Modern Salon - February 2008 - (Page 64)

ASK THE EXPERTS Choices How do you put together a style collection? Picking shears, classes and photos What’s the best kind of texturizing shears? Sandra Yu, Rusk artistic director, rarely finishes a look without using texturizing tools. She met her first specialty shears in the 1990s when she saw Irvine Rusk on stage. “He made it look easy to tear off hair,” she says. “A lot of stylists were shocked and curious, but most tried it and fell in love with the technique.” Rusk was demonstrating what he called the “weaving blade,” a toothed shear constructed to chip and notch simultaneously. It was designed to remove weight. “Weight is not good for fine hair and definitely not for thick hair,” Yu says. “Texturizing blades are used to remove the solid lines to allow movement and flow.” Yu believes a wellrounded stylist should have at least two texturizing shears in her toolbox: one to thin the hair and one to add texture. She herself has three on hand at all times. “My Rusk Gamma Blades to thin To find a great texturizing shear, get out of the out the hair, my Rusk Alpha box—literally—says Sandra Yu. Blade for chunky texture; the Rusk Beta Blade for thinning and texture together is my absolute favorite because I can do a whole cut with just this one shear.” When buying a texturizing shear, get out of the box, says Yu, by testing it. “There’s a lot more than the blade to separate the good from the bad. A great shear will eliminate [unwanted] chipping and notching. Blades should be made with a 360-degree thumb swivel with ergonomic off-set handles to prevent carpel tunnel syndrome. Good blades come with educational support that will teach you how to use the blades properly. It’s surprising how many people use them the wrong way.” Good texturizing shears start at $300, Yu says. Although most texturizing blades at that price point will stay sharp for a very long time, maintenance is still key. “The blades should be checked once a year for other wear and tear,” she says. Continued on page 66 AG Haircosmetics Creative Director Jami Symons leads a team of artists in putting together annual hair fashion collections for the British Columbia-based company. “It all starts by being inspired,” he says. “You can grab inspiration from the things that surround you, the people you surround yourself with, travel, anything really.” Once Symons pins down the inspiration, he develops the collection’s philosophy, determining “how the collection will relate to hairdressers and how it will help them in their everyday salon life,” he says. “We try to create something for everyone: a short look, a medium style and a long cut that appeal to both hairdressers and clients alike.” Once the core of the collection is complete, Symons says, “I think about offshoots, like a red carpet look, which is usually our updo segment. Then we take it one step further and create more edgy editorial looks that focus on finishing techniques.” Symons sends notes on the collection’s inspiration and philosophy to the members of the Artistic Team and invites them to submit their interpretations for consideration to be included in the final collection. Symons and the group finalize all the looks and only then move on to photography, starting with befores and afters with technicals, then creating an editorial portfolio. Jami Symons says, start a style collection with inspiration. 64 FEBRUARY 2008 www.modernsalon.com http://www.modernsalon.com

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Modern Salon - February 2008 Contents Behind the Cover Notebook Beauty Matters Contributors @ModernSalon.com New-Now-Next Modern Portfolio Modern Reports As the Experts Choose Beauty Build It, Then What...? Toolbox: Shopping Sharp Star Power Runway Reality Haute Chocolate Modern Update The Goods Personal Style

Modern Salon - February 2008

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