Leica S Magazine No. 3

THE RANKIN ISSUE A L A i N pi C H O N W E N DY i L E S K E N NA R A pH A E L SA L L E Y Ti NA O u TE N N i C K i RW i N K E v i N fO RD C H A RL i E L E m i N D u J O H N N i E SA pO N g

3 02 · 2012 English

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Model Agency Ted Linow www.megamodelagency.com Kaiser-Wilhelm-Str. 93, D-20355 Hamburg, Phone +49.40.355220-0, Fax +49.40.355220-22 Kremmener Str. 9-11, D-10435 Berlin, Phone +49.30.44033290, Fax +49.30.440332920

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2012

EDI TOR I A L

I M PR I N T

Strangely, I got into photography through hair.

S-Magazine a special edition of Leica Fotografie International

I was about 17, and decided to get a ‘cool’ haircut. I had always gone to

2nd year

a normal barber, but then I got into being fashionable – so I took the brave steps through the doors of my local salon. The hairstylist was called Rocco. He was about 28, a little overweight, and talked endlessly about his sexual exploits with a number of the other female stylists in the salon. He was full of bullshit, but I was intrigued by him. I had never met anyone like him, and I guess I liked him for that reason.

S-Magazine is celebrating a double premiere: first of all, please join us in welcoming the new Leica S and the first issue of the magazine dedicated to the work of a single photographer – Rankin. His hair project represents the fulfilment of a long-standing desire. All shots were captured exclusively with the new Leica S. But Rankin has not limited himself to shooting alone, he has also selected his favourite newcomers to the scene for the S-League

I listened to his stories while he tinted the ends of my hair, then cut it into what was back then described as a ‘wedge’. I was nervously excited about what my mates would think of my experimental haircut. Rocco had his own ideas about my new look – “Why don’t we do some styling photos? We could maybe use them in the window!” I was excited. I knew I wasn’t up to that much when it came to modelling, but I thought it could be fun to give it a go. I came back to the salon at the allotted time, dressed in my best shiny grey suit, it was the 80’s after all. The photographer was shooting on a crappy old 35 mm. The ‘studio’ was a simple setup of one light and a horrible sparkly background – like a glittery bounce on foil: cheap and home-made. Rocco styled my hair with a lot of wet gel, which dulled the tint and made me appear to be sweating from the top of my crown. The shoot began: the flashes popped, I posed. It was fairly quick. The photographer couldn’t afford too much film, and was far more interested in some female models who had turned up. A few days later I went back to the salon to look at the contact sheets. Unsurprisingly, I looked like an idiot. The photographs were terrible, I was terrible. My hair was really terrible. Clutching on to fading hope, I asked which were going to be used in the window. The room fell silent, and the penny dropped. I wasn’t going to be used. As some kind of apparent compensation for the disappointment, Rocco suggested that I may like to buy some prints

LFI Photographie GmbH Hammerbrookstraße 93, 20097 Hamburg, Germany Phone +49/(0)40/226 21 12 50 Fax +49/(0)40/226 21 12 70 ISSN 2192-8347 E-mail info@s-league.net Web site www.s-league.net Editors in Chief Inas Fayed, Frank P. Lohstöter, Rankin (for this issue) Creative Direction LFI Photographie and Tom Leifer Design, Vicky Lawton (for this issue) Editorial Office London: Michael Harvey (words), John McDonnell (sub), Katie Bruce (editorial assistant), Hamburg: Carla Erdmann, Katrin Iwanczuk, Bernd Luxa, Anna Madeling, Henriette Primus, Katrin Ullmann Contributors Alain Pichon, Wendy Iles, Kenna, Raphaël Salley, Tina Outen, Nick Irwin, Kevin Ford, Charlie Le Mindu, Johnnie Sapong Art Direction Calum Crease, Evan Lelliott, Adam Spink Alessandro Argentato / Tom Leifer Design Photography All photography by Rankin, unless otherwise stated. Eva Pentel, Jimmy Donelan, Luke Freeman, Max Montgomery, Mike Tinney, Neil Dawson, Nico Terraneo, Trisha Ward Executive Producer Nina Rassaby-Lewis Producer Maria Domican

from the photographer. I realised that the ruse all along was to con me into digging deeper in my pockets, and paying to satisfy my ego. I left the salon.

Translation Wieners+Wieners, Ahrensburg

Walking out, I felt strangely excited. The photographs were an embarrassment, but a trigger had gone off in my head. The proverbial lightbulb moment. I was fascinated by what had gone on behind the camera. Despite all of its rough edges, I had felt the glamour of being on a photo shoot, the thrill of trying to create

The S-Magazine as iPad app – free download from the iTunes Store

something new. It was so clear to me then that I had to be that side of the lens. It took me another 3 years to summon the courage to try it for myself, but I can trace my hunger for photography and creativity, back to that dingy hair salon when I was 17. The magic of the moment, the way I felt to be

www.s-league.net

a part of something creative – its a feeling that has never left me, and keeps driving me forward. Unfortunately I don’t have the pictures. But what I was left with was a strange

Advertising Sales and Marketing Kirstin Ahrndt-Buchholz, Samira Holtorf Phone +49/(0)40/226 21 12 71 Fax +49/(0)40/226 21 12 70 E-Mail buchholz@lfi-online.de holtorf@lfi-online.de Reader’s services E-mail mail@lfi-online.de Reproduction Alphabeta GmbH, Hamburg, Germany Paper papier union Tauro, papier union Lumisilk Printer Beisner Druck GmbH & Co. KG, Buchholz in der Nordheide, Germany Editorial and copyright Letters, inquiries, or material for publication are welcome. Heavy mail such as manuscripts and photographs should include an appropriate number of international reply coupons if they are to be returned. We accept no responsibility for unsolicited material and this will only be returned if appropriate postage is included.

affinity with hair and hair stylists. So here are nine shoots collaborating with nine incredibly talented stylists. In its own oblique way, this is my celebration of why I originally became a photographer.

All articles and illustrations contained in the magazine are subject to the laws of copyright. Any form of utilisation beyond the narrow limits imposed by the laws of copyright and without the express permission of the publisher is forbidden and will be prosecuted. This applies particularly to reproduction, translation, microfilming, or the storage and processing in electronic media. Leica – is a registered trademark (91719)

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C o n t e n ts

R a n k i n I n t e rv i e w 8

T h e

G l o w

A l ai n P i c h o n 1 2

L o c k

S t o c k

Wendy Ile s 2 8

A n t i t h e s i s Kenna 44

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Rap h a Ă&#x2039; l Sa l l e y 5 6

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F r e n e m i e s Ti n a O u t e n 6 8

S l i c k

L i c k s

Ni c k I r w i n 9 2

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W i l d e r n e ss Kevin Ford 116

S h a d o w e d Charlie Le mindu 128

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I N T E RV I E W

Rankin

How did the S-Magazine project come about? I was using

who also process things very quickly. We’ll take an idea from

and loved the S-System camera. It’s a brilliant example of a

anywhere. One of my producers came up with an idea for

high-res camera – in a medium format resolution file and with

a shoot. We processed it and shot it, super-quick. Which is why

the 35mm experience of the body. It reminded me a little bit

I like magazines. I can come up with something on a Monday

of the old Pentax 67 camera. I love the autofocus on it, the

and shoot it by Tuesday evening. You can do an 8-page story

lenses are out of this world and I love the weight of it. It gives

and it’s done. You get through more.

a great image quality. After I’d used it for a while I was sent

I love the fact that S-Magazine is a magazine – it means

an S-Magazine and asked if I’d be interested in contributing

more people can afford it. And the more people who see it,

– then they suggested the possibility of me doing the whole

the better. Because that’s what you’re always trying to do –

issue. I wanted it to have a theme. I’d always thought it would

communicate with as many people as you can.

be interesting to do a hair book – where you take hairdressers and you give them the opportunity to do anything they want.

You work a lot. I shoot nearly every day. Everyone says I’m a

I just said to them why don’t we do something that’s based

workaholic but actually, I just love that process of coming up

on hair? And they went for it.

with an idea – wherever it comes from – and getting to the final image. That’s an amazing feeling for me. Creating imagery that

You’ve collaborated with hair stylists for this issue – letting

you get turned on by is a drug. 98% of what I do is my own

them lead the art direction. That’s unusual. These guys are

desire and hunger to create, create, create. I love it when this

at the top of their game – really talented. What they’re asked

place [Rankin’s studio] becomes like a factory and I can see

to do most of the time is fairly basic so they don’t have that

my assistants shooting, or people making films. I love being

chance to perform. It’s very unusual for a hair stylist to get

around that, and around these people expressing themselves.

the opportunity to express themselves that directly, with

I never forget what a real privilege that is.

that much freedom. They really are artists. I’ve got relationships with each

Can you talk us through the stylists you collaborated with on the

one of them on a different level. Some of them I work with as

issue? Start with Wendy Iles. Wendy is the best hairdresser I’ve

much as I can – they’re my go-to hairdressers. And some of

ever worked with in terms of slick and perfect imagery. If you

them I’ve worked with and I’ve been really admiring of what

see ad campaigns for big beauty brands – nine times out of ten

they do, but I haven’t always been able to book them for the

Wendy’s done one of them. She can make hair do anything

work I’ve wanted. So it was a chance to collaborate with the

she wants. Here she wanted to do images where she wasn’t

people I really admire, but also people I knew had hidden

doing the ‘perfect’ hairstyle. She was doing characters. She

talents that maybe hadn’t come out yet.

was very inspired by [her] trip to LA where she saw these kids Downtown. She wanted to embrace what happens on the

You work very collaboratively now – particularly the way

street in the UK and all major cities. Her shoot is the opposite

you’ve set up your studio. Why is that important? I really

of what she would normally do.

appreciate people’s talents in a more accepting, encouraging way, I suppose. I listen to people more. My team is very strong

Tell us about Kenna’s shoot. He’s definitely the most out-there

– very much a part of making decisions. You have to have an

of the hairdressers in terms of what he’s done. He took the brief

ego on set but it’s also OK to listen to other people’s opinions

of ‘do whatever you want’ to heart and really went as far as

and take risks. That’s one of the brilliant things about working

you can. They’re kind of a combination of hair technique and

with this camera. You can take risks with it.

hair concept. But he’s taken retouching, and digital imaging

Mistakes happen and they work, and you can embrace

and pushed it as far as he can take that as well. This is the

that. If you go into it without that it defeats the object of what

shoot I felt most like a technician on. I didn’t have to do much

digital is and what this kind of camera allows you to do. It’s not

apart from press the button and light it.

just about getting it right, or doing it by the book. What about Raphaël Salley? Raph’s one of those stylists who’s You’ve produced a lot of books, but you’re passionate about

great at really big hair so again, he played against what he’s

magazines too. Why is that? When I come across a creative

known for. You’ve got this shot where you’ve have two girls

idea I process it very quickly and I have a team of people

with hair all over their faces, and the shot with the tongue. 

R A N K I N

Very rarely do we do that. He took the hair and made it a

brilliant. But it was very much his vision. To me it feels more

character in itself. I think because of that it’s really successful.

like a fashion than a hair story, which has a lot do with how

He showed he has a fun side to his love affair with hair and

Charlie approaches the business and because of that I think

that’s what I like about it.

it stands out positively.

And Tina Outen? Tina’s was one of the later shoots. We kind of

And Johnnie Sapong’s? Johnnie got what we call the shit-end

backed her into a corner. We said she had to shoot on location

of the stick. He was last to shoot and, as last to shoot, you’re

– we have to do this and we have to do that. She took that and

filling the gaps of what has worked and what hasn’t worked.

made it very conceptual. She set the tone for the whole thing.

But God bless Johnnie because he came up with something

It’s 40s-inspired glamour but with a twist with the modern

I would never usually do as a photographer. Something very

fashion styling. We made it more Hitchcock – more Orson

soft, very beautiful, very much about the girls, about making

Welles’ A Touch of Evil.

them look beautiful. And it was exceptional. I rarely shoot in

It’s one of my favourite narrative stories. I don’t do a lot of

that style – with that lighting and with that kind of approach

narrative fashion stories, it’s not something I’m naturally drawn

where I’m working against light or working with light to place

to as a photographer – I’d rather make films. But I think it was

people. With this we were looking for a mood- and that’s very

successful because of her preparation and vision.

unlike me. It’s one of my favourite shoots for a long time, because he took me out of my comfort zone. I also think it

What about Nick Irwin? Nick played to my strengths. He knows

really suited the potential of the camera. Low light and wide

that I love to shoot very sexy, strong women: confident and

open on the f-stop.

empowered women. So there’s a lot of hair across the face, sexy wet hair. Wet hair is very hard to do for a hairdresser. You

You’ve included some of your past and present assistants

don’t just spray it and make it wet – you’ve got to get it right,

in the S-League section of the magazine. Tell us about

get the texture perfect or it can just look like a mess. He did a

that. I’ve never really been one of those people who want

fantastic job on the hair but more than anything the theme

it to all be about me.

of his shoot really inspired me personally.

I love the idea that we’re creating a platform. We’re

creating a factory of other people’s ideas and talent. I think Tell us about Alain Pichon’s shoot. Alain and I had been talking

that feeds back to my creativity. If you’ve got a lot of creative

for a long time about a project we could do together. On set

people around you, you’re always pushing each other.

he’s very much a creative director – he likes to be involved.

They’re all very varied and interesting shoots and I’m proud

I think if he could, he’d pick up the camera and do it himself.

of them.

And Kevin Ford’s? Kevin’s story came from a test shoot that

You shot portraits of the stylists – and interviewed them.

I’d done. I knew that we needed another idea in the magazine

Why was that? I wanted to show the faces behind the great

so I went to Kevin because I enjoy working with him, and he

work that these guys do. They’ve got strong opinions and

really listens. He said ‘I like it – but I’m going to do something

they input so much into this world of fashion and beauty.

different.’ He took it so far in his own direction that I couldn’t

They’re the best at what they do. There are probably a

really call it anything to do with me. He made it his own. What

hundred great hairdressers in the world – and I mean really

I like about it is he’s created new characters with the hair, so

great hairdressers. That might seem cheesy to people who

the models become animals. They’re quite feral, unusual,

aren’t in this world, but I am. It’s my livelihood and when it’s

sort of faerie-style characters in the story. I’ve never seen

creative, it’s really creative. It’s not about selling products.

anything quite like it.

Or having a good haircut. It’s about experimenting. I don’t know any of these guys that do this job to make money.

Tell us about Charlie Le Mindu’s shoot. I’d never worked

They do it because they have a love of it – a desire to create

with Charlie but I really admired what he was doing. In a

this image that you see in a magazine, or a gallery wall. And

sense his are the most polished of the shoots. You look at

I wanted to put faces to the names. They’re as important

that story and every bit pieces together perfectly. It was

to a shoot as I am. If you get a shit hairdresser on a shoot,

interesting to work with him for the first time and he was

you’re fucked.

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CHARLIE LE MINDU

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St yling A nna Hughes-Chamberlain Hair Johnnie Sapong ‘The Studio’ / Jed Root using Tig i Hair Assistant Ranelle Chapman, Nuriye Sonmez Make-up Maxine Leonard / Jed Root Make-up Assistant Emily Mergaert Nails Joanna Webb / Body London Models Charlotte, Idina, May, Vita / Select; Helena / Tess Camera Leica S w ith 70 mm f/2.5

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Top Unconditional Necklace & Ring Kyle Hopkins

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Dress Bolzoni & Walsh

Cuf f Pebble London Jumpsuit Ell & Cee

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Top Unconditional Skirt Bolzoni & Walsh Rings Pebble London

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Top Unconditional

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Knit Cardigan (worn as dress) Unconditional Dress St ylistâ&#x20AC;&#x2122;s Ow n Cuf fs Pebble London

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Alain Pichon

The fourth generation of hairdresser in his family. Alain Pichon’s love for hair, runs in his blood. He tells us about 28-day shoots, why he is crazy about a heavy fringe, and what it was like styling the hair of Princes William and Harry.

Tell us about the shoot. I believe a good shoot needs to be

spend their money on a drink than on soap to shave the beard.

prepared as much as possible. Rankin’s got a great team –

So they would have a wet shave, a day old, on a cutthroat.

ready to help you with everything. We did two tests. The first

I started at 16, an apprenticeship. I was lucky to start at a salon,

one was using mirrors but somehow that one went away and

which was the main salon in the town where I came from.

we came back to use the fibre optic. The first vision I had in my

The guy was educated by Sassoon – so great background

mind was to use fibre optic underneath the fringes. I thought

as far as technical aspects of haircutting and precision. Still

that looked great. Eventually we did the test and moved on,

with the French finish, of course. I had to give him everything

using the fibre optic for different purposes. This shoot we

because there was another barbershop next door – and I could

used it much more for the clothing aspect – it lightens up the

have ended up there.

girl in different ways. And it looked amazing. With the hair, I had different variations of wigs where the interpretation of

Is it easier to do men’s hair? It’s shorter – so there’s much

the light comes with the highlighting I’ve achieved on the ends.

more precision. There’s always the danger that they could all look the same. Short hair is short hair.

How much time did you have to prepare? I knew that I’d like to use wigs. I like haircuts, personally. There are some elements

When you’re not working do you always pay attention

about it that you don’t see enough. The girls have long hair.

to hair – in the street, for example? I do. It’s an instinct.

You tend to knot it, braid it – do whatever you want with it.

I enjoy it, I still look at it in a positive way. There’s always

I come from a background of haircutting. I always loved it but

an opportunity to see the good side, an influential side,

it’s hard to include it in a cool way.

to inspire you. You can pick up something that you can redo yourself. Take a picture, don’t be afraid to go and ask

Do you use a lot more wigs now than you used to then?

the guy. If it’s done in the right way you can end up with

I’ve always used wigs. I’m lucky to have a studio at home

a big archive of ideas. That’s what’s missing. I feel that in

– with all my products, colouring. So I can prepare the

hairdressing there are never going to be enough pictures.

whole thing. Loads of wigs, hair extensions. I can be active –

I’d love to see the website where you could go back in time

prepare whenever I want.

and see the whole reference. Most hairdressers do the hair and the client goes. It’s over. You could take a picture at

Tell us about your start in hairdressing. I’m the fourth

a certain moment, when they look their best. That would

generation. I have memories of my grandfather shaving the

make a fantastic memory. Stick it in a book, come back to it

men. My great-grandfather used to open only on Sundays.

ten years later. I take pictures with my iPad sometimes with

I remember all these tough men coming from the countryside,

clients because it’s an important reference. It’s a good idea

having their beard done for the week. They would rather

to remember the lines, the texture, the movement.

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What’s the best thing about your job? The freedom – not

Have you ever considered doing anything else? I love

having to work in a salon. Being able to work on projects

photography. I’ve always done it. I would love to have

like this, today. Being able to push it a little bit. And have

more opportunity to do it.

the memory of it. We’re taking stills. The stills are there to stay forever.

Do you have an easy tip? One good trick that works for a lot of women: check your brush. If your brush is full of hair

And the worst? When it’s a shitty job. Nothing’s really working.

you’re not dealing with your hair very well. You’re pulling

Bad light. Bad day. Bad hair.

too hard – being too aggressive. The hair breaks easily, or the roots aren’t strong enough to take it. So just be aware

Why do you think people book you? I’m getting to a certain

of it. The gentler you are with your hair, the better you will

age now, I’ve built up a certain reputation. Technically, I can

connect with it.

do it and I can do whatever the client is asking. You’ve worked with all sorts of people – with the Beckhams, Is there a look you’d say you’re known for? That’s the hardest,

but also Princes William and Harry. How did those jobs

finding your own image. Maybe heavy fringes and draping

come about? It was with Mario Testino for the cover of the

them into the sides. I’ve done many shoots that way.

American Vanity Fair. Very secretive – we were not allowed to talk about it. It was great – the Princes William and

Do you have a favourite shoot – or type of shoot? Maybe one

Harry are really cool, really sweet. I’m still working with

you’ve done where you think, ‘I’ll always remember that’?

David Beckham; I’m working with him for the Olympics.

For different reasons. Going back through the campaigns

It’s an easy relationship.

I did with Prada and Miu Miu – a time when we were shooting for 28 days. It was never seen before and it will never be seen

Is there anyone’s hair you’d like to get your hands on? I did

again. The experience was tremendous because we were really

Madonna a couple of times and I’d like to do her again.

working with each other – like a movie.

Just because her hair – you could do whatever you wanted with. Björk can carry a really strong hairstyle. I’ve done her hair before.

You’ve worked with fi lm stars and celebrities. What is that like? They know more about their hair than you do sometimes. You have to be respectful. A lot of clients are like that. That’s

If you could tell your younger self something, what would

why it’s really a matter of prepping. Getting online. Looking at

it be? Dare more – don’t be too scared to do things. Push it

all the hairstyles they’ve had. What you could do, what could

a little bit more, because you learn through it – and that is

be appropriate for what they want.

what is important.

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Wen dy Ile s

One of the most prolific hair stylists working today – Wendy Iles is in worldwide demand for her skill for creating luxury hair. Here she talks back-street home-dos and why hair spray is a killer.

What was your concept behind the hair for this shoot? I was in

You never stop working. Do you see yourself as a workaholic?

Los Angeles recently and I was watching the homemade street

Everybody who knows me tells me I am. The flow of work has

cuts and colours – they really made my heart jump. I’d always

always been there – like a constant heartbeat. I have very ‘fidel’

associated Los Angeles with Californian hair but I ended up

clients, and as I too am very ‘fidel’ I try and be available for

shooting down those backstreets of downtown LA. This request

all of them. It’s not possible, of course. And I can completely

for S-Magazine came in very soon after that trip so I just jumped

lock off work and be 100 per cent mum and 100 per cent wife.

on it. I love this story to my toenails. It’s very beautiful.

Gardening, cooking – I love it.

Talk us through the look. Hairstylists are like fashion designers.

What’s the difference between working with models and

Although we don’t tend to repeat, we pull on similar things.

celebrities? Celebrities are always in a hurry. So nobody has

Something I picked up on those kids on the streets of LA,

time to really develop anything. It’s a different environment.

or Tokyo or even London – there’s always a 70s edge to it.

If she’s booked you she wants you there. She’s sitting in your chair. Wet hair. No make-up. Very few people get to see her

Which of the looks is your favourite? The boy-girl. The boy with

like that. So she needs to be comfortable with the people

the tattoo and the girl with the blue hair, because it’s so authentic.

around her. There’s an intimacy already before you even pick up a comb. They never call you back unless they feel

Is there a Wendy Iles look, or feeling? I do a lot of high-end,

comfortable with you.

luxury campaigns. So it appears as if people book me for luxury hair. But if you give me freedom, I guess I’m more rock

What’s the most important thing to remember when you’re

’n’ roll and raw. I’d rather go down that road, but I do love my

trying to create a look? Stay focused. Never, ever try to execute

luxury clients.

something unless you have the visual in your mind. Otherwise you’ll be lost. You have to know where every roller or hot tong or straightening iron is going.

Luxury hair’s very difficult to get right. Why do you think you’re particularly good at it? My secret is to never use hairspray. It’s a killer. You lose all the elasticity in the hair. But the most

Do you have any iconic hair that you’ve created, or favourites?

important thing for luxury hair is a perfect base. As with

There is one that I love. The entire face is covered with hair

make-up, the base has to be so perfect. No product other than

and then just tied. Then there are others that are just chopped

my magic vitamin cream that I make at home. Then it’s just

haircuts. I do have some favourites – ones that I’ll be very

a case of my little blue cutting comb. It’s very rare I’ll brush

proud to show my grandchildren one day. But I love it all.

the hair for luxury.

I dream about hair.

Is that something you want to manufacture? I’m working on

Have you ever wanted to do anything else? Never. From the

something. It’s at the back of my mind, but I’m taking my time.

moment I drew breath. My parents put a playhouse in the

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garden, which I turned into a salon when I was about six or

The make-up artist comes along at the last moment… I’d turned

seven. All my dolls – I still have them now – they’ve all got

my back and walked away – and I could smell this product

chopped haircuts. A couple have got chignons.

before I saw it happening. I walked into the make-up room and she had sprayed the entire body with this spray. The hair was

You started practising on dolls? Absolutely. You should see

like engine oil. It’s the only time in my entire career where I’ve

the Barbies – we did some amazing dos.

had to wash a head of hair just before we were ready to shoot. I died. There wasn’t a thing in the world I could do about it.

You worked with Vidal Sassoon, didn’t you? I was a baby. I came in towards the end of the 70s/early 80s. He was still

There must be times when people have come in with ruined

on the floor then. He was God. The haircutting system is

hair. I love ruined hair. You can do some fantastic things with

all arithmetic, so it’s very precise. Every haircut has a recipe.

it – if it’s editorial, not a luxury client. There’s a whole group

And of course I’ve softened them with the necessity of

of clients now where you’d die if a bad head of hair came in.

progress – moving forward. But even today – 30 years later

P&G, for example, have a policy where you’re not allowed to

– all the bases of my haircuts have come from those original

use extra hair. They’re very firm on this and there’s only so

Sassoon recipes. But even before Sassoon in London I was

much magic you can use. Mind you, I’m learning a lot about

working in a little salon every day after school – sweeping hair,

sticks and strings that can make five hairs look like 5,000.

doing the shampoos. That’s where I learned to do a chignon. To put a roller in. To do backcombing. Little bouffant blue

Have you ever been in a situation where the hair was ruined

rinses. Amazing training. I pull on that probably more for this

in the shoot? Fortunately, it’s never happened to me. I did

sort of work than the Sassoon cutting. But Sassoon was

hear from someone I work with about how she’d just, the

an amazing place.

week before, witnessed a blonde colour go on and the hair fell off down the sink.

What was he like? Extremely elegant. For me, he was God. He was a silent man but very kind, very reserved. I was very

What do you think about the fact that we’re not allowed to

young. I was very shy around him. Certainly very proud now

retouch hair, or add hair? I do think that it got out of control.

that I can say I shared a floor with him.

Too many extensions. The skin too perfect. It got to a point where images were looking very plastic and false. It’s good

What product do you think all women should have in their

that something happened to stop a lot of that. But you’ve got

bathroom cabinet? Without doubt, I would say a very good

to be able to give it a little bit of help. The public – and we

shampoo and a very good conditioner.

too – have to be able to dream. We have to make a dream with these pictures and we need a little bit of extra hair sometimes, or a retouch, to make an image.

You have a thing about shampoo and conditioner, don’t you? Can you explain it for us? It really helps to give that spun silk effect. So if I’m doing a luxury campaign it starts at the

Some hairdressers have such a structured ideal of how

base, for sure.

things should work. But you’re very good at being flexible. I’ll certainly voice kindly my opinion and tell them why

What about all the technology in products we’re being told

I think it’s better down that road than this. But I guess I’m

about? I get sent products all the time to try out. And I do try

old school, where the client is always right. So even if I think

them – at home. I never try them on a shoot. I’ll use something

I’m right, the client is paying me, so if they prefer it that way

trusted on a shoot. Once I find something that works I tend to

I will always give it.

stick with it. And in 30 years I’ve probably come across three products that actually work.

Tell us about accidents. It’s always lovely to see imperfections, to see a little accident – something a little bit off. It’s important

I don’t suppose you can tell us which. I can’t, I don’t think.

because it’s energy to an otherwise too-perfect picture.

Do you think the more expensive ones are better? No. Not

Are you always looking at the hair? I’m known for this – just

necessarily. One I’m using at the moment is quite expensive

looking at the hair. People who work with me will tell you

but the other two I mentioned were just finds.

I say, ‘Oh my God, that’s magnificent. I love, love, love!’ But the girl might have a finger up her nose or her eyes closed.

Have you got any hair disaster stories? I have one. It was a big,

But the hair is amazing. I’m so focused that I’m only looking

beautiful, luxury hair story. There’s a product that make-up

at the hair. I love hair. It’s all I see. I do get excited and I do

artists use on the body that goes like sump oil on the hair –

see nothing else but the hair. I have to control myself to look

you spray that on and it’s finished! So, the hair’s ready to go.

at everything.

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Kenna

Kenna began his career by chance after falling for a hairdresser in Ibiza. He tells us why it takes real guts to dye your locks ginger and calls on women to experiment with their hair more.

Can we talk about being ginger? What is people’s issue with

hairdresser. She used to do a lot of cuts for the workers. I used

red hair? I’m very proud of being ginger.

to help her out, shaving guys’ heads and stuff. She did the hair for this drag act that used to perform around Ibiza and Spain,

People can’t get enough of women like Julianne Moore

and they used to make their own wigs. That’s how I got into

and Florence Welch – amazing women, proud of their hair

hairdressing – by being the hairdresser of a drag act in Ibiza.

colour – but it seems there’s still a discomfort with it. Even in fashion, red hair is often used to show otherness. There’s

Do you think hairdressers who start in salons make better

a definite strength within women who have chosen to have

stylists, rather than those who start with session work?

their hair coloured red or ginger. You become a minority.

I think it’s very important for hairdressers to have the stability

You give yourself a difference. So you’re not automatically

that comes from fundamental hairdressing skills. After doing

accepted. It’s very strange that that can happen from just a

my wig stuff I went and did a course for three years. But then

hair colour – but it’s true. And women who choose that gain

I think you’ve got to do your time on the shop floor, making

this confidence. It’s very sexy.

all your mistakes.

You’re known for your strength with afro hair. How did that

Tell us about your studio in east London. My studio was

start? When I first became a hairdresser, I was working with

never supposed to be a salon. It’s still not. I hate the word

a wig maker and he taught me how to make wigs. The easiest

and the idea of it. It’s my workshop. Me and my team make

texture to work with when you’re learning to make them –

wigs and come up with ideas. I’m lucky enough to have an

stitching and threading – is afro hair. It’s coarser, almost like

amazing art director, Emilia, who works with me and helps me

cotton wool. It’s actually an easy texture to work with. Because

with concepts and really build that stuff. Without that space

I came from that skill set it’s always been part of me, so I’ve

I don’t think I would have become what I’ve become. Being in

never seen it as a difficult texture.

east London is very much a part of what we’re about. It’s very creative, very expressive. People have fun and work hard at

What’s the biggest misconception with afro hair? That it’s

the same time. I think that’s a good balance.

dry. It isn’t always – there’s a lot of hidden moisture in there. It’s just hair that grows in a more difficult direction, so it tends

Tell us how working with GHD came about. I’ve been Creative

to look dryer. But once you get involved with products and

Director for the last two years. They’re an amazing brand

tools you can really gain a hell of a lot of shine.

that’s been around for ten years, and are forward thinking in a lot of areas. Part of what they were lacking was something

When did you start hairdressing? In my late teens I went to

I know a lot about, which is the fashion industry and how it

Ibiza. I met this girl who became my girlfriend and she was a

translates into hair.

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You do a lot of shows, editorial and commercial work – which

What do you think is the biggest mistake that most people

do you enjoy the most? I much prefer creating images – hair on

people make with hair? I think the biggest mistake that mostly

set. It’s much more the artistry that I’m part of. It’s an image

women make is they don’t try. They don’t experiment. They

that might not necessarily work on the street or the catwalk but

keep things the same but are never happy with what they’ve

that’s where I get most excited and thrive more. Saying that,

got. There’s not enough time – especially in cities like London

doing the shows twice a year is exciting. I’ve got an amazing

or New York. You get up ten minutes before you have to

team and we work with amazing designers round the world.

leave. You wash your hair and you run out the door. There’s

I couldn’t do them every week, they’re crazy. You have that

an opportunity, when your hair’s dirty, before you’re going to

opportunity to hold a massive team together to create a look,

wash it, to experiment. Try things out and see what suits you.

and hundreds of models. To be able to deliver that is quite

Women should lean on their hairdressers more. There should

prestigious for a person. But creating images that people

be a certain amount of responsibility put on the people who

can be inspired by, and put on their walls, is what I love too.

do your hair. We should recommend things – a certain amount of communication between haircuts. It’s hair consultancy,

How do you experiment and try ideas out? By getting my hands

really – that’s what we do at the studio.

dirty. That’s what the studio is for. We’ve got some clients that live locally that we can call in, or we’ve got the dolly heads

What do you hope for in the future? Do you see a Kennaland

we use to create things. Trying things out, making mistakes…

empire? Strangely, yes. I would love to have my business

sometimes the mistakes are what we end up shooting.

become a bit more international. I’m trying to start a studio in New York at the moment, and I’d like to have the same base

What do you think are the big trends that are coming up?

I have here, there. Growth is something I definitely want to

I don’t think trends in hair necessarily exist. In fashion they

see. And I want to retire one day.

exist, and that’s something we keep an eye on. And that’s something we try and complement in hair.

Is there anything you know now that you wish you’d known when you started out? I wish I didn’t think I knew what I was

Which hairdressers do you particularly admire? I love Guido

doing when I first started. I wish I actually believed I had

[Palau]’s work. I love Malcolm Edwards’ work. It’s find it so

a lot to learn. I thought I could do it all, and I couldn’t. I think

inspiring to see other people’s work.

once you know you don’t know it all you approach it from a different angle.

What is the single best thing about your job? Being able to be myself at all moments, because I’m not very good at not being myself at all moments.

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RaphaËl Salley

Raphaël trained in Paris, learning classic French hair technique from the master, Alexandre de Paris. But it was a move to London and a chance meeting with Eugene Souleiman that helped make his career what it is today.

Tell us about the story for your shoot. I wanted to do something

happening here. I bumped into Eugene Souleiman who was

quite organic. I started to work on references, on artists

buying some products somewhere and I recognised him.

I really like. My references wouldn’t necessarily come from a

I said, ‘I really like your work, I would like to assist you.’ He

headshot, or people, they could also come from architecture.

said, ‘Fashion Week is in a couple of weeks’ time – come along.’

I wanted the story to be quite abstract. I came to the shoot with

I guess I kind of proved myself and ended up assisting him

a bunch of images that would give us a direction. I wanted to

on and off for nearly four years. I think I did nine seasons of

do something more personal with it. It’s a mix of surrealism

shows with him. And started to do my own work after. Eugene

and slightly hippyish, slightly 70s, but modern.

deeply, deeply influenced me.

How did you first get into hair? I wanted to be a hairdresser

How would you define your own style? If you have to draw

from an early age – I think around 14, 15. Even earlier maybe.

a line between England and France across the Channel –

I’m a country boy; I used to live in Normandy and mama

that’s where I would stand. I still have a classical structure

used to take us to the nearest town on a Saturday to get a

to my work but I’ve been spending the last 15 years breaking

new pair of jeans or some T-shirts. But we always had to

it down… destroying it really. And mixing a bit more of a

be quite patient and wait for her hair to be done. Hanging

British side to it.

around the salon, getting the smells – I always kind of liked the atmosphere. But I knew from an early age I didn’t want

How do typical French women want to style their hair,

to be stuck in a hair salon. When I first started my first few

compared to English women? French hairdressing is mostly

jobs I was a bit bored to work in the same place every day.

based on the blow dry – not necessarily a definite cut. In

I wanted to become a session hairdresser.

England everything is a lot more structured. In France a bit more… bouffant. A Parisian lady wants her blow dry to last

How did you make that change? There’s a famous hairdresser

for a week. Someone in London wants a good haircut, then

in Paris called Alexandre de Paris and I got a lot of my training

after it’s easier to dry it on your own.

from his techniques. He was the guy that did all the hair for the Alfred Hitchcock movies. He did all the French Nouvelle

What’s your favourite era for hair? That’s a hard question

Vague – the Godards, the Truffauts. It was a very French

because there are so many I like. I really like the 20s, but

classical training – learning all the old techniques. I moved to

within my own taste and lifestyle I really like the 70s. I also

England because there was a little bit more of a punky vibe

like the 50s, 60s, 40s. It’s really difficult – there are bits in

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each decade you can pick out. It’s really hard for me to say.

What’s the biggest misconception about hair? I don’t think

I did a shoot with Katie Shillingford for Dazed many years ago

there are any. I think it’s mostly the hair stylist that doesn’t

based on the Tudors. That was fun and involved some really

understand the client. For example, when you go to a hair salon

impressive hairstyles.

and ask for a trim, a hair stylist is going to say they will cut off one inch but you end up with two or three inches off. And

Can you finish this sentence: More people would have better

that’s still happening nowadays. There’s only a small bunch

hair if they… Looked after their health.

of hair stylists that actually stick to what the person wants.

Do you have a favourite product? Rhassoul clay. Which is 100

Aside from skill with hair styling, what’s the best attribute

per cent mineral that the Berber tribe in Morocco use to wash

a hairdresser can have on a shoot? The ability to get on with

their hair, and bodies too. That would be my favourite product.

everyone and be easy-going. That’s really important.

But it hasn’t been commercialised yet. You can buy it raw. Is there anything you know now that you wish you’d known What’s your nightmare scenario on a shoot? I guess it’s

when you were starting out? Being a hairdresser is a process.

the same for everyone – not necessarily just hairdressers

You constantly learn. The work I’m doing now is different to

but photographers and make-up artists. You get booked for

what I was doing two years ago, or five years ago. And I know

a certain style – somebody books you because they like your

what I’m going to be doing in ten years time is going to be

work – then they ask you to do something totally different,

different. It’s a constant evolution. I guess when you start your

which is not you.

career everything is structured and stiff. The more experience you have, everything gets lighter – your touch gets lighter.

When is a shoot at its best? The perfect shoot would be…

Alexandre de Paris was still doing hair in his 80s and he was

actually the day with Rankin. It was really good because

still getting better and better.

Rankin gave me a lot of freedom and really respected our project. I think he did that with everyone else – all the other

Can you see yourself wanting to do anything else? I already

hairdressers. I knew I could get to something really close to

do a lot of different things. I like to be involved in art projects

my heart but at the same time he took it to a different level.

– a little bit of art direction here and there. I like to grow my

He totally got what was close to my heart and what was my

vegetables in the countryside. I don’t eat, drink, breathe hair. It is,

vision, and pushed it. That’s the ideal shoot.

in a way, a passion, but I don’t want to be obsessed about it.

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Tina Outen

Tina paid her dues working in high-end salons such as Harvey Nichols. Since then she’s racked up session work for everyone from Vogue to Harpers to Dazed & Confused. She talks to us about the rush of adrenaline she experiences when styling hair and how Hitchcock’s blondes inspired her shoot.

Tell us about the concept behind your shoot. It was unique

Lana Turner. The Hitchcock thing was the feeling behind having

because Rankin gave us the opportunity to art direct the shoot.

two blondes. Then I was watching The Third Man and seeing

My idea was about two friends – well, two rival actresses who

the lighting, the severity of her [Alida Valli as Anna Schmidt]

are auditioning for the same role. As it continues, one sees that

hair. This kind of hair takes a long time to prepare so it’s not

the other is going to be more likely to get it than the other. So

every day you get to go onto a shoot like this. Normally, it’s

there’s a rivalry between them. And things start to go wrong.

fast, fast, fast and your references are given to you.

I really love iconic women and I really love very gorgeous, very lush, dressed, beautiful hair. So I wanted to showcase

What was your start in hairdressing? I’ve always been a

that aspect of my work but also think of an idea behind that to

hairdresser – since I was 16. My sister’s a hairdresser; she

try and make that look modern and not too vintage.

went to college. Of course, she used to do all sorts of things to my hair. So I did the same thing. I trained. Then I went to

How do you make it modern and relevant? For us, the twist

work in Kensington for Annie Russell and retrained with her.

was, as things started to go wrong, as the rivalry came across,

Then I moved to New York and worked in a salon for five years.

we just started to loosen up the hair. Women today don’t set

I came back, was on an art team for a hairdressing firm. It was

their hair, don’t spend all day like they used to. When women

a great experience – training and education, developing your

used to say, ‘I’m washing my hair tonight,’ they meant it. It was

photographic looks. The hairdressing industry is a completely

going to take them a whole evening – and that was them for

different world to this industry. I always wanted to do this –

the week. Women are really low-maintenance now. We get up

I just never knew how to get into it. I was in Harvey Nichols for

and wash it and let it dry on the way. So I wanted to bring that

four years with one group, then Daniel Hersheson came and

element into the story where we let the hair become completely

opened up in there. His son was already doing session work

dishevelled. As the tension between the girls built, we tried to

and I met their agent and became first assistant to another

translate that into the hair. It became more distressed, more wild.

session stylist. I was with him for four years. You’re married to them, basically. It was an amazing experience. It gave me the confidence and foundation to go off on my own.

It must be great to be able to get that involved with the art direction. Totally. This is my first time art directing a shoot and now I really understand how much goes on before. It’s not

How important is passion? You have to be passionate. Hair

just turning up and doing the hair on the day. It’s an obsession.

is really difficult. People get the idea that it’s a bit of a brush,

I’ve had nothing else going through my mind. My computer’s

bit of a blow dry. But it takes a long time to get to the point

full of references now.

where you can do anything, with any hair type. Everybody’s different and what works on one hair type may not work on

You mention iconic women. Was there a period in history that

another. So you need to have that experience to be able to turn

illustrates that best? I’m very into Hitchcock, but even earlier

everything around. Especially if you want to work in fashion

than that. Today the girls were based around Ava Gardner and

because you need to do it on the spot.

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Do you think having salon experience helps with that?

Is there anyone in the public eye that has consistently great

Absolutely. The great thing with clients is they’re the ones

hair? Everyone is so styled – you never get to see anyone in

who train you really. They come in and tell you what they

the public eye that you might aspire to look like who is not

want and if you haven’t given them what they want they will

blow-dried. Everybody you see is very ‘done’. Everyone’s very

let you know. You either get better at it and you keep them as

polished, very finished.

a client or they go to somebody else. You get better – quick. Working in a high-end salon, you’re looking at people coming

What’s a nightmare scenario for you on a shoot? I like the

in every week for a blow dry and they expect that blow dry

pressure. It’s the best bit. I go into every shoot with a huge

to last for four days. For me, it was an essential way to do it.

amount of anticipation – and I like that. That’s what makes something happen. Even today, where I had so much time

Do you notice hair when you’re off duty? Yes, all the time. You

to plan it, when it actually came to brushing the first set out

mainly notice bad hair, to be honest. The key with hair is finding

and seeing the first hair go in front of the camera, there was

the right products for you. You need the right shampoo, the

a huge amount of butterflies and adrenalin. You get to control

right treatments. You need to understand your own hair for it

that adrenalin and use it and you can make that do things for

to look good – especially since now we don’t do anything to it.

you. So the hardest situations are going to be the best ones.

You want a good result without putting much in. It’s harder now for people to find something that’s right for them. Most of the

Have you had any disasters? No. I assisted for four years so

time you see fluff and you see dryness. You see static and you

I had a really good foundation of watching without the onus

see grease. You see more of what isn’t working in hair. Then,

being on myself. That gives you a lot of time to take in every

occasionally, you’ll see someone walking down the street and

element of what’s going on.

be gobsmacked because she looks wicked, she looks amazing. Is there anything in terms of personality that helps? I think When you see that, what is it about it that works? Is there

I am quite calm. But I think it’s being able to let go of everything

something that these people are getting right that’s consistent

instantly that’s the most useful tool. Not to be too attached to

with others? I think it’s people spending time getting to know

one thing, because everything changes so often. It’s all about

their hair and getting to know how their hair works for their

finding something better, or going in another direction. Being

face. It’s about your bones, your hair colour. It can improve

open to everyone else’s vision without taking it personally is

your skin or drain your skin. It can make your eyes sparkle or

a really good thing to have. Then you move on straight away.

it can make you look like you’ve been out all weekend.

That stops you getting in a stressed place.

Are there any products that you rely on – your go-to products?

Do you have hair care advice to share? If you want to style

There are but it’s more about the condition of the hair. So

your hair you need a good hairdryer. If you want to curl it you

I’m more into the treatment side of it – the washing, the

need good tongs. You need to have things that are going to

conditioning – before it comes to the styling products. But

work their best for you. There’s so much stuff out there. The

I don’t use a huge amount of different things.

ceramic tools, ceramic brushes. Work with your stylist. Ask them what you should do with your hair. Get the things that

How important is hair quality when casting? Totally. And the

are recommended to you. Your stylist knows your hair. They’re

girls today were completely chosen on their hair. We wanted

going to use what makes it easier for them to do your hair so

them to look like they were the same type of girl – going for

you should do the same thing.

the same role. For me, I needed them to have similar hair. I was really lucky to find two actresses with the most amazing,

So you should trust them? Totally – if they’re doing a good

thick, quality hair that has been well looked after. They both

job on your hair. If they’re doing a bad job on your hair,

had naturally wavy hair as well, so you got that movement

you shouldn’t.

in it to begin with. Girls with a lot of hair know how to work their hair. That energy in the hair is the important thing for me.

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N i c k I rw i n

Nick Irwin spent weeks playing around with grease on his wife’s hair in order to perfect the wet, sexy look he used for this shoot. He talks about coming to session work later in life and bringing back The Wedge.

How did you get started? My father was a jazz drummer who

thread that’ll pull it all together. Hence what we did for

had a friend who’d worked for Sassoon in London. He’d moved

S-Magazine. That greased hair thing – taking it beyond just

back up to the North East to open his own salon. I was about

hair that looks wet.

14 and getting into trouble at school and my dad said, ‘Right, at weekends you’re going to work in this salon.’ That was in

Do you think hair styling is an art? I think we contribute to the

the early 80s. I really loved the whole thing of making people

art world in creating hair for image. If you think about hair, how

look great, and that stuck with me.

it grows – when it comes out of the follicle, it’s dead. It’s like a fabric you work with and manipulate, so in terms of that, it’s art.

Do you have a rule that you’ve carried through your career? It’s tough – there are so many different aspects to what we

Apart from dry shampoo, what are your essential products?

do. But for me it’s about staying humble. I’m coming back

I have about seven products that will never leave my kit.

into session work slightly older. I was in my 20s when I first

I’ve helped design a line for TIGI called Session Series. Dry

started doing it. Every day is a learning curve with what we do.

shampoo’s one of them. Two different types of hairspray – one that’s finer and easy to brush out, one stronger. A strong

TIGI and Toni & Guy are two of the most recognisable hair

wet-look gel so you can get the hair looking really oily and

brands. What do you think makes them stand out? It’s very

greasy but can still hold, and a cream that might help set the

simple. Anthony Mascolo founded them with his brothers and

hair. We’ve also got a great sea salt product that’s got a load

had a really strong vision. Fashion and editorial and hairdressing

of different functions – that’s probably my big product at the

were very segregated then – still are to some extent. He had

moment but only because it’s seasonal and I’m working on a

this vision to link them. He also picked up a camera – he’s still

lot of spring/summer looks. Unilever, which owns TIGI, have

a great photographer and he created an image for the brand.

got this amazing research and development place in the north

There were some pivotal points in those early years that made

of England called Port Sunlight. It’s like Willy Wonka’s factory

the brands famous. David Simms was Anthony’s photographic

and you get to play with the technology and innovations they’ve

assistant, so there were some really talented people in the late

got there. They’re ten years ahead of what’s going on. I started

80s and early 90s that were in that team. Guido [Palau] was on

in the 80s and then it was all about four or five products you’d

board in the early stages. They just had great vision as a family.

try and use to create every look. Now you’ve got a multitude.

How do you come up with concepts for a shoot? I’m obsessed

Is there a product you’d like to invent? I think any hairdresser

with research and I’ve got a great team around me that always

would say they’d like to cure baldness. The first person to find

bring things to the table. It’s research and finding a common

that is going to be extremely wealthy.

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Whose hair would you most like to work with? I’m a huge fan

better than anywhere else. But in the last couple of seasons

of David Bowie – I’d love to work with him.

New York has started to push it a bit more.

Do you ever stop people in the street and ask them about their

Did you have a favourite look for A/W 12? I think Mark Fast in

hair? I used to. I think as you get older you get a little more

London. He really nailed his concept. He had this sophisticated

conservative with stuff like that. I’m not averse to stopping

grunge thing. He’s a knitwear designer and we made the hair

somebody but I’m not some weirdo that runs around chasing

look like wool. But it was still super-wearable. The girls were

people about their hair.

dewy, with greasy skin, so it looked really modern.

Which hair stylists have inspired you? I’m a great fan of

What about the future of hairdressing – and DIY? DIY is really

Julien d’Ys. For me, he’s very much an artist. Anthony

interesting. Especially in the last five or six years, living in

Mascolo, because he influenced me early on as a hair cutter.

London and seeing pockets of fashion – those tribes of young

Guido has still got incredible vision. Eugene Souleiman’s

kids doing some really mad stuff with their hair. It’s certainly

fantastic. And the new guys that are coming through. One

inspired me, for cutting or creating things for shoots.

is Paul Hanlon. He used to assist me years ago and he’s on the money.

Do you cut your wife’s hair? If she was here she’d probably be moaning. Maybe once, twice a year. Which is crazy because

Are there any styles you’d like to see come back? I remember

you should cut your hair way more often. I colour it, though,

the first cut I ever really learned was the wedge – in the early

and I’m not a colourist.

80s. It was on the back of the New Romantic thing. It was very much a Sassoon cut, though it was actually cut by Trevor

Is she your muse? Without a doubt. All the grease stuff we

Sorbie who worked at Sassoon then. That’s an amazing style.

did – I played around with different products on her hair for

It’s cut to the hairline and it’s all one length. It pays homage

a couple of weeks to see what it did.

to that whole Sassoon thing. That would be a great shape Have you ever had an embarrassing style? There was a band

to come back.

in the 80s called Kajagoogoo and the bass player had curly Which place do you think has the best hairstyles? I’ve

hair on top and straight bits with beads in them. So I permed

got to say London because this is where I’m based. It’s

the top part of my hair and thought it would be really cool to

always got that edge. And people always look to London for

put beads in. I look back and that was tragic – I mean really

cutting. It’s the home of all the greats. We do that urban thing

tragic. But it was the 80s. We did loads of weird stuff then.

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Kevin Ford

Kevin Ford was two hours late for his first ever shoot as a session stylist but learnt his lesson and has never made that mistake again. He explains here how a trip to a fetish club inspired his story, which was shot on Hampstead Heath in the rain..

Tell us about the shoot – what were the references. [In the

big glossy hair with a little twist. So it’s not too ‘done’ – you

reference images] the hair was basically coming around the

break it up a little bit. I do that a lot.

face. There was one image where the hair was almost wrapped around the whole face. I went to this fetish club at the weekend.

What was your start in hairdressing? I started when I was 18,

There were a lot of people with masks on, chains around their

in a salon. I was actually quite lucky because I started as a

faces. So I took all those ideas and brought them into the shoot.

junior but only did eight months in the salon. They put me in a competition after three months, which I won. I then went on

Your shoot was on location – how was that? Yes, we shot

a four-month cutting course within the salon and they qualified

outside on Hampstead Heath, in the rain. It actually didn’t make

me after eight months.

too much of a difference because of the way I’d done the hair – it was quite structured. If the hair started breaking up a bit it

Can you remember one of your first jobs as a session stylist?

wasn’t a problem; had the hair been a big-hair story it would

I think it was Tim Bret-Day for The Face. I’ll never forget it

have been. Because it was all wrapped around, structured to

because I was about two hours late for it. I was so nervous

the head, it was actually OK.

– my first shoot. I couldn’t sleep the night before, panicking. I’ve never been late for work since.

Can you talk about the differences between commercial and editorial work? It depends on what editorials you work on

Do you ever get nervous now? Every day, actually. Anxious

really. There are certain editorials I work on that are still quite

in a good way. I just hope I can do my best.

commercial and you can only push it to a certain level. With today’s shoot, the brief was, ‘This is kind of what we want but

Are there still things to learn? You can never know everything.

interpret it with what you want to do.’

And you still learn by mistakes – playing around with the hair. Like today, it was a bit of an eye-opener. I didn’t know quite where

Do you like the commercial work? I do. Honestly, we do our

I was going to take it. It worked out to be better than I thought.

commercial work to pay for our lifestyles. Editorial, I’ve been

And it’s good to do jobs like this where you can push yourself.

doing this for nearly 20 years so I still have a passion to do

A lot of the time, with commercial stuff, everything’s quite set.

that kind of work. To get the balance is perfect.

So you aren’t learning. And it depends on who you’re working with.

You’ve got a huge body of work. Why do you think clients

What’s the best environment to work in? I prefer to work with

book you? I tend to get on well with the clients. I try and build

teams – especially with photographers – that I’ve worked with

up a good rapport with them and try and get involved with

before, because you know their lighting. For me, for hair, it’s

what they’re doing. A lot of the high street clients want nice,

important to know someone who knows how to light.

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Do you have an ‘old reliable’ in your kit. There’s one thing

If you get on with them, you click with them. There’s no big

I always carry and it’s this really light hairspray – I think

difference though really. It’s about doing the best I can for

Schwarzkopf. It’s really light and you can brush it in and brush

that client.

it out and there’s never a build up. There’s some I’ve used where it starts making the hair drop. I’m not a big product

Are you always researching? I start with the model, then the

person – it’s more in the finish for me, or if I need to get some

story. Last week I was watching Blade Runner and I used that

body in the hair.

for inspiration. With commercial clients, there isn’t too much research to be done. But today, for example, me going out at

Have you had any disasters? There was one job for L’Oreal

the weekend [to the fetish club], without realising, I started

I did right at the beginning of my career and the model decided

using that for my inspiration. It varies really.

to cut the middle of her hair off, at home, right before the shoot. So she rocked up with this little mohawk bit through

What did you take from Blade Runner? There was a look I wanted

the middle. We had to somehow try to cover it up – and that

to do. I’d seen that look before from that movie, hence me

was before digital.

wanting to watch it again. But I’ve seen old movies, 20s and 30s – with finger waves and sets. To me it’s still amazing how

Do you have any tips – things people should avoid? I don’t

polished that kind of hair is.

quite get why people wash their hair every day. I’m very much about not too much product, and avoiding anything that might

Are there any other stylists that inspire you? The biggest

damage your hair. So not blowing it out too much, not too

influence for me when I started – even now – was Malcolm

much with the hot tongs. On shoots it’s important to have

Edwards, Eugene Souleiman. Guido [Palau], of course. I still

clean hair, but not on a day-to-day basis. I like hair that’s a

look at their work. It’s very inspirational.

bit undone, not too polished. Is there anyone’s hair you’d really like to get your hands on? Is there a go-to product that you think is good? Moroccan

Tilda Swinton. She’s not so commercial and she’s such a

Oil, if people have damaged hair. Apparently the molecules

striking woman – so attractive. Not your typical Julia Roberts.

are so fine they actually penetrate the hair follicle. You can

There’s a quality to her that’s very different. She’s not scared

also use it on skin, so at the moment I’m telling people to use

to try different things.

that – I like what it does. We mentioned hair disasters earlier. Do you have any of your You’ve had a lot of celebrity clients. Is working with them

own you’d like to share? I had a Kajagoogoo haircut – spiky

different? I like working with celebrities. It’s about personality.

on the top, long at the back. I’ve also had perms…

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Charlie Le Mindu

Known for his avant garde experimental work, Charlie Le Mindu is the only hairstylist featured who Rankin hadn’t previously worked with. He’s also the youngest. He talks to us about lesbian Barbies and why ugly is sexy.

When did you decide you wanted to be a hairdresser? I first

– to be scary to men, like monsters. So men are scared of

started to cut my Barbie’s hair when I was six years old. I used

them but excited at the same time.

to shave them to make them look like lesbians. I knew I liked hair but I didn’t know I wanted to be a hairdresser. I went to

Tell us about the collaborative process. For example, when

school, but not much because my dad is a gypsy, so I was

you’re working with someone like Lady Gaga. It depends. I do

travelling a lot. I got into hairdressing around 13 in a very

collections every six months and some people just take things

traditional salon for old women. When I was 17 I moved to

from those. But with Gaga or Lana Del Rey they might give

Berlin and I was doing haircuts in clubs. Then I came to London.

me direction – a colour or something – and I send drawings. And sometimes they say, ‘Just do whatever you want.’

That must have been cool – to get to travel around at that age. Yes. But it’s nice to have a normal life too, to go to school

How is that different to commercial work? Actually, I get

to learn how to read – properly.

more excited by commercial work – which is weird. I think that because all my friends are really crazy and freaks, I love doing really normal stuff.

Many creative men say they were influenced at an early age by the important women in their life. Was it like that for you? The first was my mum. My dad was a rugby man so he forced

Tell us about your pop-up salon. It started in Berlin. When

me to do that, when I was seven. I was traumatised, I think.

I arrived I had no money – and my mother had to drive me

My mum was dancing in gay clubs as a drag queen, so I think

there. I had a flat but didn’t speak any German or English at

I was more influenced by her.

the time, so I just went to a gay club and asked if I could do haircuts for the drag queens. And they said, ‘Sure.’ So it was me, my chair, my hairdryer and my scissors, doing the wigs.

Tell us about your inspiration for your more avant-garde work. It’s always been a big part of my work. I’m inspired

They’d give me whatever they wanted. So £2, then £10. Then

by film directors like John Waters or performance artists

it got really good. That’s how I met Peaches and I went on

like Nagi Noda. Architects too. I never really look at fashion

tour with her.

magazines, but Jean Paul Gaultier inspires me – and very early Thierry Mugler.

Talk a little about the ‘ugly’ in your work. Ugly is much more sexy. For example, I’m never going to be turned on by a very

When you’re working, what’s your ideal of a woman? I love

beautiful boy. I prefer them ugly – it’s more romantic. And I’d

women to be very feminine, really beautiful, but very strong

say it’s the same for hair.

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You get through a lot of hair and product. Do you have

Do you have any tips? I think people should wash their hair

sponsors? I work with a company called Hair Dreams. They’re

less than they do. Maybe twice a week and then dry shampoo

not very well known but they have the best quality and

between – that works best for me. And wigs are usually better

that’s really important, especially when you’re working with

when they’re dirty.

celebrities. They give me about 60 to 80 kilos a year. It’s crazy. Do you think women should use wigs more? Definitely. You have your own hairspray – how did that come about? Yes,

Sometimes people come to me and want to bleach their

I just did collaboration with L’Oreal Professional. It’s a spray that

hair, and I say, ‘Please don’t. It’s so beautiful. Shave it off

already exists. We’ve changed the smell of it and I’ve designed

and sell it but don’t spoil it. Wear a wig instead of bleaching

the bottle. I’m really happy – it’s going to be worldwide.

it.’ When they see how natural they can look, it’s amazing. It’s great now because celebrities wear so many wigs they

There’s clearly a lot of humour in your work. It’s often

treat them like accessories. In the 60s, wigs were a luxury – but

very playful. Do you think people sometimes miss that?

since then it’s only really been drag queens or people with

I like doing serious and beautiful stuff, and I do a lot. But

cancer. And looking like a drag queen isn’t a great image for

sometimes hair can be very boring and I just want people to

a woman. I think it will come. You see it more in Japan and

have fun. When you go to a fashion show you see beautiful

countries like that.

clothes that you want to buy. But with mine I just want people to have fun, or to think it’s really disgusting. One or

What projects have you got coming up? I just opened a salon

the other, but not in the middle.

in Harrods. It’s working well – the clients are very different to what I get usually. I’m working on my new collection for

Is there anyone you’ve not worked with that you’d like to?

September and I have more projects with L’Oreal. I’m doing

Cher. I think she has the biggest collection of wigs in the world.

an exhibition at the Louvre. And I’m doing something for the

She’s doing a comeback at Christmas and I would love to work

British Fashion Council where I’m making hairpieces for the

with her. She’s amazing.

statues in London. That‹s going to be cool.

What’s the best job you ever had? I’ve had a few but the one

Your career in hair is obviously pretty unique, but what

that kind of scared me the most, but I was most proud of, was

would your advice be to someone starting out? To be

when I went on tour with the B-52s. I love their music and it

themselves and not really listen to anyone. And not to

was a lot of fun.

their agents.

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Johnnie Sapong

Since the 90s, Johnnie Sapong has been creating the looks for some of the most famous women and men in the world. He talks to us about scraping hair out of sinks, working with Bob Marley’s son and how he could have ended up working at Lloyd’s.

What was the concept behind your shoot? In simple terms,

Can you tell us about any looks you’ve created? Weirdly

it was about being able to create natural, functional hair.

enough for me, getting into hair was just about being able to

I had a mishmash of references: people like [19th century

create and provide a service on every level to whoever it was.

photographer] Julia Margaret Cameron; a dear friend of mine,

So I pretty much treat everybody the same way. You walk into

David Choe, who loves to work with hair in his artwork; 18th

the room and they’re in the chair and my job is to make you

century afro hair pictures and stuff. I just wanted to see how

look good. I’ve had the joy and the pleasure of working with

we could mash it up together. Thinking about going on location

people like Jude law, Natalie Portman and Sienna Miller. But

– not being in the studio – was kind of nice, dreamy, a little

it’s just the same as working with Mrs Smith, who comes in

bit ethereal.

every two months for highlights and a bob or something.

Did you always plan to be a hairdresser? No, funnily enough

You’ve been doing this for a long time. Is there anything you

when I was 16 I went to sixth form college to study for my

don’t know? I truly believe that no one knows it all. It doesn’t

A-levels. About two months into doing chemistry, history and

mean we haven’t seen it before. I’m always open. It doesn’t

English literature I had an offer to go and work at Lloyd’s of

matter whether it’s from another hairdresser or it’s from your

London – an internship-type thing. After being there for a week

assistant. Or actually it’s something that you see in the street

I realised that wasn’t going to be me, so I had a word with my

and you ask, ‘How did you do that?’

dad who said, ‘Finish your studies, finish your studies.’ That went on until the summer of ’85 or ’86. I then got a summer

What do regular people generally get wrong with their hair?

job with a friend’s sister who worked in Molton Brown, South

Someone will talk about hair type, or hair texture, and really

Molton Street, and didn’t look back. It was the most amazing

they’ve got a problem with their scalp. Understand where

time. You turn up as some 17-year-old looking around… wall-

the root of the problem is. If you have a dry scalp it’s maybe

to-wall gorgeous girls. My first shampoo was with Kim Wilde.

because you also suffer from dry skin but you’re not thinking

It went like that. Hair found me, really.

about it in the same way. We’re not doctors but we do have that skill of being able to diagnose something.

You’ve done a lot of red carpet work. How is that different to other jobs? There are a lot of things going on when someone

What advice have you got for people in dealing with their

is put in that position – as a spectacle. Basically, it becomes

stylists? The best thing is to be able to understand oneself

about the look, the outfit – and that image is selling the movie.

and never be afraid. It’s also about being able to discuss these

The vast majority of time you’re working with clients, and

things. If you go to the hairdressers it’s always about having

sometimes you’ve got 15 minutes and you need to turn out

a good haircut. It’s not about a hairstyle. It’s much more about

a look that’s totally different to what they’ve been doing all

understanding that even if someone just takes a bit of length off

day. It’s about getting to know someone. And understanding

or a bit of weight off it’s still making you feel a little bit sensual.

the fact that they’re so used to being put upon and being told what to do. You’re trying to effectively do something that’s

What keeps you interested in the work you do? I always think

beautiful, that’s glamorous.

about it like it’s the same thing. Whether I’m doing clients

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at my studio or I’m doing editorial or an advertising job,

the hair’s not growing in the correct way because it’s been

it’s doing hair. The focus there is that you’re consistently

overloaded with sulphates and polymers that leave a residue

thinking in hair. There are moments when you need to take

and don’t allow the hair to do what it naturally wants to do.

yourself away from that, though. Why do you think people book you? That’s a weird one Do you think it’s important to be passionate about hair,

I guess I can do a good bit of hair, and I always like to have

or can you just be technically adept? There are definitely

a laugh. The majority of people would say I tend to smile most

some amazingly talented, technical hairdressers, but on

of the time when I’m working. If you ask my first assistants,

the other side there are people that just feel it. I spend

they see a whole other side.

a lot of time in teaching. It’s really quite incredible when you see something from somebody who’s just naturally gifted.

Do you think personality is important? Definitely, I think.

The way that they hold the hair, or touch it – even with what

Especially as a hairdresser. The thing I learned from a very

they’re saying. And it could be someone who is a 14-year-

young age was that it wasn’t always the most technically

old kid. I can definitely feel it if you are passionate about it

sound person who was busiest. It was the person who was the

and it’s within you.

jolliest, had the joke, the vibe. You attract what you project.

Can you talk a bit about afro hair? I think there is a real fear

How important is it to have worked in a salon? There are

around afro hair. When someone walks into a salon and it’s not

basic skills that come from a salon environment – and an air of

necessarily an afro salon, some people may wonder, ‘What am

salon etiquette. It’s about being able to converse with people

I going to do with that because I don’t understand the texture?’

as well. In that situation, even the apprentices are thrown into

It’s really about understanding the basics. Knowing about

the lion’s den.

the texture, knowing it needs extra moisture in comparison to Caucasian or Asian hair. One of the places I worked was

What’s the worst thing about being a stylist? Having to take

at a huge afro salon in Mayfair and the biggest thing was to

hair out of the sink. Sometimes the hair comes out of the

encourage clients to get their hair cut and understand that they

sink and you start getting ideas about it. But that is a whole

could have a style – something that was sassy and beautiful.

different story.

Mothers and daughters would come into the salon together. But who wants to look like their mum when mum’s in her 40s?

And the best thing? Being in a changeable environment on

It’s misunderstood because black women on the whole

a consistent basis. It’s a true joy to realise that you could be taken to Australia – for a day.

want to look beautiful and they spend an awful lot of money doing that. You’re seeing the gaps are being bridged because we have a huge mixed-race population and it’s also about being

What’s been your favourite shoot ever? There have been loads.

able to understand that it’s not one or the other, it’s a mixture –

But the thing that sticks in my mind is probably the day I went

a new texture. You have to take that as a challenge.

to Bob Marley’s house. Sadly he was no longer alive. We were doing a music video for Ziggy Marley and the Melody Makers.

Are there any hair products that you swear by? Definitely.

They had so much fun with us that they asked us to stay an

I am a huge fan of a French product called Leonor Greyl.

extra weekend to shoot their album cover and various other

I was introduced to them probably about 15 years ago – I was

press things. When I lived in New York I used to spend a lot

living in Paris at the time. There’s a great product called Palm

of time in Jamaica – being a Rasta it was home from home.

Oil that is a great balancer – it helps to get the right porosity,

So this was an iconic moment.

the right pH in the hair. It’s also about condition. Their whole ethos is almost making a skincare for hair. It’s about going

What advice would you have for your younger self? I’d

to the scalp and finding out what’s going on there: whether

probably say, ‘Just listen to your dad.’

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Indian Summer Styling Scott Robert Clark Hair & Make-up Khandiz Joni Models Elliot, Luke Stevens / Select; Will Hathaway / FM Models

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m y ge n e r at ion Styling Anna Hughes-Chamberlain Hair Christos Kallaniotis / Terrie Tanaka Make-up Elias / Jed Root using Chanel A/W 2012 & Rouge Allure Renovation Nails Amy / Body London using Chanel AW 2012 & Body Excellence Hand Cream Model Elena Sartison / Nevs

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look sharp

Styling Scott Robert Clark Grooming Keti / Body London using Sisley Skincare & Mac cosmetics Grooming Assistant Sally Vincon Models Dale Toogood & Harrison Griffiths / Elite

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Girls in rollers

Styling Anna Hughes-Chamberlain Hair & Make-up Aurelie Bou Models Mercelina / Premier; Chloe / Storm

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Camera Leica S2 with 70 mm, 120 mm, 180 mm

Styling Scott Robert Clark Hair Paul Donovan using Bumble and Bumble Make-up Ole Elias Reinholdtsen / Hove using Mac cosmetics Models Stella / Next; Liana / Profi le; Sycha / D1

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T he mov ers a nd sh a pers

Clockwise from left / The Colourist: Maria / Good Old Days, Broadway Market The Shave: Ali / Saf’s, Lower Clapton The Gentleman’s Cut: Ishmael / Broadway Gents Hair Stylist The Freestyler: India / The Yuppie’s Barber, Hackney Central All: Hackney, London

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Styling Scott Robert Clark Make-up Emma White Turle using Pai Skincare and YSL Hair Paul Donovan using GHD Models Kimberley Ann / Select

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In full bloom

Camera Leica S with 70 mm

Styling Amy Bannerman Hair Philippe Tholimet Make-up Helena Lyons Model Luma Grothe / Premier

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T RISH A

E VA

WA RD

PEN T EL

NIC O LO

LUK E

T ERR A NEO

FREEM A N

Nic olo

T err a neo

w w w. S - l e ag u e . n e t

t rish a

wa rd

w w w. S - l e ag u e . n e t

www.trishaward.co.uk

luk e

freem a n

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p e nt e l

w w w. S - l e ag u e . n e t

www.luke-freeman.com

www.evapentel.tumblr.com

M A X

M O N TG O MERY

JIMM Y

D O NEL A N

MICH A EL

NEIL

T INNE Y

FR A NCIS

DAW S O N

mich a el

t inne y

m a x

m o n tg o mery

w w w. S - l e ag u e . n e t

www.mtinney.co.uk

www.montbloggery.tumblr.com

neil

fr a ncis

daw s o n

jimm y

d o nel a n

w w w. S - l e ag u e . n e t

www.neilfrancisdawson.com

www.jimmydonelan.com

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