ONE-ON-ONE by Shelley Moench-Kelly by Mike Nave

What Becomes a Legend Most? Two legends create lightning in a bottle. Michael Gordon, founder of Bumble and bumble, pays homage to the master, Vidal Sassoon.

FROM HUMBLE, DIFFICULT BEGINNINGS IN A brilliant hairdressers. So from that, we got to know London orphanage to soaring heights of success as each other, and I went on book tours for the book and hairdressing royalty and a Commander of the British then decided I’d do a film for him. Empire designation from Her Majesty the Queen, as well as most recently receiving the Hair Icon Award You started Bumble and bumble in the 1970s at America’s Beauty Show in Chicago last March, when pop culture, music, politics and more were Vidal Sassoon continues to create, innovate and changing drastically from one minute to the next. inspire with no stopping in sight. He apprenticed How do you think that influence affected how you do with Adolph Cohen and later studied under, among business and how you approached this film? others, the flamboyantly dashing Raymond “Teasie Well, I think the world’s always changing. The benefit Weasie” Bessone. He was contemporaries with Har- when you’re younger is that you don’t realize how old Leighton, Leslie Green and Gerard London. hard it is so you just go ahead and do it anyway. My In the 1950s and 1960s in his Bond Street, London logic with Bumble was that I thought I could do a salon, he shot to the stratosphere of fame with his product business and nobody talked me out of it! edgy, geometric styles, including his revolutionary And it worked. At the time it didn’t intimidate me five-point asymmetrical cut. In the 1970s, he debuted too much. And so the point of the film is that Vidal to huge success in the United States with salons on and I feel that it’s good for younger people to see this Madison Avenue in New York City and later in Los film so that they can see what really is possible. When Angeles. Sassoon then launched his namesake line I was a 15-year-old apprentice, I imagined that being of haircare products with the declaration that, “If 40 was like being 100. I didn’t think that anyone could you don’t look good, we don’t look good,” and in even walk around at 40 or even do anything. I think the 1980s debuted on TV with his own show that Vidal Sassoon with managing editor Shelley Moench-Kelly too, as we were tinkering around with the film, that focused on health and beauty, and opened teaching at the Los Angeles premiere of Vidal Sassoon The Movie we’ve been through such a terrible financial crisis and academies that are now international. His clients ran that the film would be good for kids—I think of kids the gamut from the everyday woman to Mia Farrow, BSB: Michael, Vidal Sassoon is like the Lennon and being between 15 and 30 years old—that it would be Elizabeth Taylor, Grace Coddington—a former Sassoon McCartney of the beauty industry. What was it like very encouraging, that it might give them some inspi- model and currently the creative director of Ameri- when you began your collaboration? How did you ration. It seems that many people are emerging from can Vogue—as well as fashion designer Mary Quant, overcome any nervousness or fear? viewing the film really inspired. Nancy Kwan and model Peggy Moffitt, to name a GORDON: The first time I met Vidal was in the late few. In more recent decades, his influence revealed 1980s. I attended this big haircolor event in Miami; I How have you seen the industry change a deeply philanthropic side, including outreach think it was called Haircolor USA. I knew he was going since you first started? Is it better? Is it worse? to Hurricane Katrina victims with Hairdressers to be there along with other well-known hairdressers, I’ve not seen much change. I’m not impressed that it’s Unlocking Hope—an initiative to help Habitat for and I wanted to take portraits—their photo- changed in a good way. I would’ve thought it would Humanity build homes in partnership with low- graphs—to raise money for a charity called Hair have improved over the years. We were not against income families displaced by the tragedy—and the Cares for people who were suffering from AIDS. So having industry sponsors for the film, and there were Vidal Sassoon International Center for the Study of that’s when I met him. I took his photograph and two major hair companies we thought would sponsor Anti-Semitism and Related Bigotries at the Hebrew chatted a bit, and eventually, the pictures were well the film. And they didn’t. You can draw your own University in Jerusalem. So who better to produce received and that gave me the idea for Hair Heroes. conclusions. So you wonder what the industry is really a film about the legend than an industry leader in I used to talk about the book at the school we had doing for hairdressers ... what they’re really thinking. his own right, Bumble and bumble founder Michael at Bumble and bumble. People would always ask me Gordon? Beauty Store Business had the rare opportu- who my favorite hero was. And my answer was Vidal Was this movie your first foray into filmmaking? nity to chat with Sassoon and Gordon and attend the because he’s just in a different league from everyone Well, we used to make films at Bumble. We had a

sold-out Los Angeles premiere of the movie. else, which is not to say that the others weren’t also tiny film department and we’d done a version of RELATIONS PUBLIC WEST 42 OF COURTESY IMAGES

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Hair Heroes on film, but this was the places we’d like the movie to go because first serious film, absolutely. there’s practically no hairdressing salon in Japan that wasn’t taught or influ- And how did you find the experience? enced by Sassoon. Culturally speaking, Was it terrifying or something that Japan is amazing because they have felt natural? incredible skills and a need for perfec- It was both. It was a natural thing to do tion. For years and years, they would because I thought, essentially, [that] literally fill jumbo jets with hairdressers what I do is produce. Bumble was a pro- who wanted to study at Sassoon Acad- duction in certain aspects, so I wasn’t emy. It was huge. I think every hair- that intimidated until we got into it and dresser should see and own it and watch I realized how hard it is to make a good it twice a year. And their families should film and how important it is to get it watch, and they should feel proud. right. Because if it’s wrong, it’s terrible. So there were tough moments. It was In your opinion, is it harder to make really like four years of running a new a movie with a living subject or business that you don’t have much of an one who is unable to collaborate idea how to do. or provide input? It would be really difficult if the There’s an adage: It’s completely differ- subject was not around to collabo- ent to be friends with someone than to rate with. You have to do so much work with or for him. What was it like research [and it’s all second and third to work with Vidal? hand]. So I do try and catch them He was just a pleasure. He was just while they’re still alive (laughs). fantastic. He never criticized, never really interfered and was always sup- Sassoon’s client list ran the gamut from every woman to stars of the stage and screen, including portive. Only afterward when we’d Broadway maven Carol Channing. improve things would he say, ‘Yes, that’s much better now,’ you know? And as a dous company called Bumble and you’re going to need one heck of an performer, he was just brilliant because bumble, really superb. In fact, Estée editor.” It truly taught me how to he’s just very giving. And he’s used to Lauder got involved and eventually it write a book because everything I’d it so he knows how to go on camera. bought the whole thing out. I knew done before was with a ghost. And It helped a lot. And I’m probably his history, and we’d been friends for I just wanted to get my own voice tougher on myself than even Vidal some years. Once I knew that about down; to get the feeling of the way was; so working with him was easy. him, I figured we couldn’t go wrong. I felt at the time—as a child, young You know what it’s like? It’s like Tom age, middle age and now ... super This project began as a personal Ford (the designer mastermind who age! I think this film is one of the tribute to Vidal. How did it turn into turned Gucci from a $230-million best things we’ve ever done because a full-fledged film? company to a $3-billion enterprise in it can go to young hairdressers—in Yes, it was an 80th birthday present about 10 years). Whatever Tom turns fact, not just hairdressers, it can for Vidal. I don’t like to do things to is done well because that’s the go to young people and hopefully unless I try to do them well. I didn’t only way he can do it. So I truly just give them inspiration. You can’t realize what we were doing as we were left it to Michael and Craig. I wasn’t ask for more than that. I thor- working on it and by the time I did, Vidal, with such an illustrious, in on the editing, and there was a oughly enjoyed myself. Otherwise, I it was ‘Oh dear, this is a real film!’ So awarded career that includes a good reason for that—I was writing wouldn’t have done it. your expectations go up and I think Commander of the British Empire title, we were all really ambitious and he how does this film compare to other had very high expectations for this. milestones? Please describe the film- “IT WOULD BE HARD IF THE SUBJECT making experience. Do you have any more SASSOON: Michael Gordon put so WAS NOT AROUND. I do try to catch collaborations planned? much into this film. He and Craig There are some people who I worked Teper, the director, just did a superb them while they’re still alive.”— with at Bumble who are no longer job. Even though Michael is a close, there that I’m collaborating with on close friend, had I told him it wasn’t MICHAEL GORDON products. So yes, more is to come, but for me, he would have understood. they’ll be short films—not like this But we jumped into it with enormous my autobiography (Vidal: The Autobi- There seems to still be a faction of hair- one—just mini films on some very enthusiasm. And of course, the edit- ography was released last month.); not cutters who think they’re stylists just interesting people. ing—because they took so much film with a [ghostwriter]. I did it myself. because they can cut a client’s hair and in so many different cities—was left to I was in London and the agency said fix any mistakes with product without The film is currently in limited Craig and Michael. It was a birthday they’d find the best ghost, and I said, a focus on true aesthetics or the true distribution. (At press time, it was in present for my 80th birthday. So four ‘No, no, no. I’m doing this myself.’ engineering of haircutting, New York and Los Angeles.) What are years later, here it is. It really wasn’t They asked if I could write, and I of hairdressing. your hopes for it beyond it being a a surprise. You see, Michael came told them I’d just send them some I love what you just said, because it’s labor of love for Vidal? over to the states as a London kid, stuff. So I did. And they called back all true. We didn’t try to glamorize There’s a demand. Japan is one of the the same way I did. He built a tremen- and said, “Yes, you can write, but anything to the point where it was

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ridiculous. There were ups. There and film and then we did two hours of were downs. With haircuts, we studied Q & A in a back room. It was fascinating for nine years—from 1954 to 1963— because the questions were so intuitive. I the engineering and architecture of loved working there. It was a total joy. how to cut the hair before we even got One of my most famous clients was to the five-point cut. (Sassoon’s quest Mia Farrow. There was absolutely enor- for perfection made itself known in mous publicity and, of course, she was the early days. As noted in the film, married to Mr. Sinatra at the time. I if a cut didn’t go the way he wanted, was known on the fringes, [by that I he would throw his scissors and storm mean] the Paris circuit, the Milan cir- out of the salon.) “Well, yes,” he cuit, the New York and London circuits, remembers. “Once I threw my scis- and it was lovely doing all those shows. sors, and they stuck in the ceiling,” he Because of who she was and who her recalls, smiling at the memory. “But husband was, there was so much televi- that didn’t happen often.” I love what sion, so much magazine and newspaper Montagne said: “However high you coverage [of the event] that she literally think you sit on the throne, you’re helped me [reach] Middle America. still sitting on your own behind.” I Without Mia, it would’ve taken a lot think that’s just superb. And I think many years ago—about 40—I had about yourself, really. And I think longer to become well-known in Middle you always remember that and strive my own show here, and we did 200 that’s been true all along. You have America, and I realize that and have for the next step and what’s coming of them. I enjoy television. We had a to laugh at yourself. But the mistakes always thanked her. after and not just congratulate yourself lot of fun. I like the fact that there’s you make, take very seriously. They’re The two decades of greatest influ- for what you’ve done. It makes life so awareness about this. It could have the ones you need to look at seriously. ence in fashion [and beauty] in the last exciting. And without some excitement just died a death. Who’d be inter- Ask yourself, ‘How can I direct myself century are, I’d say, the 1920s and the in life, what is it? ested in a hairdresser? That kind differently [so that I do] not make that 1960s. In the 1920s because of the flap- of thing. But there seems to be an mistake again and move forward in the per look and because of the hairdressers It must be a relief to have creative awareness. We sold out completely craft?’ I really feel it’s a craft and an who tried to get the haircuts looking people around who you’re so close [for the premieres], and I get to do art form. It’s not just doing somebody’s absolutely beautiful. Some of them suc- to—who you can entrust with your questions and answers. It’s exciting. hair. Although, when somebody walks ceeded. There was this whole wonderful personal story. atmosphere of change. Real change is Yeah, you’re absolutely right. There’s so important, and the 1920s broke away this echelon of people who know what “YOU HAVE TO HAVE A SENSE OF and became an extraordinary decade. they’re doing, do it well and give a Then came the depression and the war, lead. And I had no problem in leaving HUMOR ABOUT YOURSELF ... BUT and there was still rationing in Britain it to them. It was a huge weight off my in the 1950s, so nothing really new was shoulders because I was spending four the mistakes you make, take very happening. Then suddenly in the 1960s or five hours [a day] trying to write [beauty and fashion] burst through. We a book that had been red-penciled seriously.”—VIDAL SASSOON went through the bob and worked with so many times by my editor, but Nancy Kwan and asymmetrics. It was just eventually we got it out. Macmillan To have the longevity that you’ve out feeling marvelous—and there are a lovely time. But we really had to teach in London [released it in April]. So enjoyed is a rarity. Please share with us some super cutters all over the world ourselves how to cut hair properly. They we’ll have the film and the book to some highlights. now—there’s a wonderful feeling for got it all in the 1920s except the cut. But run around with. I used to be called an icon. But the hairdresser. He feels [that] he’s the look was superb. Then in the ’60s, now people say, “Who’s that guy? doing something worthwhile. It’s a very you had major stylists here in the states Do you ever tire of the notoriety? I thought he was a bottle!” I think intimate relationship that we have with and Mary Quant in London, but so Well, of course there are days when you have to have a sense of humor our clients. I used to have to tell some many countries were left behind. you wake up and feel like you don’t of my clients—some who talked quite Our [flagship] salon on Madison want to do anything except lie in a bit—that they either wanted a good Avenue in New York City came about bed. We were in New York [for the haircut or they really wanted to just sit because in 1964 I was doing a show in film] working every day and then and have a chat. They chose the haircut. Paris with Claire Reynolds and Norman back [in Los Angeles] and it seemed Longevity is obviously something you Parkinson. Claire found three models like it was all follow-through. But I build over time. [We’ve built] a great who [weren’t related] but who looked find that the adrenaline works over- team [and] we have superb teachers exactly the same. I invited them to be time. And you know your subject who [teach] at the academies. [We] my models in a show I was doing in New matter—you can have so much fun then opened it up to the world. Just a York. We worked on them all week and with it. Truly, you can get to the couple of months ago we opened our got some really nice shapes. Without serious parts in trying to explain second academy in Shanghai, China. being presumptuous, they looked good. the art form of hairdressing. It’s Asians absolutely love the cuts. They The show was on a Sunday. I thought the only substance growing from love the work. And they’ve got marvel- ‘Come on! The press don’t come out on the human form that you can cut, ous hair for it. We did shows in Tokyo, a Sunday!’ And 14 hairdressers from 14 shape and create ... so many artistic Beijing, Shanghai, Seoul, South Korea. I different countries—one from each— movements. Or you can get into can’t tell you. The show we did in Beijing and hundreds of hairdressers turned some very funny bits, and either was like the first night of [Yves] Saint up at The Pierre Hotel New York. Then way have a very good time. And tele- Laurent. I had never seen so many press. I found out that the next day, Monday, vision doesn’t faze me either. Many, They were very clever; they took pictures was when all the beauty editions came

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out. It was absolutely perfect timing because we’d gotten our work ready— the geometric cuts and the angles and everything—and those three girls really enticed the press to come and take pic- tures. The following day—in those days, there were about five newspapers in New York—we were well represented in each paper. It’s very hard to talk about your- self sometimes. I don’t mean to sound presumptuous. I got a call from Richard B. Salomon, who was the chairman of the board at Lanvin-Charles of the Ritz and who owned Yves Saint Laurent fra- grance. He was a man who had gone to the Paris-Sorbonne University, and I’d been a 14-year-old kid who had no edu- cation at all. He was a charming man, and we talked for two hours. He just and they were absolutely brilliant said, ‘I like this. I’m going to buy a build- hairdressers. When I went to New York, ing on Madison Avenue. You send me one took over as artistic director here your architect. You train a team for one and one took over as artistic director in year and then we’ll open up in New York London. They did better than I did! So together.’ And one year later almost I think having a superb team around to the day, we opened the salon, and you always is so important. It cannot be that’s how I came to the states. So there done by one person. is a certain amount of luck attached to longevity! I guess that’s why I’m here Is there one thing our readers would now. And I’m so thankful. We already be surprised to discover about you? had two nicely put salons in London and Well, I love my mum. The last 20 years were teaching, so it was a nice business of her life she spent here with us in the there. But it was the products eventually states and enjoyed our success. Life that really made cash. Don Sullivan was was very hard for us in the beginning, first a chemist with Paula Kent. He and and she had to put us in an orphan- I developed the Vidal Sassoon product age for a while. But then things got line. It’s terribly hard with the salaries better. We were doing shows in Milan you pay to run salons so that they truly and my mother called me—she was 75 make cash. Of course, they do well, years old at the time—and wanted to but products are something differ- join us. I told her I’d be working and ent. It’s been exciting—the talent of that I wouldn’t have time to show her my team—the essence of the fact that, around, but she came anyway. And on worldwide, hairdressers wanted to learn the first day, she broke her leg and was our methods. I think that’s the greatest in plaster from her ankle to her hip. compliment of all. You can’t keep it all Nuns in the hospital cared for her, to yourself. The legacy is sharing it. and there were crucifixes above every bed. We’re Jewish, and I asked her if Once a creative spirit, always a creative she was [put off] by them. She replied spirit. But inspiration is not always at ‘Oh, no dear, why would I be? He’s a one’s beck and call. How do you stay nice Jewish boy, after all!’ My mother inspired to keep innovating? was always very sharp and witty. When it Right now, it’s doing different things. came time to move her to a wheelchair, At 83, I’m no longer behind the chair we got one leg off the bed, but the sec- cutting ... heads (laughs). In 1970, I ond leg was still on there, the one with gave myself a good talking to. We’d the plaster. And she cried ‘Oh! Oh!’ and gone through the geometrics starting I asked, ‘Mother, are we hurting you?’ in 1954 in a very small salon and four And she said, ‘No darling. It’s just been years later we had to move. It took such a long time since I’ve had my legs until 1963—nine years—to get to the this far apart!’ Isn’t that a classic? From geometrics (Sassoon’s famous five-point a 75-year-old lady? It’s a bit risqué, but asymmetrical cut) to really, in essence, that was my mum, and it was like that to change what was going on in the craft. the very end. So until the very end—she And then in 1967 there was the Greek passed at 97—she was a huge inspiration Goddess, which was a cut with no set- in my life. ting, which had not been done before. And also, I must add, I trained Roger Shelley Moench-Kelly is managing editor of Thompson and Christopher Booker, Beauty Store Business.

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