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Zoë Irwin Wants YOU To Offer This Hair Service

Zoë Irwin Wants YOU To Offer This Hair Service

Zoë Irwin Wants YOU To Offer This Hair Service

The John Frieda creative director on her hair facial service launch – and why every stylist should be delivering this to clients 

by CATHERINE | DOCUMENTS

Zoë Irwin

The past couple of years has seen the ‘skinification’ of hair cranked up, as the hair world is influenced in both ingredients and treatments by skincare and beauty. Well, Zoë Irwin has taken this to heart with her hair facial service at John Frieda… and she’s adamant that this service is one that ALL salons and stylists should be offering its clientele.  

“I realised that I learn a lot from beauty treatments, and that women understand the idea of a facial. You have a super deep cleanse and you probably learn more about cleansing your own skin better,” explains Zoë. “They detox you, take out all your impurities, and then they start adding. I love that. It’s one mask on top of another, I love the layered process of it. The psychology behind it is that when you leave, you’ve got this beautiful skin. You’re like, ‘oh my god, I’m going to go back in a month, because this is so good’. But ultimately when you go home, you double cleanse, you add a mask the next week, you don’t let that skin go. No one does. So, I thought, ‘why aren’t we doing this in hair? Why aren’t we levelling this up?’.”  

Now, that’s what she’s done with the £120 service at the iconic John Frieda in London’s Mayfair. The service starts with a detoxifying cleanse, removing coppers and damaging metals from the water and breaking down product residue so that she’s working with a clean base.  

From a trip to India, Zoë learned massage techniques that she’s transferred into the next step, an incredible scalp massage. “When you start massaging people’s heads and necks, you can’t mess around. You’ve got to know your stuff,” she adds, “but the power of massage is massive.” Yes, it’s relaxing, but the action helps stimulate the cells in the hair follicles, powering up that growth factor. 

“I want to people to come out of this service knowing much more about this impact,” she says. “When they come to the basin, I give them a mirror, and I teach them the movements. Then I use a scalp exfoliator, the Virtue ones, very gentle – and I show them in the mirror where and how to place it. Then I teach them the massage movements. So, I’ve totally clarified and got this clean base, which means that the hair will now accept product much, much better.”  

Now, the “hair’s like a sponge”, and Zoë will layer on a strengthening treatment, followed by a moisturising mask. “Hair will only accept so much at one time. It’s like a supercharged treatment …  I’m trying to pre-empt the issues that people have with treatments – ‘I don’t want one on my hair today because I want my blow dry to last’. That’s because it’s in the wrong place. It’s all stuff that you and I know, but the consumer doesn’t know. It’s like a prescriptive service; you come out and your hair is beaming. I finish with an acidic gloss that will shut everything down. I’m using cosmetic plus hydration.” 

The big message is how important the scalp is – perfectly timed with the social media obsession with all things scalp care.

@zoeirwinhair

It was for a press event to launch a Manta brush that Zoë realised she had something interesting in her hands… “The press just went nuts for how it was all being shown,” she recalls. “The Daily Mail’s Lucia Ferrari went on the front page along with a page inside. From that we had people come from all over the country, and I realised that this isn’t something that people are thinking about enough. Now, we sell it as a packaged service like you see in beauty, you can buy three together.”  

Zoë’s philosophy is all about restoring hair to its healthiest, strongest state to deliver the best results. “When you’re colouring hair, you’re colouring the quality of what’s in front of you. So, if I address that before I colour it, I can therefore give the colour that people want.” 

Her treatments are divided into sessions. The process begins with a consultation, where Zoë assesses the steps needed to achieve the desired results. Next is the “radiance reset”, featuring a deep cleansing treatment and massage therapy 101. “They learn how and where the to put the product on,” she explains. Finally, the hair is ready for colour. “When they come for their colour, they get the best colour they’ve ever had, because their hair’s in the right condition. It works.” 

scalp massage

Image: Karolina grabowska

Zoë’s seen raging success across the board with her clientele. “It’s about £120, but people now just come in for it. And my clients come to me just to have the head massage. They often go out with wet hair, but they come for the massage because it’s extremely powerful, you know?” 

She’s a fierce advocate for hair getting the attention to detail that it deserves. “We put all this effort into our skin, but people stop at their hair,” she muses. But stylists can take their skill and package it, make it so easy to understand and for the client to buy into. This is something that I feel that hairdressers everywhere should be doing. I’ve really seen how important it is and how people love it. You sell the dream. 

The Cool Huntress

The Cool Huntress

The Cool Huntress

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

by CATHERINE | CONVERSATIONS

 
Zoe Irwin

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

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

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

 

Zoe Irwin

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

‘The Hairvoyant’, Tom Smith, Predicts Rich, Bold Colours For Autumn

‘The Hairvoyant’, Tom Smith, Predicts Rich, Bold Colours For Autumn

‘The Hairvoyant’, Tom Smith, Predicts Rich, Bold Colours For Autumn

Indulgent tones and bold statements rise to the top this season

by CAITLYN | EXPLORE

Autumn 2024 is all about embracing rich, indulgent tones that capture the season’s cosy yet vibrant vibe—think earthy, luxe shades that feel like wrapping yourself in a cashmere scarf. Leading hair expert Tom Smith is here to reveal the shades set to dominate, blending warm, autumnal hues with creative, trend-forward twists. “As the days grow cooler, we see a shift towards deeper, richer shades,” he says, noting how these colours bring an effortlessly chic, warm glow to any look.

Kennedy Claire Walsh on Instagram

Chappell Roan on Instagram

A major standout this season? ‘Terracopper’, the earthy copper that feels like a luxe upgrade to your go-to autumn shade. Inspired by the warmth of autumn leaves, Tom calls it “an intense, grounded twist on the classic copper,” giving off a natural, cosy vibe perfect for the season. This rich hue is ideal for anyone looking to switch things up but keep it familiar.

Emma Chamberlain on Instagram

Blake Lively on Instagram

Not ready to let go of that summer glow? ‘Sunflower blonde’ is your answer. “It’s all about keeping that golden radiance alive as we move into autumn,” Tom explains. Bright, youthful, and glowing, this shade keeps summer vibes strong well into sweater weather.

Avril Lavigne on Instagram

SZA on Instagram

Feeling a little bolder? ‘Flamingo pink’ is the season’s showstopper. Neon, punchy, and impossible to ignore, it’s the ultimate choice for anyone looking to turn heads. “It’s not for the faint of heart,” Tom notes, “but if you’re ready for a bold change, flamingo pink is your colour.” This shade brings the fun back into autumn hair, proving that vibrancy isn’t just for summer.

Jane Fonda on Instagram

Salma Hayek on Instagram

Meanwhile, ‘natural greys’ are here to stay as more people embrace their evolving hair colour. “It’s about honouring the greys, not hiding them,” Tom says, encouraging clients to work with their natural shades for a low-maintenance, polished look that screams ‘effortless cool.’

Khloe Kardashian on Instagram

Salma Hayek on Instagram

For brunettes, ‘cinder toffee brunette’ is this season’s indulgence. Think caramel meets chocolate, with just a hint of golden glow. “It’s rich but with a brightness that’s perfect for autumn,” says Tom. This shade is perfect for those transitioning from summer, keeping things light while still embracing the season’s deeper tones. It’s the hair equivalent of ordering a pumpkin spice latte but with an extra shot of sophistication.

With such a diverse palette, autumn 2024 offers something for everyone. Whether your client’s vibe is subtle and warm or bold and daring, this season’s colours have you covered. Tom’s top advice? “Stay tuned to your client’s comfort level—gradual shifts or bold pops, it’s all about making them feel fabulous.” And with clients becoming more adventurous, the possibilities are endless.

Ultimately, it’s all about balance. Whether they’re craving a soft, seasonal switch to ‘terracopper’ or ready to take the plunge with ‘flamingo pink,’ the key is creating a look that feels personal and perfectly autumn-ready. Because nothing says autumn chic like hair that’s in tune with the season’s trends.

Why Antoinette Beenders Is Embracing AI

Why Antoinette Beenders Is Embracing AI

Why Antoinette Beenders Is Embracing AI

Aveda’s creative director is integrating artificial intelligence into her photographic collections. Controversial? She argues embracing change is essential  

Astral II, Aveda, Antionette Beenders, Ed Maximus

Astral 2.0, a futuristic collection inspired by iconic stylist Antionette Beender’s work with Dutch designer Iris van Herpen, fuses real hair with AI-generated clothes – a move that’s causing ripples across the industry. “Hairdressers here are very nervous about AI,” says Antoinette. “A lot of my friends in the UK hairdressing community don’t really understand it, but I think once they do, they’ll be all over it – like with Instagram or Uber.” 

Antoinette is using AI as a tool to elevate her craft, blending traditional hair techniques with digital innovation. “AI is the future, right?” she remarks. Working together with multidisciplinary artist Ed Maximus, they have been experimenting with AI to create mind-bending visuals that bring hair to life in new ways. 

Astral II, Aveda, Antionette Beenders, Ed Maximus

Antionette Beenders, Ed Maximus

Astral II, Aveda, Antionette Beenders, Ed Maximus

The Aveda creative director approaches hair the way fashion houses approach couture. “I see it like ready-to-wear and couture. Ready-to-wear is the everyday hair clients want, and couture is the inspirational, artistic side that might not be worn every day,” she explains. “The hair and face are real, but we’re pushing it further with AI.” 

Despite her love for tech, Antoinette is steadfast in her belief that hairdressing will remain an art form grounded in human touch. “Hairdressers are scared of AI because they fear their trade will vanish. But I don’t think that’ll happen – computers cutting hair isn’t on the horizon yet.” Her message to the industry is clear: embrace technology as a tool, but never lose sight of the fundamentals. As she puts it, “Focus on connection and technique, and let product companies focus on providing high-performance tools.” 

As the conversation draws to a close, Antoinette hints at the future: more AI, more collaborations, and certainly more pushing boundaries. But she’s also adamant about one thing: Aveda will always remain rooted in natural, high-performance products, standing as a beacon for sustainability in an ever-changing industry.  

Astral II, Aveda, Antionette Beenders, Ed Maximus
Astral II, Aveda, Antionette Beenders, Ed Maximus

Hair concept @antoinettebeenders supported by @allenruizstyle @ianmichaelblack 

Artist @edmaximus @walterobal

Production @codeproductions 

The Last Word on… Bleisure

The Last Word on… Bleisure

The Last Word on… Bleisure

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

by CAITLYN | CONNECT

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

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

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

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

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

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

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

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

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

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

Image credit: Antonio Gabola from Unsplah

 

How K18 Changed The Way We Think About Hair

How K18 Changed The Way We Think About Hair

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

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

by CATHERINE | CONVERSATIONS

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

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

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

Suveen Sahib

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

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

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

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

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

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

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

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

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

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

The K18 range has expanded and is now owned by Unilever

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

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

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

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

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

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