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Wool dress by Lanvin. Kid-leather gloves by Carolina

Amato. Makeup colors: 1 Couleur Eyeshadow in Flash Black, Crayon Eyeliner Pencil

in Black, and Rouge Dior Lipcolor in Ara Red by

Dior. Hair: Guido. These pages: Makeup, Fulvia

Farolfi; manicure, Tatyana Molot. Prop stylist:

Viki Rutsch of Mary Howard Studio. Fashion editor: Siobhan Bonnouvrier.

Details, see Credits page.

PHOTOGRAPHED BY ALEX CAYLEY

MASTERSHEADEvery artist has a signature—even those whose medium is hair. Here, six of the biggest talents re-create the hairstyles that have made them famous on actress Amber Valletta. By Alyssa Kolsky Hertzig

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CREATING THE HAIR FOR MORE THAN 30 FASHION SHOWS each season, Guido has become one of the busiest runway stylists in the business—and the driving force behind many of the major trends. Whether he’s shellacking a pair of pigtails (Prada) or weaving a waist-length braid (Alexander Wang), he is known for making traditional styles feel radical and new. “My aesthetic is based on classic hairstyles, but I always try to put a new twist on them,” he says. This rebellious streak took hold during his years on the London club scene in the ’80s, where he was surrounded by offbeat characters. “I was always attracted to hair that would be perceived as quite badly done,” he says. Guido spent nearly 15 years as a stylist there. Then, just as the supermodel era was ending and the grunge moment was about to take hold, he was asked by Calvin Klein to work on the designer’s pivotal fall 1994 fashion show and ads starring Kate Moss. “That sort of deconstructed beauty was kind of a revolution at the time,” he says. “It seems very tame now, but even 16 years ago, to have a girl with no makeup and scruffy hair in a fashion campaign was something else.”

Guido

Whether it’s a big, glamorous updo or perfectly tousled surfer-girl waves, the work of an

amazing hairstylist can be as instantly identifiable as a John Currin nude. “If I’m known for big hair, then I’m very happy about that,” says hairstyl-ist Serge Normant. “It’s better to be known for something than nothing at all.” But don’t confuse developing a trademark with falling into a rut: The six pros on these pages have always struck that elusive balance between cultivating a distinct look and pro-ducing beautiful, creative innova-tions. But fortunately, unlike other artists, they don’t sign their work.

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“WHEN YOU SEE HAIR ADS, THE TEXTURES ARE ALWAYS BIG AND RICH,” says Normant. “That’s what women want.” Good thing, considering that has become this Frenchman’s calling card. It has also earned him a long list of famous, loyal clients, including Julia Roberts and Sarah Jessica Parker—both of whom, perhaps not so coincidentally, have become known for luscious, touchable waves. Normant developed this opulent aesthetic in the 1960s, when he was a young boy in the suburbs of Paris. “When I looked at women, there was a certain kind of glamour there on a daily basis—a

kind of glamour that women didn’t really go out without,” he says, citing Catherine Deneuve and Marisa Berenson as early influences. “Big hair brings me back to that time.” After working in salons in Paris, he moved to New York City in the late 1980s, where his roommate, makeup artist Laura Mercier, took him to shoots; it wasn’t long before Normant became known for his ability to go big. “I love women looking like women,” he says. “When I see someone walking down the street and they have that great, voluminous hair flying? There’s a sexiness and a sensuality to it.”

Serge Normant

“Showing your natural texture or a little

bit of teasing—these are the charms in a

hairstyle,” Guido says. Here’s how he

advises mussing things up properly.

“When I see someone with that great, voluminous hair? There’s a sensuality to it.”

TEASE IT Guido suggests roughly blow-drying the hair. Then, holding sections of hair by the ends, take a flat brush (he likes Mason Pearson’s) and gently tease each section toward the root.GO NATURAL “A lot of women have beautiful natural texture, but they grab a blow-dryer so quickly they don’t really know what’s there,” he says. Try letting hair air-dry

without touching it at all. STAY IN CONTROL A little roughness is pretty; total unruliness isn’t. To tame coarse hair, Guido—who is the creative consultant for Redken—recommends working in the company’s Anti-Snap Leave-In Treatment while it’s damp. For fine hair, spritz Redken Forceful 23 Finishing Spray into your hand, then rub it through dry hair for hold.

Adding Texture to Your Hair

GUIDO’S FAVORITE LOOKS

PRADA, SPRING 2009

“This is a classic chignon with the

overuse of Redken Forceful 23

Finishing Spray, which coated it in shine. It became

this glossy sculpture and

made the chignon look new.”

PRADA, SPRING 2010 “With these

schoolgirl bunches, I used hair spray

and made them look more sophisticated

and newer to the eye than if I had

left them soft and romantic. That

was something I was into for

a few seasons.”

VOGUE, FEBRUARY 2010 “I originally did this braid for Alexander Wang, which turned into one of my most successful hair looks for a show. It has connotations of girlie-ness, hippiedom, rock and roll—all the things that girls want to be.”

ALLURE, MAY 2008 “This was a take on an uptown woman. It’s all her hair—and a lot of teasing.”

LINDSAY LOHAN, ALLURE, MARCH 2006

“She had these very model-like movements, and

we used a lot of wind.”

JULIA ROBERTS AT THE ACADEMY AWARDS, 2004

“Julia has the most amazing hair. I never use hair extensions with her for the red carpet. Never.”

SARAH JESSICA PARKER’S COVET FRAGRANCE AD, 2007 “That might actually be

one of my favorite pictures for a campaign. I just love everything: the dress, the gloves; I love

the way the hair just, like, goes crazy.”

MARIAH CAREY’S BUTTERFLY ALBUM, 1997

“That was the first time I worked with her. It’s that healthy hair you want to run your hands through.”

NORMANT’S FAVORITE LOOKS

Guido at the fall 2010 Marc Jacobs show

!To get the inside scoop on more of the top hairstylists’ signature looks, log on to allure.com/go/signature_hairstyles.

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CONCENTRATE VOLUMIZER AT THE ROOTS AND THE CROWN “You can add a little to the ends, but

you want most of it where you’re going to create the lift,” says Normant,

who prefers the weightlessness of spray volumizers. (His pick:

Serge Normant Mega Lush Volumizer, from his new product line.)

GRAB YOUR DRYER “To save time, flip your head upside

down and blow it until your hair is nearly dry,” he says. Then take

random sections, pull each taut with a big, round brush, and slowly run your dryer down it to smooth it.

TIME TO TEASE “Teasing can be invisible,” says Normant. Work on just a two-

inch section at the crown, then hide your work by smoothing an

unteased section over it and misting it all with hair spray.

SIlk-and-lace bodysuit by Dolce & Gabbana. Suede pumps by Sergio Rossi. Makeup colors: The Eyeshadow Duo in Stromboli, The Eyeliner in Black, and The Lipstick in Charm by Dolce & Gabbana. Hair: Serge Normant of the Serge Normant at John Frieda salon. Details, see Credits page.

Normant may pull out the hair extensions for a model on a

shoot, but for real life, he achieves volume with fewer props.

How to Get Big Hair

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Bikini top by Eres. Bikini bottom by Michael Kors. Makeup colors: LiquilineBlast Eyeliner in Black Fire and Continuous Color Lipstick in Almost Nude by Cover Girl. Hair: Chris McMillan of Chris McMillan, The Salon. Details, see Credits page.

The secret is making sure the results don’t look perfect. “The

goal should be those waves you really end up with when you’re

at the beach,” McMillan says.

IF YOU HAVE STRAIGHT HAIR: Twirl sections around a curling iron,

then tug on the end of each curl as it’s cooling. “This makes it more of

a wave,” says McMillan. Once you’ve done your whole head, “mess

up the curls” with your hands and dab an alcohol-free mousse

throughout to add body.

IF YOU HAVE CURLS OR WAVES: Start by blowing out your hair with a

round brush. Then simply apply a few spritzes of saltwater spray or water.

“This will bring back the natural curl, but very slightly,” he says.

How to Get Beachy Waves

MCMILLAN’S FAVORITE LOOKS

NICOLE KIDMAN ON THE TONIGHT SHOW WITH JAY LENO, 2003

“I did a falling-out, haphazard ponytail off to the side with a ribbon. She loves ribbons.”

GWYNETH PALTROW AT THE ACADEMY

AWARDS, 2005 “The night before, I bought

drugstore hair color and did her roots, then

highlighted it. We were going to put her hair

up, but her zipper broke, so this hid it.”

NICOLE RICHIE, ALLURE, 2006

“Adorable. We faked a bob by pinning her

hair under and letting the top layer hang

over. I cut her hair later that day, but

she got extensions immediately after

the photo shoot. She doesn’t like her hair

when it’s short.”

JENNIFER ANISTON, ROLLING STONE, MARCH 1996“ ‘The Rachel’ is somewhere in there. This was a surprise for us—the fact that she’s naked. We thought he was shooting her face!”

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THERE ARE TWO SUREFIRE WAYS TO GET AUTHENTIC-LOOKING BEACHY WAVES: Spend an afternoon in the ocean, or book an appointment with Chris McMillan. “Loose, natural hair—that’s my thing,” he says. “I like hair that looks touchable and effortless.” That’s not to say that McMillan’s approach to styling is laid- back; he’s turned construction and deconstruction into a carefully crafted formula. “I hate when curls look too forced, so I’ll rough them up, pull them in different directions,” says McMillan, who developed this surfer-chick aesthetic growing up in Manhattan Beach and now dishevels some of the most famous California girls around, including Cameron Diaz, Courteney Cox, and Jennifer Aniston. His close 15-year relationship with Aniston started when he snipped some unassuming layers on the then barely known actress. That cut would become, of course, “the Rachel.”

Chris McMillan

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Stretch-taffeta-and-metal dress by Yigal Azrouël. Makeup colors: Studio Secrets Professional Eye Shadow in Lush Raven and Colour Riche Lipcolour in Blushing Bouquet by L’Oréal Paris. Hair: Orlando Pita of the Orlo salon. Details, see Credits page.

START WITH DRY HAIR Spray it with T3 Elevate volumizer

(Pita works on this line of products). Brush it through to produce a

rough, thick texture. “When you’re putting hair up, it can’t be too

clean,” he says. “If it’s too silky and smooth, it won’t hold.”

PULL THE HAIR BACK Gather it into a basic bun at the nape

of the neck, and pin it in place.

NOW MUSS IT UP “Carefully pull out shorter pieces of

hair around your face and from the bun,” he says. “Make it random.”

Finish by spraying on more T3 Elevate—it’ll keep the hair loosely in

place without making it overly stiff in the way hair spray can.

How to Do An Undone Bun

The simplest way to adopt Pita’s aesthetic is with a soft bun. “It’s

easy because it doesn’t have to be perfect in the first place,” he says.

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Orlando Pita“I’VE WORKED MY ENTIRE CAREER TO AVOID HAVING A SIGNATURE STYLE,” says Orlando Pita. “I didn’t think I even had one.” Nevertheless, the prolific fashion and celebrity hairstylist has built his reputation on wildly inventive looks that often embrace what he calls a “done/undone” feeling. Whether it’s a soft updo with a few errant wisps, or a head full of deliberately frizzy waves, “I love to create something beautiful and then destroy it,” he says. Pita regularly brings that sense of imperfect ease to magazine shoots, ad campaigns including Gucci and Chloé, and shows for Dior, Michael Kors, and Oscar de la Renta. But it is in his frequent couture collaborations with John Galliano that he really lets loose: Though many stylists prefer to work solely with comfortingly familiar tools like hair spray and gel, Pita’s couture kit reads more like an art teacher’s shopping list. He often includes balloons, Styrofoam, paint, and powder, whether he’s piling the hair into deconstructed, flower-inspired towers or punctuating eighteenth-century updos with shocking white streaks. “I don’t want any of my styles to ever look perfect,” he says, “because perfection doesn’t exist on any level—even in hair.”

PITA’S FAVORITE

LOOKS

MADONNA’S RAY OF LIGHT ALBUM, 1998 “When Madonna walked in, she said, ‘Orlando,

I don’t want to sit in your chair for more than 15 minutes.’ So I said, ‘We

haven’t seen your natural wavy hair in a long time, so let’s go with that.’”

CHRISTIAN DIOR COUTURE, SPRING 2010 “The idea was

Marie Antoinette hair. I love that it looks

contemporary, yet ’60s. It looks like a beehive.”

CHRISTIAN DIOR COUTURE, SPRING 2004 “John [Galliano]

asked for a square hairdo—and then the

panic seeped in. It was a lot of hot glue, extensions,

and burned fingers.”

CHRISTIAN DIOR COUTURE, SPRING

2010 “We wrapped extensions around purple

balloons, and as the girls walked, you could see flashes of purple. An assistant popped a

balloon by mistake. I just couldn’t look.”

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EARLY-’90S FASHION LAUNCHED MANY ONE-NAME WONDERS: Naomi, Linda, Cindy—and the hairstylist who worked on them, Oribe. But his signature sex-kitten styles feel just as fresh on the Scarletts and Penélopes he works with today. “I like big, beautiful hair—with a richness, an extravagance, and a little bit of vulgarity,” he says. (One early—and unusual—muse: Elly May Clampett of The Beverly Hillbillies.) At 18, Oribe moved to New York City to become an actor and supported himself by working at a salon’s front desk. Soon he decided to give styling a try, and before long he was a backstage fixture at the biggest fashion shows of the

decade, including Versace and Thierry Mugler. “The ’90s were all about creating an over-the-top woman,” he says. But once grunge came along, Oribe spent more time in his Miami salon than on the runways. Enter J.Lo. A fan of his work since she was a teenager, Lopez hired him to style her hair for her first album and brought Oribe back into the spotlight. (“Thank God for Jennifer!” he says.) Now, more than ten years and countless chignons later, he is still creating memorable looks—for better or worse. Case in point: that half-up head of curls Lopez wore to the 2002 Oscars. He says with a laugh, “That one’s on VH1’s top four or five worst hairdos of all time.”

Oribe

Silk gown by Versace. Makeup colors: Hydro-Powder Eye Shadow in Languid Lagoon, Automatic Fine Eyeliner in Black, and Perfect Rouge Lipstick in Caramel by Shiseido Makeup. Hair: Oribe of Oribe Salon Miami Beach. Details, see Credits page.


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Glamorous Updos Made Easy

“Updos are tricky—they can either make you look very old, or they

can be incredible,” says Oribe. Here’s how he makes them sexy:

PREPARE YOUR HAIR “If you have good texture, the updo should only take two minutes to do,”

says Oribe. Teasing is one approach, but the right product can do it with less

damage. Oribe uses his Dry Texturizing Spray at the roots when hair is

dry (or all over for those with fine hair).

PULL YOUR HAIR BACK Grasp it like you are going to pull it into a

ponytail just below the middle of the head. Then twist it toward the top of

your head and secure the twist with a U-shaped pin (you may need more than

one if your hair is thick). Leave the ends free for a casual look, or tuck them

in and pin for a more polished effect. “It’s a French-twist kind of idea, but it

should be simple,” he says.

MIST IT ALL Spritz with hair spray to lock in the style,

making sure to go with light-hold. “Not making it too hard with a heavy hair spray

will give it a modern edge,” he says.

ORIBE’S FAVORITE LOOKS

JENNIFER LOPEZ AT THE ACADEMY AWARDS, 2003 “I wanted the chignon to

be big and superpolished. It was just a big, fabulous bun. A lot of people didn’t love

it, but she felt spectacular.” SCARLETT JOHANSSON AT THE TONY AWARDS, 2010 “She wanted a sci-fi kind of updo—supermodern and clean. It was helmet-like, but somehow, for a young girl, for the occasion, it really worked.”

VOGUE, 2003 “For a story about hair damage, we styled wigs with rock-hard gel

so they went straight up in the air, then we lit them on fire. It was crazy—and

it smelled terrible.”

JENNIFER LOPEZ AT THE ACADEMY AWARDS, 2002 “Halle won the Oscar, but on every newspaper in America, it was a huge picture of Jennifer Lopez’s monstrosity. But Jennifer loved it.”

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Bangs alter not just your hair; they can change your face, too.

Garren’s guidelines:

EXAMINE YOUR FACE Ask for thick, chunky bangs if you have a large forehead; long ones

that start far back on the head if your forehead is small. “This elongates the forehead and make it look deeper,”

he says. If you’re unsure, go for long, side-swept bangs. “They look good

on everybody,” he says.

CONSIDER YOUR HAIR TEXTURE For curls, try a keratin straightening

treatment at the salon first.

EXPECT SOME MAINTENANCE Bangs won’t look good if you’re the

type to wait six months between haircuts; most require a trim at least

every four weeks, Garren says, and many salons cut them gratis.

How to Get the Best Bangs

GARREN’S FAVORITE LOOKS

FARRAH FAWCETT, 1978

“This was when everything hit

for me because I took the ‘Angel’

out of Farrah Fawcett and made

her hair straight. She was in every

newspaper.”

MADONNA, VANITY FAIR,

APRIL 1991“That’s the iconic

Madonna when we transformed her into our version of

Marilyn Monroe. The hair was set with

electric rollers.”

VICTORIA BECKHAM, 2008 “I wanted to let her become herself, because before, her hair used to wear her, and now she was the centerpiece, not her hair. It made such a statement.”

SANDRA BULLOCK, VOGUE, JANUARY 2003 “That’s her shaggy bob with side bangs —it’s the rocker-chick look. Before this, her hair was a waist-length, one-length cut.”

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THERE ARE HAIRCUTS THAT CLEAN UP SPLIT ENDS, and then there are haircuts that transform everything. Garren’s are the latter. His textured styles—often accentuated with thick bangs—make the recipient instantly cooler. “I like my haircuts to have individuality and some kind of punch,” he says. He first gained notice in 1978 when he shortened and straightened Farrah Fawcett’s famous Charlie’s Angels flip for a shampoo ad. “It seemed like every newspaper said something about it,” he says. In the late ’80s, he went on to work with fashion photographer Steven Meisel, creating looks for the period’s biggest models, including Linda Evangelista, whom he ushered through a chameleon-like series of bobs and pixies. He collaborated regularly with Madonna, helping her shake things up with retro waves or a rocker-ish shag. And in this decade, he gave Victoria Beckham her signature gamine cut. Still, Garren remains a salon stylist at heart. “When it comes down to it, haircutting is really what I’m about,” he says. “At the end of a cut, when the woman shakes her head and says she loves it? You can’t get better than that.”

Garren

Wool tuxedo by Theory. Makeup colors: Color Intrigue Eyeshadow in Twilight, Smoky Eyes Powder Pencil in Gunmetal, and Exceptional Lipstick in Amber by Elizabeth Arden. Hair: Garren of the Garren New York salon. Details, see Credits page.

head by alyssa kolsky hertzig masters

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