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“Lighting Can Change Everything” – Photographer Vadym Yatsun Discusses Elevating Imagery With Experimental Lighting

“Lighting Can Change Everything” – Photographer Vadym Yatsun Discusses Elevating Imagery With Experimental Lighting

Jul 9, 2024 | EXPLORE, PORTFOLIOS

CATEGORIES > EXPLORE > PORTFOLIOS

“Lighting Can Change Everything” – Photographer Vadym Yatsun Discusses Elevating Imagery With Experimental Lighting

How accidentally moving to London and a chance encounter with the Trevor Sorbie team accelerated his career. 

 
Vadym Yatsun
Vadym Yatsun		 “I became a photographer by accident; I started my career as a musician. I needed photos for my work but struggled to get a good photographer, so I started doing photography, and then it just took off for me. That was more than 10 years ago now! In Ukraine we didn’t have any photography schools, so I was trying to find information on the internet, and I had to just analyse all the shoots I saw; how the lighting could work, where the lights were placed, how they could be directed – and that’s how I developed a good relationship with lighting.  

I’m always prepped, but slight differences on set might change everything quite significantly. This is what I love about the creative process – it starts by working on the presentation, with the mood board, storyboard, all the looks, hairstyles, makeup and so on. Everything is carefully planned and I’m happy with how it changes on a set. The model will bring their own energy, and everything may change, but this is the magic that fascinates me. 

 

 
Vadym Datsun
Vadym Yatsun
“I became a photographer by accident; I started my career as a musician. I needed photos for my work but struggled to get a good photographer, so I started doing photography, and then it just took off for me. That was more than 10 years ago now! In Ukraine we didn’t have any photography schools, so I was trying to find information on the internet, and I had to just analyse all the shoots I saw; how the lighting could work, where the lights were placed, how they could be directed – and that’s how I developed a good relationship with lighting.  

I’m always prepped, but slight differences on set might change everything quite significantly. This is what I love about the creative process – it starts by working on the presentation, with the mood board, storyboard, all the looks, hairstyles, makeup and so on. Everything is carefully planned and I’m happy with how it changes on a set. The model will bring their own energy, and everything may change, but this is the magic that fascinates me. 

 

Vadym Yatsun

Image one, Image two

I like complex stuff. The more complicated it is, the more interesting it becomes. I think lighting is one of the most complicated parts of photography. I’m a control freak and shooting with daylight is something that you cannot control. It just drives me nuts, which is why lighting is a good thing! 

“I like challenges, I find this work challenging and that’s what brings something special to my life.”

Since working in the hair industry, there have been lots of learning experiences. I believe that all photographers and people on set should know almost everything about their colleagues and the specifics of their work. As soon as I got into the industry, I started communicating with my colleagues, hairstylists, and make–up artists. I learned everything about their processes – which hairstyle should be the first, what would be the next, all and all the processes working with wigs. Now I love wigs most of all, because they make everything flexible.  

Vadym Yatsun

Image three, Image four

Getting into the UK hairdressing scene was an interesting development, as I had worked with lots of hair brands and hair magazines in Ukraine. I love hair because it creates shapes – it can save simple looks or fashion shoots! I moved to London two years ago by accident. I wasn’t supposed to move here, but I started looking for different people to collaborate with, to get a job, and any connections, and then the Trevor Sorbie team found me. I followed someone from the team, and then they followed me, which led to being invited to shoot their new collection. And that’s how things started in London! 

Vadym Yatsun

Image five, Image six

My first career highlight was this cover story for Schon! magazine with Indira Varma. She was in Game of Thrones and this was the first magazine shoot with a big budget, big sets and big brands. It was really lovely to have the trust of quite an important magazine. 
This shoot for Paper magazine was quite cool. The last couple of years changed my life completely, and they also changed my approach completely. 

My first career highlight was this cover story for Schon! magazine with Indira Varma. She was in Game of Thrones and this was the first magazine shoot with a big budget, big sets and big brands. It was really lovely to have the trust of quite an important magazine. 

This shoot for Paper magazine was quite cool. The last couple of years changed my life completely, and they also changed my approach completely. 
Vadym Yatsun

Image seven

This was another image for Schon! magazine, with hair by Paul Donovan. This was the second shoot and I love collaborating with this magazine because they trust me a lot. It’s something that rarely happens, but they just trust me 100 per cent so I can experiment. We were using layers of colour filters in front of the lens, changing and distorting the image; sometimes my work is not about lighting, it’s about the effect that we can give, about the layers and layers that can be placed in front of the lens. This sometimes brings unexpected results, which is also cool, and it is also part of the challenge because you never know what will happen. It’s a shoot I love, because that was the first experiment with this layering of colour filters and it was then I decided it will be part of my work and have my personal, distinctive, recognisable style. 

Image eight

This was an amazing collaboration with one of my favourite make–up artists, Sophia Sinot, she’s worked with a lot of big talents and so that was a collaboration for Elle Ukraine, with hair by Trevor Sorbie’s Tizi Dima. I love this shoot because there was a lot of playing and experimenting with flowers and working with lots of effects, such as reflecting from different surfaces. We had this amazing piece of silver film that was giving a water-like effect with the light reflecting off.
Vadym Yatsun

Image nine

This image, with Ross Kwan on hair, we had lots of stuff that the set designer brought, and then he found this piece of rubbish downstairs and it reminded me of the shape of an eye, so he wrapped it in a piece of cloth, and that how it became the shape you see in the background. We placed it behind the model, and it worked perfectly with all the lighting, and changing the gradients, and it was cool. 

Lighting is something that always goes with me, it’s something that can change every set – you don’t need anything sophisticated, just the white cove, and lots and lots of lights.

Credits

Image one
Hairstylist: Tizi Dima
Stylist: Yana Chaplygina
Stylist assistant: Naa-Okailey
Make-up: Julia Leshanich
Model: Liam Elias

Image two
Hair: Tizi Dima
Stylist: Ignacio de Tiedra
Make-up: Sofia Sinot 
Make-up assistant: Carolynska
Nails: Giulia Oldani
Set design: Sam Edyn
Set designer assistant: Jeremy Rwakasiisi
Model: Galina Arkhi
Photography assistant: Nicola Sclano

Image three
Hair: Ross Kwan
Stylist: Ignacio de Tiedra
Make-up: Mona Leanne
Set designer: Sam Edyn
Set designer assistant: Jeremy Rwakasiisi
Nails: Guilia Oldani
Model: Cecília Gama
Photography assistant: Nicola Sclano 

Image four
Hair: Tizi Dima
Stylist: Yana Chaplygina
Stylist assistant:Naa-Okailey
Make-up: Julia Leshanich

 

Image five
Hair: Paul Donovan
Hair assistant: Jessica Kell
Stylist and art direction: Ignacio de Tiedra
Stylist assistant: Enol Garçon
Art direction: Margo Mayor
Make-up: Justine Jenkins
Set designer: Sam Edyn
Set designer assistant: Jeremy Rwakasiisi
Model: Indira Varma
Nails: Mica Hendricks
Photography assistant: Simeon Asenov, Leo Corfu

Image six
Hair: Danilo Giangreco
Photography assistants: Iryl Mugas, Nicola Sclano
Stylist: Adele Cany
Stylist assistant: Cordie Watson
Make-up: India Rawlings
Model: Rahi Chadda
Set design: Sam Edyn
Set design assistant: Jeremy Rwakasiisi

Image seven
Hair: Ross Kwan
Stylist and art direction: Ignacio de Tiedra
Stylist assistant: Khem Sharu
Art direction: Margo Mayor
Make-up: Nency
Nails: Mica Hendricks
Gaffer: Zadek T
Photography assistant: Joseff Williams
Model: Jiayan Yao

Image eight
Hair: Tizi Dima
Stylist: Ignacio de Tiedra
Make-up: Sophia Sinot
Make-up assistant: Carolynska
Nails: Guilia Oldani
Set design: Sam Edyn
Model: Tanatswa
Set designer assistant: Jeremy Rwakasiisi
Photography assistant: Nicola Sclano


Image nine
Hair: Ross Kwan
Stylist: Ignacio de Tiedra
Make-up: Mona Leanne
Set designer: Sam Edyn
Set designer assistant: Jeremy Rwakasiisi
Nails: Guilia Oldani
Model: Reny
Photography assistant: Nicola Sclano 

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Rosser Hairdressing Wins Big at Great Lengths GLammies

Rosser Hairdressing Wins Big at Great Lengths GLammies

Jul 8, 2024 | HOME INFORM, INDUSTRY NEWS, INFORM

CATEGORIES > INFORM

Rosser Hairdressing Wins Big at Great Lengths GLammies

Salon scoops three trophies at extensions brand’s 12th annual competition

Which salon is knocking it out of the park when it comes to extensions? The answer would seem to be Rosser Hairdressing, which won three awards at this year’s Great Lengths GLammies.

Roseer Hairdressing nabbed the UK Hair Extension Salon trophy, while Beverley Rosser grabbed the Body & Bounce award, with the salon’s Lydia Henderson winning Best Newcomer.

HeadUp X Calm

Also celebrated for its extension excellence was Melanie Richards Hair and Beauty, which won the Great Lengths Trophy, given to an extensionist who has “demonstrated outstanding work”. Katie Hemming enjoyed a successful night too, winning two awards for Captivating Colour and Longer Length.

All the category winners have also scooped a trip to Rome, which includes a tour of the Great Lengths production factory there.

And the winners are…

Longer Length – Katie Hemming, Love Hair

Avant Garde – Jack Trafene-Little, The Little Salon

Bridal Creation – Kirby Blythe, Hair by Kirby Blythe

Captivating Colour – Katie Hemming, Love Hair

Body & Bounce – Beverley Rosser, Rosser Hairdressing

Best Newcomer – Lydia Henderson, Rosser Hairdressing

Customer Service Award – Green & Co

Sustainable Salon of the Year – Butchers Hair Salon

Most Charitable Salon of the Year – Jade Searcy

UK Hair Extension Salon – Rosser Hairdressing

Great Lengths Trophy – Extension Excellence – Melanie Richards Hair and Beauty

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It’s Serving Realness

It’s Serving Realness

Jul 8, 2024 | CREATIVE PROJECTS, EXPLORE

A Creative HEAD and AUTHENTIC BEAUTY CONCEPT partnership

It’s Serving Realness

A Creative HEAD and AUTHENTIC BEAUTY CONCEPT partnership

Venture behind the scenes as Joseph Ferraro and Melissa Timperley deliver their authentic takes on two iconic styles in a Creative HEAD and AUTHENTIC BEAUTY CONCEPT partnership shoot.

by AMANDA | CREATIVE PROJECTS

Other hairdressers? We’re fascinated by them. They captivate us. The way they work, their routines and inspirations… And we’re obsessed with gaining that insider knowledge – to find out how a look is approached, to see a creative process unfold, to witness signature skills in action. We’re here for the back stories – and in an exclusive partnership between Creative HEAD and AUTHENTIC BEAUTY CONCEPT, that’s what we’re going to get, as we unpack authentic takes on two iconic styles from a pair of cutting creatives par excellence. Joseph Ferraro? He’s serving long and luscious, while Melissa Timperley is dissecting the modern-day bob. The door at London’s Stā Studios is open…

Joseph Ferraro

Joseph Ferraro
Joseph Ferraro Hair, Harrogate

My authentic style is…
As I’ve gotten older, my authentic style would be something that has to compliment the client’s or the model’s face shape and hair structure. It’s about keeping it as real as possible – try not to make it too extravagant, too complicated and do what feels right for me and the clients.

Who really owns their authentic style?
Paloma Faith, she knows her own identity, whether you like it or not. She comes on stage and portrays herself as who she is. She would be fab to style – she’s fun and bubbly and that comes across with her hair and style as well.

AUTHENTIC BEAUTY CONCEPT Hero?
I love Working Hairspray. On photographic shoots or session work in shows, I love it because it gives you the ability to change it up, brush it out and still keep the shine. 

Joseph Ferraro styling

The Minimalist Mermaid

“This is a very effortless wave that’s brushed out, but it’s a little bit irregular. You don’t want a uniform feel for a new era mermaid wave…”

“Some of the sections I took a little bit lower from the roots, using a triple barrel waver. Some of the sections are higher and then some of the sections at the ends I left out straighter, so it just feels a little bit more effortless. I’ve used the Nymph Salt Spray to prep and give it that sort of gritty, lived-in texture and then working with the Working Hairspray.

“The key to make it look modern? Don’t be afraid to brush it out. Get a comb in there, get your fingers in there and give it that very fluffy texture but still keeping that wave looking through it.”

The kit: Nymph Salt Spray, Working Hairspray and Strong Hold Hairspray from AUTHENTIC BEAUTY CONCEPT

Joseph Ferraro styling

The Piecey Pony

“The genesis is the classic, elegant ponytail… but I didn’t want just a simple pony!”

“This has an editorial twist to it. A little bit of Nymph Salt Spray at the roots gives me some grit when I’m putting it up. I split the hair into two ponytails, with the top one taking hair from around the ear to the top of the head to elevate it. Once they were merged into a tight ponytail, I wrapped a little bit of wire around to create that elongated pony that we could shape later. Once that was in place, I used an invisible cotton to criss-cross all the way through. I used Working Hairspray throughout, then pulled bits out of the pony to create this lovely bubble effect that I could then shape with the wire.”

The kit: Amplify Mousse, Nymph Salt Spray and Working Hairspray from AUTHENTIC BEAUTY CONCEPT

Joseph Ferraro styling

The Nineties Knots

“It’s a little bit more raw, a little bit more textured, very organic and not too symmetrical. It’s very much a visual placement that I’ve done, looking at my model, and with no hard lines.”

“I went for more of a twist on the side rather than a braid, it feels organic rather than a bit more of a pretty braid. This twist is more complimentary to this soft texture.

“I worked in a lot of the Nymph Salt Spray and the Working Hairspray. I’ve just used m fingers to create the section, so no hard lines with a comb. I have knotted the hair just like you would do a knot – probably about three times on each section because her hair was very long. Then I’ve roped and twisted the end and basically wrapped that end into itself and then pulled it out to create something that’s irregular.

“Working through the front, if you just go into circular motions, you’ll see a lot of the baby hair or that new growth hair. It creates a bit more of a three-dimensional look.”

The kit: Nymph Salt Spray and Working Hairspray from AUTHENTIC BEAUTY CONCEPT

Melissa Timperley

Melissa Timperley
Melissa Timperley Salons, Manchester

My authentic style is…
Classic with a fashionable modern twist.

Who really owns their authentic style?
Anne Hathaway – she’s having a moment! Yeah. I love that no matter what role she plays, she seems to be herself always, her most natural self. She can be quite a chameleon in the way she changes her look, but it’s always authentic to her.

AUTHENTIC BEAUTY CONCEPT Hero?
Hydrate Curl Enhancer. We do a lot of curly hair in the salon, and this is my go-to.

Joseph Ferraro styling

The Hydro Bob

“You’ll always see a wet bob seen on the red carpet. My model’s hair has got a lot of natural texture, and I wanted to create a real smooth and shiny canvas without it looking greasy.”

“I cocktailed the Amplify Conditioner and Amplify Mousse together to create this sheen that’s going to take out some of the natural texture and keep it looking flawless. This is a new way of wearing a bob, creating more of a sleek, defined look but still with some
authentic texture in it. Be warned; you’ve got to be careful that it doesn’t look like you’ve just stepped out of the shower. I want that sexy sweatiness about it…”

Be very generous with your product. You want to make sure the products aren’t just for the look – you still want the hair to move. I’ve paired a gel conditioner – using it as a styling gel with a mousse but something that’s not going to dry crispy!”

The kit: Amplify Conditioner and Amplify Mousse from AUTHENTIC BEAUTY CONCEPT

Joseph Ferraro styling

The Bedhead Bob

“This is giving me Zendaya! The whole point of this lock is to enhance the natural texture.

We’ve started with soaking wet hair pre-cleansed, and with this hair type, it needed moisture. We used the Hydrate Cleanser, then it’s a mixture of the Amplify Mousse and the Hydrate Curl Enhancer.

“You need the hair to be absolutely soaking wet to apply the product and then enhance the movement. I diffused the hair, making sure not to move the hair too much as you diffuse – it’s a common mistake people make when diffusing hair. To elevate the look even more I just tonged a little in the front section, shortening the length to create a little bit more movement.”

The kit: Hydrate Cleanser, Amplify Mousse and Hydrate Curl Enhancer from AUTHENTIC BEAUTY CONCEPT

Joseph Ferraro styling

The Fauxhawk

“This creates the softness and versatility of a ponytail, while still keeping all the hair off the face.”

“This is great for anyone who wants to spice up a ponytail but doesn’t want to have that slick look of a bun. We worked with the model’s authentic texture, using the Airy Texture Spray and the Nude Powder Spray to create some fullness in the hair. I separated it into three ponytails – one at the top, one at the crown and one at the bottom back and flipped out each ponytail and then pinned it into place. It’s pretty simple, and one that clients can create at home.”

The kit: Airy Texture Spray, Nude Powder Spray and Working Hairspray from AUTHENTIC BEAUTY CONCEPT

A Creative HEAD shoot, in partnership with AUTHENTIC BEAUTY CONCEPT
HAIR: Joseph Ferraro and Melissa Timperley for AUTHENTIC BEAUTY CONCEPT
PORTRAIT PHOTOGRAPHY: Andrew Woffinden (A&R Creative), assisted by Marija Vainilaviciute and Luke Weller
FASHION: Harriet Nicolson (Stella Creative Artists)
MAKE-UP: Cat Parnell using Charlotte Tilbury
EDITORIAL: Amanda Nottage (Creative HEAD)
SOCIAL MEDIA & REPORTAGE PHOTOGRAPHY: Kelsey Dring and Aoife Connell (Creative HEAD)
PRODUCTION: Joanna Kidd (Creative HEAD)
MODELS: Maisie Stock (MOT) and Nayha Queiroz (MMG Models)
Shot on location at Stā Studios, with thanks to Greg Thomas

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Believe in Authentic Beauty

Believe in Authentic Beauty

Jul 8, 2024 | HOME INFORM, INDUSTRY NEWS, INFORM

Promotion – AUTHENTIC BEAUTY CONCEPT

CATEGORIES > INFORM

Believe in Authentic Beauty

AUTHENTIC BEAUTY CONCEPT was inspired by hairdressers, artisans and people who share the same values. Will you join the movement?

AUTHENTIC BEAUTY CONCEPT Styling products

A desire for truth and authenticity – that’s what today’s modern consumers are searching for. They’re eschewing over-engineered formulas, over-glamourised and filtered hair looks, craving real and honest discussions instead of corporate speak. Shared beliefs, an eye on sustainability, community – this is life in the new now.

This is AUTHENTIC BEAUTY CONCEPT, a holistic, premium brand inspired by hairdressers, artisans and people who share the same values. Something honest, simple and made with carefully selected ingredients, AUTHENTIC BEAUTY CONCEPT has curated a range of hair and body products that fit with today’s beliefs. This is a brand that people can relate to, nourishing their salon experience and home beauty rituals to a new level, powered by beliefs that chime with your clients today…

AUTHENTIC BEAUTY CONCEPT Glow range

We believe in… pure formulas

What is left out is as important as what’s put in. Its care and styling formulas are created with a free-from philosophy; they are free from sulphates,* parabens, silicones, mineral oils and artificial colourants. Natural ingredients are extracted gently while preserving their benefits. This is nature meeting science…

We believe in… a no-filter attitude

AUTHENTIC BEAUTY CONCEPT was created as a movement with hairdressers and artisans sharing the same values, that build on today’s beliefs and individual experiences – this is a unique community embracing a new attitude towards beauty. The mindset behind the #authenticbeautymovement? ‘Be yourself’.

We believe in… authentic hair

The hair of today follows a new language, celebrating the free and unique textures of true beauty. It’s what you don’t see that makes the difference; care products create the canvas, styling products invisibly enhance authentic hair with a ‘no styling’ approach. It’s about building on the natural beauty that is already there. Effortless, crafted quality – a reduced luxury.

We believe in… a mindful experience

A mindful moment is about connecting inner and outer beauty through real experiences, reconnecting with yourself. AUTHENTIC BEAUTY CONCEPT empowers the hairdresser to create a different, premium in-salon environment that blocks out the busy, crafting a moment to remember – a memento. The in-salon Momento Menu delivers a unique sensory journey with premium ingredients, blissful products and a relaxing, spa-like experience… with take-home treats allowing guests to follow their bliss back in their own bathrooms.

Carefully selected, pure ingredients. Real hair styles. Honest discussion. Artisan skills. Unique experiences. Shared beliefs. This is the new now – the authentic beauty movement. It just needs you to be part of it, too…

Recycle and Reuse – the AUTHENTIC BEAUTY CONCEPT way

Sustainability runs through the core of AUTHENTIC BEAUTY CONCEPT, enabling your salon to do more to protect the planet’s future:
• A partnership with Green Salon Collective aims to raise the standards of sustainability across the industry. From events to share and inspire sustainable salon practices to discounted services for AUTHENTIC BEAUTY CONCEPT salons to recycle the traditionally impossible (hair, foil, colour tubes, towels) alongside plastic, paper, PPE, chemicals and general waste.
• There’s also access to GSC education on waste, energy, water, and food, as well as staff policies and social responsibilities.
• But it’s not just about recycling; salons can introduce an AUTHENTIC BEAUTY CONCEPT refills bar to encourage clients to reuse their mindfully packaged bottles and tubs, often at a reduced retail price. Clear action, clear impact – beauty has. never behaved better

Join the #AUTHENTICBEAUTYMOVEMENT via authenticbeautyconcept.com and @authenticbeautyconceptuk on Instagram, Facebook and YouTube

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“This Has Been A Dream Job” – Hair Stylist Farida Ghwedar Shares Her Secrets From The Bridgerton Set

“This Has Been A Dream Job” – Hair Stylist Farida Ghwedar Shares Her Secrets From The Bridgerton Set

Jun 19, 2024 | CREATIVE PROJECTS, EXPLORE, HOME EXPLORE

“This Has Been A Dream Job” – Hair Stylist Farida Ghwedar Shares Her Secrets From The Bridgerton Set

Bridgerton hair looks are trending big time – discover what it’s really like to work as part of the hair and make-up team on set.

by  | CREATIVE PROJECTS

Farida Ghwedar

What was the career journey leading up to working on Bridgerton? To style the hair and wigs for three leading ladies in series two and three is beyond impressive…
Oh, thank you so much! I feel incredibly lucky, this has been a dream job. I studied film at university and after some time working at a watch repairs, I knew I needed a practical course to enter the industry. I loved make-up and thought that was an area I may enjoy within film. I took a three-month hair and make-up course at CBMA, run by the designer Christine Blundell. It was an incredible experience with invaluable lessons as well as contacts.

I was terrible at hair with no training before or after! But my frustration made me practice and learn from tutorials in my own time. From there my first job was running the hair and make-up department for Secret Cinema. I saw it was doing a live event for Guy Ritchie’s RocknRolla premiere, so I asked if they needed make-up… which led to more than six years as department head!
A friend who also trained at CBMA, Jenny Rhodes McLean, approached me to work on Bridgerton series two as she was supervising and I think she thought I could bring a slightly more modern feel to period hairstyling as that wasn’t my background. From there, Jenny – who looked after Penelope – went on to design and so Erika (Ökvist, hair and make-up designer of series two and three) asked me to take over the hair of the character as well as Kate again for the third series. I’d also looked after Edwina in the second series.

Nicola Coughlan as Penelope

Ashleigh Hodges

Simone Ashley as Kate

“I feel incredibly lucky, this has been a dream job. I studied film at university and after some time working at a watch repairs, I knew I needed a practical course to enter the industry.”
– Farida Ghwedar

Talk us through the process from the first phone call right through to shooting the series…
Prep was three weeks as we were a returning team. However, I had a new character… who was the leading lady! I was very supported in anything I needed though. Erika called and talked through Penelope’s journey. Due to the scale of this job, she created moodboards, would have an initial discussion then trust you with your characters, which is amazing. I then send her looks to be signed off. She’s generally there to support you in every aspect. 
There’s a new look for almost every outfit and once shooting starts you rarely get fittings with the leads due to the schedule. So, most of the time you try on a style for the first time in the call, which is the ‘get ready’ time for hair and make-up. However, we made great use of the two to three fittings we had in prep.

Describe a typical ‘day in the life’ while working on set…
It changes all the time but, on average, we arrive at 5.30am to be ready for your actor in the chair at 6am. Hair/make-up happen then while the actor goes to costume, you grab breakfast, pack your set bag and tidy your station! Head to set for 8am and watch your actors on the monitors to keep an eye on the hair and continuity, and run in for checks where needed. You eat your lunch on the go most days and possibly have one or two changeovers. Finally, you’ll wrap at 6pm, derig your actor, clean the wig, reset it where needed and up your station for the next day.​

Penelope’s ‘reveal’ is such an iconic moment of the series. How did you go about finding inspiration and ultimately deciding what was right for the moment?
Nicola Coughlan and I liked the idea of hair down as a departure from Penelope’s old style. I had been wanting to create something like Jane Russell’s sideswept waves or Blake Lively’s hairstyle in The Age of Adaline (the New Year’s Eve scene). The compromise with production was pinning up one side, as they wanted more room for her style to evolve, which made sense. I had already been using pin curls around the hairline, so I just extended this to the back tapering towards the loose waves.

Mash Creative Studio
Mash Creative Studio

Talk us through some of the key steps in creating the reveal hair look…
To start, I blow-dried Bumble & bumble Surf Foam Spray, which gives styling hold and a little grit to the hair. I followed with Oribe Gold Lust Dry Heat Protection Spray. I know most people wet set wigs and use a wig oven but sometimes I feel these sets can be too rigid and harder to dress for soft styles. I like being able to control and manipulate the hair through the whole process. I curl and pin one-inch sections, which takes longer than other sets but each style needed very little redressing using this method. 
Once I had brushed out the waves, I used a little Oribe Supershine Moisturizing Cream to smooth. For the pinned-up section, I reduced bulk by braiding away much of the hair. This also served as an anchor for the pin curls. I lightly sprayed Schwarzkopf Professional Silhouette hairspray as it’s a super-strong hold, and misted Oribe Superfine Hairspray for the loose waves as it allows movement which was part of the walk down the staircase during the reveal. 

What has the reaction been to Penelope’s hair evolution in the third series? 
I’ve been so overwhelmed by all the positive feedback! I do have to stress that this is a collaboration including the artists who looked after Nicola in the past. Nicola is also very involved and has great ideas. The styles are also more wearable because they are more modern this season, so that attracts more attention. 

Do you have a favourite look from the series?
I would say the Hawkin’s Ball, which is the side bun with hair flowers. I feel like all the elements from costume to make-up and hair all came together and Nicola looked beautiful. When everything marries together, that’s always a great thing. 

What are your three kit bag essentials?
My YS Parks or Denman Carbon tail combs, Oribe Supershine Moisturizing Cream and fine waves hair pins. 

What’s one thing readers may not realise about doing hair for film/TV?
When you create a hairstyle it’s not just about making something beautiful or immersive, but you have to consider how long a scene is. This translates to how long that style must last in a wig or be recreated to maintain continuity. You may have to replicate it perfectly a year later, or adapt it to withstand weather or certain action. You must be ready to compromise your vision to align with that of others in charge. 

For any stylists looking to branch out into the world of TV and film hair, what would your advice be?
Be prepared to be tired… always! The hours are long! Hair and make-up are often the first in and last out. You must learn to work efficiently as time is precious, and you must be a team player and stay positive where possible. Asides from your team, your actor is also doing those hours but they have to then step in front of the camera and be ‘on’ all day. You need to be aware of your impact on the start and end of their day.
Lastly, just love the work you do! Not everyone will have the same route into film and TV hairstyling, but if you love hair and put the same amount of effort into a small job as a big job, you will find your way.

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