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Beyond The Chair Care

Beyond The Chair Care

Beyond The Chair Care

How salons are transforming their communities all across the UK and Ireland

by CAITLYN | DOCUMENTS

Salons have always been places of connection, care, and transformation. But for some salon owners, their impact goes far beyond the services they provide. These salons are creating safe spaces, building community programmes, and volunteering their time to support those who need it most. Whether it’s through offering a warm, inclusive environment or providing outreach to vulnerable groups, these salons are changing lives in ways that go well beyond haircuts.

Creating Safe Spaces

At the core of many salons is the connection between stylists and their clients, but some salons take this further by making their spaces feel like sanctuaries of warmth, acceptance, and care. Craig Henderson, owner of Craig’s Barber Shop in Bolton, has created a space that is uniquely welcoming for neurodivergent clients, children with disabilities, and those who often struggle with traditional salon environments. “A lot of them have had really bad experiences until they found the right hair professional who they could confide in,” Craig shares. His shop offers a calm, non-judgmental environment that helps clients feel safe.

Similarly, Siobhan Maher, owner of The Peculiar Hair Club in Leixlip, County Kildare, designed her salon as a gender-neutral, inclusive space where everyone feels at home. “When a client comes in, they know they are in a safe space where they can express themselves,” she explains. This welcoming atmosphere is especially important for clients who may not feel comfortable in more traditional salons. Both Craig and Siobhan’s spaces reflect a growing movement in the salon industry – one that recognises the need for salons to be more inclusive and emotionally supportive environments.

 

Going Beyond the Salon

While creating safe spaces inside the salon is essential, some owners take their work a step further by reaching out into their communities and providing care to those who may never step foot inside their doors. For these salon owners, giving back is not just a gesture – it’s a commitment.

Alison McRitchie, owner of The Head Gardener in Inverness, has worked closely with Highland Hospice since 2010. Her involvement has grown over the years, going beyond the occasional volunteer effort. Alison helped create a salon space within the hospice, where patients can experience the comfort of a hair service in a non-clinical setting. “We wanted to create a space where people could step out of the medical environment and enjoy being pampered,” Alison explains.  She and her team remain on-call for the hospice, ensuring that whenever a patient needs a haircut, Alison is there to provide that much-needed care. Her ongoing, dedicated involvement highlights how salons can play a vital role in offering both care and dignity to patients at a challenging time in their lives.

Samantha Cusick and her team at Samantha Cusick London have also extended their care into the community through volunteering. By partnering with Kensington HTB Church, they offered complimentary hair services to individuals at a local shelter. “We believe in the power of self-care and the positive impact it can have on confidence and well-being,” Samantha says. The joy that comes from offering something as simple as a haircut can be transformative for those facing hardship, restoring not just their appearance but their sense of dignity.

Craig Henderson’s community outreach also reflects his commitment to giving back regularly. Every Monday, he visits specialist schools and centres, providing haircuts to neurodivergent children and young adults. “I don’t take a profit from it – I reinvest it back into the shop to enhance the experience for these children,” Craig comments. His work in schools goes beyond the salon and speaks to the deep connection he has with his community.

Inspiring Others

The impact of these efforts doesn’t stop with the individuals these salons serve. Both Craig and Alison are taking their commitment further by developing programmes that help other salon professionals offer the same level of care.

Craig is currently working on a training programme for other hairdressers and barbers across the UK, teaching them how to work with neurodivergent clients and individuals with disabilities. “It’s really about communication and giving them the extra time they need,” Craig explains. His goal is to create a network of professionals who can provide the same level of thoughtful, tailored care that his shop offers. This effort is about more than just teaching technique – it’s about creating a new standard of inclusivity in the industry.

Alison, too, is working to expand her influence beyond Inverness. Her vision is to create a network of salons that can offer similar services to hospices across the country. “The difference it makes to people in their final days is something that can’t be overstated,” she adds. By sharing her experience, getting people in contact, and helping other salon owners understand the value of this work, Alison is paving the way for more salons to integrate care into their business models.

Siobhan Maher’s Peculiar Hair Club is much more than a salon; it’s a home for self-expression and inclusivity, a place where the LGBTQ+ community finds acceptance and empowerment. And Samantha Cusick’s dedication to uplifting women and young stylists –– through her advocacy, mentoring, and community outreach – shows how the act of giving back can extend far beyond a single moment, inspiring confidence that resonates long into the future.

Together, these salon owners are leading a movement within the beauty industry, one that recognises that the true power of a salon lies in its ability to create change, not just in appearances but in lives. Their stories challenge us to think bigger, to care deeper, and to redefine the role that salons can play in the fabric of our communities.

Secrets Of Two Social Media Experts

Secrets Of Two Social Media Experts

Following the success of Stā Social, Samantha Cusick and Conor Doyle chat candidly about all aspects of social media

Samantha Cusick

Conor James Doyle

The first in a series of free educational events, award-winning hairdressers Samantha Cusick and Conor James Doyle joined forces for Stā Social – a social media masterclass for hairdressers looking to level up their content. Following the event, Creative HEAD chatted to the dynamic duo about their relationships with social media and what they’ve learned about building a following.

Samantha Cusick

Talk us through your relationship with social media – how has it transformed the way you work?
 I have a genuine love to create content and share knowledge with others and social media is the best avenue for this. Social media has completely revolutionised the way I approach my work. Before, it was all about word-of-mouth and local advertising, but now I can showcase my work to a global audience in real-time. It’s like having a portfolio that’s constantly updated and always accessible. Social media has allowed me to build a community, engage with clients on a more personal level, and attract new business – be that clients or attracting the attention of brands – which has led to paid ambassador roles. The instant feedback and interaction I get through platforms like Instagram and Facebook have also helped me stay on top of trends and continuously improve my skills.

What would you say is your favourite platform, and why?
Instagram is hands down my favourite platform. As a visual person, it’s the perfect place to showcase my work. The platform is designed for sharing beautiful images and videos, and that’s what my business is all about. The ability to reach people with just a hashtag or location tag is incredibly powerful. Plus, Instagram Stories and Reels have added an easy way to engage with my audience, giving them a behind-the-scenes look at my life as a hairdresser and business owner, which they love.

As well as the benefits, what would you say are some of the pitfalls or common misconceptions? 
One common misconception is that social media success happens overnight. It takes a lot of time, consistency, and effort to build a following and create content that resonates with your audience. Another pitfall is the pressure to constantly produce perfect content, which can be overwhelming and lead to burnout. It’s important to remember that social media should be a tool to enhance your business, not a source of stress. Being authentic and sharing real moments, even the imperfect ones, can actually strengthen your connection with your clients and audience.

If there was one thing youd wish you had done differently when building your profiles, what would it be?
I wish I had started engaging with my audience more from the beginning. When I first started, I was so focused on posting content that I didn’t prioritise responding to comments and messages as much as I should have. Building a community is just as important as showcasing your work, and it’s something I’ve really focused on improving. Engagement is key to growing your presence and turning followers into loyal clients. I used to think it was all about growing my follower count but actually engagement is the most important.

 

One common complaint we hear is the time involved with capturing, editing, and posting content. What would your advice be to fellow hair pros with not enough hours in the day?
I totally get it—creating content can be incredibly time-consuming. My advice is to batch your content creation. Set aside specific times during the week to capture photos and videos, and then use scheduling tools to post them. This way, you’re not constantly interrupted by the need to create content on the everyday. I also make sure I use each client I do to make multiple pieces of content, think beyond the usual before and after and capture things like your consultation process, the colouring process, styling etc. Each step can be its own piece of content, building you a library of incredibly low-effort content that will do well and give value to the viewer. Also, don’t be afraid to repurpose older content or share user-generated content from your clients. It’s a great way to keep your feed active without spending hours every day on it.

When social can be so all-consuming, what are your top tips for setting boundaries and managing a work/life balance?
It’s so important to set boundaries with social media to avoid burnout. I’m a big believer in time blocking – set aside specific times in your calendar to edit and schedule your content as well as designating specific times for checking and posting on social media, rather than being on it all day. I also make it a point to unplug from my devices during personal time. It’s okay to take breaks from social media – your audience will understand, if you’re comfortable sharing that, honesty and authenticity really resonates with people. Remember, your mental health and well-being should always come first. Being mindful of the time you spend online will help you maintain a healthy work/life balance while still growing your business. I think it’s important to add as well that you shouldn’t compare yourself to others online, I used to fall prey to this and it was super damaging to my mental health, just be you and share what you feel is right for your business. 

Conor James Doyle

Talk us through your relationships with social media – how has it transformed the way you work?
Social media has changed how I work mostly through reach. I’m from a small town in Ireland, there’s no way I would have reached the opportunities I’ve had in LA, Australia, Europe and the UK if not for the audience I’ve connected with internationally online. I don’t even think it’s to do with the numbers but the connections I’ve made.

What would you say is your favourite platform, and why?
Personally, I prefer Instagram. TikTok is great for reach and discovery of new people, but I think it cannot foster a connection with your audience. Instagram is somewhere you can get to know and nurture your community. 

As well as the benefits, what would you say are some of the pitfalls or common misconceptions?
The main misconception is that big numbers = success. I know many creators with huge followings who struggle to monetise it. Your following is like a little garden you create. Success and prosperity rely on how you tend to it and how consistent you are. If you just focus on expansion the whole thing can fall apart.

If there was one thing youd wish you had done differently when building your profiles differently, what would it be?
Realise what my audience is really looking for instead of overcomplicating things and pushing out what I ‘thought’ they wanted based on seeing other creators. So many times, I’ve lost myself and point of view but ultimately I don’t regret that either. These mistakes help give us clarity and direction when navigating back to ourselves. When you’re on the right track it’s a feeling, you just kind of know. 

One common complaint we hear is the time involved with capturing, editing and posting content, what would your advice be to fellow hair pros with not enough hours in the day?
Stop overcomplicating and start maximising. I really only do hair 2-3 times a month and when I have those clients in, the second I see a nice aesthetic shot I shoot. I bank a load of these throughout the service, sometimes only 3-5 seconds long. I’ll share some text or a helpful tip and that’s it. I also will recycle a lot and assemble them to create longer-form pieces with a different angle. 

When social can be so all-consuming, what are your top tips for setting boundaries and managing a work/life balance?
Avoid checking first thing in the morning; if it’s your first hit of dopamine it tells your brain this is the most important source, and you will check it more during the day with more of a sense of urgency. Don’t take it to bed with you either. Treat it like your office or workspace and log off as you would work. Easier said than done and that’s why having a separate phone with zero social media has been a game changer for me. I leave my work phone in a separate room. 

Also, a final note; forget the algorithm. If social is getting you down, take a break. It’s fine to go. It’s when most of your fresh ideas will flourish. 

More for you

“I Truly Believe That The Trevor Sorbie Brand Is In The Best Hands” – Trevor Sorbie Talks Lasting Legacies And Stand-out Looks With Giuseppe Stelitano

“I Truly Believe That The Trevor Sorbie Brand Is In The Best Hands” – Trevor Sorbie Talks Lasting Legacies And Stand-out Looks With Giuseppe Stelitano

“I Truly Believe That The Trevor Sorbie Brand Is In The Best Hands” – Trevor Sorbie Talks Lasting Legacies And Stand-out Looks With Giuseppe Stelitano

Industry tastemakers Trevor Sorbie and Giuseppe Stelitano reflect on each other’s greatest work as they celebrate 45 years of the Covent Garden location.

Laura Chadwick
Trevor with Giuseppe at the LCT Grand Final

An industry icon and a visionary rising through the ranks – together Trevor Sorbie and Giuseppe Stelitano make quite the powerhouse pairing, sending the success of the Trevor Sorbie brand stratospheric in recent years. Most recently, Giuseppe was the creative genius behind one of the epic hair shows at the L’Oréal Colour Trophy UK Grand Final, and as the brand celebrates its 45th anniversary, it’s never been more apparent that the future is very bright.  

Talking exclusively to Creative HEAD, Trevor and Giuseppe discuss what keeps their creative fires alight…

What is your favourite image that each other has created and why?

work from the Trevor Sorbie archive
Giuseppe’s favourite look created by Trevor. The image has never been published!
Giuseppe: There are countless looks that Trevor has created that are amazing but if I had to choose, I’d say that my favourite look is the one from back in the ’80s. It’s a striking black-and-white image that combines intricate curls with electronic elements, creating a contrast between organic and mechanical. It’s futuristic yet timeless, and it perfectly showcases Trevor’s genius, forward-thinking vision. This look continues to inspire me and reminds me why Trevor is such an icon in our industry.  
work by Giuseppe
Trevor’s favourite look created by Giuseppe.
Trevor: I think this look from Giuseppe is brilliant. It’s a unique way of photographing hair. It’s mystique, it’s got drama, and the angle of the photograph is unlike any photo I’ve seen. Of course, I’m also very proud of Giuseppe’s latest campaign, 1979. 

Trevor: I think this look from Giuseppe is brilliant. It’s a unique way of photographing hair. It’s mystique, it’s got drama, and the angle of the photograph is unlike any photo I’ve seen. Of course, I’m also very proud of Giuseppe’s latest campaign, 1979.

What do you believe makes a great image? 

G: To me, a great image tells a story and evokes an emotional response. It’s not just about the technical perfection but about capturing a moment. Lighting, set, make-up, styling and the subject all play crucial roles, but the magic happens when these elements come together to create something that feels truly authentic and fresh. 

T: I think the same as Giuseppe, it’s a combination of all elements, as well including the model, hair, photography and make-up also coming together in perfect harmony, which is very rare to get all those elements exactly right. When a picture comes together like that, that’s when you can say you’ve got the wow factor. 

Images from the 1979 collection

When selecting the shots from your collection or creative work, what extra ‘wow factor’ helps you decide what makes the cut?

G: For me it is when I see a shot that makes me stop in my tracks. It’s that instant connection, where everything comes together perfectly…the hair, the model’s expression, the lighting. I look for an image that not only showcases technical skills but is also unique and offers something interesting. It’s that one shot that you know will leave a lasting impression 

T: Like the last answer really. You know it when you see it. It must give you an emotion that triggers something in your head. I think to create a good collection, the photographer (and especially the photographer!) must be on the same page as you. It’s got to excite them. When you get that from the photographer, that’s when you know they’ll give it 100 per cent because they are excited.

What are your hopes for the Trevor Sorbie brand in the next 25 years?

G: Looking ahead, I hope to see the Trevor Sorbie brand continue to lead the industry. I picture us expanding our global presence, pioneering trends, and setting new standards in hairstyling. My dream is for us to keep inspiring both our guests and the next generation of hairdressers. I want us to continue breaking boundaries and thinking outside the box, but always keeping in mind our core brand values. 

T:  The team I’ve grown are the best placed to take the brand forward, continue the legacy that I built, and I truly believe that the Trevor Sorbie brand is in the best hands.  I know we will see the brand continue to thrive and grow. I’ve set up my team to carry forward our vision and values, ensuring the brand remains at the forefront of the industry. I am confident that the Trevor Sorbie name will endure and inspire future generations. 

The making of the 1979 campaign

What is your favourite aspect of working together, and what makes your working dynamic so special?

G: My favourite aspect of working together is the combination of trust and respect that we have for each other. Although I might have Trevor’s blessing to lead the brand creatively, I’m always asking him for his advice or opinion.  

T: As Giuseppe said, it’s the connection we have. When you get the right connection, you can bounce ideas back and forth – one person can excite the other and vice versa. When I chose Giuseppe as our creative director, I saw a lot of myself in him. At first, I had to hold his hand to show him the ropes but within a few months, I let him fly. He had it perfectly in line with my mind. It’s that old fashion saying that ‘great minds think alike’, and that’s me and Giuseppe.

45 years is a fantastic anniversary for the Covent Garden salon! What do you consider to be the secret to your long-term success? 

T: I can sum up the answer in two words: discipline and consistency. Anyone who has worked for me will know that when people come to work for me, it’s like joining the army. I break down the way they think and build them back up, and they become one of us. They love my philosophy because it is very simple: I truly care about my staff. I believe our product is our staff.

How has the Trevor Sorbie brand evolved during your time with the company, and what excites you most about working for Trevor Sorbie right now? 

G: During my time at Trevor Sorbie, I’ve seen the brand grow in ways that I couldn’t have imagined. We’ve embraced change and adapted ourselves to a much more current world while staying true to the quality and creativity that Trevor Sorbie is known for. What excites me most about working for Trevor Sorbie right now is our ongoing commitment to innovation and excellence. This dedication to staying ahead of the game and constantly evolving makes every day engaging and keeps my enthusiasm for the work alive. 


Creative Direction: Giuseppe Stelitano @giuseppebstelitano
Photography and lighting: Barney Arthur @barneyarthurphoto
Videographer: Giovanni Musumeci @giovannimusumecixx
Styling: Douglas Miller @douglaswamiller
Make-up: Lauren Webster @laurenwebstr
Photography assistant: Alex Wilson @alexwilsonstudio
Styling assistant: Ella McKiernan @ellamckiernan
Videographer BTS: Luke Erwood @luke_erwood
Hair team: Tiziana Di Marcelli, Ryan Forsythe, Nathan Walker, Bree Davie, Ben Bradley, Esti Carton, Giuseppe Di Rosa, Edoardo Colasanti, Ila Capi 
1979 track: ‘Tubedigga’ @tubedigga
Location: Wayne McGregor @studiowaynemcgregor

Nicola Coughlan is Talk of the ’Ton

Nicola Coughlan is Talk of the ’Ton

Nicola Coughlan is Talk of the ’Ton

Session stylist Halley Brisker lifts the lid on working with the Bridgerton star as its third series hits Netflix.

page1image11648192

Custom lace front wig for the Met Gala 2022, with colour by Jason Hogan

Dearest readers… Whether you are a Bridgerton fanatic, a member of the Polin fandom or have never watched an episode at all, you’ve most probably come across Nicola Coughlan at some point in the past few years. From Derry Girls to Big Mood, she has a knack of creating ‘wow’ moments that love to go viral. That’s in part due to her role as Penelope Featheringtonin the Netflix hit Bridgerton, and also because she enjoys an exploratory sense of style that captures attention online and on social media.

One of the more misunderstood parts of my job is the ‘style journey’ as I like to call it, which myself and other glam team members craft through the unique partnership we create with our clients. Almost everybody has a personal sense of style but when one also has a public-facing life, there often isn’t time to take care of hair, make-up and wardrobe choices when carrying out duties that come with the role. That’s where professionals come in…

Going red for the Barbie premiere in London

Met Gala 2022

However, where it gets particularly exciting is when my clients want to go a step beyond the expected and craft a style iconography. I’ve worked with a breadth of talent over the years; many like to execute minimal changes to their personal style and have us perform only that, as best we know how for them. Then others want to push the boundaries of style, which for any creative is a form of pure joy. Nicola has always been someone with a love of style and the courage to be dynamic. We met – along with make-up artist Neil Young, stylist Aimee Croysdill and nail technician Michelle Class – on a photoshoot for Refinery29 in 2020. Nicola was already established thanks to her role in the hit show Derry Girls, and was due to appear in the debut season of Bridgerton. We had no idea how big that show would become nor the importance of the role of Penelope Featherington within the Bridgerton universe!

 

 

 

 

 

“Nicola has always been someone with a love of style and the courage to be dynamic”

Halley Brisker

Halley Brisker

It often takes time to discover what our clients’ goals are when working with glam teams. In the nearly four years we’ve worked together as a team of creatives alongside Nicola, we’ve created looks that have incorporated extensive product knowledge – from the oily, sleek locks for the SAG Awards to textured, A-line bobs at The Baftas. Hair piece sourcing for faux bangs at front row shows for Miu Miu in Paris and braided hair bows for the Stylist magazine awards in London. We’ve experimented with colour too; Nicola went red for the Barbie premiere in London and with the custom-coloured lace front wig I created for Nicola at the 2022 Met Gala, Jason Hogan at Josh Wood Atelier painstakingly coloured it to complement a bespoke Richard Quinn dress.

 

Halley and the glam team at work behind the scenes

Stylist Magazine Awards, 2022

Throughout this incredible style journey we’ve gone on together, the thread that has been a relative constant has been Bridgerton, which has just launched its third season. That instalment sees Nicola’s character take centre stage in the plot, to become…  nope, I’m not giving anything away!

It’s no coincidence that as looks go, the hair finish in New York was one of our most straightforward; sometimes we ‘grow as we go’. Of course, I have no idea what the future looks like for Bridgerton or Penelope, but to see hundreds of fans turn out for Nicola was a special moment and a perfect opportunity to create simple, elegant looks for this milestone moment.

Related

WORK FOR FREE? GET REAL!

WORK FOR FREE? GET REAL!

TAKE IT, OR LEAVE IT

Are session stylists being bullied into working for free?

Apprenticeships don’t exist in session hairstyling. To get started, you do a lot of free work because you don’t have the experience to demand the wages. You build up your experience, you build up your portfolio and you build up your networking capacity until you can get the paying jobs… Or can you?

Joe Mills is no stranger to session work. He’s spent 20 years doing shoots and shows and has over 200 front covers and countless celebrity photoshoots to his name – about 90 per cent of which he reckons he did for free in the name of “relationship building”. But earlier this year he was requested for a front cover shoot where, yet again, he was told there was no budget for his skills on set – nope, not for a taxi across London to the studio, and not even a parking space if he chose to drive himself – only later to discover that the publication was being paid thousands of pounds by the fashion label client and possibly everyone else on set was getting paid, except him.

Enough was enough. Joe vented his feelings on Instagram and everything exploded.

Joe Mills

“That post got about 90,000 views, hundreds of comments and I was inundated in DMs from so many make-up artists, hair pros and groomers who had the same experience as me,” says Joe. “It’s endemic. You get told there’s no budget and to work for the credit, but you get told that time and time again – for years. You work on set and you don’t know who’s getting paid or not – nobody tells you anything. I’ve been in Paris for the shows and met hairdressers who have shelled out £3,000 of their own money to be there and they fully expect to have to work for free. It’s crazy.”

So why is this? Why do so many creatives work for free (happily or otherwise) on set and backstage? Of course, there are practical reasons: building up that portfolio in the early years, for example – an agency is unlikely to represent you if you don’t have enough editorial images in your book. And yet many already successful hairdressers, like Joe, who have a portfolio teeming with celebrity clients and illustrious credits, still get asked to work unpaid, even while others on set, such as the photographer or the fashion editor, very much don’t. Why is it always the hair pro who is compromised? Is it a necessary part of the process? Is it because hairdressers feel uncomfortable asking for money (ours being an industry of people pleasers)? Or is it simply that hair pros are being exploited?

“A lot of what we do creatively as hairdressers, we are not paid for and we never have been,” says Adam Reed. “But does our desire to be creative and to have that experience on our CV mean that we’ve devalued ourselves? When I started off in session back in the ’90s, nobody was allowed backstage at Fashion Week, so I was happy to do the shows for free because it really did give me some leverage. I remember going to [talent agent] Debbie Walters in the hope that I could pay her to represent me, and she said, You know you’re going to work the next two years for free. And she was right. And the thing is, not only would I do the show for free, but I would also bring a whole team of hairdressers with me, who also worked for free. And what I believe happened is that the designers started to realise the hairdresser came for free and that practice kind of bedded in.

Adam Reed

“Looking back at that time, I’ve asked myself whether I’m part of the reason for the problem that exists now, or whether in fact I opened up an opportunity for those other hairdressers that they would never otherwise have got? I do understand my value, but I also believe I devalued what I do by saying, ‘Okay, I’ll do it for free’. And actually, it’s a culture that’s been indoctrinated not just into hairdressing but also make-up artists and clothes stylists. It affects a lot of people.”

“I’ve met hairdressers who’ve shelled out £3,000 of their own money to be in Paris and fully expect to work for free, it’s crazy.”

Joe Mills

One thing is for sure: there is A LOT of money sloshing around from brands involved at Fashion Week and in magazines, but very little of it – if any – comes the hairdresser’s way. (Part of what Joe Mills is exploring is the net worth of the fashion and beauty brands who sponsor the shoots and shows where hairdressers work for free.) And working for free does not mean the favour will be returned – far from it.

“I’ve been working in session for a long time now, and this is definitely the worst it’s ever been,” says session legend Sam McKnight. “Magazines have become such commercial entities nowadays and we are just commodities. They say to brands, ‘Pay us to set up the shoot for you,’ and then they work on the basis that they’ll get the whole team for free. Well, did anyone tell that to the team? No, of course not, because that shoot is not editorial, it’s advertorial and that’s a whole different proposition and the team should be getting paid. It used to be you worked for free in exchange for a credit, but when they post the pictures online they’re not crediting hair and make-up, so the ‘contract’, such as it is, is broken.

Sam McKnight

According to Sam, things started to change – on set and backstage – once production companies got involved. “Back in the day, there were no production companies. It was the photographer’s assistant who booked hair and make-up, sorted out cars for everybody, took care of catering. It was very small. But now it’s on the scale of the film industry and these production companies are in charge of the budgets and they charge their 20 per cent at the outset and then there’s a pecking order as to who gets the rest. And, 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.”

Sam believes the issue of pay is indicative of a wider lack of respect towards hairdressers that extends to working conditions, too. “At the shows, you’ll have someone with a clipboard who’s decided they can fit 30 hairdressers, 60 models, 30 make-up artists and some press photographers into a space the size of the bus shelter,” he says. “There was a shoot where [make-up artist] Val Garland and I were prepping models in 35-degree heat in the photographer’s office because that was where we’d been allocated. And while the two of us are eating our M&S crisps for lunch, the publisher calls in from his holiday in Mustique. That was a real lightbulb moment. I don’t begrudge anyone their holiday, that’s fine. But it’s only fine if you’re making sure everybody else is fine at the same time.”

British fashion is a £26 billion industry, according to the British Fashion Council, but it has become increasingly reliant – if not wholly dependent – on large corporations, who sponsor entire fashion weeks, emerging designer shows and even transport for attendees. You would imagine that the arrival of financial support would spell good news for cash-strapped creatives, but that is often far from the case.

“It’s tricky because who wants to put their head above the parapet when there’s such an obvious risk you’ll get blacklisted?”

Sam McKnight 

“In the fashion industry, collaborations are a big thing,” says Adam Reed. “When you’re a young hairdresser, you work a lot with young designers to create incredible imagery that you all control. But when brands get involved that control is taken away from you and that’s when it all starts to go wrong. I worked a lot with [fashion designer] Henry Holland in his early years and always for free, but as soon as he got corporate sponsorship from a beauty brand – which, ironically, I sourced – I got dropped because now it was the brand that got to decide who was on the team, not Henry.

“Sponsorship from beauty brands can also compromise your image-making because they want everything to sell to the consumer, because that’s how they’re going to make their money back. So, they don’t want what they would perceive as ridiculous hair and make-up – everything’s got to be natural-looking and achievable and sellable. And then the brand pays to bring all the beauty journalists backstage, and they are expected to write about the hair looks while name-checking the brand’s products. So, that’s advertorial. We, the creatives backstage, are being used to promote the sponsor brand – and we’re STILL not getting paid!”

So what’s the answer? Or, more to the point, is there an answer?

“Maybe we need a union?” says Adam. “I remember doing the Victoria’s Secret show in the US and everybody there was in a union – the staging people, the lighting people, the production team. They had a governing body issuing guidelines for what they should get paid, how many hours they could work, how many breaks they could have. We had to sign ourselves out of all that. I mean, it doesn’t happen so much anymore, but I’ve been on shoots where I’ve had to work until 3 o’clock in the morning knowing I’m not getting paid, while the model’s sitting there earning very lucrative overtime. If only I had this kind of support.”

“It’s a tricky situation because it’s dangerous to put your head above the parapet when there’s such an obvious risk you’ll get blacklisted,” says Sam. “It seems to me that the creatives need to get together and write some kind of charter of basic rights, such as working hours, being fed, minimum day rate, etc. If people were not having to work for free it would create a more level playing field and I believe we would be more valued. Since it was decided that models could no longer work for free at London Fashion Week, they command so much more respect.”

Joe has spoken to a solicitor who has suggested that being asked to work for free without having legal Voluntary Agreements in place may circumnavigate employment law, and he’s made it clear that his agency, Joe Mills Agency, has announced it will not be putting any of its artists out for unpaid jobs. In the meantime, he has written an open letter to publishing houses, published on his Instagram, outlining the extent of the problem and the damage it inflicts.

“The prevailing practice of requesting creatives to work for free in exchange for a mere credit poses a significant challenge,” it reads. “Frequently, there is no provision for essentials such as catering or travel allowances, and the hours spent on set can extend to an exhaustive 12-hour day. The expectation to accept unpaid work is further fuelled by the belief that refusal may hinder our progress in the industry. As creatives, it becomes difficult to decline, as we hold onto the hope that these projects will shape our careers positively.

“It is disheartening to learn that, while we contribute our skills and services without compensation, these projects often have corporate sponsors or are sold to advertisers, highlighting the exploitation of our talents by your esteemed publications.”

Joe insists that the letter is not an attack but the start of a wider conversation to address – and hopefully shift – the issue. “I’m asking people to be transparent and to understand how things can change,” he says. “If these collaborations were truly collaborative, with all team members agreeing to work without payment, it would be a different scenario,” he continues. “However, as a business, asking individuals to provide their expertise for free while generating revenue from their contributions is a systemic issue that warrants attention and rectification. Transparency from publishing houses to creatives would significantly alleviate this problem.”

But session stylist Gary Gill takes a different view. He believes that the current system – of working for free to build experience and contacts – is actually beneficial, so long as everybody is aware of the rules and understands the point at which they should start saying no.

Gary Gill

“I feel that if there is too much focus on money from the beginning, the money won’t come in the end,” he says. “It is possible to have creative and financial success in this industry, but it works in a certain way, and you need to understand the rules, the system, and how to navigate it.

“After not getting paid for editorial, you should be getting paid for everything else you do – some things at lower rates and some higher. It’s not all about creative, it does become about business and knowing your worth. For every 10 people who won’t do an editorial for free there are 20 who will; that will never change, and to be honest I don’t think it should. It’s not the responsibility of the magazines, it’s the responsibility of the artist to understand when to say no when not enough money is put on the table for paid work. In recent years so many more people are wanting to do session and fashion work and it’s created an unhealthy level of pay as people are desperate to get in.

“Hairdressing at its most creative is an art form and commerce doesn’t always come into it – it’s about passion and a desire to do something that makes you feel something. As soon as money is involved, that desire, feeling and passion go away, it becomes just another job. Young people need to be encouraged, mentored and guided on how things work and decide if it’s for them. Fashion takes no prisoners and can be brutal, like any highly competitive industry. There are only a few who make it and it’s our responsibility as older artists in the industry to spell these things out.”

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