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The Playful Colour Trend To Know For The Season Ahead

The Playful Colour Trend To Know For The Season Ahead

The Playful Colour Trend To Know For The Season Ahead

Charlotte O’Flanagan shares how to paint the perfect pastel Tones

by KELSEY | EXPLORE

pastel hair from Charlotte Paints Hair

With spring officially upon us, it heralds the perfect opportunity for clients to get playful with pastel tones and experiment with a new look, especially if they are attending festivals, special occasions or off on a trip abroad.

Known for her creative colour, including blush pink, cowboy copper and sweet peach, Charlotte O’Flanagan (Charlotte Paints Hair on Instagram) shares how to deliver the perfect pop of pastel in your salon.

The Formula

From back of head to face:

  • Teal – 1g Jade, 1g Blue, 70g Clear
  • Yellow – 1g Neon Yellow, 140g Clear
  • Orange – 2g Flame, 0.5g Yellow, 100g Clear
  • Lavender – 3g Lavender, 2g Fuchsia, 100g Clear
  • Lime – 3g Lime, 100g Clear
  • Pink – 1g Fuchsia, 1g Ruby, 100g Clear

The Process

Step one: I pre-lightened the hair using 20vol Progress Davines as a scalp bleach for the 8-week top-up
Step two: I let it develop until the hair reached a pale yellow – light enough to ensure my pastel direct dyes would maintain their vibrancy.
Step three: I then toned with Davines Quartz for a soft, pearly base, creating the perfect canvas for vivid colours.

For application, I worked in diagonal sections, starting with thicker sections at the top and gradually thinning toward the ears, allowing the colours to fall forward and blend naturally.

Each of the six shades was applied at the roots first, then seamlessly blended through to the ends. I made sure that the first and last colours were deeper and more saturated to enhance the melting effect while still maintaining contrast.

Why It’s Trending

With festival season approaching, pastel hues provide a fun, creative change with minimal commitment. They fade back to blonde, making them perfect for clients who want a temporary pop of colour or are looking to experiment with a new look.

Who Does It Work For?

Ideal for blondes wanting to explore something new, pastel tones can be tailored to suit a variety of skin tones. Warm and cool shades can be adjusted accordingly, making this a versatile and playful option for all clients.

Perfect Pairing

For a statement look with delicate balance, a strong, blunt bob just above the shoulders keeps the style fresh, chic and effortlessly head-turning.

They’re In A Different League 

They’re In A Different League 

A Creative HEAD shoot in partnership with Diva Pro Styling  

Each hair stylist has their own little idiosyncrasies when it comes to styling techniques. Give each stylist a brief, with the same tools, and each one will deliver something completely different… so, that’s what we did. Creative HEAD, in partnership with Diva Pro Styling, assembled Rebecca Jacques, Birte Klintworth and Giuseppe Stelitano and gave each their own brief – challenging them to bring concepts to life on three different heads of hair, all helped to life by the breadth of Diva Pro Styling tools in their kit bags, including the new range of Diva Atmos Professional Stylers.   

These briefs were set within the prism of S/S25 runway trends. Think Chloë, a fashion house that often sees its show models sporting ‘undone’ hair, but sending their looks down the S/S25 catwalk noticeably more dressed and ‘done’. From celebrity looks to client requests, there’s a noticeable return to hair that looks styled. And this is the season to try something fresh – from festivals to summer parties, events to holiday hair, we’ve pushed our stylists to the ‘finish’ line to create wearable looks with an editorial vibe that clients will covet.   

For a few years, beauty trends have shied away from anything that looked like you made a real effort. Slowly, we’ve seen a return to hair that looks ‘done’. From Sabrina Carpenter to the wives of Capitol Hill, big hair is BACK. It’s blown out, it’s bouncy and it’s bringing us back to the ‘90sGiuseppe Stelitano has embraced the big brief and delivered to the max.  

For a few years, beauty trends have shied away from anything that looked like you made a real effort. Slowly, we’ve seen a return to hair that looks ‘done’. From Sabrina Carpenter to the wives of Capitol Hill, big hair is BACK. It’s blown out, it’s bouncy and it’s bringing us back to the ‘90sGiuseppe Stelitano has embraced the big brief and delivered to the max.  

The Look: Hair was prepped with mousse and blasted dry using the Diva Professional Atmos 2 Atom Hair Dryer. Then section by section, Giuseppe used the Digital Crimper from the root to the nape to set in that texture he needed for the final updo. Once done, he brushed through, shaped then twisted hair in pieces before pinning. Using the new Atmos Professional 13mm Super Slim Styler, he straightened small sections to create a windblown effect (“I can go literally to the edge, tapping at the ends and bending over at the root”).  

The Trick: “Because I need the volume, especially on the top, I use the Digital Crimper vertically and kept going upwards,” says Giuseppe. “You’re almost directing the roots as well.” 

The Tools: Diva Professional Atmos 2 Atom Hair Dryer; Digital Crimper

The Look: This is almost an undone updo, a little messy but elevated. Giuseppe started by gently stretching out Rubi’s curls using the Atmos 2 Atom Hair Dryer and his fingers. Then he added a couple of donuts on the top of the head to build the hair up. After brushing the hair, around the hairline, he went in with the new Atmos Professional 13mm Super Slim Styler to create a soft wave. He then switched to the 25mm Standard Styler, where there was more hair to manage. Visually building up the hair and to add definition, he used the 19mm Digital Tong on selected areas on top and through the front sections.   

The Trick: “I use the Atmos Professional Styler almost for backcombing, on a lower heat,” says Giuseppe. “I use it at the end, to finish the look – pulling down, so it almost locks in a nice, soft flatness.” 

The Tools: Diva Professional Atmos 2 Atom Hair Dryer; Atmos Professional 13mm Super Slim Styler; Atmos Professional 25mm Standard Styler; 19mm Digital Tong  

 

The Look: We’re donning the red swimsuit and heading back to the ‘90s for this one, as Giuseppe found inspiration in the iconic blonde waves of Pamela Anderson. Using the Atmos 2 Ultra Hair Dryer with a nozzle (“The Ultra has a bit more power”) he blow-dried section by section with a round brush, drying any product – he used thickening spray – from roots to ends. He then turned to the new Atmos Professional 25mm Standard Styler, taking sections (not too big) and creating a glamorous blow dry. Finally, fixing the diffuser to the dryer, he diffused the hair lightly on a cold setting before finishing with the Atmos Professional 25mm Standard Styler – again through the front, adding a bigger curl. 

The Trick: “I over-direct the hair forward,” says Giuseppe. “Then with the styler, you can go close to the roots, give it the first bend – this will determine the type of curl – and then slowly, gently, just pull the styler up, holding the ends of the hair while you’re doing it, so you still have control. This gives curl and hold.” 

The Tools: Diva Professional Atmos 2 Ultra Hair Dryer with a nozzle and a diffuser; Atmos Professional 25mm Standard Styler 

The embrace of natural texture over the past few years has been a breath of fresh air, creating space for anyone with any kind of kink or coil to get playful. Rebecca Jacques understood the assignment, from the perennially popular beachy wave (with added micro braids!) to wet-look zigzag bends to the swept-over joy of a cloud of delicately embellished coils. 

The embrace of natural texture over the past few years has been a breath of fresh air, creating space for anyone with any kind of kink or coil to get playful. Rebecca Jacques understood the assignment, from the perennially popular beachy wave (with added micro braids!) to wet-look zigzag bends to the swept-over joy of a cloud of delicately embellished coils. 

The Look: Hair was prepped with mousse and hydration spray then blow-dried using the Diva Professional Ultra 2 Atmos Hair Dryer. With the new Atmos Professional 13mm Super Slim Styler, she added kink and bend to horizontal sections of hair, using low elevation and a high tension – pulling out the volume a little bit towards the ends, rather than forcing it into a new shape and structure. She also went through with the Digital Wave & Curl to create a more stretched out wave in places. Hair was slicked back using the edges of a detailed editorial brush – “you get a super slick sideburn area” – before finishing with a strong centre part, and two tiny triangles of hair pulled through. The Atmos Professional Wide Stylerstraightened the ends. 

The Trick: “There was a variation on how tight we pressed the Digital Wave & Curl into the hair,” says Rebecca. “Sometimes we got a more intense imprint, other times it was slightly softer.”

The Tools: Diva Professional Atmos 2 Ultra Hair Dryer; Atmos Professional 13mm Super Slim Styler and 42mm Wide Styler; Digital Wave & Curl 

The Look: Taking zigzag sections prepped with a dry texture spray for grip, mainly along the parietal ridge, Rebecca created pockets of texture using the new Atmos Professional 25mm Standard Styler. When it’s all brushed out, it’s less uniform, more lived in – it was about enhancing Gerda’s natural texture rather than pulling it out. Rebecca straightened the edges with the styler, then added some skinny braids to finish the look. 

The Trick: “Rather than the ‘S’ bend you normally see, I’m physically curling it and then turning it straight all the way around to continue that pattern,” says Rebecca. “Keep the styler completely vertical, because we’re not looking at volumising at the root. Straightening out that edge afterwards gives it a cool, lived-in look.”

The Tools: Diva Atmos Professional 25mm Standard Styler

The Look: Using a cocktail of mousse, hydration spray and serum, some of the hair was twisted into place at the back, where the curl pattern was different to the front. A lot of the prep was done using the Diva Professional Atmos 2 Ultra Hair Dryer (“Because it’s got a deeper diffuser, you can really get into the root area, but I love the smaller one for the more detailed curls, too.”). Rebecca looked at which curls required more definition, working through horizontally with the section pattern, armed with the Gold Dust Multi Wand with the micro barrel. Because Rubi’s hair was going to be pushed over to one side, she alternated the curl pattern so that it pushed against the root for maximum lift. Some of the curls were broken up with Rebecca’s fingers to expand the shape, then to add a little more flare, she flattened out part of the root with the Multi Wand using a compressing technique, elevating the hair with high tension away from the scalp. 

The Trick: You’ll notice the detail at the side, where Rebecca went super low to keep it more editorial, using a tail comb to press and set the hair against the scalp using a cool shot from the Atmos 2 Ultra Hair Dryer. 

The Tools: Diva Professional Atmos 2 Ultra Hair Dryer with diffuser; Gold Dust Multi Wand using the micro barrel. 

This trend has an air of superiority, an edge that demands that you look but don’t touch. It’s about a deliberate application of care and curation, planned and prepped for the ultimate outcome. Birte Klintworth’s understanding of the brief has amplified this idea of ‘perfection’ beyond the norm. Texture is retained, playful elements are applied but everything is seen through a lens that is altogether editorial and fresh. 

his trend has an air of superiority, an edge that demands that you look but don’t touch. It’s about a deliberate application of care and curation, planned and prepped for the ultimate outcome. Birte Klintworth’s understanding of the brief has amplified this idea of ‘perfection’ beyond the norm. Texture is retained, playful elements are applied but everything is seen through a lens that is altogether editorial and fresh. 

The Look: Hair was prepped smooth with a strong blow dry, thanks to a round brush and the Diva Professional Atmos 2 Ultra Hair Dryer (“It’s great because it makes the hair super shiny as well”). Using the 25mm Digital Tong (with a little hairspray for hold), Birte took some sections of hair and over the surface used the roundness of the tong but also the clamp to create clearly defined edges. “I don’t want to make them look too busy,” says Birte. “It’s really about placement and visually seeing what makes sense, looking back into the mirror to see how it’s evolving. I’m keeping it very minimal, because that’s going to make it look smoother and pristine.” 

The Trick: “I hold the tong horizontally,” says Birte. “I put the tong on top of the hair, and then I bend the hair against the clamp, so on the upper level, there’s going to be a mark, and then on the lower level, you can see the curve of the top.” 

The Tools: Diva Professional Atmos 2 Ultra Hair Dryer; Digital Tong in 25” 

The Look: Firstly, the hair in the nape zone was blow-dried upwards, then fixed into a pony – tied with an elastic. The sides were dressed with plenty of setting spray and once set, Birte tied the hair sections up and over the existing ponytail. Her last section – the top of the hair – leaving a little bit of a visible parting, is dressed the same way. Twisting the hair up, Birte applied hairspray at the ends, and using the Atmos Professional XXL Styler, straightened them into more definitive spikes.  

The Trick: “I prepped the hair with the Atmos Dryer, blow drying from the roots into the direction of my ponytail.”

The Tools: Diva Professional Atmos 2 Ultra Hair Dryer; Atmos Professional 51mm XXL Wide Styler  

The Look: Birte tied a ponytail, very smooth and close to the natural shape of Rubi’s head, but with a strip of hair left out in the front. That was dried using the Atmos 2 Ultra Hair Dryer with the diffuser attachment and draped on top of the flatter surface. Birte saturated the hair in the ponytail with a curl cream and then diffused it “so it can really settle and get a nice volume”. Once dry, she used an elastic to tie the hair – creating her own unique sculpture. “I create a little bit of definition in some places,” says Birte. “You can see the curl, but that one piece of elastic is running through and tied in different places.” She then turned to the Micro Stick to define a couple of pieces.  

The Trick: “I pick up the natural texture and don’t manipulate it much, using the Micro Stick,” says Birte. “I just want to give it a little more definition.” 

The Tools: Diva Professional Atmos 2 Ultra Hair Dryer with diffuser; Micro Stick 

A Creative HEAD shoot in partnership with Diva Pro Styling  

Photography: Harvey Williams-Fairley, assisted by Loredana Hrinciuc   

Hair: Rebecca Jacques, assisted by Aimee Atkins; Birte Klintworth, assisted by Amber Carpen; Giuseppe Stelitano, assisted by Tiziana Di Marcelli – all for Diva Pro Styling

Key tools: Diva Atmos Professional Styler – XXL Wide 51mm, Wide 42mm and Super Slim 13mm; Atmos 2 Dryer; Atmos 2 Atom Dryer; Atmos Micro Stick; Digital Crimper; Digital Wands

Fashion: Issie Gibbons

Make-up: Eliza Clarke, assisted by Babi Campos 

Editorial: Amanda Nottage (Creative HEAD)

Digital and social media: Kelsey Dring (Creative HEAD), Caitlyn Brandom (Creative HEAD), with video editing support from Rux Amarazeanu 

Creative direction and production: Joanna Kidd (Creative HEAD)

Models: Rubi Deschamps (W MGMT), Gerda Kazakeviciute (W MGMT), Ping (Named Models)

Shot at Spring Studios in London  

 

 

“Where are all the female hairdressers that are household names? I’m not saying it should be me, but I think there should be somebody”

“Where are all the female hairdressers that are household names? I’m not saying it should be me, but I think there should be somebody”

“Where Are All The Female Hairdressers That Are Household Names? I’m Not Saying It Should Be Me, But I Think There Should Be Somebody”

Alex Brownsell started Bleach London in her living room, colouring her friends’ hair (and their lives) amazing shades of pinks, green and blues. Now the hairstylist and entrepreneur is the owner of an at-home product line that’s sold around the world. But what puzzles her is why, in an industry dominated by females, she is one of just a handful of women to have found success in the boardroom, as well as on the salon floor.

by CATHERINE | CONVERSATIONS

Alex Brownsell

Once upon a time, hair colours were named after things in nature: mahogany, copper, ebony, platinum. All that changed in 2010, when Alex Brownsell moved out of her makeshift salon in her East London house share (appointments were charged at “£50 and a bottle of wine”) and started Bleach London at age 22, courtesy of two chairs in the back of Sharmadean Reid’s WAH Nails in Dalston. Brownsell, who trained in her mother’s salon in the Midlands before landing a coveted trial position at Daniel Hersheson, was known for her experimental work, and Bleach – the first salon dedicated to colour – quickly became a hotspot for celebrities and sub-culture kids, seeking out her Noughties-defining dip-dyes and full heads of grey, white and pastel pink. “It was quite wild, actually, a bit like a party,” Brownsell recalls of those early days. “You’re classically sold trying to look beautiful and pretty and sexy and elegant and young. And what I tried to create with Bleach was the opposite.”

Bleach burst onto the scene with colours named Slime Light and Beer

Bleach’s meteoric rise led to stand-alone salons, a partnership with Topshop and a DIY hair colour product line co-created with Boots (Brownsell bought the high-street retailer out of its licence five years later). It wasn’t long before fashion houses took note. Already enjoying regular bookings as a session stylist, Brownsell began working with Gucci on its campaigns, overseeing all the hairstyling, colour and wigs to achieve the soft and raw looks dreamed up by creative director Alessandro Michele. She then spent four years working at Celine with Hedi Slimane, bringing his vision and characters to life. Distinguishing between a Gucci blonde (“cinematic and creamy”), a Celine blonde (“punk and not toned”), and a Vetements blonde (“hard silhouettes and solid shapes”) offers a glimpse at the nuance of Brownsell’s artistry, which she likes to describe as precisely imprecise. “What I prefer is that everything looks a bit home done,” she says, “and that’s the thing about Bleach. We’re doing it perfectly, but it doesn’t look like you just went to the salon.”

Bleach started in your living room. Did you ever think it would get as big as it did?

Not at all! I remember being in WAH Nails and talking to Sharmadean about how the salon in my house was a mess and I couldn’t handle it anymore – and neither could my flatmate. A couple of days later, she emailed me and was like, ‘Come and take a chair here in the back. So, me and my business partner from back then literally came in and set up. In the first two weeks, my assistant AlishaDobson, who still works at Bleach, and I were working backtoback until it grew. I’ve always had moments feeling like I’m not good enough and that at any minute the whole thing will fall away. And with Bleach, building a business is hard, it’s been full of twists and turns, feeling like you are teetering between world domination and total collapse. So, I guess I’m still waiting for that moment when I feel like I have cracked it. But I don’t think it’ll come until it’s all over and I have time to digest it all!

When it launched in 2010, Bleach London’s impact was instant – and huge

Looking back, what has been your favourite period of the brand journey?

God, so many bits. The start was obviously amazing. You look back with your older mind and think, ‘How did I do that? I was so brave!’ Nowadays I’m more cautious, I review every decision. But in the beginning, it was just like, ‘Yes, let’s go to New York and do a pop up!’ But I’m also so proud ofseeing our apprentices go on to achieve amazing things – opening their own salons or working at incredible places, like Josh Wood. Those moments have been impressive and important. Andbittersweet too, because you’re losing people

You started at Daniel Hershesons aged just 16. How influential was that time on what was to come?

It was critical. While I was there, I met a lot of session hairdressers – Rudy Lewis, Lyndell Mansfield, Syd Hayes, and I ended up assisting most of them. Coming from a small town, I thought you could either be a celebrity hairdresser or you could work in a salon. Obviously, it must have crossed my mind that people work on film and TV, but I didn’t think there was a fashion [counterpart]. I did my first fashion cover at 19 for Dazed. It was one of [Gareth Pugh’s muse] Katie Shillingford’s things. She took this wig that I’d spent two weeks dying an amazing blue and used it on [actress] Mia Wasikowska, who had a shaved head at the time.

 “Sometimes, when I meet someone and they ask me what I do, I just say ‘Hairdresser’ and then I stop and see what their reaction is. And often, people are really dismissive”

You’re obviously very skilled with the bleach bottle, but that rule breaking attitude to colour? Where did it come from?

Actually, I’m really strict about hairdressing. One of the things that surprises people when they meet me or come and assist me is that I’m almost militant about what they need to learn, which is kind of opposite to what they think Bleach is about. Ultimately, at Bleach you’re doing colour corrections all day, so you have to be able to do the basics really well or you won’t survive. But the rule-breaking probably came from being at Hershesons and being so young and realising that anything is possible in terms of who you can be and what you can do with your look, which really blew my mind. I wantedto look like Debbie Harry, but nobody would bleach my hair. Eventually, my mum did it, but it was very yellow and only Lyndell was able to fix it. I experimented a lot on friends, so a lot of my techniques were self-taught. And I was really influenced by people I was working with in fashion, as well, who were trying those looks that had a kind of DIY feel.

“I can be as creatively fulfilled doing product development as doing my session work”

Of all the looks associated with Bleach, it’s probably the dip-dye that everyone knows. How did that come about?

Katie Shillingford, who was Gareth Pugh’s muse at the time, said to me one season, ‘It’s his first show in Paris. I want to look like one of his dresses.’ He had this dip-dyed black-white gown as one of his main pieces and a lot of it was monochrome. And I was like, ‘Let’s try and do that with your hair.’ That’s the first time I did a dip-dye – in my kitchen literally holding her hair upside down and thinking, Uh, how do we blend it?

In 2012, the same year you open your first full Bleach London salon in Dalston, Boots approach you to launch a product range. Was that something you had considered at that point?

Absolutely. It’s actually my hobby even now, sketching out brands. I have so many of them from back in the day that are really fun, like a shampoo and conditioner based around breaking up with your boyfriend in your teenage years. So when Boots approached me, I didn’t even have to think about it. I was like, ‘Yes, of course, and it’s going to be X, Y and Z.’ At that point, Boots sold something called Lightening System 101 and it was actually a bleach with 40 vol developer. I was amazed that you would call it that, so in effect the customer was putting a bleach on their hair and they wouldn’t even know. Our colours are made by an amazing manufacturer and that affects our margins but it means that when consumers buy into Bleach, they’re buying something a professional would use and they’re being told about it in a way that’s open, honest and transparent.

The new campaign shots for Super Cool Colours

For many people, Bleach is a scary word. Has it ever caused problems in your business?

When we expanded into the US, people found the name Bleach London really difficult to get their head around because they’ve been told that bleach is bad. And every few years we’ll go through it with a retailer or an investor, who’ll say, ‘Well, what about the name?’ We actually launched a permanent range called No Bleach London, and that’s made people annoyed as well, so I feel like I can’t win!

What was your experience like, working with Boots?

We were really lucky to get to work with Annabelle Franks who was setting up an incubator for disruptive beauty talent, to bring it into the Boots ecosystem. Bleach was an overnight success for them. It showed them the appetite among young people around the country to experiment with their hair in an accessible way. Sometimes, because of working in fashion, I look back and think, ‘Boots… Should we have done something else?’ but the brand visibility you get from Boots you cannot create in any other way. It’s the best marketing you could ask for.

“A question I ask is, ‘Can you name one female hairdresser?’ And nobody has ever had an answer”

And yet five years later you bought them out of the licence. Was that about wanting more control or because you could see opportunities for expansion beyond Boots?

I had always set my sights on global distribution, and much as Boots would have loved to offer that, it was just a bit slow for us. Having ownership of the licence is a natural conclusion for lots of brands. I just wanted to see what else was out there. But I have to say, when I see people start brands, ownership is a big thing for them and it was for us too, but sometimes I think they get that a bit wrong. I’ve come to understand that you’re better off having a smaller percentage of something amazing than 100 per cent of an idea that exists only in your bedroom.

The No Bleach Permanents were a major landmark for the brand

It’s quite an unusual situation – particularly for a female – to be a salon owner and simultaneously the owner of an incredibly successful product brand.

Sometimes, when I meet someone and they ask me what I do, I just say ‘Hairdresser’ and then I stop and see what their reaction is. And often, people are really dismissive. Yet, if I were to say I was a make-up artist, it instantly has this level of intrigue and prestige around it.  I find it really interesting how hairdressing still has this stigma attached to it. And that’s always been a bit of a mission of mine,to say that hairdressing is a great career, and you can do whatever you want in it.

Hairdressers like Jen Atkin and Chris Appleton are the face of their brand, but you don’t seem to play that same role within Bleach. Why not?

I’m naturally quite shy, which probably has led to it being that way, but internally within the businessI’m very visible, I’m around. What people like Jen and Chris have done is amazing, especially going back to that point of showing people how hairdressing is a credible career. But I’m doing a lot of retail meetings now, because we’re doing European expansion, and a question I ask is, Can you name one female hairdresser? And nobody has ever had an answer. We inside the industry know there are lots of great female session stylists, but I think if you asked the public to name a famous hairdresser, theywould all be men, which is interesting, given our industry is 88 per cent female. You don’t think about gender disparity in hairdressing, because it’s so predominantly female, but where are all the female hairdressers who are household names? I’m not saying it should be me, but I think there should be somebody.

Brownsell still creates iconic Bleach colour looks, working out of a VIP salon in her office

How do we go about making that change?

Maybe rewarding female session stylists to do more in industry? I know it’s the norm now to straddle session and salon, and it’s the same for the influencer slash hairdresser slash fashion person. You can be it all now but it’s very new. The make-up artist Isamaya Ffrench is really breaking boundaries, she has a huge presence on social media, but she’s still doing very highend fashion. In the past, if you crossed that line, it was hard to stay in the fashion world.

Is your session work where you fulfil yourself creatively as a hairdresser?

Sometimes, yes, if I do an amazing beauty editorial where I’m allowed free rein. But I can also get that in the studio for Bleach as well, when we’re doing concepting or product development. If you’re a creative, you’ve just got to find the bits that feel good to you. I’ve worked on fashion campaigns that somebody might think was the pinnacle of my career, and I’ll have been bored out of my mind, while I can be in the office looking at a financial spreadsheet and think, ‘This is really fun.

In 2021 Bleach London established a US presence by opening a salon in LA

Your £5,000 Super Cool Colour Creative Fund is looking to support young creatives just like your 16-year-old self. Is this your way of giving back?

When I was young, you could move to London, do a hairdressing apprenticeship, pay your rent and create on the side. It’s almost impossible to do that now. So, we’re asking our audience to tag people who they think would benefit from this prize fund, and then we will ask them to create a piece for us. We’re hoping to find an emerging artist who will really benefit from the money. Fingers crossed, a lot of hairdressers will apply!

Hometown

Hometown

Hometown

Michael Young’s homage to his home city of Newcastle was liberating in more ways than one

by CATHERINE | PORTFOLIOS

Over a three-week period in early February 2025, photographer Michael Young took to the streets and bridges of Newcastle, shooting a series of images that captured his love for his home city. This was a personal project of Michael’s, undertaken purely for his own pleasure and without any of the commercial or time pressures he encounters in his usual photographic work. Instead, the shoot was scheduled around the availability of the models (all of them from Newcastle, all of them wearing their own clothes, with hair styled by Michael’s partner Gary Hooker) and, of course, the good old Northern weather.

The resulting images – free of any influence from industry trends or peers – reflect Michael’s authentic connection with what excites him and stirs him creatively. ‘Hometown’ is about what Michael loves and what comes from the heart.

When you’re immersed in your professional photographic work it’s so hard not to be influenced by what the current buzz is about, how you feel your work ‘should’ look. It’s easy to forget what you personally find interesting when you’re producing work for other people’s consumption. This project allowed me to step away from these influences and develop my own creativity.

“Working without constraints, without any pressure, allows my creativity to flow in a truly organic way. It tends to happen best when I’m working alone. I let my thoughts start in quite a small space and then allow them to expand and unfold as the project evolves. Shooting the looks and seeing the ‘Hometown’ story start to build was exciting – it injected freshness into my art. The process is like an artist painting at an easel, stepping away and then returning time and again with fresh eyes to see what needs adding next.

“A personal project like this enables me to develop my creativity by providing new sources and channels of inspiration and opening up new and exciting approaches to explore. It forces me to think differently about how I approach my subjects and this, in turn, affects my professional work, making me see familiar scenarios through different eyes.”

HAIR Gary Hooker & Michael Young for Hooker & Young

MAKE-UP AND CLOTHES Models’ own

PHOTOGRAPHY Michael Young

Michael Young will be talking about reclaiming confidence and staying creatively relevant as a salon boss at Creative HEAD’s Salon Smart business networking event on Monday 7 April. More information here.

“Keep Working Like Nothing Is Wrong”

“Keep Working Like Nothing Is Wrong”

“Keep Working Like Nothing Is Wrong”

When Creative HEAD held a discussion on the impact of problematic periods, a female salon boss wrote to us saying: “This exact woke attitude is why women aren’t taken seriously in business.” Why the lack of sisterhood? Periods are not fun for anyone, but the fact is that some are hit so badly they need sporadic time off to deal with them. Surely they need a workplace that’s supportive, not one that expects them to suffer in silence?

by CATHERINE | CONVERSATIONS

Hairdressing is an industry that’s powered by women – around 88 per cent of workers in hair are female. Obviously, a big chunk of them are having periods, and according to statistics, for around 40 per cent period pain is so bad they will have to miss work. Yet despite there being a flurry of activity around the menopause in recent years, there hasn’t been any real discussion around how to help women working in salons or as independent business owners with troublesome periods. Slightly baffling.

Menstrual leave, launched in Spain in 2023, is widely derided in Britain as a woke European thing, so the offer of three to five days of paid leave per month won’t happen here just yet. That means the only tangible workplace support for problem period sufferers in the UK – reasonable adjustments like reduced or flexible hours, home working and the provision of special equipment – is if they meet the threshold for disability.

If we want women to be able to work – to be able to function – as humans despite the various nonsensical menstrual conundrums bestowed upon us, we need not just to look into what’s causing problem periods but also to give women the time and space to deal with these things. That is why Creative HEAD gathered a group of women to discuss the impact of problematic periods on working women, to consider how best to manage them and find solutions – and to learn how to better advocate for yourself with employers who might have a similar attitude to our email correspondent.

Cristina Fazzone – independent colourist

@cristina_fazzone

“I find it shocking that we don’t speak about periods. For the 40 per cent of women who have to miss work due to painful periods, it means we’re suffering in silence. I would love to break the taboo, start seeing change in the workplace, and to do that, we need to start talking about periods openly, because it’s definitely a topic that we steer away from. We push through and we hope everything’s going to be okay, and that isn’t the way to deal with it.

“The most important thing I wanted to raise here is the impact of my periods on my work, and how it started to affect my job as a hairdresser. When I was employed, it was a nightmare – a sick day meant rescheduling a whole day of clients, losing clients potentially because of it. But on top of that, there was a lack of empathy from my bosses around why I was calling in sick.

“Things got a lot worse when I became self-employed because it affected my income so much more. I also started to notice the impact of my periods on my creativity and being able to give my full energy to a client. Our creativity is affected by our cycles. We can’t expect to deliver the same results every time.

“So essentially, the question is, how are we catering to women in the industry? I feel it’s time for change. For women to be taken seriously, the process taking place within our body needs to be understood, because we can’t deliver the same efficiency if we are just pushing through and pretending that it doesn’t happen.”

Connie Owen – Cristina’s period coach

@conniemarieowen

“I am a cycle awareness guide. I help women rediscover the sacredness of their cycle, which is the rhythm that we live to as women. As cyclical beings, just like nature has seasons, we’re never the same person all the time. Understanding our cycles can help us be more creative, be more efficient.

“The menstrual phase, our bleed, is when many of us have our lightbulb moments. When an idea does come, write it down rather than pursue it at full force because I wouldn’t advise embarking on a project during your bleed. 

“When you move into the follicular phase, this is a time to break your idea down, perhaps with a moodboard. Then, as you move into the ovulatory phase, you can really shift the gears into making your dreams possible. You’ve got this surge of energy, you’re glowing, you feel determined to bring your idea to life.

“Finally, you go into your luteal phase, which is when you start cocooning back into the darkness to reflect on your creativity and the month that you’ve had – what went well, what needs to change. And you then carry that into your bleed and the cycle begins again. Every phase can help you with your creativity. It’s just knowing when to go full force with something and when to hold back a little bit.

“My advice to working women who suffer from painful periods would be to not push through. The energy that we have on our bleeds is meant for healing, and when that’s outsourced, we can end up being really depleted and fragile. It’s about having boundaries with yourself, giving yourself permission to say no or to rest, because you can’t expect other people to allow that for you when you don’t allow that for yourself.”

Anna Cooper – co-founder of charity, The Menstrual Health Project

@menstrualhealthproject

“I’m a nail technician and co-founder of The Menstrual Health Project, a patient-led charity that seeks to improve education around menstruation and help people navigate these conditions more confidently, accurately and comfortably. Our vision is a world where gynaecological health is no longer stigmatised – society sees periods as dirty, and we’ve ignored the topic far too long

“We’re up against it in this industry, having to cancel a day of clients due to period pain, but actually, the biggest thing is communicating with your clients and your boss, if you have one, so they understand what you’re going through. Often, people just don’t understand conditions like endometriosis, that it causes long term pain, that there is no cure and that it comes under the disability bracket, and that actually comes with rights.

“I urge anybody who manages staff to educate yourself on these conditions, because we’ve gone for far too long with the attitude that women have to put up and shut up. Did you know, when a woman goes to a GP it takes an average of 10 GP visits for her to be taken seriously? It takes an average of one GP visit for a man to be taken seriously. So, we have a huge gender health gap within our health system, which doesn’t help.

“Being aware of your healthcare and employment rights is crucial, they’re there to protect you. Make sure you are going to your boss with accurate information about your condition. Tracking pain and symptoms is not just for when you’re going to the doctor, it also can help within the workplace, because it can show your bosses what you’re having to deal with. Don’t be afraid to ask if you’re able to have flexible working; explain why you need it and how.

“Be your biggest advocate. Trust your body as you know it best. Don’t feel afraid or embarrassed to speak up. Talking about mental health is not shameful. We need to understand that the only way things will change is if we open up. As women, we don’t get a choice whether we have periods or not, so we shouldn’t have to make a choice whether we speak out about it or not.”

To find out more, visit menstrualhealthproject.org.uk