THE MISSION? TO “DECOLONISE” PERCEPTIONS OF TEXTURED HAIR – AND STOP THE SHAME

Apr 22, 2024 | CREATIVE PROJECTS, EXPLORE

CREATIVE PROJECTS

THE MISSION? TO "DECOLONISE" PERCEPTIONS OF TEXTURED HAIR – AND STOP THE SHAME

Yasemin Hassan deep dives into her photo series and exhibition Talking Textures – celebrating, educating and redefining the cultural significance of textured hair.

Talking Textures event, April 2024

Curated by barber Yasemin Hassan and captured through the lens of photographer Yeliz Zaifoglu, the photo series and exhibition Talking Textures dives deep into the intricate relationship between beauty, cultural identity, and the resilient nature of hair, especially within the Southwest Asian & North African (SWANA) communities.

Hosted at Ugly Duck London, Yasemin sees Talking Textures as more than an exhibition; it’s a movement to celebrate, educate, and redefine the cultural significance of textured hair. Spanning across 26 photographs, a short video, and a panel discussion that was held on 12 April, the project seeks to bring to light the challenges, beauty rituals, and the profound connection between hair and cultural identity in SWANA regions.

 Yasemin herself has emerged as a pivotal figure for individuals with textured hair in London, particularly within the SWANA community. While that’s thanks in part to extensive experience on high-end fashion shoots and London Fashion Week, it’s also coupled with personal conversations within her community. Her mission is to “decolonise” perceptions of hair and address the underrepresentation of SWANA identities in the hair industry.

Yasemin Hassan

Working closely with Dania Arafeh, founder of 3EIB – a SWANA fashion platform reclaiming the Arabic word 3Eib, meaning ‘shame’ – this project is a reaction to the underlying shame that SWANA individuals often experience from others within their own cultures, as well as what’s taught in the mainstream media about beauty.

Yasemin breaks down the concept behind each image, and the powerful message each shot conveys…

Reclaiming Control
Riyam Salim 

Reclaiming Control
Michaela Mousicous wearing 3EIB 
Hair makes us feel powerful. We use our hair to reclaim our identity. Talking Textures explores this by considering the amount of people that go to a salon after a big life change and want to consolidate this with a drastic hair change. These images in the series are about power and taking control over our hair. 

Carving Imperfections
Ali Nasreldin wearing Mehdi Studio 
The media often idealises the ‘perfect curls’ – no frizz and a solid, clean shape when focusing on afro textures. In the full series of images Talking Textures plays on the phrase ‘bedhead’ to contrast to perfect curls.

Changing Shape
Peyam Zangana   
People with curly hair often talk about it being ‘too big’ and ask me to make their hair sit flatter. In full series collection, Talking Textures celebrates the shape using the concept  of ‘hat hair’, contrasting to this image which is the unrealistic flattened hair shape.

Masking Identity
Eman Alali wearing Isis Dünya 
Many people use hair length and fringes to mask and hide their SWANA features. Talking Textures plays on the use of hair as a mask by using the concept of ‘straggly ends’ to do this.

Embracing Femininity
Tahini Molasses wearing Ziyad Buainain
Talking Textures closes the series by questioning: What is femininity? Does femininity have to be gendered within SWANA communities? Many women idealise long hair as being the height of femininity and beauty. The final set of images through this concept makes the statement that femininity can be unconventional.

Director/curator/lead hair: Yasemin Hassan
Photographer: Yeliz Zaifoglu 
Make-up: Tina Khatri 
Styling: 3EIB / Dania Arafeh
Hair assistants: Shaun Birmingham, Amy Clarke, Matthew Tharp
Shot at Woolf Kings X

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TARIQ HOWES’ MODERN MOHAWK CAUSED A SCENE

Apr 18, 2024 | EXPLORE, TECHNIQUES

CATEGORIES > EXPLORE > TECHNIQUES

TARIQ HOWES' MODERN MOHAWK CAUSED A SCENE

A twist on a styling staple, Tariq Howes combined early noughties nostalgia with ‘footballer craze’ energy to deliver an evolution of the classic mohawk at The Coterie: In Session, held in Manchester in October 2022. Presented first to a live audience, Tariq’s take on the iconic style is as fresh today as it was then.

A Creative HEAD event in partnership with BaByliss PRO, hosted by George Driver, formerly of Elle UK.

Hair: Tariq Howes
Make-up: Lou Pye
Fashion: Sonia Genders assisted by Gee Stanley
Model: Andre Hassan
Videography: Black Rock Creative
Photography: Ema Crompton
Production: The Creative Partnerships division at Creative HEAD
Venue: fivefourstudios

Tariq Howes The Coterie: In Session Manchester

The Coterie: In Session Manchester Tariq Howes

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DOMESTIC ABUSE: THE WARNING SIGNS AT WORK YOU NEED TO KNOW

Apr 16, 2024 | DOCUMENTS, EXPLORE

CATEGORIES > EXPLORE > DOCUMENTS

DOMESTIC ABUSE: THE WARNING SIGNS AT WORK YOU NEED TO KNOW

Concerned for the welfare of your colleague or client? Celebrity hairstylist Sam Kerswell shares his first-hand experience, so you know how best to help.

Sam Kerswell, photographed by Lynett Genockey of Harplette Photography with make-up by Tracy Graham

It’s no secret that the hair salon is seen as a safe space by clients – it’s a chance for them to vent, divulge details from their personal lives and chat to hairdressers like old friends. Often, hairdressers consider themselves to be agony aunts, but what happens when it goes beyond discussing a new relationship or family drama?

A hair salon can be a lifeline for someone experiencing abuse and may provide a safe place to seek help, be it as a client or as an employee at the space. For hairdresser Sam Kerswell, a survivor of domestic abuse, his clients knew something was up because of him repeatedly cancelling or rescheduling appointments. When they eventually got to see Sam in person, they noticed how his physical appearance had changed because of the abuse he was suffering at home.

Like so many victims of domestic abuse, Sam was afraid to speak out against his abuser, with those in his life none the wiser as to what was causing the bruises, weight loss, and much more besides. Fast forward a year, and he’s now sharing his story to raise awareness and help anyone else who is suffering in silence.

If you’re concerned about a colleague or client, here Sam shares the signs you should be looking out for, and what to do if you’re wanting to offer support but unsure how to help.

10 things to look out for

1. Physical injuries: Notice unexplained bruises, cuts, or marks, especially if they occur frequently or seem to be escalating in severity.
2. Changes in behaviour: Look for sudden changes in mood, anxiety, or withdrawal from social interactions.
3. Isolation: If a co-worker or client becomes increasingly isolated, avoids social gatherings, or makes excuses to not participate in group activities, it could be a sign of controlling behaviour from an abusive partner.
4. Excessive absences or tardiness: Consistent tardiness or unexplained absences could indicate the need to hide injuries or emotional distress caused by domestic abuse.
5. Unusual financial strain: Notice if a co-worker or client suddenly experiences financial difficulties, such as requesting pay advances, selling personal items, or borrowing money frequently. This could be a result of financial control or manipulation by an abuser.
6. Fearfulness or nervousness: Pay attention to signs of fearfulness, nervousness, or being easily startled, especially if they seem to be in the presence of their partner.
7. Overly controlling partner: If a co-worker or client’s partner exhibits overly controlling behaviour, such as constantly calling or texting, monitoring their whereabouts, or restricting their communication with others, it could be a red flag.
8. Unexplained excuses or cover-ups: Be wary of inconsistent or implausible explanations for injuries, missed work, or changes in behaviour. Unexplained weight loss and excuses as to why is also an indicator as some abusers limit food intake.
9. Uncharacteristic clothing choices: Notice if a co-worker or client wears clothing that seems inappropriate for the weather or situation, which could be an attempt to hide physical injuries.
10. Expressions of fear or concern: If they confide in you about feeling afraid or concerned about their safety at home, take their words seriously and offer support and resources for help.

Sam with friend Annie Franklin

Sam behind the scenes of a photo shoot

How to help

1. Choose a private and safe space: Initiate the conversation in a private setting where the individual feels comfortable and safe. This could be a quiet office or a secluded area away from others.
2. Express concern and support: Begin the conversation by expressing genuine concern for their well-being. Let them know that you’ve noticed certain signs or behaviours that have raised concerns and that you are there to support them.
3. Listen actively: Allow the individual to share their thoughts, feelings, and experiences without interruption. Practice active listening by maintaining eye contact, nodding, and providing affirmations to show that you are engaged and empathetic.
4. Avoid judgment and blame: Refrain from making assumptions or placing blame on the individual for their situation. Instead, focus on validating their experiences and feelings while offering reassurance that they are not alone, and that help is available.
5. Offer resources and assistance: Provide information about available resources, such as domestic violence hotlines, counselling services, legal assistance, and support groups. Offer to assist them in accessing these resources if needed, while respecting their autonomy to make their own decisions.
6. Respect confidentiality: Assure the individual that any information they share with you will be kept confidential to the extent possible, while also explaining any legal or professional obligations you may have to report certain disclosures of abuse.
7. Create a safety plan: Work together to develop a safety plan tailored to their specific situation, which may include steps to ensure their immediate safety, such as identifying safe places to go or establishing a code word to signal for help.
8. Follow up and check in: Continue to offer support and check in with the individual regularly to see how they are doing. Let them know that you are there for them whenever they need someone to talk to or if they need assistance in any way.

By approaching these conversations with empathy, understanding, and a commitment to supporting the individual’s autonomy and well-being, you can help clients and colleagues feel empowered to seek help and make positive changes in their lives.

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

Apr 11, 2024 | DOCUMENTS, EXPLORE

CATEGORIES > EXPLORE > DOCUMENTS

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

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

Laura Chadwick

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

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

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

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

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

Becky Hill’s music video for Outside of Love

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

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

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

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

@hairbylaurachadwick

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

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SHOOT TOO PRICEY? GRAB YOUR PHONE!

Apr 10, 2024 | CREATIVE PROJECTS, EXPLORE

CATEGORIES > EXPLORE > CREATIVE PROJECTS

SHOOT TOO PRICEY? GRAB YOUR PHONE!

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

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

The process

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

Roman Sys

The moodboards

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

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

The vision

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

Mini-series – Paradigm

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

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

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

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LAUREN BELL – A PASSION FOR INDIVIDUALITY

Apr 2, 2024 | EXPLORE, PORTFOLIOS

CATEGORIES > EXPLORE > PORTFOLIOS

LAUREN BELL – A PASSION FOR INDIVIDUALITY

The session stylist on pay transparency and proving a point

Lauren Bell

London-based Lauren Bell spent years honing her craft before going freelance in January 2020; she is self-represented and her published highlights include prestigious publications such as Vogue, Harper’s Bazaar, and Elle.

Artistic by nature, Lauren immersed herself in the beauty industry at a very young age. Her introduction to the fashion world in 2015 led her to work backstage at runway shows with some of the biggest names in the industry. This experience sparked a passion for individualism as expressed through fashion and beauty.

Lauren’s natural talent in hairstyling has allowed her to build an extensive portfolio and clientele, working with all hair types and capable of achieving any desired look. “Building relationships with muses, artists, and brands to bring their vision to life is the most fulfilling part of my job,” she says

Lauren Bell

What would you say are your strongest points as a hair artist?

My strongest points are my eye and my fearlessness towards styling hair. I’ve always had the courage to try out different approaches to applying products and techniques. It’s my art, an opportunity for me not to think and just do, go with the feeling, and it’s one of the few times I actually allow myself to get out my head. I also believe my communication skills and being at ease around other people allow me to create a rapport with models and build the trust that’s needed for me to create.

What is important to you, as a hair professional? In other words, what do you want to offer your clients?

Comfort, safety, hair integrity, an opportunity to express themselves, enhance themselves, build trust, not worry about how they look so they can speak their truth or tell their story. It’s become very important for me to work with people who have something to say so I can support them to do this.

The last three months: where have you been, who have you worked with, and what have you been planning?

Since the beginning of the year I’ve been working in Europe for hair brands. I’ve been to Berlin for fashion week and worked fashion week in London with Bimini. I’ve been to fancy hotels with clients, location shoots with Self Esteem, the Brits and worked in London studios with brands like Sephora and Juicy Couture. I’ve also created content and collaborated on editorials, so there’s been a real variety.

Looking back, who/what has got you to this point in your career?

My determination to prove a point! I recently gave a talk at college for Careers Week and it reminded me how determined I had to be to prove that I CHOSE this path to become a hairdresser, that it wasn’t a last resort. I think my need to prove that has definitely played a part in how successful I am now. Also, it goes without saying that I’m here because of my love for this craft and the amazing people I get to work with and the mentors that have helped me direct my path and encourage my growth as a stylist and as a human being.

Your ultimate creative collaboration – what would that look like? Who would be in it?

Oh, wow… Somewhere hot, at dusk, with warm sea air blowing through the hair, all the supermodels, activists and iconic actresses of the past and present on set… It’s really hard for me to answer who would actually be as there are too many people I admire. I see it being a day shoot by the pool and then taking to the coast for the celebration runway. Err, do you think I need a holiday? Lol.

What excites you about hairdressing right now?

There are so many new paths in this industry for people to explore and find out what works for them. I love that about my own journey. My career has been very explorative and full of variation; I don’t know if hairdressing can be beaten in this sense. As someone who has an innate curiosity for people and places, I sometimes have to take a minute to celebrate all the different locations I have had the opportunity to travel to for work and all the different kinds of people I get to meet along the way. The variation and freedom really excite me.

I love this image from a Juicy Couture campaign. The model, Vix, had beautiful hair and I really like the shine I created with product.

Instagram

View on Instagram

This was a super-fun shoot with stylist @izzymoriartythompson and photographer @ulas_merve. I love how we captured movement through the braids I created and embellished with wooden beads.

This is a look I created for [performer and drag artist] Bimini at LFW. I got creative and made a pony out of gaffer tape. It’s always exciting using different materials in place of hair.

I love this look I created using a coloured wax in place of a root – it works so well with the rest of the texture. I’d smashed a pot of the same colour that morning, which gave me the initial inspiration. It’s similar to [ceramics process] kintsugi and techniques used by Cyndia Harvey at Diesel. This was shot in my flat by my friend and make-up artist, Aimee Twist.

Shot by Morgan Roberts, with make-up by Aimee Twist. I love the simplicity of this beauty shot, and how I used small details of hair to complement the make-up.

I love this BTS image from a shoot I worked on. I used so much gel to create the high-shine effect, the hair looks unreal – like it’s set in resin.

What frustrates you about hairdressing right now?

As a self-represented freelance stylist, I find myself getting frustrated with the rates and budget dance that I have to do. I have noticed a big shift in how I am approached for work and how ‘shopping around’ for the cheapest rate has become very noticeable in discussions – I’d hardly call them negotiations. It concerns me that we don’t know how much we should be charging (it isn’t easy to find out, either, believe me) and with clients being able to reach out directly to people via social media platforms, it’s creating so much variation in rates that it has the potential to devalue everyone. I think there needs to be more education on the fee aspect of our job, more honest communication around it. Maybe even a union? A dedicated, pre-scripted rate education platform? While I respect that there is a journey to be had with regards to experience, skill base and our own personal worth, I worry that we are very vulnerable to being taken advantage of, especially compared to other creative fields in the fashion industry.

What’s your opinion on why so many hair pros work for free backstage and on set, and how do you think hair pros can establish more value for the work they do?

I think assisting for free has a value if you know what you want and choose a stylist that you admire – then it’s like a free education course. Do I think it should be totally free? No, it shouldn’t come at a cost to the individual, as it so often does. But when you’re starting out, it’s vital to learn on-set etiquette and how to create hair in that field, and assisting for free is often ‘sold’ as an opportunity to network, which it can be. I was lucky enough to work with people who cared about my career, so I was encouraged to network with the photographer’s assistants, to collaborate with them and build my own portfolio. However, it’s important to manage expectations.

Working for free was a huge part of the beginning of my career. Coming from a working class family, I did not have the resources to sign up for bootcamps or education programmes, and nor could I afford to work solely for free. This meant I had to work triple time so I could eventually afford to go self-employed. I have no regrets, because it takes time to learn, reflect, explore, educate yourself and find your style/ethos. However, I can’t help but wonder whether my career could have gone faster, and I would have had more energy for my creativity if those early financial barriers hadn’t been there.

It’s a shame that some of the most creative aspects of our industry are considered low- to no-pay. Should there be a small fee to make it more affordable? It’s a difficult one to get your head around when the stylist you’re assisting isn’t get paid either. And that’s a problem, especially when the other people on set are getting paid. I don’t have the answers for how things will change, but in an ideal world none of us should be working for free in the first place.

This was a super-cool creative look that we worked on for the episode of Drag Race where musician Self Esteem was a judge. It includes a nod to Betty Boop as our reference for glamour.