Beginners Hairstyling Certi/icate Toolkit
Beginners Hairstyling Cer/ficate Toolkit Designed by Dezine Koncepts Ltd. 2014
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"Makeup is a skill that once learned can never be taken away from you. Since the beginning of /me women have found it necessary to enhance their appearance and this won't ever change. In a world of changing fortunes it is a 'smart' move to acquire a set of skills that people will always require" Funmi Odegbami Director of MiNK London
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Course Outline 1 2 3 4 5 6 7 8
GeRng Started Hair and hair care Influences on hairstyling Hairstyling Kit Hairstyling SoW skills AWer Care and Useful Informa/on Contributors and References WWW.THISISMINK.COM
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1 GeRng Started
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A
Introduc/on
About MINK • MiNK London is the UKs leading makeup and beauty brand for people of colour! Our services and makeup courses are suitable for Black, La/no, Indian, Mediterranean, Mixed and White skin tones. • The company runs a private makeup school, a makeup agency and a produces large scale makeup events • The private makeup school specialises in short, comprehensive makeup programmes • The makeup agency provides makeup services for magazines, TV/film, catwalk, stage, weddings and more • The makeup events are facilitated by some of the world’s greatest makeup professionals and aim to provide abendees with the very best makeup resources. WWW.THISISMINK.COM
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Introduc/on Aim of the Beginner’s Hairstyling Cer?ficate • Provide students with an understanding of different hair types • Gain knowledge of products and product selec/on • Gain experience using hairstyling tools • Teach students how to manipulate hair to get the desired effect • Gain the ability to work with hairpieces and extensions. WWW.THISISMINK.COM
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Introduc/on Student objec/ves What do you want out of this course?
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Your Health, Your Safety
• If you are an employee (full- or part-time, temporary or permanent), this information explains what your rights are, what you should expect from your employer, what responsibilities you have and where to go for help. It also applies to you if you are a young person doing work experience, an apprentice, charity worker, mobile worker or home worker • If you are a temporary, casual or agency worker, the employment business/agency, gang master, contractor or hirer you are working for has a legal duty to ensure you receive the rights set out here. WWW.THISISMINK.COM
Your Health, Your Safety You have the right: • To work in places where all the risks to your health and safety are properly controlled • To stop working and leave the area if you think you are in danger • To inform your employer about health and safety issues or concerns • To contact HSE or your local authority if you still have health and safety concerns and not get into trouble • To join a trade union and be a safety representative • To paid time off work for training if you are a safety representative • To a rest break of at least 20 minutes if you work more than six hours at a stretch and to an annual period of paid leave. WWW.THISISMINK.COM
Your Health, Your Safety You must: • Take care of your own health and safety and that of people who may be affected by what you do (or do not do) • Co-operate with others on health and safety, and not interfere with, or misuse, anything provided for your health, safety or welfare Your employer must tell you: • About risks to your health and safety from current or proposed working practices • About things or changes that may harm or affect your health and safety • How to do your job safely • What is done to protect your health and safety • How to get first-aid treatment • What to do in an emergency. WWW.THISISMINK.COM
Your Health, Your Safety Your employer must provide, free of charge: • Training to do your job safely • Protection for you at work when necessary (such as clothing, shoes or boots, eye and ear protection, gloves, masks etc) • Health checks if there is a danger of ill health because of your work • Regular health checks if you work nights and a check before you start (Note: If you are genuinely self-employed you are responsible for providing your own first-aid arrangements, training, protective equipment and health checks, and for organising your own working time.) WWW.THISISMINK.COM
Your Health, Your Safety Your employer must provide you with the following information: • Health and safety law: What you should know. This should give the contact details of people who can help • Their health and safety policy statement • An up-to-date Employers’ Liability (Compulsory Insurance) certificate visible in your place of work What to do if you are concerned about your health and safety: • Phone HSE’s Info line 08701 545500 for advice or to complain, or the TUC’s Know Your Rights line 0870 600 4882 • If you would like to speak to someone in a language more suitable to you please call 08701 545500 and tell the operator which language • If you have lost your job because of a health and safety matter you may be able to complain to an Employment Tribunal. Ask your trade union or local Citizens Advice Bureau for advice.
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10 Studio Rules
1. Remember the Golden Rule: treat others as you would like to be treated 2. Everyone working in the studio is responsible for the condi/on of the space 3. When finished working, clean your area and any studio equipment or tools you used and return tools (cleaned!) to their proper loca/on aWer you use them 4. Be fair in your use of table surfaces and storage areas. Consolidate and share space with others 5. Ask permission to use equipment and use it properly. It is expensive to fix and/or replace 6. Limit noise. Keep loud conversa/ons and cell phone use outside the studio 7. Mobile phones should be switched off or put on silent 8. Show considera/on when an instructor is lecturing or helping another person 9. Please arrive on /me, if you are more than 30 minutes late your instructor is authorized to refuse you entry 10. Wait at recep/on, and not in the corridors, un/l the tutor invites you into the training room. WWW.THISISMINK.COM
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D Dress Code Maintaining a professional appearance is vital to your success; and here at MiNK London we require professionalism in all areas and at all /mes. We are represen/ng the training centre, the professional makeup industry and the world of fashion and beauty. So we must ALL look the part! We have established the following dress code to ensure fairness, consistent standards, a professional working environment and posi/ve habits for our staff and our students: 1. Please abend the class wearing a smart black or dark coloured top and black or dark coloured boboms; it can be a skirt, trousers, jeans etc. 2. Low flat heels should be worn for safety and to encourage good posture WWW.THISISMINK.COM
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Dress Code 3. Skirts must be no shorter than 3 inches above the knee 4. Shorts and miniskirts are not permibed unless they are worn over leggings or thick black /ghts 5. Appropriate length top or skirt should be worn over leggings 6. Denim must be clean and not torn or ripped 7. Undergarments are required and should not be visible at any /me 8. Revealing clothing is not permibed e.g. exposed mid-‐riff, very low cut tops etc. Students who choose not to come in the correct dress code will not be allowed to enter the class un/l they are in compliance with the dress code, which may not allow them the opportunity for that days educa/on. WWW.THISISMINK.COM
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•
•
• •
Steriliza/on and hygiene The tools you use to apply beauty products or groom your hands and feet can harbour unsightly and harmful bacteria if leW un-‐cleaned. You must sterilize your beauty tools to decrease and the chance of infec/on. Autoclaves -‐ These are highly recommended for equipment sterilisa/on. The correct temperature and pressure must be applied for an appropriate length of /me in order to ensure sterilisa/on. Disinfectants -‐ Bleach or 'Milton' solu/on can be used for soaking combs, brushes and on non-‐metal surfaces. Ammonia compound disinfectants (e.g. 'Barbicide') can be used for metal and plas/c items. Follow manufacturers instruc/ons for correct use.
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Contra-‐indica/ons
• A contra-‐indica/on is any reason why a hair stylist may not treat the client • During consulta/on, while ques/oning and observing the client, he/she may inform you of a contra-‐ indica/on he/she has or you may no/ce a contra-‐ indica/on to treatment that the client may be unaware of • It is essen/al, therefore, that you are able to recognise these contra-‐indica/ons in order to prevent treatment or to limit or adapt it in some way. WWW.THISISMINK.COM 19
Contra-‐indica/ons • A contra-‐indica/on exists when:
– An infec/ous disease is present – A disorder or medical condi/on may prevent treatment – A condi/on is present, for which medical approval must be sought before treatment
• Contra-‐indica/ons may be defined as
– General: would contra-‐indicate most treatments and affect the whole body – Specific: would contra-‐indicate a par/cular treatment or prevent treatment on a specific area of the body – Temporary: would prevent treatment only for a short period of /me. WWW.THISISMINK.COM
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Contra-‐indica/ons • Under no circumstances must you diagnose any medical condi/on • When you suspect there is a medical condi/on that may contra-‐indicate treatment, you will need to be tacoul when discussing this with the client • Try not to alarm the client, but explain that it would be in his/her best interest to seek medical approval • The most important considera/on for you is to prevent cross-‐infec/on occurring • For this reason, clients with an infec/ous disorder or disease must not be treated • It is the responsibility of the client to obtain permission for treatment from his/her GP or specialist, preferably in the form of a leber. WWW.THISISMINK.COM
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Contra-‐indica/ons • Contra-‐indica/ons fall into four categories: 1. Viral 2. Bacterial
3. Systemic 4. Fungal
VIRAL
BACTERIAL
SYSTEMIC
FUNGAL
Herpes simplex
Impe/go
Diabetes
Ringworm
Chickenpox
Paronychia
Mul/ple sclerosis
Athlete’s foot
HIV
Stye
Osteoporosis
Warts
Boil
Asthma
Rubella
Bronchi/s
Verruca
Bells palsy WWW.THISISMINK.COM
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Contra-‐indica/ons Contra-‐indica/ons requiring medical permission – where medical permission cannot be obtained clients must sign a consent form sta/ng that the treatment and its effects have been explained and confirm that they are willing to proceed without permission from their GP • Medical oedema • Nervous/Psycho/c condi/ons • Epilepsy • Recent facial opera/ons affec/ng the area • Diabetes • Skin cancer • Slipped disc • Undiagnosed pain • When taking prescribed medica/on • Whiplash. WWW.THISISMINK.COM 23
Contra-‐indica/ons Contra-‐indica/ons that restrict treatment: • Fever • Contagious or infec/ous diseases • Under the influence of recrea/onal drugs or alcohol • Diarrhoea and vomi/ng • Any known allergies • Eczema • Undiagnosed lumps and bumps • Localised swelling • Inflamma/on. WWW.THISISMINK.COM
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Contra-‐indica/ons Contra-‐indica/ons that restrict treatment: • Cuts • Bruises • Abrasions • Scar /ssues (2 years for major opera/on and 6 months for a small scar) • Sunburn • Hormonal implants • Recent fractures (minimum 3 months) • Sinusi/s • Neuralgia • Migraine/Headache. WWW.THISISMINK.COM
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Skin condi/ons that will prevent treatment Condi?on
Cause and Symptoms
Treatment
Bacterial condi/on: Folliculi?s
Bacteria enter the opening of the follicle causing an infec/on. The opening of the follicle can become inflamed and painful Note: Can be spread by direct and indirect contact with a person, by dirty tools and towels or by irrita/on from chemicals
• Refer for medical advice • Hair services must not be carried out
Fungal Condi/on: Ringworm of the scalp
Patches of pink skin surrounded by a red ring. The centre of the patch is covered in grey scales of dead kera/n and if on the scalp the hair will break leaving stubble
• Refer for medical advice • Hair services must not be carried out
Parasite condi/on: Head lice
Small parasites that live on the scalp and feed by sucking blood. The lice lay eggs called nits. Head lice are passed from one person to another by head-‐to-‐head contact
• Refer for pharmacy advice • Hair services must not be carried out
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Hair and hair care
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What is hair? Hair is made up of three sec/ons: • Cu/cle • Cortex • Medulla
Cu/cle • The cu/cle is the outer, protec/ve coa/ng of the hair • It is made up of overlapping layers of translucent scales and can be several layers thick • These scales are what makes the hair flexible • The translucent layer allows the colour of the hair (from the cortex) to be seen • The scales can be 'opened up' to allow chemicals and other substances to penetrate the hair • If the cu/cle is in poor condi/on, the cu/cle scales will be uneven or broken • Hair in poor condi/on will tangle easily because the cu/cle does not lay flat and smooth • Light will not be reflected and the hair will look dull.
Cortex •
• • • • •
The main bulk of the hair consists of long fibres, twisted together to form a rope. This is the cortex. At the centre of the finest threads of the cortex are three spiral, spring-‐like chains that are bonded together. It is these chains that give hair its ability to stretch and allow us to direct the hair into different styles If the cortex is in good condi/on, the hair will stretch and return to its normal length If the cortex is in poor condi/on the hair will be damaged and will easily break when stretched into a new posi/on Melanin is found inside the cortex Melanin is the natural colour of hair You can see the colour of hair through the translucent layers of the cu/cle.
Medulla • This is the centre of the hair shaW. It does not play a part in hairdressing • Not every hair has a medulla • Coarse hair is more likely to have a medulla than fine hair • The medulla is made up of soW spongy cells with air spaces
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The hair in the skin
The hair is the skin • The hair grows from the hair bulb through a special opening in the skin • Follicle – the follicle tube is a tube in the dermis that holds the hair in place. The size of the follicle varies and the follicles for the terminal hair on the head will be larger than the follicle for vellus hair • Sebaceous gland – this is the gland that produces the natural oil of the hair and scalp • Sweat gland – the sweat gland produces a substance called sweat which, when it evaporates is used to cool the skin when you get hot.
The hair is the skin • Arrector pili muscle – if you get cold or frightened this muscle will contract, making ‘goose pimples’ on the skin and raising the hair. Some/mes, if the hair is short enough, it will stand on end • Papilla – this is the point at which all new cells for hair growth are produced. When first formed the cells produced are very soW, but they are hardened and shaped as they are forced into the follicle and out onto the surface skin • Nerve endings – the hair does not have its own nervous system, so you cannot feel when the hair shaW has been cut. The follicle is surrounded by nerves which enables you to feel any movement in the hair.
The hair is the skin • Blood supply – the blood supply to the hair is very important, as it carries nutrients that ensure healthy hair growth. The blood supply enters the papilla through a series of fine small blood capillaries.
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Factors affec/ng hair care and styling
1. The shape of the head 2. The shape of the face 3. The shape of the body 4. Lifestyle 5. The direc/on of hair growth 6. The amount of natural curl in the hair – hair type 7. The texture of hair 8. The strength or elas/city of hair 9. The amount or density of hair 10. The length of hair 11. Any skin, hair or scalp condi/ons that may affect hair care and styling.
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Hair type, texture and density
There are three types of hair: • African – type hair • Asian • Caucasian (European)
African – type hair • Hair is generally very curly and oWen frizzy, but the type of curl can very vary from soW, open curls to /ght, woolly hair • Generally dark in colour – brown, dark brown or black, but can also be red or blonde • Hair is crinkled and grows in a variety of direc/ons before it appears to gain length • Is almost kidney shaped when seen in cross sec/on. African Caribbean hair is easily damaged • May look coarse, but is oWen very fine and delicate, meaning that the hair is likely to break reaching a great length.
Asian-‐type hair • OWen straight and has a tendency to be lank • Varies in colour from very dark to medium brown and can be thick and very strong • In cross sec/on, it is round • Associated with India or Pakistan, or it can be much straighter Oriental-‐type hair that can be found in China and Japan • Asian hair grows much faster than that of Caucasian or African-‐type hair. It is also much coarser
Caucasian or European-‐type hair • Look can vary a great deal • Hair can be straight, wavy or curly, coarse or fine in texture • Colours range from black to palest blonde • If you look at Caucasian hair under a microscope you will see that the cross sec/on of the hair is oval in shape • Caucasian is never the same from one person to another. It can be coarse and curly or fine and straight, it can have the characteris/cs of African-‐ type hair or those associated with Asian hair.
The texture of hair • Hair texture is measured by the diameter of a single strand of hair. The larger the diameter the coarser the hair. -‐ Fine hair -‐ Medium hair -‐ Coarse hair • When we refer to hair as being 'fine', 'medium' or 'coarse', we mean that each hair is fine, medium or coarse. Fine hair has a small circumference and a closed cu/cle, coarse hair has a much larger circumference and the cu/cle will be more open. This will lead to the hair being more porous.
The texture of hair • An average head of hair has 100,000 individual strands. People with fine hair can have as many as 150,000. People with coarse hair may have only 80,000 • Fine hair may only have four layers of cu/cle and hair may be more likely to damage • Medium hair falls between the diameter of coarse and fine hair • Coarse hair can some/mes feel quite dry. People with coarse hair normally have less hair per square cen/metre than those with fine hair • The texture of hair can determine what looks you are able to achieve. If hair is naturally coarse or if it appears to be coarse because the cu/cle is open and damaged, you will not be able to successfully achieve a smooth look
The density of hair • Density relates to the number of hairs on the head • A client with fine-‐textured hair may have many more hairs on their head than someone whose hair is coarse • The number of hairs on the scalp depends on many influences and varies enormously • If you can see the scalp through the hair, the hair is sparse • Sparse means there is not much hair • Abundant means there is lots of hair.
Hair and scalp condi/ons Condi?on
Cause and Symptoms
Treatment
Split ends
Damage to the hair shaW of longer hair • Cut them off which causes the ends of the hair to split. • Prevent split ends by keeping hair in Some/mes the hair spilt occurs on the good condi/on and have regular length of the hair shaW haircuts
Dandruff
Dry scalp leading to shedding of excess, white skin flakes, cause by underac/ve sebaceous glands
• Special shampoos formulated for the treatment of dandruff • Hair services can take place. Note: If dandruff is yellow or smells, then medical treatment may be required and hair services should not take place.
Very dry hair
Caused by overuse of chemicals, electrical equipment or exposure to extremes in weather condi/ons, such as sunlight. Another cause may be underac/ve sebaceous glands
• Special shampoos formulated for dry hair • Regular applica/ons of condi/oner and deep condi/oning treatments • Hair services can take place
Very oily hair and scalp
Caused by overac/ve sebaceous glands. • Special shampoos formulated for oily Some/mes related to changes in hair WWW.THISISMINK.COM 44 hormones, such as during puberty • Hair services can take place.
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Influences on hairstyling
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History of hairstyles
• In the heat of Egypt, noblemen and women clipped their hair close to the head. But for ceremonial occasions heavy, curly black wigs were donned. Women’s wigs were oWen long and braided, adorned with gold ornaments or ivory hairpins. Men’s faces were generally clean shaved, but s/ff false beards were some/mes worn • In classical Greece women’s hair was long and pulled back into a chignon. Many dyed their hair red with henna and sprinkled it with gold powder, oWen adorning it with fresh flowers or jewelled /ara’s. Men’s hair was short and even shaved on occasion.
A History of hairstyles
• In austere Rome the tendency was to follow Greek styles. The upper classes would use curling irons and favoured the gold powdered look of the Greeks. Women oWen dyed their hair blonde or wore wigs made from hair of cap/ve civiliza/on slaves. Later, hairstyles became more ornate with hair curled /ght and piled high on the head oWen shaped around wire frames. Hairdressing became popular and the upper classes were abended to by slaves or visited public barber shops • Amongst the Muslim community the hair was tradi/onally concealed in public. Men wore a turban or fez and women's hair was hidden under the tradi/onal veil. Both men and women visited the local public baths for grooming where the mans head and face were shaved and woman's long hair was given a henna rinse.
A History of hairstyles
• Unmarried Chinese girls hair was usually worn long and braided whilst women combed the hair back from the face and wound into a knot at the nape. The Manchu regime of the /me dictated that men shaved the front of the head and wore the back hair long and braided, /ed with black silk • Males in Japan also shaved the front of the head but kept the back hair pulled /ghtly into a short s/ff ponytail. During the Medieval period women’s hair had been long and loose but by the 17th century the hair became more styled, swept up from the nape of the neck and adorned with pins and jewelled combs. Geisha women’s hairdo’s were especially elaborate, high and heavily lacquered and oWen enhanced with hairpieces.
A History of hairstyles
• Due to the many tribal customs African hairstyles were many and varied and usually signified status. Masai warriors /ed the front hair into sec/ons of /ny braids whilst the back hair was allowed to grow to waist length. Non-‐warriors and women, however shaved their heads • Many tribes dyed the hair with red earth and grease – some even s/ffened it with animal dung • The complex style of the Mangbetu women involved plai/ng the hair thinly and arranging over a cone-‐shaped basket frame, flaring the top then adorning the whole thing with long, bone needles • Other tribes such as the Miango took amore simple approach, covering their long ponytails with a headscarf and adorning with leaves.
A History of hairstyles
• Na/ve American Indians were divided in their hairstyles – those on the East Coast spor/ng en/rely shaved heads save for a ridge of hair along the crown, whilst Plains Indians, both men and women, wore the recognized long braids adorned with feathers • Further South the Incas sported black headbands over rela/vely, short oWen bobbed hair, whilst Aztec women plaited their hair entwined with strips of coloured cloth then wound around the head • The Mayan nobility, although having shaved heads, donned high, ornate headdresses.
A History of hairstyles
• In the 15th century – The Renaissance period – the ladies of the upper classes really took ‘plucking’ to its limit! If you think tweezing the odd eyebrow here and there is painful, imagine yourself plucking the en/re front hairline away to give the appearance of a higher forehead! The rest of the hair was /ghtly scraped back to show off the elaborate headdresses of the day. • This was a prac/se common in Europe whereas the upper class ladies of Italy preferred to cover the hairline with low caps and jewelled turbans. They did, however, envy the fairer hair of Northern Europeans and sat for many hours in the heat of the sun in an abempt to Bleach their hair • The ‘bleach’ of the day was made using either saffron or onion skins!
A History of hairstyles
• By the 16th century Queen Elizabeth was the main female icon and set the trends for the era. Her lily-‐white complexion and red tresses set women everywhere rushing for copious amounts of white face powder and red wigs. Those really serious about achieving a pallid complexion used the very successful but highly poisonous white lead, adding glowing cheeks with – lead based rouge! Follow this with a thin layer of egg-‐white to bind it all together and you were ready to party
A History of hairstyles
• The 18th century saw the emergence of elaborate wigs, mile-‐high coiffures and highly decorated curls. White powdered wigs with long ringlets were the order of the day oWen /ed back with a black bow for men or decorated with feathers, bows and garlands for women • Big hair was definitely the ‘In’ thing and many styles were modelled over a cage frame or horsehair pads – the bigger the beber • Some immensely tall coiffures took hours to create and were heavily starched and powdered. However, the length of /me spent crea/ng these elaborate styles did mean that weeks went by between styling and the mixture of horsehair and heavy powder created perfect nes/ng material for vermin!
A History of hairstyles
• Following the decadence of the previous era, the Victorians took a much more subdued and puritanical line. Hair was supposed to look sleek, shiny and healthy and styles were altogether more elegant and demure. The hair was oWen smoothed down with oils and curled into long ringlets, fringes were short and decora/on was more subtle • Hairnets were oWen worn during the day to keep curls confined and clipped to the back of the head with a simple ivory comb or black bow • Later in the century hair was oWen plaited and wound into heavy coils pinned neatly to the nape of the neck • Neatness was the order of the day and ‘loose’ hair would have been considered vulgar. Men of the /me kept their hair rela/vely short, pomaded with macassar oil and most would have worn some form of moustache, beard and sideburns.
A History of hairstyles
• 1920’s society very much abandoned the puritanical standards and constraints of Victorian life. The ‘Roaring Twen/es’ saw the emergence of short, bobbed and waved styles, signifying the new independent, free-‐spirited, free-‐ woman ethos of the day • Women increasingly had access to cinema and theatre and trends were set by the ‘superstars’ of the /me • Men’s hair remained short, as in the Victorian era but was most oWen worn with a centre par/ng and slicked back using brillian/ne and highly perfumed oils.
A History of hairstyles
• 1940’s women con/nued to follow their on-‐screen idols, with the emphasis on feminine, roman/c styles • SoW curls falling onto the shoulders or long, wavy natural looks were popular • Prac/cal women wore their hair in a neat roll around the nape and over the ears, oWen covered with a headscarf knobed at the front leaving only the fringe exposed. Plas/c hair rollers were an essen/al part of styling as was styling lo/on to hold the hair in place for as long as possible.
A History of hairstyles
• By the 1950’s, glamour became popular and women abempted to achieve a look what implied ‘domes/c goddess’ • The impression that all household chores could be accomplished whilst s/ll looking stylish and well groomed was aspired to • Hair began to suffer abuse however and was teased, sculpted, sprayed, permanently waved and forced into perfectly formed curls. Hair oWen resembled a perfect helmet and women started to visit salons on a weekly basis for the ‘shampoo and set’ • Men of the day were also prepared to spend /me copying their idols James Dean and Elvis and greased back hairdo’s were coupled with long, heavy sideburns.
A History of hairstyles
• Complex hair styles were definitely ‘out’ in the 1960’s • Women were once again moving into the workplace and needed to adopt a more achievable style • Many favoured short, back-‐combed hairstyles that could be quickly styled and held in place with hair spray, soWened with a long, feminine fringe • Younger women tended to wear hair loose or in a simple ponytail, adorning it with flowers or ribbons during the fashionable ‘hippy’ phase • Hair was kept simple, the emphasis being on natural, healthy looks – the all American girl-‐next-‐door look was widely popular • Blonde was the colour to be and darker hair was oWen given highlights and the sun-‐kissed look by soaking strands of hair in lemon juice and siRng in the sun.
A History of hairstyles
• Long, free and natural best describes hair in the 1970’s • Manes of free-‐falling curls, soW par/ngs and long fringes were complemented by bronzed skin and glossy lips, soW tailored clothes and the ul/mate aim was soW, feminine and roman/c • The cult-‐series ‘Charlie's Angels’ depicted everything that ‘70’s woman should be • Even male styling became soWer with ‘feathered’ cuts, highlights and soW layers • Use of products was limited as the aim was ‘natural’ looking hair and products were marketed accordingly with an increase in the use of plant and herb extracts • Towards the end of the era though, certain sec/ons rebelled against this floral, roman/c image and the dis/nc/ve if somewhat shocking looks of the ‘Punk’ briefly prevailed • Spiked hair, dyed vivid primary or fluorescent colours, tabooed scalps or outrageous Mohicans ‘graced’ the high streets.
A History of hairstyles
• The “Age of Excess”, otherwise known as the 1980’s saw less constraints and more freedom of choice in styles and trends • People were no longer prepared to conform to a set image and many variances occurred • On the one hand were the ‘power dressers’ – immaculate women with strong tailored clothes and me/culously groomed hairstyles. The long-‐bob was highly favoured-‐ precisely cut and evenly curled under, a good hairdresser was an essen/al part of this woman’s life. This woman’s hairstyle reflected ‘control’, a busy work life, a hec/c social life but on top of it all –even her hair style! • The rebellious element on the other hand were busy following Madonna’s ever-‐changing style and were willing to sport unconven/onal, choppy off-‐coloured hairdo’s, to match their unconven/onal, eccentric clothing.
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Hair and culture
• The word culture has many meanings, one of which is the importance of ac/vi/es that people take part in. For example, the ac/vi/es you take part in may mean that you like to keep your hair covered. It is part of your culture to do so. It is what you believe is right for you and it is something that all the members of your family do. • For other people, styling and showing off their hair is what makes them happy. They believe that their hair can reflect their lifestyle and their iden/ty. • In black-‐culture the natural appearance of hair is seen as a way of represen/ng the history and background of the people of African descent • When a hairstyle is worn by a celebrity, promoted on television or shown in the latest magazines this influences how people wear their own hair.
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Hairstyling Kit
A
Hairstyling kit
• When you style hair you must ensure that: • You work carefully and safely • Your tools and equipment are sterilised and are suitable for the work you are doing • The tools you need to carry out hairstyling will vary according to the hairstyle you wish to create Tools • Combs • Hairbrushes • Equipment • Electrical equipment
Combs • You will need a variety of combs to carry out combing techniques on different types and texture of hair. The combs should be made from materials that prevent damage to the hair structure. Combs must be sterilised between uses Use
Benefit
Wide-‐tooth combs
For combing The wide teeth are hair to remove good for coarse, dense tangles for hair, or very curly hair styling
Wide and narrow tooth combs
For combing a variety of hair types and textures
Tip Always comb hair from the points tot he roots to prevent damage
The wide teeth are Do not use the fine good for coarse, dense teeth on coarse, hair, or very curly hair. curly or frizzy hair. The fine teeth are good for combing very short hair and back combing
Combs Use
Benefit
Tip
Tail combs
For making sec/ons when seRng or styling hair
The tail of the comb Use the point of the enables you to make tail to make the clean, neat sec/ons. sec/ons This means that you will be able to work methodically and efficiently when styling and dressing hair
Afro pick
For use on very /ght, curly or frizzy hair
The wide teeth enable the combing of this hair type
Come from the outside edges of the hair, into the centre.
Hairbrushes • You will need a variety of hairbrushes that are suitable for different hair types and textures. Professional hairbrushes must be sterilised between uses. Use
Benefit
Tip
Flat-‐back brushes
For brushing hair during drying and styling
Removes sec/oning marks aWer seRng. Prepares hair for styling. Removes tangles from hair
Do not use brushes on wet hair as this would cause the hair to stretch
Radial brushes
For crea/ng curls LiWs the hair at the in hair when blow roots to create drying, or for volume smoothing and straightening curly hair
Use a small radial brush to create /ghter curls and a large radial brush for large curls
Hairbrushes Use
Benefit
Tip
Paddle brushes
For brushing hair during drying and styling
Removes sec/oning marks aWer seRng. Prepares hair for styling. Removes tangles from hair. Massages the scalp
The cushioned base and gentle bristles means this type of hair brush is good for massaging and s/mula/ng the scalp of dry hair. Do not over-‐use on hair that
Vent brushes
For styling during blow drying
The open back of Use on straight hair the brush allows to create texture. the air to pass through to quicken the drying /me
Equipment Use
Benefit
Tip
Velcro™ rollers
For crea/ng soW curls and movement in hair
SoW, natural-‐ Only use Velcro™ looking curls. Adds rollers on dry hair. volume to hair The small teeth on the rollers abach themselves to the hair shaW and will not work on wet hair
Rollers
For crea/ng curls and movement in hair
Different-‐sized curls can be produced using different-‐sized rollers
Pin curl clips
For making pin curls in hair
Curls the hair Use small sec/ons without liWing from when crea/ng the the roots pin curl
Use large rollers to create big, open curls and small ones for /ght curls
Equipment Use
Benefit
Tip
Hair bands, pins and grips
For holding long hair in place
Keeps a long hairstyle neatly in place
Use dark coloured pins on dark hair and pale coloured pins on light hair to help to disguise them
Sec/oning clips
To clip hair into sec/ons
Enables you to work in a logical and methodical way
When inser/ng the sec/oning clips, open them fully to prevent p
Straighteners
For straightening and curling hair
Can be used to create a variety of effects
Use moisturising products to protect the hair from heat damage
Equipment Use
Benefit
Tip
Tongs
For curling hair
Can be used to Use small barrel create a variety of tongs to create different sized curls /ght curls and large barrel tongs for soW curls
Crimpers
For crea/ng a Can be used to zigzag or waved create a variety of appearance to hair looks
Heated rollers
For crea/ng waves, Can be used on Only use on dry curl and movement long or short hair hair to produce a quick result
Crimp longer, one length hair for the best effects
Kit Essen/als • Spray water boble – water is and can be used as a hair product. You can reac/ve styling products already in the hair by spritzing hair with water • Heat protector – should be used when doing a curling-‐iron set. It protects the hair from the heat and gives the hair a beber hold • Liquid silicone – e.g. John Frieda’s Frizz – Ease, for dry hair • Gel – great for those fine hairs at the hairline, also great for sleeking hair back into a /ght pony tail • Styling creams and/or wax-‐type products – add more texture to the hair • Hair spray – there are 3 types of hairspray, soW-‐hold, medium-‐hold and firm-‐hold
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Hairstyling
A
Straightening and Curling
Se\ng Hair • Stylists have been seRng hair throughout history and it is s/ll an ideal technique for crea/ng the smooth, sleek hair that is also popular today. • There are many different ways to set hair and a huge variety of tools you can use to do it. But, whatever technique you use, there are some basic rules that will always apply • There are three main types of seRng: -‐ roller seRng -‐ pin curl seRng -‐ heated roller seRng.
Straightening and Curling Straightening and curling (GHDs) • Now using the straighteners to straighten hair is quite straight forward but curling it is not • Sec/on hair roughly 3" from the nape of the neck, lightly mist styling spray onto the sec/on • Using the GHD styler place the irons ver/cal to the head, as close to the scalp as possible. Rotate the iron 180 degrees away from the head and pull down in one smooth movement. The slower the ac/on, the /ghter the curl; the faster the ac/on, the looser the curl. If the curl does not form well, don't try to re-‐do it immediately. Let the hair cool first and then try again. • Finish with hairspray for a medium hold
B
Hairstyles
Fashion Ponytails
Hairstyles  Braiding Â
Hairstyles Up-‐dos
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SoW skills
A
Consulta/on
• The consulta/on is a fact-‐finding mission and is the first part of the service you give your clients • An in-‐depth consulta/on will allow you find out what your clients’ ideas and needs are • During a consulta/on, you should always: -‐ find out what the client wants -‐ ask the right ques/ons and, if necessary, use visual aids such as magazines -‐ communicate clearly with your client and check to make sure you both understand each other; -‐ check to make sure you are working safely and looking aWer the client’s well-‐being.
B
Communica/on and Behavioural skills
Verbal Communica?on • Verbal communica/on is about talking and how you use your voice to get informa/on across. One-‐to-‐one communica/on is an important skill within the hair and beauty sector. Your voice can expose your a\tude and your emo?ons. A client will quickly iden/fy your interest in them by the way you speak, through the tone of your voice and what you say • • • • • •
Keep informa/on straighoorward and simple Speak clearly Vary voice tone, pitch and volume Speak with courtesy and confidence Use professional words and not slang Never speak while you are ea/ng or chewing gum.
7 AWer care & Useful Informa/on
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A
Student AWercare & Support
• You’ve completed your makeup course, now where do you go from here? • We believe in giving our students every success possible in this very compe//ve industry and we have developed a revolu/onary aWercare plan specially designed to give you the step-‐by-‐step help and support you need to be successful. • AWer our students graduate we keep them up-‐to-‐date with work placement opportuni/es, backstage assis/ng opportuni/es, access to our innova/ve makeup events facilitated by some of the world’s best makeup professionals and we give them discount access to addi/onal courses and makeup master classes. • We have also teamed up with a number of cosme/cs partners including BECCA cosme/cs, Inglot Cosme/cs, Ten Image cosme/cs and more to offer our students exclusive discounts on cosme/cs product while you work on building your makeup kits • We are in regular contact with our graduates and strive to produce the best makeup ar/sts in the industry. • Remember that we were once in your shoes, at the start of our careers. We understand more than anyone how hard it can be in the beginning, which is why it is so important to us that you are genuinely supported and guided at this crucial /me.
B Resources PROFESSIONAL MAKEUP SUPPLIERS WWW.SCREENFACE.CO.UK WWW.CHARLESFOX.CO.UK WWW.BECCACOSMETICS.COM WWW.GURUEMPORIUM.COM WWW.PRECIOUSABOUTMAKEUP.COM WWW.SEVENTAIMAGE.COM WWW.CROWNBRUSH.CO.UK WWW.INGLOTCOSMETICS.COM AND WWW.INGLOTUK.COM INDUSTRY MAKEUP TRENDS /ADVICE / MAGAZINES WWW.FACEON.COM WWW.MAKEUPMAG.COM WWW.BILLYBEAUTY.COM WWW.MAKEP411.COM WWW.BODYPAINTING-‐FESTIVAL.COM WWW.SKILLSET.ORG.UK
TRADE AND PROFESSIONAL BODIES FOR THE BEAUTY INDUSTRIES WWW.NASMAH.CO.UK WWW.BACTAC.COM WWW.CIBTAC.COM WWW.IMA-‐MAKEUP.COM WWW.HABIA.ORG
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Resources CONVENTIONS WWW.PRODUCTIONBASE.CO.UK IMATS LONDON WWW.STAGEJOBSPRO.COM THE MAKEUP SHOW GLOBAL FACE ART OLYMPIA BEAUTY PROFESSIONAL BEAUTY MAKEUP SHOW LIVE EXPERIENCE/PORTFOLIO BUILDING WWW.FACEBOOK.COM WWW.WHOISTESTING.COM WWW.MODELMAYHEM.COM WWW.STARNOW.CO.UK PAID WORK WWW.PASSIONATEABOUTBEAUTY.COM WWW.NEWIDSTUIDOS.COM WWW.makeup-‐PROFESSIONAL.COM WWW.THISISMINK.COM
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Resources FURTHER ADVICE • For editorial work and for major shows be prepared to work for free throughout your career as well as taking paid work, in order to get editorial credits and build up your poroolio and credibility • Search for agencies & photographic makeover studios on the internet. Always have an alterna/ve skill or job. COPYRIGHT • This workbook contains copyright material and therefore must only be used in the context of private or public educa/on and teaching purposes and may not be used for the purpose of reproduc/on to publish commercially in order to benefit financially. WWW.THISISMINK.COM
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Contributors & References
• Goldsbro, Jane and White, Elaine. 2009. The Official Guide to the Diploma in Hair & Beauty Studies (foundation level). London, UK: Apple Press, 2009 • Vetica, Robert. Fabulous Hair. London, UK: Apple Press, 2009
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