Issue link: https://www.ahpindiestylist.com/i/1421270
N ot a m e m b e r ? J o i n at a s so c iate d h a i rp rofe s sio n a ls .c o m 41 thought, "Well, that's not good." And then she said, "How is your continuity?" And I thought, "What the heck is that?" I then realized the most important gift and talent any makeup artist or hair person has in any of the film and theater fields is continuity, because you've got to be able to be continuous in the style you do. Shots are done out of sequence, but they need to feel like they are being shot in sequence, so continuity is really important. That's when I realized I didn't want to do the same thing over and over again. I wanted to do something new every day. Continuity was not my gift. My gift is new, different, and original—not being scared of trying something different— versus the comfort of same old, same old, same old. I realized then that destiny had gently nudged me to Vidal Sassoon, who at the time was the leading hairstylist in the world. As it happens, the Sassoon Academy knew I had a background in theater, so they had me do choreography for their shows. I then did makeup at shows, and then I did hair. I found myself back on the stage again! It was like, "How does that happen?" I had left the stage, and now, ironically, I'm back on the stage doing hair. HOW HAS YOUR BRAND EVOLVED? I think you're influenced by the house you live in, because—to this day—I know the power of how contagious human behavior is. At Sassoon, being surrounded by some of the greatest haircutters in the world, my brand was very Sassoon-like—precision haircutting. At Sassoon, it's literally all about the cut, not about styling, not about finish. Then, I morphed into the world of Trevor Sorbie, which was about the total work. It was about being able to dress and move and manipulate hair. As I evolved as an artist, my brand evolved too. Today, my brand is: Always beautiful. Always modern. Creative with a little surprise, a little quirk somewhere. Something cool! Something that makes it different, but never compromising beauty. I like to dive around that wheel of fashion, from bohemian to rock 'n' roll to glamorous, to cutesy to surrealism. But wherever I am on that wheel of fashion or the wheel of sensuality— whether it is strong or soft or feminine or glamorous—I always want it to be relevant to who's wearing it, and relevant to the time it's released. A great idea too ahead of market will fail, and a nice idea behind market won't get traction. So timing is very important.