Is Hairdressing An Art Form?

Yet another blog post that has been requested by my friends on #HairHour – 10 Feb 2016. Initially inspired by Salon Evolution (@salonevolution) and egged on by Hair Hour (@Hair_Hour). Actually this is a blog post that I’ve wanted to write for ages.

Grayson Perry - Guerrilla Tactics: (2002) Stedelijk Museum Amsterdam. NAi(010) Publishers, Rotterdam, NetherlandsGrayson Perry – Guerrilla Tactics: (2002) Stedelijk Museum Amsterdam. NAi(010) Publishers, Rotterdam, Netherlands.

The first time I saw Grayson Perry’s artwork was in June 2002 at the Stedelijk modern art museum, Amsterdam. And I was totally bowled over. And I felt an affinity with his work. You see, I’ve always fancied myself as a bit of an artist. A lot of hairdressers do; because we’re working with our hands and there is a strong sense of sculpting; we are working with shape and form, each hairdo being individual. At this point I could start rambling on and on about my education, art influences and my days as a trainee architectural and industrial model maker, but I won’t. You’ll thank me for that.

training to be an architectural and industrial model maker at Paradigm ModelsMe, 18, training to be an architectural and industrial model maker at Paradigm Models.

Yeah, well, anyway, it was 1976 and the client I was standing behind said, “You hairdressers are now like pop stars.”
“Am I like a pop star?” I asked.
“Yes, very much so,” she said, and that’s where it ended. And I’ve never really understood how she meant it; was it good or bad to be like a pop star? In reality, I felt as though I were like an artist because I was trying to express myself through my work. And for me, my creations had a narrative behind them, they still do; it’s why I found Abandoned Suitcase Reveals A Love Affair so fascinating – I felt a million miles away from what I visualised as being a pop star.

Over the past year (in 2015) the Bank of England asked for nominations for ‘people of historic significance from the world of visual arts’ – they want to put an artist on a twenty pound note. And yes, as one would expect, the wonderful world of hairdressing offered up the bloody obvious – the old maestro himself, Vidal Sassoon! A little embarrassing I thought. Let’s face it, hairdressing isn’t really a visual art, is it – even though I and most other hairdressers would like it to be. Hairdressing is a craft. And a transient craft at that!

In 2013 Grayson Perry gave BBC Radio 4’s Reith Lecture, entitled Playing to the Gallery. As a devotee, I listened and actually took some notes (of which I’m about to use). In one of the three lectures (Beating the bounds) Perry presents eight tests to mark the boundaries of art to establish if it’s art that one is looking at! Here I will sort of apply Perry’s tests to hairdressing and see how we fare:

Is it in a gallery or an art context?

Artist Cornelia Parker, in a collaboration with Tilda Swinton (British actress, performance artist, model, and fashion icon), created an art installation called: The Maybe (1995), where Swinton lay ‘asleep’ in a glass vitrine display cabinet at the Serpentine Gallery, London. There is no mention of Swinton’s hair anywhere – You can take a hairstyle into a gallery, but that doesn’t make it art!

For me, art is about ‘expressing an original idea’ within a context (a body of work) and a narrative. Take Pablo Picasso’s artwork: Bull’s Head (Tête de taureau – 1942), simply assembled from an old leather bicycle seat (the head) and a rusty pair of handlebars (the horns). It’s one of those artworks that you can easily diminish by saying, “I could have done that!” However, it expresses an original idea, it sits well within today’s art context and was intended by Picasso to be art – pushing your old bike into a gallery wouldn’t have the same effect.

Hairstyles struggle, in my opinion, to fit within an art context because of their ‘intentionality’ and lack of ‘meaning.’

Is it a boring version of something else?

Even though the fashion industry, coiffeurs and their clientèle take hairstyles seriously, in my view there is far too much acclamation. There is a falseness in the fashion industry that ‘hurts’ hairdressing – the hair at the Paris fashion show was unoriginal, drab, boring, but the fashionistas applauded it enthusiastically.

Hairdressing can be both original and aesthetically pleasing (yeah and it can be funny too G.Perry), but however it appears: divine or disgusting, ordinary or extraordinary, it functions within the bounds of an aesthetic framework – Sounds quite a lot like ART to me – Oh Dear!

Is it made by an artist?

“Art historian Ernst Gombrich said, ‘there is no such thing as art, only artists.’ So you have to be an artist to make art.” Grayson Perry, 2013, BBC Radio 4, Reith Lecture, Playing To The Gallery, Beating the Bounds.

Ai Weiwei The Artist Barber of Caochangdi, Beijing

The Chinese Contemporary artist, activist and Lego bandito Ai Weiwei, is known for cutting hair. Does this make his haircuts a work of art? Absofuckinglutely NOT.

Photography. Problematic!

Yeah, photography Is problematic. I’m not sure Perry got this boundary marker right? He asked a photographer friend of his for a definition of a photograph as art, and his friend said, if it’s bigger than two metres and costs more than five figures! There was no mention of the visual artist Man Ray, who contributed so much to the Dada and Surrealist movements – his photographs usually make five figures or more.

Obviously hairstyles and photography go hand in hand, for how else are we to see hairstyles from the 1930s, 40s, 50s… or ‘Trevor Sorbie’s wedge?’ Is a photograph of a hairstyle in a gallery representative of hairdressing as an art form? Surely the answer has got to be ‘No’ – isn’t that artistic entitlement by proxy?

I suppose what I’m saying is, even though the National Portrait Gallery are celebrating one hundred years of Vogue, ‘A Century of Style’ (1916-2016), by putting on an exhibition, the hairstyles therein are not art.

The limited edition test

A classic example of a limited edition is that of a signed limited edition print; in the bottom left-hand corner, written in pencil by the artist, is the edition number of the print: 3/250 – meaning that this is the third print in a run of two hundred and fifty copies. I’m sure you can work out the maths, the greater the number of copies, the less each copy is worth. And I suppose you could say, the greater the number of copies, the more likely each copy becomes less of an artwork and more of a commercial object?

Apply this to hairdressing, and quite frankly you’ve got a shed load of hairdressing industry bollocks to contend with. Limited edition doesn’t really exist, even though in theory it’s supposed to – each client is a one off – in spite of the fact that they all look the fucking same!

The handbag and hipster test

The ‘handbags’ are the wives of the super rich Russian oligarchs, they waft through the streets of London soaking up culture and property. The ‘hipsters’ look a lot like lumbersexuals – beards, glasses, messenger bags and single speed or better still, fixed gear bikes (but they can’t build a fire or chop wood). It’s said that art belongs to the educated and the rich – so where ever you see a preponderance of ostentatious designer handbags and custom built Brick Lane bikes chained to the railings, you can be pretty sure something arty-farty is in the air.

Every London hairdresser knows these people, they are the wonderfully pernickety friends and clients who call us pop stars, artists and Daaarling. However, it’s also these people who I believe Vidal Sassoon was referring to when Reuters interviewed him in 2010. Sassoon said, “Hairdressing in general hasn’t been given the kudos it deserves. It’s not recognised by enough people as a worthy craft.”

I agree with Sassoon, it’s not recognised as a worthy craft; and that’s because of the transitory nature of hairdressing, a chignon, a style, a haircut are ephemeral and therefore seemingly worthless like paper cups, or a copy of Gustav Klimt’s The Kiss on a never-ending print run.

The rubbish dump test (my favourite)

The rubbish dump test is the test I’ve always used. I imagine the artwork hidden in a scrap yard and wonder if I could pick it out amongst debris – BTW, I used to spend a lot of time in scrap yards looking for car parts. I liked Grayson Perry’s warning that a lot of artworks would fail the test because the rubbish dump itself may be the artwork.

Do you remember David Mach’s ‘nuclear protest’ sculpture Polaris (1983), made out of thousands of used car tyres? A scrapheap challenge extraordinaire outside the Royal Festival Hall, South Bank Centre, London – someone set fire to it.

What’s the equivalent rubbish dump test for hair? Oxford Street on the first day of the winter sales? Discovering a genuine artistic creation under such conditions may take a little extra artistic talent in itself. Most people wouldn’t recognise a good haircut if it jumped out and bit them.

The computer art test

The computer art test is the last of Grayson Perry’s tests. Perry asks, how do we know it’s web art, and not just another interesting Website? The question seems a little naive to me, it shows a slight lack of understanding about what the internet is. Does a ‘piece’ of web art really need to be a Website? And it’s very interesting to look at Contemporary Artists’ Websites – not an inspiring pixel to be found.

Internet art, just like art in the real world, must make us stop and think and engage.

The same can be said for hairdressing sites, very uninspiring; my desire to stop and think, and not click-off within five seconds, has yet to be fulfilled.

I’ve got to say: for me, the epitome of shitty internet hair are those unbelievably egotistical, Mirror Image App. photographs that are the excrement of social media.

This is not art because we're smiling!

This is not art because we’re smiling – it’s a Happy Snap

Obviously hairdressing could be an art form, hairdressers, like artists, have the ability to see the world differently and express it and themselves through their work – most hairdressers do that, it’s part of the job. The problem comes with value, because hairdressing it so transient, so everyday, so commonplace.

Anyway, I’ve no problem with being called a craftsman; take a trip to your local museum and see all those artefacts made by craftsman throughout millennia – brilliant.

Further Reading and Resources

Hair Talk – British Barbering

Me cutting 77

Me 1982. Photographer Keith Stubbs.

I had my hair cut last Saturday; seven months since my last do! However, I found to my horror that my hairdresser and old friend Richard, has turned all kinda Lumbersexual!.

Actually, I’m really pleased to see the resurgence in barbering.

I wonder how my dear departed friend, Brian Streaters Streatfield, would’ve reacted to this trend, or maybe I should say, this fashionable look that was popular in the nineteenth century which has now turned into a Dutch sub-culture? BTW, if for some reason I was unable to cut Brian’s hair, in desperation he’d go to Stroud’s barber ‘Chopper Guy’ who’d cut it for £5 – Meaning: he charged sixty quid an hour to fuck up Brian’s hair!

And that hurts – Yes, there needed to be a rebirth of British Barbering after all the shit they’ve been shovelling.

So there they were, Richard and his hairdresser mate, standing there, looking like a cross between Ricki Hall and Will Young – It’s a look that I’m not too keen on – and we got talking about hairdressing ~ or maybe I should say: precisionist hairdressing versus barbering in 2015.

Richard’s mate did most of the talking – 21st century hairdressing techniques and equipment.

I have been in hairdressing since 1973 and my philosophy is very simple, true beauty comes from within. Perhaps that sounds clichéd, but it’s how I feel, you’ve just got to look around at the people you love. And even though I describe my style of hairdressing as flowing precisionist, I say, precision cutting isn’t unnatural or wooden, it never has been.

I come from the philosophy of haute couture: style, rigour and technical expertise. And that philosophy is at the heart of my flowing precisionist creations – and perhaps that sounds like bullshit, but, precisionist hairdressing isn’t all geometric bobs with asymmetric fringes!

The barbering revival has got to be great news for established barbers like Truefitt & Hill in London, and also for innovative barbershops like Schorem in Rotterdam, who pride themselves in being at the forefront of traditional haircuts and shaves – which is not a million miles away from where I’m coming from, if you get my drift!

Richard cut my hair brilliantly – as per usual ~ I wonder what we’ll talk about next time: ladies only salons? Sounds a bit retrogressive! Or maybe, why the hell are barbers obsessed with wall mounted stag heads?

Open Source Royalty Free Salon Music

salon music at its best menendez in guernsey

My first band Menendez playing Guernsey –  They’re Extra Special for me

Hairdressers Journal @hji tweeted a link to a ‘sponsored’ blog post entitled: Maximise Your Salon Music Choices With PPL, and it jogged my memory – I’d said that I would write a blog post about Open Source Royalty Free Salon Music for: @GaryInghamHair, @paulcuzcurry and @LayersHair.

Salon Music – Why Me?

I’m the founder of UnsignedBandPromotion (which, I hasten to add, is in desperate need of new content, updating and a redesign). Since 1994 my thing has been online promotion techniques (also Search Engine Optimisation); and in August 2004 I began specialising in website promotion for independent bands – that means I have been helping musicians to get their websites noticed for over 10 years :-)

My Strapline – sort of!

I help independent musicians and artists to get their websites noticed by fans, search engines and the music industry in half the time they could do it on their own, I do it for free and I am a world leader – which is a pretty big boast. I am also a firm believer in the Open Source movement, my design philosophy is: keep it simple, and my key words are: dedication, service, simplicity, purity and harmony.

Over the last ten years I’ve talked with hundreds of independent musicians about Band Promotion.

Maximise Your Salon Music Choices With PPL via @hji

Have a read of: Maximise Your Salon Music Choices With PPL.

As HJi’s blog comments are closed, I’ll leave my comment here:

First, I’ve got to point out that the article is slightly weighted towards TSG Media who sell music systems especially designed for retailers! Mr Paul Stead MD is heavily quoted and he makes some very good points that I totally agree with.

Product versus Shopping Experience

Playing the right kind of music in your salon is a simple and effective way to reflect your salon’s identity. It is an element of salon branding. Branding is about every element of your business – #1 being the core element: Hairdressing (quality of product).

Clients visit a salon to get an outstanding hairstyle – Even the world’s best mixtape won’t compensate for a shit hair cut – but maybe the world’s best hair cut Would atone for a couple of hours of shitty pop music?

Having said that, I’ll sort of contradict myself: if any of the elements of your salon’s brand don’t meet with your client’s acceptance, then there is a good chance you will eventually lose them.

Obviously one must achieve the right balance. And remember this, playing targeted music is beneficial for clients, staff and business.

Make Sure You Are Correctly Licensed

There are two separate independent organisations: PRS and PPL, who represent different copyright holders and issue separate licences on behalf of the music industry. Normally you will need both licences – they’re V.easy to buy online.

PRS for Music (used to be called Performing Rights Society) collects and distributes money for the use of the musical composition and lyrics on behalf of authors, songwriters, composers and publishers. PRS for Music Licence Fee: aprox. £80.00 per annum at time of writing.

PPL (Phonographic Performance Limited) collects and distributes money for the use of recorded music on behalf of record companies and performers. PPL Licence Fee: aprox. £140.00 per annum at time of writing.

Fees are determined by a number of factors – there are a number of add-ons!

Open Source Royalty Free Salon Music

PRS and PPL represent the different copyright holders within the music industry (authors, songwriters, composers, publishers, record companies and performers), but what about open source, copyright free music?

Well, yes, open source, royalty free, salon music does exist and YES you can use it without having to pay PRS or PPL.

There are a number of websites that supply royalty free, open source, copyright free music; they will (should) issue an e-certificate for you to email to PRS and PPL! (Even though it’s open source, you may still have to buy an overpriced CD!) Creative Commons and the Open Source Initiative are the two main licensing bodies that support and guide musicians to share their music and creativity freely and openly – I am a firm supporter.

Then there are a plethora of independent, unsigned artists, musicians and bands who produce open source, copyright free music (mp3/CD physicals) and are NOT members of PRS or PPL. (Be warned, you are not allowed to play cover songs in the salon.) (And you will still need the artist’s express permission.)

I would warn however, if you’re playing music to clients via a music player, you will be harassed by both PRS and PPL for payment. And on top of that, there are scammers who’ll try to get you to pay them!

I can fully understand why you’d want to save a couple of hundred quid or so a year, but in reality, I’ve a strong feeling that it’s a false economy to cut your nose off to spite your face (in regard to the license fees). Owners and performers of music not only have a right to receive royalties, but also need your support (they’re not all Justin Bieber). Besides, can you imagine what some of that open source music sounds like? …let’s be choosy here, after all it is your business’s reputation on the line.

I’ve got A Better Idea!

Hairdressers, make-up artists, photographers and models who are just starting out, look to build their portfolios by doing collaborative test sessions. For hairdressers, test sessions are all about sharpening one’s hairdressing skills, collaborating with a new group of creative professionals and familiarisation of the studio/backstage environment. However, it’s not just hairdressers, MUAs, photographers and models who want the test session experience; artists, musicians, bands, fashion designers and fashion stylists are looking for it too!

Collaborating with musicians and fashion houses (a fashion company. a designer. a shop: selling off-the-peg, custom-made, haute couture clothing) whose music genre and fashion style are compatible with, and reflect your identity/brand, can have very positive and worthwhile consequences in what is ostensibly a London centric industry.

Working with creative thinking people, who are looking to be innovative, will help you to push hairdressing boundaries and set new fashion trends.

In the end I think you will acquire plenty free music, and hopefully some free/heavily discounted fashion, and heaps of kudos. And that really does knock Free Salon Music into a cocked hat!

Retouching Fashion Photographs – Anti-Airbrushing Campaign

I’ve always had a thing about retouching fashion photographs – Sometimes I like it and sometimes I hate it! This is not a new issue, photographs have been retouched since the dawn of photography; here is my retouching set circa 1920s (old school, not Photoshop):

retouching fashion photographs with L & C. Hardtmuth retouching setMy Jonathan Fallowfields “Artists'” retouching set by L & C. Hardtmuth, Austria. I bought it about thirty-five years ago, used it lots for retouching B&W photographs (hobbyist)! The set containes: A brass porte-crayon (leadholder or pencil extender). 2 triangular pencils/leadholders, marked L & C Hardtmuth, Austria, No3 and No4. A Hardtmuth branded wooden tube containing additional leads. And lastly a rolled chamois leather dual-pointed blending tool (AKA a stump).

This brief blog post was triggered by ‏@hji Hairdressers Journal, and let’s face it, they should know all about retouching because they’ve been in the hairdressing magazine business since 1882 – here is their tweet:

HJ love @melenietudor Melenie Tudor’s modern take on the Mohawk, so do I, it’s wonderful – the rest of Melenie’s collection are brilliant too. (Melenie Tudor at En Route Hair & Beauty, was a finalist for HJ’s British Hairdressing Awards 2014, North Western Hairdresser of the Year.)

My point is though; can you see what looks like three layers of freehand shading (a sort of a loose scribble) on the side/undercut section? How Very Odd! Has Melenie Tudor’s hair photograph been photoshopped? If it has: who did it and why, and isn’t it V.sad? (And not very well executed)

We are in an age where photoshopping is the norm, Miley Cyrus actually thanked a photographer for not photoshopping out her armpit hair – and meant it – you’ve got to love her for that; meanwhile, celebrities are anxiously tweaking their selfies with image editing Apps. (note to self: must Photoshop my beer-belly!) Obviously it’s all about their public image, perfection and removing perceived impurities. However for me, especially in hairdressing, it is those impurities or imperfections that are essential for individualism and consequently they reflect Real Beauty.

Real beauty isn’t a fantasy, it’s not about trying to escape from reality; it is about acceptance, confidence, empathy and love. What I’m saying is: to be beautiful, you don’t have to be perfect – and neither does a haircut.

Maybe photographs should carry a Photoshop health warning? Patently I support the anti-airbrushing campaign and the campaign for real beauty – in the meantime, here is a handy tool to Authenticate Your Photos – via Hany Farid.

The Inner Beauty Of Leon Hamme

malcolm mcdowell

I don’t know if a picture of Leon exists? I always thought he looked like Malcolm McDowell, which is why I’ve included a picture of him (above), to give you an impression and set the scene! This picture of McDowell is very Leon.

My first memory of Leon was the two of us sitting in the back of a London taxi one dark, wet winter’s night in 1972/3. We were late, as per usual, travelling from Ricci’s George Street salon to the King’s Road salon for model night. He was a well seasoned hairdresser, probably at his pinnacle and I was a n00bie Junior in my renaissance. We talked of my progress, he casually told me not to worry and that I’d do well. I was hanging on to his every word, but by his tone I knew he didn’t care.

Leon talked as if I wasn’t there, he soliloquised about ‘creating The look’ and ‘bringing out a client’s personality’, his lofty words floated way above my head and I struggled to take it all in. Unfortunately our ‘conversation’ was cut short by our arrival and we didn’t ever talk of such things again.

I moved to the King’s Road salon and after a short time Leon left Ricci Burns. I asked Tina if she had any memories (I nearly wrote mammaries – Freudian slip) of Leon? Tina replied, “Once, Leon was finishing his 5 o’clock client and Reception were getting his client to pay so they could cash up. When they presented her with the bill, Leon noticed that her name was Mrs. Odsog, and proceeded to start giggling as he had recently had a ‘smoke’ and he found her name hilarious. It turned out that he had a friend who had a cat called Odd-sock and he told the client! She wasn’t amused at having the piss taken out of her!” And I thought, oh yeah – That was so typically Leon!

Skip forward a few years until about 1980/81; I’d been to Paris to do a fashion show and photo session, on my return I ended up in Windsor waiting for a lift home – I think. Anyway, I was in Windsor, looking around, killing time – And there he was, Leon, standing outside a hairdressing salon (Chess-Set, Church Street, Windsor) having a smoke. He greeted me like a long lost friend, eager to hear of past times. He looked totally out of place to me. And we became friends for a short time – maybe for four or five years.

We would normally meet-up for lunch and sometimes we’d swap haircuts. We talked of old times, and apart from the drugs, we discovered we had had carbon copy career paths – almost. But, Leon Hamme, my creative role model, was now on a downward spiral. He floated from salon to salon, Chess-Set, Cassidy, the Holiday Inn, he was freelance, he was probably on heroin! And the last I heard of him, was that he was going to do a film – 1985 Max Headroom (TV movie) (Leon Hamme: assistant hair stylist)!

Fast-forward to Tuesday 26th November 2013, I’m reading the news and I see, Where fantasy ends and reality begins: Unnerving images show multi-ethnic women digitally merged with Barbie dolls – Epiphany. There it is, a photograph that makes clear Leon’s dream like soliloquy.

Sheila Pree BrightSheila Pree Bright’s ‘Plastic Bodies’, like Katie Piper, transcend what most people think of as real beauty and asks us to look at the individual within. We all have a complex range of ideas of what Beauty is, these ideas are mainly foisted upon us by the commercialisation of society – I think that the Barbie doll itself, is a perfect example the false, airbrushed, synthetic, siliconed and plasticised world we live in. And Sheila Pree Bright’s beautiful and fascinating images give us all a slap around the face and say Wake Up – They did to me anyway!

Hair colourist Lester Baldwin once said to me, “Leon Hammé is the world’s best hairdresser by far.” I don’t know the final part to his story, I’m pretty sure he popped his clogs in the 1980s! He certainly had an inner beauty and he was way ahead of his time.

Hairstyles – A Personal Fashion Statement

Robin sitting in my fav. rustic Eton salon!

The two truths are: my sole aim and purpose is to make you look attractive and sexy. a good haircut is the basic ingredient of good looking hair.

However, the main question hairdressers get asked is, “can you do it like this photo?” Well, 49% of clients failed to get what they want because the hair stylist lied about their ability and what was possible to achieve, according to a survey – I will always tell it like it is, so you won’t become another disastrous statistic!

While styles may come and go with the changes of fashion, the essentials of good hair design remain the same. Simplicity and purity of form. Broadly speaking, good design starts from the premise that living is more than just a matter of existing, and that everyday things which are both effective and attractive can raise the quality of life. Well, hair Is everyday! Good hair design is more than a particular style, it is an attitude to the hair’s intrinsic qualities. Meaning, A hairstyle designed with common sense is better than one designed to fit a trend.

The process of creating your new look – as with all hairdressing operations – starts with a consultation. Not telepathy. Before I start cutting I always want to understand and discuss: you, your life style, your hair type, texture and colour, how it falls and grows, and of course your face shape. I’ll explain your options so you can make a considered choice. I won’t be doing all the talking and I will be listening.

There are many diverse influences that go into creating your new hairstyle, the three main ones are: you and how you are influenced by fashion. your hair. me and how I am influenced by fashion. I am influenced by Vogue – mainly. For the last 100 years it has been ahead of the crowd. As you can see in my resume I’ve had my work in Vogue. Vogue is how I keep up with high fashion, it gives me the inside scoop on the looks and styles that make the fashion world tick. If you want to lead and not follow, then you’d better read it. I also keep my finger on the pulse of the fashion world by following the industry Online – Follow me on Twitter.

sandy beach, the sea is rolling in

Now I want you to relax, here’s some visual methodology

Relax, relax.

Cup your hands over your ears, close your eyes and imagine that you are sitting on a beach. The sea is rolling in, the wind is warm and filled with a salty perfume. To your right there is a smooth sea worn rock sticking out of the sand. Look at its shape. Hold the shape in your mind. Now open your eyes and relax. Feels good, doesn’t it?

Explanation: when your hair is sticking out at right angles to your head, it forms an outside shape. It could be the outside shape of your rock. I’m visualising ‘it’ when I cut your hair. Each style has a different shape. Simple. It’s why I find my work so enjoyable and relaxing.
©1975 Ian Robson. My discovery.

There is no perpetual best hair style. All that exists in the world of fashion is a perception in the mind. The perception is the reality. Everything else is an illusion.

The Haircut

Hair grows at the rate of half an inch or thirteen millimetres per month. It may grow a little faster in the summer than in the winter! My cuts have have a life span of about five weeks. Always have your hair cut regularly. I hate razors and thinning scissors – I will never use them on your hair. If a stylist comes at you with a razor, run away screaming and shouting, they’ve gone mad. A style needs to develop. It will always take two or three haircuts to get the perfect shape – no matter who’s doing it. I am available from 07.00 to 19.00 – Monday to Saturday.