Iconic images from 25 years of the british hairdressing awards
Over the past 25 years, HJ's British Hairdressing Awards have produced hundreds of stunning images.
These are a selection of past winners of the British Hairdresser of the Year Award's favourite shots from their winning collections.
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Anthony Mascolo, winner 1988, 1990 and 1995
"From the early 80s I shot all my own photographs, but to create this collection in 1995 I enlisted the help of my friend Robert Lobetta.
"We came up with the concept for the shoot and Kay, Robert's wife, did the computer manipulation. This was in the really early days of digitally working with photographs and the results were exciting and new.
"The first four images were all based around a ladder with the models seen in double through the rungs. The second set of pictures were inspired by 'time' and the models appeared to be popping out of a clock, holding a smaller version of themselves.
"While the images were intricate and somewhat surreal, the hair was commercial and very typical of the kind of style I like to create - flattering, wearable and finished to show distinct texture and separation."
Andrew Collinge, winner 1993 and 1997
"This is one of my favourite images from my 1993 British Hairdresser of the Year collection. The photographer was the brilliant John Swannell whose work I've admired since I saw some of his stunning black and white photographs in Vogue magazine in the late 80s.
"I approached John to work for me and after a little persuasion he agreed. For many years we have worked on various collections together.
"This particular image combines what I believe is great photography, make-up and styling. For the hair I was inspired by the Issey Miyake top and tried to blend the texture of the material with that of the hair. But what makes the shot really work is the model's pose. Choosing a great model can make all the difference."
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Beverly C, winner 2001 and 2002
"I had already won the British title, so deliberately went for a completely different look in 2002. I wanted to have strong, geometric shapes in the clothes and hair with strong rich colours throughout.
"My previous collection was beautiful and this one was strong and graphic. I wanted to create graphic shapes with an internal softness that came out of it. It was a time when not a lot of people were using pieces to create images, so I used them to create graphic, soft texture.
"It is a strong image, but feminine at the same time. I think this image is timeless and has as much impact today as it had then."
Antoinette Beenders, winner 2004
"Vintage Texture is the name I thought suitable for my collection, because I shot the pictures with an original 10x8 camera - where the photographer places a cape over his head - to get the original vintage feel to the pictures.
"I drew my inspiration from some Paulo Roversi photographs I'd seen in New York on a trip to The States. I analysed the pictures and this how I came up with using the old camera. When you shoot with such a camera you need to enhance the shape and texture of the hair and make-up because everything comes out smaller on the photo than you see in real life.
"We also learned that using clothes with texture and metallics gave the pictures a more modern edge, hence all the sequins and metallic touches."
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Lisa Shepherd, winner 2005
"With a first shoot for British Hairdresser of the Year there is always a temptation to go and look back at past winners collections, to try to find the 'winning formula', but I remember thinking "I can only do the hair that I usually do".
"I have always wanted the hair in my shots to look real, achievable and with fabulous colour. I named the collection after I won the award. A journalist remarked that what they had loved about the collection was that feeling you could reach into the picture and touch the hair - so we called the collection Touchable."
Andrew Barton, winner 2006
"This is one of my favourite shots and it has made front covers around the world. HJ used it for the cover of the Salon International supplement and people still tell me how much they loved it.
"I love working with hair to create fresh imagery and this shot had all the hallmarks of the Barton brand - it was gorgeous and sexy. It was one of those great shots where everything comes together. I love it!"
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"My Signature collection incorporated strong hair shapes, combining geometry with beauty. I was influenced by the spectrum of different hairdressing techniques and iconic imagery of the mid-60s.
"With this image, the photographer has captured the mood and character of the model and the moment. With the weft showing, it becomes very editorial, so shows hair as a vital part of fashion. For me, hair is just one part of a photograph - mood, styling and body shapes are very important in creating iconic images."
