Check Out Hair Battle Spectacular August 10!

Tune in to Oxygen this coming Tuesday, Aug. 10, for Hair Battle Spectacular, a new TV series that pits 10 outrageous stylists against each other to see who can create the most spectacular fantasy hair designs and win the $100,000 prize. Hosted by actress Brooke Burns and featuring judges Derek J (also seen on The Real Housewives of Atlanta and the movie Good Hair), celebrity stylist Lindsay Albanese and a rotating guest judge, the show features a salon area fully outfitted with Pibbs Salon Equipment, including Turbo Power styling tools.

“Vidal Sassoon: the Movie” Premiere

On Friday night, I was lucky enough to attend the world premiere of Vidal Sassoon: the Movie at the Tribeca Film Festival in New York City. The inspiring documentary, which we previewed in our May issue (page 26), shows how the legendary hair guru rose from humble beginnings in a London orphanage to start a hair revolution and create one of the most recognizable brands in the world. I’ve never had the opportunity to meet Mr. Sassoon (he was recovering from pneumonia and unable to attend the premiere), so I loved getting this inside look into his history and his personality through interviews with former colleagues, family members and the man himself. Along with seeing his evolution as a hairstylist, I enjoyed learning about some lesser-known biographical points: his time in the Israeli army, his stint as a TV show host focusing on heath and fitness, his creation of Hairdressers Unlocking Hope and more.

After the screening, producer Michael Gordon (founder of Bumble and bumble) and director Craig Tepper answered questions from the packed audience, which included industry celebs like Tabatha Coffey (she loved it!), John Frieda, Rolando Beauchamp and more. Tepper said that the hours and hours of film they shot took nearly two years to edit, so while the original intention was to present the film as an 80th birthday present to Sassoon, they missed the mark. When asked why he wanted to create the film, Gordon said that he was inspired by Sassoon’s journey and aimed to show people that life is all about the choices you make and what you do with the circumstances you’re given. As I was leaving, I stopped to chat with Sassoon’s son, Elan, who is now following in his dad’s footsteps in the beauty industry. While he’s not a hairdresser, he just launched a new haircare company, Sojourn, which currently has 15 products and a full educational curriculum.

While distribution for Vidal Sassoon: the Movie has not yet been set, make sure you check the film’s website often to find out when it will be playing in your area. You definitely don’t want to miss this inspiring look at the man who “changed the world with a pair of scissors.”

One scene in the movie showed the media frenzy around Sassoon's famous cut for Mia Farrow in Rosemary's Baby

Paul Gooch Works Hair Magic in Disney’s Alice In Wonderland

Paul Gooch—one of the most gifted hairdressers working in films today was Director Tim Burton’s go-to guy for creating the fantasy hair creations in Disney’s remake of Alice In Wonderland. Here, he reveals all that was involved in getting the hair just right so the trip down the rabbit hole is indeed memorable.

Johnny Deppy as The Mad Hatter

Q: Did you look to the original book for inspiration in creating the hair and makeup or did you want to create something entirely fresh and unique?

A: Because Tim Burton has his own particular style, I did not refer to the book illustrations but went for a completely new interpretation with the hair. Inventing a style is a collaborative process. Tim provided some sketches for some of the characters and they evolve from there after input from myself and the actor who’s wearing the style. For instance, for the Red Queen (Helena Bonham Carter), I arrived at the red heart design by experimenting with shapes and sizes and colors until Tim was happy. It needed to be comfortable for Helena to wear throughout the long shoot day so its bulk was created using a plastic mesh, similar to the material used for pan scrubbers, which is bulky but light. Her crown was mounted on two-inch legs so that it would rise above the huge hairstyle. If it had been attached directly to her head it would have disappeared into the hairstyle. A bald cap was used to achieve the Red Queen’s high forehead and accentuate the heart-shaped hair line. The White Queen needed to be the polar opposite of the Red Queen so Tim wanted her to have white hair. Since Anne Hathaway has dark brown hair I first applied a bald cap skin to simulate her scalp before placing the wig on top on it. We also experimented with a more rock and roll style for her but Tim preferred the more ‘pure’ look she has for the film. For Lord Steyne (Crispin Glover), I tested the same red hair as the Red Queen sports, but opted for black hair because it made him look more menacing and gave him more gravitas. Alice, played by Mia Wasikowska, was originally going to wear a wig since her own hair is mid-brown and bone straight. But as we got closer to the start of filming, she requested that we try to use her own hair. She graciously underwent endless haircoloring and tonging sessions to achieve the exact style that Tim wanted. For her look in the dragon fighting sequence at the end of the film, I added wefts to her hair to create a “heroic” look. Because of their sheer numbers— perhaps the biggest hair challenge came from the courtiers for both the Red and White Queens’ Courts. We had 120 characters to create—each with a unique hairstyle and facial prosthetics. The Red Queen’s courtiers had to have dark hair and large, odd-shaped hairstyles. The Red Queen’s oversized head is a big part of the story.  To make her feel more normal, her courtiers, in an attempt to ingratiate themselves, wear huge hairstyles and big false noses, ears, chins, etc. For the White Queen Court, we went for  a far more ethereal look. Tim wanted these people to all have white hair. Trying to source this number of white wigs was no easy task but I managed to track down a theatre designer in West London who had a garage full of them. Turns out, it was old stock from the Beauty and the Beast theatre show. I loosely based these hair shapes on the 17th century and restoration period, incorporating a twist of fantasy.

Q:Many wigs were used in the film. Did you create them yourself or collaborate with someone on their creation?

A: The wigs were made by London’s Alex Rouse Wig Company  and the Peter Owen Wig Company in Bristol. Their work involves knotting every single real hair into a lace cap made to fit exactly to the actor’s head. This is an incredibly skilled and painstaking process. Once the wigs are made, I create the shapes and styles in exactly the same way I would with person’s own hair. Pieces can be added to increase the size and intricacy of the style.

Q: Can you tell us about Johnny Depp’s hair in the film?

A: The orange hair is an allusion to the mercury poisoning suffered by many hatters. The mercury used in making hats is highly poisonous and could turn the hatters’ hair red and make them mentally unstable. Hence,  The Mad Hatter. Johnny actually came up with the image for the Hatter himself. His wigs were made by Bob Kretchmer and Peter Owen and his makeup was done by Patty York and Joel Harlow

Q: Hair- and makeup-wise, what were your favorite characters to create looks for in the film?

A: I couldn’t single out any one character as a favorite but I enjoyed the extreme fantasy aspect of all the hair work on the film. It’s not often one gets to combine historical period with outrageous fantasy. I have worked with Annie, Johnny, Tim and Helena before so it was a comfortable environment from which to start the creative process.

Q: What was involved in coming up with the hair designs and makeup?

A: As a hair and makeup artist, the starting point for any period film is historical research. We are so fortunate in London to have a wealth of resources  that includes libraries, art galleries and museums. I spend days gathering reference and collating it. Once I have all this visual information, I draw my own sketches. For Alice in Wonderland, I first adapted the shapes on paper; then created the styles on stock wigs using any materials I could lay my hands on. It’s messy work and good to have a dedicated room where one can just close the door between sessions.

Q: Can you tell us what a typical day on the set was like for you?

A: All filming days are long—usually a minimum of 14 to 16 hours. The first makeup/hair call is around 6 AM. My work takes around two hours to complete first thing  in the morning and, after the cast has been dressed, we all go to set. Throughout the filming day, I maintain the work I’ve created and implement any changes between scenes and story days. Sometimes we stop for lunch, but often we eat as we work. After the day’s shooting is complete we de-rig the cast; then set about redressing their wigs. The industry is best suited to workaholics and insomniacs. More than six hours sleep between shifts is unusual.

Q; What was the most challenging part of your job?

A: Mia’s hair. It was perfectly straight so to achieve the look that Tim wanted, which was  blonde textured waves,  I had to tong it between every shot and have several sessions of coloring to lighten it.

Q: What was your favorite scene in the film when it comes to the hair and makeup?

A: The Red Queen Court Scenes. This is when all of our hard work on the hair will be on display.

Q: How many other people worked with you on the hair and makeup team?

A: In the U.K.,  I had a team of six people for the main cast and a separate team of 35 makeup and hair artists covering the supporting artists In Los Angeles, my right hand man was Terry Baliel. He was so supportive and brilliant. I couldn’t have done the film without him. Between us, we covered all the main cast and brought in additional help for the bigger crowd days. We reached a total of 25 people on our busiest days.

Q: How did you break into creating hair and makeup for movies?

A: I started my career in BBC Television, which used to run a wonderful training school, followed by two-year apprenticeships. I worked there for 12 years before going freelance in 1995. I assisted several established hair and makeup chiefs over the course of the next ten years,  learning from them and gaining experience. I have worked on several Tim Burton films, which is why he asked me to do Alice in Wonderland.

Q: You’ve earned quite a reputation for creating highly creative hair and makeup. Did that evolve naturally or is it something you pursued?

A: I have never been ambitious. Any reputation I may have has been achieved simply by working steadily for many years and loving the industry I am very lucky to be part of it.

Q: When movie-goers see Alice In Wonderland, what’s the one thing you want them to remember about the hair and makeup in the film?

A: I would like people to totally escape into this film. I hope it will inspire and entertain them, that they’ll remember the film as a whole, cohesive piece and that my work will compliment all the other aspects of the film.

Q: Can you name one or two products/tools that you couldn’t live without while working on the set?

A: I can’t answer this question with only two items! My Mason Pearson Hair Brush—it’s just the best brush ever. A plastic spiked tail comb—it’s indispensable! Elnette hairspray because it brushes out if you need to adjust a style; Ice spray, which holds hair even in a hurricane; Techni Pli setting lotion because it dries quickly and holds all day; Marcel irons and a heater.

M∙A∙C Cosmetics Introduces New Spokeswomen and Fundraiser

M∙A∙C Cosmetics and the M∙A∙C AIDS Fund have announced Lady Gaga and Cyndi Lauper as the new Viva Glam spokeswomen. As part of the “From Our Lips” campaign, M∙A∙C is selling Viva Glam Gaga and Viva Glam Cyndi lipsticks, and 100% of the selling cost of each lipstick will be donated to the M·A·C AIDS Fund. The M·A·C AIDS Fund was established in 1994 to support men, women and children affected by HIV/AIDS globally. To date, the M·A·C AIDS Fund has raised more than $150 million in 67 countries exclusively through the sale of M·A·C’s VIVA GLAM Lipstick and Lipglass.

To purchase the new Viva Glam colors, click here.

Viva Glam Cyndi

Viva Glam Gaga

Moroccanoil Helps Stars Look Hot on the Grammy Awards Red Carpet

Several celebrity stylists used Moroccanoil products to get stars looking glamorous for the 52nd-annual Grammy Awards. Here’s how they did it:

Jennifer Lopez, styled by Robert Vetica

For Jennifer Lopez’s 70’s-inspired hair, featuring lots of volume and texture, Robert Vetica applied Moroccanoil Treatment to wet hair and blow-dried it with a large round brush, creating a center part. Working from back to front and lifting her hair away from her head, Vetica used a 1-inch curling iron on sections of hair, dragging the curled spirals down. After the curled hair set, he finger-brushed the look and applied Hydrating Styling Cream to hold the set and add additional texture. Finally, he brushed out the hair, then back-combed underneath for maximum fullness and volume. Vetica finished with Luminous Hairspray for free-moving, shine-enhancing hold.

Pink, styled by Marco Santini

Pink’s look, created by Marco Santini, was a shimmering vision of modern glamor and sophistication—both before AND after her water-soaked aerial performance. Santini wanted a style with a “unique, flowing shape that emphasized volume, height and the illusion of movement.” Santini started by applying Moroccanoil Treatment throughout the singer’s damp hair to create a silky-smooth shine, then worked the argan oil-infused Hydrating Styling Cream from the roots through the ends for lift and hold, as well as create a “grip” for his brush while blow drying shape and direction. After Pink’s cropped locks were blow-dried, Santini misted new Luminous Hairspray on the outer layer and saturated several layers inside the hair from root to end. He then brushed the sides of Pink’s hair back and sculpted a rockabilly fold toward the nape of the neck. Santini finished the look with a light mist of Glimmer Shine Spray all over the hair (from a distance of 10-12 inches) for an instant boost of shine. The final touch to Pink’s Grammy look was a star-shaped diamond brooch that was fastened to the front of her hair for an elegant touch.

Lea Michele, styled by Mark Townsend

Glee star Lea Michele went sleek and sexy with her new look from Mark Townsend. “Since the Grammys are the biggest night in music, I wanted to give Lea a little rock-n-roll edge, so we went with straight hair that had great shine, with a full, side swept bang to complement her Ramona Caveza dress, “ Townsend said. He started by adding a few drops of Moroccanoil Treatment to Michele’s wet hair, blow-dried it with a large round brunsh, then flat-ironed it with a slight bend on the ends for some movement. Next, he mixed Hydrating Styling Cream and Glimmer Shine Spray in his hands and raked them through her hair for amazing shine with a light, natural hold. To add a little texture, Townsend sprayed Sally Hershberger Genius Spray Wax all over. To finish, he sprayed Luminous Hairspray on a natural bristle eyebrow brush, brushed down any flyaway hairs and ran the brush through her bangs to keep them swept to the side.

Mehron Makes Pink’s Grammy Performance Golden

One of the most talked about performances at Sunday’s Grammy Awards was Pink’s daredevil trapeze routine. While the singer wore a barely there body suit, her dancers were covered in Mehron Makeup’s body paint. “Mehron’s Metallic Powder in Gold with Mixing Liquid was off the charts,” said makeup artist Yvette Beebe. “It went on so smoothly, easily and had staying power.” Good thing, too, as the dancers hung from the rafters of the Staples Center for much of the performance.

—Beth Furtwangler

Shear Genius Starts Tonight!

Regular readers of this blog know that I have a weakness for Bravo reality shows, and Shear Genius is no exception—especially now that my longtime favorite Jonathan Antin has joined the cast as a judge! Several other stylists American Salon has worked closely with over the years will be making appearances as well, including mentor Orlando Pita, judge Kim Vo and guest judges Oribe and Ken Paves. We can’t wait to see what kind of wisdom they impart to the latest group of contestants. After you watch tonight’s premiere, let us know your favorites!

In other Shear Genius-related news, previous winner Dee Adames will be at IBS New York! I met her briefly last year when the Season 2 finalists all took to the mainstage for a styling demo and Q&A session, but I’m excited to see her in action again next month. To register for IBS NY, click here.

Grammy Stars Scoop up Moroccanoil Products

Grammy night was thrice-as-nice for Moroccanoil, which contributed products to the Official Grammy Gift Lounge and the Official Grammy Gift Bag and created the gift passed out at the Grammy Celebration Official After-Party. All of the presenters, nominees and performers could visit the Gift Lounge backstage to pick up a selection of Moroccanoil products held in a specially made sports bag. Additionally, celebs received the Official Gift Bag that included favorites of many stylists, the Moroccanoil Glimmer Shine Spray and Moroccanoil Treatment, while the After-Party gift was a beach bag containing a gift box and three hair products.

—Beth Furtwangler

Napoleon Perdis: Secrets of a “Jersey Shore” MakeUNDER

The cast of The Jersey Shore

Millions of Americans have fallen in love with the guilty pleasure that is MTV’s Jersey Shore, with the antics of this self-proclaimed gang of “guidos” and “guidettes.” The boys spend absurd amounts of time in front of a mirror, while the girls are rarely seen without lashings of makeup. While I applaud their grooming efforts—these kids really care about their appearance!—I have to wonder about their beauty judgment. If I could say one thing to Snooki, JWOWW and Sammi, it is: Take it down a notch. Less really is more, especially at the beach.

Though I live in LA, Sydney is my hometown, where outdoorsy beauty is never forced. Light bronzer, mascara and natural-looking gloss are all it takes to perfect the beach babe look. Excessive foundation, black eye liner and shadow can look like a mask in any season, but especially when humid conditions make them prone to smudging and running. For this reason I ensured that my Long Black Mascara is smudge-proof. If you’re going to opt for color on the lids, try an ebullient shade like turquoise or copper.

For adding color to the cheeks, skip the powder bronzer. It can look dull and muddy if not properly blended.  Instead try a bronzing stick with your foundation to create a sun-kissed effect. Or, for a winsome flushed look, try my Barely Blushing in Barley Rouge. This gel blush can be worn on cheeks and lips and will last has more staying power than powder.  You don’t need to wait until summer to experiment with these hot season tips on your clients. They’re a shore thing any month.

In 1995, celebrity makeup artist Napoleon Perdis debuted his line of cosmetics and launched his first concept store and Makeup Academy in Sydney. Today, Napoleon Perdis has 59 stand-alone concept  stores and more than 800 point-of-sale locations across Australia and New Zealand. In the U.S., the brand has three Napoleon Perdis stores and is sold in select independent retailers. Celebrity fans of the brand include Jessica Szohr, Lady Gaga, Becki Newton, Debra Messing, Lindsay Lohan, Amanda Bynes, Shenae Grimes, Whitney Port, Adrienne Bailon and more.

Get the look: Gypsy Chic

Hel-lo, Ms. Richmond! Jessica Lucas, who stars as elementary school teacher Riley Richmond in Melrose Place, vamped up her tresses for a recent photo shoot. A far cry from her character’s good girl image, Lucas’ sexy-meets-messy look was the work of Bertrand W., an L.A.-based stylist of Tracey Mattingly Agency. Calling it “gypsy chic,” Bertrand describes how to recreate the style:

1. To generate texture and create the windblown fly-aways, prep your hair with David Babaii for Wildaid Bohemian Beach Spray.
2. Roll the hair in a small bun at the nape of your neck and let it dry. This will produce the bouncy, loose waves. After the hair is dry, unwrap it.
3. To create the all-over teased look, put some René Furterer Naturia Dry Shampoo on your hands and rub it into the roots by moving your palm in a circular movement. Do the same thing for the remainder of your head.
4. Brush out some of the pieces and leave the rest as messy.

—Beth Furtwangler