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“The Important Thing Is Giving People The Freedom To Express Themselves”

“The Important Thing Is Giving People The Freedom To Express Themselves”

“The Important Thing Is Giving People The Freedom To Express Themselves”

Pont Smith and Chloe Herve’s ethics-first business ethos has taken their bebop salon brand from tiny start-up to an award-winning mega-space that’s on the radar of major fashion brands.

by CATHERINE | DOCUMENTS

bebop team members

The bebop team set the mood – and the clients love it

Launched by Pont Smith and Chloe Herve in 2017, bebop is an industry success story – a bright, airy salon in London’s Holloway with a brilliant vibe, great music and a team of big, colourful personalities, who, alongside hair and nail services, do a roaring trade in tooth gems. People love the quirkiness. Two-and-a-half years ago, bebop had to expand into sizeable new premises to cope with surging client demand. In the last 12 months it’s made the Best London Hair Salon list in TimeOut magazine and won Best Salon Team at Creative HEAD’s Most Wanted awards.

We’re not surprised. Because if you ever needed an example of a modern, forward-thinking hairdressing business with a completely fresh approach to creativity, teamwork and clients, bebop is it. Chloe and Pont have built their brand carefully and ethically from day one, pioneering gender-neutral pricing and eco-conscious practices long before they were trendy and priding themselves on providing inclusive, super-friendly service and a buzzing atmosphere in the salon. Their overriding ethos? “Treat other people the way you would want to be treated yourself.”

Pont Smith

Pont Smith

“When Chloe and I went into business there was a lot of stuff that we’d always moaned about in our own careers, so we made a pact that we would never do that to anyone else,” says Pont. “Listening and communication are such a big thing with us and expressing thanks as well. We know we are lucky we’ve got such good stylists with us, and we couldn’t be where we are without them, so gratitude’s a big one and just trusting them as well.”

The bebop team is undoubtedly a big part of the brand’s success – a bunch of 22 charismatic extroverts that clients love to be around. But with the vast majority declaring some form of neuro-divergency, Pont and Chloe have had to figure out a different way of working to create the perfect environment for them to feel comfortable.

“Our business model has always been quite open – everyone’s individual and that’s how I try to run the business. So, if someone wants to do four days, they work four days. If someone wants to be employed, they can be. It’s kind of down to them. With mental health being such a big issue, I think you need a bit more freedom nowadays, you can’t put everyone in the same box. And while it can be a bit chaotic at times, the team genuinely care about what they do, they’re completely invested in it and they work really hard at it, too.”

“Our business model has always been quite open – everyone’s individual and I want us to reflect that”

While Chloe takes care of the numbers in the business, Pont, whose background is in education, takes care of the people – but with such big characters to deal with, he admits he’s got his work cut out. “Team meetings can be quite taxing!” he smiles. “But the important thing is giving people the freedom to express themselves. Creating the right atmosphere is key when you’re dealing with neuro-divergency and that trickles down from the top. I spend time making sure I’m mentally fit and kind on myself because that works down to the guys on the floor. And our atmosphere is what the clients really enjoy and comment on.”

bebop at Most Wanted Grand Final

bebop strike a pose at the 2024 Most Wanted Grand Final

When Chloe and Pont launched their business, they talked about flipping the hair industry on its head. “We wanted to do everything differently,” says Pont. “We wanted to think the opposite of what the industry was thinking – it’s the only way to make the industry grow.” When, after two-and-a-half years, bebop moved into its current, much bigger premises, a key part of the vision was to use the space for events and to create a sense of community among London salons that they felt was lacking back then. The salon’s pub quizzes, led by the team, are legendary (a recent St Patrick’s Day edition saw clients buying tables and staff pulling pints of Guinness), and the bebop Hair Jam, where the team invites 12 hairstylists from all over the UK and Europe to showcase their work (“There’s no judgment, no competition, we’re all just there having a good time looking at good work and sharing ideas and networking”), is fast becoming a recognised annual industry event.

bebop salon

bebop’s salon doubles up as an event space

Collaborations are another line of interest. In May 2023 bebop were approached by SSHH Ltd, the creative agency for the Kickers shoe brand, who were gearing up to relaunch the Kade shoe and saw bebop as the ideal venue to captivate the youthful, fashion-forward target market. The salon was transformed into a vibrant showcase for fashion, fun and creativity, with DJs providing the sounds, attendees hitting the dancefloor, and the bebop team providing hairstyling with colourful hair beads, exclusive nail art and tooth gem installations. “I never see hair salons collaborating with big brands like that,” says Pont. “It was a lot of hard work because we’re such a small team to be working out all the logistics and stuff, but it was a cool thing to be part of and our team loved it.”  The team is now planning a collaboration with homeless charity Crisis, as well as exploring opportunities with other clothing brands. “We’re just figuring things out with them, seeing whether there’s a good fit,” says Pont.

“I spend time making sure I’m mentally fit and kind on myself because that works down to the guys on the floor”

Looking to the future, bebop is all about pushing the boundaries of what a salon can be. The business has set up an online shop selling a range of bebop merchandise, including neon mugs, logo T-shirts and a bebop camo cap that sold out within days (such are the benefits of having a clientele that can’t get enough of you!). “We’re even considering creating our own product line,” says Pont. “Our dream is to see bebop’s concept take off in different parts of the world.”

The Value In Finding Creative Outlets Outside Of Hair

The Value In Finding Creative Outlets Outside Of Hair

The Value In Finding Creative Outlets Outside Of Hair

Five hair pros share how they switch off while keeping the creative fires burning

by KELSEY | DOCUMENTS

El Viaje Scents

In a world where most of us are ‘chronically online,’ it’s never been more important to seek out ways to switch off and stay away from screens. As naturally creative people, many hair professionals are turning their attention to other creative outlets outside of working hours. From fashion styling and dance to candle-making and gardening, hair pros have a whole host of passion projects away from the chair – with some even pursuing them as additional business ventures.

“Working in the hair industry demands a lot. We are up close and personal with our clients all day,” says Stephen Aiken, colourist at Pure Hair in Belfast, who has discovered a passion for creating fragrances and candles. “When I’m creating my scents, I get to be in my studio alone, enjoying some much-needed ‘me’ time—just myself with some music or even a podcast in the background,” he explains.  

Stephen Aiken

Stephen Aiken

Stephen was drawn to creating fragrances because of the fascinating chemistry behind them, where blending different scents can evoke distinct moods and atmospheres. What started as a love of buying candles and scents for his home led to a lightbulb moment of wanting to create his own fragrances based on his favourite aromas.  “There’s nothing better than getting home from a busy day at work, putting my feet up and setting the mood with the warm glow of a candle,” he comments.

What started as a small-scale project creating candles for himself, as well as friends and family, has grown into a business venture, with Stephen launching El Viaje, offering a range of charcoal incense, room sprays and wax melts. “There is so much involved in creating a scent, and the fun part is coming up with the combination—a little bit of this and a little bit of that to create the perfect blend. It’s the same as when I create colour mixtures for my clients,” he adds.

Likewise, for freelance hairdresser Justin Meckland, it’s been important to find a passive project which allows him to switch off and focus on another creative industry he loves – fashion styling. “Being a hairstylist has become part of my personality – since going freelance this was the perfect opportunity to explore my love for fashion styling on a deeper level and study online with the London College of Style,” Justin explains.

While he may admit to never fully switching off from his work as a hairdresser, committing to the styling course enabled Justin to set aside a day each week to turn his phone on ‘do not disturb’ and fully immerse himself in the world of fashion, completing weekly assignments and discovering more about the industry. “I’m constantly creating mood boards based on things like fashion through the decades, or drafting editorial submissions for projects, so the creative juices are always flowing,” he adds.

A world away from fashion styling but equally as mindful, salon owner Oliver Blackaby uses gardening as a source of creative expression.  For as long as he can remember, Oliver has had a deep love of gardening, but over the past two years it’s transformed from a casual hobby into a source of relaxation and even therapy. “Gardening, for me, is an art form,” he comments. “It’s about layering textures and colours, experimenting with plant combinations, and embracing the challenges of finding compatible plants that thrive together in light or shade.”

 

Justin Meckland

Justin on set styling

The results of Oliver’s hard work

In the past year, he has taken on some ambitious projects in the garden that have pushed him both creatively and physically. Last year, he relocated his fishpond to a new area and added a water feature. “The soothing sound of water has become a central part of my garden, offering a peaceful spot to meditate and unwind,” Oliver shares. “This year, I took on the challenge of building a nature pond, a sanctuary for frogs and other critters. This project breathed new life into a neglected part of the garden, transforming it into a vibrant, thriving ecosystem.”

Gardening has become more than just a pastime for Oliver, it’s a way for him to engage with life on multiple levels—creatively, physically and spiritually. “It’s where I find peace, challenge myself and connect with the world around me.”

For hairdressing apprentice Rhys Cockell, switching off and pursuing other creative endeavours has also helped him become immersed in another community, the Welsh Ballroom Community, which celebrates the Welsh ballroom scene in Wales. “Initially, it was my housemate who asked about going to some open sessions running in my city,” Rhys explains. “It was just after the final round of COVID lockdowns, and I thought it would be a way to break up the routine of going to work and coming home.”

Rhys had long admired Ballroom from a distance, through the lenses of Paris is Burning and watching Kendrick Mugler’s YouTube channel, so decided to go to the session. Since then, it’s become his main creative outlet and has actively been competing in the in the Kiki scene for around ten months. “Ballroom helps me switch off from work because the creativity for me is in different areas,” Rhys shares.

The Ballroom scene brings together a wide range of cultures and identities, meaning Rhys is influenced by the varying interpretations of the categories, which helps him stay creative. “A lot of the time we are creating effects (costumes) out of a shoestring budget or last minute and that to me is where the creativity lies. Ballroom teaches you to really go in on an idea.”

Rhys in motion captured by @hannahtottlephoto

 

Whether from the comfort of your home or garden or joining other communities to participate in activities, the value of switching off cannot be understated. Not only beneficial for mental health, but it can also spark inspiration and allow you to express yourself outside of the salon environment. It’s an opportunity to nurture your other talents – and the results speak for themselves. Case in point, Richard Phillipart’s impressive embroidery.

What started as a way to stop looking at screens after work has blossomed into beautiful artwork. “Embroidery requires both hands and demands your complete attention, there is no way I can find myself on a screen if I’m doing needlework,” he explains.  “So much of my time is consumed by hairdressing that I wanted an outlet that had nothing to do with the industry. My mum crossed stitched, and as a very gay child I would practise with her but nothing like the work I’m creating now. When looking for a craft to keep me off screens I thought this skill may still be in the recesses of my memory and I could tap into it,” he adds.

Richard is still trying to find his artistic style in this medium, as it’s traditionally a woman’s craft, so inspiration in a modern, less flowery style is limited. “I started out recreating paintings by famous artists like Picasso and Dali but felt constrained trying to recreate existing imagery. Lately, I’ve been exploring more modern art styles that allow for interpretation such as psychedelics, graffiti and cartoons.”

Richard’s epic embroidery

What is most apparent is there’s no one set passion project that you should or shouldn’t follow. Consider this your sign to nurture your inner child and tap into your interests, who knows where it could lead…

“The Experience Starts At The Door” — Kitch Brings 1950s Kitchen Comfort To Islington

“The Experience Starts At The Door” — Kitch Brings 1950s Kitchen Comfort To Islington

"The Experience Starts At The Door” — Kitch Brings 1950s Kitchen Comfort To Islington

Celebrating individuality, nostalgia and unbeatable client experience, Kitch is a pastel-hued, kitchen-inspired salon offering a welcoming space for all. 

At Kitch in Angel, Islington, owners Luca Jones and Scott Humphreys are reinventing the salon experience, one pastel corner at a time. Their 1950s kitchen-themed space is anything but traditional, blending a sense of nostalgia with modern inclusivity. Designed as a vibrant yet familiar kitchen, Kitch offers everything from salon services to barbering, in an inclusive and gender-neutral setting. Kitch welcomes everyone to enjoy a unique salon experience that feels like getting your hair done at home with friends. 

Following their recent win for Most Wanted Best Client Experience, the team has been busy enhancing their signature space. This includes expanding the retro theme upstairs while introducing functional updates for an even smoother client journey. And while the decor is as pastel and charming as ever, it’s the updated backwash area that’s turning heads. The newly added basins sit next to the colour zone for seamless toning, and the installation of a new boiler ensures consistent water pressure across multiple stations. The bright pink cabinet housing the boiler ties functionality with the salon’s aesthetic, allowing clients to enjoy a faster, more efficient rinse without sacrificing the beloved Kitch vibe. 

“The experience starts at the door,” says Scott. “As soon as you walk into reception, we want it to be relaxed and easy – not too formal or stuffy. Having the dog by the door also helps ease everyone in. It’s an open, friendly environment.” This approach is what sets Kitch apart from traditional salons, making it feel more like a community hub where clients can truly be themselves. 

Central to the Kitch experience is its commitment to inclusivity, particularly for LGBTQIA+ clients. “We wanted to create a safe space for everyone,” says Luca. “Here, you can come in, be yourself, wear what you want, and say what you want. It’s a nice, fun place to be, and everyone seems super relaxed.” This openness and inclusivity foster a sense of connection among clients and staff alike, and the layout even encourages conversation between clients. “It feels like you’re part of a whole group. No one’s left out, no matter their age,” Luca adds. 

The recently expanded salon upstairs builds on Kitch’s charm, offering even more practical functionality while keeping its signature aesthetic intact. “Being able to use the backwash area properly is worth a billion dollars!” the founders joke.  

Kitch also brings a unique approach to customer service, emphasising listening and collaboration. “An important point is listening to what your client wants,” says Scott. “A lot of hairdressers go on a tangent and do what they want, but it’s important to tweak it your way while listening to the client’s wishes.” This dedication to understanding clients’ needs reflects the founders’ vision for a salon where everyone’s individuality is celebrated. 

Inspired by his upbringing, Scott explains, “My mum was a hairdresser, so there was always someone in the kitchen getting their hair done. It was usually a really fun time, especially after COVID. The kitchen was always a relaxed place, and that’s what we wanted here at Kitch – a space where people chat, laugh, and feel comfortable.” 

With a nostalgic design, high standards, and an inclusive atmosphere, Kitch in Angel is more than a salon; it’s a space where everyone can feel at home while getting top-notch service. 

 

Related

The Cool Huntress

The Cool Huntress

The Cool Huntress

Zoë Irwin is the talented stylist who’s shown us how to predict, name and package hair and fashion concepts in a way that makes journalists swoon and consumers want to buy. Where on earth would this industry be without her?

by CATHERINE | CONVERSATIONS

 
Zoe Irwin

The Independent calls her “the Stella McCartney of hairdressing”. Her Liberty print styling menu caused a beauty blogger meltdown. And such is her industry kudos that John Frieda asked her to join his salon group as creative director. Zoë Irwin is a truly original and inspiring hairdresser, and it’s fair to say the world of hair would look very different without her imprint.

Ah, yes, her imprint. Zoë has taught us so much. In 1998 she was one of the first to show that it was possible to combine session and salon work, assisting Guido Palau every season for 10 years, while holding down a series of high-profile roles at top London salons. In 2000 she persuaded top fashion photographer Stuart Weston to shoot a hair collection for the legendary Soho salon, Stage Door, where she was creative director, paving the way for a whole new wave of hair and fashion collaborations to follow (previously, the hair world had not been deemed cool enough for fashion photography). And from the get-go she has drilled into us how translating trends from the world of fashion into consumer-friendly hair services can unlock lucrative new revenue streams for our hairdressing businesses. Oh yes, this girl means business.

Zoë’s work blends traditional technique, honed over her remarkable 40-year career, with new concepts developed from her deep understanding of youth culture – she plays with fabrics, language, colour and more, always staying one-step ahead of the game. As a result, brands, magazine editors and fellow stylists have sought out her creative direction and predictions, which are always expertly referenced, emotively named and beautifully packaged.

 

Zoe Irwin

The Independent calls her “the Stella McCartney of hairdressing”. Her Liberty print styling menu caused a beauty blogger meltdown. And such is her industry kudos that John Frieda asked her to join his salon group as creative director. Zoë Irwin is a truly original and inspiring hairdresser, and it’s fair to say the world of hair would look very different without her imprint.

Ah, yes, her imprint. Zoë has taught us so much. In 1998 she was one of the first to show that it was possible to combine session and salon work, assisting Guido Palau every season for 10 years, while holding down a series of high-profile roles at top London salons. In 2000 she persuaded top fashion photographer Stuart Weston to shoot a hair collection for the legendary Soho salon, Stage Door, where she was creative director, paving the way for a whole new wave of hair and fashion collaborations to follow (previously, the hair world had not been deemed cool enough for fashion photography). And from the get-go she has drilled into us how translating trends from the world of fashion into consumer-friendly hair services can unlock lucrative new revenue streams for our hairdressing businesses. Oh yes, this girl means business.

Zoë’s work blends traditional technique, honed over her remarkable 40-year career, with new concepts developed from her deep understanding of youth culture – she plays with fabrics, language, colour and more, always staying one-step ahead of the game. As a result, brands, magazine editors and fellow stylists have sought out her creative direction and predictions, which are always expertly referenced, emotively named and beautifully packaged.

“Zoë’s work is inimitable in that her references offer deep knowledge of her craft – historically, socially and culturally. Her references start not with a trend but from the bare basics of where a style began and she is a teacher to us all (a 1960s style; ears will be covered, stemming from The Beatles).” Ellen Burney, Vogue contributor

“What’s been key to my career is how each different part embellishes the others,” says Zoë. “By doing the shows with Guido, I was seeing hair trends six months ahead of time, and because I worked in a salon, I was able to turn that into something for my clients, which other session stylists couldn’t do because their world was quite separate back then. I started launching styles with names and a whole feeling behind them because that was how Guido worked; it was always about the concept of character. So, for example, for the hair at Chloë, we didn’t tong like we did in the salon. Guido would explain it was as if the woman was looking in the mirror getting ready, so she’s going to do this, and this. And that’s how I learned to tong. It wasn’t the technical way, it was with character.”

This creative foresight, coupled with her ability to build stories around hair that incorporate trend, fashion and historical context, instantly made Zoë a favourite among the beauty press – but not without some clever strategic thinking, too. “I was very young back then and competing for page space with big-name hairdressers, so I decided to target the interns – to do their hair and tell them about my ideas. And most of those young girls have gone on to land the top jobs in beauty, and we’ve remained genuine good friends along the way, mainly because I’m such a fan-girl about journalists and I just love spending time with these women.”

Hannah Betts (The Times, The Telegraph), Rose Beer (ES magazine), Amy Bannerman (pre-loved style director at eBay)… Zoë is friends with them all, but is also aware that they are highly knowledgeable about beauty and that every new trend she launches needs to be authentic and impressive – something she is at pains to teach other hairdressers. “Imagine Vogue is going to call you tomorrow and ask you about fringes,” she declares. “What are you going to say? You can’t use ‘hairdresser speak’! The language you use has to translate into something they can write in their magazine. So, I try to bring that out of my students, getting them to spend a lot of time describing a specific shade of blonde, for example.”

A self-confessed “hair nerd”, Zoë has always fully immersed herself in whatever task she set herself. She learned French so she could study hairdressing in France (her impressive chignon is what led Guido to invite her to join his team); she went to Milan to study trends; she signed up for Central Saint Martins’ Cool Hunting course and studied Fashion Journalism at the London College of Fashion. It has all paid off – handsomely. “In the hair world, being a creative director means you’re part of the art team, but for me, being a creative director is about creatively embellishing the salon. I realised quite quickly that if I learn about things, then I can design something, and with my press contacts I can get it published.”

And what success! For Headmasters, she launched the Kitten Haircut, featuring a new silhouette inspired by Paris Vogue shoots with Guido (Vogue, ELLE, The Sunday Times). For Hari’s, she designed Cobain Chic, a dip-dye colour treatment aimed at attracting a younger clientele (Vogue, Grazia); the Prada Laced Nail, based on the intricate dress designs of the season (Sunday Times Style); and Skin & Hair Salads, nutritional foods and juices targeting different hair types (Vogue, Harper’s Bazaar, Tatler and Grazia). Then, for Taylor Taylor in Liberty, it was the Tie it Up menu that breathed new life into the store’s heritage prints with strips of fabric woven into Frida Kahlo-esque up-dos (Tatler, Harper’s Bazaar). And for John Frieda, it’s been the Liquid Brunette mocha-noir colour service (The Telegraph) and the fawn-inspired Bambi Blonde (too many titles to mention – this one went stratospheric!), among others. But achieving so much press success doesn’t make life easier for Zoë: “When something goes big, it creates huge pressure for the next trend. John Frieda’s is a big name and I don’t want to let the team down. But [salon owner] Nicola [Clarke] is super-encouraging. We collaborate a lot on naming the trends and coming up with the right language to use around them.”

Staying relevant over a period of 40 years is difficult in any industry, but in Zoë’s role, the pressures become especially enormous. She’s mastered the art of spotting trends, but what about more practical things, like social media?  

“I feel like social media has come along and made everything very difficult because brands are just obsessed with numbers. It puts us under insane pressure,” says Zoë. “And what breaks my heart is that to satisfy the KPIs people want now is not necessarily about being creative. So, I can do a really beautiful shoot, and it will flop, while someone will film themselves clowning around, and it will attract a big audience. I know that’s how it works, but I just can’t bring myself to do that.”

“Five, 10 years ago, my Instagram used to represent who I was and I’d never lose the job. Now I feel like I have to produce work that I hope will satisfy some brands and I’m not sure I can do that while maintaining my integrity. I grew up doing beauty shoots with Tatler and Glamour and everything looked editorial and pretty, but that doesn’t work on social media. Things have got to be shot through a phone and look raw, and I think a lot of hairdressers of my generation really struggle with that rawness.”

Teaching and inspiring young hairdressers is a passion of Zoë’s – and one that has never diminished throughout her career. In 2002 she co-launched Project X for the Fellowship for British Hairdressing, a programme that encouraged aspiring young stylists to incorporate influences such as art and architecture into their work. Now, the Fellowship have asked her to return, in a new role that will see her look after the organisation’s colour teams.

“Initially they asked me if I wanted to go back into Project X, but I was like, ‘You know what? I want to do something different’. So, I want to do colour, but I want to do colour my way, and I’m really excited about it. I find education very fulfilling. I have people come up to me and say, ‘I did your class 25 years ago, and I still really love it’. And the other day someone came up to me from Headmasters and said, ‘Everyone wants you back for a seminar’. When I’m teaching people, that’s where my complete obsession with hair comes across.”

Having recently moved out of London to Hastings, where she’s been able to buy her home outright (“I had found myself taking on jobs I didn’t want to do because of needing money, so I decided to take away that worry”), Zoë is finding a sense of fulfilment in this new phase of her career, people-watching on her commute to work and studying life-coaching. “Things feel more peaceful,” she says. “I have the luxury of time to really look at things that I’m interested in.”

And when she looks back at her incredible 40-year career to date, Zoë feels nothing but happiness. “I feel like relationships are formed in hairdressing that are truly magical – we’re like a family that has basically grown up together. And this industry has always allowed me to go outside, explore other worlds, and then bring what I’ve learned back into the fold. It’s always given me the freedom that I’ve wanted, and I have never, ever been bored. I’ve been accepted.”

 

Why Antoinette Beenders Is Embracing AI

Why Antoinette Beenders Is Embracing AI

Why Antoinette Beenders Is Embracing AI

Aveda’s creative director is integrating artificial intelligence into her photographic collections. Controversial? She argues embracing change is essential  

Astral II, Aveda, Antionette Beenders, Ed Maximus

Astral 2.0, a futuristic collection inspired by iconic stylist Antionette Beender’s work with Dutch designer Iris van Herpen, fuses real hair with AI-generated clothes – a move that’s causing ripples across the industry. “Hairdressers here are very nervous about AI,” says Antoinette. “A lot of my friends in the UK hairdressing community don’t really understand it, but I think once they do, they’ll be all over it – like with Instagram or Uber.” 

Antoinette is using AI as a tool to elevate her craft, blending traditional hair techniques with digital innovation. “AI is the future, right?” she remarks. Working together with multidisciplinary artist Ed Maximus, they have been experimenting with AI to create mind-bending visuals that bring hair to life in new ways. 

Astral II, Aveda, Antionette Beenders, Ed Maximus

Antionette Beenders, Ed Maximus

Astral II, Aveda, Antionette Beenders, Ed Maximus

The Aveda creative director approaches hair the way fashion houses approach couture. “I see it like ready-to-wear and couture. Ready-to-wear is the everyday hair clients want, and couture is the inspirational, artistic side that might not be worn every day,” she explains. “The hair and face are real, but we’re pushing it further with AI.” 

Despite her love for tech, Antoinette is steadfast in her belief that hairdressing will remain an art form grounded in human touch. “Hairdressers are scared of AI because they fear their trade will vanish. But I don’t think that’ll happen – computers cutting hair isn’t on the horizon yet.” Her message to the industry is clear: embrace technology as a tool, but never lose sight of the fundamentals. As she puts it, “Focus on connection and technique, and let product companies focus on providing high-performance tools.” 

As the conversation draws to a close, Antoinette hints at the future: more AI, more collaborations, and certainly more pushing boundaries. But she’s also adamant about one thing: Aveda will always remain rooted in natural, high-performance products, standing as a beacon for sustainability in an ever-changing industry.  

Astral II, Aveda, Antionette Beenders, Ed Maximus
Astral II, Aveda, Antionette Beenders, Ed Maximus

Hair concept @antoinettebeenders supported by @allenruizstyle @ianmichaelblack 

Artist @edmaximus @walterobal

Production @codeproductions