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The Cool Huntress

The Cool Huntress

0{{current_slide_index}}/0{{total_slide_count}} Zoë Irwin [The Cool Huntress] View photos

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 

How K18 Changed The Way We Think About Hair

How K18 Changed The Way We Think About Hair

“The Science Came First. We Built The Brand From There.” How K18 Changed The Way We Think About Hair

Suveen Sahib had no experience in the haircare industry, but he was curious. And that’s how he came to create K18, the biotech ‘miracle’ product line that’s paving the way for the future of haircare, and much more.

by CATHERINE | CONVERSATIONS

Of all the incredible things there are to say about K18, the product line that promises to restore chemically damaged hair to a near virgin-like state in just four minutes, perhaps the most remarkable is that it was created on a computer.

Yes, K18 was developed (you may want to take a deep breath here) by applying computational models with probabilistic structure/sequence analogy used in the biotech industry to the molecular structure of human hair. Clever stuff, right? Well, luckily for those of us who could read that sentence 20 times and still not understand a word, there’s another way of telling the story.

Back in 1990, US-based tech entrepreneur’s Suveen Sahib’s wife, Britta Cox, had founded Aquis hair towels and turbans, harnessing water-wicking technology to deliver a better way to dry. Suveen was reading some of the customer reviews one day and noticed they were saying things like, “This towel makes my hair less frizzy” or “It gives me better texture”, which he found puzzling because the towel wasn’t adding anything to the hair. He decided to look more closely at the structure of hair and realised that what looks like a fibre on the outside is actually a highly sophisticated biological composite. “The hair towel worked because it understood the biology of hair,” he said. “It absorbed water faster and in a way that meant you didn’t have to move it around so much, and that meant hair didn’t get tangled. But why does hair get tangled in the first place? That took me down the rabbit hole into realising that this wasn’t just about hair drying or hair, it was about beauty in general.”

Suveen Sahib

After talking to Britta about her experience of the hair industry, Suveen concluded that most hair products and routines have only resulted in “needy hair” – hair needy for attention and needy for products. “If you think about it, the entire genesis of beauty has been in cosmetic chemistry, and cosmetic chemistry has created great outcomes – hair colour, make-up, hair styling.  But cosmetic chemistry does not understand biology, so when it comes to repairing hair it’s not the optimal toolkit,” he says. Fuelled by his passion for “less is more”, Suveen quit his job and devoted himself to learning everything he could about the biology of hair.

“Hair is made up of millions of molecular chains like inter-connected ladders running along the length,” he says. “But hair was never designed by nature to have chemical services applied to it, like perms, straightening, colour – these are what cause the keratin chains to break. For 10 years I worked with a team of biochemists reassembling and synthesising every possible sequence inside the hair to figure out what kind of sequence could not just reconnect these chains but also contribute cysteine to the broken bonds and bind with the keratin-associated proteins, because that’s what makes the matrix of hair inside. And we found 18 was the optimal peptide; it restored the molecular chains and brought hair back to its natural elasticity and strength. In pharma, you create a molecule and then you create a delivery system to deliver the molecule for a targeted outcome. For K18 we took a very similar approach and that’s why it was born on a computer, not in the formulation lab.”

Having tested different variations of actual formulations with Australian hairstylists (“That was the eureka moment, when we saw the joy on their faces at how good hair felt after applying the treatment; we knew then that all those theoretical models had translated into a product that actually worked”), in December 2020, with their K18Peptide trademarked and their formulation perfected, Suveen and Britta launched K18 Biomimetic Hairscience as an in-salon professional service that went beyond hair repair to restore chemically damaged hair to near virgin-like strength and resilience. The fact that the world was in the middle of the Covid-19 pandemic did not deter them. Rather, the pair turned it to their advantage, using social media to spread the word among professional stylists who were desperate for something new and positive.

“I deeply believe that professional hairstylists were our guiding light,” recalls Suveen. “People were saying to me, ‘Go online, sell it via retail’, but to me it was non-negotiable that we would sell through salons. And in certain countries, salons were still open; in the Nordic countries and Australia – they closed much later. So, we were able to send our products out to them and we encouraged them to use it on their own hair, to tell us how they felt about it, and that’s how the conversations started. And the other thing was that, thanks to the pandemic, stylists were now using Zoom. We did thousands upon thousands of Zooms with stylists across the world, introducing them to K18 and why it should be a part of their life. And a big part of that was education – we were the first to socialise a 3-D model of hair and share it with stylists – and that’s where they started appreciating our biotechnology. And the fact was, the product experience, the tactile experience, that all matched up in their own hands.”

Within 18 months of launch, the K18 in-salon treatment had reached 20,000 salons in more than 100 countries – effectively an overnight sensation. Stylists loved its simplicity. They loved that it worked in four minutes. And Suveen loved them right back. “I was spending time with stylists and I fell in love with that community of artists. And one of the things that stood out was the struggle they faced in coming out of the pandemic and having hundreds of products in stock – none of that made sense to me. I want stylists to focus more on their artistry than anything else. They want to be able to do it simply. They want predictability. They want to be able to make more money. So, simplifying that life became something very, very important to me.”

In 2021, after a hugely successful year of trading through the professional channel (the business was profitable within its first quarter), K18 launched its bond-building Leave-In Molecular Repair Hair Mask with high street retailer Sephora, with an accompanying #K18hairflip challenge on TikTok generating more than 11.2 billion views. The move instantly turned K18 into a best-selling hair care brand at the beauty retailer, but what did this shift away from the salon mean for stylists?

“People were saying to me, ‘Go online, sell it via retail’, but to me it was non-negotiable that we would sell through salons”

“One thing we realised is that as a stylist, you’re often the first to introduce a product to a client, and the conversation can get heavy if the consumer doesn’t know about it, because it feels like you’re trying to sell it and that wears you down,” says Suveen. “Stylists told us they love it when there’s a product that consumers are telling them about because they’ve seen it on social media, or whatever. That makes the conversation easier and it starts bringing traffic to the stylist’s chair.

“We’d also created K18 to use as a salon service when hair is being coloured. But what about post-colour? A client can wash her hair 20, 30 times between salon visits and coloured hair is more susceptible to UV damage. So, we realised we needed to keep a client’s hair in a reasonable state so that when she returns to the salon you can improve it even more because K18 is progressive. But this was not about driving retail, this was about driving the advocacy flywheel, which works both ways.”

Nevertheless, in December 2023, after just three years in business, Suveen and Britta sold K18 to Unilever for an undisclosed (but presumably rather large) sum. Now expanded with a line of shampoos retailing at £39 and a hair oil at £65, K18 will sit within Unilever Prestige, a tight edit of 10 premium beauty brands, including Dermalogica, Living Proof and Hourglass.

The K18 range has expanded and is now owned by Unilever

“K18 is a fast-growing brand that sits at the intersection of beauty and biotechnology,” said Vasiliki Petrou, executive vice president of Unilever Prestige, at the time. “It has been a pioneer of using social media to educate and engage consumers about the science of hair. This acquisition complements our fast-growing portfolio of premium, culturally relevant consumer brands.”

But what does this mean for Suveen and Britta? “I continue to be CEO,” says Suveen, “and I will continue to steer our destiny for many years to come. And if you think about it, it was too early. There is still so much that’s happening within K18 and there’s still so much to come. And that’s what excites me, what we at K18 can bring to the table and what we can learn from Unilever. Because we were global, literally from day one, and you realise there are things that you don’t know and that’s where Unilever come in with a very strong set of complementary capabilities, which are going to be important if K18 is to become a billion-dollar brand.” 

While Suveen is confident that Unilever will allow K18 to continue to focus their attention on small independent businesses (“What I love about Unilever is they appreciate a brand and that its ecosystem needs to be nurtured – that freedom, that oxygen that brands like us need”), the challenge he sees moving forward will be “re-architecting” the way we work with our hair. 

“Stylists told us they love it when there’s a product that consumers are telling them about because they’ve seen it on social media… that makes the conversation easier and it starts bringing traffic to the stylist’s chair”

“The haircare industry continues to stay rooted in the way it’s always been. The relationship with hair they’ve created is all about control. Controlling frizz, controlling the style. For me, it needs to shift to understanding hair and working with it because that’s how you can impact real change and see the results people want. Less is more for your hair and less is what healthy hair really needs, but the current conversation is driven by an industry with tens of thousands of products which further drives over-consumption and waste. I ultimately want to see the product offering cut by half. The number of resources hair consumes on a daily basis is not good for people, their hair, the planet, or their wallet.

“I believe K18 is leading this revolution already — to offer the technology and science that allows people to own their relationship with their hair in a new way. We take care of our silk shirts and cashmere sweaters with immense care, but what about our hair? We need to apply that same philosophy of care. If hair is one of our most precious resources, are we thinking through the way we wash it, the way we dry it, the wear we put it through, the way we feed it? Hair mindfulness is a new way to think about our routine and in that we can unlock confidence that wasn’t possible until now. To truly liberate expression.”

The New Frontier


The New Frontier


From Pharrell Williams at Louis Vuitton Men to Beyoncé’s Cowboy Carter, the modern take on all things cowboy is a far cry from the traditional Stetson-toting symbol of the wild west. Think of the Compton Cowboys, astride their steeds in urban Los Angeles. Cowboy Core is diverse, inclusive and rewriting the trad image of what we knew.

by AMANDA | DOCUMENTS

As BaByliss PRO unveils its latest styling innovation STILISTA, it partnered with Creative HEAD to challenge ambassadors Michelle Sultan and Tariq Howes to deliver a uniquely personal take on what ‘modern cowboy’ means to them. With the entire BaByliss PRO tool portfolio at their fingertips, they took a fresh journey through the American West. It’s time to saddle up and explore…

Tariq Howes

The 2024 Most Wanted Men’s Hair Specialist, Tariq is an integral part of Jody Taylor’s session team (alongside Nick Barford, Tariq’s team mate on this shoot), sharing his textured hair expertise for labels such as Vetements. Long-time collaborator with Tariq, Lauraine Bailey, was also on set as a master of intricate braiding. Tariq is also the founder of Avenue Barbers in Cardiff, a popular educator and platform artist and a longtime ambassador for BaByliss PRO – those clippers barely leave his hand!

Michelle Sultan

Celebrity stylist beloved by the likes of Alison Hammond and Alex Scott, Michelle is known for her effervescent aesthetic and exceptional creativity on hair of all textures. When she’s not on set or in the studio, you can find her at Battersea’s legendary Hype Coiffure (along with team mates Deen and Schola, pictured) and working on projects for BaByliss PRO as an ambassador.

Well, hello, Dolly! Michelle couldn’t style up a cowboy-inspired shoot and not invite Ms Parton out to play with one of the largest wigs we’ve ever seen. “We’ve made it Dolly and put texture and movement into it, so it’s not straight blonde,” explains Michelle, “and it’s heavy, almost like it’s been roller set for about 10 years…”.

Toolkit: BaByliss PRO Heated Ceramic Rollers.

Michelle loves to create a character building, so welcome her urban cowgirl. “She’s fearless. She’s carefree,” says Michelle. “She lives in a hot climate in Arizona. The hair is slightly sun-kissed. She’s strong, a warrior. That’s the vibe. She’s my queen!”.

Toolkit: The BaByliss PRO Falco Dryer and the pik attachment, to prep the hair, stretch it out and braid it down. Then, pre-formed faux locks were added, crocheting them for a high pile on top.

“The Billy Ray Cyrus look gives me trailer park vibes, with the mullet, the flat top and the slicked back sides. I wanted to give a textured hair version of that,” explains Tariq. “It’s a square flat top with extensions at the back to make the hair really elongated. It’s super cool.” Shout out to Lauraine Bailey who painstakingly weaved in those lengths over hours…

Toolkit: BaByliss PRO Falco Dryer, BaByliss PRO STILISTA (to smooth out ahead of weaving in the extensions) and the BaByliss PRO FX ONE Lo-Pro Clipper and Skeleton Trimmer, to shape the flat top.

Now, let’s get a little more soulful. Think Rick James along with Coming to America’s Darryl Jenks. “Think Soul Glow, soaking wet curls at the back,” smiles Tariq. “Also, a bit of Lionel Richie. That’s the vibe we’re going to go for…

Toolkit: The BaByliss PRO Falco Dryer and pik, to pull out a little more on top.

With those lengths Michelle delivers a nod to Beyoncé. “This is my Cowboy Carter – who doesn’t love that image of the hair and the cowboy hat?” she asks.

Toolkit: BaByliss PRO STILISTA for wrapping in a little texture.

And with such a canvas, it would be a crime not to get a little playful – Michelle hit up the fashion team to borrow some accessories to embellish those lengths and plaits. “We just wanted to get some texture in there, just as if they live in the desert and they just braid their hair.”

Toolkit: BaByliss PRO STILISTA smoothed and straightened the roots and mid-lengths, leaving the ends with a raw finish, before some braids and accessories were added.

 

We’re hitting the 1950s with this Johnny Cash-meets-Elvis vibe. “I think those comb marks are iconic,” says Tariq. “They stand out. It brings out the hair as more of a feature in the final image.”

Toolkit: The BaByliss PRO FX ONE Lo-Pro Clipper was used to taper hair at the neck, before the BaByliss PRO Falco Dryer primed it all back into shape, ahead of slicking it back with pomade.

Then with a little more action at the front to fall into the face and a dryer finish, Johnny Cash just got cooler.

Toolkit: BaByliss PRO Falco Dryer in at the roots and to push back on the sides.

Michelle took inspiration from the model’s own Afro and just kept on going. “We wanted to build on that, using lots of textured pieces, making it huge!”

Toolkit: BaByliss PRO Falco Dryer and diffuser (to build in movement with plenty of hairspray), with the pik (to pull it out a little bit in places).

Next up, this is giving Beyonce-meets-Dolly Parton-meets Jolene. It’s blonde with dirty roots, she’s that sexy cowgirl. “It’s kind of old school but making it modern – a little bit trashy, almost,” smiles Michelle.

Toolkit: BaByliss PRO Heated Ceramic Rollers to get that smoothness.

We’re back to Billy Ray Cyrus, whose mullet was cut quite square, quite high on top. Not this time – Tariq wanted more of a true flat top

Toolkit: BaByliss PRO FX ONE Lo-Pro Clipper to cut a guideline for the middle, and then clipper over comb to create a true flat top. The BaByliss PRO Falco Dryer helped to push back the sides and set the gel. 

Now to more of a modern flat top, shaved-in tight at the side to make it more square, more extreme.

Toolkit: BaByliss PRO FX ONE Lo-Pro Clipper.

Discover more about the new BaByliss PRO STILISTA

A Creative HEAD shoot in partnership with BaByliss PRO

HAIR: Tariq Howes, assisted by Lauraine Bailey and Nick Barford; Michelle Sultan, assisted by Deen Fashola and Schola Rose, for BaByliss PRO
PORTRAIT PHOTOGRAPHY: Bob Foster (A&R CREATIVE), assisted by Luke Weller
PRODUCER: Joanna Kidd (Creative HEAD)
FASHION: Twinks Burnett, assisted by Rosie Devine
MAKE-UP: Tricia Woolston using Pat McGrath, assisted by Megan Goram
EDITORIAL: Amanda Nottage (Creative HEAD)
SOCIAL MEDIA: Kelsey Dring and Aofie Connell (Creative HEAD), assisted by Harry Dotters
BTS PHOTOGRAPHY: Harvey Williams-Fairley
VIDEOGRAPHY: Charlie Guy-Wilson and Ben Cooke (Clockwise.Film)
MODELS: Alan Bea; Olivia Belgrave-Ruse (The Milk Collective); Ryan Brown; She-Lan Duane (W MGMT); Robbie Jr; Skye Metrowich (Zone Models)
SHOT AT: Street Studios

A Quiet Man

A Quiet Man

A Quiet Man

Niall Colgan doesn’t do razzamattazz. All he asks for is 60 minutes of your time, and he will quietly, patiently give you the perfect haircut​

by CATHERINE | EXPLORE

Given the breakneck speed at which the world is moving nowadays, it’s somehow reassuring that so many people choose to sit in haircutter Niall Colgan’s chair. Niall takes his time, you see. At least one hour per appointment. And those 60 minutes not only give the client a rare opportunity to relax and take stock, they also give Niall the chance to submit himself fully to the task of creating the perfect haircut. 

“For a long time in this industry we’ve been taught to go through as many clients as we could in a day,” says Niall. “But there’s no precision in that. I’ve come to realise that haircutting is like architecture – you’ve got to lay your foundations, you’ve got to build your walls, you’ve got to get the roof right before you bring in the interior designers to make that house a home. The true mastery of haircutting is the basics – you’ve got to build a structure around what you do.”

This absolute dedication to the haircut not only flies in the face of current trends – where colour is so dominant that clients are not required to integrate a haircut into their colour appointment – it’s actually (and paradoxically) resulted in a massive boost to Niall’s business. “I’ve gone from €70 when I first opened my salon 15 years ago to €120 now and I’ll need to charge a premium for new clients because I’ve got such a long waiting list,” says Niall.

“But I never take anything for granted. I’m always checking in with myself because I don’t want to go back to being the hairdresser I was before I opened my salon, where I was stuck in a rut and full of fear and frustration. I’ve gone from being someone who measured success in terms of how many clients I could do in a day, to someone who takes pride in the fact I deliver incredible hair and that my 20 staff also deliver that too.”

While the luxurious interior, buzzy environment and – yes – high-end price tags make it clear to all that Niall runs a successful business in an exclusive area of Limerick, the haircuts that give him the most satisfaction are neither the most expensive, nor the most glamorous. “Our post-chemotherapy haircuts are the most important and an area where we can demonstrate the highest level of skill,” says Niall. “This requires total vision and precision. I’m not talking about cutting wigs here. This is about going on a journey with your client that could last a year or 18 months, but that will take them to a place where they start to feel themselves again – feminine, safe and in control. You have to follow a process. You have to be consistent. They have to trust you when you tell them, ‘It’s going to be okay’.”

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