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Tax, Rates And Wage Increases Are Coming. Can Hairdressing Businesses Cope?

Tax, Rates And Wage Increases Are Coming. Can Hairdressing Businesses Cope?

Feb 17, 2025 | DOCUMENTS, DOCUMENTS HEADER, EXPLORE

Tax, Rates And Wage Increases Are Coming. Can Hairdressing Businesses Cope?

From April, hairdressing employers will pay more in National Insurance, as well as a higher Minimum Wage. In a special edition of our On The Floor series, Creative HEAD gathered business owners from across the UK to discuss the impact of Labour’s controversial first Budget

by CATHERINE | DOCUMENTS

In April 2025, significant rises in National Minimum wages and employers’ NI contributions will come into force, driving up operational costs and squeezing profit margins for many hairdressing businesses at a time of fragile post-pandemic recovery. 

For many small business owners already struggling to keep their heads above water, the additional costs announced in Chancellor Rachel Reeves’ first Budget will be crippling. There is talk of a curtailing of new hires, a need to make existing roles redundant and even business closures. 

If you’re one of those contemplating your rising cost base, the words of Eeyore from Winnie the Pooh might spring to mind: “Could be worse – not sure how, but it could be.”  

However, some are pushing such gloomy thoughts aside and embracing the challenge by finding ways to offset extra costs. 

Creative HEAD gathered a group of hairdressing business owners – a mix of employers, rent-a-chairs and hybrids – at a virtual round table to discuss how the impending changes are impacting on their plans for the future. 

Upcoming Changes Announced In The Budget 

Employers National Insurance Contributions (NICs) 

From April 2025 the rate of employers’ NICs will increase from 13.8 per cent to 15 per cent. The level at which employers start paying NICs (the secondary threshold) will also reduce from £9,100 to £5,000 per year. 

To help small businesses offset the increased NIC costs, the Employment Allowance, which helps eligible employers reduce their NIC liability, will increase from £5,000 to £10,500, and the £100,000 eligibility threshold will be removed. 

Business Rates 

April sees a scaling back of the business rate relief, with the current 75 per cent discount to be replaced by a permanent discount of 40 per cent, up to a maximum of £110k per business. 

Wage cost increases  

Significant Minimum Wage rises are coming into force in April 2025*: 

A rise in the National Living Wage for those aged 21 and over at more than double the rate of inflation (from £11.44 to £12.21 per hour). 

A 16.3 per cent increase in the National Minimum Wage for those aged 18 to 20 (from £8.60 to £10.00 per hour). 

And an 18 per cent increase for those aged 16 to 17 and apprentices (from £6.40 to £7.55) 

*The April 2025 rates represent the largest increase on record for the 18- to 20-year-old rate. The Government has also made clear they want the adult NLW rate to be extended to cover 18-year-olds in the future. 

Q1 It’s fair to say the Budget has caused consternation in the business community, but which element will most impact on your business strategy as the new legislation comes into force this year? 

For the majority of our panel, the biggest impact on business will come from the changes to employers’ NICs and the National Minimum Wage.  

However, the increase in NICs wasn’t the killer – it was the reduction in the threshold that caused the biggest shock. Almost everyone is looking at making tough choices because of those rising costs, and apprentices are a major concern.  

Those with apprentices talked of cutting numbers or not replacing them when their current cohort qualifies, while acknowledging the medium- to long-term impact on their future workforce of having fewer apprentices on board.  

“We run our business as self-employed, but employing apprentices was something we were hoping to build up to in the future. Now, after seeing the Budget, we’ve been put off. I genuinely don’t know how people can afford them.”

_______

“We are fully employed with a team of 35, and we’ve worked out that the rate increase and the NIC threshold reduction are going to add around £30,000 to our wage bill. We will raise our prices in March or April to help cover that increase but our view is that later on in the year we will drop our apprentices from four to two. And the sad thing is that we rely on our apprentice programme for our stylists to come through, so that will be quite difficult in terms of our future workforce.”

_______

“The most disgraceful thing [the Government did] was reducing the threshold from £9,100 to £5,000. That is disproportionately hitting part-timers. If you’ve got one person on £150k, it will cost you £2.5k. If you’ve got 10 part-timers on £15k each, it’ll cost you an extra £10k. That’s insanity. So, supporting people like young mums, who come in at 10am and leave at 3pm, is now the most expensive increase in our labour cost.”

_______

“I run four salons in south London and around 75 per cent of our staff are employed, so [the Budget] is going to have the most enormous impact on our costs. The real frustration for me and other salon owners is that I don’t think the Government understands how the impact is disproportionately terrible for hairdressing. I can’t think of any other industry where the labour cost is around 60 per cent of turnover – we are overlooked in that respect.”

_______

“In the past, if I saw a great 19-year-old, I would have said, ‘Come on board, you could be worth the investment.’ Now I will probably think very differently. I am petrified for the future of apprentices in our industry.”

_______

“After many years of being a passionate employer, it became obvious that my team could walk off and earn so much more money self-employed, so I switched my business to chair rental. I was mid-transformation when the Budget hit and all I could think was, ‘Thank Christ I did that!’”

Q2 What action will you need to take to ensure your business can survive and thrive over the next 12 months? 

As well as raising prices (which can neatly be blamed on the Budget, and clients will understand), there was lots of talk of working meticulously through the P&L to make cutbacks, too.  

Apprentices are in the firing line, but so are those unique luxury extras for clients – one business owner talked of reducing the size of his coffee cups because clients are increasingly asking for more expensive oat milk; another said they would stop offering baker-crafted branded biscuits and go back to Biscoff.  

However, we also heard how some are looking at the positives of their business, “shutting out the noise” to focus on what they’re brilliant at and working hard to raise awareness of those USPs and to deliver a business that is flexible and responsive to both clients and team. 

“I can’t make progress if I’m feeling anxious or negative. What I need to do is take practical steps to ensure that my business is sustainable. I’ve set aside the whole of this first quarter of 2025 to completely rework my business model. I need to look at every single line, I need to take it all apart and then put it back together in a model that works, that will tell me what I need to do with my pricing, my contracts, my apprentices, my stylists.” 

_______

“We have decided we need to be stricter on targets, so we now have a weekly huddle on a Monday morning to clarify our goals – we’re not drifting into anything anymore. We are trying to plan and make sure that every member of the team knows where they are financially.” 

_______

“I will be looking at my pricing and actually trying to understand it better (it’s always been a bit messy). I’ve been using the Maddi Cook calculator and putting it all on a spreadsheet and seeing how an increase could help me. This is definitely an excuse to blame the Government. I can be blunt with clients and say, ‘My staff deserve a decent wage and this is the only way we can afford it.’” 

_______

“We’re going back to basics – facts and figures. How much do we need to make? How are we going to do that? What skills will be required? We’re letting that inform us how we need to address the Minimum Wage, the business rates and so on. I feel you can get caught up in the noise, what’s going wrong, whereas we need to think about what we’re good at, what we’re offering and how we will achieve that financially.” 

_______

“For us, it’s been an exercise of consolidation. We’re trying to bring everything back in-house, which will require a bit of restructuring and like everyone has said, there’s no room for any fat. We’re looking at efficiencies, really trying to work out where we can make savings, while bringing up those service standards so that clients feel they’re getting value. What’s scaring me a little is that we put up our prices every April and they will have to go up significantly this April, so we’re having to work out how to present that to clients without spooking them.” 

Q3 What action would you like the hairdressing sector to take to support your business over the next 12 months? 

It was widely felt that industry organisations are not making our position clear to Government. There is a distinct feeling that hairdressing is not understood, and we need to be more vocal in sharing our real issues.  

There was talk about the need to raise the reputation of hairdressing. The public needs to see that we are not the Wild West – that hairdressing is a legitimate industry, and we invest in our people. For the first time in a while, the issue of compulsory registration was raised and there were calls for training organisations to be vetted and rated. 

Business owners are also taking a hard look at their suppliers, many of whom have just announced price rises. It would be good if those account managers and reps could be there to offer business support, rather than just trying to sell more product… 

“I think the industry bodies that are supposed to represent us are doing a bad job. A couple seem tone deaf in terms of the impact of [the Budget] changes on our industry. We are lumped in with beauticians and cosmetics brands so what’s presented to the Government is actually a muddled picture about growth, when actually if you drill down the trend in hairdressing is a total exodus from employment into self-employment and businesses deliberately staying below the VAT threshold, which creates an unlevel playing field.” 

_______

“The organisations who represent us are run by people who are not hairdressers, none of them own salons. It’s effing ridiculous!” 

_______

“I do think that not having a voice is an issue for us. Salon ownership is at an all-time low. So, if someone is doing a survey of hairdressers and asking them what the problems are, the results are not going to be representative of the issues that we [as business owners vs independents] are facing, because only a small percentage of respondents will be running a business and having to deal with these very real issues following the Budget. If the Government is being told, for example, that 90 per cent of the industry is managing, then why would they take any notice of the other 10 per cent? We’re getting to the point where we can’t train anybody anymore and nobody’s coming through as a result. That message needs to be clearer.” 

_______

“I think we need to register hairdressers. I think there needs to be some kind of clampdown on standards in training organisations because some of them are shockingly bad.” 

_______

“With the bigger brands, obviously, the more you spend, the more support you get. But when you’re trying to support the smaller independent brands, they just don’t have the ability to deliver that. So, it’s all a bit tough, it’s treacle out there – it’s sticky.” 

Q4 What action would you like the Government take to address some of the negative impacts of the Budget on your business moving forward? 

VAT was an issue brought up by all – how a reduction in the rate and/or in the threshold would make a huge difference, although nobody saw any VAT change on the cards. The predominant feeling is that all hair pros providing a service should be paying similar taxes and all should be VAT-registered. That would create a level playing field that would make business ownership and employment more sustainable – and that needs to be better explained to Government.  

“I’d like to see Government give us a VAT that is proportionate for service industries. I know they do that in Ireland (VAT for hairdressers is charged at a reduced rate of 13.5 per cent versus the standard rate of 23 per cent) but I’d like to see it go further. I’d like to see them make every independent stylist charge VAT as well to give us more of a level playing field. So, if you’re a practising hairdresser you should have a VAT number.” 

_______

“When it comes to VAT, [the Government] needs to realise that we are an industry that works on totally different principles to an awful lot of the High Street, and yet we’re bundled in with the same set of responsibilities and it just doesn’t work. They also need to understand that we are a craft and that for us to be able to train and pass on that craft we need better financial support. Through economic necessity, assistants are being asked to go onto the floor too quickly.” 

_______

“VAT is just the killer. It’s so depressing watching your business grow and then seeing how much tax you have to pay and how little you can offset. Every week, when I put that money into to the pot I use to pay my VAT, I just feel like, What’s the point?’” 

_______

“We all know that in barbering there are so many crooks on the high street, and it sucks knowing that we work so hard and are doing things properly while there are 30 other barber shops down the road doing cash in hand and probably making more money than us.” 

_______

“Government has to understand that our industry is labour-intensive. They’ve got to level the playing field. Everyone has to be VAT-registered, whether you work from a shed or from a salon in Mayfair. And I think they need to reward employers that train people, that’s also key. Until that happens, it’s all going to become more and more of a challenge. But I do think salons that can survive the next three or four years are going to be smashing it, because if you can keep your head until then…”  

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“I can’t Imagine A World In Which I Would Have A Salon And Not Have An Apprentice”

“I can’t Imagine A World In Which I Would Have A Salon And Not Have An Apprentice”

Feb 10, 2025 | DOCUMENTS, DOCUMENTS HEADER, EXPLORE, HOME EXPLORE

“I can’t Imagine A World In Which I Would Have A Salon And Not Have An Apprentice”

Stripe Colour Studio on why more salons need to invest in the next generation  

by KELSEY | DOCUMENTS

“Do you care what happens to the future of hairdressing? If you do, then you need to take apprentices on. It can’t just be every man for himself” – Nancy Stripe, owner of Stripe Colour Studio, Handforth 

Victoria Lynch

Nancy Stripe

“I can’t imagine a world in which I would have a salon and not have an apprentice. The two go hand in hand, and as a salon owner, it frees you to do so much more for your own business.  

“My job is not an everyday nine-to-five job – I do lots of different things outside of the salon and I can’t work the way I do without them. Zoe is now a graduate stylist and Kitty will be completing her apprenticeship this year, so I’ve always got to be thinking, ‘Where would I be this time next year if either of them left? What would happen?’ With them on the team, I can do more teaching and go to places I need to go. Apprentices are the most important people in the salon.  

“I also like to bring them along to events and education as much as possible. I want to get them involved in things they find exciting because hairdressing is not an average job and there are so many avenues you can go down. When I went to London earlier this month, Kitty came with me and was my right hand while I was teaching. I want to show them that to curate your dream job with your dream clientele, this is where it starts. 

“Salons need to show their apprentices what’s next. If you have some fun projects happening or things that aren’t necessarily everyday appointments, bring apprentices into the fold and allow them to be part of it. That, in turn, gives them a better view of what their career can be.  

“It baffles me that everybody’s just thinking for themselves now. Do you care what happens to the future of hairdressing? If you do, then you need to take apprentices on. It can’t just be every man for himself.” 

Tripe Clapham

Zoe and Kitty working hard at Stripe Colour Studio

“To do a hairdressing apprenticeship, you’ve got to really want to do it. You can’t be 50/50 about it” – Zoe Mcgruer, Graduate Stylist, Stripe Colour Studio, Handforth  

Victoria Lynch

Zoe Mcgruer

“My mum is a hairdresser, so it’s something I’ve always considered doing for my career. I enjoyed doing all my friends’ hair, but I qualified as a nail technician first before deciding on this industry. It made me realise that I wanted to give hairdressing a go, so I came and worked for Nancy. 

“In this area, there’s no other salon like us – no other space specialises in colour and grey blending, so I knew it was the right choice to work at Stripe. Everyone is so supportive in the team, and watching how everyone does things differently has made the experience so enjoyable.  

“I’m newly qualified, and I’m still learning from Nancy as I go. If you’re not sure about something, just say how you feel. Be honest and say this isn’t working for me. If everyone’s honest with each other, you can move forward. There are no bad feelings. No one takes it personally.  

“Finding a really good boss – someone who actually cares about you – is so important. Nancy doesn’t just care about how we are at work, but also outside of work; she always checks up on us. She looks out for us and I think you need that. It’s good to have guidance from someone experienced to support you with going in the right direction.

“To do a hairdressing apprenticeship, you’ve got to really want to do it. You can’t be 50/50 about it – it’s a job that you’ve got to give 110 per cent in no matter what, because it is not an easy job to be doing. My advice is to find somewhere that suits you – don’t just stick it out if it’s not working.” 

Nancy with Zoe and Kitty

“It’s been one of the most positive journeys of my life, and I can’t take anything bad away from it” – Kitty Dyson, Apprentice, Stripe Colour Studio, Handforth 

Kitty Dyson

“I’m really happy with how I’m progressing through my apprenticeship. I can’t believe how fast the two years have gone and how fast I’ve learned everything. It’s been one of the most positive journeys of my life, and I couldn’t take anything bad away from it. 

“My grandma was a hairdresser, so I grew up around it. I used to go to work with her if my parents couldn’t look after me, so I’d go and help her by passing the perm papers. I was always around it and hairdressing has always interested me. It’s the atmosphere of the salon that I love the most – we’re all in it together. It doesn’t matter what has happened before I arrive, I know we’re still going to have a nice day together. 

“I’m with Nancy pretty much all day, so I’m by her side learning all the time. It could be watching a certain placement of the foils or a technique or product being used. I learn the why behind it and ask the questions that needed to be asked. I try to absorb as much knowledge as I can.  

“While the first year was a slower pace, the second year has ramped up. Now, I will help Nancy with root shadows or blow-dries when she is back-to-back with clients. You can’t expect to be doing a set of highlights after a month of training; you need to be realistic with your expectations, but bit by bit, the pieces will all come together.”  

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“People love beauty. That makes me happy, to know that so many people are being impacted” – Ali Pirzadeh on the power of hair

“People love beauty. That makes me happy, to know that so many people are being impacted” – Ali Pirzadeh on the power of hair

Feb 6, 2025 | DOCUMENTS, DOCUMENTS HEADER, HOME EXPLORE

“People Love Beauty. That Makes Me Happy, To Know That So Many People Are Being Impacted” – Ali Pirzadeh On The Power Of Hair

2024 Most Wanted Session Stylist Ali Pirzadeh talks about his heritage, creating compelling narratives through hair and why routine keeps him grounded

by EMMA | DOCUMENTS

Photography by Harry Carr Revue

Ali Pirzadeh

Ali Pirzadeh is a session scene luminary. A styler, twister, shaper and sculptor, his hair work amplifies fashion shows and campaigns, creating a dynamic interplay between the clothes’ texture and the hair’s fabric.

And this talent has been woven into an impressive multi-award-winning career spanning nearly three decades, during which time he has crafted a captivating portfolio. Most recently, he took home the Session Stylist trophy at Creative HEAD’s Most Wanted awards. And for good reason. He was also celebrated in The BOF (Business of Fashion) 500 in 2022, a collection of people shaping the global fashion industry, curated by the brand editors and based on nominations and global on-the- ground intel.

This global appeal – and his multicultural approach to hair – can be traced back to his roots. Born in Tehran, his family moved to Sweden when he was four years old, finding a safe space for him and his sister to grow up (more on that later). His home life clearly shaped his cross-cultural identity, reflected in the diversity of his hair creations and campaigns. Forty years later, he’s recognised for embracing all textures at all times, which has positioned him firmly at the epicentre of the hair and fashion industries, exciting and delighting as he goes.

Ali Pirzadeh

Ali Pirzadeh is a session scene luminary. A styler, twister, shaper and sculptor, his hair work amplifies fashion shows and campaigns, creating a dynamic interplay between the clothes’ texture and the hair’s fabric.

And this talent has been woven into an impressive multi-award-winning career spanning nearly three decades, during which time he has crafted a captivating portfolio. Most recently, he took home the Session Stylist trophy at Creative HEAD’s Most Wanted awards. And for good reason. He was also celebrated in The BOF (Business of Fashion) 500 in 2022, a collection of people shaping the global fashion industry, curated by the brand editors and based on nominations and global on-the- ground intel.

 

British Vogue, Photography by Felicity Ingram

Where The Heart Is

Down-to-earth, he’s the creative conduit behind the key hair looks of the season, a fashion facilitator. The stealth master of hair ceremony who knows his worth but is humble about it. And while session arguably takes a back seat to fashion (designers take a bow, post-show, not the hair tailors), he’s unfazed. His focus is fully entrenched in concept and creation. The secret, perhaps, is that Ali loves his life. All of it. He’s clear on boundaries (‘my work studio is in our garden, so I don’t confuse work and home’) and has a deep desire to create, mixing with like-minded friends who want to develop concepts ‘just for us’ as much as he wants to create heart-fluttering campaigns for the bigwigs and fashion cognoscenti – Alexander McQueen, Nina Ricci and Louis Vuitton, to name just a few.

His jam-packed schedule is not for the faint-hearted. When we speak, he’s just home from Paris and followed by Stockholm to shoot a big fashion campaign. Now he’s gearing up for a new project back in Paris before a shoot with the iconic photographer, Tim Walker. “It’s hectic. I’m always all over the place. Life is exciting but I need balance in-between. I’m always happy to be home,” he admits. 

“I believe you get led in a direction. I loved looking at magazines but didn’t know session styling was a thing. It still feels surreal”

Home is the space he shares with his partner of 13 years in Dalston. A fine art photographer, Ali credits him with possessing a calm manner that allows him to flourish creatively, without overwhelm. Alongside his partner’s support, Ali reveals small details that allow him to think bigger and create better. Structure, discipline, rituals and routine all ensure he can stick to his schedule of sometimes 19-hour days and rollercoaster rosters of shoots and shows. “I love routine, having my oat latte in the morning, working out, those things are important to me,” he confides. While London is now his home, he says moving from Iran to Sweden was ‘very Sliding Doors.’ “That single decision altered so much in our lives. We were the first wave of immigrants from Iran, and Sweden was very welcoming. It was an idyllic place to grow up.”

However, standing out from the crowd meant he was teased about his heritage. A year-long stint in Italy (‘I lived in Rome for a while and had a taste of blending in a little’), was nothing compared to the inclusivity he feels in London. “Home can mean so many different things, but London is my happy place. It’s where I feel I belong.”

Rogue Fashion Book, Photography by Felicity Ingram

His CV reads like a Who’s Who of the fashion world, something he’s grateful for, given the journey to feeling this sense of belonging. “My dad wanted me to study economics, so I played along. It wasn’t right for me,” he recalls. His sister’s job as a hairdresser shone a spotlight on the creative career he craved. “Growing up, I always played with dolls. I cut their hair and put bows on them. As soon as I started hairdressing, I was super happy.”

At 15 he became an apprentice in a Stockholm salon looking after socialites and well-heeled clients. Working five-to-six days a week meant that when he started hair school, he was already on a roll: “I knew how to root colour, to blow-dry. I studied hair for three years working every day after school. I felt very much at home. Coming from a place where I had felt like a bad student into one of being nurtured was wonderful.” 

After renting a chair (‘I had my little clique of clients two years in by that time’), he opened a salon in Stockholm with his sister and a friend. “Our make-up artist friend brought models into the salon, and I did their hair. Massive baroque styles. There was no other intent back then apart from I wanted to do it.” When his friend showed her agent his work, Ali began assisting. Within six months, he was signed by her agency. “I believe you get led in a direction. I loved looking at magazines but didn’t know session styling was a thing. It still feels surreal. I feel very lucky.” Now session is Ali’s way of sculpting and connecting while amplifying his ideas. “Hair is a material you can shape. It tells you where it wants to go or what it wants to do. I love what I do. The finished result in a magazine can awaken emotions in people as it did for me when I was younger.” 

Vogue Scandinavia, Photography by Marc Hibbert

In It To Win It

Cut to 2012, and Ali won ELLE Sweden’s Best Hairstylist of the Year, scooping the title again in 2016. Most recently, he was named 2024 Most Wanted Session Stylist. “Winning meant everything to me. I couldn’t believe it. Everyone nominated is so talented,” he says. Working in Hong Kong, he found waking up to the news he had won rather surreal: “I was at breakfast in complete shock. It means people appreciate the voice I put out there. That is a truly wonderful thing.”

While clearly at the top of his game, his hair story is one of hard graft and tenacity. “I always wanted something more, so I made sure I did show season. I made sure I assisted smaller shows. I networked, worked on fashion weeks and got to know agents.” He also recognises those who helped him on his journey, including Swedish photographer Camilla Akrans. “I started working with her on campaigns, and she began putting my name out in those arenas. She played a big part in my access across the pond.” 

He also cites the late Alexander McQueen as a huge inspiration in fashion design: “He was raw, creative, authentic. He made an impact. He had no boundaries. His work still blows my mind.” Tim Walker is also a firm favourite, with their collaborative work appearing on the covers of Vogue Mexico (December 2021) and British Vogue (July 2023), among countless others (the latter capturing a shimmering army of LGBTQ+ pioneers sharing stories of style and self-discovery). “His images have so much emotion and expression,” he says. Calling their first collaboration a ‘pivotal moment’, Ali loves the fluidity of their work. “He’s so inspiring, so open to my ideas. He will ask: ‘How do YOU see this narrative come to life?’ I still can’t believe I’m lucky enough to work with him.”

Perfect Magazine, Photography by Rafael Pavarotti

Go With The Flow

His 2025 diary is already packed, with the ‘routines and pillars’, such as Fashion Week, essential elements to keeping him balanced. “People are shocked at my schedule, they don’t believe I can start at 5.30 am and finish at 11 pm. Hair work will exhaust you, so it’s important to keep a routine. You must keep taking care of yourself.” While there’s no typical day, it’s guaranteed to be organised. “The one constant is I’m up between 5am and 6am. There’s a lot of prep work to what we do. A huge amount of unpacking and repacking. I always try to be two steps ahead.”

When it comes to Fashion Week, how does he get through the gruelling schedules? “Teamwork. I’m doing the work, but I couldn’t succeed without such a strong network. You need that support. Everything has a process and we give a lot emotionally and mentally, so anything that makes it flow a little easier is a huge help.” Currently on the books at Streeters, his agent, Gary, is part of this support network. “It feels like someone constantly has your back. It’s a meaningful friendship.” 

While teamwork is a clear marker of what he loves about the session world –“It’s great to feel part of something bigger than you” – is there anything about the industry he wishes he could change? “I’m sad that print media has taken a back seat to the culture of social media,” he says. “As a creator, it saddens me. I take a lot of pride in concepts and ideas. I’m excited when a project comes out, but social media means it’s gone so fast. It’s a machine. We need to stop scrolling and take a minute.” However, he recognises that art can still ignite and excite, even on social. “People love beauty. That makes me happy, to know that so many people are being impacted and we are making an impression.”

Replica Man Magazine, Photography by Iñigo Awewave

At 44 years old and with the session world at his fashionable feet, what advice would he give his younger self? “I was very bullied growing up, and after what I went through, I would say: ‘You will be more than okay. Trust in yourself and trust in your voice. You are valid.” With his roots firmly entrenched in London, he says he’s happy to live and work in environments where he feels accepted: “We are in such a good place with inclusivity. As a gay man, I feel very lucky to be in an industry that’s open and welcoming. I feel extremely safe in this world.”

It seems as though he’s where he’s meant to be. He knows who he is and what he can bring to the campaign table. The underlying truth is that he cares. He understands what he’s capable of, and he’s not afraid to create it. He can always see his vision in a crowded space, creating and illuminating as he goes. Bravo.

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Riding The Wave: The Perm Is Back – But Not As We Knew It

Riding The Wave: The Perm Is Back – But Not As We Knew It

Jan 10, 2025 | DOCUMENTS, DOCUMENTS HEADER, EXPLORE, HOME EXPLORE

Riding The Wave: The Perm Is Back – But Not As We Knew It

Things have come a long way since Dirty Dancing’s Jon and Baby mega-curly numbers

by CATHERNE | DOCUMENTS

At Rhona McCallum Hair in Alloa, Clackmannanshire, curls are definitely on the up. “I’ve noticed growing demand for styling tips for curly hair and beachy waves are beginning to look a little more defined and curled,” says Rhona. “We’ve even started to get clients requesting perms these days.”

Yep, Rhona dropped the P-bomb.

Perms – the mainstay of salon business in the 1980’s – used to be synonymous with stiff, bouffant, larger-than-life ringlets that smelled of damage and demanded moisturising. Three decades later they’re creeping back into salon conversations – but not as we knew them. Condition now comes before style, with modern perm formulations full of caring and strengthening technologies that allow the shape to hold while protecting the integrity of hair.

And this time around, they’re not just for women. Salons are reporting that more men are getting their hair permed than ever before, attracted by the idea of a low-maintenance, wavy look inspired by curly haired style icons such as Gladiator 2 star Paul Mescal, Jeremy Allen White (The Bear) and Hollywood heartthrob Timothee Chalamet, who enjoyed what a body language expert called “his own private date night” with girlfriend Kylie Jenner at the recent Golden Globe awards.

The modern male perm comes with a playful vibe at Woolf, London

“In the last 12 to 18 months we’ve had a real shift with men coming in asking for perms, sometimes as many as three or four a week,” says Joe Mills, owner of Woolf in Kings Cross. It’s meant that Mills has had to dig out his decades-old bag of grey and blue plastic rods (though he now mixes them with Molton Brown-style bendy rods to give a softer result) and train his team in the art of perming – including how to use the plastic strips so you don’t get the rubber band marks in the hair (that’s skill!). For the artfully curly results, Woolf charges anything from £75 to £150, depending on length of hair and how many rods are required, “Which is pretty much all profit, once you take your labour charges out,” says Mills, “and once a client gets into having their hair permed they come back to get the roots re-done, so you could be doing a perm every two or three months. From a business perspective, perms are quite a big earner.”

Riding the wave at Woolf. For the full video click here.

Once considered a relic of the past, perms for guys have made an incredible (and somewhat unexpected) comeback, driven by cultural influences from the world of K-pop and social media. Bro perms may be relatively new in the West, but men in Japan and South Korea have been getting their hair permed for decades, and at least since 2020, Korean stars like Jungkook from BTS and Chen from EXO have been setting hearts aflame with their soft curls.

The soft, wavy perm is a staple of the K-pop look, blending a playful vibe with a touch of sophistication. Its top curls are tender and loose; the hairstyle is versatile and can be combed over or worn with a fringe; and the sides and back of the head are faded short with clippers and scissors. For a little more money, a client can choose what’s known as a down perm, which relaxes and flattens stubborn strands that stick out, creating a smoother appearance.

But the real brisk trade in male perms is driven by Gen-Z boys and TikTok. At first it was atrendy look for influencers with straight hair, like US social media sensation Jacob Sartorius and the adored and eagerly watched Nic Kaufmann, who back in 2020 posted an “I might have got a perm” video. Then the pandemic happened, salons and barbershops shut down, and a lot of the e-boys ended up on TikTok just as their already-long-on-top hair was growing out. And as straight and wavy hair grows, its weight can drag a voluminous look down. So, what’s a TikToker to do? Get a perm.

“God help you if you don’t neutralise properly. Back in the day, when I was an assistant, if I didn’t neutralise a perm, I got it in the neck!” – Joe Mills, Woolf London

And what a look: a pile of fluffed curls, with stacked layers for height and a deep fade on the sides and in the back. “I don’t even know if this haircut has a name,” says Mills, “and I don’t think anyone’s actually claiming you need to go and get a perm but I think kids with straight hair are saying, ‘I want curly hair’ and either their peers or their mum is turning round and going, ‘Well, you need to have a perm.’ And they’re not going to a barbershop for that look, they’re going to Toni&Guy. It’s a shift that reminds me so much of how I used to go to the barbers with my dad when I was growing up and then, when I was about 12 or 13 and I wanted highlights and a wedge, I went to my mum’s unisex salon. I’m not saying that barbers can’t perm, but when it comes to technical services people tend to look for those in mainstream salons.”

One thing’s for sure, these Gen-Z boys are definitely into their hair.

“The current crop of teens – and I’m talking from 14 to early 20s – they really know what they want. Their identity is really locked in,” says Mills. “My son and his mates, they’ve all got their own hair products, they’ve got their own hairdryers, they know what they’re doing. There was a period of time when a lot of the barbering haircuts were pretty low-maintenance from a regime point of view, whereas for this look, you definitely need to put the work in.”

So, the perm has evolved, just like its clientele. But the killer question: what about the smell?“Oh god, it’s still just as bad as ever,” says Mills. “There are perms out there where they’ve managed to get rid of the smell, but we noticed that often those perms drop out quickly. So,we use the old-style formulations because perming is quite a labour-intensive process and you don’t want to take a chance on using a product that’s not going to work and cost you twice the amount of time, right? And as any hairdresser of a certain age will remember, knowing when a perm is ready – when you’ve got exactly the right amount of curl – that’s all done by eye. And god help you if you don’t neutralise properly. Back in the day, when I was an assistant, if I didn’t neutralise a perm, I got it in the neck!”

The Return of the Perm

They renamed the perm the form service, now they’ve reformulated the chemicals to make it safer and friendlier. Meet the modern perm formulations:

Dulcia from L’Oréal Professionnel Paris has a cult following in perming circles, thanks to its consistent results. Choose Dulcia Advanced for firm, bouncy curls, Dulcia Advanced Tonique for modern, ultra-conditioned waves, and Dulcia 0 for natural and resistant hair, complete with single use neutraliser. The rest of the family is back by popular demand, with 1 for “Natural” hair, 1 Tonique for “Natural” hair and 2 Tonique for “Sensitized” hair. All available in 75ml single use bottles, with one-litre Neutraliser sold separately at the L’Oréal Partner Shop.

Wella Professionals have two different perming kits, each containing a perming lotion, neutraliser and per-perm treatment. Creatine+ Curl for bouncy curls, and Creatine+ for natural waves both come in variants for resistant and sensitised hair, with high-conditioning agents to leave hair with extra elasticity, bounce and shine and a new redberry rose fragrance that helps to create a more pleasant perming experience for clients!

Available from the Wella Professionals Store.

As you would expect from a brand focused on sustainability and respect natural beauty, the professional curling and waving systems from Davines deliver beautiful, natural movement while respecting the health of the hair. Use the ammonia-free Balance Curling system to achieve uniform, shiny, soft results from roots to ends, while the Bouclé Waving system ensures soft and natural curls that retain elasticity and volume over time. Formulas are enriched with cysteamine, a natural active ingredient that has a structure similar to that of hair and creates a natural waving.

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Sam McKnight: Why I’ve Joined A New Union For Fashion Creatives

Sam McKnight: Why I’ve Joined A New Union For Fashion Creatives

Dec 18, 2024 | DOCUMENTS, DOCUMENTS HEADER, EXPLORE, HOME EXPLORE

Sam McKnight: Why I’ve Joined A New Union For Fashion Creatives

Set up to tackle widespread exploitative workplace practices, Bectu Fashion UK hopes to bring about change

by CATHERINE | DOCUMENTS

In March 2024, not long after the A/W show season had come to a close, Creative HEAD reported on how hair creatives were being bullied to work for free in a fashion industry that generates an astonishing £37bn every year, according to the British Fashion Council. Sadly, low – or often no – pay, long hours and toxic workplace cultures are the norm for many freelance session stylists, as well as the make-up artists, clothes stylists and nail techs who work alongside them.

And it’s not just young talents at the outset of their career who are affected. Even session legend Sam McKnight gets treated badly. “As with everything in life, the money stays at the top and doesn’t trickle down – and hair and make-up are the easiest victims,” he says.

Well, now Sam – and the many thousands of other creatives who work in fashion backstage, on set and for the red carpet – have a new champion. Bectu, the long-established union representing staff, contract and freelance workers in the media and entertainment industries, has been working with a  specialist committee to help fashion creatives launch a union all for themselves. And now it’s ready.

Bectu Fashion UK is a new branch of Bectu that has been created specifically to represent freelance hairdressers and other creatives in a non-performance fashion role. Membership gives you access to advice on any aspect of your work, from whether your pay is above national minimum wage to bullying, as well as a 24-hour legal support helpline, assistance with chasing monies owed and discounted Public Liability Insurance that’s tailored specifically to fashion creatives. There are also plans to provide tools, training and guidance to help fashion workers negotiate their pay, terms and conditions.

Membership fees are dependent on your gross annual earnings, ranging from £10/month to £350 annually.

“Because there’s no history of unionisation in fashion, this is a space that we need people to buy into, because if we don’t get that groundswell of involvement, it’s not going to work”

But Bectu and the Fashion UK committee are clear that for this new union to work, everybody needs to work together and participate. The more people who join Bectu Fashion UK, the bigger the opportunity to change the industry for the better – for example, by demanding fair pay and treatment – and the approach they are taking is highly collaborative. They’ve set up a WhatsApp group you can join, even if you’re not a Bectu member, so you can share experiences with fellow fashion creatives, you have access to member meetings and you can even join the committee yourself when elections come around. And because Bectu has helped many other similar sectors to unionise, they can look to those for guidance and learnings and to understand how to make progress more quickly.

Says Bectu Negotiations Executive, Naomi Taylor: “Because there’s no history of unionisation in fashion, what we’re saying is this is a space that we need people to buy into, because if we don’t get that groundswell of involvement, it’s not going to work. Yes, we need membership subscriptions to resource it, but we also need people to participate in things like surveys so we can get data around the issues that people are dealing with and that will allow us to work out what we can do to help.”

The Fashion UK committee is clear that understanding the key issues facing sector workers is vital, and has already conducted a survey of around 500 fashion creatives, the results of which will be released in February 2025, ahead of Fashion Week (see snapshot below).

Says Naomi: “If we can build the numbers to a kind of tipping point, where we can start to campaign on the issues that are coming out of the survey, then we can start to put pressure on employers and on government also, because a lot of the changes that are being introduced around employment rights are not going to be impactful for people who are self-employed or freelancers. This is one of the most important things about being in a union – having someone to speak up for you.”

Bectu Fashion UK committee member Famida Pathan is a freelance make-up artist with first-hand experience of typical freelance struggles. She finds being part of Bectu Fashion UK particularly useful when dealing with issues like monies owed: “In the past, I found myself pursuing bad debt through the Small Claims Courts. But having a union means I can go to someone who will step in on my behalf, whether that’s talking to the client directly or even pursuing a legal claim if they think there’s a good chance of success. I’ve been working in this industry for 20 years and this is the first time I’ve felt there’s support for me in my career. I no longer feel like I’m on my own.”

“I’ve joined Bectu Fashion UK because things need to change” – Sam McKnight

“The situation for fashion creatives has been getting incrementally worse over the past 20 years. It’s multi-layered, but there’s been a devaluation of what we do, a lack of respect. We’re not called ‘hair and make-up’ anymore; since social media came along, we’re Glam Squad. I find that offensive because it diminishes what we do and takes away your individuality.

 

“It’s come about because there are people working in the industry now who are not educated in what it is we do and have no idea of what’s gone before and what we need. They’re just a person with a clipboard. As a consequence, backstage conditions have become scuzzier, smaller and with the wrong kind of equipment. Meanwhile, on set you’ll find that the lighting guy and the caterer will get credited, but not the hair and make-up. And this is despite the fact that beauty advertising is bringing in more money for magazines than fashion. And if Vogue aren’t crediting you, then that sends a message down the line that everyone thinks that’s okay.

“In the piece that Creative HEAD wrote about pay someone said something that I found interesting – that we shouldn’t get too pushy about being paid because we’re creating art. And I thought, ‘Yes, absolutely. And that’s where the abuse starts.’ Because these people know that we’re so desperate to create that, and of course we’ll do it for free, but actually it’s not your art – you are creating it for somebody else who owns it. It’s never yours unless you’ve paid for it.

“The reason why I’ve joined Bectu Fashion UK and am advocating for them is because things need to change. I can speak up because I don’t give a shit if people don’t book me anymore, whereas someone less established in their career might not want to for fear of getting blacklisted. I’ve heard a few horror stories from people saying their agents have forbidden them to join any union, which is totally illegal. The agent is now bullying the stylist!

“So, yes, there will be people who don’t want to change the status-quo because they can draw on this amazing talent pool for free and they don’t want the uprising. But that’s not going to stop us. It’s important that we structure minimum day rates and impose certain working conditions, because otherwise the Wild West will continue. Bectu Fashion UK is something I believe in and something I feel our industry needs. And I’m excited that in 2025 we’re really going to go for it!”

Sam McKnight’s award-winning haircare and styling range, Hair By Sam McKnight, is now available to be stocked in salons. For more info contact salons@sammcknight.com.

“I’ve joined Bectu Fashion UK because things need to change” – Sam McKnight

“The situation for fashion creatives has been getting incrementally worse over the past 20 years. It’s multi-layered, but there’s been a devaluation of what we do, a lack of respect. We’re not called ‘hair and make-up’ anymore; since social media came along, we’re Glam Squad. I find that offensive because it diminishes what we do and takes away your individuality.

“It’s come about because there are people working in the industry now who are not educated in what it is we do and have no idea of what’s gone before and what we need. They’re just a person with a clipboard. As a consequence, backstage conditions have become scuzzier, smaller and with the wrong kind of equipment. Meanwhile, on set you’ll find that the lighting guy and the caterer will get credited, but not the hair and make-up. And this is despite the fact that beauty advertising is bringing in more money for magazines than fashion. And if Vogue aren’t crediting you, then that sends a message down the line that everyone thinks that’s okay.

“In the piece that Creative HEAD wrote about pay someone said something that I found interesting – that we shouldn’t get too pushy about being paid because we’re creating art. And I thought, ‘Yes, absolutely. And that’s where the abuse starts.’ Because these people know that we’re so desperate to create that, and of course we’ll do it for free, but actually it’s not your art – you are creating it for somebody else who owns it. It’s never yours unless you’ve paid for it.

“The reason why I’ve joined Bectu Fashion UK and am advocating for them is because things need to change. I can speak up because I don’t give a shit if people don’t book me anymore, whereas someone less established in their career might not want to for fear of getting blacklisted. I’ve heard a few horror stories from people saying their agents have forbidden them to join any union, which is totally illegal. The agent is now bullying the stylist!

“So, yes, there will be people who don’t want to change the status-quo because they can draw on this amazing talent pool for free and they don’t want the uprising. But that’s not going to stop us. It’s important that we structure minimum day rates and impose certain working conditions, because otherwise the Wild West will continue. Bectu Fashion UK is something I believe in and something I feel our industry needs. And I’m excited that in 2025 we’re really going to go for it!”

Sam McKnight’s award-winning haircare and styling range, Hair By Sam McKnight, is now available to be stocked in salons. For more info contact salons@sammcknight.com.

Eight in 10 UK fashion creatives pressured to work for free, research shows

In autumn 2024, Bectu Fashion UK surveyed more than 500 fashion creatives working in roles such as hair and make-up artists, assistants, fashion and accessories designers and photographers about their workplace experiences. The survey found that:

• Just one in ten fashion creatives (10 per cent) say they feel secure in their job.

• Only 14 per cent are paid on time for the work they do.

• Half (51per cent) of fashion creatives are earning under £30,000 a year before tax from their work in the industry.

• More than seven in ten have struggled financially (72 per cent)  in the past year

• Eight in ten (79 per cent) have felt pressured to work for free.

• And 83 per cent say that behaviours that would be considered toxic and inappropriate in public life are often tolerated in the fashion industry.

The responses also paint a bleak picture of poor work/life balance, with more than 7 in 10 reporting struggling with their mental health in the past year, and most (59%) saying their work has negatively impacted their personal relationships.

“Under-paid, under-respected and have no one to tell this to because HR is in the pockets of the CEO, who is our boss” – senior creative assistant

“The expectation seems to be that we, as freelancers, can be paid whenever suits the employer. There’s no other industry where you provide a service, and all terms are blatantly ignored with no consequences. It feels to me that it’s getting worse year on year” – photographic assistant

The full survey results will be published by Bectu Fashion UK in February 2025, just before London Fashion Week. Creative HEAD will report the findings as soon as they are made available.

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“I Am 100 Per Cent Confident In Saying That We Lead The Way In Extensions”

“I Am 100 Per Cent Confident In Saying That We Lead The Way In Extensions”

Dec 9, 2024 | DOCUMENTS, DOCUMENTS HEADER, EXPLORE, HOME EXPLORE, TALKING SHOP

“I Am 100 Per Cent Confident In Saying That We Lead The Way In Extensions”

Victoria Lynch has been ‘doing hair’ since she was 13. But spotting a gap in the extensions market back in 2003 propelled her to the forefront of the industry, running a hair extensions business, Additional Lengths, worth millions. Creative HEAD sat down with the North East-based entrepreneur as she embarks on the next ambitious phase of her business.

by CATHERINE | DOCUMENTS

Victoria Lynch

Victoria Lynch, founder of Additional Lengths and Remi Cachet

There’s a page on the Additional Lengths website called Victoria Lynch’s Hair Story and it makes fascinating reading. It’s a look back at the brand founder’s journey from doing family and friends’ hair at age 13 in her parents’ spare bedroom to building a UK-leading hair extensions empire in a global market that’s projected to grow from $4.8bn in 2024 to $10.78bn by 2032. It’s a tale of ingenuity, bravery, sacrifice and resilience that few would be capable of – and sends out a clear message that Victoria Lynch is a force to be reckoned with.

When you look back on your business, what do you see?

I’ve seen the journey go from nothing to absolutely blowing up globally. Aesthetics have become part of our DNA and we’re living in a world now where there’s no taboo about anything. It’s okay to have a face lift and a nose job. Hair extensions and wigs have become part of normal life. I can leave the house in the morning without make-up so long as my hair looks good.

You launched Additional Lengths in 2003 selling hair extensions directly to consumers. At what point did you decide to supply to hair professionals?

Additional Lengths was started as a small business primarily to cater to my own needs. Ten years down the line, when hair extensions were still very much in their infancy, I wanted to expand, but Additional Lengths was known as a budget range and I knew I would need something different to attract high-calibre trade professionals.

And the only way I could achieve that was to create something new that could hit the ground running because of the knowledge, experience and supply base that I had built up by then. I knew how to research and develop products, I knew what to look for in terms of quality, delivery, specifications. And I knew I could tailor everything to a professional audience and show up with what they needed before they knew they needed it! So, that’s how and why Remi Cachet came about. I let it look as if Additional Lengths was the official authorised distributor of this amazing new brand on the block, but in reality Remi Cachet is not a business – it’s a brand that I own under the Additional Lengths umbrella.

You started Additional Lengths with a £1,500 loan from the Princes Trust and went on to report sales of £17.6m in 2023. What has driven that growth?

Our innovations lead the way. And I am 100 per cent confident in saying that we do lead the way in extensions. If there is something we don’t do, it’s because it’s a gimmick; it’s not a longterm solution for clients and stylists. I’m very big on sustainability and recyclability, especially when it comes to raw hair. It takes five years to grow 20-inch hair, so if someone removes it after a few months, disposes of it and buys new hair, that’s not okay. I could sell twice as much if I encouraged that cycle of replace, replace, but for me it’s not about the money, it’s about how I impact and show up in the industry. My background is extensions, I’m a Level 3 hairdresser, I’m a qualified educator and I’m very industry-focused. I see it as my responsibility, as an industry leader, to help the next generation flourish in their business by delivering a product that makes their clients feel like they’ve got a return on investment too. The priority for me is quality and creating a product that is reusable time and time again.

As the market grows, does it get more cut-throat, too?

It has become very competitive. I’ve had to get design protections on certain products I’ve created because we add new products colours to our portfolio, but then people copy us left, right and centre. But that doesn’t bother me because it sits well with who we believe we are, which is the natural born leader of hair extensions. Everyone in the industry knows we’ve been the first to launch major changes.

The market has become saturated with so many new brands coming in, but at the same time, some of what used to be the bigger names have faded into the background because they didn’t evolve in the way their customers needed them to. These businesses are not being run by hair professionals but by business people who don’t understand the needs of their customers.

Victoria is determined to be transparent about the supply chain behind her business

Your extensions brand Remi Cachet is currently going through a major rebrand. Why now, and what do you hope to achieve?

Over the last eight, nine years we have evolved, but not from a colour palette or logo point of view and so we needed an update there. But in terms of sustainability things had to change, too, and we’re looking at our packaging and asking ourselves what materials we can tap into so we can meet our sustainability targets. But in all honesty, this is less about what the packaging looks like – as a brand we don’t need to put glitter or polish on anything – it’s about the product inside, and we’re keeping our customers updated as we go along about the changes they can expect.

You’ve posted a video on your socials that deals with your supply chain and how Remi Cachet products are sourced and produced. This full transparency approach is quite rare in extensions, so why have you gone for it?

I think being honest and transparent is the best policy and it’s why I am respected by and have such a good rapport with hair professionals. They don’t just want me to inspire them, they rely on me and my brands to grow their businesses, and they’re able to do this because we offer them an ethical, transparent alternative that their clients want and need. It’s why I focus more on the trade side of things because consumers are not loyal – they will buy from wherever they see the best deal is. Whereas, when you give  professionals what they need and they know they can’t get anything better, they will keep coming back. And that’s how businesses grow, so collectively we’ve grown together.

Training is such a big part of extensions but traditionally usually paid for by the salon owner. With so many hair pros freelance now, are your training programmes taking a hit?

Far from it. What we’re seeing is individuals coming on our courses who want to invest in themselves or their business because it brings so many rewards. The benefit of having hair extensions within your offering is that when a business gets challenged – for example, by clients stretching out that time between appointments, or when something like the Budget adds extra costs to your overheads – you will always have more bums on seats because you deliver more services and you can cater to a wider audience. So, extensions are going to help you get through those economic downturns. If you don’t evolve as an individual and offer more, you’re always going to restrict your own growth.

You’ve come a long way since setting up in your parents’ spare bedroom. What does a working day look like for you nowadays?

Well, I’m busy leading a senior leadership team, a board, 40 employees… I have meetings coming out of my ears right now [laughs]! I’m focusing on our growth in the US, which is where I need to be, where the business needs me, so we’ve just taken on a brand ambassador, Sarah Ashley, who’s been advocating Remi Cachet for years now, and we’re doing lots of the trade shows – we launched in Orlando and we’ve just done San Antonio, then we’ll do Anaheim in February, Chicago in April, then it’s back to Orlando in June. And so the cycle begins again!

Have you ever taken on investors within your business?

I do have investors, but not because the business needed money. Our investors are Growth Partner and they have a minority stake in the business, so I’m still very much in charge and driving the business. But the reason I went with Growth Partner is because it’s headed up by [HomeServe founder] Richard Harpin, who recently sold his business for £4bn. His entrepreneurship is very different to how private equity look at things, which is to strip everything back to the bones, remove the people, the quality, the culture, and then sell it on. And I wouldn’t allow that in my business because for the last 20 years I’ve been about quality and delivery and no price tag is going to determine my choices there.

But especially now where we have our sights set on the US, and it’s about deciding when we register our entity, what’s the trigger point for getting a distribution base out there and all these big decisions… I was thinking, ‘I can’t keep banging this drum on my own forever’. So, at some point I had to let someone in the door.

I’ve never worked in a business or corporation where I’ve been mentored and coached, and the reason I’ve let Growth Partner into my business is to tap into their experience, their networks and to be able to share my thoughts and ideas with a board or pick up the phone and ask for help or advice.

And the reality is that working with Richard, having exposure to a whole new world of people that I simply didn’t have access to being trapped in my own world up in the North East, it’s given me a new level of aspiration. I really do need to think about the future now. I am getting older, and what does the future look like? If I could achieve a fraction of what he’s achieved, and be able to have that true work-life balance one day, be able to repay my family for all the sacrifices they’ve made by investing in them, that would be incredible.

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