VIDAL SASSOON PROFESSIONAL BEAUTY EDUCATION SCHOLARSHIP PROGRAM
The Vidal Sassoon Professional Beauty Education Scholarship Program is a 5-year program where 100 Basic and 100 Advanced scholarships will be awarded over the next five years. Each year, the Basic and Advanced competitions will open twice, with 10 people winning each competition (20 a year for five years). If you are not eligible for a competition NOW, you might be in the future, so sign up for our email list so that we can update you with the latest competition dates and other future scholarship opportunities.
*Join us as we shape the inner & outer beauty in people’s lives.
An organization dedicated to raising awareness of how careers in the hair and beauty industry transform lives, personally and professionally.
VIDAL SASSOON THE LIBRARY SPACE
Ariel Sassoon & Vidal Sassoon
Vidal Sassoon Memorial Evening hosted by Behind The Chair Magazine
11 October 2012
Behind the Chair Magazine hosts a memorial event in honour of Vidal Sassoon, prior to the memorial service at St Paul’s Cathedral on the 12th October 2012.
Featuring iconic shots of Vidal Sassoon throughout his career, as well as pictures of Behind The Chair Magazine’s Vidal Sassoon issue, shot by Anthony Mascolo in 2010.
For more information visit: http://www.facebook.com/media/set/?set=a.546642418685349.146269.182807998402128&type=1
VIDAL SASSOON SOMERSET HOUSE
A great new haircut can undoubtedly revolutionise your life, so the Vidal Sassoon exhibition at Somerset House isn’t quite as grandiosely titled as it might at first appear. And Sassoon, who died in May, really did make a difference. Photography, artwork and film trace a trajectory from childhood adversity to a CBE for services to British hairdressing. Sassoon was responsible for the seismic ’60s shift that saw the sharp, geometric bob give the elbow to soft ’50s fluff – and in the process, freed women from the tedious nightly ritual of putting rollers in. The precision of Sassoon’s helmet-head style didn’t suit everyone who embraced it, but it definitely looked fab on that other seminal ’60s figure, fashion designer Mary Quant, and was exactly right with the clean lines of her clothes. Together, Quant and Sassoon defined a fashion moment.
*I have made this letter longer, because I have not had the time to make it shorter.* Blaise Pascal
“For the love of hair”
We believe that perfect beauty is different for every woman and that achieving it need not be a daily struggle.
That’s why we never mass produce but always tailor the look: Considering the individual’s unique features and needs when conceiving their cut and colour.
We never concoct styles that just wash out, but cut a shape that stays in the hair, making it quick and simple to recreate every day.
Realising perfect beauty – individual and practical – is our goal.
This is Sassoon. This is Hair Design.
From the contemporary styles of the late 60′s until now,we share with you the most up to date SASSOON cuts. Our group Vidal Sassoon for Global Sassooners range globally from London to Tokyo.
Global Sassooners is a great club for ex- Sassoons and future Sassooners.
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BIG HAIR SASSOON
VIDAL SASSOON INTERVIEW
Vidal Sassoon and His Muses: The Iconic Cuts
AboveFor Coddington, Vidal Sassoon created his five-point cut—a geometrically rigorous style that defined the 60s. By Eric Swayne.
Below Mary Quant: Vidal Sassoon created the angular bob for mod British designer Quant, and the hairstyle became her signature look for more than 40 years. By Ronald Dumont/Getty Images.
Known for his sleek, mod cuts that spawned a hair revolution in the 1960s, scissor wizard Vidal Sassoon helped women bid adieu to sleeping on curlers, wasting time under hood dryers, and running through can after can of Aquanet. Sassoon modernized the locks of the chicest and most beautiful women in the fashion and Hollywood realms; from creating Mia Farrow’s avant-garde pixie cut to bringing modern coiffure to the likes of Grace Coddington, Mary Quant, and Carol Channing, the “Messiah of Hair” popularized low-maintenance and cutting-edge styles. Vidal Sassoon: The Movie, out February 10 in limited release, tells the story of Sassoon’s life, beginning with the career-launching apprenticeship he first landed at 14. We look back at the architectural shapes that Sassoon created—and the women who inspired them. By Dana Mathews February 11, 2011
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.