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The
drumbeat continues for better management education for spa businesses.
We all feel it: the pace of change has accelerated. Spa owners and
directors who have been successful in the past are stymied. The Great
Recession has reset the rules of the game across every spa industry
sector, from medical to resort. You can't grow sales in 2013 using even a
2010 skill set.
The Tourism Observatory for Health is a company that believes in the
idea of traveling for total health, for the benefit
of medical, spiritual, well-being, holistic, wellness, spa or medical
wellness. They are currently gathering information from all ends of the
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traveling for health. To help their cause, please complete 
Hair News Network
All Hair. All The Time.
Tuesday, January 29, 2013
Building a better spa director, discount dangers, no pain/you gain
Hair News Network
All Hair. All The Time.
The ‘Karlie’ Is Turning Heads
 |
Evan Agostini/Invision, via Evan Agostini/Invision/Ap
The trimmed hair of Karlie Kloss has been declared the “cut of the moment.” More Photos »
|
THE haircut of the year has arrived. Yes, already. Vogue is calling it the Chop, others have named it the Karlie, after the model Karlie Kloss.
Ms. Kloss, already a fashion world veteran at age 20, cut off about
seven inches of her dark hair late last year. Vogue declared it the “cut
of the moment” in a four-page feature story in the January issue,
saying “the season’s new hair is swingy, sexy — and refreshingly easy to
wear.”
The cut was the brainchild of the hairstylist Garren Defazio. It rests
just above the shoulders, with some layering in the front, and is topped
off with bangs. It echoes the signature 1960s haircut of Jane Birkin.
“I love it,” Ms. Kloss told the Web site Fashionologie backstage at a
fashion show soon after the new cut was unveiled. “I can’t stop touching
it.” She added that having short hair “actually takes the focus off
your hair and puts the focus on you. I’m starting to realize that it’s
all about confidence.”
Ms. Kloss, a host (with Joan Smalls, a fellow model) of MTV’s “House of
Style,” had long hair that served as a kind of blank canvas for stylists
and designers to work with. Such hair gives model a look that is
“plain, uniform, like a mannequin” Mr. Defazio said. “I gave her a
personality by cutting it.”
“Karlie’s been looking for a new look,” he said. “Her hair had been worn
out from shows and shoots. Vogue called and said, ‘Would you do a cut?’
and I said Karlie should be the one to do it on.” The length, at just
below the jaw, wasn’t so short as to be “out of proportion,” Mr. Defazio
said, but also allowed her hair to become healthy again.
He is emphatic that it’s neither a bob nor a shag, but a one-length cut
with a slight layer in the front. It’s a low maintenance look that sets
off the face. “I cut it to encourage her natural wave,” Mr. Defazio
said. “It’s long enough so she can gel it back, and it’s modern because
it’s airy and rumpled. Short hair is in.”
Versions of the cut, with its length hovering somewhere between the chin
and the shoulder, and with a few layers and fringe of bangs, has been
spotted on models like Arizona Muse, Catherine McNeil, Karen Elson and
Lily Kwong. The television presenter Alexa Chung has worn a similar cut
for years. Margherita Missoni and Jessica Seinfeld both cut their hair
into similar chops last year, as did the designer Olivier Theyskens, who
sent models for his Theyskens’ Theory Spring 2013 collection down the
runway in similar styles to his own.
“When Kate Moss cut her hair really short, everyone started cutting
their hair,” Mr. Defazio said. “When somebody who is notable finds their
look, it catches on and becomes a trend.”
It comes as no surprise that this cut came early in the year, when so
many women resolve to make changes in their look, whether it’s ditching
ombré highlights or deciding to wear their hair naturally curly. Even
the singer Kylie Minogue rang in the new year with a picture of a new,
shorter cut and the message posted on Twitter: “New Year. New Haircut.
Hello 2013.”
As for Ms. Kloss’s feeling about the cut, Mr. Defazio said: “She’s in
love with it. She can wear her hair natural and doesn’t have to blow it
dry. She said finally she’s got a look she can just shampoo, put on
lipstick and mascara, and she feels finished and modern.”
Perhaps most importantly, the Chop marks a turn away from the beachy
waves ubiquitous on everyone from Hollywood actresses (think of Sofia
Vergara) to suburban teenagers. “I’m so tired of the soft wave, red
carpet hair,” Mr. Defazio said. “Like dead straight hair, wavy hair got
old. Some of the other models are taking their hair above their
shoulders and in the salon, women are taking their hair to collar bone
and above. It’s a natural look.”
In a strange twist, Ms. Kloss recently walked in the Victoria’s Secret
fashion show, where she was given extensions to simulate long, wavy
hair.
The Chop has inspired an array of reactions online. A Huffington Post
headline asked “Karlie Kloss’ Haircut: The Next ’Rachel’?” referring to
Jennifer Aniston’s Friends-era layered cut. While some commenters found
the style plain, others found it inspiring. “Now that I see it on
Karlie, I have the sudden feeling that it would make me look like a
goddess,” Jamie Peck wrote on Thegloss.com.
“It’s been a year of big change for me,” Ms. Kloss said in the Vogue
article. “Now feels like a good time for a fresh start.”
Hair News Network
Sunday, January 27, 2013
In Hollywood, Powder Puff Blues ~ Makeup Artists and Hairstylists Face Shrinking Job Market
 |
Emily Berl for The New York Times
Local 706, representing makeup
artists and hairstylists, celebrated its 75th anniversary last fall in
Los Angeles. Attendees face economic challenges.
|
LOS ANGELES — The shrimp was piled high. Corks from bottles of pink Champagne were popping. And the setting — the Hollywood Museum in the original Max Factor studio off Hollywood Boulevard — gave the night an air of mildewy glamour.
But many of the hundreds of men and women who gathered on a night last
November to celebrate the 75th anniversary of the makeup artists’ and
hairstylists’ guild (a k a Local 706) were feeling less than bubbly as
they milled around photographs of Marilyn Monroe before she was blond,
and gowns from “The Good Wife.”
“A lot of people here are out of work,” said Jeffrey Fetzer, a hair and
makeup artist, nibbling on a chocolate truffle dessert.
Robert Constant, another makeup artist, who was wearing owl-shaped
glasses and a paisley print shirt, said: “This isn’t the job your mother
wants for you, O.K.? It’s a roller coaster.”
Now, in the thick of red-carpet season, much attention is paid to the
supposedly alluring business of grooming stars on-screen and off. And
indeed there was a time when sculpturing a star’s hair into the perfect
beach wave or contouring winglike cheekbones was a prized job. There was
the proximity to A-list actors and actresses; the adrenaline-fueled
commotion of a movie set or television show; and decent paychecks.
But many members of Local 706, who work on most of the major feature
films, TV shows and theater productions here, find that it’s a struggle
to get by. Movies and television have been fleeing to tax-break locales
like Georgia, North Carolina and Louisiana; of the 23 new one-hour
network dramas for the fall and midseason, only two were filmed in Los
Angeles, an 80 percent drop from 2005.
Hourly rates have also taken a beating and can dip into the teens on
low-budget productions, said Tommy Cole, a business representative for
Local 706. As a result, many members “work more for benefits than for
wages,” he said, and stylists are having to reinvent themselves as
“Johnny and Janes of all trades.”
“I recommend to some of our artists, please, find something that you can
work on the side,” Mr. Cole said. “Have something to fall back on.”
Union members are heeding the advice.
“Yes, absolutely, oh my gosh,” said Melanie Mills, a makeup artist who
won an Emmy for her work on “Dancing With the Stars,” when asked if she
did anything on the side. “I run fashion shows, I’ll do a wedding —
anything,” Ms. Mills continued as she hugged a colleague and fellow Emmy
winner, Nadege Schoenfeld. “We just did a show called ‘The Taste’ with
Anthony Bourdain. We love Anthony!”
 |
Emily Berl for The New York Times
Local 706 member, Terrell Simon showed his pride. |
“So sexy!” cooed Ms. Schoenfeld.
(The women were less enthusiastic about Nigella Lawson, who is also on
the cooking competition show that began its run on Tuesday, because,
they said, Ms. Lawson brought her own makeup artist from London.)
But Ms. Mills’s main extracurricular project is her makeup line, Gleam
by Melanie Mills, which she said she operated “out of my garage.”
“A lot of people create product lines on the side, trying to become a Bobbi Brown or a Laura Mercier,” she said.
Kelly O’Leary, a 37-year-old makeup artist who has worked on “True Blood,” said she also modeled and did stunt work.
“You can’t make enough, no,” solely as a makeup artist, she said. “I’ve
even considered finishing my biology degree and pursuing something more
stable.”
Things were not always this grim, said Mr. Cole, a former child actor
and Mickey Mouse Club Mouseketeer who started as a makeup artist in
1965.
“I’d get on a job for a week, two weeks, I’d get three jobs offered
while I was on the job,” he said. “And I’d give them to my friends or
compadres who I knew would do a good job.”
He rattled off some of the famous faces he has powdered and plucked over
the years: Cher (“Never a bad word; she worked with me”); Raquel Welch
(“A beautiful lady”); and Barbara Walters (“I did her for four years. I
traveled with her back in New York”).
Granted, there is still good money in primping celebrities for premieres
and awards shows; for this, makeup artists and hairstylists do not need
to be part of the union. And certain stars retain “personals” for
rather comfortable salaries.
But even then, there is no such thing as job security. Scott Barnes, who
was Jennifer Lopez’s makeup artist for nearly a decade, has publicly
discussed being fired when he was suspected of leaking gossip about the
star. (He and Ms. Lopez have since reconciled.)
Mr. Constant stressed the importance of a good reputation.
“Are you honest?” he asked. “Are you reliable? Do you not make trouble
in the trailer? Are you not telling stories? If you’re reliable and
you’re good to be with, people are going to want to rehire you.”
And if you know your place.
“They’re not your friend,” Mr. Constant said, lowering his voice, of celebrities.
Sheryl Blum, a hairstylist, had this advice: “You don’t want to come
across as too gregarious. It’s not about us, it’s about them. It’s about
the artist that’s sitting in your chair.”
Ms. Blum, an industry veteran whose credits include “The Hunger Games,”
said that she had no complaints when it came to finding work. “I’ve done
O.K.”
Michele Payne, a fellow hairstylist standing nearby, noted: “That’s
because we work in groups, which helps. Like cliques.”
Ms. Blum and Ms. Payne had just finished doing the hair for background
performers on “Star Trek Into Darkness,” which comes out this year.
(Most of the main stars “had their own people,” Ms. Blum said.)
 |
Emily Berl for The New York Times
Anna Torosyan, left, with Leanna Mkhitaryan. |
“We invented hairstyles,” Ms. Payne said proudly.
They joked about one: “a braid that comes right out of the top of the
actress’s head,” Ms. Blum said. “We did it with chopsticks.”
Ms. Payne mock-punched her friend on the arm. “You’re giving away our secrets!” she said.
Hair News Network
Setting the Record (and the Hair) Straight
 |
Agence France-Presse — Getty Images
By MIA FARROWPublished: January 23, 2013 |
An article last Thursday titled “Memorable Clips,” about career-changing haircuts, said that Mia Farrow had long, blond hair until Vidal Sassoon gave her a pixie cut for the 1968 film “Rosemary’s Baby.” “According to Hollywood legend,” it added, “Frank Sinatra, Ms. Farrow’s husband at the time, was so against the cut that he had her served with divorce papers after seeing it.”
It turns out that the legend was just that.
After Gillian Previn, Ms. Farrow’s daughter-in-law, e-mailed The Times to correct the record,
Ms. Farrow was reached for comment and elaborated further — something
she had done in her 1997 memoir, “What Falls Away.” In her e-mailed
letter, Ms. Farrow included photos from her wedding day to Mr. Sinatra
on July 19, 1966, as well as by Richard Avedon for Vogue, that show her
closely cropped coif. An excerpt from her letter follows.
I had literally cut it myself earlier that year — with a pair of
fingernail scissors — while working on the “Peyton Place” TV series at
Fox Studios. This was long before I ever heard of Vidal Sassoon. My
then-boyfriend, Frank Sinatra, loved the cut, and so I kept it short. (I
purchased some hair scissors; then, as now, I cut it myself.) Vidal
Sassoon is mentioned in the book “Rosemary’s Baby” and the film. So,
Paramount decided to stage a photo shoot in which Mr. Sassoon trimmed my
1 1/2-inch hair to 1 inch. The whole event was taken in good spirits.
(I wore a wig during the earlier scenes.)
I intend no disrespect to Mr. Sassoon, but he had nothing to do with my
haircut. Neither, I can assure you, did my divorce from Frank Sinatra
have to do with my haircut.
Best regards,
MIA FARROW
Hair News Network
Not Selling Gray Hair Short
 |
Suzanne DeChillo/The New York Times
Flaunting their gray hair,
whether short or long: Cindy Joseph, third from left, and Dianna Jewell,
fourth from left, organized a "Silver Sisters Strut" last fall in Times
Square.
|
“Some people think that if you wear your silver hair long, you look like
a witch or ‘that frumpy old hippie lady,'” she said.
But she and a significant cohort of graying Americans seem intent these days on proving otherwise.
 |
Suzanne DeChillo/The New York Times
Jo Johnson joined other "silver sisters" at the event. |
Last fall Ms. Joseph, still modeling at 60 but also now a blogger and
cosmetics entrepreneur, led a band of silver-haired marchers to Times
Square. It was a mini demonstration that she and Diana Jewell, a writer
and fellow organizer, called the Silver Sisters Strut. “We are the women
that we wished we would have had in our lives,” Ms. Joseph said, “if
they weren’t busy getting their hair dyed.”
In a series of portraits by Vicki Topaz, a photographer based in San
Francisco, inveterate rule breakers like Susan Kim, 54, a boutique
owner, showily fans out her steel-colored hair, while Gloria Frynn, 60, a
college professor, runs her fingers through a mass of curls.
“Believe me, these are women who have fun,” said Ms. Topaz, whose
exhibition of photographs, “Silver: a State of Mind,” is on view through
February at the Buck Institute for Research on Aging
in Novato, Calif., in Marin County. Reveling in their manes, she said,
“reflects their confidence, their ease with being who they are.”
Still, wearing one’s gray hair long is viewed in some quarters as
ill-advised. If the cut is not precise, “you’re going to run the risk of
looking haggard,” warned Lisa Cicchini, a stylist in Manhattan. She
nonetheless finds herself frequently fielding questions from clients,
she said, about “where we can push the envelope.”
Eva Scrivo, a Manhattan salon owner and beauty writer, sees four or five
clients a week, compared with perhaps one or two in recent years,
asking to grow their silver hair past their shoulders. “Longer hair
makes them feel more feminine,” she said.
 | ||||
|
That choice, however, flies in the face of a long-held assumption that a
lavish head of snowy hair is somehow unseemly, a rude reminder that a
woman, whatever her age, remains a sexual being.
“Sensuality doesn’t wane as you get older,” Ms. Joseph said. “It’s still there.”
Hair News Network
Monday, January 21, 2013
Iman Shumpert’s Hairstyle Now Turns Heads
GREENBURGH, N.Y. — Iman Shumpert needed a project this past summer to
help divert his focus from the painful and long road of recovery from
knee surgery.
Hair News Network
One way he thought to help make the long months ahead more enjoyable was
to change his hairstyle. Last season in his rookie campaign with the Knicks,
Shumpert wore a low buzz cut. He quickly decided he did not want to
return to having a long ponytail or braids, as he did when he was a
teenager. So Shumpert’s older brother, Ahrii, who has been his barber
since Iman was in eighth grade, asked what he thought about trying a
haircut popular in the late 1980s and early ’90s.
Shumpert eventually landed on the high-top fade. From the moment he was
carried off the court with a torn left anterior cruciate ligament and
lateral meniscus during the first round of the playoffs last April to
his season debut Thursday in London, Shumpert has grown the hair on the
top of his head but has kept the hair on the sides and lower back of his
head trimmed.
“At first, it was just to see how long I could grow my hair before I
came back,” said Shumpert, who shares the look with Miami’s Norris Cole,
perhaps the only current N.B.A. players wearing the high-top fade.
Shumpert, who was born in 1990, added: “When I was growing up, all my
cousins had high-top fades. I thought it would be cool to see how long I
could grow a high-top.
“Everyone in London loved it. For the most part, people like it. My mom said the ladies like it.”
The hairstyle became popular in the black community in the late 1980s.
The hip-hop group Kid ’n Play wore high-top fades in the “House Party”
movies. The hairstyle had a presence in the N.B.A., too.
The Web site Bleacherreport.com
listed the top-10 high-top fades in league history, which featured
players like Patrick Ewing, Robert Horry and Charles Smith. Of that
list, Shumpert’s high-top fade most resembles the one Kenny Walker wore
as a Knick.
 |
Matt Dunham/Associated Press
Iman Shumpert now has a high-top fade. |
“It’s cool because you have hair, but you have a fade at the same time,”
Shumpert said. “I could put designs in it, parts,” he said before
pausing to add, “all that type of stuff. At the same time, you still
have the pick-style Afro.”
Most of Shumpert’s teammates have told him he should leave the high-top fade in the past.
“It’s awful,” J. R. Smith said. “It was cool for a while, but he’s taking it too far now. He got to cut it.”
Shumpert, who at 22 is the Knicks’ youngest player, said Carmelo Anthony
and Kurt Thomas joked daily about his hair. “They just want high tops,”
he said. “They want it, but they’re too old.”
Shumpert said he planned to keep his high-top fade. When Shumpert’s
mixtape album, Th3 #Post90s, was released in December, his high-top fade
was the focal point of the album cover. He loves the haircut so much he
has a tattoo on his left forearm of Johnny Bravo, a cartoon character
with pompadour-style hair.
Coach Mike Woodson, who is bald but has spent years working on his
famous goatee, laughed when asked about Shumpert’s hair.
“Everybody has their choice,” Woodson said. “He’s a good-looking dude.
If that’s what he wants to wear, so be it. As long as he plays well is
all I care about. I just think he wants to be taller.”
When the Knicks play the Brooklyn Nets on Monday, it will be Shumpert’s
first game back at Madison Square Garden. Last season, fans gravitated
to Shumpert because of his personality, his tough perimeter defense and
his high leaping ability. Now, they can also talk about his hairstyle.
Shumpert said he also takes pleasure in knowing his hairstyle helped him in a small way get through his rehabilitation.
“I had a lot of fun with it,” he said. “But I’m having even more fun now that I’m out there playing basketball again.”
Hair News Network
Tuesday, January 1, 2013
Vidal Sassoon
In the late ’50s and early ’60s, the British hairstylist’s angular
cuts simplified life for millions of women accustomed to visiting the
salon every week. The wash-and-wear style reached its cultural apogee
when Roman Polanski paid Sassoon $5,000 to give Mia Farrow a pixie cut
for “Rosemary’s Baby.” Here, artist Winnie Truong recalls some of his
most famous looks from the manual “Cutting Hair the Vidal Sassoon Way.”
Winnie Truong is an artist who lives and works in Toronto. She has
had shows in New York at Mulherin Pollard Projects and was featured at
VOLTA NY.
Hair News Network
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