Custom Features

Expresses the styling concepts of shear and layers with rammed earth

Multi-colour lifts specified by the architect

Rammed earth infill for the display counters

Technical Details

Rammed earth entrance wall was constructed on an angle

Beautiful hanging stairway

Location: Shanghai, China

Architect / Designer: A00



The Sassoon brand has long been at the forefront of design, starting with their roots in the Bauhaus and continuing today with their unique teaching methods and styles. The challenge of setting the Shanghai school as the new standard for China and the world was one that Sassoon took very seriously, extending it all the way into green initiatives.
True to its philosophy, A00 Architecture required that the design be able to tell its own story. Both inside and out, the project needed to express cutting edge hairstyling, innovation and ecological responsibility. In order to achieve this the Architects centred their design around the concepts of Shear and Layers; working principles that are fundamental to both Architecture and Hairstyling.
This story is most well expressed by the sheared and highly layered rammed-earth wall marking the entrance of the Academy. Projecting from the building, it serves to engage the public in Sassoon’s culture, a priority that was carried through the design of the entire facade. Next to the rammed-earth is a pixel wall that flows with the wind, mimicking the subtle shifting of hair and inviting the public to take a closer look. Finally, the remainder of the facade is a massive sliding wall which reveals an auditorium, claiming the plaza in front of the Academy as its own public stage.
Designed to accommodate 60 students and staff, the Academy is located in a refurbished steel factory and uses a simple palette of materials: earth, bamboo ply, stainless steel, and aluminium panels. Openings carved out between the spaces are used to emphasise the concept of layering, both inside and out. Similarly, compound angles reflected by dozens of mirrors reinforce the concept of shear.
Now becoming ubiquitous, low to no VOC paints and finishes were used throughout the Academy, as well as LED and CFL lighting. Additionally, the Academy pioneered the use of a grey water system to pre-treat their discharge water.

Celebrating 2 Years!

It’s a Celebration of Movement of Creative Thinking and a Re:volution 🙂

Thank you for being part of My Life


“If you just do something, then you’re a five-year wonder and, goodbye, you’re gone. But if people feel it’s worthwhile, not only do they copy but they want to learn how to do it… To me, that’s what it’s all about. If someone were to ask me, ‘What’s the number one thing, in essence, that you left behind?’ It was the teaching of others so that they could take my work and take it further.” – Vidal Sassoon via Vidal Sassoon The Movie









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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

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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


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 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 


The Cutting Edge

Vidal Sassoon’s reinvigorate an iconic Richard Neutra house.

Text by James Reginato/Photographed and Produced by Todd Eberle

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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.

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“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.

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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.


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.