explore news CONVERSATIONS HEADER Creative head x authentic beauty concept techniques header inform home inform freelance content connect home connect inform header home explore documents header creative projects header
0 Items
Have Periods Caused You Problems At Work?

Have Periods Caused You Problems At Work?

Jan 6, 2025 | CONVERSATIONS, CONVERSATIONS HEADER, EXPLORE, HOME EXPLORE

Have Periods Caused You Problems At Work?

Cristina Fazzone shares her experience… join her on a webinar on 27 January

by AMANDA | CONVERSATIONS

From waiting lists doubling to a Westminster report warning about misogyny in medicine, conversations around women’s reproductive health and the pain that many experience has suddenly – and finally! – become big news.  Women with conditions including heavy periods, endometriosis and adenomyosis are being dismissed when they ask for help, members of Westminster’s Women and Equalities Committee concluded in December… something freelance hairdresser Cristina Fazzone knows all too well.  

She is now urging our female-driven industry to take notice and act – and she will be joining Creative HEAD, alongside The Menstrual Health Project team and period coach Connie Owen (@conniemarieowen), to discuss how to support those with menstrual health challenges in work in a Zoom on Monday 27 January (you can sign up here to take part).  Here, Cristina shares her personal experience of living – and working as a hairdresser – with regular, debilitating period pain… 

Cristina Fazzone

​

“Menstrual health can be a scary thing to wrap your head around. My first scan revealed I had polycystic ovaries. I was told one of the reasons I was experiencing severe pain could be because the cysts can expand to such a big size and even potentially explode. A graphic image, I know! And scary to imagine this might be happening inside your own body.  

“The delivery of this news (from mainly female doctors) has always been abrupt. The topic is taboo and there is little education around it. Why is there a lack of empathy, even from females?  

“We all know hairdressing is a female-driven industry – it’s estimated that 87 per cent of workers are female. So, consider this: 90 per cent of women with periods say they experience pain; 40 per cent say this pain is so bad they miss work; and more than one in 10 (14 per cent) of women have menstrual health complications and debilitating pain every month. 

“These are statistics I know all too well and have experienced firsthand throughout my adult life. So, as a female-driven industry, why are we not talking about it? 

“Besides a handful of good months, I’ve experienced period pain as an obstacle and distraction from school and work for 16 years. From the first day I started my period in year 7 through to today at 28 years old, when I’ve finally started to understand more about menstrual health and how to improve my periods myself.  

“On the first day of my cycle I’m almost guaranteed to have to cancel any plans. The pain leaves me cramped up, unable to move my body, often throwing up, howling in pain and occasionally ending with a 999 call. Statistically, most women have experienced something similar. 

“When I worked in salons, I often faced issues from female bosses when I called in sick or cancelled clients due to my period pain. There was a lack of conversation around the topic and I would love to see this change.   

“Calling in sick became a monthly thing for me. As a hairdresser, this is a nightmare. When I became self-employed eight years ago, this became even more of a problem, I had to manage and rearrange a fully-booked column while in pain. Luckily, I have been blessed with loyal and understanding clients, but this isn’t the case for everyone and menstrual health can become a huge barrier to growth at work.  

“Females who don’t experience period pain on this level can wonder if people like me are exaggerating. We need to shatter this judgment to help women navigate and manage this pain in their personal and working lives. 

“There are several things I’ve learned along the way to help avoid my periods becoming an issue in my work, including using natural remedies. With a regular cycle this is somewhat manageable, forecasting is possible. But Mother Nature is Mother Nature and she’s always got her own plans!  

“If you’re reading this and can relate, remember that it’s going to be okay. Whether you cancel work due to pain, lose clients, face difficulty with bosses due to sick days, struggle to manage your own column because of it, or battle with the pain… in the end health comes first. You can try and fight against it and force your way through it, but you will only make it worse long term. Dedicate time to healing yourself first, and everything else will slot into place. Without your health you have nothing. 

“I’ve been diagnosed with polycystic ovaries, dysmenorrhea, potential endometriosis, low iron, B12 deficiency – all related to menstrual health. There’s an empowerment that comes with investigating your own health and understanding what might help. I’m channelling the energy of my experience to help my sisters in the industry!  

“As a predominantly female industry I truly believe this is a topic of conversation we need to navigate and normalise. And I hope this is the start of a beautiful shift.” 

Join The Discussion!

Join Cristina and Creative HEAD on a Zoom workshop with The Menstrual Health Project team and period coach Connie Owens to discuss how to support those with menstrual health challenges in work. 

9.30am on Monday 27 January

Sign Up Here

“We Have Zero Option But To Stand Down For A Few Days”

Ruth Lundstrom, founder of The Freelance Suite, shares her own journey

Ruth Lundstrom

“Once a month, cis women are rudely interrupted by our periods. For some they’re almost unnoticeable, but for others they can be debilitating. This can have a huge impact on how we show up for work and for our clients – if we can even show up at all. 

“For many years mine were very heavy and the first few days were unbearable. This can put some of us out of work. We have zero option but to stand down for a few days and if you’re freelance, this can lead to a drop in earnings and a rescheduling headache. 

“I had a breakthrough 10 years ago when I removed sugar from my diet. I no longer experienced the bloat, pain or heaviness. 

“As I switched out sugar, I naturally ended up eating a wholefood diet. This helped balance my hormones and made my cycles easy to sail through and I don’t endure the same dip in mood. 

“My approach to health is always, ‘what are we putting in the tank?’. It’s my first approach before I go down the medication route. I believe the body and mind are even more powerful if they are fed the  
right ingredients.” 

Continue Reading

Looking For Your Next Colour Technique? Convertible Colour Is A Fresh Way to Deliver Bespoke Results

Looking For Your Next Colour Technique? Convertible Colour Is A Fresh Way to Deliver Bespoke Results

Jan 3, 2025 | EXPLORE, HOME EXPLORE, TECHNIQUES

Looking For Your Next Colour Technique? Convertible Colour Is A Fresh Way to Deliver Bespoke Results

Gina Conway’s technique blends bold colour with everyday wearability

by CAITLYN | TECHNIQUES

When it comes to innovative colour techniques, Gina Conway has mastered the art of blending playfulness with practicality. Her “convertible colour” method is designed to give clients a pop of personality that can be hidden or revealed at will. As Gina puts it, “It’s something a little bit of fun and spicy that’s just for you.”

Convertible colour offers clients a subtle yet exciting way to experiment with bold shades without committing to a full transformation. By placing vibrant colour just beneath the natural parting, this technique lets clients enjoy the best of both worlds.

“If I’m going to a conservative setting, I can completely hide it by parting my hair on the opposite side,” explains Gina. “Or, if I just want to kind of see a little bit of it, I’ll pull my hair back, and you’ll see a little streak of it coming down.”

For clients with grey hair, convertible colour offers a chic and modern alternative to harsh regrowth lines. “When the grey comes in, it still is fun and cute and cool,” Gina shares. “It’s perfect because it’s still light, so you don’t have that strip of contrast…”

Gina often recommends complementary colour pairings like fuchsia and copper or milk chocolate and caramel. “Soft pink tends to be everybody’s favourite right now,” she adds. “But finding two colours that wear well together can make all the difference.”

 

Perfect For:

•The Corporate Convert: Clients who need to maintain a conservative look while expressing their personality

•The Colour Curious: Perfect for those who’ve been eyeing creative colours but aren’t ready for full coverage

•The Grey Transition Client: Ideal for adding dimension while embracing natural silver

•The Style Chameleon: Clients who love changing their look based on occasion

•The Creative Professional: Those who balance corporate environments with creative industries

How to Create Convertible Colour

The process is straightforward but requires a keen eye for placement and blending:

• Section Placement: Choose a section about an inch and a half wide, just below the natural parting.

• Blend Seamlessly: Add a quarter-inch strip of natural colour over the bold shade to ensure it can be hidden when styled.

• Tailor the Colour: Select shades that suit the client’s lifestyle. Gina notes, “It’s a fun little secret pop that lets clients feel like they’re trying something new without it being overwhelming.”

Convertible colour is suited to clients balancing different aspects of their lives. “If they’ve got a playful lifestyle but a conservative job, you know how far you can get away with it,” says Gina. The result is a personalised touch that reflects their personality while adapting to their daily needs.

For colourists, Gina’s convertible colour technique is an opportunity to connect with clients in a fresh, exciting way. Whether it’s blending grey regrowth with rose gold or creating vibrant streaks of fuchsia, this method offers endless possibilities. As Gina puts it, “It’s a great way to present something new to clients you’ve been working with for years.”

Continue Reading

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. 

Continue Reading

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.

 

Continue Reading

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.

Continue Reading

“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!”

Related