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“My Most Important Tool Is Communication”

“My Most Important Tool Is Communication”

Partnership

"My Most Important Tool Is Communication"

Birte Klintworth discusses her creative point of difference

Birte Klintworth is adored for her unique eye on styling. After delivering a standout take on polished perfection, she shares how her style drives her business – with a little help from Diva Pro Styling. From creative empowerment through to sources of inspiration, Birte explores her unique approach to work in this exclusive video interview, shot on set with Creative HEAD. 

Creative HEAD x Diva Pro Styling – see more from the partnership shoot > 

Discover how Diva Pro Styling can power you to deliver the different every time you style! 

“As Artists, I Believe We Get Super Obsessed”

“As Artists, I Believe We Get Super Obsessed”

Partnership

"As Artists, I Believe We Get Super Obsessed"

Take a deep dive into the career of Rebecca Jacques

An independent stylist and educator, Rebecca Jacques is building a reputation for authenticity in her work – and Diva Pro Styling helps fuel that creativity. Press play to hear exclusive insight, understand her signature style and find out what she got up to on set with Creative HEAD. 

Creative HEAD x Diva Pro Styling – see more from the partnership shoot >

Discover how Diva Pro Styling can power you to deliver the different every time you style!

Make Trends Your Business

Make Trends Your Business

Partnership

From rich mochas to peekaboo panels, discover the potential power of harnessing trends – with luxe looks that are coveted by clients

There’s no doubt colour is your salon’s superpower, recharging profits and creativity and thrilling clients in the process. But what will fuel your colour business to the next level? Let us introduce you to the power of trends… and a macro trend that shows no sign of slowing is Expensive Hair, with full beam finishes so flawless and fabulous they shimmer with shine.

For this Creative HEAD front cover shoot project, in partnership with L’Oréal Professionnel Paris, we unleash an abundance of delicious-looking, high-end hues, thanks to the talents of Robert Eaton and Josh Goldsworthy. But more vitally, we uncover the commercial case behind the looks – the importance of understanding what’s trending, the psychology of consumer trends and how you can turn a trend into a brilliant business booster. Let’s see what’s trending right now… 

The Artist: Robert Eaton, creative director, Russell Eaton 

An industry icon and a multi-award winner, Robert’s brief for this project was to deliver two luxury takes on this season’s brunettes, powered by the oil-rich formula of iNOA, which is also ammonia-free. Delivering super shiny results and a scalp that feels nourished, iNOA is a game-changing product for colourists – helping to craft hair looks so glazed and gorgeous they’ll make your mouth water! “Clients are often searching for luxury, both in the service they receive in the salon, and of course, in their hair,” says Robert. “My clients are always looking for high shine, well-conditioned hair. These looks really bring that to life in an accessible way. As colourists, we’ve got a responsibility to create beautiful hair, and also hair that’s well maintained.” 

The luxe look here comes from defined, bouncy, shiny curls for sure, but also from the magical mix of shades. Just like a bespoke suit is a symbol of luxury, personalised blends of tones, delivered by expert techniques, gives this trend a high-ranking status. A combination of ash beige and warmer shades creates a custom colour that pops while enhancing the curl pattern too. And is there a more trending palette right now than brunette? From Mocha Mousse to Ganache Brunette, brown has proven it’s endlessly versatile and ideal for tailoring. From hints of caramel to kisses of copper, brunette offers the scope to curate something rich, deep and reflective that says ‘affluence’ without being loud or overt.  
Shades and Steps

L’Oréal Professionnel Paris iNOA 6.1 + 20 vol; 7.31 + 20 vol; 8.13 + 20 vol; 10.21 + 30 vol

  • Mist hair with Metal Detox Professional Pre-Treatment Spray and comb through, before sectioning the hair into four quadrants
  • Starting at the back, apply 6.1 to the root area melted into 8.31, and 10.21 throughout the lengths and ends
  • Allow the curls to dictate the section pattern by increasing and decreasing the width of each section. Work throughout the head until you reach the hairline
  • At the hairline apply the 8.13 to the root
    Through the mid-lengths and ends of the hairline, alternate between 8.13 and 10.21
  • Develop for 35 minutes
  • Rinse, shampoo and treat with Curl Expression
Brown has dumped the boring moniker and is playing to its strengths – rich tones, glistening gloss, major reflects… When done brilliantly, brunette always looks premium, and this season, those finishes are liquid and luxe. “Expensive Brunette” views on social have seen steady growth in 2025, and Robert’s take on the trend blends notes of caramel, mocha, vanilla and a little warmer cinnamon. That’s deliberate, based on the move towards warmer browns, and those shades illustrate what underpins this trend – those deeply-saturated glazed tones look delicious, rich and sumptuous to achieve an irresistible result that looks almost good enough to eat.  
Shades and Steps

L’Oréal Professionnel Paris iNOA 6.8 + 20 vol back section; 7.8 + 20 vol middle + parting; 7.34 + 20 vol front; 8.31 + 30 vol hairline melted into 8.31 + clear + col vol lengths + end

 

  • Mist hair with Metal Detox Professional Pre-Treatment Spray and comb through
    Section hair from ear to ear and apply iNOA 6.8 and 20 vol root to tip
  • Isolate the hairline 1-inch deep from recession to top of ear
  • Apply 8.31 and 30 vol at the root, and melt through on mid-lengths 8.31 + Clear and 30 vol
  • Create a triangle section with widest part from temple to crown. Apply 7.8 and 20 vol
  • On either side of the head, create two more triangle sections and alternate applications of 7.8 and 7.34 with 20 vol
  • Develop for 35 mins
  • Rinse, shampoo and treat with Vitamino Color Spectrum

Colour AND Treat 

Think of the double duty that a colour appointment can deliver – firstly with that luxurious experience courtesy of iNOA (thanks to its oil-rich, ammonia-free formula) and secondly with the backwash boost of a professional treatment, just like the salon exclusive Deep Conditioner from the new Vitamino Color Spectrum range. And if a client wants to keep that ‘just coloured’ vibrancy locked in, Vitamino Color Spectrum is the ideal take home treat, too! 

Make It Personal 

“Luxury is about personalisation, ensuring that each technique, each colour formulation, is bespoke and personalised to a client,” explains Robert. Curate a perfect combination that can’t be replicated at home, taking into account skin tone, hair type and the ideal blend, to nail ‘Expensive Brunette’ every time. 

The Artist: Josh Goldsworthy, creative director, Goldsworthy’s Hairdressing  

From presenting at industry-facing avant garde shows to flexing his editorial prowess as a busy session stylist, Josh delivers incredible colour results that are bang on-trend and expertly tailored to his loyal clientele. His take on ‘expensive hair’ is rooted in the bespoke, engineered by a business-building evolution of balayage. “Balayage is already a really established commercial look used in salons, but this trend is pushing it into a whole new realm,” explains Josh. “Peekaboo Balayage is about placing subtle and sometimes bolder colours within the hair, just underneath, so you get these pops of colours and iridescent tones. This is that next forward step for clients to try something new, something that gets them out of their usual toner or application and gives them some versatility and the ability to change it up, every time.” 

This iridescent yet creamy soft blonde acts as a veil through the top section of the hair… and then you’re treated to a seasonal surprise with deep slices of the two new pearlescent coral shades from Dia Light. Add a little movement and PEEK-A-BOO! The underneath reveals something more playful and unexpected. Colour can be as bold or as muted as you want, warm or cool – the power of ‘Peekaboo Balayage’ is in its versatility. We’re hooked!

Shades and Steps

L’Oréal Professionnel Paris Blond Studio Purple Lightening Balm + 30vol  

L’Oréal Professionnel Paris Dia Light 10.23 + 9 Volume DiaActivateur; 8.24 + 9 Volume DiaActivateur; 10.24 + 1g Violet booster + 9 Volume DiaActivateur

  • Mist hair with Metal Detox Professional Pre-Treatment Spray and comb through
    Apply full head of highlights utilising fine and medium weaves with Blond Studio Purple Lightening
  • Develop for up to 50 minutes
  • Rinse and shampoo with Metal Detox
  • Isolate 1cm of the hairline. Following the shape of the head, create a star shape on top and apply Dia Light 10.23 from root to tip to these areas
  • Using diagonal back sections alternate between 8.24 and the 10.24 + Violet Booster
  • Develop for up to 20 minutes
  • Rinse, shampoo and treat with Metal Detox

Josh has opted for something more subtle this time, with a palette of honeys and caramels. As the cyclical nature of trends brings us back to the boho vibes of the Noughties, this look is ideal for that laid-back luxe vibe and will simply stun when the sun hits the sparkling mix of shades. “This warm, bronde tone with the copper boosters gives it a really expensive, beautiful feel, and it means you’re not seeing any start or stop point within the highlighted pieces,” says Josh.  

Shades and Steps

L’Oréal Professionnel Paris Blond Studio Purple Lightening Balm + 30vol  

L’Oréal Professionnel Paris Dia Light 9.03 + Copper Booster + 9 Volume DiaActivateur; 8.24 + Copper Booster + 9 Volume DiaActivateur

  • Mist hair with Metal Detox Professional
  • Pre-Treatment Spray and comb through
  • Apply full head of Foiliage utilising a mix of teasy lights and classic balayage weaves with Blond Studio Purple Lightening Balm + 30vol
  • Rinse and shampoo with Metal Detox
  • Working to a centre parting, gloss using 1cm diagonal back sections from front to back. Applying from root to tip, alternate between Dia Light 9.03 + Copper Booster and 8.24 + Copper Booster
  • Develop for up to 20 minutes
  • Rinse, shampoo and treat with Vitamino Color Spectrum

Focus On Versatility 

Peekaboo Balayage is fantastic for those clients who might need a more conservative look for their nine-to-five but then can reveal their playful side through alternative styling. “If you put a wave or a curl through, it’s really going to bring the look alive. It’s so versatile for everybody,” says Josh. This is a technique that works for any client, any hair type, any shade and is an excellent first toe dipped into the world of colour. You can dial up or dial down, depending on the mood – just see how Josh amped it up for the shoot! 

Top Ups And Quicker Services 

That versatility extends to your business, too. “Peekaboo Balayage can stand alone as its own service within the salon, but from a business point of view, we can also look at it for top-up services in between,” says Josh. “Once we’ve got that pre-lightened section in, we’re looking at four- or six-weekly repeat services, which will be express services with a toner that would be cost effective. It’s a real opportunity.” And another positive for business? Clients don’t need to commit to a global colour, meaning a quicker appointment time that frees you up for more clients in your day. 

Build Services Around Occasions 

Peekaboo Balayage is the custom colour Gen Z will crave, encouraging more younger consumers to opt for professional colour. And as the summer rolls closer – think of festivals, parties and events – build services around those occasions, helping to grow your colour business in fresh and new directions.

 

A Creative HEAD shoot in partnership with L’Oréal Professionnel Paris  

Photography Jon Baker, assisted by Ethan Humphries 
Reportage photography and artist portraits Anett Posalaki  
Videography Austen Killingbeck-Jones, assisted by Douglas Cock  
Hair Robert Eaton and Josh Goldsworthy, with additional hair support provided by Phoebe Dean (for Josh), Nicola Chamberlain, Bobbi Murray, Fran Sleighthome, Victoria Strain, Joe Strangward and Cathal Walshe, all for L’Oréal Professionnel Paris  
Make-up Eliza Clarke, assisted by Babi Campos  
Fashion Harriet Nicolson, assisted by Carla Grottola  
Models Valentina Biliosa (Boss), Chelsea Kent (Body London), Phoebe Summer (MMG) and Kay-leigh Rachel Sussman (Zone)  
Editorial Amanda Nottage (Creative HEAD) 
Digital and social media Kelsey Dring and Caitlyn Brandom (Creative HEAD) 
Creative direction and production Joanna Kidd (Creative HEAD) 

Shot at Loft Studios in London  

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.

“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!