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‘Manifesto’ by Felicitas Hair

‘Manifesto’ by Felicitas Hair

'Manifesto' by Felicitas Hair

Hair:  Felicitas Hair
Photography and Retouching: Esteban Roca
Make-up: Kuki Giménez Agency
Styling: Visori FashionArt
Models: Shock Models
Products: Revlon Professional

 

 

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“Hair Is Such A Powerful Medium For Self-expression” – Laura Chadwick and Elisabeth Hoff Discuss Their First Creative Collaboration

“Hair Is Such A Powerful Medium For Self-expression” – Laura Chadwick and Elisabeth Hoff Discuss Their First Creative Collaboration

“Hair Is Such A Powerful Medium For Self-expression” – Laura Chadwick and Elisabeth Hoff Discuss Their First Creative Collaboration 

From Instagram DMs to creative collaboration IRL, hairstylist Laura Chadwick and photographer Elisabeth Hoff shall all about their first shoot together.

Laura Chadwick
Laura Chadwick
Elisabeth Hoff
Elisabeth Hoff

How did the shoot collaboration come about – have you both worked together previously? 

Laura: I’ve admired Elisabeth’s work for a long time, so when I decided to reach out to her on Instagram, I was thrilled she was interested in collaborating. We started discussing ideas, and I was immediately drawn to her creativity and vision. We had plans initially, but Covid interrupted them. Fortunately, we reconnected earlier this year and decided to finally bring our ideas to life. This was our first time working together, but Elisabeth’s dedication and attention to detail made the process seamless and inspiring. 

Elisabeth: I have followed Laura’s work for several years. I love her style and her creativity. I can see she is a creative grafter, and I was not wrong. Her dedication to what she does on the day was impressive. 

What was the inspiration behind the theme of ‘emotive hair’, and what made you decide to capture the connection between hair and human emotion? 

L: Elisabeth’s concept of linking hair with emotions really resonated with me. Hair is such a powerful medium for self-expression. The idea of using hairstyles to represent joy, sorrow, anger, and fear felt like a natural way to visually communicate these universal emotions. Our hair can significantly impact our confidence and how we feel about ourselves, so capturing that connection was both a challenge and a delight. Each style aimed to embody an emotion, highlighting how our outward appearance can reflect our inner states. 

E: Like it or not, we humans are ruled by our emotions. The inspiration behind the series ‘emotive hair’ comes from the profound impact emotions have on our daily lives and how they are expressed through our hair. We chose to focus on the four core emotions of joy, sorrow, anger, and fear because they are universal experiences that everyone can relate to.  

Each hairstyle in this series was crafted to represent an emotion. We have tried to capture the essence of what it feels like to experience joy, sorrow, anger, or fear through the hair. By doing so, I wanted to highlight the close connection between our inner emotional states and our outward appearance. Through the series, I hope to encourage the viewer to reflect on their own emotional experiences and the subtle ways they express them through their style. It also shows how changing our look can change our mood.  

Joy

Why did you choose those particular hair looks captured? 

L: When I came across Paul Ekman’s work on the four core emotions, it clicked that these could form the foundation for our shoot. The universality of joy, sorrow, anger, and fear made them the perfect choices to explore through hair. Given our limited time, focusing on four distinct looks was both realistic and impactful, allowing us to delve deeply into each emotion and create a cohesive narrative. 

E: When Laura discovered the work of psychologist Paul Ekman, who identified these four universal emotions, it reinforced the idea that building a shoot around them could be impactful. We also only had one day for the shoot, and we knew we could realistically achieve four distinct looks in one day. This approach allowed us to create a strong, cohesive series with what is hopefully a compelling story behind each emotion. 

 

Sorrow
Fear

What did prep for each of the looks entail? Talk us through any key techniques and products 

L: Creating each look required meticulous planning and a selection of techniques and products to embody the emotions we wanted to convey. Here’s a breakdown of each look: 

 Sorrow: 

Inspiration: We aimed to capture a melancholic and delicate aesthetic. The look needed to evoke a sense of softness and vulnerability. 

Techniques: To achieve this, I started by creating smooth, sleek hair that framed the face, using a straightening iron to eliminate any frizz and create a polished finish. The ends were kept slightly damp to add a touch of natural, undone texture, symbolising the weight of sorrow. 

Products: I used a smoothing serum to ensure the hair remained sleek and frizz-free. A light-hold gel was applied to the damp ends to maintain the soft, wet look without making the hair too stiff. 

Fear: 

Inspiration: We wanted a look that felt chaotic and intense, reflecting the inner turmoil associated with this emotion. 

Techniques: Lots of volume was added to create a wild, frizzy texture. I backcombed sections and used a diffuser while blow-drying to enhance the natural curl and frizz. The aim was to make the hair appear as though it was standing on end, mirroring the feeling of fear. 

Products: I used a volumising mousse at the roots to create lift, followed by a texturising spray to add grit and hold. A strong-hold hairspray was essential to keep the volume and frizz intact throughout the shoot. 

Anger: 

Inspiration: It needed to be depicted with a fierce and striking hairstyle that showed intensity and aggression. 

Techniques: I chose to work with sharp, angular shapes and tight braids to create a look that was structured and powerful. The hair was sectioned into small parts and braided tightly then wrapped with elastic, before styling into an upward, spiky formation to add a sense of dynamism and tension. 

Products: A strong-hold gel was used to keep the braids neat and in place. I also used edge control to smooth down any fly-aways and ensure the look remained sharp and defined. For the spikes, I employed a hair wax to mould and shape the braids, followed by a generous amount of hairspray for maximum hold. 

Joy: 

Inspiration: The goal was to convey a sense of lightness, playfulness, and exuberance. Joyful hair needed to radiate positivity and energy, which bouncy waves with volume naturally provide. 

Techniques: I started by washing the hair and applying a volumising mousse to the roots while it was still damp. After blow-drying with a round brush to lift the roots and add volume, I used a large-barrel curling iron to create loose, bouncy waves. Each section of hair was wrapped around the curling iron for a few seconds, and then released to form soft curls. Once the entire head was curled, I gently brushed through the curls with a wide-tooth comb to create a more relaxed, wavy texture and enhance the volume. 

Products: For the lift and fullness, a volumising mousse was key, along with a texturizing spray to add grip and enhance the texture of the waves. A shine serum was also Applied sparingly to add a touch of shine and keep the hair looking healthy and vibrant. 

Anger

As two fellow creatives, how imperative is it to collaborate with other creatives? For any hair pros who might be on the fence about reaching out to photographers, make-up artists, and so on to collaborate, what is your advice? 

L: Collaboration is vital in our field. Working with other creatives brings fresh perspectives and skills that can elevate your work. My advice to hair professionals hesitant about reaching out is to take the leap. Find collaborators who respect and understand your vision and be clear about your goals and expectations. Embrace the creative process (including the possibility of failure) as it’s an essential part of growth. Every successful creative journey involves risks and mistakes, but those experiences can lead to extraordinary outcomes and innovations. 

E: I believe in following your creative gut—if you have an idea, it’s there for a reason, and you should follow it with determination. Often, the universe provides the answers or brings the right people into your path to collaborate with, as it did during this shoot. 

Although it is a collaboration, it’s important to stay true to your original vision. Allow others to contribute without diluting the core concept, as too many voices can often muddy the original idea. Finding collaborators who understand and align with your vision is key, as is communicating that vision. 

 


Photography: Elisabeth Hoff
Hair: Laura Chadwick
Make-up: Czar Joshua Ventura
Production: Holly Charlton at Hoff Productions Ltd.
Models: Joy – Kelly Brennan @ Mrs Robinson Management, Sorrow – Gemma Seymour @ The Milk collective,  Anger – Kwan Jo @ Wilhelmina, Fear – Alexandra Beaton 

What Makes The Ultimate Sassoon Bob? This One Misconception May Mean You’re Doing It Wrong

What Makes The Ultimate Sassoon Bob? This One Misconception May Mean You’re Doing It Wrong

What Makes The Ultimate Sassoon Bob? This One Misconception May Mean You’re Doing It Wrong

Mark Hayes, international creative director for House of Sassoon, reflects on the enduring power of the iconic cut. 

AUTHENTIC BEAUTY CONCEPT Styling products

Following ‘Flash Bobs’ in New York and LA, the Vidal Sassoon team stopped traffic on the streets of London, as models sporting signature bob cuts strutted around the capital to celebrate 70 years of the iconic brand

AUTHENTIC BEAUTY CONCEPT Glow range

When Vidal Sassoon conceptualised the bob, it heralded a cultural shift for women to a low-maintenance style, freeing them from weekly salon appointments, stiff lacquered hair and hours under the hood dryer. Sassoon pioneered the idea that hair should be cut to fall into place and follow the natural curves of the face and body. Fast forward to 2024 and the bob is just as commonplace in salons, favoured by celebrities such as Margot Robbie, Jennifer Lopez and Raye, to name a few.   

While many would consider it a key ‘trend’, as hair pros it’s a common misconception to think of it as such. “The biggest misconception I hear about the bob is that it’s flat and severe; really the bob is a technique as much as a ‘trend’ it’s a starting point for so many variations,” says Mark Hayes. “A Sassoon bob isn’t one specific style of bob, it’s the absolute epitome of technique allied to an innate sense for suitability, he adds.  

The basic principles of the bob guarantee the enduring popularity of the style, as it can be cut to pretty much any length on any texture, and modified to suit any face shape. A Sassoon bob can be cut anywhere from the cheekbones to just above, or slightly touching the shoulders. The emphasis is on a clean swinging line that moves freely with the wearer,” explains Mark.  It’s best cut on superconditioned hair that shows off the natural texture, that could be straight or through to curls.” 

Like many iconic styles, maintenance is key to ensuring the hair looks its best, but with the use of a good styling tool or product, a bob of almost any texture can be altered to suit the mood of the wearer. 

Mark suggests that one length and more geometric bobs best suit more solid colour techniques that make the hair appear thicker. “Darker tones work well as they tend to act as a mirror and increase surface shine,” he adds. On graduated bobs, two-tone colouring with darker tones through the underneath will accentuate the dynamic of the shape.  Alternatively, layered bobs lend themselves to a more highlighted technique as they will add movement and texture.  

Due to fashion’s cyclical nature, the bob look is ever-evolving, building upon references from previous eras.  Mark says: “We update the Sassoon bob every season to move it forward,” sometimes with a change of angle, making it rounder or squarer, maybe deconstructing the texture a little.” Whatever the style switch up, one thing is clear – the Sassoon bob is going nowhere.  

Related

‘THEM’  By the 2024 FAME Team

‘THEM’ By the 2024 FAME Team

‘THEM’ By the 2024 FAME Team

Elle Foreman, Tribe Salons

“In a world often bound by rigid stereotypes, ‘THEM’ challenges conventional norms. We wanted to embrace fluidity, and this photoshoot celebrates the beauty of individuality in all its forms.

Coming away from the traditional idea of beauty, ‘THEM’ celebrates individuals who challenge conformity, whose hair becomes a canvas for self-expression and empowerment. From gender-fluid styles to unconventional textures, each image tells a story of expression and authenticity.
By breaking the stereotypes, ‘THEM’ empowers individuals to embrace their true selves, regardless of societal expectations. It encourages us to celebrate the uniqueness of each person’s journey and to appreciate the beauty of the individual.”

Ilaria Bellemo, TONI&GUY, Canary Wharf

“What if beauty had no gender? In a society that often categorizes and labels, this photoshoot stands as a powerful reminder that the most beautiful things in life are often found in the spaces between, where gender is not confined to binaries but instead is celebrated as a spectrum of beautiful expressions. With this shoot, we wanted to break stereotypes and embrace the fluidity of identity.
Through a series of stunning photographs, ‘androgynous beauty’ becomes a symbol of resistance against conformity, and we wanted to inspire others to embrace their true selves without fear or judgment.

Harry Andreou, Ventura

“‘THEM’ marks our first collection as a team, and its centred on fluidity within shapes and ignoring gender stereotypes. What excites me most is that we’ve captured the essence of each model. Whether street-cast or agency, each model has their own unique style, and although we were guided by a concept, it’s the models who brought their own energy to the shoot.”

Stephen Campbell, Hair & Co

“‘THEM’ celebrates identity, disregarding gender, and instead explores the individuality of each model. In the salon, we are seeing hairstyles become fluid among wearers, showing no specific need for gender-specific attributes. We wanted to showcase this through our collection, showing the real diversity and change we are seeing amongst our commercial clients.”

Credits

FAME Team 2024: Harry Andreou, Ilaria Bellemo, Elle Foreman, Stephen Campbell

Photography: Jack Eames

Make-up: Maddie Austin

Products: L’Oreal Professionnel Paris

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“I can’t help but break the thing” – Rudi Lewis on his career in session

“I can’t help but break the thing” – Rudi Lewis on his career in session

“I can’t help but break the thing” – Rudi Lewis on his career in session

Even after 30 years in the business, the iconic session stylist has the playful mind of the rebellious teenager he once was

by CATHERINE | EXPLORE > PORTFOLIOS

Rudi Lewis @ LGA Management

On certain jobs session stylist Rudi Lewis finds himself people-pleasing – a habit formed during his years working on clients in salons, and one he can’t quite shake off. But put him in a room with people he clicks with and off he goes – liberated, empowered and excited to create looks that pulsate with the raw energy and rebellion of the music and subculture worlds where his heart and soul have always belonged. That’s when you’ll see Rudi at his scintillating, sensational, zeitgeist-defining best – and see why brands such as Gucci, Dior and Louis Vuitton want him on their teams. Creative HEAD meets a risk-taker par extraordinaire…

Damp, squalid, overcrowded – the Glasgow tenements of the ’70s had some of the worst conditions in Britain. Not the obvious background for a career in high fashion, but for young Rudi Lewis, growing up on one of the roughest estates was also where he discovered music, style, and the codes of punk that later took him to some of the most glamorous places in the world. “Where I lived, you could get beaten up for having the wrong pair of trainers, it was pretty homogeneous,” he says, “so I can still remember the first time I saw David Bowie or Adam Ant and thinking, ‘Oh, it’s okay to be yourself, I don’t have to live this life, I can be someone with my own style somewhere else.’”

Rudi Lewis @ LGA Management

On certain jobs session stylist Rudi Lewis finds himself people-pleasing – a habit formed during his years working on clients in salons, and one he can’t quite shake off. But put him in a room with people he clicks with and off he goes – liberated, empowered and excited to create looks that pulsate with the raw energy and rebellion of the music and subculture worlds where his heart and soul have always belonged. That’s when you’ll see Rudi at his scintillating, sensational, zeitgeist-defining best – and see why brands such as Gucci, Dior and Louis Vuitton want him on their teams. Creative HEAD meets a risk-taker par extraordinaire…

Damp, squalid, overcrowded – the Glasgow tenements of the ’70s had some of the worst conditions in Britain. Not the obvious background for a career in high fashion, but for young Rudi Lewis, growing up on one of the roughest estates was also where he discovered music, style, and the codes of punk that later took him to some of the most glamorous places in the world. “Where I lived, you could get beaten up for having the wrong pair of trainers, it was pretty homogeneous,” he says, “so I can still remember the first time I saw David Bowie or Adam Ant and thinking, ‘Oh, it’s okay to be yourself, I don’t have to live this life, I can be someone with my own style somewhere else.’”

His escape route came in the form of hair. Inspired by Irvine and Rita Rusk, the super-stylish Glaswegian hairdressing duo who had won countless national and international awards and who went around the city in matching leather overcoats and oversized sunglasses, salons were springing up all around Glasgow and 16-year-old Rudi – who had always known how he wanted to look and how he wanted hair to look – found himself training at local salon Billy Smith’s in Clydebank, before qualifying at James Margey in Glasgow’s West End. “It was an oasis of cool people like I’d never seen before,” he recalls. “I loved it.” When a hairdresser neighbour left to go and work at Trevor Sorbie in London, a 17-year-old Rudi followed – and never looked back.

He chose to work at Eclipse in north London because they shot photo-collections and took part in the Alternative Hair Show. Rudi had already developed a love of image-making, thanks to a friend of his mother’s, Nick Peacock, who back home had taught him how to use a camera and develop his own photos in a dark room. Rudi is grateful for his time at Eclipse because it’s where he learnt how to run a salon but, desperate to work in Covent Garden, in 1995 he chose to move to Paul Windle’s salon because “he had work from really cool photographers such as Glen Luchford in his windows”.

It must have been an omen, because that’s where Rudi met Eugene Souleiman, who told him he loved his work and that he shouldn’t try and copy anyone else’s, and that’s how Rudi ended up assisting Eugene at the shows, and where Rudi excelled and found his niche. And that’s how a career in session was born.

The Motif, photography by Casper Wackerhausen-Sejersen

How important to your session career were those early years working in salons?

My time in the salon was genuinely formative in so many ways. For example, when I was at Eclipse I assisted an Afro hair specialist called Randolph Gray, who did tonnes of clients all day long, so I had to learn how to work with Afro hair. At that time it was unusual for white hairdressers to have much experience with Afro hair, it was a totally separate industry in a way. But I was exposed to it quite early on in my career, and it’s meant that I’ve always been confident with all textures of hair.

Paul Windle had run the academy at Sassoon and there was a culture of very technical haircutting at [his salon] Windle when I joined. I noticed there was this guy who used to pop in now and again and do these insanely good haircuts. It was Eugene Souleiman, and he’s one of the most unique and brilliant people I have ever met in my life. After he’d seen me a few times he said to me, “Why are you trying to cut hair like everybody else?” And I was like, “What do you mean?” And he said, “Don’t try to be like them because you’ve got your own thing going on. You’ve got great hands.” And that was the most inspirational thing anyone had ever said about my work. And funnily enough I had actually suffered from impostor syndrome at Windle, because I felt like I wasn’t as good or as technical as the other stylists there.

When Eugene asked me to come and do some shows with him, I had to ask Paul for permission because I was a very busy stylist. At that time, the session world was very separate from salon – if you wanted to become a session stylist, it was either because you thought you were better than anyone else in the salon or you just wanted to get out of there. But Paul saw that it could be very interesting if we could learn session techniques and bring them into our work in the salon, that it would be a very good USP for the business. And it was around this time we also connected with Bumble & bumble (Windle went on to become a distributor for the brand) and its entire product range was based on session. We also had magazine journalists coming into the salon and they would say, “Oh, can you fix the hair on a shoot we’re doing for The Face this weekend?”, so I was starting to do a lot of shoots, as well.  When I look back, those were the golden years at Windle and I am still very proud of that time because I think we created a direction in hair salons and hairdressing that was totally new and really very good. We produced a lot of excellent hairdressers who went on to do great things.

“You can get these jobs where you get a chemistry going and that can be really liberating”

i-D, photography by Josh Olins

Vogue Scandinavia, photography by Gregory Harris

That’s a heck of a start, assisting Eugene. So where did things go from there? How did you get your first break as an independent?

After I left Windle, I moved to Sweden to be with my partner, but I kept flying back to London to do clients. By that time, it was becoming more acceptable to flick back and forth between salon and session, so I was freelancing at salons like Michael Van Clarke, who was happy for me to juggle clients in between shoots, and Daniel Hersheson, whose son Luke was also getting started in session around then. I joined an agency that was mainly based out of New York and things blew up very quickly. Within a matter of weeks I was shooting my first covers for Vogue and was even commissioned to shoot a hair story for Paris Vogue, which was mind-blowing at the time!

How confident were you in your work, given how quickly things were moving?

Even to this day I always have a slight panic before I go on a job, and I think I need it. I don’t like it, and it makes me uncomfortable, but I think that if I didn’t have it, I would probably get lazy. But then you can get these jobs where you just click with the rest of the team, you get a chemistry going and that can be really liberating, so it really depends on the job. If I’m going into a job with people I’ve worked with a lot and they clearly like what I do, then I feel free to push myself more. But when I’m working with a client for the first time, my tendency is to go back to ‘hair salon guy’ and approach it like a consultation and ask them about their expectations so I can deliver what they want really well. I’m quite a thorough consultant [he laughs]. But I will probably always have a bit of impostor syndrome.

How would you describe your aesthetic? What is it that people book you for?

I don’t really like perfection. I like there to be elements present in the hair that are human – something that you know the hairdresser did, like a little tuft of hair that goes that way or one that goes over there. I always need to break the thing. Even when I do the most perfect shape, I’ll just do one little tweak, I can’t help myself. My silhouettes are coming from things that I think are cool and rooted in subculture. So, people like Morrissey, Patti Smith, Debbie Harry, Kurt Cobain, Nick Cave, Marianne Faithfull… you know, just iconic musicians that I grew up listening to. Even when I’m working on a glamorous high fashion shoot, I tend to reinterpret those looks. I also do some abstract work, creating wigs out of materials that aren’t hair, like buttons or safety pins, but the silhouette is always a recognisable hairstyle, like a bob, or a beehive, but in plastic or something. I want people to see that. Maybe they don’t, but it’s there if you look.

Out of Order, photography by Sølve Sundsbø

Self Service, photography by David Armstrong

And how have you managed to stay true to your aesthetic throughout your career?

It’s something that I’m more aware of now. I think earlier in my career I did projects that were more commercial or high glamour, and I went along with it because I was working with all the big names. But looking back, I always felt that I didn’t really belong. So, I made a conscious effort to go back to my roots and do projects that felt authentic to me. It was around this time that I began to contribute to Beauty Papers magazine, which was looking for work that was coming from a less obviously commercial place, less product-oriented. The projects I’ve done for them have been very much my aesthetic and it was a real turning point for me because it gave me the opportunity to showcase a more intelligent kind of hair story. So, nowadays I’m quite careful only to take on projects that are true to my style.

Session is a competitive industry. How do you stay sane?

I used to be pretty competitive. I would flick through magazines, and it would make me feel envious, thinking, ‘Why didn’t I get that job?’ or whatever. But one of my best friends is a stylist who has gone on to become one of the biggest names in the fashion industry. I remember having a conversation with him some years ago and he said, “The funny thing is, it’s never how you think it is. So, sometimes you don’t get a job and you think it’s because you’re not good enough or someone doesn’t want to work with you. And it’s totally understandable that you would think like that because you don’t have all the information. But I’m in that room when the conversations are taking place, and it literally could be just a random reason why someone else gets the job. It’s not personal at all”. So, that was good to know and understand, I do try to keep a healthy distance from these things nowadays. I do feel like I deserve to be where I am. Sometimes you don’t get the job and a week later something else great comes in.

The Last Magazine, photography by Nathaniel Goldberg

Who do you enjoy collaborating with? Who brings out your best work?

When I work, I’m always stood right next to the photographer, constantly touching the hair and changing things because I know photographers respond to that. I see how light falls on the hair and I see how the hair might affect the light on the face, things like that. A lot of hairdressers are thinking about their hairstyle; but I’m thinking about the picture. I’ve done a couple of projects with Paolo Roversi, which was very liberating. I have also done some amazing shoots with a Swedish photographer called Julia Hetta, where I really got to push it and do some great hair. I also got to work with David Bailey, which I absolutely loved because he’s a legend. But right now I’m really enjoying working with new, up-and-coming photographers. I’m working with a guy called Sam Rock, who is just killing it at the moment, he’s an amazing talent. Another great one I shoot with is Drew Vickers, and it’s always very collaborative with him. I like it when I’m able to have a voice and some creative influence over the outcome of the shoot.

Everyone’s a photographer on social! Are you a fan?

Sometimes I feel that we’re drowning in imagery. The algorithm means that great work is getting diluted by the mediocre work that surrounds it. People barely look at things for more than a few seconds, so I think that’s a downside. It’s the constant scroll on the phone! I used to be a voracious reader, I’d read a book every week, and then because of looking at my phone there was a time when it was taking me months. And so, I just checked out from it. I wasn’t posting anything at all. Right now, we’re trying to detox in our house a little bit, so the kids get an hour when they’re home from school where they can chill and be on their iPads or whatever, and then we all switch everything off so no one’s on their phone in the evening. I just think it’s healthy, you know.

For me it’s all about doing stuff that I really enjoyed before in the analogue world, and then getting to a place where I’ve generated enough work that I actually want to post on social media. It’s why I’ve found myself this little salon-cum-studio space in Stockholm and I’m going to make it this place where every week someone comes over, a bit like a go-see, and I’m going to do their hair and then shoot them, so I generate my own imagery in a quiet, organic, real kind of way. It won’t be retouched and it will be done in my own time, not rushed, like on work shoots, just me and that person. That’s the goal for me. That’s how I’m able to compute social media.

“I see how light falls on the hair and I see how the hair might affect the light on the face, things like that.  A lot of hairdressers are thinking about their hairstyle; I’m thinking about the picture”

What’s exciting you right now?

Well, my energy and focus is really on the new place. As well as being a little salon to do clients, and the portrait studio, I am planning to publish my own little books and ’zines, I’m about to release the first one, which is a collaboration with a young Scottish photographer called Rachel Lamb, we cast it and shot it all in Glasgow. I even borrowed my old boss James Margey’s salon to do all the haircuts. So, it was kind of full circle for me. I am really excited about that project because I’m not just the hairdresser, I’m the creative director and publisher too. I guess it’s a response to the digital and AI thing, I just wanted to make something tactile, that doesn’t just exist online.

What’s the biggest risk you’ve taken in your career?

Lots of decisions are difficult because you have to confront fear – your own or someone else’s – but I guess moving to Sweden would have to be up there. After 20 years in London, it was a real gamble. It’s tough to maintain a successful career, learn a new language, start over, make new friends when you travel as much as I do. My new studio is also a big risk because I’ve been so transient for so long now that it’s a bit scary putting roots down. I’ve invested a lot of money, time and energy into it.

You’ve spent a long time in the session world. Any advice for someone just starting out?

There’s something very authentic and approachable about the new generation of hairdressers working in session, and what they’re doing is actually informing a lot of the work that more established artists are doing. You’ve got all these gender-fluid, non-conformist kids who have all that language around their work and everybody wants to be in that space now, right? I mean, traditionally, all the big ideas would come from the fashion industry and trickle out into society but now those ideas are coming from young people and fashion is trying to keep up. So, what I would urge young session stylists to do is shoot with your friends, own your identity, show it through your skills because what you’re doing is interesting and it is changing the world. And it looks great!