Fudge Paper: Issue 3

issue 03

f u d g e p a p e r

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issue 03

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Those that know me well, will no doubt recall my days as a hairdresser. For 10 years, I plied my trade behind a salon chair - weaving away and waxing lyrical with my numerous ‘ladies’. It was, looking back, quite a hoot. But all good things, as they say, must come to an end. After my 10 year tenure, teasing and tousling day in day out, I dipped my toe in the world of fashion. And I loved it. Initially hitting my stride in the hedonistic club world of East London, my unconventional career path threw me into the worlds of numerous young designers. Bonding almost instantly with most, my days (read nights) as a club promoter soon took a back seat to my work in fashion events. These young designers turned out to be London’s brightest stars; Gareth Pugh, Jonathan Saunders, Richard Nicoll and Louise Gray among them. Before I knew it, I was throwing aftershow parties for my fashion friends, before taking things international with events in New York, Paris and Milan. Anyway, as things generally do, one thing led to another, and I currently publish and edit my own magazine, Ponystep. Having known and respected the hairdresser John Vial throughout my career as a hairdresser (and beyond), when I was approached to edit this issue of Fudge Paper, I was incredibly flattered. Having never worked together in a ‘hair’ sense, it’s quite an honour to be working side by side on a creative project such as this. With my ‘pop’ credentials and colourful history (read into that what you will), the marriage of the Ponystep aesthetic and Fudge’s youthful, vibrant attitude made total sense to me. With their commitment to new talent, and continued support of young designers, Fudge, and more specifically, Fudge Paper, is an association I feel particularly proud of. •

editor’s letter

Richard Mortimer

Design and Art Direction by Ponystep

As the late Whitney Houston once sang “I believe the children are our future”. Its a sentiment echoed by Fudge. As a brand, Fudge pride themselves on their commitment to nurturing new young talent. That commitment extends beyond our ongoing commitments with the hairdressing community - supporting British designers at LFW and LC:M, and our backstage involvement at the internationally revered Mercury Music Prize. Building on these recent successes, Fudge hooked up with a new creative ally this year in the form of the BRITs.

Held annually in February, The BRIT Awards have come to represent the best of both British and international musical talent, attracting the world’s biggest names to our shores year after year.

While big names are indeed a bonus to the ceremony, the focus remains wholeheartedly on talent. The BRITs have helped launch the careers of many young aspiring musicians, most recently Emilie Sandé and Tom Odell. It’s this commitment to talent that prompted Fudge to partner this February’s event.

As the official BRITs 2013 Backstage Spa hair partner, Fudge groomed a host of BRIT award nominees, presenters and VIPs in an exclusive pop-up salon. A team of stylists led by Fudge Creative Director John Vial provided cutting and styling services within the salon that was open for both rehearsal days and the main event. Celebrity guests at the Fudge pop-up salon included One Direction’s Harry Styles, Jessie J, NE-YO, Radio 1 presenter Greg James, Sharon Osbourne, Lauren Dunn, Boy George and many more.

“The BRITs was a huge success and the ideal partnership for Fudge. The hair team were kept busy working with the world’s top musicians and VIPs” confirms Fudge Creative Director John Vial. Indeed they were - the three day event saw the team undertake over 270 blowdrys, working their way through over 50 cans of Fudge Skyscraper hairspray! •

f u d g e p a p e r 02

The BRIT awards have become synonymous with showstopping performances, a dizzying array of international superstars and the now obligatory live blunder. While the latter seems to appeal to the public consciousness in a way that no other country would quite understand, it’s the outfits that really titillate the red tops. Every inch of our favourite celebrities comes under scrutiny, not least the hair - which, let’s be honest, can make or break an outfit. Anyway, kind as we are, Fudge were an offical sponsor of this year’s ceremony, setting up stall backstage and tending to anyone and everyone.

fudge at the ...

Justin Timberlake, Taylor Swift, Muse, Robbie Williams, Emeli Sandé, Mumford & Sons and One Direction were among the acts that performed. Winners included Emeli Sandé, Mumford & Sons, Ben Howard, One Direction, Coldplay, Adele and Lana Del Rey - each taking home a Damien Hirst designed BRIT award.

The third season of London Collections: Men sees it firmly established on the international fashion calendar. The scale of the presentations has grown to the extent that the schedule now accommodates over 60 menswear designers, with a further 30 accessories and ready-to-wear designers showcasing their A/W collections.

This development was driven by necessity and the hard work of the visionaries and supporters who have been a part of the LC:M story since its inception. Prior to the inaugural event of June 2012, London Fashion Week had showcased British menswear through a single day of shows and presentations at the end of its schedule. As anyone who attended those events will testify, the increasing demand and interest sent out a clear message: The time had come for a regular, standalone London showcase for British menswear; one that would proudly sit alongside (and possibly even rival) the firmly-established menswear shows in New York, Paris and Milan. The British Fashion Council eventually put an end to intense speculation among industry circles by announcing the details of the first London Collections: Men, to be chaired by the esteemed GQ editor Dylan Jones.

London Collections: Men has a breadth and scope that allows it to showcase the prestige of Britain’s fashion heritage while also looking forward by championing new labels. Just a few of the big news stories from this season are the unveiling of the latest Fashion East installations, New York label Rag & Bone’s London debut and Burberry’s decision to move its menswear collection back to the capital for the first time in a decade. Other big names to return to the schedule this season include Jonathan Saunders and Richard Nicoll, Oliver Spencer and Alexander McQueen.

As ever, the spotlight on youthful individualism shines particularly bright: London firebrands

written by AnDREAs soTERIouphotography by MARK RABADAn

Agi & Sam make their solo catwalk debut, while the Sibling trio will once again be displaying the anarchic flair that has made them front-page favourites among the UK press. Fashion Forward will also showcase the latest collections from E.Tautz, Christopher Shannon and Lou Dalton, who kicks off proceedings at London Collections: Men for the third successive season with her show on the morning of June 16th. The rich history of London fashion and the city’s reputation as a centre of cutting-edge street style continue to inspire designers, magazine editors and stylists from all over the world. The signs are there for all to see: the clothes, the talent, the bold creativity. If anything, the success and prestige of London Collections: Men confirms that the capital’s fashion scene is indeed “having a moment” - one that has lasted well over a century. •

This season Fudge are proud to be supporting: Lou Dalton, Katie Eary,

Meadham Kirchhoff, James Long, Richard nicoll, Christopher shannon and sibling

London Collections: Men runs Sunday June 16th until Tuesday June 18th 2013

also feature a print that James and his team have designed in collaboration with Fudge, based on the brand’s Paintbox idea. “There’s a lot of colour in there so it’s very exciting. They’re a really easy group of people to work with and get along with. And there’s so many of them! I find that stage of the shows quite crazy - when you turn up backstage and there’s 200 people who all know what they’re doing. They have a lot of energy which helps the show”.

James is positive about the future of fashion here in the capital. “It’s really thriving. There’s a strong pool of talent and all the new names coming through make it interesting. I think London is always amazing for press support: they really rally round you. That helps you to progress past a certain level. Over time, your goals change and you want to have that sell-through and interest from your customers. It’s a really nice experience to see people try on your clothes and enjoy it”.

James Long will show at LC:M on Tuesday 18th June - supported by the Fudge art team

www.jameslonguk.com

James Long is carving out a reputation as one of London’s most consistent talents. since graduating from the prestigious Royal College of Art with an MA in Menswear back in 2007, Long’s collections have garnered international praise season after season. His debut at the MAn show in Feb 2007 (a precursor to LC:M) saw Long’s design signatures of leather, plaid and knitwear unleashed on the world. six years later, Long is establishing his name as a London mainstay, with his line expanding beyond mere menswear to include a successful women’s collection (complete with LFW show) and a burgeoning accessories line.

We meet up with James Long four weeks before his London Collections show, or as he decribes it, “the bit where it all goes a bit mental”. At this point, preparations have morphed into a seven-day-a-week operation. With shoes, accessories, colours and fabrics pretty much in the bag, James and his team await the imminent arrival of assorted stylists, casting agents and models. “The last few months have been about getting our techniques and processes together”, he explains. “The actual real garments are finalised and now you can visualise the whole collection, which is the exciting part”. The atmosphere in his studio is very relaxed. Outside the window, birds are tweeting above the distant hum of traffic and the odd police siren. It is quite possibly the calm before the storm.

James is a familiar name to the London Collections alumni, having taken part in the very first event. He has seen the enterprise develop and grow with

the support of the industry and media which he believes has been beneficial for all involved. “It feels good, it seems like we’ve been waiting for a long time. I think for so long it was so behind everything. When I started, there was only the MAN show, which was on the end of womenswear day. So, for it to become this huge is quite amazing. A lot of people who really cared about it were talking about it for years, it was kind of, “Is it gonna happen, is it not gonna happen?”, then it did. A lot of the bigger brands are geting involved so it feels very different to how it started out, but that will raise the profile and the excitement behind it”. Another massive change has been the support of British retailers who are now stocking young British menswear designers for the first time. “When we first got into a British store it was like we’d climbed Mount Everest! Now there are areas for young British menswear designers and it’s a real moment. They’re making more space for the clothes and people are buying and wearing it. It’s really amazing, actually”. James has embraced the opportunity to build up a strong relationship with stores such as Browns and Harvey Nichols. “I’ve spent the last month going round each store and talking to the staff. That’s really important so you don’t get lost and they know what your designs are about. I enjoy that, finding what’s selling. It’s all part of the process for me. The staff say that if they know who we are and what we’re like, then they can talk to the customers about us. If you’re young and not massively well-known then you need to let people know what you do”.

For Spring/Summer ‘14, James has taken inspiration from Italian cyclewear and the films of avant-garde legend Kenneth Anger. The collection will

•

it’s show timewritten by AnDREAs soTERIouphotography by ALAsTAIR sTRonG


extreme potentials of styling and staging. “In past shows, we’ve always gone for quite safe hair styles”, she reflects. “This time we’ve given the women very glamorous hair, it’s going to be all-out beautiful and amazing but with colour, which I wouldn’t usually do. With the support from Fudge we are making these amazing wigs for the show. Ben Jones and his team are doing the hair using the new range of Fudge Urban Colour Chalks. We’re going to dye the wigs using Fudge Paintbox colours so there’s a black root leading into pinks and oranges, very dusky kinds of colours, to resemble flamingos. Ben will be mixing up the colours and using some other new products as well”. “With the boys we’re going really experimental, which is something I never do. Because my clothes are always so outrageous, I like to make the hair really clean and slick so that it doesn’t look like a joke! The boys are the hunters and the idea of their hair is that it will look like they’ve been dragged through oil, really dark... That’s basically what it’s about.” With each collection drawing increasing demand and attention, Katie is undoubtedly one of London Collection’s brightest success stories. She remains level-headed and disarmingly honest about the new setbacks and challenges that this brings. “This season has definitely been my hardest one, but ultimately I think that’s a good thing, because it means the company is growing. You find new things to stress about over time. Years ago, there was no presence of money at all, so it was all about trying to make ends meet. Now there is money but you owe it to a lot more people. I’m now trying to be a businesswoman when I’m not in any way “business”. At the moment there’s just me and my head assistant, who has worked with me on the last seven shows.

It’s difficult when you’re leading something by yourself because you’re the one that gets the scars”.

During times of trouble, Katie has been known to retreat to her hometown of Stevenage under strict orders from her mum, who is probably her biggest - and most inquisitive - champion. “She totally gets where I’m coming from and she’s always right. She’ll ask about the ideas for each collection, and sometimes they’re hard to explain. For me, it’s always based on a feeling. I do know that this show will be quite aggressive. It’s very nineties rave, representing dirty boys on the hunt for their Flamingos. With the hair and make-up, I never see the finished looks until maybe a couple of days before the show so it will be a surprise for me as well. I don’t expect that everyone will understand what the hell I’m talking about, but I can tell you that I am very excited about it!” •

Katie Eary will show at LC:M on Monday 17th June - supported by the Fudge art team

www.katieeary.co.uk

More and more, it seems, women are taking the reins in British menswear - turning the establishment on its head and doing things their way. Paving the way, established brands such as nicole Farhi, Katharine Hamnett, Magaret Howell and Vivienne Westwood showed that you don’t have to possess a set of balls to dress one. The generation of 2013 has its own daring design darlings, namely sibling’s Cozette McCreery, Lou Dalton, Martine Rose and Katie Eary. While the anarchic spirit of London inhabits each of these collections in varying degrees, it’s Eary’s unique brand of ‘glamorous streetwear’ that’s getting us particularly excited this season.

Perched on the table in her kitchen-cum-office just round the corner from Broadway Market, Katie Eary is explaining the inspiration for her latest collection: “I did a show about three or four years ago - the “snakey” one - which was based on the book Marabou Stork Nightmares by Irvine Welsh, who is my favourite author. It’s the story of a guy who’s coming out of a coma and retreating into his dreams, which take place in the jungle. He’s hunting for the Marabou - this really ugly bird that attacks Flamingos. It represents something dark from his past. For Spring/ Summer ‘14 I decided to re-visit the inspiration for that section, because it was always my favourite and I felt that I’d never really finished. The collection is called Flamingo Massacres and it’s all about the hunt for the maribou”.

This second chapter in Katie’s story is told through a fresh visual approach, one that embraces the

Katie eary photographed in her live/work space in east London and oppposite

James Long in his Hackney-based studio

Since his appointment as Creative Director of Fudge, John Vial’s influence has rippled through all areas of the company. His eye for detail coupled with over 25 years experience as one of the UK’s leading hairdressers combine to produce innovative hair concepts that appeal to industry and consumer alike. Embracing the heritage of the Fudge brand, while simultaneously looking forward, Vial’s vision for the latest campaign embodies Fudge’s longstanding commitment to inclusivity; to its ‘unleash potential’ policy. Shot in London, the street cast campaign is a masterclass in ethnic diversity influenced, in part, by the very people and style on said streets. Moreover, it’s a masterclass in modern hairdressing - accessible, functional and undoubtedly cool. This is hairdressing for the people, inspired by the people. This is Fudge. •

face of 2013


written by JoHn sMITHphotography by RoRy PAynEstyling by sIoBHAn Lyons

Hair by John V

ial, callam

warrington, a

ndrea martinelli and Tom

gilling for f

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. make up by Jenny c

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@fudgeHair #canihaveitlikethatfudge.com/canihaveitlikethat

Left to right: fudge gloss, fudge Liquid erekt, fudge Hair gum, fudge fat Head

This Page (clockwise from top): Erik, with his Scandinavian looks, naturally suits being blonde. Bleached and toned, his hair is cut into a modern take on a classic crop - scissor over combed on the back and sides with the top left slightly longer. Dried flat, this look is finished using Fudge Hair Gum to give texture. Tommy is the epitome of effortless cool. What is essentially a ‘non-style’, this long look is the perfect antidote for those tired, overstyled shorter cuts. His once one-length hair has been ‘shattered’ through the the solid outline, giving a more masculine, ‘imperfect’ look. Sprayed liberally with Fudge Liquid Erekt, the look is flat ironed and finished with Fudge Gloss. In a less-than-subtle nod to the 50s Teddy Boys, Ralf’s modern quiff is barbered through the sides - scissor over combing off what would originally be slicked back. The top remains disconnected and sculpted into place with Fudge Fat Head. Opposite Page: Paying homage to the heavy fringes of cult bands such as the Ramones, Jacob’s heavy fringe verges on a classic bowl cut. The top is disconnected while the underneath is cropped short to allow a flatter shape. Blowdried into place with Fudge Liquid Erekt, the look is finished with Fudge Gloss for maximum shine. •

Hair by John Vial and dale Ted watkins at fudge colour by Tracy Hayes and oliver petogrooming by Kristina ralph using mac models: erik Tonrie, Jacob mallinson Bird, ralf wileman and Tommy fitzer at elite

“It’s an exciting time for men’s

grooming. In fact it’s the biggest growth area in the beauty

industry. Fudge have always recognised the importance of

our male shoppers, who continue to

represent 60% of our customer base.”

— John Vial, Creative Director of Fudge

erik

ralf

tommy


After decades being overlooked (and let’s face it, overshadowed) by the fairer sex, boys are finally getting their moment to shine in the beauty stakes. Long gone are the days of men’s grooming staples amounting to nothing more than a bar of soap, an orange Bic and a bottle of Old Spice. The Nineties put an end to that with the emergence of the Metrosexual. Slowly but surely, the bathroom cabinet became a home for two, with ‘his’ cleansers, toners and moisturisers nestling nicely alongside ‘her’ Jolene and St Tropez. Today the modern man takes grooming seriously. So seriously, in fact, that it has become the biggest growth area in the entire beauty industry. It’s a trend that Fudge recognised years ago - offering revolutionary hair products to men, at a time where grooming was still considered a predominantly female pastime. The fact that Fudge’s retail demographic is 60% male confirms our continued commitment to giving the boys what they want! Here, Fudge Creative Director, John Vial, showcases his current hair obsessions, and talks us through the latest ‘do’... •

photogrphy by ALAsTAIR sTRonG styling by DEE MoRAn

jacob

let’s hear it for the boys

James Pecis is an internationally renowned session stylist. Famed for his innovative work on high end fashion editorials, countless fashion shows and top advertising campaigns, Pecis’ relentless work ethic has made him one of the most in-demand stylists working today.

Originally from northern California, James Pecis knew at a young age that styling and cutting hair was to be his platform for creativity. After apprenticing in San Francisco, he moved to NYC to join the Bumble and Bumble team where he continued his training in cutting and styling. Along with working on the New York, Milan and Paris fashion circuits, he became first assistant to the well-known Jimmy Paul for two years before being appointed first assistant to the

james pecis talks trends

highly technical Laurent Philippon for a year.James quickly made a name for himself in New York, yet full of inspiration and hungry for a new challenge, he moved to London to further his session work. He continues to split his time between the two cities. By his own admission, London still inspires him immensely - a sentiment echoed throughout the majority of creative industries. That said, the re-emergence of New York’s club scene is breathing new life into the Big Apple, where a mix of hedonist club kids, gay rappers, strippers and NY legends come together in a frisson not seen since the 90’s. It’s a tale of two cities, and Pecis enjoys the best of both.

2011 saw James win the title of ‘Session Stylist of the Year’ at the fashion industry’s prestigious Creative Head awards hosted by Runway magazine. This accolade

written by JoHn sMITH backstage photography by JEssE JEnKIns

Backstage at the meadham Kirchhoff a/w13 show during Lfw. pecis subverted the classic idea of ‘pin-curls’ by leaving the pins in the hair, creating one of the shows key hair looks.James Pecis is represented by D+V Management

caught the attention of Vogue Paris Editor in Chief Emmauelle Alt who became James’s greatest supporter, booking him on numerous shoots for the magazine with internationally acclaimed photographers such as David Sims, Mert and Marcus and Inez &Vinoodh. In February 2012 James made French Vogue history by becoming the first session stylist to work on an entire issue of the magazine. Alongside Vogue Paris, Pecis is a regular contributor to British Vogue, Vogue Italia, LOVE, POP, The Gentlewoman, Fantastic Man, V and Interview.

Equally strong in both men and women’s hair, James and his team continue to work closely with designers - both young and established - to creative innovative looks for some of the world’s most exciting runway shows. With an impressive rollcall of show credits to his name - notably Kenzo, Just Cavalli, Meadham Kirchhoff, Simone Rocha, ACNE and Roksanda Illincic among them, Pecis’ position within the industry is well deserved. As a Fudge Ambassador, James is the obvious ‘go to’ for a run-through of current runway trends.

Seen across all the fashion capitals this season, loose curls remained as prevalent as ever. From Guido Palau’s flowing curls bouncing down the runway at Bottega Venetta, to Pecis’ own take on this loose pincurled look at Just Cavalli, this was one of the season’s most in-demand looks. But just how is it that certain looks come define the runway all season? “It’s weird, session stylists rarely meet up, and hair is always instinctive. It’s never a case of one person looking at what anyone else is doing, it’s just a feeling and most session stylists seem to pick up on trends at the same time, it’s just an instinct.” He explains, “pin-curled, polished hair represents a certain type of woman. Curls this season are less stiff and structured than they have been in recent years. The 2013 shows saw a softer, looser look.”

Another over-riding trend this season is that of grunge; or, as Pecis puts it, ‘grunge nostalgia’. You would think that at 32, he is too young to be reminiscing about a misspent youth, but he is not alone. It was probably the most talked about trend this season, with Hedi Slimane spearheading the revival and dividing the entire fashion community in the process. With a campaign featuring 90’s icons such as Marilyn Manson, Beck and the high priestess of grunge herself, Courtney Love, Slimane’s bold declaration at Saint Laurent signalled a seismic shift in the hair world. If street culture was already embracing all things 90’s then his new collection gave validation to an army of retro misfits, giving them overnight fashion credentials.Fundamental to this new wave / lo-fi look is the hair. It would be fair to describe this as a reaction against the set-and-tonged tresses once beloved

“Hair is always instinctive. It’s never a case of one person

looking at what anyone else is doing,

it’s just a feeling.”by the St. Tropez set, now embraced by everyone, everywhere. It seems impossible to turn without being bombarded by cascading curls ala Gemma Collins. What better way to rebel than to cut your own hair? A wonky fringe, a choppy little bob? Alas, it’s not QUITE as easy as it looks, particularly getting the runway look. “Swampy” is how Pacis describes his F/W look at the MM6 show in New York. Clean yet matte. DIY it with Fudge Matte Hed Gas or, a personal favourite of James’ - Dry Conditioner (“I love it - I’ve never seen anyone else make Dry Conditioner. It’s softer and less powdery than Dry Shampoo.”)

For what seems like FOREVER, models have run into the shows, Evian in hand, long, lustrous hair scraped back and slumped into the make-up chair. It’s a given. Have long, straight hair, and let us do what we want. This season, however, change is afoot. Models sashayed through the backstage area sporting ‘haircuts’. Proper do’s. Bobs, it seems, are the order of the day. Shoulder length, jaw length, square, rounded - whatever, they are everywhere.

In a season where rebellion seems be key, model agents seem to be hedging their bets on a ‘quirky’ model winning over designers and casting agents and thus prolonging their career. While the results are yet to be seen, it’s a canny move on the part of these young girls. Dismissing the clichéd stereotype of bimbo model, these girls are clued-up professionals who make damn sure they are seen and noticed. Taking the lead from industry icons such as Karlie Kloss, Arizona Muse and Edie Campbell these girls are reaching for the scissors and going for the chop! And it’s not just haircuts the girls are turning to, reaching for the bottle and embracing a kaleidoscope of coloured hair seems to be de rigeuer with the likes of Charlotte Free and Chloe Nogaard turning heads for all the right reasons with their pink and yellow hair respectively.

Hair, as always, is a signifier of the direction that fashion is heading. The latest looks tell us that the industry is learning to embrace a DIY spirit all over again - punk, grunge - call it what you like, but it feels democratic, bold, exciting and fresh. •


Fudge are proud to support James Pecis and his team at the Meadham Kirchhoff S/S 14 Mens show

still life photogrphy by ALAsTAIR sTRonG backstage photography by MARK RABADAn


In the internet age, a forward thinking website is essential to any brand worth their salt. Fudge were quick to recognise the importance of a strong online presence and in October 2012, they relaunched www.fudge.com. More than a brand site (although the full product range is available to order), fudge.com is an interactive experience targeted at both consumers and hair professionals alike. With such an extensive range of products, the selection can often seem a little overwhelming to the general public. For that reason, Fudge have introduced ‘15 Seconds of Fudge’ - a video demo of each product, and how best to use it. The video content extends beyond ‘15 Seconds Of Fudge’, with the site proving a popular platform for Fudge projects. Our recent partnerships with design talent at last season’s London Collections: Men is documented in an exclusive backstage film, showcased online, as is our landmark shoot with noted fashion photographer Rankin, whose shoot commissioned to mark the launch of ‘Lookbook’ (Fudge’s online hair moodboard), was all captured on film specifically for the site. Other highlights include our backstage antics at this year’s BRIT awards. Barely 7 months old, fudge.com is fast becoming the go-to destination for exclusive hair trends, event coverage and, of course, ecommerce. • w

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women of colourinterview by JoHn VIALphotography by ALAsTAIR sTRonG

little one! (laughs) That was in 1958.John: So Vidal took it over in 1958 and how long did you stay?Annie: Right until 2006.

John: You were the longest technician who ever worked there. How did you end up becoming an owner?Annie: I think I was just very lucky, actually. Vidal came to buy the building and we looked each other in the eye, it was kinda… ARRRGHH! And he wasn’t famous at all. The guy that had the salon before was more famous really, and Vidal was a total unknown. So I said, ‘Why not?’ but everyone else who he asked to stay refused! They thought he would be a bit of a Dodo because he wasn’t known, he had no history. But I thought I’d take a chance.

John: Well, it paid off!Annie: I had worked at two other places before so I thought ‘third time lucky!’ (laughs) John: So that was ’58…Annie: That was my lucky day I suppose. I mean, he was lucky as well to get me. (laughs) John: Of course he was! So then he started the product line…

Nicola, the essex girl that turned Balayage into a world class art form and client list that reads like a who’s who. annie, the unassuming Londoner who revolutionised the entire industry with her innovative techniques and technical expertise. Her dedication to sharing that knowledge, to teaching generations of hairdressers, has produced some of the industry’s most influential technicians. while their back stories couldn’t be more different, these two women have paved the way for colourists, bringing them out of the basements to the forefront of salon life - finally credited with the recognition they quite rightly deserve. fudge’s creative director John Vial met the two hair heroines in London’s mayfair on a rainy may afternoon. while the weather may have been dull, the conversation certainly wasn’t.

John: Can you tell us how you started working with Sassoon?Annie: How did it start? Well, I actually came with the building!

John: Because Vidal bought the building and you were already in it…Annie: Yes, with the fixtures and fittings! But I was only a

Tracy Hayes, Fudge’s Global Head of Technical Training is something of an institution in the colour world. Her years of salon experience, seminar work and teaching have garnered Hayes a reputation as one of the most technically skilled colourists in the world. While she commands respect from her peers across the hairdressing world, Hayes has huge respect for her female contemporaries - women that, like her, have achieved far beyond the normal expectations of a career in hairdressing and moved the goalposts considerably. When approached by Fudge Paper for her thoughts on the matter, Hayes immediately cited two women who have made headlines in the often overlooked world of hair colour. In the male dominated colouring arena, the girls all show solidarity. sisters, it seems, really are doing it for themselves.

Therefore, the following interview is something of an eye opener - a rare and rather priviliged insight. That it hadn’t happened before now is baffling. Two of the most respected women ever to work in the industry finally get to meet up face to face and, well, talk shop. actually, they talk much more than just shop. The women in question are super colourists Nicola clarke and annie Humphries.


Annie: Oh, that wasn’t until the 70s. But when he started it he was very busy and couldn’t give the salon all of the attention he wanted to, so he decided to let the people who worked in the salons buy it. At first it was only a sort of percentage because that worked out quite well in terms of splitting the company. It was also quite lucky that when he let the people have all of it; they didn’t give it all away. They kept a percentage and we had to pay the money back. We were going to have to hock everything, but we were really lucky because then the LA Olympics came along in ’84 and all our stylists were paid to do the hair. It was like a big windfall. You got paid a lot of money. John: So Nicola, how long have you been with John Frieda?Nicola Clarke: 10 years. I’m quite the new girl. John: How did that come about? Nicola: I was working with this really lovely guy called Umberto Giannini and he got really sick. I was in LA for 2 months working on a film with Gwyneth Paltrow and while I was away, I think in the February, he passed away. It was so sudden and so shocking and so sad. I came back and stayed in the Knightsbridge salon and things just got a bit out of hand, which happens sometimes when the person who owns it isn’t around. I take my job really seriously; I love it. And the people there were kind of taking advantage. I didn’t want to leave - because of Umberto - but then I got a phone call from John Frieda’s PA who asked if I would meet him. So I did - and we had tea in Claridge’s. John: That’s a nice way to start…Nicola: And you know, he was just such a breath of fresh air! I really liked his energy. In a way he kind of reminded me of a grown-up Umberto.Annie: Yes, I can see that.Nicola: It was so strange because it was like a new chapter with somebody I already knew. We just sat and spoke for like an hour because I had to go to work. We had a few meetings after that. I think I’ve been quiet lucky… you put a lot of work into your profession because you love it, and things come along at the right time. I was assisting Sam McKnight at the time and he’d often talked about a salon… I told John that I’d work for him but would leave immediately if Sam ever opened his own salon. I think he quite liked my honesty. I have always been quiet honest. John: Are you both from London?Nicola: I’m from Essex.Annie: I’m from Putney. John: So you never left?Annie: Well I have, but I just keep coming back, like a homing bird! John: During your colouring career, you must have known of Annie?Nicola: Of course! She is like the goddess! John: The Greek goddess. Didn’t you have Greek Goddess (the Greek Goddess is a signature Sassoon haircut from the 1970’s) too at one point?Annie: Never on my own. John: Did you ever had a perm?Annie: Yes, when I had my 25th anniversary. That was Tim’s (Hartley) haircut and Tony Lugo’s perm. It was in 1983. Were you not in Leeds then? John: Oh no! Christ, I was barely out of nappies at that point! Have you ever had perm Nicola?Nicola: Yeah, years ago, in the Eighties. John: I’ve had two. One where I just got the back done and one where I just go the top done, but it was very scary. Annie has a lot to answer for!Annie: Well, everyone is trying to bring them back, aren’t they? I think they are flogging a dead horse! John: I don’t know, I went big on the crimping! I like the idea of crimpy texture.Annie: I was always trying to get the chemist to come up with something that was semi-permanent and didn’t do any damage.

John: Is that not what a demi-wave was? Annie: No, a demi-wave was stronger than a normal perm. Because you had to put on those whacking great rollers, like Coke cans.John: Did you ever do a balayage or anything like that?Annie: Of course darling! Flying Colours! John: Of course Flying Colours are balayage, aren’t they?Annie: It’s a version of it, isn’t it darling?Nicola: It’s just hand-colouring, isn’t it? That’s all it is. When I started at John Frieda they were all starting to learn balayage because of that LA salon and that’s where it sort of came from.Annie: The difference with Flying Colours was that we tried to give the haircut contour, to place the colour to emphasise the cut/shape. So you had light and shade. You would use colours that receded where you wanted the cut to have more depth, whereas you used the brighter golden colours if you wanted it to stand out more. That was our philosophy, really. John: What I find interesting is that Sassoon was so massively well-known for education, whereas it never had a massive celebrity following, did it?Annie: In the very early days it did. When Vidal was doing Quant and Coddington and all that. We were doing all the Vogue girls, a lot of high fashion and the rag trade, which was based on Margaret Street. The salon used to open at 7.30 in the morning and they would be there, getting their hair done before they went to work. John: You have amazing clients Nicola. Who do you look after? That we’re are allowed to talk about…

hairdressing in Knightsbridge and the funny thing is I wanted to work at Sassoon but the Knightsbridge salon was closed. I came up when I was 14 years old with my mum to an Andre Bernard salon in the Berkeley Hotel, off Baker St. The guy who worked there completely won my mum over because she was waiting outside for me. She was like, ‘Well, I think you should go there.’ When I used to work in Andre Bernard on Knightsbridge Road I would watch everyone from Hyde Park Corner walk down to Sassoon. It didn’t stay Andre Bernard for long - I think it was two months - and then they got rid of Andre Bernard from all the hotels and department stores and the salon I worked in was then taken over by Robert de Berkeley. I got into this really old school hairdressing: I learnt how to shampoo and set, blow dry and highlight and it was all muddled in to one. But we had a guy from Sassoon’s come and teach us every Tuesday night. His name was Michael Morris, a really quiet, good-looking gay guy who died of AIDS. He was amazing; I was completely in love with him. He just used to batter me when I didn’t have a model, he would send me out and I’d be crying down the street looking for a model! John: Oh, there’s been plenty of that!Annie: We’ve all been there, darling.Nicola: I kind of kept my styling going. I wasn’t so much into the cutting but I LOVED the styling so I kept that going even when I did my colour work.Annie: Ah, and that’s why you liked the session work, because you had that really strong background of the setting and the styling… John & Annie: Yeah, that makes sense. John: One of the things we need to find out form both of you is why you decided to do colour. I can’t believe I’m even asking this question, it’s really obvious. And then the other one; is it is harder for women to be successful in the hairdressing industry? So, that’s two questions. Lets do the first one forst. What made you decide to become a colourist Annie?Annie: Because I always liked colour and Vidal was the cutter. John: You can’t push him out the way!Annie: (Laughs) You can’t push him out the way. Which I didn’t realise that at first because we didn’t know each other and I just thought, ‘I like this so I’m going to go down this route’. John: You didn’t think, ‘Oh, there might be a niche there for me’? Or was it more organic?Annie: I always liked colour, even as a kid. When I was supposed to be doing art classes I would always have lots of different colours and be doing blobs and squiggles. They were like, ‘You’re supposed to be doing so and so’ but I always ended up doing things with colour. John: Did you ever do any styling or cutting?Annie: Oh yes, because I did an apprenticeship and we had to do finger waving, pin curling, rollers, cutting… John: You still have to do all of that at Sassoon, even when I was there. What about you, Nicola? Why did you go into colour? Because you obviously did a lot of styling too. Nicola: I went into colour because I kind of finished all of my training and was quite good at it. I loved styling and knew I wanted to be a hairdresser or a make-up artist. After leaving Knightsbridge I went to work at Annie Jo’s. All of the stylists were from Sassoon’s and everyone just ended up crying every time they’d have a hair cut! (All laugh) John: We loved that though.Nicola: I just found that the change that you could achieve with colour was not necessarily less drastic but you could be back to normal again. I liked the idea that you could be as extreme as you want and then go back to a relatively normal colour again once you’d had enough. John: I think that is one of the reasons I didn’t do it. Because with hairdressing if someone comes in with long hair, within


“I think you’ve just got to have dedication. I’ve been known to cut holidays short.

Madonna would call and I’m like, ‘I’m in

Cyprus’ and she’ll say, ‘And…?’ But this is my

job and I love it.”— Nicola Clarke

Nicola: Well, I do all the Kates… Cate Blanchett, Kate Winslet and Kate Moss.John: Well you can’t go wrong with that.Annie: All the Kates. Very good, darling.Nicola: I do Queen Rania of Jordan.

John: Lovely, she always looks amazing!Nicola: She is my one sort of brunette. You quickly get pigeonholed and that happened to me with this blonde thing. And I do Madonna when she’s in the UK. John: Well you can’t grumble at that, can you? They’re not a bad old range. Annie: They are fantastic!

John: Another thing is that you’ve really pushed that price range through the ceiling, haven’t you?Nicola: I don’t know. Josh (Wood) is pretty good at it. I don’t think I am as expensive as Josh. John: I remember, it’s interesting as a hairdresser, a stylist, a cutter or whatever, we used to be in the staff room and we’d be talking about the price of technicians, which would gradually become more and more expensive. When I started, I didn’t want to be a technician because I wasn’t sure what would happen if I lost my job. And yet that has all turned around, hasn’t it?Annie & Nicola: Yeah, yeah. John: It’s like they all want to be technicians now and nobody wants to be a stylist anymore.Nicola: We get that in the salon quiet a lot. I learnt

two minutes you’ve made a dramatic difference. But with you guys it’s a real labour of love, isn’t it? If you are going to take someone from dark to blonde, oh my God it’s so boring!Nicola: I liked the chemistry behind it. Not that I am intelligent enough to go to university and do chemistry but I always loved the mixing and the potions, and it was a lot about that. Even as a kid I was always in the cupboards mixing things and trying things out, not on hair but just in general. I just loved that. I love the fact that you just never stop learning. With session work, you’re with a group of people and you don’t know their personalities so you are kept on your toes, always trying to please someone - the photographer, the stylist, the art director. Colouring hair is kind of like that, it keeps you on your toes. I never really felt I got that from cutting. John: I’ll tell you what I do think was amazing about technicians - and I’ve never seen it in any other area of hairdressing, wherever I’ve worked in the world and all the years I worked with Sassoon - is that you all really help each other out.Annie: They are very sharing.Nicola: Yeah, definitely!Annie: And I think what, I’ll tell you, I don’t want to sound big-headed… John: You’re fabulous, you’re allowed to sound big-headed!Annie: I do think I really, REALLY, made a point of teaching and sharing because when I first started, people in other salons would never put the right thing on their record card and they would never tell the person under them what formulas they used. Then if you got another person’s client in, the formula would be wrong… NEVER when I was there - I never played those silly games. I really made a point of teaching and sharing and being part of a whole little tinting group, as you know. I really encouraged that and it’s really grown from that. But other salons would really screw the person up that was working in the salon with them because they would write a record card, but they had their own code and put down a really dreadful formula, so if you got that person’s client and put on what was on the card, then they went out with nothing like the poor person was supposed to have. Isn’t that true?Nicola: Well, I find that if you have a regular client and you’ve got their hair to a certain state and if they have got to go away, then you want the salon they go to to be able to continue what you have been doing. I don’t want them to come back a mess and then have to spend another three hours correcting something that I’ve already done an amazing job on. I do find that when people travel, even from our salons in LA and New York, they’ve scraped off the colour reference on the front of the tubes and the little bottles. Its like, ugh!Annie: Pathetic!Nicola: It’s one colour, it’s obviously not mixed, like who cares? It’s funny… I bumped into someone a couple of weeks ago and she said ‘I know you from somewhere’. We were at a client’s house and I recognized her too. When I told her I worked at John Frieda, she goes, ‘Oh God, you did my hair like eight years ago. I moved to New York and you give me my formula and I’m with the same person eight years on and I’m still using the same thing. You were so kind because you gave me someone to go to and you gave me my formula.’ John: Well, why wouldn’t you?Nicola: But then she remembered me, do you know what I mean? And it was a good memory rather than… I don’t get these precious colourists.Annie: I think in some places they are still like that.Nicola: But that’s because it’s insecurity, no? John: Possibly. So, do you think it was hard being a woman? You’ve always been known as a pioneer, Annie.Annie: Well, I started a long, long, long time before Nicky. (laughs) I think, basically, in those days none of the girls really stayed the distance. What they wanted to do was find a boyfriend and get married and have kids. John: Oh, that wasn’t just the girls that wanted to find love, I can tell ya!Annie: They wanted children and a house and stuff. So I had to do the things all the boys had to do, and was always out

with the boys. There were a lot of straight stylists in those days. So I was always out with the boys. I always stayed late, I used to teach three nights a week. John: You didn’t think it was any harder for you? Or did you just not think about it?Annie: I didn’t mind because I really liked it, I really loved it. I thought that was more interesting than some daft boy.John: You know, Zaha Hadid is a good friend of mine and the world of architecture is really hard for a woman.Annie: It is hard. A lot of people in those days didn’t want their hair done by a girl. John: Clients? I know that from a stylist’s point of few that’s true.Annie: In Bond Street in the early days there were two female stylists and twenty boys. John: What about you, Nicola?Annie: They were good and they were busy but a lot of people would say, when they got there, ‘Oh no, I want one of them, one of the guys…’Nicola: I think like Annie says, people have different aspirations in life. It is harder for women if they get married, to come back and have to leave children at home. They feel guilty about that. I mean, they always laugh at me at the salon because I never book holidays in advance because if I do and something falls on it, then I’m having a complete meltdown. I’ve cut holidays short for Madonna before. I’m like, ‘I’m in Cyprus’ and she is like, ‘And…?’ I’ve always

think has been the key to your success?Annie: I think really loving what I do. And always being aware that you get out what you put in. I think if you really love something, you don’t care how long it takes to do it, or how much it takes. You just do it and you do whatever it takes because you want to do it to the absolute possible best. Yeah, you’ve got to work hard and you’ve got to be dedicated but I also think you have to be sympathetic to who you are working with and what’s going on around you. Even though you have to work hard, you still have to be a team player. If you are selfish and just think, ‘I’m doing it for me’, you just become mean-spirited and you can’t give out. Then you don’t see as much as you should of what’s going on around you, because you’ve got to take it all in and see the bigger picture. You have to take it all in and give it all out again. John: What about you, Nicola?Nicola: I just think dedication and loyalty got me to where I am now. But I was lucky that my first teacher was also like an extended parent, he taught me how to sort out a pension, how to eat my lunch, how to buy things – to go to Harrods! He was sort of a life coach, he dragged me out of the council estate and kind of refined me. He tried to send me to elocution lessons, but I liked my common accent! John: Vidal had a big thing about that. He was always keen for people to keep their accents. Vidal had to go to elocution lessons. He felt that he wouldn’t be accepted otherwise. He had a really big thing about people keeping their accent. I think accents are important.Nicola: Like Annie said, it can’t be all about you. You have to give something back. You know, I’ve turned up on shoots and hairdressers just take over and you think, ‘No, you’re just a small cog in a wheel.’ I think you have to be really, really talented, really super-talented to ever be like that.Annie: You’ve got to work with the team, haven’t you? There’s got to be harmony for it to work. John: This might be a hard one to answer Annie, but what is your proudest moment? Annie: I think when I realized that I could produce another person that would be really good, that would be like part me and part them - that they would go on and be great. John: Oh, you’ve got thousands of them!Annie: I loved it so much. I decided that I would personally do the staff training because I just loved, LOVED seeing people. I mean, I had a lot of kids that people would say were dreadful for the salon, who were terrible juniors, really bad. I really loved it when they wouldn’t be bad for me - they were just normal naughty kids, and you know, if you treat them like horrible naughty kids, they will behave like horrible naughty kids. But if you are a bit naughty with them back and you say, ‘You can only be naughty just a little bit and then we are going to do this’, and give them encouragement, suddenly they see that they can do things, that they’re not useless, they’re not stupid, and you see them blossom into something fantastic. It makes you really proud because you know you managed to do it. Whereas a lot of people had already given up on them, just because they didn’t pick the right spot or press the right little button. John: What about you?Nicola: I don’t know what my proudest moment was. I hope it hasn’t been yet. I think my biggest regret is that I wasn’t Annie’s junior.Annie: Thank you very much! (laughs) John: Ah, that’s really sweet!Nicola: I swear to God, honestly it is.

(Annie wipes a little tear from her eye) John: Well, it’s not too late, is it? Oh look you’ve made her all weepy… Nicola: No, that is my biggest regret. When I saw her at a Creative Head thing, Josh was like, ‘I used to be Annie’s assistant,’ and I was like (whispers) ‘I hate you.’

(All laugh) •

“There were a lot of straight stylists back in those days so I was

always with the boys. I used to stay and teach

with them 3 nights a week. I didn’t mind

because I really liked it. I thought that was more interesting than

chasing some daft boy.”

been focussed on my career and was lucky enough to marry someone that helped me with my career… You know, who didn’t mind me going away for seven weeks and didn’t really hassle me about it.

John: When did you go away for seven weeks?Nicola: When I’m doing a film. When I did The Beach I was in Thailand for seven weeks and my husband was like, ‘Fine, go and do it - but I’m not coming with you’.John: It’s a filthy job!Nicola: I think you’ve just got to have dedication and that is true whether you are a boy or a girl. Once women have children their priorities change but I’m lucky enough to have a husband who can look after the kids as well. John: So modern!Annie: A lot of people don’t have that luxury.Nicola: I think with this job you’ve got to live and breathe it. I’m sure you do? John: I do. But I do honestly think it’s easier for boys. I do. What I think happens with hairdressing - and correct me if I’m wrong – is that girls go into it then often have a baby and then a family. So for a long time they weren’t considered serious players, but people like you two really changed that…Nicola: Like Annie, I was a real tomboy growing up and I always hung around with lads so it was absolutely no different for me. I wasn’t interested in sitting around having tea parties and going to baby showers, you know, I was working.John: I know this is a really boring question, but what do you

— Annie Humphries


For many years now, the lure of temporary colour has best been approached with slight trepidation. The nineties signalled a hair colour explosion, with everyone from Ginger Spice to Republica’s Saffron turning heads with bold statement colour. Though not for everyone, this anarchic approach to setting yourself apart from the ‘ordinary’ reached the masses predominantly via the bathroom, resulting in all manner of colour catastrophes. Then, some bright chap invented the hair ‘mascara’ and heralded the days of commitment free, weekend-only flashes of neon pinks, ruby reds and a whole rainbow of garish tones so beloved by the 1990’s. Great, right? Well, for those that remember, the aftermath of these gloopy wands was never to be that straightforward. Laced with metallic salts, these ‘temporary’ colours sat on the hair shaft for far longer than you would think. While the colour would wash away, the metals stayed firm. All this is fine until you come to next colour your hair. Put it this way, metallic compounds and hair permanent hair colours do not a party make. Fast forward some 20 years and thankfully hair advances mean that, at last, temporary colour can be exactly that: temporary. And with that, Fudge have developed Fudge Urban Chalks - an easy to use, water soluble, commitment free hair colour. Easy to apply in a dome-like casing, simply apply to dry hair for all manner of colour techniques; apply to ends for a dip-dye effect, all over hair for a bolder statement, or simply tease through for flashes of colour. Launching in July, Chalk looks set to become a festival favourite - available in Pink, Blue, Purple, Red and White. •

Fudge Urban Chalks are available nationwide at Topshop and Superdrug from July.

chalk

photography by Jonas Bresnan. Hair by claire rothstein. make-up by ginni Bogado using chanel. model: Kika rose at models 1

size queen

It’s been a trend that has been getting, well, bigger, for some time now. Big hair has been de rigeur ever since we waved goodbye to the flat ironed look of the early-mid 2000’s, a look beloved by Atomic Kitten and their equally trite contemporaries. Slowly, but very surely, a rebellion began. A bit of root lift here, a ball of mousse there. It happened almost overnight. These days size, it seems, matters. When it comes to hair nothing beats big. While some may struggle to achieve the heady hair heights favoured in TOWIE, Fudge have graciously stepped in to offer a helping hand. Launching this September, the new range of volumising wonder products are a lifeline to the limp and lifeless. •

Think Big Texture Spray, Push it up Blow dry Spray, Elevate Styling Powder and Mega Hair Milk will cater to all hair types, making feeling flat a thing of the past.

size queen (big is best)


Alex Brownsell is an influential hair stylist and a visionary colourist. Her inimitable creativity has seen her style shoots for the cream of fashion publications, namely British Vogue, i-D, Dazed & Confused and Another Magazine where she’s worked with top photographers Matt Irwin, Angelo Pennetta, Ben Toms, scott Trindle and Tyrone Lebon amongst others, but her reputation outstretches just editorial. Alex counts Florence Welch and M.I.A. as clients and in 2010 she co-founded cult hair salon Bleach. Her portfolio includes Hermès, Topshop, Jigsaw and Dominic Jones. Hailing from the Midlands, Alex’s career began at her mum’s before moving to London at 16, where she began an apprenticeship. nearly ten years on she’s one of fashion’s most sought-after hair stylists and colourists.

I’m going to Glasto for five days, what can I do to stop my hair looking greasy?Fudge Dry Shampoo and Root Juice are your best weapons to stop greasy hair. Spray in short bursts on your roots and massage through with your fingertips to stop it looking grey. This will also give volume for when you want to look sexy in the moshpit or face down in the mud.

Some messy girl pulled a chunk of my hair out in a club and now I have a bald patch - what should I do?

Depending on where the bald patch is you might just need to wear your hair in a top knot for a while until some hair grows back. But if it’s low down on your head you can get away with some well-concealed clip-in extensions. If you want to have some fun with your bald patch, buy pale blonde human hair wefts and dye them rainbow bright with Fudge Paintbox colours - it’s a good excuse to be a bit adventurous, and really own that club.

I recently had my hair undercut and I’m trying to grow it out but it’s sooooo annoying! Any suggestions?Stop getting it cut! Let it grow for a couple of months until it’s at least 3 inches long. Then go to a salon and get it thinned out. This will stop it sticking out in a weird way. You just need to persevere and get past the hedgehog stage.

I’ve got bleached hair and want a perm, will my hair fall out? Will I be taking it home in a bag? The general rule is that bleach and perms do not mix - there is always a chance that you will be holding a funeral for your hair. However, there are perming lotions available that are ‘safe’ for bleached hair. Proceed with caution though - a perm like this should only be done by a professional and a strand test should always be done first to check the strength of the hair. Don’t expect your hair to be bouncy and

healthy. It will need loads of moisturising products to nurse it back to life. In my opinion it is worth the risk - Madonna/Alabama Whitman - WOW. Fudge Torture Tonic shampoo and conditioner will work wonders on your worn-out locks.

Can I put a weave on my undercut without it looking really bad?If the rest of your hair on top of your undercut is long enough then you may just be able to get away

with this. The best thing would be a clip-in weave attached to the long hair an inch or so above the undercut. Be warned - this could easily end up in mullet territory.

I keep trying to dye my hair pastel pink but it goes patchy and looks more salmon than pink, what should I do?OK first step is an intense cleanse. Fudge Detox Deep Cleanser shampoo will do the job. Apply and leave to penetrate the hair for 15 minutes to draw out

excess colour. Once cleansed apply Fudge Clean Blonde Violet Toning Shampoo to neutralise yellow a bit and even out the base. Squeeze out a tube of Fudge Paintbox Lighter Shade of Pale in a bowl and add three drops of Pretty Flamingo - this will give you a cool pastel pink and put an end to the sickly salmon.

My hair always goes green in the swimming pool, what can I do to stop this? I look like the Incredible Hulk in a bikini!

When you’re away and your beautiful blonde has turned a gross green, panic not. This is easily remedied with a bit of ketchup. Slather on - roots to ends, and leave to sit for 20 minutes. The vinegar in the sauce will neutralise the green tones and return you to your blonde best. Follow up with two shampoos (it will smell!) and condition as normal.

My boyfriend and my flatmate always nick my expensive shampoo to use as body wash. What can I do to stop this?

Invest in some Fudge Daily Mint hair and body wash, tell them it’s the best new shampoo and it costs £50 - then watch their eyes water after they’ve used it to wash themselves ‘down there’.

I’ve been bleaching my hair at home and it’s started to feel like chewing gum, what should I do?STOP BLEACHING YOUR OWN HAIR!

Alex Brownsell is represented by D + V Management

•


show us what you’re made of ...Kickstarted last season by esteemed fashion photographer Rankin, Fudge.com’s ‘Lookbook’ feature is really gaining momentum. An integral feature of the site, Lookbook is an all-inclusive showcase of hair across all spectrums; an open invitation to show off your latest style to the world. Proving popular with professionals, Lookbook has become a go to destination for salons to proudly feature the work of their artistic teams, or celebrate signature styles of key employees. Likewise, clients are taking to the lookbook in droves, showcasing freshly coiffed styles at their salon best. As a result, it is no surprise that Lookbook has quickly become an online destination for key hair trends, and where to get them. Linked to the main social networking sites Facebook and Twitter, your pics can go viral with just one click! •

All these and more at www.fudge.com - where are you?

upload your images now at: www.fudge.com/lookbook


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Fudge Paper: Issue 3

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Transcript of Fudge Paper: Issue 3