Our aim is to share the knowledge that we gain in the development of our craft.
From the heart of our creative system in London, the Sassoon courses are developed, honed and delivered around the globe through our schools, academies and education centres, ensuring that not only will you gain real commercial skills from our courses, you will also take away with you a piece of the culture that created Sassoon.
Our courses are developed and designed to be contemporary, relevant and forward thinking and are delivered with passion, commitment and technical excellence. You will leave inspired, with real commercial skills and receive an insight into the unique culture that is Sassoon.
We look forward to welcoming you at one of our International Academies.
abc Colouring Hair the Sassoon Way
abc Cutting Hair the Sassoon Way
SASSOON HAIR DESIGN
FORM EVER FOLLOWS FUNCTION
Showing Sassoon Creative Team members Mark Hayes, Bruce Masefield, Peter Dawson and Edward Darley and how the Sassoon philosophy comes to live in Sassoon Professional. This is Sassoon this is Hair Design.
The original wording was “form ever follows function.” It is also routinely misattributed, mostly to 20th-century modernist grandees, like Le Corbusier and Mies van der Rohe, but was actually coined by the less famous American architect, Louis Sullivan. Misused though Sullivan’s quote has been, his point, that the style of architecture should reflect its purpose, made sense at the time, and continued to do so for much of the last century, not just for buildings, but objects too.
Chicago, we love you. Not only do you have architectural boat tours, skyscrapers and public art galore, you hosted what was probably the best World’s Fair and your art museum supports architecture, too.
The Art Institute of Chicago just opened a small photography show this weekend featuring the architectural photographs of John Szarkowski, Aaron Siskind, and Richard Nickel, who all worked during the 1950s, shooting the buildings of the late, great Louis Sullivan.
Demonstrating the role that the three held in maintaining Sullivan’s legend for modern audiences — then attracted the Modernism (capital “M”) so prevalent in the mid-century — the curators outline a thesis as follows:
In the 1950s, the photographers John Szarkowski, Aaron Siskind, and Richard Nickel embarked on in-depth photographic explorations of structures designed by the renowned architect Louis Sullivan, whose commercial buildings and theaters of the 1880s and early 1890s broke with historical precedents, displaying a radical, organic fusion of formal and functional elements. Attracted to Sullivan’s renegade American spirit and uncompromising values, Szarkowski, Siskind, and Nickel also found inspiration in the play of light over his ornamented facades and the dynamism of his buildings within the bustling city of Chicago. The interest of these photographers came at a critical moment, when many of Sullivan’s most important structures were being threatened with demolition in the service of urban renewal; their photographs illustrated the fragile existence
BIG HAIR SASSOON
The Cutting Edge
Vidal Sassoon’s reinvigorate an iconic Richard Neutra house.
The relationship between hair and architecture has perhaps not been properly appreciated. But a visit with legendary stylist Vidal Sassoon and his wife, Ronnie, rectifies that.
“My whole work, beginning in the late 1950s, came from the Bauhaus,” explains Vidal, whose geometric, easy-maintenance cuts sparked a revolution in hair. “It was all about studying the bone structure of the face, to bring out the character. I hated the prettiness that was in fashion at that time.
My whole work, beginning in the late 1950s, came from the Bauhaus, says Sassoon.
“Architects have always been my heroes,” he adds. “I could not have been more honored than when I met Marcel Breuer and he told me he knew my work. And Rem Koolhaas said he had one of my original cutting books in his library.”
Fittingly, this conversation is taking place inside the couple’s Los Angeles home, a seminal work by modernist master Richard Neutra, which they recently restored. Known as the Singleton House, it was commissioned in the mid-’50s by industrialist Henry Singleton for a site on a spectacular peak atop Mulholland Drive. Views from the property take in the Pacific and the shiny skyscrapers of downtown, as well as the desert and San Gabriel Mountains.
When Ronnie, like her husband a passionate architecture buff, first saw the house it was in dire shape, though the Singleton family had done their best to maintain it. After relocating in 1969, they had rented it to a series of tenants, then put it on the market in 2002, three years after Henry’s death. The 4,700-square-foot house languished unoccupied—its systems too rudimentary (there was no air-conditioning, just Neutra’s ingeniously designed cross-ventilating windows) and its bedrooms too small and dark for contemporary families—until the Sassoons purchased the sleeping beauty. They were living between London and Beverly Hills at the time and bought the home as an adventure, one they weren’t completely sure would be positive. Indeed, just two weeks after the closing, in 2004, part of the roof collapsed, and a few months later a huge chunk of the property slid into a neighbor’s yard. But Cincinnati-born Ronnie, who had worked as a fashion designer and an advertising executive before she married Vidal almost 20 years ago, was committed to the project and immersed herself in a study of Neutra’s work. She pored over images of the Singleton House taken by Julius Shulman (1910–2009), the preeminent architectural photographer of Los Angeles. “They were my bible,” she says.
Little did she know how much she’d need the visual documentation. The Sassoons discovered that, due to dry rot and modern code requirements, they would have to do extensive rebuilding. Working with contractor Scott Werker of GW Associates of L.A., they replaced damaged ceilings and poured new terrazzo floors, and they removed a number of walls in order to create larger, brighter interior spaces.
VIDAL SASSOON FOR GLOBAL SASSOONERS
From classics to contemporary, Late 90′s until now. We share with you the most up to date Sassoon look globally from London to La, Shanghai to Tokyo.
Global Sassoon is a great club for ex- Sassoons now and future Sassooners.
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The geometric abstraction of Russian constructivism meets the beautiful functionlity of Sassoon technique.
‘Today is the deed
We will account for it tomorrow
The future we leave to fortune-teller
We take the present day. ‘
The geometic abstraction of Russian Constructivism meets the beautiful functionality of Sassoon techique in Neue-Kraft, the new Spring Summer 2011 Collection by Sassoon Academy.
Finding inspiration in the dramatic androgyny of repetition and uniformity, Neue-Kraft echoes the masterwork of twentieth century science fiction, from Fritz Lang’s Metropolis, through Blade Runner, to Tron.
“Naum Garbo’s Principle of the interaction of three-dimensional froms within space, provide the framework for this season’s new Stereometric cutting technique” says Mark Hayes, ＂Shapes overlap and intersect with dynamic movement, bold disconnected lines that circle the head create a series of innovative forms – all underpinned with the classic Sasson principles of shape and balance＂
＂The Tektonika colour technique traces the perimeter edges of each precisely planned stereomtric line, “says Peter Dawson. ＂An Obsidian palette of maroon，charcoal, navy and Stygian black is set against the sci-fi starkness of pure white monochromatic base.”
The result – a newly minted vision of modernism’s ‘gesamkunstwerk’ or total work of art.
SOJOURN STUFF Magazine Players Issue
Elan Sassoon, Mizu (Mandarin Oriental Hotel, 776 Boylston Street, Boston, 617.585.6498, www.mizuforhair.com)
HAIRDRESSERS UNLOCK HOPE
The Man who changed the fashion world with a pair of scissors.
O homen que mudou o mundo da moda com um par de tesouras.
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