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From Freelancer to Founder: How Katy Grimshaw Built Spectrum One 

From Freelancer to Founder: How Katy Grimshaw Built Spectrum One 

From Freelancer to Founder: How Katy Grimshaw Built Spectrum One 

As a freelance hairstylist, Katy Grimshaw saw a gap in the market and turned her frustration into a thriving brand with Spectrum One.

by CAITLYN | FREELANCE, BUSINESS

As a freelancer, Katy Grimshaw quickly realised that relying on inconsistent hair extension products was a major obstacle in her career. “The quality of other hair extension brands wasn’t great and super inconsistent. As a freelancer, I felt the effect of instantaneously having to be solely responsible for fixing things when they weren’t perfect,” she explains. This frustration sparked her journey from stylist to entrepreneur, eventually leading her to create Spectrum One, a brand that solved her professional struggles and has become a trusted name for hairdressers across the industry. 

For Katy, the leap from freelancing to building her brand was fuelled by a need to provide reliable, high-quality extensions that she and others in the industry could count on. As she launched her salon, she knew she needed more control over the products she used. “I wanted to have my own hair extensions brand to coincide with launching my salon. I had the dream of leading the brand as a hairdresser myself,” Katy adds. This vision marked the beginning of Spectrum One, created out of necessity but driven by Katy’s ambition to make an impact in the hair extension market. 

Katy’s experience behind the chair became a powerful asset as she transitioned into product development. “It really helps being a hairdresser and working hands-on behind the chair with the hair extensions all the time because you see firsthand what your clients want and need, and in turn, what our professional customers, the hairstylists, want and need,” she comments. Her daily work provided the insights she needed to innovate, allowing her to craft solutions that addressed the pain points of her clients and fellow professionals alike. “It helped to determine the types of hair and methods I wanted to innovate and develop, and the colours we chose – it’s the driving force behind the whole brand.” 

While Katy’s knowledge as a stylist shaped the development of Spectrum One, the journey wasn’t without its hurdles.  “Finding a supplier was by far the biggest challenge. I thought the first supplier I found was the best ever, but I’ve still got around £60,000 worth of stock stashed downstairs in the salon thanks to them,” she exclaims. Despite these setbacks, Katy saw each obstacle as an opportunity to refine her business practices. “We tightened everything up, especially supplier communication.” Her perseverance and attention to detail ensured that Spectrum One could deliver the consistent quality she had originally set out to achieve. 

As Spectrum One grew, so did the demands of running both a brand and a salon. Katy learned that having the right team in place was critical to balancing these two worlds. “Alone I really can’t balance it, making it work completely relies on the support of my team,” Katy comments. Her team became integral to ensuring the success of both sides of the business.  

“I can’t have just a brand or just a salon – one doesn’t make sense without the other.” The synergy between her salon and brand allowed Katy to continually test and improve her products, keeping her at the forefront of innovation in the hair extensions industry. 

Katy’s journey offers valuable lessons for other stylists, freelancers, or salon owners looking to create their brand. She encourages others to embrace the challenges that come with entrepreneurship. “It’s not something that’s very easily done, so it needs careful consideration. There’s a time investment to consider as it takes years of testing before you can even go to market.” 

 “A mistake I made was underestimating how many hats I’d have to wear. I’m not just a hairdresser with a hair extensions brand, I have to understand sales, marketing, distribution, SEO, e-commerce retailing, websites, social media, and the list goes on.”  

Katy Grimshaw’s journey from a frustrated freelancer to the founder of a leading hair extension brand shows that innovation often comes from personal challenges. By turning her frustrations into opportunities, she was able to create Spectrum One, a brand built on quality and trust. Her words to aspiring brand creators: “It takes years of hard work, but the reward of seeing your vision come to life is worth it.”

The Cool Huntress

The Cool Huntress

The Cool Huntress

Zoë Irwin is the talented stylist who’s shown us how to predict, name and package hair and fashion concepts in a way that makes journalists swoon and consumers want to buy. Where on earth would this industry be without her?

by CATHERINE | CONVERSATIONS

 
Zoe Irwin

The Independent calls her “the Stella McCartney of hairdressing”. Her Liberty print styling menu caused a beauty blogger meltdown. And such is her industry kudos that John Frieda asked her to join his salon group as creative director. Zoë Irwin is a truly original and inspiring hairdresser, and it’s fair to say the world of hair would look very different without her imprint.

Ah, yes, her imprint. Zoë has taught us so much. In 1998 she was one of the first to show that it was possible to combine session and salon work, assisting Guido Palau every season for 10 years, while holding down a series of high-profile roles at top London salons. In 2000 she persuaded top fashion photographer Stuart Weston to shoot a hair collection for the legendary Soho salon, Stage Door, where she was creative director, paving the way for a whole new wave of hair and fashion collaborations to follow (previously, the hair world had not been deemed cool enough for fashion photography). And from the get-go she has drilled into us how translating trends from the world of fashion into consumer-friendly hair services can unlock lucrative new revenue streams for our hairdressing businesses. Oh yes, this girl means business.

Zoë’s work blends traditional technique, honed over her remarkable 40-year career, with new concepts developed from her deep understanding of youth culture – she plays with fabrics, language, colour and more, always staying one-step ahead of the game. As a result, brands, magazine editors and fellow stylists have sought out her creative direction and predictions, which are always expertly referenced, emotively named and beautifully packaged.

 

Zoe Irwin

The Independent calls her “the Stella McCartney of hairdressing”. Her Liberty print styling menu caused a beauty blogger meltdown. And such is her industry kudos that John Frieda asked her to join his salon group as creative director. Zoë Irwin is a truly original and inspiring hairdresser, and it’s fair to say the world of hair would look very different without her imprint.

Ah, yes, her imprint. Zoë has taught us so much. In 1998 she was one of the first to show that it was possible to combine session and salon work, assisting Guido Palau every season for 10 years, while holding down a series of high-profile roles at top London salons. In 2000 she persuaded top fashion photographer Stuart Weston to shoot a hair collection for the legendary Soho salon, Stage Door, where she was creative director, paving the way for a whole new wave of hair and fashion collaborations to follow (previously, the hair world had not been deemed cool enough for fashion photography). And from the get-go she has drilled into us how translating trends from the world of fashion into consumer-friendly hair services can unlock lucrative new revenue streams for our hairdressing businesses. Oh yes, this girl means business.

Zoë’s work blends traditional technique, honed over her remarkable 40-year career, with new concepts developed from her deep understanding of youth culture – she plays with fabrics, language, colour and more, always staying one-step ahead of the game. As a result, brands, magazine editors and fellow stylists have sought out her creative direction and predictions, which are always expertly referenced, emotively named and beautifully packaged.

“Zoë’s work is inimitable in that her references offer deep knowledge of her craft – historically, socially and culturally. Her references start not with a trend but from the bare basics of where a style began and she is a teacher to us all (a 1960s style; ears will be covered, stemming from The Beatles).” Ellen Burney, Vogue contributor

“What’s been key to my career is how each different part embellishes the others,” says Zoë. “By doing the shows with Guido, I was seeing hair trends six months ahead of time, and because I worked in a salon, I was able to turn that into something for my clients, which other session stylists couldn’t do because their world was quite separate back then. I started launching styles with names and a whole feeling behind them because that was how Guido worked; it was always about the concept of character. So, for example, for the hair at Chloë, we didn’t tong like we did in the salon. Guido would explain it was as if the woman was looking in the mirror getting ready, so she’s going to do this, and this. And that’s how I learned to tong. It wasn’t the technical way, it was with character.”

This creative foresight, coupled with her ability to build stories around hair that incorporate trend, fashion and historical context, instantly made Zoë a favourite among the beauty press – but not without some clever strategic thinking, too. “I was very young back then and competing for page space with big-name hairdressers, so I decided to target the interns – to do their hair and tell them about my ideas. And most of those young girls have gone on to land the top jobs in beauty, and we’ve remained genuine good friends along the way, mainly because I’m such a fan-girl about journalists and I just love spending time with these women.”

Hannah Betts (The Times, The Telegraph), Rose Beer (ES magazine), Amy Bannerman (pre-loved style director at eBay)… Zoë is friends with them all, but is also aware that they are highly knowledgeable about beauty and that every new trend she launches needs to be authentic and impressive – something she is at pains to teach other hairdressers. “Imagine Vogue is going to call you tomorrow and ask you about fringes,” she declares. “What are you going to say? You can’t use ‘hairdresser speak’! The language you use has to translate into something they can write in their magazine. So, I try to bring that out of my students, getting them to spend a lot of time describing a specific shade of blonde, for example.”

A self-confessed “hair nerd”, Zoë has always fully immersed herself in whatever task she set herself. She learned French so she could study hairdressing in France (her impressive chignon is what led Guido to invite her to join his team); she went to Milan to study trends; she signed up for Central Saint Martins’ Cool Hunting course and studied Fashion Journalism at the London College of Fashion. It has all paid off – handsomely. “In the hair world, being a creative director means you’re part of the art team, but for me, being a creative director is about creatively embellishing the salon. I realised quite quickly that if I learn about things, then I can design something, and with my press contacts I can get it published.”

And what success! For Headmasters, she launched the Kitten Haircut, featuring a new silhouette inspired by Paris Vogue shoots with Guido (Vogue, ELLE, The Sunday Times). For Hari’s, she designed Cobain Chic, a dip-dye colour treatment aimed at attracting a younger clientele (Vogue, Grazia); the Prada Laced Nail, based on the intricate dress designs of the season (Sunday Times Style); and Skin & Hair Salads, nutritional foods and juices targeting different hair types (Vogue, Harper’s Bazaar, Tatler and Grazia). Then, for Taylor Taylor in Liberty, it was the Tie it Up menu that breathed new life into the store’s heritage prints with strips of fabric woven into Frida Kahlo-esque up-dos (Tatler, Harper’s Bazaar). And for John Frieda, it’s been the Liquid Brunette mocha-noir colour service (The Telegraph) and the fawn-inspired Bambi Blonde (too many titles to mention – this one went stratospheric!), among others. But achieving so much press success doesn’t make life easier for Zoë: “When something goes big, it creates huge pressure for the next trend. John Frieda’s is a big name and I don’t want to let the team down. But [salon owner] Nicola [Clarke] is super-encouraging. We collaborate a lot on naming the trends and coming up with the right language to use around them.”

Staying relevant over a period of 40 years is difficult in any industry, but in Zoë’s role, the pressures become especially enormous. She’s mastered the art of spotting trends, but what about more practical things, like social media?  

“I feel like social media has come along and made everything very difficult because brands are just obsessed with numbers. It puts us under insane pressure,” says Zoë. “And what breaks my heart is that to satisfy the KPIs people want now is not necessarily about being creative. So, I can do a really beautiful shoot, and it will flop, while someone will film themselves clowning around, and it will attract a big audience. I know that’s how it works, but I just can’t bring myself to do that.”

“Five, 10 years ago, my Instagram used to represent who I was and I’d never lose the job. Now I feel like I have to produce work that I hope will satisfy some brands and I’m not sure I can do that while maintaining my integrity. I grew up doing beauty shoots with Tatler and Glamour and everything looked editorial and pretty, but that doesn’t work on social media. Things have got to be shot through a phone and look raw, and I think a lot of hairdressers of my generation really struggle with that rawness.”

Teaching and inspiring young hairdressers is a passion of Zoë’s – and one that has never diminished throughout her career. In 2002 she co-launched Project X for the Fellowship for British Hairdressing, a programme that encouraged aspiring young stylists to incorporate influences such as art and architecture into their work. Now, the Fellowship have asked her to return, in a new role that will see her look after the organisation’s colour teams.

“Initially they asked me if I wanted to go back into Project X, but I was like, ‘You know what? I want to do something different’. So, I want to do colour, but I want to do colour my way, and I’m really excited about it. I find education very fulfilling. I have people come up to me and say, ‘I did your class 25 years ago, and I still really love it’. And the other day someone came up to me from Headmasters and said, ‘Everyone wants you back for a seminar’. When I’m teaching people, that’s where my complete obsession with hair comes across.”

Having recently moved out of London to Hastings, where she’s been able to buy her home outright (“I had found myself taking on jobs I didn’t want to do because of needing money, so I decided to take away that worry”), Zoë is finding a sense of fulfilment in this new phase of her career, people-watching on her commute to work and studying life-coaching. “Things feel more peaceful,” she says. “I have the luxury of time to really look at things that I’m interested in.”

And when she looks back at her incredible 40-year career to date, Zoë feels nothing but happiness. “I feel like relationships are formed in hairdressing that are truly magical – we’re like a family that has basically grown up together. And this industry has always allowed me to go outside, explore other worlds, and then bring what I’ve learned back into the fold. It’s always given me the freedom that I’ve wanted, and I have never, ever been bored. I’ve been accepted.”

 

The Last Word on… Bleisure

The Last Word on… Bleisure

The Last Word on… Bleisure

Post-Covid, work routines for many have been altered hugely. Can you achieve the perfect balance between work and leisure? 

by CAITLYN | CONNECT

In an ever-evolving world, a new trend is gaining popularity in how we’re working: ‘bleisure’, a combination of business and leisure. With the rise in hairstylists being self-employed and digitally savvy content creators, balancing work and leisure is a harmonious balance many are struggling to find. Many hairdressers are now opting to work split weeks, where they’re doing a few days behind the chair and then the rest of the time creating content, educating in workshops around the country (or the globe), travelling for show and platform work, working for brands as ambassadors, etc. Business owners – both independent stylists and salon owners – still need to run a column or salon while they travel. With its promise of greater balance, bleisure can help reduce burnout, boost creativity and provide relaxation. 

“Incorporating leisure into your work routine supports work/life balance. It offers relaxation and rejuvenation, reducing stress and burnout while contributing to personal growth,” explains Sonia Magnier, a former hairdresser, who’s now a holistic business and life coach.  

One of the biggest challenges for hair pros is setting boundaries between work and personal time. Sonia recommends creating a clear separation between the two. “Plan your schedule in a way that allows you to fully switch off during your leisure time. When you’re at work, give it 100 per cent, but when you’re off, make sure you fully relax without thinking about work.” 

But what does this look like for those working in salons, and how do professionals integrate leisure into their routines? Salon owners and freelance stylists are finding creative ways to prioritise their wellbeing without compromising their careers. 

Frazer Wallace, a stylist from The Haus Studio in Dundee, has found that being self-employed allows him to integrate leisure more effectively into his routine. “It’s given me freedom. I decide when I get time off or say no to work if I need a break,” he says. Despite working more hours overall, Frazer feels the trade-off is worth it because of the control he has over his schedule. 

His ability to set personal boundaries – such as ensuring he takes at least four weeks off per year – helps him manage his workload while also making time to relax. His advice for other stylists looking to integrate leisure into their routines is to ensure they are financially secure in their base work, so they have the flexibility to take breaks without feeling pressure to overwork. 

For salon employers, fostering an environment where leisure is prioritised can lead to happier, more productive staff. Lorraine Naughton, the owner of OB1 in Maynooth, believes that work/life balance is essential to enabling stylists to live fully. After the pandemic, she implemented changes to her salon’s structure, prioritising flexibility. “It’s important that they get to live the dreams they want to live, while also having a job they love and a company they enjoy working in,” she says. 

At OB1, staff members set their own working hours. This structure gives stylists the freedom to pursue their personal lives, spend time with family, and practice self-care. “When the team is happy, the clients are happy, and the whole salon thrives,” Lorraine adds. This flexibility has been key to retaining talent and maintaining high morale in her salon. 

The danger of burnout is real in hairdressing, where the pace is often relentless; making time for leisure is essential. Frazer stresses that while burnout can be part of the job when you’re ambitious, it’s critical to avoid pushing too far. “The key is to ensure that your downtime truly rejuvenates you,” he advises. 

At OB1, Lorraine has created a culture of care that prioritises mental health and wellbeing. Her team has access to wellness resources, such as mental health apps and counseling services, that help them manage the stresses of the job. “We encourage everyone to support each other, check in regularly, and make sure no one is feeling overwhelmed,” Lorraine explains. 

Image credit: Antonio Gabola from Unsplah

 

How K18 Changed The Way We Think About Hair

How K18 Changed The Way We Think About Hair

“The Science Came First. We Built The Brand From There.” How K18 Changed The Way We Think About Hair

Suveen Sahib had no experience in the haircare industry, but he was curious. And that’s how he came to create K18, the biotech ‘miracle’ product line that’s paving the way for the future of haircare, and much more.

by CATHERINE | CONVERSATIONS

Of all the incredible things there are to say about K18, the product line that promises to restore chemically damaged hair to a near virgin-like state in just four minutes, perhaps the most remarkable is that it was created on a computer.

Yes, K18 was developed (you may want to take a deep breath here) by applying computational models with probabilistic structure/sequence analogy used in the biotech industry to the molecular structure of human hair. Clever stuff, right? Well, luckily for those of us who could read that sentence 20 times and still not understand a word, there’s another way of telling the story.

Back in 1990, US-based tech entrepreneur’s Suveen Sahib’s wife, Britta Cox, had founded Aquis hair towels and turbans, harnessing water-wicking technology to deliver a better way to dry. Suveen was reading some of the customer reviews one day and noticed they were saying things like, “This towel makes my hair less frizzy” or “It gives me better texture”, which he found puzzling because the towel wasn’t adding anything to the hair. He decided to look more closely at the structure of hair and realised that what looks like a fibre on the outside is actually a highly sophisticated biological composite. “The hair towel worked because it understood the biology of hair,” he said. “It absorbed water faster and in a way that meant you didn’t have to move it around so much, and that meant hair didn’t get tangled. But why does hair get tangled in the first place? That took me down the rabbit hole into realising that this wasn’t just about hair drying or hair, it was about beauty in general.”

Suveen Sahib

After talking to Britta about her experience of the hair industry, Suveen concluded that most hair products and routines have only resulted in “needy hair” – hair needy for attention and needy for products. “If you think about it, the entire genesis of beauty has been in cosmetic chemistry, and cosmetic chemistry has created great outcomes – hair colour, make-up, hair styling.  But cosmetic chemistry does not understand biology, so when it comes to repairing hair it’s not the optimal toolkit,” he says. Fuelled by his passion for “less is more”, Suveen quit his job and devoted himself to learning everything he could about the biology of hair.

“Hair is made up of millions of molecular chains like inter-connected ladders running along the length,” he says. “But hair was never designed by nature to have chemical services applied to it, like perms, straightening, colour – these are what cause the keratin chains to break. For 10 years I worked with a team of biochemists reassembling and synthesising every possible sequence inside the hair to figure out what kind of sequence could not just reconnect these chains but also contribute cysteine to the broken bonds and bind with the keratin-associated proteins, because that’s what makes the matrix of hair inside. And we found 18 was the optimal peptide; it restored the molecular chains and brought hair back to its natural elasticity and strength. In pharma, you create a molecule and then you create a delivery system to deliver the molecule for a targeted outcome. For K18 we took a very similar approach and that’s why it was born on a computer, not in the formulation lab.”

Having tested different variations of actual formulations with Australian hairstylists (“That was the eureka moment, when we saw the joy on their faces at how good hair felt after applying the treatment; we knew then that all those theoretical models had translated into a product that actually worked”), in December 2020, with their K18Peptide trademarked and their formulation perfected, Suveen and Britta launched K18 Biomimetic Hairscience as an in-salon professional service that went beyond hair repair to restore chemically damaged hair to near virgin-like strength and resilience. The fact that the world was in the middle of the Covid-19 pandemic did not deter them. Rather, the pair turned it to their advantage, using social media to spread the word among professional stylists who were desperate for something new and positive.

“I deeply believe that professional hairstylists were our guiding light,” recalls Suveen. “People were saying to me, ‘Go online, sell it via retail’, but to me it was non-negotiable that we would sell through salons. And in certain countries, salons were still open; in the Nordic countries and Australia – they closed much later. So, we were able to send our products out to them and we encouraged them to use it on their own hair, to tell us how they felt about it, and that’s how the conversations started. And the other thing was that, thanks to the pandemic, stylists were now using Zoom. We did thousands upon thousands of Zooms with stylists across the world, introducing them to K18 and why it should be a part of their life. And a big part of that was education – we were the first to socialise a 3-D model of hair and share it with stylists – and that’s where they started appreciating our biotechnology. And the fact was, the product experience, the tactile experience, that all matched up in their own hands.”

Within 18 months of launch, the K18 in-salon treatment had reached 20,000 salons in more than 100 countries – effectively an overnight sensation. Stylists loved its simplicity. They loved that it worked in four minutes. And Suveen loved them right back. “I was spending time with stylists and I fell in love with that community of artists. And one of the things that stood out was the struggle they faced in coming out of the pandemic and having hundreds of products in stock – none of that made sense to me. I want stylists to focus more on their artistry than anything else. They want to be able to do it simply. They want predictability. They want to be able to make more money. So, simplifying that life became something very, very important to me.”

In 2021, after a hugely successful year of trading through the professional channel (the business was profitable within its first quarter), K18 launched its bond-building Leave-In Molecular Repair Hair Mask with high street retailer Sephora, with an accompanying #K18hairflip challenge on TikTok generating more than 11.2 billion views. The move instantly turned K18 into a best-selling hair care brand at the beauty retailer, but what did this shift away from the salon mean for stylists?

“People were saying to me, ‘Go online, sell it via retail’, but to me it was non-negotiable that we would sell through salons”

“One thing we realised is that as a stylist, you’re often the first to introduce a product to a client, and the conversation can get heavy if the consumer doesn’t know about it, because it feels like you’re trying to sell it and that wears you down,” says Suveen. “Stylists told us they love it when there’s a product that consumers are telling them about because they’ve seen it on social media, or whatever. That makes the conversation easier and it starts bringing traffic to the stylist’s chair.

“We’d also created K18 to use as a salon service when hair is being coloured. But what about post-colour? A client can wash her hair 20, 30 times between salon visits and coloured hair is more susceptible to UV damage. So, we realised we needed to keep a client’s hair in a reasonable state so that when she returns to the salon you can improve it even more because K18 is progressive. But this was not about driving retail, this was about driving the advocacy flywheel, which works both ways.”

Nevertheless, in December 2023, after just three years in business, Suveen and Britta sold K18 to Unilever for an undisclosed (but presumably rather large) sum. Now expanded with a line of shampoos retailing at £39 and a hair oil at £65, K18 will sit within Unilever Prestige, a tight edit of 10 premium beauty brands, including Dermalogica, Living Proof and Hourglass.

The K18 range has expanded and is now owned by Unilever

“K18 is a fast-growing brand that sits at the intersection of beauty and biotechnology,” said Vasiliki Petrou, executive vice president of Unilever Prestige, at the time. “It has been a pioneer of using social media to educate and engage consumers about the science of hair. This acquisition complements our fast-growing portfolio of premium, culturally relevant consumer brands.”

But what does this mean for Suveen and Britta? “I continue to be CEO,” says Suveen, “and I will continue to steer our destiny for many years to come. And if you think about it, it was too early. There is still so much that’s happening within K18 and there’s still so much to come. And that’s what excites me, what we at K18 can bring to the table and what we can learn from Unilever. Because we were global, literally from day one, and you realise there are things that you don’t know and that’s where Unilever come in with a very strong set of complementary capabilities, which are going to be important if K18 is to become a billion-dollar brand.” 

While Suveen is confident that Unilever will allow K18 to continue to focus their attention on small independent businesses (“What I love about Unilever is they appreciate a brand and that its ecosystem needs to be nurtured – that freedom, that oxygen that brands like us need”), the challenge he sees moving forward will be “re-architecting” the way we work with our hair. 

“Stylists told us they love it when there’s a product that consumers are telling them about because they’ve seen it on social media… that makes the conversation easier and it starts bringing traffic to the stylist’s chair”

“The haircare industry continues to stay rooted in the way it’s always been. The relationship with hair they’ve created is all about control. Controlling frizz, controlling the style. For me, it needs to shift to understanding hair and working with it because that’s how you can impact real change and see the results people want. Less is more for your hair and less is what healthy hair really needs, but the current conversation is driven by an industry with tens of thousands of products which further drives over-consumption and waste. I ultimately want to see the product offering cut by half. The number of resources hair consumes on a daily basis is not good for people, their hair, the planet, or their wallet.

“I believe K18 is leading this revolution already — to offer the technology and science that allows people to own their relationship with their hair in a new way. We take care of our silk shirts and cashmere sweaters with immense care, but what about our hair? We need to apply that same philosophy of care. If hair is one of our most precious resources, are we thinking through the way we wash it, the way we dry it, the wear we put it through, the way we feed it? Hair mindfulness is a new way to think about our routine and in that we can unlock confidence that wasn’t possible until now. To truly liberate expression.”

In the Bistro Booth With The September Cover Shoot Hair Team

In the Bistro Booth With The September Cover Shoot Hair Team

The talented hair team from our September cover shoot, in partnership with Wella Professionals, get chatty in the bistro booth

Take a coffee break and press play on unmissable colour conversation between the September cover shoot hair team. From their repeat order of colour formulas and must-have Wella Professionals Color Touch melt to the trending tones of the moment, we’ve got the inside scoop from our all-star line-up of creatives. 

 

See more from our September cover shoot >

“You’re Going To Love It 10X More” – James Earnshaw Talks Color Touch In Our Bistro Booth

“You’re Going To Love It 10X More” – James Earnshaw Talks Color Touch In Our Bistro Booth

Grab your beverage of choice and press play on an unmissable conversation between Wella Professionals global ambassador, James Earnshaw, and Creative HEAD editorial director, Amanda Nottage

Forget your local coffee hangout, the Creative HEAD bistro booth is THE place to be. Over iced matcha, James and Amanda take a deep dive into our September cover shoot, in partnership with Wella Professionals. Discussing the new and improved Color Touch, James’ mouth-watering menu of melts and much, much more, we’re serving up some piping hot tea… trust us, you don’t want to miss it! 

 

See more from our September cover shoot >