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The It List’s Salon Stylist, Norman Boulton, has Decided to Become His Own Boss

The It List’s Salon Stylist, Norman Boulton, has Decided to Become His Own Boss

Jan 2, 2025 | CONVERSATIONS, CONVERSATIONS HEADER, EXPLORE, FREELANCE, HOME EXPLORE, SELF STYLED

The It List’s Salon Stylist, Norman Boulton, has Decided to Become His Own Boss

One month into the transition, Norman shares stories of running his own business, chasing his dreams and building on his hard work at Not Another Salon to become his own boss 

by CAITLYN | CONVERSATIONS

Norman Boulton’s journey is one of reinvention and the pursuit of authenticity. Transitioning from winning the Creative HEAD It List Salon Stylist award while working at the iconic Not Another Salon to becoming his own boss at Glitterdoll Balayage in Highgate brought new challenges and opportunities. One month into the transition, Norman shares his lessons from carving out his own path for stylists considering a similar leap. 

Leaving the vibrant energy of Brick Lane behind was no small decision. Norman had built a reputation at Not Another Salon, a space as colourful and creative as his own approach to hairdressing. Founded by Sophia Hilton, the salon was not just a workplace but a source of inspiration. “I’ve always admired Sophia,” Norman says. “She built something truly iconic, and I learned so much from being part of her team.” But when the time came to step out on his own, Norman knew it was the right move. “I’d been thinking about it for years,” he admits. “I waited a long time for this opportunity and jumped when it came.” 

Setting up shop in Highgate, known for its quieter charm and North London clientele, marked a stark contrast to his previous environment. “It’s a completely new area for me,” he explains. “I had no expectations about who would follow me.” Instead of dwelling on what he was leaving behind, Norman focused on creating a warm, welcoming space that would attract a fresh clientele. “I wanted people to feel like family when they walked through the door.” 

The transition to running his own business came with its fair share of challenges. From creating his own booking system to navigating the financial realities of being self-employed, Norman faced a steep learning curve. “The uncertainty was the hardest part,” he admits. “You’re not just doing hair anymore – you’re running a business.” 

Fortunately, he found support in the form of an accountant specialising in the hair industry. “She’s been incredible, helping me figure out the whole tax thing, which is so confusing,” Norman explains. This support allowed him to focus on growing his clientele while easing the logistical burden of managing his finances. 

Social media also played a pivotal role in his early success. Having built a loyal following over eight years of consistent posting, Norman leaned on Instagram to spread the word about his new venture. “What you put into it really is what you get back,” he says. “You just need to keep it authentically you.” 

Norman began posting regularly when he first started at Not Another Salon, inspired by its reputation as a social media trailblazer. “It was so iconic, especially when it first opened,” he recalls. “I wanted to have a page of my own work and my own messages.” His dedication to creating high-quality, engaging content has paid off in spades, helping him build a personal brand that extends far beyond the salon. 

Now, as his own boss, Norman’s Instagram plays a pivotal role in his business strategy. “Social media has changed my life,” he says. “I’ve been able to get booked in America with my reach.” From showcasing his latest work to connecting with new clients, his online presence is a cornerstone of his success. Norman even dedicates one day a week to social media and admin tasks, ensuring his content remains fresh and engaging. “You’ve got to give it the attention and love it deserves,” he adds.

As Norman adjusts, he has discovered the importance of balance. Initially, he filled his schedule to capacity, eager to establish himself. “I was in a scarcity mindset at first,” he confesses. “I overbooked myself just to feel secure.” 

However, with time, he realised that structure was essential for sustaining his energy and creativity. Norman now dedicates one day a week to admin tasks, which allows him to be fully present with clients during salon days. “When I’m with clients, I’m 100 per cent there. And when I’m doing admin, I give it the attention it deserves,” he explains

This approach has not only helped Norman manage his workload but has also opened the door to new opportunities beyond the salon. 

While his initial focus was on building a client base, opportunities for education have started to flow in naturally. “In the past few weeks, brands have reached out to me,” he says. “It’s amazing how quickly things are happening now.” For Norman, these opportunities represent the next stage of his career. “Education makes my inner child so happy,” he adds. “Some of my best career moments have been while teaching.” 

Education has always been a passion for Norman and now he’s embracing it more than ever. Inspired by industry icons like the owner of Not Another Salon, Sophia Hilton, and colourist Lesley Jennison, Norman is carving his own path in this space. “Sophia and Lesley are just so cool,” Norman says. “They make it look so effortless. Watching someone who’s dedicated most of their life to their career is so inspiring.” 

Sophia’s ability to juggle salon ownership and education left a lasting impression on Norman. “I’ve learned so much from her approach,” he shares. “She’s shown me what’s possible when you’re passionate and committed.”  

At the heart of Norman’s journey is his commitment to authenticity. From his vibrant social media presence to the intimate relationships he builds with clients, staying true to himself has been the cornerstone of his success. “I love what I do, and I think that passion resonates with people,” Norman says. 

His Instagram reflects his creativity and personality. “It’s a mix of hairdressing, humour and colour work,” he explains. “It’s a way to show who I am and connect with people on a deeper level.” For Norman, being authentic isn’t just a strategy – it’s a way of life. 

“Greatness doesn’t come from your comfort zone,” he says. And for Norman, the leap into independence has been worth every step. 

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The Wonderful World of Wicked’s Hair Design: An Exclusive Conversation with award-winning hair artist, Frances Hannon

The Wonderful World of Wicked’s Hair Design: An Exclusive Conversation with award-winning hair artist, Frances Hannon

Dec 20, 2024 | CONVERSATIONS, CONVERSATIONS HEADER, EXPLORE, HOME EXPLORE

The Wonderful World of Wicked’s Hair Design: An Exclusive Conversation with award-winning hair artist, Frances Hannon 

Behind the scenes with the creative force who gave each corner of Oz its own hair identity in this year’s most-discussed film 

by CAITLYN | CONVERSATIONS

Frances Hannon
When tasked with creating the hair designs for one of the most anticipated film adaptations of the decade, Frances Hannon knew she had to strike a delicate balance between honouring the beloved source material and crafting something timelessly cinematic. As the award-winning hair designer reveals in our exclusive interview, bringing Oz to life required an army of talented artists, innovative techniques and meticulous attention to detail. Having just completed what she describes as “maybe the hugest creative film I have ever had the pleasure of working on,” the veteran hair designer is eager to share the magic behind bringing Oz to life, one strand at a time. 

From 4 AM call times to managing teams of over 100 artists, the scale of Wicked‘s production required military-like precision combined with creative innovation. “We had roughly 300 crowd in the chair, as well as 80 plus principals on set at a given time,” Frances explains. “The main actors, like Cynthia and Ariana, would often be in the chair at 5 AM, which means your artists are there at 4:30 to be ready and set up for them.” 

But such a massive undertaking doesn’t materialise overnight. Let’s go back to the beginning of the story, before the magic of Oz came to life, before the first wig was styled or character was designed. 

 “When Wicked came out, I took my two daughters to see it several times because they adored it,” she shares. “I loved the theatre production, and The Wizard of Oz was such a part of my world growing up. So, when Jon [Chu] chose me, I felt incredibly lucky.” 

This personal passion shaped Frances’ approach, but collaboration was key. Working closely with costume designer Paul Tazewell and director Jon M. Chu, she developed distinct visual identities for every corner of Oz. “We weren’t tied to anything,” Frances explains. “Jon and Marc [Platt, producer] were wonderful collaborators and allowed me to bring all my ideas to the table.” 

The process began with the principal characters. An early test with Cynthia Erivo revealed a critical insight for Elphaba. “We had the green ready, but the original hair colour didn’t work. It was immediately clear that it needed adjustment,” she recalls. 

The Inspiration  
For Elphaba, the journey is reflected in her hair. “Elphaba as a character has no vanity,” Frances explains. The solution came in the form of micro braids, which brought depth, texture, and a sense of history. “It really had a background to it that worked for our Elphaba,” she says. 

As Elphaba grows in her power, her hair evolves subtly. “We made her hair longer, darker, and slightly wilder to reflect her strength,” Frances adds. These changes had to work in harmony with the rest of her design. “With the dark hat and high-necked black costumes, it was important to keep her face clear so the audience could always read her emotions.” 

For Glinda, the keyword was “timeless.” Frances designed her early look to feel soft, accessible and glamorous. “For her younger days, we kept her hair shorter, a much warmer blonde, and styled it very simply — like a little clip to one side, sort of keeping her quite old Hollywood looking, but being very accessible to our world now,” she explains. 

As Glinda steps into her role as the Good Witch, her hair transforms into something more elaborate. “It becomes longer, paler and the styling follows the curves of the set and costume design,” Frances notes. “We wanted her look to feel timeless, so it could still resonate in 30 or 40 years.” 

But creating these distinct character looks was only part of the challenge. Frances and her team had to develop unique visual identities for each region of Oz, ensuring that every citizen’s hair told a story about where they came from and their place in this magical world. 

For Munchkinland, the aesthetic was textured and colourful. “It’s an agricultural region — their hands are stained with tulip dye, and their hair reflects that working life,” Frances explains. “We went for reds of a million shades and simple styles as if they’d done it themselves under their hats.” These choices weren’t just aesthetic – they helped identify Munchkins even when they appeared in other settings. “You had to be able to distinguish them in any room, like in the Shiz University, or Ozdust Ballroom.” 

Emerald City, in contrast, was sleek and extravagant. “It had to feel sophisticated, architectural and controlled,” Frances says. “We mirrored that in the hair, beards and facial hair, drawing inspiration from shapes in architecture and nature.” 

Even smaller details were meticulously considered, like the beauticians in the Emerald City nail salon. “They only had two types of coloured hair,” Frances reveals. “I used that kind of uniformity in several areas to create visual cohesion.” 

For Winkie Country, the palette was cooler and more polished. “It’s all blues and darker, cared-for hair,” Frances says, while the Uplands, Glinda’s homeland, were inspired by Scandinavian tones. “We kept it blonde and fairer, reflecting that softer, lighter palette.” 

Technical Execution 

The ambitious scale of Wicked demanded technical mastery. “Wigs were the backbone of the film,” Frances explains. “We baked hundreds of wigs overnight in industrial ovens to ensure they held their shapes throughout 12-hour days of dancing, singing and stunts.” 

For Elphaba’s character, those micro braids became a cornerstone of her look. “We plaited them directly into the wig to add structure and control. It was labour-intensive but worth it because the braids held beautifully while giving us that raw, textured edge we wanted.” 

Glinda’s hair, in contrast, required a delicate touch. Frances relied heavily on steam-heated rollers and tonging to create soft, sculptural waves. “Her hair had to look light and romantic but still hold its shape. We used very lightweight products to keep the texture alive without weighing it dow.” 

Durability was a constant focus, especially for Elphaba and Glinda. “You can’t have hair falling apart halfway through a scene,” Frances notes. The solution came in the form of hand-tied, layered pieces and strategically hidden micro braids that locked styles into place without sacrificing movement or realism. “We had to think about every action the actors would take — from running to spinning to cartwheeling — and prepare for it.” 

From intricate braiding to maintaining durability for high-energy choreography, the sheer scope of the project demanded nothing less than perfection. 

For the crowd scenes that brought Oz to life, speed and precision were key. “We sometimes had just minutes to transform hundreds of extras,” Frances shares. Munchkinland’s textured, colourful styles relied on a mix of pre-dyed wigs, quick setting, and clever styling tricks. “We wanted it to look organic — like they’d done it themselves — so we focused on layers, natural shapes, and imperfections.” 

In stark contrast, Emerald City’s sleek and sculptural looks required meticulous styling and polishing. “It was architectural in its detail,” Frances explains. Beards and facial hair were just as carefully considered. “Everything was about control and sophistication — from the angles of the hairlines to the way curls were set and positioned.” 

Frances’s team had to be concerned with more than just human hair, including the hair on Fiyero’s horse. “We shaved and dyed the horses’ manes and tails with a Japanese product that had been rigorously tested for safety,” she reveals. To enhance the look, they added blue-dyed hair extensions, adjusting the direction of the manes to ensure a uniform visual flow on screen. “It’s the kind of detail most people won’t notice, but it all contributes to the film’s overall aesthetic.” 

Words to the Wiser  

For those aspiring to work in film and television, Frances shares practical advice, grounded in her years of experience. The first step? Develop a wide-ranging skill set. “You need to learn wigs, extensions, cutting and dressing,” Frances emphasises. “You’ve got to know all of it. If you can get experience in theatre, I’d say go for it because theatre teaches you durability — that’s so important in film.” 

Durability is a recurring theme in her work. “Whatever you’re creating, it has to last. On a film set, the style might have to hold up for hours, through stunts, movement, lighting and sweat.” Knowing how to prepare hair to withstand these conditions is an essential part of the job. 

Equally important is the ability to collaborate. Hannon stresses that film is a team effort, requiring open communication across departments. “You’re constantly working with the costume designer, the director and the actors to align everything. It’s about the character, not the hair itself. You’re there to serve the story.” 

 

 

For those just starting out, persistence is critical. “You’ve got to keep going and keep knocking on doors,” she advises. Breaking into the industry takes determination and a willingness to begin wherever opportunities arise. 

Above all, Frances encourages young artists to stay curious and committed to their craft. “Learn as much as you can, take every opportunity to practice, and never stop trying.” 

Additional Credits:

Principal Key Make-up and Hair artist- Sarah Nuth

Key Hair and Make-up- Johanna Neilsen

Crowd Supervisor- Laura Blount

Make-up artist to Elphaba- Alice Jones

Hair stylist to Elphaba- Sim Camps

Make-up Artist to Galinda- Nuria Mbonio

Hair stylist to Galinda-Gabor Kerekes

Make-up artist to Jeff Goldblum-Vicky Lange

Make-up artist to Jonathan Bailey- Lara Prentice.

 

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Sam McKnight: Why I’ve Joined A New Union For Fashion Creatives

Sam McKnight: Why I’ve Joined A New Union For Fashion Creatives

Dec 18, 2024 | DOCUMENTS, DOCUMENTS HEADER, EXPLORE, HOME EXPLORE

Sam McKnight: Why I’ve Joined A New Union For Fashion Creatives

Set up to tackle widespread exploitative workplace practices, Bectu Fashion UK hopes to bring about change

by CATHERINE | DOCUMENTS

In March 2024, not long after the A/W show season had come to a close, Creative HEAD reported on how hair creatives were being bullied to work for free in a fashion industry that generates an astonishing £37bn every year, according to the British Fashion Council. Sadly, low – or often no – pay, long hours and toxic workplace cultures are the norm for many freelance session stylists, as well as the make-up artists, clothes stylists and nail techs who work alongside them.

And it’s not just young talents at the outset of their career who are affected. Even session legend Sam McKnight gets treated badly. “As with everything in life, the money stays at the top and doesn’t trickle down – and hair and make-up are the easiest victims,” he says.

Well, now Sam – and the many thousands of other creatives who work in fashion backstage, on set and for the red carpet – have a new champion. Bectu, the long-established union representing staff, contract and freelance workers in the media and entertainment industries, has been working with a  specialist committee to help fashion creatives launch a union all for themselves. And now it’s ready.

Bectu Fashion UK is a new branch of Bectu that has been created specifically to represent freelance hairdressers and other creatives in a non-performance fashion role. Membership gives you access to advice on any aspect of your work, from whether your pay is above national minimum wage to bullying, as well as a 24-hour legal support helpline, assistance with chasing monies owed and discounted Public Liability Insurance that’s tailored specifically to fashion creatives. There are also plans to provide tools, training and guidance to help fashion workers negotiate their pay, terms and conditions.

Membership fees are dependent on your gross annual earnings, ranging from £10/month to £350 annually.

“Because there’s no history of unionisation in fashion, this is a space that we need people to buy into, because if we don’t get that groundswell of involvement, it’s not going to work”

But Bectu and the Fashion UK committee are clear that for this new union to work, everybody needs to work together and participate. The more people who join Bectu Fashion UK, the bigger the opportunity to change the industry for the better – for example, by demanding fair pay and treatment – and the approach they are taking is highly collaborative. They’ve set up a WhatsApp group you can join, even if you’re not a Bectu member, so you can share experiences with fellow fashion creatives, you have access to member meetings and you can even join the committee yourself when elections come around. And because Bectu has helped many other similar sectors to unionise, they can look to those for guidance and learnings and to understand how to make progress more quickly.

Says Bectu Negotiations Executive, Naomi Taylor: “Because there’s no history of unionisation in fashion, what we’re saying is this is a space that we need people to buy into, because if we don’t get that groundswell of involvement, it’s not going to work. Yes, we need membership subscriptions to resource it, but we also need people to participate in things like surveys so we can get data around the issues that people are dealing with and that will allow us to work out what we can do to help.”

The Fashion UK committee is clear that understanding the key issues facing sector workers is vital, and has already conducted a survey of around 500 fashion creatives, the results of which will be released in February 2025, ahead of Fashion Week (see snapshot below).

Says Naomi: “If we can build the numbers to a kind of tipping point, where we can start to campaign on the issues that are coming out of the survey, then we can start to put pressure on employers and on government also, because a lot of the changes that are being introduced around employment rights are not going to be impactful for people who are self-employed or freelancers. This is one of the most important things about being in a union – having someone to speak up for you.”

Bectu Fashion UK committee member Famida Pathan is a freelance make-up artist with first-hand experience of typical freelance struggles. She finds being part of Bectu Fashion UK particularly useful when dealing with issues like monies owed: “In the past, I found myself pursuing bad debt through the Small Claims Courts. But having a union means I can go to someone who will step in on my behalf, whether that’s talking to the client directly or even pursuing a legal claim if they think there’s a good chance of success. I’ve been working in this industry for 20 years and this is the first time I’ve felt there’s support for me in my career. I no longer feel like I’m on my own.”

“I’ve joined Bectu Fashion UK because things need to change” – Sam McKnight

“The situation for fashion creatives has been getting incrementally worse over the past 20 years. It’s multi-layered, but there’s been a devaluation of what we do, a lack of respect. We’re not called ‘hair and make-up’ anymore; since social media came along, we’re Glam Squad. I find that offensive because it diminishes what we do and takes away your individuality.

 

“It’s come about because there are people working in the industry now who are not educated in what it is we do and have no idea of what’s gone before and what we need. They’re just a person with a clipboard. As a consequence, backstage conditions have become scuzzier, smaller and with the wrong kind of equipment. Meanwhile, on set you’ll find that the lighting guy and the caterer will get credited, but not the hair and make-up. And this is despite the fact that beauty advertising is bringing in more money for magazines than fashion. And if Vogue aren’t crediting you, then that sends a message down the line that everyone thinks that’s okay.

“In the piece that Creative HEAD wrote about pay someone said something that I found interesting – that we shouldn’t get too pushy about being paid because we’re creating art. And I thought, ‘Yes, absolutely. And that’s where the abuse starts.’ Because these people know that we’re so desperate to create that, and of course we’ll do it for free, but actually it’s not your art – you are creating it for somebody else who owns it. It’s never yours unless you’ve paid for it.

“The reason why I’ve joined Bectu Fashion UK and am advocating for them is because things need to change. I can speak up because I don’t give a shit if people don’t book me anymore, whereas someone less established in their career might not want to for fear of getting blacklisted. I’ve heard a few horror stories from people saying their agents have forbidden them to join any union, which is totally illegal. The agent is now bullying the stylist!

“So, yes, there will be people who don’t want to change the status-quo because they can draw on this amazing talent pool for free and they don’t want the uprising. But that’s not going to stop us. It’s important that we structure minimum day rates and impose certain working conditions, because otherwise the Wild West will continue. Bectu Fashion UK is something I believe in and something I feel our industry needs. And I’m excited that in 2025 we’re really going to go for it!”

Sam McKnight’s award-winning haircare and styling range, Hair By Sam McKnight, is now available to be stocked in salons. For more info contact salons@sammcknight.com.

“I’ve joined Bectu Fashion UK because things need to change” – Sam McKnight

“The situation for fashion creatives has been getting incrementally worse over the past 20 years. It’s multi-layered, but there’s been a devaluation of what we do, a lack of respect. We’re not called ‘hair and make-up’ anymore; since social media came along, we’re Glam Squad. I find that offensive because it diminishes what we do and takes away your individuality.

“It’s come about because there are people working in the industry now who are not educated in what it is we do and have no idea of what’s gone before and what we need. They’re just a person with a clipboard. As a consequence, backstage conditions have become scuzzier, smaller and with the wrong kind of equipment. Meanwhile, on set you’ll find that the lighting guy and the caterer will get credited, but not the hair and make-up. And this is despite the fact that beauty advertising is bringing in more money for magazines than fashion. And if Vogue aren’t crediting you, then that sends a message down the line that everyone thinks that’s okay.

“In the piece that Creative HEAD wrote about pay someone said something that I found interesting – that we shouldn’t get too pushy about being paid because we’re creating art. And I thought, ‘Yes, absolutely. And that’s where the abuse starts.’ Because these people know that we’re so desperate to create that, and of course we’ll do it for free, but actually it’s not your art – you are creating it for somebody else who owns it. It’s never yours unless you’ve paid for it.

“The reason why I’ve joined Bectu Fashion UK and am advocating for them is because things need to change. I can speak up because I don’t give a shit if people don’t book me anymore, whereas someone less established in their career might not want to for fear of getting blacklisted. I’ve heard a few horror stories from people saying their agents have forbidden them to join any union, which is totally illegal. The agent is now bullying the stylist!

“So, yes, there will be people who don’t want to change the status-quo because they can draw on this amazing talent pool for free and they don’t want the uprising. But that’s not going to stop us. It’s important that we structure minimum day rates and impose certain working conditions, because otherwise the Wild West will continue. Bectu Fashion UK is something I believe in and something I feel our industry needs. And I’m excited that in 2025 we’re really going to go for it!”

Sam McKnight’s award-winning haircare and styling range, Hair By Sam McKnight, is now available to be stocked in salons. For more info contact salons@sammcknight.com.

Eight in 10 UK fashion creatives pressured to work for free, research shows

In autumn 2024, Bectu Fashion UK surveyed more than 500 fashion creatives working in roles such as hair and make-up artists, assistants, fashion and accessories designers and photographers about their workplace experiences. The survey found that:

• Just one in ten fashion creatives (10 per cent) say they feel secure in their job.

• Only 14 per cent are paid on time for the work they do.

• Half (51per cent) of fashion creatives are earning under £30,000 a year before tax from their work in the industry.

• More than seven in ten have struggled financially (72 per cent)  in the past year

• Eight in ten (79 per cent) have felt pressured to work for free.

• And 83 per cent say that behaviours that would be considered toxic and inappropriate in public life are often tolerated in the fashion industry.

The responses also paint a bleak picture of poor work/life balance, with more than 7 in 10 reporting struggling with their mental health in the past year, and most (59%) saying their work has negatively impacted their personal relationships.

“Under-paid, under-respected and have no one to tell this to because HR is in the pockets of the CEO, who is our boss” – senior creative assistant

“The expectation seems to be that we, as freelancers, can be paid whenever suits the employer. There’s no other industry where you provide a service, and all terms are blatantly ignored with no consequences. It feels to me that it’s getting worse year on year” – photographic assistant

The full survey results will be published by Bectu Fashion UK in February 2025, just before London Fashion Week. Creative HEAD will report the findings as soon as they are made available.

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“I Wanted To Be Somewhere Where Everything Is Designed For Me, The Hairdresser”

“I Wanted To Be Somewhere Where Everything Is Designed For Me, The Hairdresser”

Dec 10, 2024 | CREATIVE PROJECTS, CREATIVE PROJECTS HEADER, EXPLORE, HOME EXPLORE

“I Wanted To Be Somewhere Where Everything Is Designed For Me, The Hairdresser”

Inside Host Manchester, the brainchild of scalp bleach expert Sarah Louise Keane.

by KELSEY | CREATIVE PROJECTS

Located just minutes from Manchester Piccadilly on historic Ducie Street, Host Manchester offers hairdressers a home-from-home – a bespoke space which puts their craft firmly in the spotlight. Set in the iconic former ‘Home’ nightclub, the space captures the spirit of innovation and individuality, packed with unique details and nods to Mancunian culture, like the carefully curated prints seen on the gallery walls.

Spanning two floors, the light, spacious space is the epitome of thoughtful design, with every detail considered with the hairdresser in mind.  “The biggest thing for me – not just as someone who teaches who needs a space designed for that – but as a hairdresser who works for herself, I wanted to be somewhere where everything is designed for me, the hairdresser,” Sarah says. “As nice as it is to have a dimly lit backwash, if you can’t see what you’re doing, it’s not ideal,” she adds, laughing.

The three key areas which the space addresses are light, layout and the backwash area. First and foremost, there are massive windows which span both floors. There are also 36 Daylight Bars that mimic natural light, ensuring perfect visibility no matter the weather – ideal for the many days of rain that Manchester is known for!

The backwash areas are strategically placed to maximise the benefits of natural light upstairs, while downstairs, the event and education space has been designed for creativity and learning.

The hairdressing stations have also been carefully positioned to take full advantage of the natural light flooding, ensuring that every station is bathed in optimal light. The thoughtful placement also encourages collaboration through an open, inviting atmosphere. “We wanted to create a space where everyone can come together – whether that’s a hairdresser working behind the chair, someone who does education, or people like Peter [Host’s co-founder], who wants to have a branded event,” Sarah explains. “We can do it all under one roof!”

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“I Am 100 Per Cent Confident In Saying That We Lead The Way In Extensions”

“I Am 100 Per Cent Confident In Saying That We Lead The Way In Extensions”

Dec 9, 2024 | DOCUMENTS, DOCUMENTS HEADER, EXPLORE, HOME EXPLORE, TALKING SHOP

“I Am 100 Per Cent Confident In Saying That We Lead The Way In Extensions”

Victoria Lynch has been ‘doing hair’ since she was 13. But spotting a gap in the extensions market back in 2003 propelled her to the forefront of the industry, running a hair extensions business, Additional Lengths, worth millions. Creative HEAD sat down with the North East-based entrepreneur as she embarks on the next ambitious phase of her business.

by CATHERINE | DOCUMENTS

Victoria Lynch

Victoria Lynch, founder of Additional Lengths and Remi Cachet

There’s a page on the Additional Lengths website called Victoria Lynch’s Hair Story and it makes fascinating reading. It’s a look back at the brand founder’s journey from doing family and friends’ hair at age 13 in her parents’ spare bedroom to building a UK-leading hair extensions empire in a global market that’s projected to grow from $4.8bn in 2024 to $10.78bn by 2032. It’s a tale of ingenuity, bravery, sacrifice and resilience that few would be capable of – and sends out a clear message that Victoria Lynch is a force to be reckoned with.

When you look back on your business, what do you see?

I’ve seen the journey go from nothing to absolutely blowing up globally. Aesthetics have become part of our DNA and we’re living in a world now where there’s no taboo about anything. It’s okay to have a face lift and a nose job. Hair extensions and wigs have become part of normal life. I can leave the house in the morning without make-up so long as my hair looks good.

You launched Additional Lengths in 2003 selling hair extensions directly to consumers. At what point did you decide to supply to hair professionals?

Additional Lengths was started as a small business primarily to cater to my own needs. Ten years down the line, when hair extensions were still very much in their infancy, I wanted to expand, but Additional Lengths was known as a budget range and I knew I would need something different to attract high-calibre trade professionals.

And the only way I could achieve that was to create something new that could hit the ground running because of the knowledge, experience and supply base that I had built up by then. I knew how to research and develop products, I knew what to look for in terms of quality, delivery, specifications. And I knew I could tailor everything to a professional audience and show up with what they needed before they knew they needed it! So, that’s how and why Remi Cachet came about. I let it look as if Additional Lengths was the official authorised distributor of this amazing new brand on the block, but in reality Remi Cachet is not a business – it’s a brand that I own under the Additional Lengths umbrella.

You started Additional Lengths with a £1,500 loan from the Princes Trust and went on to report sales of £17.6m in 2023. What has driven that growth?

Our innovations lead the way. And I am 100 per cent confident in saying that we do lead the way in extensions. If there is something we don’t do, it’s because it’s a gimmick; it’s not a longterm solution for clients and stylists. I’m very big on sustainability and recyclability, especially when it comes to raw hair. It takes five years to grow 20-inch hair, so if someone removes it after a few months, disposes of it and buys new hair, that’s not okay. I could sell twice as much if I encouraged that cycle of replace, replace, but for me it’s not about the money, it’s about how I impact and show up in the industry. My background is extensions, I’m a Level 3 hairdresser, I’m a qualified educator and I’m very industry-focused. I see it as my responsibility, as an industry leader, to help the next generation flourish in their business by delivering a product that makes their clients feel like they’ve got a return on investment too. The priority for me is quality and creating a product that is reusable time and time again.

As the market grows, does it get more cut-throat, too?

It has become very competitive. I’ve had to get design protections on certain products I’ve created because we add new products colours to our portfolio, but then people copy us left, right and centre. But that doesn’t bother me because it sits well with who we believe we are, which is the natural born leader of hair extensions. Everyone in the industry knows we’ve been the first to launch major changes.

The market has become saturated with so many new brands coming in, but at the same time, some of what used to be the bigger names have faded into the background because they didn’t evolve in the way their customers needed them to. These businesses are not being run by hair professionals but by business people who don’t understand the needs of their customers.

Victoria is determined to be transparent about the supply chain behind her business

Your extensions brand Remi Cachet is currently going through a major rebrand. Why now, and what do you hope to achieve?

Over the last eight, nine years we have evolved, but not from a colour palette or logo point of view and so we needed an update there. But in terms of sustainability things had to change, too, and we’re looking at our packaging and asking ourselves what materials we can tap into so we can meet our sustainability targets. But in all honesty, this is less about what the packaging looks like – as a brand we don’t need to put glitter or polish on anything – it’s about the product inside, and we’re keeping our customers updated as we go along about the changes they can expect.

You’ve posted a video on your socials that deals with your supply chain and how Remi Cachet products are sourced and produced. This full transparency approach is quite rare in extensions, so why have you gone for it?

I think being honest and transparent is the best policy and it’s why I am respected by and have such a good rapport with hair professionals. They don’t just want me to inspire them, they rely on me and my brands to grow their businesses, and they’re able to do this because we offer them an ethical, transparent alternative that their clients want and need. It’s why I focus more on the trade side of things because consumers are not loyal – they will buy from wherever they see the best deal is. Whereas, when you give  professionals what they need and they know they can’t get anything better, they will keep coming back. And that’s how businesses grow, so collectively we’ve grown together.

Training is such a big part of extensions but traditionally usually paid for by the salon owner. With so many hair pros freelance now, are your training programmes taking a hit?

Far from it. What we’re seeing is individuals coming on our courses who want to invest in themselves or their business because it brings so many rewards. The benefit of having hair extensions within your offering is that when a business gets challenged – for example, by clients stretching out that time between appointments, or when something like the Budget adds extra costs to your overheads – you will always have more bums on seats because you deliver more services and you can cater to a wider audience. So, extensions are going to help you get through those economic downturns. If you don’t evolve as an individual and offer more, you’re always going to restrict your own growth.

You’ve come a long way since setting up in your parents’ spare bedroom. What does a working day look like for you nowadays?

Well, I’m busy leading a senior leadership team, a board, 40 employees… I have meetings coming out of my ears right now [laughs]! I’m focusing on our growth in the US, which is where I need to be, where the business needs me, so we’ve just taken on a brand ambassador, Sarah Ashley, who’s been advocating Remi Cachet for years now, and we’re doing lots of the trade shows – we launched in Orlando and we’ve just done San Antonio, then we’ll do Anaheim in February, Chicago in April, then it’s back to Orlando in June. And so the cycle begins again!

Have you ever taken on investors within your business?

I do have investors, but not because the business needed money. Our investors are Growth Partner and they have a minority stake in the business, so I’m still very much in charge and driving the business. But the reason I went with Growth Partner is because it’s headed up by [HomeServe founder] Richard Harpin, who recently sold his business for £4bn. His entrepreneurship is very different to how private equity look at things, which is to strip everything back to the bones, remove the people, the quality, the culture, and then sell it on. And I wouldn’t allow that in my business because for the last 20 years I’ve been about quality and delivery and no price tag is going to determine my choices there.

But especially now where we have our sights set on the US, and it’s about deciding when we register our entity, what’s the trigger point for getting a distribution base out there and all these big decisions… I was thinking, ‘I can’t keep banging this drum on my own forever’. So, at some point I had to let someone in the door.

I’ve never worked in a business or corporation where I’ve been mentored and coached, and the reason I’ve let Growth Partner into my business is to tap into their experience, their networks and to be able to share my thoughts and ideas with a board or pick up the phone and ask for help or advice.

And the reality is that working with Richard, having exposure to a whole new world of people that I simply didn’t have access to being trapped in my own world up in the North East, it’s given me a new level of aspiration. I really do need to think about the future now. I am getting older, and what does the future look like? If I could achieve a fraction of what he’s achieved, and be able to have that true work-life balance one day, be able to repay my family for all the sacrifices they’ve made by investing in them, that would be incredible.

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“It Would Be So Beautiful If More Businesses Could Take A Pause To Give Back” – Why Wildflower Closes On The Busiest Day Of The Year

“It Would Be So Beautiful If More Businesses Could Take A Pause To Give Back” – Why Wildflower Closes On The Busiest Day Of The Year

Dec 5, 2024 | DOCUMENTS, DOCUMENTS HEADER, EXPLORE, HOME EXPLORE

“It Would Be So Beautiful If More Businesses Could Take A Pause To Give Back” – Why Wildflower Closes On The Busiest Day Of The Year

Wildflower’s Give Back Day honours community, compassion and connection on the busiest retail day of the year, 23rd December

by MADDI | DOCUMENTS

Wildflower Dublin closes for Giveback Day

For six years running, Wildflower in Dublin has made the bold and compassionate choice to close its doors to paying customers on 23 December, the busiest day of the year, to give back to the community. The salon’s annual ‘Give Back Day’ has become a cherished tradition, creating space for connection, support and reflection on what the holiday season is truly about. 

“I wanted to do something at the end of the year to bring everyone together, to create a connection, and to remind us what life is about,” says Danielle Garner, owner of Wildflower. “It’s so easy to get caught up in the material side of Christmas, but this day is about something deeper.” 

The tradition began in 2018 with free haircuts for members of the homeless community. “The first year, I went to Dublin Simon Community and looked after people who were homeless, doing their hair for Christmas,” Danielle recalls. “The following year, we did it for parents of children who were terminally ill at our local hospital. That was the most profound year. It was the start of something bigger for us.” 

Wildflower Dublin Giveback boxes

Wildflower Dublin goodie bag

That second year also marked a significant shift for the Wildflower team. Before opening the salon for Give Back Day, the staff participated in a yoga and cacao ceremony. “That morning in 2019 was really impactful. It shifted something in the team – it allowed them to be more open, to express emotions,” Danielle shares. “There were a lot of tears and open hearts. It changed the course of Wildflower, leading us to embrace wellness more holistically in our work.” 

Over the years, Wildflower has tailored each year’s Give Back Day to different causes. “One year, we focused on people surviving domestic abuse. Another year, we supported families through Laura Lynn,” Danielle explains. “Laura Lynn helps families with housing, funding, and emotional support for children who are unwell, and they also have a children’s hospice.” 

This year’s event follows a format that worked well in 2023. Families are invited to the salon in small groups, divided into time slots. “We start with parents whose children are unwell, then parents who have lost children. It gives them a chance to talk to others who’ve been through the same experience,” Danielle explains. “It’s a safe space for connection, and we’ve seen how much it helps.” 

Wildflower’s generosity extends beyond haircuts. Local businesses contribute to goodie bags for the guests, adding thoughtful touches to the day. “Chupi, the jewellery brand, always includes something beautiful – sometimes a piece of jewellery or a Christmas ornament,” Danielle shares. “Mysa Homeware, a vegan candle and soap brand, is contributing this year, and Urban Health is providing catering with nutritious granola pots and fruit and juice for the day.” 

Danielle is hopeful other businesses will join the success of Give Back Day. “I don’t know of anyone else doing something like this in the industry,” she says. “It would be so beautiful if more businesses could pause to give back. Even if they can’t close for the day, contributing to goodie bags or supporting events like this would make such a difference.” 

Want to join the spirit of giving? Businesses can contribute to Wildflower’s goodie bags or start their own version of Give Back Day. Let’s make this season a little brighter for those who need it most. Reach out to Wildflower to learn more! 

Wildflower Dublin salon

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