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This is Hair Design = SASSOON
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Mit der Bi-Couture Collection Spring/Summer 2014 präsentiert Sassoon Professional eine Collection präziser handwerklicher Looks, die im harmonischen Einklang mit der Haircouture-Heritage der Marke stehen. Die Bi- Couture Collection ist eine aufsehenerregende Symbiose aus moderner Androgynität und Avantgarde-Mode. Sie präsentiert maßgeschneiderte Looks, die jede Frau mit nur wenigen Handgriffen zu Hause perfekt stylen und umstylen kann. Sassoon-typische Looks, die seit über 60 Jahren weltweit für „Ready-to-wear“-Tragbarkeit stehen.

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Die Frühjahr-/Sommerkollektion 2014 bricht präzise kontrollierte Linien mit weichen Texturen. So entsteht ein Hauch wilder Eleganz: Haute Couture trifft auf skulpturale Formen. Das Ergebnis sind Looks, die die Handschrift des großen Vidal Sassoon tragen und doch ganz am Puls der aktuellen Laufstegtrends sind.
Die Schnitttechniken von Bi-Couture bringen wunderschöne Formen hervor und können mühelos in verschiedene Finishs umgestaltet werden. „Ich wollte die Wandelbarkeit von Sassoon Cut and Colour darstellen. Einerseits technisch anspruchsvolle, texturierte Haarschnitte für maßgeschneiderte Outfits, anderseits skulpturale, glatte Formen. Das ist Bi-Couture“, kommentiert International Creative Director Mark Hayes die Collection.

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Sassoon works with hair in its natural state, treating it as an organic material, applying precision technique with consideration for the individual, creating genuine bespoke hair design based on ultimate suitability. Sharing a vision that’s purely client-focused, Sasson Salon and Professional produce two seasonal collections – Spring / Summer and Autumn / Winter.
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Bi Couture

Haute couture is the pinnacle of fashion – a made-to-measure service in which perfection of technique underpins every detail but remains invisible to the eye.
At Sassoon we apply the same bespoke philosophy to hair – our cuts and colours are designed to be unique to every individual with suitability being the deciding factor above all.
Our version of the couture technique is based on the principles of ABC; a geometrically precise method of cutting and colouring hair that uses line, graduation and layering in combination with colour placement to create a look that is entirely suited to the individual.
This is Sassoon. This is Hair Design.
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To further discovery of the Sassoon philosophy:
Zur weiteren Entdeckung der Sassoon Philosophie:
http://www.sassoon.com
http://www.sassoon-salon.de

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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.

louis-sullivan

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