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Home , All of the Pieces, Bowl cut, Caroline Trentini, Christy Turlington, Frida Gustavsson, Kim Alexis

behind the cover with garren

takes on texture As a session artist, you never know what the day will bring. The ’s could be pin straight or tightly coiled—and you may or may not be briefed ahead of time on what the photographer or client requires. So as you’re unpacking your kit and sipping your first coffee, you may be informed that you will be expected to transform a head full of riotous curls into a sleek curtain of hair, or that the art director would like the model with the baby fine strands to step onto the set sporting luscious ringlets. For more Garren Garren has worked with a wide range of textures over the course of his career, and has encountered a wide range of requests for each of those textures. Here’s advice, search Garren on a look at some texture extremes that he has created, demonstrating the versatility of every hair type.

–natural, polished and sleek glamorous: This Vogue fashion shoot required a voluminously polished look. Garren misted damp hair with Garren New York Designing Spray Tonic and blew the hair dry with a small, round brush, shaping each section into coils. Then he curled the hair with a one- inch Hot Tools Marcel Model curling iron and placed each section into a pincurl. After setting the entire head (back section directed to the nape in standup pincurls; side sections directed downward in flat pincurls) he allowed the hair to cool completely, removed the pincurls and brushed through with a vent brush. tip: “This is all her hair—that’s what you get when you work in one-inch sections. You can’t take shortcuts if you want volume like this.”

explosive: For this Dolce & Gabbana ad, Garren was asked to enhance Liya’s natural, softly curled texture. He applied L’Oreal Nature’s Therapy Mega Smooth Unfrizz Taming Mist to damp hair to seal the cuticle smooth: “Sophisticated and straight” and define curl. He pushed the product into was the brief for this Vogue cover. Garren the hair, styling it at the same time with his carefully blow dried the hair section-by-section hands, then dried it with a diffuser. To release with a large, round, boar bristle brush. Then, the texture, he combed through strands with a beginning in back, he smoothed each section wide-tooth comb and ran some Moroccanoil with a comb and flat iron. He placed the iron Oil Treatment through the ends with his slightly off base on top to maintain lift at the fingers for shine. root. Finally, he backcombed the crown, using tip: “If you disturb curl before it’s completely his fingers for a “roughed up” piece-y effect. dry, you’ll break up the cuticle and get .” tip: “I avoid hot metal round brushes because they are too hot for this dry, delicate hair type.”

photos by going to extremes kinky cool: For this hair story for Glamour magazine, Garren was asked to magnify the African American model’s natural, tightly coiled texture. He applied L’Oreal Nature’s Therapy Mega Smooth Unfrizz Taming Mist to the waist-length hair, combed the product through with a wide-tooth comb, and gathered it into a loose to dry completely. Then he created a deep side part and arranged the hair with his hands once the model had settled back against a chaise on the set. tip: “To soften the kinky texture slightly, I could have placed the hair into one or two loose to dry.”

in the loop: “This is stick straight, baby fine hair,” Garren reveals, and the Allure concept called for curls. Garren misted damp hair with Garren New York Designing Spray Tonic, followed by Rene Furterer Volumea Volumizing Mousse, tilted the model’s head forward and dried it for maximum volume. Next, he set the entire head in half-inch sections, using a tiny curling iron and clipping pincurls flat to the head, all directed toward the face. Once the hair cooled, he removed the clips, flipped the model’s head forward and brushed through with a Mason Pearson brush. tip: “With volumizing mousse and tiny sections, curls will last all day photos by Tesh even on this fine hair type.” beach to ball up and out: Later on the same day, Garren created this dramatic upsweep on the same model. He backcombed one inch sections on the entire head and misted the hair with Evian water. He diffused the hair in large sections, which produced the frizzy texture on the backcombed hair. He smoothed the surface with a Mason Pearson brush without disturbing the , wrapped the hair above the nape into a high and left the lengths unfastened. tip: “When restyling, a light mist of Evian reactivates the styling photos by Michael Thompson products that were originally model: placed in the hair.” Oprah’s first cover The queen assembled a dream team for her first cover ofVogue : Garren styled her hair, Pat McGrath did her make-up, Paul Cavaco was responsible for her wardrobe wave pattern: The first shot for this Allure hair story and Steven Meisel snapped the photos. showcased the model’s natural movement and texture. Garren She also brought her personal hairstylist applied Garren New York Designing Spray Tonic to damp along for moral support! Garren opted for a hair, directed the fringe forward, tucked the rest of the hair chic, flattering style—he blew her hair dry, behind the ears and air dried. set it on rollers, placed her under the dryer tip: “The cut is critical to this look—I used a scissor on the and then touched up where necessary lengths and notched the ends and I switched to a to with electric rollers and a curling iron. shape the face frame sections.” behind the cover with garren the truth behind on-camera transformations: then and now A drastic hair change is the quickest way for a model or celebrity to get instant attention. So much attention, in fact, that a new can boost a flagging career or add fuel to one that’s already on fire. That fact hasn’t changed for decades, says Garren, but what has changed is how those transformations are performed. “In the past,” he says, “models and celebrities would actually cut their hair and change their color. Today, though, it’s all done with wigs.” The upshot for a stylist who hopes to develop editorial and advertising photography clients in this day and age, Garren declares, is to master the art of wig work. “You must know how to choose, cut, set and style modern wigs and pieces,” he says. “I also use temporary track extensions that are glued or clipped in Garren named as judge for Raw, when we need to add length or highlights.” BTC’s live judging hair show competition! Here, Garren reveals the concepts behind some of his most notable hair makeovers—from the past when the artistry was Sunday, June 3 at Premiere Orlando based on cutting and styling, and from present day when masterful wig work allows models and actresses to be transformed in an get your tickets at behindthechair.com/raw instant…and then restored to their everyday personas.

Follow Garren on Facebook for more insights into the most iconic fashion images of the decades. past transformations facebook.com/garrennewyork

Lisa Marie Presley Courtney Love Vogue | April 1996 Italian Vogue | April 1997 photographer: Steven Meisel photographer: Steven Meisel editor: editor: Brana Wolf makeup: makeup: Pat McGrath “This was at a time when “At the time of this shoot, she was at a crossroads Courtney had just done the in her life,” Garren shares. The People vs. Larry Flynt “She came to the sitting and was headed to the with long blonde hair. We Academy Awards,” says thought it would be cool Garren. “But she was still to give her a version of punked out with shaggy, her father’s haircut. She broken hair. We gave her thought about it and said, this blunt bob with ‘Why not? It’s Meisel and and when she arrived at Garren. I’ll do it!’ This the Oscars in a Versace makeover really put her in gown, she went from being the spotlight as her own, the lead singer of Hole to a adult person.” sophisticated lady.” present day transformations

Michelle Williams GQ | February 2012 photographer: Michael Thompson editor: Madeline Weeks makeup: Jo Strettel “By the time we did this shoot to promote her role in My Week With Marilyn, Michelle’s hair was cropped short,” Garren reveals. “So we created this wig that evoked her sexual, vulnerable character in the film. She owned the look and the wig was a big part of it.”

Linda Evangelista Alberta Ferretti campaign | Spring 1991 photographer: Steven Meisel makeup: Francois Nars Katy Perry “This was at the height of her career,” Interview | March 2012 remembers Garren, “at a time when photographer: Mikael Jansson the were all into changing editor: Karl Templer their color and style. They were up for Westman anything. For this look, we went with makeup: an Andy Warhol inspiration—bleached “She was in the midst of her divorce and Katy blonde on top with dark, clippered decided she was game for coming across as sides. In today’s world, we would never sultry and sexy, rather than as a pop artist with be allowed to do this by the model’s blue hair in this shoot,” says Garren. “The wig bookers and agents.” was inspired by sexy ladies like , and Liz Taylor.”

Karlie Kloss Vogue | May 2011 photographer: Steven Meisel editor: Phyllis Posnick makeup: Diane Kendall “Karlie is one of today’s superstar models—she commands the runways, magazine ads and editorial,” Garren explains. “In real life she has long, light brown hair and she can’t cut or color or bleach it. So for this shoot about a modern woman who might take a chainsaw to cut her meat, we created a sophisticated, platinum bob. We’ve transformed Karlie with wigs many times and she’s great at getting herself into character for each project.”

Trish Goff Italian Vogue | March 1994 photographer: Steven Meisel Vogue | September 2008 editor: Joe McKenna photographer: Steven Klein makeup: Denise Markey editor: Tonne Goodman “Trish was just starting her career at this makeup: Kabuki time,” says Garren, “and she looked “Caroline is a Victoria’s Secret model with long like everyone else with . We blonde hair that we cannot cut,” says Garren. decided to do something different “For this shoot, we created a black wig inspired and this separated her from by one of ’s brunette crops and the rest. She became an elite model darkened her skin. Instantly she was sultry and immediately.” so much less wholesome than her V.S. persona.” behind the cover with garren Rules For Lifelong Learning Garren’s success is formidable—as a salon owner, as a salon stylist and as a world-renowned photo session artist. He has also spent most of his career as a leader and mentor—guiding the assistants in his salon and choosing the young stylists who would accompany him to his illustrious photo shoots. He has supported and launched many notable careers among those assistants. He has also declined to support just as many because he didn’t witness enough evidence of the drive or commitment that he believes is necessary to excel. He claims he didn’t have the luxury of a mentor—that in nearly all aspects of his work, he is completely self-taught. And when it comes to education—his own and that of his “kids,” as he calls them—his diligence is unparalleled. “Never, ever assume you know everything there is to know,” he declares. “That is the worst mistake that any can make.” For more Garren advice, When it comes to the nature of learning and education, Garren search Garren on has some firm ideas about what works, what’s important and what it takes to be the best.

learn by preparing Skill is critical, and it’s always important to have the flexibility to be able to “go with the flow” on a shoot. But skill and flexibility are not nearly enough. One of the most critical elements to success, Garren believes, is thorough preparation. Not only should you prepare for what you are told will be expected of you, he says, but you must also think far beyond the creative brief and anticipate any number of possible outcomes. “One of the first times I was booked for American Vogue,” he recalls, “I was told that I was going to have to do a big, crimped look. It was at the beginning of my career and I had no idea how to do it. What’s more, they didn’t even sell crimping irons at that time.” So rather than figuring he would simply “wing it” when he got on the set, Garren got busy. “I went to an appliance store and found an old French crimping tool,” he recalls. “I had it rewired for the American electrical current, then invited a friend over to my house. I practiced and practiced with the tool on her hair, taking various sized sections, trying every way I could think of to use the tool, and observing the various results. Then I looked carefully at the shape of the crimped hair and decided that I might need another way to get the same effect. I came up with the idea to weave the hair in a figure eight pattern on large hairpins and then set the hair with heat.” With all of these options ready and in place, Garren was prepared for anything on the crimping shoot. His work was beautiful and, as a bonus, he had also devised a new crimp For this shoot with Jerry Hall and Maria Hanson, setting technique. As the educational director for Glemby at the Garren devised a new crimping technique. Photo by Ishimuro. time, he was able to teach the technique to his students. learn from the accidents learn through empathy Sometimes, all the preparation in the world can’t Many are “experiential” learners—in prevent an unexpected detour, and when that other words, they learn by doing. Garren has an happens, the best course of action is to examine unusual twist on this concept—he often requires his the situation and be open to the outcome. Garren male assistants to grow out their own hair in order to recalls working on a fashion shoot for which the learn how to work with their unique textures. “Louis team was creating a series of looks with various [Angelo] has curly hair that he always wore cropped designers. The first shot was a outfit and the short,” Garren says. “When he was assisting me, editor wanted a smooth hairstyle with a headband I told him that I wanted him to grow his hair to his and a bit of lift at the crown. Unfortunately, the shoulders, and then he was to wear it straight every model’s hair didn’t dry completely, but Garren was day for a month.” As a result, he says, Louis learned able to backcomb it a bit, and fashion a quick style to style, cut and manage his curls and became an that worked for the first shot. When the model expert on the texture. “Another kid has fine hair returned to the hair and make-up room, Garren was that he always wore short and spiky,” says Garren. told that the creative team would be switching the “I gave him the same challenge—grow it out and order of the shots and moving next to a romantic learn to style it so that it always looked as full as outfit that required a full, glamorous texture. possible.” Now both of these stylists are not only Discovering that the model’s damp hair had dried more skilled than they ever would have been if they into an odd crinkly texture, and knowing he had no hadn’t had the experience of working with their own time to re-set it, he had to think fast. He decided to hair, they also have a deep understanding of their utilize those crinkles, and he backcombed the hair clients’ experiences and can communicate with to release the texture and pinned it into a disheveled genuine empathy. French twist. This “accidental” texture turned out to be so beautiful, he recalls, that it actually became the for all of the rest of the learn by opening your mind that day. “It wasn’t planned,” he notes, “but we Several years ago, Garren encountered a stylist in made it work.” Virginia who he believed had enormous talent. He told the stylist that if he ever moved to New York, he would give him a job. The young man had brilliant, learn through observation edgy cutting and coloring skills and Garren thought The usefulness of understanding theory and he would be a great fit in New York. When the stylist technique can’t be underestimated, but hairdressing arrived in the city, however, Garren discovered he is also an art form that relies on rhythm and instinct. didn’t have the styling skills that were required for And the only way to learn those aspects, Garren the salon and for photo shoots. This stylist could believes, is through observation. “I had an assistant have given up, and he would have found plenty of who would always take notes and photos with his other salons where he would have done well with phone while I was working,” Garren recalls. “Then his cutting and coloring abilities. But he stuck with he would go and sketch and draw. But he wasn’t Garren, developed his styling skills, and soon had a getting it. Finally I said, ‘Put the phone down and thriving clientele at the salon. stand at my elbow and just watch. Observe my When his boyfriend was transferred by his movements, observe which brush I pick up, follow employer, the stylist decided to leave New York my rhythm. You miss all of that when you’re so and accompany his partner to Nashville. Garren focused on your phone.’” picked up the phone and called his friend, the Observation is equally important for a leader. In famous redheaded model , who lives in the salon, Garren says he watches—and listens— Nashville with her husband— and artist to everyone, all the time. First and foremost, he is Jack White. “Where do all the country music stars in assessing their work to make sure they’re upholding Nashville get their hair done?” Garren asked Karen. the high standards of the Garren brand. He’s also She steered him to the salon favored by the local listening for critical teaching opportunities. If he music industry big shots, and thanks to a phone overhears a client being talked out of something, call from Garren, the stylist got a job. Today, he’s for example, it might be because the stylist isn’t the go-to guy for the country music world, working comfortable with performing the service that was with many top artists and often touring with them requested. In this instance, he knows that the as their personal stylist. If this stylist hadn’t pushed individual needs more training. And, in keeping with himself beyond his initial comfort zone to expand his belief that education never ends, Garren also his skills, Garren says, he certainly would not have benefits personally from his observations. “I learn the career he has today. many things from watching the younger people,” Above all, Garren says, have patience. There are he says. “That’s why I’m always encouraging them many ways to learn, but it all takes time. “Stylists to watch all of the other stylists in the salon. Learn who are new to the industry think it’s easy to make from what they do right, and also learn from their a great picture or do great work in the salon or build mistakes.” a strong business,” he says. “But none of those things are easy. The reality is, experience truly is the best teacher of all.” Inadvertent “crinkles” led to these beautiful textures on model Caroline Trentini. Photos by Steven Meisel. behind the cover with garren What’s Trending Now? Tightly Controlled vs. Wild Abandon Each fall, Garren embarks on a whirlwind tour of the fashion capitals—New York, , Milan, Los Angeles. In each city, he contributes to the creation of the campaigns and collections that will emerge as the standard-bearers of spring style. The palettes, the silhouettes, the proportions, the textures of the clothing, accessories and hair may shock at first viewing, but eventually, these elements gently seep into the collective For more Garren advice, style consciousness and slowly become the norm. search Garren on So based on this, what will our eyes and minds begin to become accustomed to this season? Spring 2012 embraces three key trends, Garren declares—undone, retro glam and precision shaping.

blondie the campaign: Versace for H&M the photographers: Mert Alas glambot and Marcus Piggott the editorial: A “gilded the model: robot” portfolio for Vogue the creative brief: Classic the photographer: Versace patterns, Steven Klein embellishment and details the model: Sasha (Medusa buttons anyone?) Pivavarova culled from the line’s “peak” the creative brief: Bold years in the ‘80s and ‘90s, metallics. Embellishment— and streamlined for the H&M beads and sequins. crowd. Dazzling shine. Avant the trend: Messy, wild and garde make-up—half gold, “Donatella” blonde. half pewter/silver. the hair: Abbey’s double the trend: Razor sharp with process blonde hair was high shine. beefed up with extensions the hair: To echo the severe and styled for maximum style of the wardrobe and volume. Garren first prepped lighting, Garren opted the hair with a combination of Garren New York Designing Spray Tonic to create a bold, sharply and Rene Furterer Volumea Volumizing Foam to open the cuticle and etched bowl cut wig with a encourage maximum texture, which was amplified by tipping the head razor-sharp, curved fringe over and rough drying the hair. Next, he created a traditional set on for Sasha. The inky, blue- ½-inch deep by 2-inch wide sections, using a slender, dime-sized curling black color contributes to iron and clipping each curl into place on-base. Once the hair cooled, he the noir-ish effect. To style sprayed it with hairspray, brushed through with a Mason Pearson brush, the cut, he worked with backcombed each section two inches out of the root with a teasing Kerastase Oleo Elixir comb, then smoothed the surface with the brush, leaving the ends tightly Ultime Beautifying Oil waved so that they separated in the breeze from a fan. which imparts glistening extension tip: “To match the texture of the hair, I always the shine without weighing extensions before I attach them to the hair,” Garren comments. “They’re strands down. too silky straight out of the package. Skip the conditioner and dry them loosely. You can also dip them into boiling water to rough up the surface.” all wet the campaign: Versace the photographer: Mert Alas and Marcus Piggott the model: Gisele Büvndchen the creative brief: Sexy and wet the trend: Slicked-back, shiny and straight from the pool. the hair: The shoot took place in Borrego Springs, a desert area in California known for its dramatic landscapes and intense, clear light that played up Gisele’s beachy blonde highlights. To keep hair looking wet throughout the shoot, Garren first blew strands loosely to soften the natural wave, then combed Rene Furterer Styling Wax through, from scalp to ends with a wide tooth comb. “The wax creates a wet look that isn’t really wet,” says Garren, “and it stays pliable all day without drying out.” lea sophia the editorial: Allure cover shoot the photographer: Norman Jean Roy the celebrity: Glee’s Lea Michele the creative brief: Transform the primetime “Gleek” into a sexy, Sophia Loren-style siren. the trend: ‘50s Italian film idol glamour the hair: Garren dampened Lea’s hair with Evian Water, applied Rene Furterer Volumea Volumizing Foam, tipped her head upside down and diffused hair to encourage the natural curl. Then he created a spiral corkscrew set, using ½ and 1-inch sections, in the and wrapping them around a slender, “pinky- sized” Enzo Milano styling iron. “This setting technique creates a uniform wave pattern limelight and retains the length,” he explains, adding, Garren and his partner Thom “Traditional curling irons shrink the hair.” After make-up, he released the set, and simply Priano are usually positioned loosened the hair slightly with his hands. “I behind the camera—primping and did the shoot because I love her and wanted prepping models and celebrities to meet her,” he laughs. “And it turns out for their close-ups. But in a that Lea’s mom wanted to meet me, so she stopped by!” recent issue of Interview, the pair stepped into the spotlight, as part of a feature entitled “High untamed mane Maintenance.” The story focused the campaign: A series of nine ad send-ups, on the “elite league of experts… placed throughout a recent issue of W to fool many of them who are outsized the reader alpha males themselves,” who the photographer: Steven Meisel have “mastered the art of the the model: Twenty-two year old heiress and British socialite Petra Ecclestone. modern man.” Garren and Thom (She recently purchased Aaron and Candy were selected as the “gold Spelling’s former home in Beverly Hills for standard” of men’s hairstyling and $85 million!) the profile lauded their “38 years the creative brief: A satiric take-off on uber- glamorous, eponymous fragrance ads. and countless campaigns and the trend: Larger than life collaborations with the likes of the hair: After attaching a hairpiece to Petra’s , and hair to amplify the volume, Garren spiraled Steven Meisel between them.” large sections along a curling iron and clipped them into place. Once the hair cooled, he Looking good, guys! released the spirals, then brushed through to release volume and texture. behind the cover with garren hair fashion statements of fall/winter Each season, Garren packs his kit and heads to studios in New York and Europe to create the latest photo campaigns for clients like Dolce & Gabbana, Valentino and Cover Girl. Inevitably, the hair he creates for those images sparks the onset of trends that are ultimately adopted by stylists and clients throughout the year. Now that he has completed his assignments for the fall campaigns that are appearing in For more Garren advice, magazines right now, he reflects on these emerging trends and provides the how-tos and comments for what will be search Garren on the season’s most influential looks.

chic sophistication the campaign: Valentino photographer: David Sims

These sleek shapes accented with flossy side pieces are the ultimate in sophistication for the season, Garren believes. Hair was teased at the crown, parted in the center and pulled back into sleek . Narrow velvet headbands add sophistication. The side pieces, which were razored and shaped with an iron, provide a touch of whimsy and break up the severity of the look.

“In real life in the salon, most young girls young clients, want long, sexy hair,” says Garren. “These two versions— chic and rocker long hair chick—will please all of them.” the campaigns: For the Forbidden Affair campaign, Garren models: and cut Donaldson’s hair to chest length, photographer: Steven Meisel layering the back slightly and angling the front perimeter below the chin. He applied a root volumizer at the base and a lightweight setting on the ends to control frizz, subdivided hair into vertical sections, coiled each section around two fingers and then placed the coiled section into the cup of a diffuser until dry. “That was enough to create the long, uniform on her hair,” Garren says, “but if necessary, you can wrap the hair around a curling iron once it’s dry.” He cut Jessica Stam’s hair (right) into a long, layered and added an oval fringe, notching the tips to draw focus to the model’s one-of-kind brows and eyes. “I straightened the hair for the photo, so that you can see all of the pieces and layers,” he says. “This look is the essence of rocker glam.” boy meets girl the campaigns: Dolce & Gabbana photographer: Steven Klein Versace photographers: Mert Alas and Marcus Piggott Akris photographer: Steven Klein

There’s an element of androgyny in hair this season, says Garren, which is highlighted in these campaigns. The Dolce collection concept, he says, was “masculine vs. feminine,” and girls were cast to play girls and boys in the shoot. “For the ‘boys’ I created a tight twist in the back and teased and smoothed the front into -type pompadours. The girls got ‘sexy, Italian, up-all-night’ looks—loose chignons, volume at the crown and center parts, with full rough textures.” Inspired by the iconic short cut that he created for Linda Evangelista, the couple in the Versace campaign received similar styles, modified slightly for each gender. “The bowl cut on Saskia was opened up on the sides,” says Garren. “The back is cut very short, using a scissor-over-comb technique. The top is one length—about six-to-eight inches—from the crown to the fringe. The fringe is one inch and blunt, and the entire perimeter is nipped with v-shaped cuts. I dried it as I directed all the hair forward, and used to define the layers and create the flip.” The boy sports a more masculine version of the same cut, with , graduated sides and a clippered neckline. For model Hannelore Knuts in the fall 2011 Akris campaign, Garren created short, “superhero” hair that matches the severity of the structured clothes. He applied Rene Furterer Volumea Volumizing Foam to roots, and dried the hair using a small round brush, directing all strands up and back. Then he set the top lengths on four electric rollers, overdirecting each section to create maximum lift. He also placed one roller on each side, directing the hair back. When the hair was completely cool, he gently loosened the curls, and used pomade to slick the sides and back. “ is really going to take off this season,” believes Garren. “It will either be extremely masculine or extremely gamine.”

“This is sexy, sensuous, glamorous hair,” says Garren. “The shorter version is a retro tousled texture great way to transform a plain bob. The longer version that we did on Drew is the campaigns: Dolce & Gabbana The One Fragrance reminiscent of Rita Hayworth.” with To “glamourize” Johansson’s chin-length bob, Garren applied Rene Furterer photographer: Jean Baptiste-Mondino cover girl with Drew Barrymore Volumea to roots and Garren New York Spray Tonic to midlengths and ends, photographer: Steven Meisel flipped Scarlett’s head upside down and powered the hair dry with a blow dryer, encouraging maximum root lift. Next he set the hair on-base on medium-sized electric rollers in a classic setting pattern—all sections directed back except the front sections which were angled slightly. He allowed the hair to cool for a full 45 minutes, removed the rollers, tipped her head over and brushed through. With her head upright, he ran his fingers through her hair and misted strands with Elnett spray. “It has to be an aerosol spray,” Garren warns, “never a pump.” If necessary, he adds, work a small amount of lightweight pomade through your fingers and run it through the ends to separate the curl. Drew’s long, look, he reveals, was a longer version of Scarlett’s. In this case, the hair was prepped the same way and the top was also set on-base. However he switched it up on the side and back sections, creating a spiral set in order to produce Drew’s elegant, loose curl shape.

Garren’s body-boosting tip: Before placing the rollers, backcomb each section with three quick strokes at the base. “The heat of the roller sets the backcombing and really pumps up the root,” he reveals. “This technique cushions limp hair, helping it to pop up, and it also supports heavy hair.” behind the cover with garren Reincarnated Garren Reveals His Contributions to the Images of “The Mother of Reinvention”

Nowadays we see it all the time. Katy Perry makes news when she steps out in Smurf-blue hair. evokes paparazzi frenzy when she dons a meat dress or a lace mask. Nicky Minaj appears in one of hundreds of outrageously colored wigs. But when it comes to augmenting a pop career with statement- making (and boundary-busting) style, it all started with Madonna. The savvy superstar understood from the very beginning of her career that the best way to attract…and keep…attention was with a powerful and innovative image. She knew it was critical to craft her look carefully, and update it continuously, in order to capture and hold her fans’ imaginations and loyalty. And many times during the past 20 years (including this year) Garren has been an influential member of the Madonna reinvention team. Garren’s first shoot with the iconic star was for Italian Vogue in 1991. “This is when we took her from the ‘club kid’ persona of Desperately Seeking Susan to classic glamor,” Garren says. “It was myself, Steven Meisel and Francois Nars. My fantasy was to make her into our version of Marilyn Monroe. She was young and very smart and she said, ‘OK guys, do what you have to do.’” Since then, their paths have crossed many times, and each time, Garren says the star has trusted her beauty team to create the right look. “She doesn’t follow anyone else and she doesn’t care what anyone else is doing,” he says. “She is on her own page and she owns every look. That’s what makes it so interesting to work with her. She sets the trends and when we work together I don’t have restrictions. My hands aren’t tied. It’s a collaboration with her, the photographer, the makeup artist, her stylist and me. The first time I met her, I held my breath. But she said, ‘Do what you want to create me,’ and I’ve respected her ever since.” Here is a collection of some of Garren’s most memorable projects with Madonna, including the looks they most recently collaborated on for her current album and tour.

cover and spread, 1991 photography: Steven Meisel “We did the shoot for the inside spread first, and it was all about bigger hair, more lashes a pouty mouth,” says Garren. “For the black and white photos, I was inspired by sex symbols of the 1960s like Marilyn and Verna Lisi. I set her hair with electric rollers and a curling iron, then really teased it and sprayed it. We shot the cover two weeks later. I set her hair on electric rollers, flipped her head forward and back, put someAveda Humectant in my hands and ran my fingers through her hair to separate the sections and direct it off of her face. This really was a turning point in her look and her career.” cover and spread, 1991 photography: Steven Meisel “We shot this right before she appeared on the Academy Awards. (Her date was Michael Jackson.) We wanted to channel Marilyn inside and Lana Turner on the cover. So the photos were influenced by the ’40s and ’50s. And she ended up wearing the hair and gown and jewels onstage at the awards. I set her hair on electric rollers and brushed through it but I didn’t do any teasing. I wanted to keep the curl definition intact.”

, 1992 photography: Steven Meisel “This was shot in connection with the Sex book and the theme of the shoot was very hippie/ Carnaby Street with lots of big hats and fun jewelry. Her hair was long when she came in and she let me cut it into this Klute-type of shag. This was the first time she wore her hair straight and flat and shagged out. It’s always her hair, no extensions. She’s Italian and she has great hair.”

cover, 1991 photography: Steven Meisel “We did this between two of her biggest projects—the Sex book and Truth or Dare. Meisel, Francois and I wanted to turn her into a cabaret girl for this cover shot. It was perfect for the ‘masculine/feminine’ thing that she was doing at the time. I created an old-fashioned finger-wave pin curl set with gel and put her under the dryer to get the look.”

cover and spread, 1992 photography: Steven Meisel “This was done to launch the Sex book. We decided on a gentle, sexy, pinup girl feeling—all pink and . We were also inspired by ’60s Playboy bunnies. She actually let me cut her bangs—at that time, we were recreating her all the time and she was always up for it. It’s completely different now with celebrities.” cover and spread, 2008 photography: Steven Meisel “I worked with Madonna on and off until 2003, then she worked with other teams. We reconnected for this shoot. She was producing another album and tour and promoting her film I Am Because We Are. She had just split from her husband and was making a comeback. She was 49 and she looks beautiful. I love the way her hair is thrown over to the side in the spread. Gucci Westman did the makeup. This is one of my favorite photos—she looks incredible.”

Louis Vuitton campaign, 2009 photography: Steven Meisel “This was her first shoot for Vuitton. Pat McGrath did the makeup. We shot it at a French bistro in L.A. Steven and I talked about it on the plane and I said, ‘Let’s make Madonna look like Madonna.’ The hair evolved as the shoot went on. Her hair has a natural texture that’s similar to this so I embellished it with a double-prong curling iron and then I smoothed an oil-based styler through the lengths with my fingers—no brushing or combing.”

Truth or Dare Fragrance ad, 2012 photography: Mert Alas & Marcus Piggott MDNA album cover and tour poster, 2012 “This is the grown-up version of her original photography: Mert Alas & Marcus Piggott Truth or Dare persona. Stephane Marais “Madonna always puts together a great team. For this project, we did the makeup and we went for high worked with and her makeup artist Gina Brooke. glam. I set her hair with a curling iron and I cut a good four inches off of her hair for these shots and created brushed it out. You can see a video of the a side bang. I said, ‘We have to make you look less glam and more making of the Truth or Dare commercial on modern,’ and she agreed. I started by cutting off two inches and Youtube. Once again, we worked together when she saw it taking shape I told her I wanted to take off two on her look. I think she trusts my judgment more inches and she said, ‘Do it!’ When I was done, she agreed about what’s appropriate for the product that it was right. She looked cool and sexy but appropriate.” and for the moment.” Follow Garren at .com/garrennewyork behind the cover with garren photo milestones: the early years With a career that spans decades, magazine covers that number in the thousands and a body of work that represents some of the most iconic moments in fashion and beauty, it would be understandably difficult to choose the projects that mean the most. But in honor of the theme of this issue—passion—that’s exactly what we asked Garren to do. Here are his picks and insights into the most Follow Garren on Facebook for more memorable shoots from the early years of his illustrious career. insights into the most iconic fashion images of the decades. facebook.com/garrennewyork

milestone: first shoot for american August 1977 photographer: Deborah Turbeville models: Jerry Hall, Sunny Redmond makeup: Ariella editor: Jade Hobson Garren was a fixture onGlamour sets at this time, but this was his firstVogue assignment. It was, he remembers, a leap from the casual, athletic looks of Glamour into the luxe, high fashion world of Vogue. Turbeville and Hall were red hot at the time, and Jade, along with Phyllis Posnick and Polly Mellon, ruled Vogue for years to come. “I worked alone with a very small kit,” Garren recalls. “So I called Jerry the night before and asked her to set her hair on small pink sponge rollers. I used a small curling iron on the other girls—this was the first time I did the frizzy, undulating curls that were so popular at that time.” When the issue came out, the feature ran over 16 pages. milestone: front row seats in paris October 1983 | American Vogue photographer: Irving Penn model: Letitia makeup: Tyen editor: Polly Mellen Yves St. Laurent was at the height of his power and had just taken over when Garren found himself seated in the front rows of their shows in Paris. Flanked by the indomitable Irving Penn and his mentor Mellon, he had to pinch himself to make sure that it was all real for the boy milestone: becoming the high fashion “face” of glemby from Buffalo. But there wasn’t much time to indulge in the moment—each 1978 night, the team headed to the studio to shoot the clothing that Mellon photographers: (Glemby ad and Jerry Hall); Jeffrey had selected at the shows during the day. “Vogue got first choice,” says Peterson (Kim Alexis) Garren, “and when we were finished, the clothes were sent on to other magazines.” This four-day shoot produced a 22 page feature in the models: Kathy Quirk, Jerry Hall and Kim Alexis magazine—and the moment when he truly felt he had arrived for Garren. makeup: Cappelino (Glemby ad and Jerry Hall); Wesley Dunn (Kim Alexis) While serving as the Glemby International Creative Director and helming Garren at the Plaza in New York, he was also amassing a huge fashion milestone: and the supermodels portfolio, working with the top models of the day. In this campaign, Glemby 1987 sought to create a solid connection between Garren’s Vogue world and the Glemby customer. Garren reveals that he twisted Kim’s hair around pieces photographer: Richard Avedon of wire and then put her under the dryer to achieve her tight wave pattern, stylist: Paul Cavaco while Hall’s look was once again created with tiny sponge rollers. makeup: Ariella models: Kersti Bowser, , and This was the first time that multiple models were used in a single cosmetic ad. Revlon hired the top faces of the day for the campaign that celebrated individuality. The creative brief was to make the girls look as glamorous as they did on their magazine covers. Garren remembers that his go-to product was the trusty old L’Oreal Elnett . “We never used extensions or pieces in those days,” he notes. “It was all the models’ own hair. I would buy the Elnett in and bring it home because it wasn’t available yet in the U.S.” Unforgettable!

milestone: l’oréal launches makeup 1984-1988 photographer: Irving Penn models: Ann Beazmat and Andie McDowell makeup: Tyen For the first ever makeup campaigns for L’Oréal, Penn decided the images should be fresh, witty and whimsical. Shooting a model with a bob was unheard of for a campaign at the time, and Garren pushed the boundaries even further by “exploding” it with teasing and hairspray. Then Andie become the brand’s spokesperson. The nest concept was Penn’s idea. “I set the hair on wires to make it look like straw,” Garren remembers. “Then I frizzed it out and placed the bird’s nest ‘hat.’ Those are real robin’s eggs!” behind the cover with garren fringes and full-bodied glam When your clients ask “what’s new?” Garren has the answer. Just returning from a jam-packed season creating hair for an array of trendsetting clients from Versace to Vogue, he says the newest trends come down to two key elements—fabulous fringes and big, bold, voluminous Follow Garren on Facebook for more glamour! Here’s a look at the high points: insights into the most iconic fashion images of the decades. facebook.com/garrennewyork fringes go to extremes Versace photography: Mert Alas & Marcus Piggott creative director: Giovanni Bianco model: Elza Luijendijk makeup: Lucia Pieroni styling: Joe McKenna “Donatella wanted a dominatrix feeling with a feminine quality,” says Garren. “We did a high, curved, Joan of Arc fringe with wispy ends and an icy, cold blonde.”

—“Fringe Movement,” August 2012 photography: Greg Kadel editor: Paul Cavaco model: Inguna Butane makeup: Gucci Westman “I call this Julie Christie fringe (right) the ‘smile bang,’ says Garren. “It’s a horseshoe shape—shorter in the middle and curved to cover the corners of the eye. Here, the hair was blown dry and smoothed with a flat iron.” American “Space Odyssey,” September 2012 photography: Steven Klein editor: Tonne Goodman model: Karen Elson makeup: Val Garland For this futuristic feature, Elson (top right) embodies a space-age femme fatale thanks to her glossy, noir-ish and extended fringe. “The look is sleek and precise,” comments Garren, “and the fringe opens up the eyes.” Elvis has left the building…and stepped onto the pages of Vogue! Here, the fringe morphs into an extended , protruding six inches from the forehead. “The back and nape are cropped,” Garren notes. “To create the front, I blew it out, set it, teased it and overdirected it.” style tip: If a client is afraid to cut a fringe, pick up some artificial, clip-in bangs and let her take them for a test run before committing! glamour goes big H&M photography: Mert Alas & Marcus Piggott stylist: George Cortina model: Anna Dello Russo makeup: Charlotte Tilbury Editor-at-large and cult fashion muse Anna Dello Russo created a collection of accessories for H&M that debuted in October. Her full, ’70s-inspired style is right in step with her outsized personality. To get the tight wave, Garren prepped hair lengths with Rene Furterer Volumea Volumizing Mousse and roots with Rene photography: Mert Alas & Furterer Volumea Volumizing Conditioning Marcus Piggott Spray. Once hair was dry, he set small editor: Karl Templer sections on a mini curling wand and finished with Garren New York Spray model: Frida Gustavsson Tonic and L’Oreal Elnett Hairspray. makeup: Lucia Pieroni The popular Swedish model beautifully American , embodied a ’ 60s Avedon vibe in this shoot, “The New Girl,” November 2012 including her towering photography: Steven Meisel hair! Garren set strands editor: Tonne Goodman on electric rollers, added model: a fall to beef up her locks and then teased the entire makeup: Pat McGrath head in small sections. haircolor: Andre Viveiros He tipped her head over, Sports Illustrated cover girl Upton already sprayed with Elnett and has a lock on sexy, and this lush, all- finger-styled without American look is both sexy and attainable brushing or combing. for most women. “Kate is full-figured and “The hair in front was has beautiful skin,” Garren reveals. “I layered,” he notes, “to cut her hair just past the shoulders and produce the dips and layered it in front. This look is blown out waves around her face.” and set on Velcro rollers, then finger- In the second shot, a blast styled.” The honey blonde color with baby of wind took the already blonde highlights contributes to the sex big style to new extremes. appeal of the look—it’s an overall client- pleaser for sure! behind the cover with garren high style What’s The Modern Formula for “Going Out” Hair? Less is More! When it comes to brides, galas, red carpets and other momentous occasions, forget fussy, ornate, overdone looks, instructs Garren. Keep hair simple and chic. But that doesn’t mean it’s ok to get lazy! “Less is more,” he declares, “but you still must put some thought into the look. Don’t just slick it back into a twisted !” Follow Garren on Facebook for more Here are some of Garren’s picks from his high-profile projects that insights into the most iconic fashion strike the perfect balance between high style and simple elegance. images of the decades. facebook.com/garrennewyork

luscious loops why it’s modern: “It’s a touch of old Hollywood,” says Garren, “but the low loops add a chic twist. It’s more Allure Magazine intricate than a conventional .” To get the look, Garren created a deep side part and gathered the hair photographer: Michael into a low ponytail. He separated the tail into three Thompson sections, teased each one, smoothed the surfaces and makeup: Gucci Westman sprayed the hair to create “stalks.” Then he looped each fashion editor: Paul Cavaco stalk, intertwined the loops and attached them at the model: Siri Tollerod base. The wood and gold ball accessory provides an unexpectedly modern touch.

’70s flip why it’s modern: “This is a very cool length right now,” says Garren, Allure Magazine “and the side bang gives it a sensual, ’70s look. The flip makes photographer: Greg Kadel it glamorous and a bit Belle de makeup: Makky Jour. It’s got more going on than fashion editor: Paul Cavaco simple straight hair—I think young model: Inguna Butane actresses and clients could pull it off beautifully.” extended chignon why it’s modern: “The hair was gathered into a low ponytail, then Allure Magazine teased and twisted into this very extended bun,” says Garren. “It’s photographer: Patrick Demarchelier grand rather than contained. And I makeup: Brigitte Reiss-Anderson placed the diamond clip at the point fashion editor: Paul Cavaco where you might see a fingerwave on model: Israela Avtau the head. It’s very Downton Abbey!”

texture celebration why it’s modern: Texture of course! “It really showcases natural texture,” says Garren, “which makes it edgy and Allure Magazine new.” If the hair isn’t naturally textured, add curls or waves with an iron. Then divide the head in half. Gather the top photographer: Tesh half into a messy knot at the occipital—at the point where makeup: Virginia Young you would place a full chignon. Allow the bottom half of fashion editor: Paul Cavaco the hair to remain free. Release the top sections with your model: fingers to produce an airy effect. Finish with an ornament at the ear, or skip it for a simpler look. “This look is ideal with a simple classic gown or a dress with a low back,” comments Garren. do the karlie chop The New York Times called it “the haircut of the year.” Vogue documented the makeover in an exclusive feature in the January issue. When a like cuts off her hair—and the cutter is Garren—it makes fashion headlines. Now get ready—celebrities like Julianne Hough are copying the cut and that means many of your clients will be requesting “the Karlie chop.” The cut is very simple, says Garren. He first established a blunt line at the top of the vertebrae, creating a square shape, then slashed the perimeter to break up the texture. He cut a full fringe; then he elevated vertical sections and removed the corners to prevent a blunt-looking effect and produce graduation at the bottom. “For the Vogue feature,” he reveals, “I misted Karlie’s hair with Garren New York Spray Tonic and it air dried while she had her makeup done. Then I tousled it with a dryer, she messed it up with her hands and they shot it. It’s so easy and Karlie told me she’s really enjoying the freedom from her formerly long hair!” If your client requests the cut, be sure to choose a length that’s proportionate to her body type. If you think it would be more flattering to do so, cut the perimeter at the shoulders instead of the jawline, says Garren. You can also add more layers and swap out the full fringe for a side fringe. It’s a great option for fine hair, but avoid this cut on frizzy, kinky hair—it will look boxy unless the client has received a keratin straightening treatment.