Guido Palau Quotes
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I'm not giving up on my work. I'm still trying to challenge people's aesthetics and myself.
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I think now because of this whole social media thing, people obviously felt these things [about cultural appropriation] before, and they comment on everything.
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I didn't know I wanted to be a hairdresser. I was always interested in fashion and imagery in a very naive way, but it was always an attraction, like glitter balls. This was in the late '70s, early '80s, so it wasn't like today, where you kind of know all about the industry. Fashion was a very insider industry then - it was very closed. So I didn't really know what I wanted to do.
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Everyone has an opinion and I think we're at a time which is very heated all over the world, so of course people will speak out. And they have every right to.
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Beauty shouldn't be taken too seriously. Life is stressful enough! Hair should be creative and crazy.
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I like hair that's been 'worn in' because it's much easier to deal with.... I actually don't like it when [models] come in with this beautiful, thick, glossy hair. I think, Oh, no! I can't do a thing with this!
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I got into hairdressing and moved from Dorset to London, where I got an apprenticeship at Vidal Sassoon. This was around '83 or '84. I was working on South Molton Street, which was then the epicenter of all the shops. It was like a catwalk. So I did my apprenticeship there, but I wasn't successful.
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I didn't do great in school. I didn't have many options. I mean, I'd like to have gone to art college, but I didn't have the grades. I didn't have any qualifications. But I had some friends who were hairdressers, so I just thought, Well, I'll have a go at it.
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All hair is away from the face - there's no emotion and all of the personality is taken away. I envisioned the way a 'virtual girl' is drawn in a cartoon. Then I added these different colored extensions - white, red and black, which adds to the synthetic feeling of the hair. I used colors which looked most dramatic against each of the models' real hair. The different colors give you that pop of fakeness so we're not talking about reality. Like a futuristic princess.
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When you look back at your career, there are moments that are levels that you hit and you bounce off them.
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The Brits always favor the underdog. There's an eccentricity to us, and I think you can see that through the fash- ion and the music and the way people look.
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It's hard to be shocking now. It's hard to challenge people because the Internet has allowed everyone to become much more worldly, much more visual. It's very hard to surprise people.
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Even though the industry is very big and there's lots of money, when it gets down to it, whether it's a photographer or a designer, as well as a stylist or makeup artist, you're really only working with maybe four or five people on a project. It's all quite small and intimate.
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As the older ones, to understand that it is a different time, and young people look at fashion in a different way . . . It's just different. If we harp on about it, they'll feel like we're just old fuddy-duddies, so I just kind of get on with it. I still feel I've got things to say.
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I think to many people, textured curls still signify 'difference.' And kids like to pick on what's different.
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When you respect somebody who has talent, whether it's a designer or a photographer, then you don't want to let yourself down - but you also really don't want to let them down.
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Every culture to me - be it Asian, African, be it whatever - is a source of reference. I don't think I'm 'stealing' it or anything.
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With Steven Meisel, I'd looked at his work from afar and always loved it, and when I started to work with him, I was blown away. He taught me so much about looking at women and looking at images.
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I worked at a bunch of other salons, and at one, this girl was going out to do a photo shoot for a women's magazine and brought me along to assist her. I remember going on that shoot and thinking, "God, this is great. It's creative, and you get to work with all of these other creative people." At that point I decided that hair would be my in to fashion and all the things I thought I would enjoy - and did enjoy.
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I worked in salons, where you do learn the basic sort of thing. But I didn't know anything about the kinds of things I'm doing now. I learned how to put hot-rollers in.
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To be a good hairdresser, you have to understand what the vision is of the designer or the photographer and then sort of add your thing.
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Beautiful things are different.
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I didn't know I wanted to be a hairdresser. I was always interested in fashion and imagery in a very naive way, but it was always an attraction, like glitter balls.
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I worked at a bunch of salons, and at one, a girl was going out to do a photo shoot for a women's magazine and brought me along to assist her. I remember going on that shoot and thinking, "God, this is great. It's creative, and you get to work with all of these other creative people." At that point I decided that hair would be my in to fashion and all the things I thought I would enjoy - and did enjoy.
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I was building my work, and it took me a long time. For a good five or six years I was just kind of bobbing around, doing everything and anything.
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Fashion was a very insider industry then - it was very closed. So I didn't really know what I wanted to do.
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Someone might say that's a naïve way of looking at things now, and I would respect their opinion, but I also respect every woman's right to wearing her own individual style, including hair.
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I used to have more meltdowns backstage than I do [now].... It's not that it was ever cool, but right now, it just seems very uncool to have a meltdown. I'm not saying I'll never have one! But I've learnt to stop it just before it happens.
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I must say, Gisele's [Bundhen] got some of the best hair I've ever touched.
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I think it's more funny how every bit of information is up for grabs.
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