Harper's Bazaar Beauty
"I believe in GEOMETRY of life. I believe in TEXTURE revealing the essence of life. I believe in COLOR, the intensity of life. I believe in discernment of STYLE. I believe in extravaganza of FREEDOM. This is HAIR"
PP: In a recent editorial, you celebrated colour like perhaps never before.
NJ: Yes, I received an extraordinary proposal: carte blanche to do a hair story for an international edition of Harper’s Bazaar, which has always pushed boundaries in subjects devoted to beauty, it was a perfect opportunity for me.
PP: A TV hairstyle, a performance hairstyle?
NJ: If you like. Although I don’t really make a distinction between this type of experiment and the traditional, tactile manner that is usual in my work. The problems posed by this shower hairstyle are practically the same as when I work on a hairstyle with my hands to bring about volume, to repair something that was forgotten, to rein in a rebel lock … For this session I wanted to replace the actions of my hands and fingers with the snipping and raining of extensions.
Harper's Bazaar Model: Stef Van der Laan. Editor: Melania Pan. Photos: Nico Bustos. Hair: Nicolas Jurnjack. Makeup: Jordi Fontanales
Excerpts: Chapter 19 "Raining Hair" fromIn the Hair: A fashion hairstylist's journey of creativity In the Hair: Parcours creatif d'un coiffeurby Nicolas Jurnjack
Available in English at Amazon Disponible en Française à FNAC et Amazon
PP: So, you experimented with a rainbow of hair?
NJ: You could look at it like that. I laid out my colours one after the other. First blue, then red, a brief return to blue – but a turquoise blue – followed by orange, yellow, pink and finally violet.
PP: ... cuttings of white hair punctuate some of the styles. What is their role?
NJ: White revives, it illuminates, it highlights.
PP: As they fell, the hair cuttings covered the model’s head? Were it not for those dangling on the sides or those that fell on her shoulder, you would have sworn it was her own hair.
NJ: Yes, and you see that the hair on her shoulders has as much importance as the hairstyle itself. In a classic, “normal” hairstyle, the hair sometimes rests on the shoulders. I meant to make this resting hair, which generally adorns the skin of a model magnificently, exist in a new manner. The hair cuttings responded to this wish.
PP: For this type of work, do you know when to stop?
NJ: Yes, when the hair style is in danger... when the tipping point that threatens the entire construction is reached I stop.
PP: Why this taste for the unforeseeable pushed to its outer limits?
NJ: To remain attentive to developments that are liable to occur outside my own action.
I start off with an intention, but I allow chance to get involved in the course of the action. I do not see chance as something harmful or hostile. In the end, my hairstyle responds to an order, which is beyond me but in which I participate. The result is a hairstyle that is less “expected”, much freer and which has all the flavour of the unusual going for it. Creating that hairstyle, the least “directed” one of all, was like looking for the harmony before starting up the music.
PP: This stands out from all the others. This time, the hair cuttings do not fall on the head, they fall from the head. Please explain it to me.
NJ: I started off with the idea of a standard, hyper-classic look: a long bob with a fringe on the right of the forehead.
From there I wanted to make a breaking point visible: that exact moment when the hairstylist cuts the hair of the client in front of the mirror. I had a desire to tell all that, no longer by cutting above the head of the model, but by cutting into the hair cuttings with which I’d covered her head. The hair does not fall to rest on the head, it already forms the mass into which I cut. These angular cuts and layers that make up the look came out in just a few scissors snips, brief, quick cuts.