SOJOURN STUFF Magazine Players Issue
Elan Sassoon, Mizu (Mandarin Oriental Hotel, 776 Boylston Street, Boston, 617.585.6498, www.mizuforhair.com)
Elan Sassoon, Mizu (Mandarin Oriental Hotel, 776 Boylston Street, Boston, 617.585.6498, www.mizuforhair.com)
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.
Click below to watch video:
Elan Sassoon son of famed Vidal Sassoon is launching his line of hair care….Sojourn by elan s.
Elan Sassoon is also Owner of Mizu salons in New York and Boston.
|Sojourn Shampoo Moisture: All I have to say about this shampoo is that after applying and lathering it through my hair, it felt so moisturized I didn’t think I needed any conditioner to accompany it! The shampoo smells wonderful – with a hint of citrus. It left my hair healthy-looking and silky soft to the touch. I can definitely understand the power of the exclusive Keratin Cashmere Protein they use in this product – it does leave your hair permanently conditioned.Sojourn Conditioner Moisture: Okay…so I know I just said that I didn’t necessarily need the conditioner after the shampoo, but I used it anyways—and guess what, my hair was even MORE moisturized. I used both the shampoo and the conditioner first thing in the morning right after I woke up. My ‘bed head’ hair had tangles galore. After using this conditioner my hair felt as if I brushed them all out. On the bottle it advises you to leave the product in for two to three minutes (so it acts more like a deep conditioner). I saw a result after one minute.|
|Conditioner Moisture, Texture Molding Paste, Shampoo Moisture, Monoi Oil|
Sojourn Monoi Oil:
In other words. Wonder oil. It’s an ultra-light yet deep conditioning treatment specially formulated for chemically treated, dry, frizzy or environmentally damaged hair. This hydrating oil absorbs almost instantly and it doesn’t leave any residue or build up. When you first apply it, you can feel it in the hair. After about 15 minutes you can’t even tell it’s there. Hair feels a lot softer after this product.
Sojourn Texture Molding Paste: This paste has a thicker texture than the taffy, so it enables you to add a little more definition to any cut or style. You can use this product to create soft and loose curls or to stand hair straight up.
Sojourn Leave-in Detangler: it’s good to use for a little extra moisture and for tangle-protection! Comb this product through with a large toothcomb, and know that it can be used alone or before applying products.
|Sojourn Shampoo Colour Preserve: This is formulated with a potent plant-derived UV inhibitor for maximum protection against environmental free radical damage caused by UV light. The low pH locks in color and prevents premature fading for richer, vibrant, longer lasting color and shine.A few years ago, I dyed my hair a purple–maroon color. Since I was a lifeguard at that time I had no choice but to bake in the sun pretty much every day. After all that sun, my hair turned orange and definitely did not resemble its original color. Sounds like this product would have solved that problem…Sojourn Conditioner Colour Preserve: This product provides extra UV protection for colored, chemically treated hair as well as hair that has been overexposed to the harsh effects of heat, wind and the sun. Works just like Sojourn Moisture Conditioner.|
|Conditioner Colour Preserve, Sculpting Taffy, Shampoo Colour Preserve, Thermal Protection Straightener|
Sojourn Sculpting Taffy: I used a small amount on my hair while it was dry (you can use it on wet hair too). It added a little texture/separation to my layers and smells marvelous — like roses! This is an all-in-one sculpting tool that gives extra hold, shine and protection to long, short, or in-between styles. Contains maracuja oil, so it fortifies hair as it styles.
Sojourn Thermal Protection Straightener: I found this is a useful product. I have used it for the past week before I straighten my hair with a flatiron. In any situation, you should apply it BEFORE applying heat on dry hair. I sprayed it on my hair from roots to ends, one section at a time for maximum protection and moisture.
|Sojourn Wet/Dry Volume Gel: I took about a quarter amount of this gel and applied it at the ends to my roots. It left my hair weightless and soft. After blow-drying my hair it was like Va-Voom Volume! It works also in dry hair for a more piece-y look.So what was my favorite aspect about the entire collection besides the healthy effect it had on my hair? The scent. Floral, Herbal, Citrus…I got a surprise from ever bottle I opened. Trying out Sojourn was definitely a pleasant experience.|
|Modern Salon by Lauren Salapatek||Shampoo Volume, Wet/Dry Volume Gel, Conditioner Volume|
Copyright © 2009 ADRIANA SASSOON.All Rights Reserved.
“I have never been aware before how many faces there are. There are quantities of human beings, but there are many more faces, for each person has several.”
Rainer Maria Rilke
Styling is probably one of the most misunderstood professions of all. For many people, a “stylist” is merely a person who cuts hair and applies makeup.When one says,”I’m a stylist”,the first thing that comes into our mind is probably a beauty salon
a person who designs, creates, or advises on, current styles, as in dresses, shoes, make up, etiquette, photo soots, marketing campaings, editorials ;
Before the bob hair cut became popular in the 1920’s, women were confined to having long hairstyles that were swept up with combs or often worn with hairnets to keep their curls. The 1920’s changed all this when the constraints of the Victorian styles were abandoned.With the war, women were finally able to wear their hair short, thanks to the actions of Irene Castle, silent-screen actress, who started this popular haircut in 1917 to help with the war efforts. It was the promoted style to change the outlook of women that in the time of war, they did not have the time to spend on their hair and the style would help keep their hair from being tangled in factory machines. This style became the most demanded style in this time.By the 1940’s, however, long hair was back, with emphasize on the soft, wavy looks of the shoulder length style. It wasn’t until the 1960’s that the bob style became popular again. Women were back in the work force and they needed more manageable styles. Long hair did not fit the style of the working woman.It wasn’t long before the most influential hairstylist to date, Vidal Sassoon, helped to make the bob style more popular than ever by changing the cut of the bob style haircut.Sassoon and his creative director, Maurice Tidy spent time developing variations to the cut and before long, most women wanted their hair cut in the bob cut.This trend continued along into the 1970’s with the Dorothy Hamill cut that everyone seemed to copy. Even today, with the hairstyles varied, this style continues to be popular.The bob hair cuts of today are simply variations of the look created in the 1920’s. Four decades ago, Maurice Tidy worked with Vidal Sassoon in London popularizing the 1960s bob hair style.
There is nothing more simple and elegant than a Sassoon bob. And for a hairdresser, there is no cut more challenging to master. It requires perfect technique, meticulous attention to detail, and a keen understanding of hair texture and growth patterns. Just as many executive chefs test the skills of potential employees by asking them to make something as simple to prepare yet as challenging to perfect as the omlette, anyone in the hair business knows a true stylist is only as good as her bob. Indeed, the bob is the omlette of the hair world.Sometimes the higher-end the salon, the higher-end the snob factor, especially when you’re not a client. But despite the Sassoon name, despite the Beverly Hills address.They say that in the beauty industry, a successful hairdresser is 20% talent and 80% personality.
The style was, at first, shocking as women who previously prided themselves on long, luxurious hair, chopped off their locks in a show of independence and equality with men. The original style was worn straight and flat on top or waved with a Marcel iron.
A style is a ‘bob’ if it is cut with a weighted area falling anywhere from just below the ears to just below the chin.Although the bob has faded from the style front on occasion it has always been in the back-ground showing sophistication and class. Vidal Sassoon made such a hit with his severe and sculpted adaptation of this style that many think that it originated with him.The most interesting about the bob is that it has been updated and modified for many style trends but with each come-back, the original look is still as acceptable as the new styles.This style is adaptable to many facial structures and textures of hair. This, along with the ease of styling most adaptations are likely reasons for its tendency to keep reappearing on the style scene.
Over the years, the cut has been modified by adding bangs or taking them away, stylized by cutting one side short while leaving the other long, texturized, permed, waved, poofed and flattened, but it is always unmistakably a bob.Curly or straight, there is a bob haircut to fit just about every face and life style. So if you are looking for a new look that is sophisticated and stylish as well as appropriate for the office and easy to care for, there is very likely a bob that is perfect for you.
The Quant: Sixties designer Mary Quant’s slick pageboy cut was a variation on Vidal Sassoon’s classic angular bob.There were other mod idols, too. Learn more about Mary Quant, a fashion designer who claimed to have invented the miniskirt. She and her husband were a driving force behind 1960’s “Swinging London.”
The Twiggy crop: The original supermodel was hailed as the face of 1966 when she went for a super-short boyish cut.
Twiggy really only had one look, but she took it very seriously. Although the mod fashion movement got its start in 1950’s London, it’s Twiggy who is frequently remembered as the face of mod. Mod fashion was streamlined and bold, definitively minimalist. Look for geometric patterns, startling colors, and hemlines cut well above the knee.With her short-cropped mod hairstyle, neat side-part, and long, dark lashes, Twiggy epitomized the streamlined grace that so many mod kids exalted.
Forget Twiggy: American model Peggy Moffitt is one of the most iconic faces of 1960’s mod fashion. The actress-turned-model, who became muse to designer Rudy Gernreich, redefined the high fashion look of the era. Her Japanese Theater-inspired makeup and signature hairstyle came to represent the strengthening bond between pop art and fashion.Moffitt started modeling when she began dating photographer William Claxson, whom she later dated. Unconventionally beautiful, Moffitt’s symmetrical, almost cartoonish face redefined the qualities sought in fashion models, paving the way for superstar Twiggy.Moffitt and Gernreich continue to influence the fashion world, despite Gernreich’s death in 1985. Moffitt’s look remains popular in the haute fashion world, and several vintage Gernreich designs were redistributed under the Japanese label Commes des Garcons in 2003.
Photo above is part of a bus stop ad for HAIRSPRAY, a funny and delightful movie that I saw over the weekend at the AMC Theatres at 68th Street and Broadway. This movie is an adaptation of the still-running 2002 Tony Award-winning Broadway musical of the same title, itself adapted from John Waters’ 1988 comedy film with Ricki Lake. Set in 1962 Baltimore, the film tells the story of Tracy Turnblad as she simultaneously pursues stardom as a dancer on a local TV program, “The Corny Collins Show,” and rallies for racial integration.
Review from the New York Times:
By A. O. SCOTT
That “Hairspray” is good-hearted is no surprise. Adam Shankman’s film, lovingly adapted from the Broadway musical, preserves the inclusive, celebratory spirit of John Waters’s 1988 movie, in which bigger-boned, darker-skinned and otherwise different folk take exuberant revenge on the bigots and the squares who conspire to keep them down. The surprise may be that this “Hairspray,” stuffed with shiny showstoppers, Kennedy-era Baltimore beehives and a heavily padded John Travolta in drag, is actually good.
Appropriately enough for a movie with such a democratic sensibility, there is plenty of credit to go around. Mr. Shankman, drawing on long experience as a choreographer, avoids the kind of vulgar overstatement that so often turns the joy of live musical theater into torment at the multiplex. The songs, by Marc Shaiman and Scott Wittman, are usually adequate, occasionally inspired and only rarely inane. And they are sung with impeccable diction and unimpeachable conviction by a lively young cast that includes Nikki Blonsky, Amanda Bynes, Zac Efron and the phenomenally talented Elijah Kelley.
Of course there are better-known, more-seasoned performers on hand as well, notably Queen Latifah, Michelle Pfeiffer, Christopher Walken and Mr. Travolta. But “Hairspray” is fundamentally a story about being young — about the triumph of youth culture, about the optimistic, possibly dated belief that the future will improve on the present — and its heart is very much with its teenage heroes and the fresh-faced actors who play them.
Ms. Blonsky, a ball of happy, mischievous energy, is Tracy Turnblad, a hefty Baltimore high school student whose dream is to dance with the city’s most telegenic teeny-boppers on “The Corny Collins Show.” Ms. Bynes plays Penny Pingleton, Tracy’s timid best friend, whose prim mother (Allison Janney) won’t even let Penny watch the show, much less appear on it. Mrs. Pingleton can scarcely imagine that her daughter will eventually fall for Seaweed (Mr. Kelley), part of a group of black kids whom Tracy befriends in the detention hall after school.
As Penny and Seaweed test the taboo against interracial romance, Tracy and Link Larkin (Mr. Efron), a “Corny Collins” dreamboat, take on the tyranny of slenderness. That “Hairspray” cheerfully conflates racial prejudice with fat-phobia is the measure of its guileless, deliberately simplified politics. Upholding both forms of discrimination is Velma Von Tussle (Ms. Pfeiffer), a television station executive who uses “The Corny Collins Show” — against the wishes of Corny (James Marsden) himself — as a way of maintaining the color line and promoting the celebrity of her blond, smiley daughter, Amber (Brittany Snow).
“Hairspray” does not seriously propose that Tracy and her new African-American friends face equivalent forms of injustice. But it does make the solidarity between them feel like an utterly natural, intuitive response to the meanness and arrogance of their common enemies. “Welcome to the ’60s,” Tracy sings to her mother, conjuring up the New Frontier hopefulness of that decade’s early years rather than the violence and paranoia of its denouement.
In freezing history at a moment of high possibility — a moment whose glorious popular culture encompasses “West Side Story” and the Twist, early Motown and Phil Spector’s Wall of Sound — “Hairspray” is at once knowingly corny and unabashedly utopian. On “The Corny Collins Show” Seaweed and his friends are relegated to a once-a-month Negro Day, presided over by Motormouth Maybelle (Queen Latifah). Tracy envisions a future when, as she puts it, “every day is Negro Day.”
What is missing from “Hairspray” is anything beyond the faintest whisper of camp. The original “Hairspray” may have been Mr. Waters’s most wholesome, least naughty film, but there was no containing the volcanic audacity of Divine, who created the role of Edna Turnblad. Divine, who was born Harris Glen Milstead and who died shortly after the first “Hairspray” was released, belonged to an era when drag performance still carried more than a touch of the louche and the dangerous, and was one of the artists who helped push it into the cultural mainstream.
Perhaps wisely Mr. Travolta does not try to duplicate the outsize, deliberately grotesque theatricality of Divine’s performance or to mimic the Mermanesque extravagance of Harvey Fierstein’s Broadway turn, choosing instead to tackle the role of Edna as an acting challenge. The odd result is that she becomes the most realistic, least stereotypical character in the film, and the only one who speaks in a recognizable (if not always convincing) Baltimore accent. (“Ahm tryna orn,” she complains when she’s trying to iron.)
A shy, unsophisticated, working-class woman, Edna is ashamed of her physical size even as she seems to hide inside it, as if seeking protection from the noise and indignity of the world outside. It is Tracy who pulls her out of her shell, and without entirely letting go of Edna’s timidity, Mr. Travolta explores the exhibitionistic and sensual sides of her personality.
Mr. Walken’s gallantry in the role of Edna’s devoted husband, Wilbur, is unforced and disarmingly sincere, and their duet, “(You’re) Timeless to Me,” is one of the film’s musical high points. Another is “Without Love,” in which the two young couples express their yearning with the help of some ingenious and amusing special effects.
There are, to be sure, less thrilling moments, and stretches in which the pacing falters. But the overall mood of “Hairspray” is so joyful, so full of unforced enthusiasm, that only the most ferocious cynic could resist it. It imagines a world where no one is an outsider and no one is a square, and invites everyone in. How can you refuse?
Lessons in Faith, Love and Looking Good
By: David K
According to PhoPhacts.net, “Being a heterosexual male hairdresser (H.M.H.) is almost like being god.” Francoise Marie Dubonet, the infamous Courtesan de Coiffure, declared one balmy English day to an unlikely assembly of crimpers and theologians in London’s Royal Parisian Hall, circa 1916. Philosophical Platonic thoughts continue, if we hold this truth to be self-evident, then as day follows night it also follows, being an H.M.H. from London’s “swinging mod sixties” with the surname Sassoon is being god.
Stay with the logic. If your first name happens to be Elan, as in panache, and your surname Sassoon, with the charm of your handsome father and looks from your charming and heavenly mother, then reason follows, YOU must be the prodigal son of god returneth home to Salonville, U.S.A..
Say Amen. Praise the Lord.
There’s only one slight blemish in the logic, one fine print detail omitted. The son of the father is only a heterosexual male H.M.; fact is Elan is not a hairdresser. Therefore, the common sense of it breaks down; the son needs a brand new bag and baby needs a new pair of shoes.
All homage, spirituality, ridiculosity and religiousity aside, as East Coast Director of Klinger Advanced Aesthetics, Elan Sassoon makes good use of his pedigree and entrepreneurial wiles overseeing the chain of nationwide salons, spas, medical centers, and hairdressing talents with the knowledge, history, and thicker than blood pumping blood through his veins passed down, as folklore would have it, from the father to the son.
I, meaning me, your humble narrator, became a haircutter for among other travel and financial motives to meet girls, chicks, women, broads, birds, dames, and ladies. All things being equal, though things are not equal nor are they fair, what was Elan’s raison d’être for getting into the hair and beauty game? Particularly after producing a run of successful film projects. Was it to carry on the family legacy, for the money, to meet women, or for some other more esoteric rationale?
“I enjoy producing films. My first movie ever was at Sundance and that was far out. They only take eight movies a year and we had the movie Café Society, that’s my pride and joy.” Another film, Homage, with Blythe Danner, was in the Cannes Film Festival for the Camera D’or. “We did very well with that film,” but he gets more excited about beauty than he does about profit and goes on about his gorgeous star in another of his movies, Brooklyn State of Mind, and “the drop dead gorgeous girl from Il Postino Maria Grazia Cucinotta.”
Love Lies Bleeding was with another A-List star Faye Dunaway. “That was the last film I did and then I had to make a choice. I was gone like three months, my wife couldn’t leave the country because she didn’t have her visa, and so she said to me, “Look, either you choose family or you choose your movie career.”” You can tell by the way he tells it, it was not an ultimatum and there are no regrets when he says, “So I said all right I choose family; I’m done.” Check this… I’m his wife’s hairdresser–good choice E; she’s a major babe.
“Then she said, “Good, let’s move.” And I said, cool; let’s move to Seattle. She said, “Why don’t we move to Miami?” I said, I don’t want to go to Miami; I’m going to Seattle.” His already sweet voice goes softer, “And she said, “Let’s just go look at it.” And I said, fine, you look in Seattle and I’ll go look in Miami and then we’ll make a choice.” All of a sudden a deep blue something washes over me like a romantic Tiffany Blue mist, though I’m certain he didn’t produce the new Capote. “She took me down to Cocoanut Grove, and like Coral Gables and South Miami, and y’know I was like, this is kinda cool.”
It’s at this point I inform Elan that he is but H.M. and Vidal and I are both H.M.H. –and with a tinge of a gloat explain what you have already read at the top of the story and the last thing I want to be is redundant or repeat myself over again repeatedly. He loves the H.M. designation and laughs. And I ask Elan, what have you learned from your dad?Not being a hairdresser what have you carried with you from him?
“The most valuable thing that I learned from him was surround yourself with excellent people. You surround yourself with excellent people and they will always make you look good. That was the number one thing he always told me. Bury the ego, look for the best people and you surround yourself with the best. That’s the key. Don’t always want to be the best, you know. You will be.” It makes me happy to know it was he who hired me.
The scope of his job encompasses recruiting talent to the actual physical buildings; non-stop cell phone calls, conference calls, meetings, bottom lines, and a neverending line of people needing to talk to or get next to the birthright heir to hair. “We (Klinger Advanced Aesthetics) have salons in twelve cities and I like the fact that we’re owned by Louis Vuitton.”
He loves the vision of the company. “Which is the 360 degree approach to beauty. It’s taking in everything about one’s self. Instead of just looking at the hair–it’s looking at their eyebrows, their skin, looking at all their features– it’s a whole package.” He represents, “Lots of salons will be opening around the U.S. and Europe.”
In the same way what it’s like to give birth, I’ll never know what it’s like to have such a recognizable name. How does it feel? What’s it like? He pauses and thinks thoughtfully and turns to the computer he’s been Googling his flicks and reminisces about the Faye movie. “Those were good years, um, I don’t know. As long as you take advantage of it in positive ways and not negative it can open a lot of doors for you, and you can help a lot of people. It’s hard to answer a question like that when you’ve grown up with it your whole life. I really don’t know any other way. I remember as a kid I was really shy and when I’d go to events with my mom and my dad I’d sneak in through the kitchen door of say the Beverly Wilshire Hotel at one of those black tie events instead of walking down the aisle.” He chuckles, “Going in through the back just to kind of avoid everything. Now it doesn’t bother me so much. It’s kind of nice, you know. As long as you’re grounded.”
So why did he get into the salon business? “There’s an incredible feeling, a rush, there’s an energy being around so many creative people in one place at the same time. There’s something special about being around people who want to help other people be beautiful. There’s a buzz and sense of joy.”
Given the opportunity to say one last thing and ask if there is anything he wants to say, he thoughtfully thinks and slowly says, “Peace.” A wonderful thought this holiday wartime season.