most four times a year) to make the grey creamier, to add texture or whatever is required for them to look amazing.”

“A lot of people discuss growing old gracefully, but what does that even mean? It’s each person’s individual wants and needs.”

“We need to look at ways to keep them coming back – it’s the same for balayage clients! If you only see a client once in four months, do you realise how many clients you need to see to actually have a full diary? On a typical day, if you see six clients and they come every four months across a five-day working week, that is 30 clients. If you think of this across a four-month cycle, that’s 500 people that you need to have as clients. That is massive for a general diary, which is typically 180 clients. The reality is you would need to see double the number of clients to have the same outcome.”

Gustav with his client June

“As an industry, we need to look at how we will survive. I have grey-haired clients, but they will see me for a gloss, toner or neutralisation. They do not leave their hair to its own devices. Look at each client as an individual and see what you can do to enhance because every single client’s hair can be enhanced. And it may be very subtle. Speak to your clients – find out what they like and what they dislike – and tap into what makes them unique. The key is offering bespoke services tailored to their needs.”

Gustav’s salon

“A lot of my older clients now have a pink or purple piece in their hair, and that is the attitude that we should embrace. Let’s uplift people. Let’s take them to a place where they can stand and look and just be happy and confident. I think women are the best things ever, and we as hairdressers should celebrate them and help them grow in confidence by bringing out that inner reliance in them. I think that is is the true skill that hairdressers have.”

The Last Word on… Launching Your Own Hair Brand

The Last Word on… Launching Your Own Hair Brand

The Last Word on… Launching Your Own Hair Brand

What does it take to build a haircare brand? Salon owners and stylists share how they transformed their passion into products...

by CAITLYN | EXPLORE

Image credit:  Ian Schneider from Unsplash 

It may sound like total vanity – to launch your own hair brand and see your name on a bottle! – but for many salon owners, the idea comes from a desire to offer something they couldn’t find in the existing market. Katy Grimshaw, founder of Spectrum One salon and its namesake hair extensions, recalls how her frustrations as a freelancer led her to take the plunge. “The quality of other brands wasn’t great, and I wanted to build something reliable that other hairdressers could trust,” she says.  

Similarly, Deborah Maguire and Katie Hemming, co-founders of hair supplement brand Seed & Soul and LoveHair Salon, were driven by their expertise in hair health and their understanding of clients’ needs. “We knew that we could offer something truly beneficial, especially for women dealing with hair loss, and that pushed us to create something with real value,” shares Deborah. 

Stylist Kieran Tudor, co-founder of CENTRED, was inspired to create his brand after helping his wife and co-founder, Laura, recover from hair loss. “There wasn’t a natural solution that encapsulated both internal wellbeing and hair care, so we created the products we wished existed.” 

Phil Smith, founder of Phil Smith Hair and Smith England salon, found his inspiration to create a brand from seeing others succeed in the industry. “I met Umberto Giannini on holiday in 1997, and when I saw his success, I thought ‘Why not me?’. That started the journey of creating my own range.” 

Transitioning from an idea to a full-fledged brand needs more than just passion – it requires a deep understanding of your craft, something all these founders gained through their work behind the chair. Salon owner Paul Bryan, founder of haircare line StaticJam, emphasises how years of salon experience informed his product development. “Every day in the salon gave me new insights into what clients really need,” he argues, citing clients coming in with hair that lacked strength, moisture, or both. For Katy Grimshaw, being a stylist helped her refine her hair extensions. “My time in the salon taught me exactly what hairstylists like me wanted from a product. It made all the difference in shaping Spectrum One extensions.” 

But expertise alone doesn’t make the process easy. Once a brand is launched, the real work begins – managing the daily operations of both a salon and a product line. Phil Smith knows this challenge well. “Running two businesses at once is hard, there’s no way around it. You have to constantly juggle responsibilities.”  

“I couldn’t balance it all without the help of my team,” agrees Katy. “Running the salon and the brand simultaneously requires a lot of support.”  

For any stylist or salon owner considering their own product line, the advice from these founders is clear: start with a solid foundation and stay true to your vision. “It’s all about finding your niche and sticking with it,” Kieran Tudor advises. “Focusing on what you do best is crucial for success.” 

Paul Bryan emphasises the importance of a strong unique selling point. “If you want to stand out, you need to solve a problem and build your brand around that solution.” 

Authenticity is key, adds Deborah and Katie. “Be genuine and believe in what you’re creating. That’s how you build something that resonates with both clients and stylists.” 

Finally, it can be a risk – it’s an expensive undertaking – so consider help. “You need to have financial backing. Find an investor early on so you can focus on building the brand without worrying about cash flow,” adds Phil.  

 

Katy Grimshaw, founder of Spectrum One Salon and Extensions

Paul Bryan, founder StaticJam and Paul Bryan Salon

Phil Smith, founder of Phil Smith Hair and Smith England salon

Deborah Maguire and Katie Hemming, co-founders of hair supplement brand Seed & Soul and LoveHair Salon

Kieran Tudor and Laura Tudor founders of CENTRED