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“This Project Is Almost The Catalyst For Us” – Allilon’s Pedro Inchenko On Collaboration And Upskilling His Team On Textured Hair Styling

“This Project Is Almost The Catalyst For Us” – Allilon’s Pedro Inchenko On Collaboration And Upskilling His Team On Textured Hair Styling

“This project is almost the catalyst for us” – Allilon’s Pedro Inchenko on collaboration and upskilling his team on textured hair styling

With a major show planned in Berlin with celebrated BIPOC vocal group A Song For You, Allilon is focused on styling texture with confidence and heart.

 

With the Allilon Education team hitting the stage in Berlin at the Davines World Wide Hair Tour 2024, co-founder Pedro Inchenko wanted to do something creative that would switch up their approach to stage presentations, while also working with local talent to deliver something different. The prep journey has seen him introduce collaborative workshops to ensure his team – both with Allilon and at the Ena salon he co-founded with Johnny Othona – are confident and genuinely ready to work with any hair type. Here, Pedro explains how he’s started the process…

          Pedro Inchenko 

Aminata Kamara with Ena stylist

 

“For Berlin, I wanted to break a little bit of that traditional mould – a show featuring a video, cutting and colouring on stage, then doing a catwalk presentation. I’m looking to stimulate my own creative needs as well. The idea is to find talent in Berlin, and we found a collaborative group of about 50 artists from the BIPOC (Black, Indigenous, and People of Colour) community. They’re sharing a place to communicate their talents, individually and when they come together as A Song For You.

About 10 of the artists will be our models, and we’ll be doing their hair on stage. In between, they’ll be performing. I really want the emphasis to be on the audience feeling and experiencing something in terms of performance.

We’ve had our first textured hair workshop, where we invited in some specialists to work with the team, starting with TV and film stylist Deborah Lola and session stylist Aminata Kamara, and we’re going to invite others along over the next few months. The idea is if they’re available, they’ll join us on stage. I don’t want it to be this group of white artists doing black hair; I want to give a platform to textured hair specialists who can collaborate with us.”

“As a company, we’ve always been inclusive when it comes to cutting and colouring hair. But in terms of textured hair – the styling, and the understanding of it, in terms of the approach, how different it can be – that’s something we’ve been leaning into more over the last few years. This project is almost the catalyst for us; it needs development and we need to outsource this to specialists, to help us really hone in on those skills.

In the first workshop, we chatted about what it’s like to grow up having Black hair, the psychological aspects of it, how it can become part of your identity. I really want us to do the work, to understand that because there’s a big movement in the community to lean into natural hair and to embrace it. Everyone brought a model, and it was about playing with hair, looking at how we would approach our models.

We’re doing more workshops to further our skills and we’re going to continue to do that across the board. We haven’t necessarily sought outside influences in the past, but it’s something that we’re going to be doing – with textured hair, with different tools, different philosophies, different approaches to hair. We’re really opening ourselves up – we’ve got our foundation, we know who we are… let’s see what else we can bring in for the team to inspire them to continue their journey.

The team are loving it, learning lots of new things around setting, braiding and twisting. It was great to talk about the simple things, like how to comb textured hair. Our normal approach would just be to brush it out and cut it. But Deborah was like, “no, you need to add moisture, add water, brush it out. And then the hair is ready to be cut and prepped”. The way that you put your brush in, the way that you prep the hair to be dried, or to be braided, or to be set. Unless you’re shown, there is a missing part of our education. This is about giving the team the confidence to be able to approach any hair type. They were buzzing afterwards.”

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“It Feels Like We’ve Worked Together Forever” – Adam Reed And Sarah Black Discuss The Roots Of Their Powerhouse Partnership

“It Feels Like We’ve Worked Together Forever” – Adam Reed And Sarah Black Discuss The Roots Of Their Powerhouse Partnership

“It Feels Like We’ve Worked Together Forever” – Adam Reed and Sarah Black discuss the roots of their powerhouse partnership

Their bond was born out of a love for colour, here’s how the relationship flourished on the salon floor

https://youtu.be/-EZzmBCSbsQ

In this video short exploring the working life of a dynamic duo, Adam Reed, founder of salon and product brand, ARKIVE by Adam Reed, formerly known as Adam Reed London, and his colour director, Sarah Black, talk candidly about the manifold benefits of being more open and connected. Together, they have found a much more progressive way of working, and shared conversation is key. Hear their fresh take on togetherness.

A Creative HEAD video project in partnership with L’Oréal Professionnel Paris 

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Tim Binnington Turned Down Investment In His Brush Business From Dragons Den – And Here’s Why

Tim Binnington Turned Down Investment In His Brush Business From Dragons Den – And Here’s Why

Tim Binnington Turned Down Investment In His Brush Business From Dragons Den – And Here’s Why

The man who helped build the Headmasters empire is striking out once again

by CATHERINE | DOCUMENTS

For over 30 years Tim Binnington worked tirelessly as part of a team that grew the Headmasters group to a staggering 56 salons – one of the UK’s biggest – with a combined turnover of £32 million. Nobody would have batted an eyelid if he’d shown up for work one day and announced he was going to golf his way through retirement. Instead, in 2024 he’s busier than ever running a completely different business – the Manta, a revolutionary hairbrush that aims to stop breakage while boosting shine.

The Manta came about in 2014 when Tim’s wife Dani was suffering from a life-threatening illness that caused her hair to fall out. As it started to grow back Tim saw how ordinary brushes caused pain and breakage. Dani could only bear to use her fingers as a comb, and that’s when Tim got the idea.

Creating a hairbrush that was as gentle as running your fingers through hair was the goal, but it also needed to protect and stimulate hair growth, working with hair and not against it. “If you brush your hair with your fingers, and you come up against a knot you don’t just yank it – you put a pin in the knot and give it a little wiggle to loosen it. That was my eureka moment,” says Tim. So began a labour of love that, 10 years and £600k of their own money down the line, he and Dani are still completely absorbed in.

Tim Binnnington

“It took almost five years just to develop the Manta,” says Tim, who now is something of an expert on how brushes are manufactured (want to know the difference between a single shot mould and a twin-shot overmould? Tim’s your man). “I needed it to be totally flexible, quite unlike anything else on the market, and it had to be made of materials that feel really good on the skin.”  Guess where he found what he was looking for. That’s right, the adult toy world.

“I know, I know,” he laughs. “But I wanted the experience of massing your scalp or brushing your hair to be sensual and enjoyable, because from my years as a hairdresser I knew that what people love most is getting their hair washed. Traditional brush manufacturers couldn’t help me, so I ended up at Love Honey, where I found materials that were sensual, hypoallergenic, heat-resistant, durable, easy to clean and – even though you don’t need this in an adult toy –anti-static too. So, basically, everything I needed.”

When the Manta eventually launched in June 2018, it looked unlike anything else on the market. Its Flexguard technology, where each bristle sits on its own base and moves 360 degrees independently through the hair, was so unique it was patented. It sits comfortably in the palm of your hand so you can move and manipulate the brush as you see fit, following the contours of your head and allowing the bristles to glide along and not pull on the hair.

“When we launched, we had such a great reaction from salons,” says Tim, “and they are really important to us were originally going to be our main retail outlets. But as soon as it started moving, we had Covid and as everything shut down, we had to pivot online and focus more on the consumer.”

Fortunately for Tim, something else that came out of Covid was thinning hair, and a newfound consumer awareness of the importance of hair and scalp health. Good news for for Manta sales, surely, as the brush has the added benefit of gently exfoliating the scalp, creating a flake-free, product buildup-free, healthier scalp, which is perfect for hair growth.

“Absolutely,” says Tim. “Everyone is more aware and we are in more demand. We’re launching in Boots this year, in a healthy hair and scalp section. We’re sold on 15 airlines but we’ve just launched on Emirates Airlines as well because they’ve recently introduced a healthy hair and scalp section. And we sell in places like South Korea and Japan, where they’ve always been into scalp health.”  A key promotional channel has been QVC, both in the UK and the US, as that’s where Tim gets to actually demonstrate Manta’s point of difference from competitors such as Tangle Teezer and WetBrush.

Did someone mention Tangle Teezer? When creator Shaun Pulfrey appeared on Dragons Den in 2007, he was famously rejected by the Dragons who told him hjis brush to detangle knotty hair was “a waste of time” (Pulfrey subsequently sold a majority state in his business for £70 million). Earlier this year, Tim and his wife Dani also walked out of the Dragons Den empty-handed – not because they didn’t receive investment offers, but because they turned them down.

The duo had asked for a £240,000 investment for four per cent of their company. Three Dragons – Peter Jones, Sara Davies and Touker Souleyman – were interested, but they all wanted far more equity than Tim and Dani were prepared to sacrifice.

“We valued the business a lot higher than the Dragons would, but our experience in the Den made us realise the extent of the value of our business,” says Tim. “There are millions of people who are suffering with hair breakage and thinning hair, which Manta can help. Sadly, the Dragons were more interested in the money than solving the problem.”

The Manta family continues to grow.

With the bit clearly between his teeth, Tim continues to innovate. Alongside the original Manta, there’s now a Manta incorporating a mirror for on-the-go touch-ups and a pulsating version, known as Pulse, that uses vibration either to invigorate hair and scalp, or relieve stress and tension. And the newest addition is the Manta Kinks, Coils and Curls, especially developed for the unique needs of 3a to 4c curly hair. Together, the Manta family has won almost 40 awards – including Creative HEAD’s Most Wanted Award for Innovation in 2020 – and as a nod to where the journey originally began, Manta have donated almost 8,000 brushes over the years to The Little Princess Trust, a charity supplying real hair wigs, free of charge, to children who have lost their own hair due to cancer treatment or other conditions.

“If you brush your hair with your fingers, and you come up against a knot you don’t just yank it – you put a pin in the knot and give it a little wiggle to loosen it. That was my eureka moment.” 

“The business is doing well,” says Tim, who still squeezes in one day a week at Headmasters, and who credits a lot of Manta’s success to the team who work with him. “We have got our original investment back, but to be honest I didn’t go into it to make money – it’s only ever been about helping people. My goal is to get more and more people changing the way they brush their hair. And even if they say, ‘I’ll never use a Manta, but I’m going to mindfully brush my hair and be careful with my scalp,’ we will have achieved something. Because when a woman gets to 60, 70 or 80 she will have better hair, and that will make her feel better about herself and have more confidence. And the better you feel, the better you are to others, so it makes the world a better place.”

Focus On: Efi Davies – The Avant-Garde Supremo Who Just Made The 2024 Most Wanted Hair Icon Shortlist

Focus On: Efi Davies – The Avant-Garde Supremo Who Just Made The 2024 Most Wanted Hair Icon Shortlist

Focus On: Efi Davies – The Avant-Garde Supremo Who Just Made The 2024 Most Wanted Hair Icon Shortlist

Why Toni&Guy’s International Artistic Director has her eye permanently on the next generation.

by ATHERINEEXPLORE > PORTFOLIOS

 

Toni&Guy’s International Artistic Director, head of the Avant-Garde and Long Hair Departments and leader of the Session & Editorial and Styling & Finishing courses, and now taking her place on Most Wanted’s prestigious Hair Icon shortlist for the first time… It’s fair to say that Efi Davies is one of the industry’s most impressive creative talents.

An innovator whose mastery of braiding and hair up styles knows no bounds, Efi is pivotal when it comes to conceptualising and art-directing the editorial and avant-garde concepts within Toni&Guy’s global collections and campaigns, working closely with Global Brand Director Sacha Mascolo-Tarbuck and Global Creative Director Cos Sakkas (who is also on the Hair Icon list).

But none of it would have happened if Greek-born Efi hadn’t decided 25 years ago to pay a visit to her sister in London… Instantly hooked by the fashion and music scene, Efi took a job as an assistant at Toni&Guy, where founder Toni Mascolo took her under his wing and ignited her dream of pushing boundaries within the industry. 

Creative HEAD caught up with this incredible artist as she took a break from Fashion Week…

 

Toni&Guy’s International Artistic Director, head of the Avant-Garde and Long Hair Departments and leader of the Session & Editorial and Styling & Finishing courses, and now taking her place on Most Wanted’s prestigious Hair Icon shortlist for the first time… It’s fair to say that Efi Davies is one of the industry’s most impressive creative talents.

An innovator whose mastery of braiding and hair up styles knows no bounds, Efi is pivotal when it comes to conceptualising and art-directing the editorial and avant-garde concepts within Toni&Guy’s global collections and campaigns, working closely with Global Brand Director Sacha Mascolo-Tarbuck and Global Creative Director Cos Sakkas (who is also on the Hair Icon list).

But none of it would have happened if Greek-born Efi hadn’t decided 25 years ago to pay a visit to her sister in London… Instantly hooked by the fashion and music scene, Efi took a job as an assistant at Toni&Guy, where founder Toni Mascolo took her under his wing and ignited her dream of pushing boundaries within the industry. 

Creative HEAD caught up with this incredible artist as she took a break from Fashion Week…

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

Oh, that’s not a very easy question to answer… I try not to repeat myself and like consistently to evolve and come up with new ideas to share. I love pushing the boundaries of traditional hairdressing, constantly experimenting with something  unique. It doesn’t happen very often but it’s all about experimenting, right?

Do you have such a thing as a typical week? If so, what does it look like?

No two weeks are the same. Whether teaching at the Academy, working backstage at a show or on set on a collection, I strive to transfer my skills, knowledge and experience to the young creatives around me, who I expect one day will go on to make my work seem old-fashioned. Every week brings its own challenges and opportunities, so life is always unique and interesting.

You’re the International Artistic Director at Toni&Guy, which is a REALLY BIG DEAL. What elements of your role give you the most satisfaction?

It’s the opportunities to inspire and be inspired, the ability to mentor and nurture new talent, and the chance to innovate within the industry. I have lived the dream and hope that it’s now my turn to pass on the torch.

These images are from my current collection using macramé techniques on synthetic hair that I melted and stretched to create beautiful bob shapes, precisely interlacing the models’natural hair to sit how I wanted it. It creates a poetic yet futuristic feel.

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

The last few weeks have been packed full of creative shooting and prep days. We have been heavily involved with London Fashion Week Men’s and were a part of the British Fashion Council’s 40 Years of London Fashion Week exhibition. I had the honour of having two of my avant-garde creations on display that celebrated Toni&Guy’s 20-year partnership with the British Fashion Council.

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

A lot of hard work and determination. Every origin story requires a bit of magic and mine came in the shape of Anthony and Toni Mascolo. I will be eternally grateful to them both for seeing something in me, taking me under their wing and, through the sheer power of their own passion, opening my eyes to the idea of innovation and creative vision within the industry. Also to our CEO, Sacha Mascolo-Tarbuck, who has been behind me throughout my career, giving me amazing opportunities and encourouging me in everything I do.

I have worked with Tolu Coker for several seasons and have an amazing relationship with her. I create bespoke hair pieces and headdresses to complement her collections and love being educated on her culture and how I can follow it through into the hair.
This image shows one of my favourite moments from last fashion week in February. The Toni&Guy Session Team and I created beautiful clean yet edgy finger waves. Everything was tailored to the individual model, which made it look really natural.
This is ‘New Wave’ from the Toni&Guy 2007 Kaizen collection. It was the first haircut I did for a Toni&Guy collection and I absolutely adore this image.

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

Throughout my career I have had the priviledge to work with incredible people – stylists, photographers, make up artists and designers – and I am grateful to them all for their friendship and influence. 

What excites you about hairdressing right now?

The continuous education and sharing of knowledge within the industry. Whether through demos or social media platforms, the constant exchange of new ideas and techniques helps us all to evolve and push the boundaries of what we can achieve in hairdressing.

What frustrates you about hairdressing right now?

The decline of the younger generation. Less and less  Not enough young people coming into our industry.

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

Many in the hair industry are driven by passion and a love for their craft, so find themselves agreeing to work for free. While it’s okay to do that occasionally and it gives you great experience, it’s really important to make sure you get proper credit for your work and that your contributions are acknowledged. It’s also important to keep a strong image bank of work to document your work across social media as much as possible!

This image is from my avant-garde Crystal collection from 2010. It is very important to me because it’s created from the model’s natural hair, using a boning technique to create structure and add height
These pictures are from a shoot I did for the Journal Magazine with David Mannah. I trapped the hair inside of resin, pushing the boundaries to create something cool. The futuristic bob incorporates some 1920’s influences through the cut, and with the Mohawk I wanted to create an edgy, punk feel.

Describe your perfect Fashion Week experience.

I have worked with Tolu Coker for several seasons and have an amazing relationship with her. I love working on her shows. It’s a true collaboration, where we meet and disuss her ideas and inspirations and I create bespoke hair pieces to complement her designs. She has educated me so much about culture that I have taken and used in my own work. For AW24 I created and dressed 20 wigs in three days!

What can be done to encourage more young people into the industry?

As hairdressers, it’s crucial to transfer our passion and excitement to the younger generation, keeping them motivated and inspired – they are the backbone of our industry and future. One way to do this is by attending open days at schools, where we can educate and inspire students in an environment where everyone feels comftorable.

And these questions from a couple of your peers!

From Naomi Brooks, The Hair Sanctuary, Manchester: When you are going through a creative block, what do you do to get back in the flow and get your creative juices flowing again? 

Hi Naomi! We can all find outselves stuck in a bit of a block from time to time. The first thing I do is take myself out of situation that has caused it. I might go for a walk, or start working on something new. Sometimes, a bit of rest and a change of scenery are just what I need to return to my work with fresh eyes and renewed energy.

From Siobhan Haug, Haug London Haus, London: What’s been your most memorable overseas trip, and why?

Hi Siobhan! A lot of them have been with you ☺…. I will never forget going to Tokyo in 2010 and seeing my avant-garde collection for the first time, live on stage. It was such a proud and honorable moment for me. I will never forget it.

Gorgeously Gritty, Inspiring Vision And Flawless Skill From Richard Phillipart

Gorgeously Gritty, Inspiring Vision And Flawless Skill From Richard Phillipart

Gorgeously Gritty, Inspiring Vision And Flawless Skill From Richard Phillipart

Politics, culture, bygone eras, personal stories it all meshed and motivated Richard Phillipart to create two arresting looks for one of our best-loved Creative HEAD front cover stories back in 2018. This is two minutes of creative genius, and we’re still swooning.  

A Creative HEAD shoot in partnership with BaByliss PRO 

Hair: Richard Phillipart
Make-up: Cat Parnell
Fashion: Mekel Bailey
Videography: Sledge
Photography: Jon Baker
Production: The Creative Partnerships division at Creative HEAD
Shot on location in East London 

 

Lauren Bell the Coterie: In Session
Lauren Bell The Coterie: In Session
Lauren Bell The Coterie: In Session

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“This Has Been A Dream Job” – Hair Stylist Farida Ghwedar Shares Her Secrets From The Bridgerton Set

“This Has Been A Dream Job” – Hair Stylist Farida Ghwedar Shares Her Secrets From The Bridgerton Set

“This Has Been A Dream Job” – Hair Stylist Farida Ghwedar Shares Her Secrets From The Bridgerton Set

Bridgerton hair looks are trending big time – discover what it’s really like to work as part of the hair and make-up team on set.

Farida Ghwedar

What was the career journey leading up to working on Bridgerton? To style the hair and wigs for three leading ladies in series two and three is beyond impressive…
Oh, thank you so much! I feel incredibly lucky, this has been a dream job. I studied film at university and after some time working at a watch repairs, I knew I needed a practical course to enter the industry. I loved make-up and thought that was an area I may enjoy within film. I took a three-month hair and make-up course at CBMA, run by the designer Christine Blundell. It was an incredible experience with invaluable lessons as well as contacts.

I was terrible at hair with no training before or after! But my frustration made me practice and learn from tutorials in my own time. From there my first job was running the hair and make-up department for Secret Cinema. I saw it was doing a live event for Guy Ritchie’s RocknRolla premiere, so I asked if they needed make-up… which led to more than six years as department head!
A friend who also trained at CBMA, Jenny Rhodes McLean, approached me to work on Bridgerton series two as she was supervising and I think she thought I could bring a slightly more modern feel to period hairstyling as that wasn’t my background. From there, Jenny – who looked after Penelope – went on to design and so Erika (Ökvist, hair and make-up designer of series two and three) asked me to take over the hair of the character as well as Kate again for the third series. I’d also looked after Edwina in the second series.

Nicola Coughlan as Penelope

Ashleigh Hodges

Simone Ashley as Kate

“I feel incredibly lucky, this has been a dream job. I studied film at university and after some time working at a watch repairs, I knew I needed a practical course to enter the industry.”
– Farida Ghwedar

Talk us through the process from the first phone call right through to shooting the series…
Prep was three weeks as we were a returning team. However, I had a new character… who was the leading lady! I was very supported in anything I needed though. Erika called and talked through Penelope’s journey. Due to the scale of this job, she created moodboards, would have an initial discussion then trust you with your characters, which is amazing. I then send her looks to be signed off. She’s generally there to support you in every aspect. 
There’s a new look for almost every outfit and once shooting starts you rarely get fittings with the leads due to the schedule. So, most of the time you try on a style for the first time in the call, which is the ‘get ready’ time for hair and make-up. However, we made great use of the two to three fittings we had in prep.

Describe a typical ‘day in the life’ while working on set…
It changes all the time but, on average, we arrive at 5.30am to be ready for your actor in the chair at 6am. Hair/make-up happen then while the actor goes to costume, you grab breakfast, pack your set bag and tidy your station! Head to set for 8am and watch your actors on the monitors to keep an eye on the hair and continuity, and run in for checks where needed. You eat your lunch on the go most days and possibly have one or two changeovers. Finally, you’ll wrap at 6pm, derig your actor, clean the wig, reset it where needed and up your station for the next day.

Penelope’s ‘reveal’ is such an iconic moment of the series. How did you go about finding inspiration and ultimately deciding what was right for the moment?
Nicola Coughlan and I liked the idea of hair down as a departure from Penelope’s old style. I had been wanting to create something like Jane Russell’s sideswept waves or Blake Lively’s hairstyle in The Age of Adaline (the New Year’s Eve scene). The compromise with production was pinning up one side, as they wanted more room for her style to evolve, which made sense. I had already been using pin curls around the hairline, so I just extended this to the back tapering towards the loose waves.

Mash Creative Studio
Mash Creative Studio

Talk us through some of the key steps in creating the reveal hair look…
To start, I blow-dried Bumble & bumble Surf Foam Spray, which gives styling hold and a little grit to the hair. I followed with Oribe Gold Lust Dry Heat Protection Spray. I know most people wet set wigs and use a wig oven but sometimes I feel these sets can be too rigid and harder to dress for soft styles. I like being able to control and manipulate the hair through the whole process. I curl and pin one-inch sections, which takes longer than other sets but each style needed very little redressing using this method. 
Once I had brushed out the waves, I used a little Oribe Supershine Moisturizing Cream to smooth. For the pinned-up section, I reduced bulk by braiding away much of the hair. This also served as an anchor for the pin curls. I lightly sprayed Schwarzkopf Professional Silhouette hairspray as it’s a super-strong hold, and misted Oribe Superfine Hairspray for the loose waves as it allows movement which was part of the walk down the staircase during the reveal. 

What has the reaction been to Penelope’s hair evolution in the third series? 
I’ve been so overwhelmed by all the positive feedback! I do have to stress that this is a collaboration including the artists who looked after Nicola in the past. Nicola is also very involved and has great ideas. The styles are also more wearable because they are more modern this season, so that attracts more attention. 

Do you have a favourite look from the series?
I would say the Hawkin’s Ball, which is the side bun with hair flowers. I feel like all the elements from costume to make-up and hair all came together and Nicola looked beautiful. When everything marries together, that’s always a great thing. 

What are your three kit bag essentials?
My YS Parks or Denman Carbon tail combs, Oribe Supershine Moisturizing Cream and fine waves hair pins. 

What’s one thing readers may not realise about doing hair for film/TV?
When you create a hairstyle it’s not just about making something beautiful or immersive, but you have to consider how long a scene is. This translates to how long that style must last in a wig or be recreated to maintain continuity. You may have to replicate it perfectly a year later, or adapt it to withstand weather or certain action. You must be ready to compromise your vision to align with that of others in charge. 

For any stylists looking to branch out into the world of TV and film hair, what would your advice be?
Be prepared to be tired… always! The hours are long! Hair and make-up are often the first in and last out. You must learn to work efficiently as time is precious, and you must be a team player and stay positive where possible. Asides from your team, your actor is also doing those hours but they have to then step in front of the camera and be ‘on’ all day. You need to be aware of your impact on the start and end of their day.
Lastly, just love the work you do! Not everyone will have the same route into film and TV hairstyling, but if you love hair and put the same amount of effort into a small job as a big job, you will find your way.