From working on photo shoots and Fashion Week to television and celebrities, the opportunities in the industry are endless. Ultimately, it’s up to hairstylists and beauty pros to decide where—and how far—they want to take their careers.
Session work offers a different type of creativity, enabling you to refine and expand your skill set through its fast- paced, high-pressure environments. It can also provide more exposure and recognition as you build your work portfolio. However, no matter what your reasons are for venturing into session work, it requires a commitment and hard work to be successful.
“The success of a session hairstylist is 10 percent about getting a lucky break and someone giving you that chance; the rest is about hard work and everything you’ve done behind the scenes to represent yourself,” says Cindy Duplantis, a celebrity hairstylist who works with Redken and Chatters and a hair expert on The Marilyn Denis Show. “Taking the time to shadow, assist and watch others in the industry can be so helpful and is crucial to starting your career in the session world.”
1.Photo Shoots
Creating hair for fashion shoots and advertising campaigns is very different from creating hair for a client behind the chair. Since you’re often working with a brand or magazine on these projects, it requires more of a collaboration than some artists are used to. The difference is that you will have to manage different demands from people on set, which can range from creative directors and wardrobe stylists to models and managers.
For Kevin Hughes, a Los Angeles- based editorial hairstylist and global artistic director for Moroccanoil, his journey started on his own accord through collaborating, assisting and taking every job he could, and he recommends that others do the same.
“I needed to create a portfolio to send to agencies, so I started collaborating on shoots with other hairstylists, makeup artists and photographers to create work for us to showcase,” he says. “I was able to network and build a lot of connections that way, too.”
There are many reasons to consider becoming a session hairstylist, and for Duplantis, she pursued a career because of her love of finishing hair. She says she would practise updos on anyone who would let her, which led to her working on her own photo shoots.
“Doing hair for editorial is very different because, in a picture, your vision and work changes,” she says. “When you’re creating hair for an image, it’s two-dimensional versus three-dimensional. This can benefit you because you can do things that give off an illusion in the photo, but it can also be difficult at first because you aren’t used to thinking about how hair is going to look from behind the lens of a camera.”
“When you’re doing hair for fashion or editorial shoots, it can be really loud,” adds Robin LaChance, a hairstylist at Tinted Love Hair Studio in Barrie, Ont., and an educator for Schwarzkopf Professional. “In the salon, the hair kind of whispers or talks to you, but for photo shoots, it’s more of that artistic expression, so it’s screaming at you in a way. Editorial work allows you to take those shapes and silhouettes that you like and exaggerate them to make them more creative, fun and eccentric.”
PRO TIP
DUPLANTIS SHARES THAT “LESS IS MORE” WHEN IT COMES TO PRODUCT USE ON SET. IT’S A LOT EASIER TO ADD MORE PRODUCT TO THE HAIR THAN REMOVE IT IF YOU USE TOO MUCH. KEEP IN MIND THAT PRODUCT CAN SHOW UP IN THE IMAGE, SO YOU DON’T WANT TO USE TOO MUCH.
Part of the process of creating editorial work is training your eye to see what a camera sees. Luckily, in a society where cellphones are at our disposal, this can be done in many ways. When scrolling through magazines or social media platforms, take note of elements like lighting and angles and how those affect the hair in the image. Another great way is to start photographing your own work, even with just your cell phone, so you can see the differences between what the hair looks like on camera and what it looks like in person.
Another tip when working with brands on photoshoots is to discuss the overall vision in detail and make sure that you’re asking the brand questions and taking notes to ensure that you’re on the same page.
Practising as many looks as you can to prepare yourself for editorial shoots is always a good idea. You won’t always know who your model is or what their hair type and texture will be. Knowing how to create a wide range of styles on all hair types and textures will ensure that you feel confident in the work you’re creating and give the brand or company you’re working with confidence in you, too.
“If you’re new to the scene, familiarize yourself with a few different styles that range from straight to textured to structured on long and short hair,” says Duplantis. “Having those looks on your phone is a great way to go about it because you can show brands what you can do.”
2.Competitions
Much like editorial shoots, photo competition work requires a lot of work and training, but the key difference is that you can start the process yourself and can have full creative control on set.
For Melita Campellone, the Contessa 2022 Session Hairstylist of the Year winner and Quebec-based educator for Oribe, her competition journey started because she was in search of something more. “I wanted a new challenge, and since session work isn’t something I get to do behind the chair, I knew I needed an outlet to do it,” she says. “A lot of thought, work and organization went into my collections, so sometimes I would have to remind myself of the reasons why I started. But I would see the work I was capable of creating and, all of a sudden, I was reminded why I started in the first place. The feeling of excitement is such a rush.”
“A lot of stylists right out of school want to jump ahead instead of doing things for free or working as an assistant, but that’s really how you build your confidence, gain experience and make those connections.”— Cindy Duplantis, Celebrity Hairstylist and Hair Expert on the Marilyn Denis Show
In addition to the creative freedom of taking a small idea and turning it into something much bigger, participating in competitions provide a chance to connect with other stylists and brands in the industry. This allows you to get your name out there and may even open doors for other opportunities in session work.
“I’ve been given really big opportunities in my career because of my creative, editorial and session work,” says LaChance. “I’ve been able to create my own classes and through them, I’ve connected with a lot of like-minded individuals, both nationally and globally.”
When working on a shoot for a competition for the first time, there are many things that you can do to make the process less overwhelming. “Choose a team that you feel supported by because you need people to lean on,” says LaChance. “Take things off your plate so you can focus on the hair and ideas. If it’s not working, don’t be discouraged and just pivot to another direction.”
“I would recommend starting by attending and researching the competitions that you want to enter and seeing what they’re all about,” says Campellone. “Find out who the winners are and look at their collections so you can see what quality of work the judges are looking for.”
“While it can seem overwhelming, decide what categories you want to enter to give you guidance,” she adds. “That way, you can create a plan and learn what requirements your work has to meet.
The rest is all about being creative and opening up your mind to let things flow, even if they don’t fit with your original vision. Be prepared to go with the flow.”
Regardless of whether you win or not, there are many lessons that can be learned through competition shoots. From learning how to collaborate and expand your portfolio to trying something outside the box and letting your creativity roam free, competitions can help you advance your craft. “Don’t create just to win trophies; create for yourself,” says LaChance. “If you create what your heart and eyes like to see, it’s always a win. Art comes from passion fuelled by love. If you only shoot to win, you will miss out on all the best parts of making a collection.”
“Find a good mentor, and ask them for help. I always thought that stylists guarded their creativity. I didn’t realize that you could just ask someone and they would tell you how to do something.”— Robin Lachance, Ontario-based Stylist and Educator for Schwarzkopf Professional
3.Celebrity Hair
While working with celebrities may be a dream for some (and a nightmare for others), it can be a great way to get your name and work out there while showcasing your skill set. And as much fun as it can be, it’s important to remember that it requires hard work that often demands long days, early mornings and high expectations and involves working with a wide range of personalities.
“When I was first starting out, there weren’t any big agencies for stylists in Vancouver, so I started volunteering my time and working with makeup artists and fashion stylists, which really allowed me to get my name out there,” says James Valiant, a celebrity hairstylist and instructor at Suki’s in Vancouver. “Through that experience, I learned that the session hair industry is so small, and they like to use the same people. That’s why it’s a good idea to start by assisting and doing things for free so you can network.”
“I think session work offers a different type of creativity, and I think it also allows you to diversify your skills,” he adds. “I have the most fun working with celebrities when they are going to events because I work with the makeup artist, fashion stylist and creative director, and I really love the collaboration.”
While working with celebrities comes with its perks, it’s not all about the glitz and glamour. Remembering to treat celebrities like any other client and respecting that they have a lot going on comes with the territory. “You really have to respect the person,” says Hughes. “I don’t ever ask too many questions or ask for photos, and I try not to talk too much because they have a lot going on. You want to be respectful of that and realize that it’s not the same environment as a client that comes to you in a salon. Have that etiquette, to you in a salon. Have that etiquette, respect their talent and remember that they aren’t a friend.”
However, one thing that is similar to in-salon clients is the importance of consultations. Duplantis says that asking the right questions is the key to getting celebrities to trust you. “I ask for details about what they’re wearing, their accessories and the vibe they’re going for, as well as their preferences about their hair, like where they like to part their hair and things like that,” she says. “The consultation part is just as important, and that’s when you have to treat the celebrity as you would any other client. If anything, you have to give them a little bit more love because they’re nervous. By asking the right questions, you’re giving them value and getting on the same page as them. Plus, you’re showing that you are confident in your abilities, which, in turn, will give them confidence in you.”
As for the actual styling of celebrity hair, foundation is key. Learning how to make a style last is imperative because most of the time stylists are doing the hair hours before the actual event. “A lot of people don’t realize that foundation really is everything because you need to create styles that last,” says Hughes. “Learn those foundations on all hair types because every hair type is different, certain hair types require certain care, and you want to know how to be able to do that.”
PRO TIP
WHEN WORKING ON SET OF A TV SHOW, TAKE AS MANY NOTES AND PHOTOS OF YOUR WORK AS YOU CAN, SO YOU’LL KNOW EXACTLY HOW TO RECREATE THE LOOK.
“Those old-school techniques need to be learned because those are the skills that have been proven over time to work,” adds Valiant. “Curling irons are great, but they’re only good for a certain look. If you have those foundational skills, that can really push you to the next level. Know your basics: roller sets, backcombing and finger waves.”
Valiant says it’s also important to be comfortable working with hair pieces and extensions. “So many celebrities use wigs to change their looks, and they do it very often, so being knowledgeable and able to use them is very important.”
“You have to build those connections, not just with other stylists but with other photographers, makeup artists and fashion stylists. the more connections you have, the more experience you get and the better you become.”— James Valiant, Celebrity Hairstylist and Instructor at Suki’s in Vancouver
4.TV and Film Work
Another route you can take in the session world is to work in television or film. Being an on-air expert allows you to be in front of the camera, while working on hair on TV or film arts enables you to showcase your skill set behind the scenes.
“I had an opportunity to do the hair for a television pilot and it gave me an interesting perspective because the work you do is different than other session work,” says LaChance. “You have to make the hair look exactly the same for about 12 to 16 hours in the day, so continuity is a huge thing. I had to remember not to be too elaborate and out there with my ideas because I had to be able to recreate that multiple times in a day or multiple days in a row, and I had to prepare myself to stare at the same thing all day long, which is very different than photo shoot work and working behind the chair.”
“YOU HAVE TO BE CONSCIOUS OF HOW YOU PRESENT AND CARRY YOURSELF ON SET BECAUSE THAT COULD BE THE DIFFERENCE BETWEEN BOOKING ANOTHER JOB AND NOT.”— KEVIN HUGHES, EDITORIAL HAIRSTYLIST AND GLOBAL ARTISTIC DIRECTOR FOR MOROCCANOIL
“As a hair expert on television, I’m working in front of the camera to share my knowledge with the audience and I’m also working with clients on camera,” says Duplantis. “I like to tell people that you have to remember that you’re a hairstylist first.”
Duplantis adds that when working with TV clients on camera, she always does a full consultation so she can get to know her client and what they want, just as she would in a salon environment. The key difference is remembering not to do something drastic to the client’s hair. Just because it’s going to look good on television doesn’t mean it’s going to work for the client on a daily basis.
“You also have to keep in mind that when you’re working with a client on television, that’s their first time being in front of a camera in that way,” she says. “You want to make sure you’re walking them through the process completely to make them comfortable and confident. I like to give them a little bit more coddling than a client behind the chair to help take those butterflies away.”
Getting used to talking to a camera is also part of the job. While it can be nerve-wracking for anyone to be on television at first, taking every opportunity to speak in front of people and practise before your debut is a good idea.
5.Fashion Week
Hairstylists who are hired to work backstage at Fashion Week have to be able to thrive in a fast-paced environment while also work collaboratively with designers and makeup artists on the overall look.
“I began by assisting at New York Fashion Week, and it’s a great way to learn about the whole process and get used to how everything works,” says Hughes. “One of my best pieces of advice for any hairstylist who’s looking to do the same is to make sure your ego is checked. A lot of people go into this wanting to be a star and, while it could happen, you have to remember that it’s a lot of work and you need to be open to learning. Keep your mind open, watch the main stylists like a hawk, and pay attention to everything that’s going on. Taking all of the information and then being able to apply it to your own process is priceless.”
Staying up to date with your education is imperative to help you advance your career and get noticed by brands and designers. Not only does education help you keep up with trends and techniques but it can also help you get comfortable working with others.
“It’s about being able to create someone’s vision without just copying it,” says Hughes. “I realized that you have to work with others. It really does take a village, and you need to hear other people’s point of view and be open to that.”
“I’m also a perfectionist, which was another challenge for me because I learned that you have to pivot or change things sometimes,” he adds. “I learn something at almost every show because they always ask things of me that have never been asked before. While this work comes with press coverage that is great and allows me to continue to expand my portfolio, I think one of the greatest things about this type of work is that it can inspire others and spark creativity in them.”
PHOTOS: HAIR: CONTESSA 2023 FINALIST, TEXTURE HAIRSTYLIST, ROBIN LACHANCE, TINTED LOVE HAIR STUDIO, BARRIE, ONT., MAKEUP: FLORENCIA TAYLOR, PHOTO: PAULA TIZZARD, HAIR: KEVIN HUGHES, MAKEUP: MIHO SUZUKI. WARDROBE STYLING: RUDY ROCHA. PHOTO: E&G PHOTOGRAPHY
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