Posts Tagged ‘hair color’
Dip-Dying and Mixing Color
by CurlStylist on Wednesday, June 13th, 2012
By: Jennifer Kenny, The Curl Girl
As a professional colorist, catering to curly clients, I IMPLORE them not to use box color. Here are a few things I tell them about why box color is usually the devil…
1. Heavier dye loads in some boxes intended to help cover resistant gray can create a very dark — and dull — result on previously colored hair. When applying color to your own hair, the chances that you will be able to neatly apply it on only the new growth are slim. A color designed to open the cuticle layer of your hair and deposit a heavy dose of color molecules is not what you want on hair that has already been processed in that manner. That is, unless you’re trying to channel you inner Wednesday Addams or Billy Bob era, pre-Brad Angelina.
2. Other hair problems are often caused by box color that clients don’t even attribute to their at home fix. Hair can be very dry, have a tinsel like feel that is caused by metallic salts or other harsh ingredients, or have intensified effects from sun or chlorine. Hair will tend to have a matte appearance with little shine or dimension.
We all know curly hair is already fighting an uphill battle to retain its natural moisture. Home hair color can offset the efforts of curlies devoted to maintaining their curls by using quality styling products. When box color creates too dark results/unpredicted/undesirable results the process required to lighten the hair is ALWAYS going to A) Damage the hair further, or B) require intense deep treatments that help restore the hair/prevent breakage, make it softer and more manageable and add shine. This is FOR SURE going to cost more than having it done in the salon. Whisper the following phrase aloud: “It doesn’t end up saving you money.”
When I’m creating a formula for one of my clients, I rarely use just one color. When mixing up anything from a vibrant, editoral copper to a natural looking “Kardashian” brunette, there is much thought and personalization involved in creating a color formula for each specific head — it’s nearly impossible to get that kind of result from a drugstore box.
I will always warn my clients about using box color, but with respect, acknowledging that neither time nor money grows on trees. This season’s runway hit real life trend — Ombre — makes it easy for me to offer some clients a hair color option that can provide them a beautiful and professional result while allowing them to stretch time between visits. Roots — this season’s IT color. Well, not really, but kind of. Ombre is actually a graduation of color, from dark to light and is the current “I want THAT hair” request that stylists are getting from their clients. I first fell in love with this look when I saw it on Drew Barrymore, and she’s worn it as a rooty rocker style and as a soft dip-dyed look of sumptuous caramel brown melting to butterscotch blonde.
You can start with a base color that is close to your natural color, or choose to keep your natural color and just color your mid-lengths and ends (more like the Sarah Jessica Parker look).
Wondering if you can pull of this look with not only wavy hair, but shorter, too? Miley Cyrus has (ahem) the best of both worlds, with this easy yet fashion forward ombre bob.
5 Tips for Using Hairstyle Photos for a Consultation
by Ivan Zoot/The Clipper Guy on Monday, July 11th, 2011
Ivan Zoot is the director of education and customer engagement for the Andis Company and the founder of Zoot! Hair professional hair care products. Ivan identifies, recruits, trains and manages Andis’s team of professional beauty industry educators. Ivan continues to be a featured presenter at industry shows and events, sharing his unique blend of information, education and enthusiasm for clipper cutting and the entire professional beauty industry. Ivan’s background includes experiences ranging from salon ownership to achieving 3 Guinness World Haircutting records. Here, he shares his cutting and business-building expertise.
Clients frequently bring hairstyle photos to help visually explain the look they want and stylists frequently have stylebooks lying around, either professionally published or just a personal scrapbook. Using these resources can help to ensure a great experience for both the client and the professional.
Of course, one of the biggest disconnects in the industry arises from unrealistic expectations created by the promise in a discussion around an image.
To avoid this communication disaster, follow these top five tips for using hairstyle photos during a consultation.
1. Seek similar textures
A client with kinky curly hair offering up an image of a sleek, straight style will be setting themselves up for a problem — or setting you up for a big ticket straightening service and a pile of take home hair care products. One scenario is a win/win; the other is a lose/lose. Try to match images and expectations to similar textures.
2. Keep colors close
For the previous reason alone, and then some. The same haircut can appear very different when sculpted on different colors of hair. Issues of depth and dimension reflect quite differently across the range of hair color choices. Encourage clients to share hairstyle photos in target colors that you know can work.
3. Match facial shapes
Many stylists have the ability to imagine a style on different clients. Clients may lack this vision. Compare a client’s facial shape and bone structure to that of a target image. How well will the shape translate? Can you find an image of the cut on a closer matching facial shape? If not, explain your vision to the client and encourage them to seek alternative photos and examples.
4. Align for age
Share hairstyle photos of models of similar age to the client with the client. Female clients generally like to “shop” images only a few years younger than their actual age. Going too young puts them ill at ease with the consultation and change process. Sharing idea images of models noticeably older than the client most always meets with resistance, too. Creating a scrapbook of your work on your clientele’s average aged models will encourage them to choose more visual explanations and help you to give them exactly what they are looking for.
5. Mine Internet galleries
A fast Google search of hair cut length and style keywords reveals an enormous number of valuable image galleries. Other folks did the work of accumulating good shots to work from so use these galleries to build up your stash of images to share.
Update your image collection frequently. Adding new hairstyle photos is needed to keep things fresh. Deleting passé styles is important as well so as to keep clients from getting stuck in the past or from “going retro” before retro becomes hot again.
Remember, you are your client’s last line of defense. Don’t let poor communication and lack of vision ruin an otherwise great appointment.
Hollywood Hair Color by Pasqualle Caselle
by Megan Dorcey on Monday, June 27th, 2011
Artistic Educator for IT&LY HAIRFASHION, Pasquale Caselle utilized the looks of Hollywood past with Hollywood present. Each model has 2 looks that depict the importance of great hair color to capture each design.
Hollywood Red Head: The inspiration for model Kelly was to create something to bring out the dramatic looks of past Hollywood hair styles with the glamour of today.
The Color Formula: On a level 6 base, IT&LY HAIRFASHION’S AQUAR&LY 8A (Light Orange Blonde) mixed with 20 volume AQUAR&LY Developer was used to create this dynamic and sultry Hollywood red head.
Style # 1 How to Achieve the Look:
Pure Fluid Experience was applied after gently towel drying her freshly washed hair for added volume. To style, use a medium round brush and blow drying piece by piece to create a bit of bend in the hair. After the entire head is blown dry, lightly tease the root area and smooth with a soft bristle brush. Use Pure Water Drops on the ends to add shine and definition of the loose curls. To finish, spray lightly with Pure Definition Aerosol Spray.
Style # 2 How to Achieve the Look:
Begin by teasing the entire head from roots to end. This is what will create the volume and base for this updo. Apply Pure Water Drops on the ends to create a bit of definition with the curls. Spray the entire head with Pure Definition Aerosol Spray and begin to manipulate the hair up towards the crown, yet not too tight as you want to create a deconstructed look. Secure with pins. Finish with Pure Definition Aerosol Spray.
Win Big With Pravana Hair Color Contest
by CurlStylist on Monday, May 16th, 2011
Brig van Osten
You’re a cutting-edge stylist whose coloring skills are as varied as the hues in a rainbow—literally! From red to violet, you can creatively customize a seriously colorful semi-permanent coloring job. If Pravana hair color products are the secret weapon supporting your talent, then “Show Us Your Vivids” is the contest for you. This once-in-a-lifetime opportunity combines Pravana’s Naturceuticals Vivids with “Shear Genius” winner Brig Van Osten’s top talent.
To prove you’ve got prowess, all you have to do is upload three images, one of a ho-hum “before” model and two of your model “after” exposure to your very own unique methodology of applying Pravana’s Vivids color. Your fate then rests in Brig’s hands—the seasoned stylist and owner of P!ay Hair Lounge in California will select three licensed professionals as the most creative color-ers.
The first-prize winner will receive a paid trip to an editorial photo shoot with Brig herself. Those pictures will then wind up in a major salon industry publication! Second place will receive $1,000 worth of Pravana hair care, styling and coloring products, while the third runner up will be gifted with $500 worth of products.
If you have what it takes to color the world your way, visit pravana.com from July 1, 2011 to August 31, 2011 to get more information and to enter the first ever Show Us Your Vivids contest. Then, anxiously await September 5, 2011 when Brig will bestow her three favorite colorists with premium prizes. Happy coloring!
Top Hair Color Brands: Ratings & Reviews
by Antonio Gonzales on Wednesday, April 27th, 2011
I was born in Trinidad in the height of a hurricane. I spent my childhood surrounded by the sights and sounds and smells of Carnival and the other Indian, African and Spanish festivals of the Islands. Loving the amazing costumes, I got my start dressing my sisters and doing their hair and makeup. An opportunity came up to work with Trinidad’s leading costume designers, makeup artists and hair stylists. After I left the Island, my career evolved with work in Munich, Los Angeles, New York City and now Miami. Vogue magazine recently named me as one of the rising hairstylist stars in New York, I was awarded the best haircut of 2008 by sheckys.com, Gotham Magazine called me a Shear Genius and Allure Magazine featured me as one of the Best Cuts 2009.
For clients, hair color is a big part of their monthly investment. Over the past 20 years, I’ve worked to get rid of unwanted grays and brighten the dullest of days for my clients. While doing so, I have used many professional
Color is a big part of a client’s hair budget.
permanent hair color brands, and while I’ve really liked most and still use several to this day, I have watched these companies do their best to improve their products and produce hair color that is noticeably shinier and healthier and that last longer on the hair.
The following is my honest experience and opinions on the differences between these color lines, including what to expect and what sets them apart. Each is rated on a scale of 1 to 10 for fading (1 being great resistance to fading and 10 being the worst resistance to fading).
An Italian permanent hair color, this was one of the first hair colors I used when I started my coloring career. Framesi comes in many shades and boasts some beautiful reds. Over the years, Framesi has improved their color line by adding lovely cool tones and an opaque color with rich, long-lasting browns and some great gray coverage. Because of its intense coverage, when working on the client with a few grays that is maybe looking for a softer, more translucent color, this probably is not my first choice. Unlike some other products, Framesi has not had the huge financial and advertising backing others may have enjoyed, however, it’s a color line that has been consistent for the past 20 years. Fade Rating: 1
This is another favorite with an opaque finish. Sometimes I prefer this to Framesi, since it’s not as opaque. Their “N” series is not as ashy as other brands and it leaves the hair feeling like, well, hair! Goldwell confidently can boast great high lift tints that lift “on tone.” It also has a demi-permanent color line that complements most of their permanent colors. Not many permanent hair color brands have a demi-permanent color line that I love. I “like” Goldwell. Fade Rating: 2
Majirel by L’Oreal
This product is a great translucent permanent color that gives great coverage and shine. Their brunettes are gorgeous! The gold series for low-lighting holds well, but needs a little extra kick of red for warmth. For the blonde who dislikes “warm low-lights,” this is perfect!! I love their copper reds, but they are lacking a broader spectrum of reds. Fade Rating: 1
Richesse by L’Oreal
L’Oreal also provides a demi-permanent line called “Richesse,” which I like very much. It’s an easy to use line that I will continue to use. Fade Rating: 3
Koleston Perfect is a color I have been using since it became available in the U.S. In fact, over the last 15 years, I am responsible for introducing it to many salons I have worked in. It’s a translucent color perfect for clients who want permanent color without the feeling of intense coverage and pigment. This is a warm brand of color and you will need to pay attention to controlling the warmth for the clients who are ash lovers. Wella colors are great for low-lighting; they leave the hair very shiny. The reds are lovely and I love, love, love their bleaches. Wella also provides an endless demi-permanent color line (Color Touch) supporting its permanent colors.
Gotta have the reds!
Recently, they created a line that adds a translucent tone to compete with Cellophanes, called Colorshines by Sebastian. Only problem? It does have a little peroxide, whereas Cellophanes has none. Fade Rating: 4
This is another product I’ve been using since it was launched in the U.S. more than 10 years ago. From its milk proteins and gentle approach, it offers a color with healthy hair in mind. Its consistency when mixing is a little annoying and so is the packaging, but it delivers! I know stylists who swear by it. Fade Rating: 4
Let’s bring in the big guys from the “old school!” Talk about a color that covers grey well… always! Some may think it’s for dated hairstylists, but you will be surprised to know that many top salons in New York use this product because of its ability to cover well. However, most salons accompany this product with demi-permanent colors from other lines. Disadvantages? It is liquid and has a strong smell. Fade Rating: 2 (You go, Miss Clairol!)
Well there you have it, guys and dolls, my input on hair color brands to help you get started if you’re new, or just looking for some hair coloring tips. Of course, if you ask another hairstylist, they will have a totally different opinion on my choices, but the most important thing is that we all love color!
Prince William and Kate Middleton: Hairstyling Secrets from The Lifetime Original Movie
by CurlStylist on Tuesday, April 19th, 2011
A hair color change was in order for blonde actress Camilla Luddington.
RaMona Fleetwood shares her hairstyling secrets from the Lifetime TV release of William and Kate which aired Monday, April 18th, 2011. With the Royal Wedding taking place on April 29, 2011, the love story of their romance was filmed in Los Angeles with Nico Evers-Swindell as Prince William and Camilla Luddington portraying Kate Middleton. To recreate their “royal” look, hairstylist RaMona Fleetwood used professional hair color from IT&LY HAIRFASHION and hair care from both IT&LY HAIRFASHION and White Sands Products for this highly anticipated release.
According to RaMona, “IT&LY HAIRFASHION’S Colorly 2020 hair color and styling products along with White Sands Products saved the day. Even during many of the rainy days filming outside, their hair held and the color could not have been more natural.”
Camilla Luddington as Kate Middleton
RaMona began her look by changing Camilla’s original blonde hair color to match that of Kate Middleton’s with IT&LY HAIRFASHION’S cruelty free Colorly 2020 hair color.
To style, RaMona applied a dime size amount of Orchids Oil by White Sands from roots to ends before each blow dry. Next, she sprayed White Sands Liquid Texture Firm Hold Styling Spray at the root area and set Camilla’s hair on jumbo hot rollers for volume. After makeup, RaMona removed the hot rollers and spiral wrapped small sections around a 1 ¼ inch curling iron alternating the direction of each curl. This technique helped create the natural waves and curls Kate Middleton wears. To finish, RaMona sprayed her hair with IT&LY Pure Hair Eco non-aerosol Hairspray for hold. To control fly-a-ways picked up by high definition with back lighting, RaMona carried a bottle of IT&LY Pure Water Drops to smooth any tiny, loose hairs with her fingertips. For the infamous runway look, RaMona began with dry hair, creating a side part. Next, she lightly sprayed the roots and hair shaft with White Sands Liquid Texture Firm Hold Styling Spray. To create the curl and texture, she then took small sections and slightly twisted them as she rolled them on 2 sets of hot rollers. The bang area was set off base and over directed to achieve a “Veronica Lake” bang. After 20 minutes, RaMona removed the hot rollers and shook the curls to loosen them. For hold, she sprayed them with IT&LY Hair Eco Non-aerosol Hairspray.
IT&LY Pure Water Drops were used to smooth down any fly-a-ways for the rest of the cast’s updos for the runway scenes; RaMona relied upon White Sands Infinity Hairspray.
Nico Evers-Swindell as Prince William
Nico’s light ash brown hair was also colored with IT&LY HAIRFASHION’S cruelty free Colorly 2020 hair color to match Prince William’s hair. As the department head, RaMona achieved the Prince’s look by creating a slight bend to the ends using White Sands Liquid Texture Firm Hold Styling Spray with a small flat iron and defining the style with IT&LY’s Pure Definition Paste.
IT&LY HAIRFASHION, N.A. President/CEO Richard Zucckero and Noel Salas, CFO of White Sands Products proudly supplied RaMona Fleetwood with their professional products.
Put a Spring in Your Clients’ Colorful Curls
by Antonio Gonzales on Monday, February 21st, 2011
I was born in Trinidad in the height of a hurricane. I spent my childhood surrounded by the sights and sounds and smells of Carnival and the other Indian, African and Spanish festivals of the Islands. Loving the amazing costumes, I got my start dressing my sisters and doing their hair and makeup. An opportunity came up to work with Trinidad’s leading costume designers, makeup artists and hair stylists. After I left the Island, my career evolved with work in Munich, Los Angeles and now New York City. Here in New York, I am a stylist at the Orlo Salon in the Meat Packing district. Vogue magazine recently named me as one of the rising hairstylist stars in New York, I was awarded the best haircut of 2008 by sheckys.com, Gotham Magazine called me a Shear Genius and Allure Magazine featured me as one of the best cuts 2009.
Texture, texture and more fabulous texture! I would now like to open my color dispensary to all my fellow hairstylists and share some tips on making clients’ curls look amazing for the spring. I feel strongly that we are in this together, and education is something we should always feel free to share. Here is a two-part installment taking you away from the norm and helping you work on a “curly canvas” with new ideas.
When a client with curly hair sits in my chair for the first time, I look at her hair very differently compared to that of a client with straight hair. Curly hair travels from the scalp out and falls very differently than straight hair. And because the light reflects differently off of curls, before I color I have to think carefully if I am going to do a single process, foil or baliage technique.
If she or he is a first-time color client, I prefer to paint rather than do a single process. Whether there are a few grays or none at all, when it comes to virgin hair, I strongly feel doing a single process is like throwing a blanket over the client’s head. Why cover what comes naturally? To enhance natural hair color, I love low-lighting with foils using two shades of brown, one darker and one lighter, especially if the client has a lot of hair. If she has very fine hair, I still prefer using two colors, but using the baliage technique becomes my first choice. With fine hair, I have more control than with foils and the effect is more delicate.
Yes, it may seem like more work than an overall color. But consider this, not only is it beautiful with dimension, but now the client is well-aware that her color is custom-mixed to her needs. Also, when the hair grows, you avoid the line of demarcation typically caused by single process. After the color is processed, I take the client to the sink and do a quick soap cap without affecting the uncolored hair too much. Keep in mind that it is not necessary to do a gloss with this process, otherwise you will blend what you did prior, and you’re back to ground zero with the color looking like a single process.
Gray Be Gone!
If there’s 10 to 30 percent of gray, you can baliage the hair (thick or fine) with the results being very natural and a very subtle line of demarcation. When a client is beginning to gray, the single process effect can be too harsh and scare the client away from a truly necessary service. The major advantage with doing baliage on this client is they can still see their natural hair color mixed with the colored hair.
When first covering gray hair, most women are open to seeing one or two gray strands, so why totally change their hair color? Then if the client is open to a little sparkle to counteract the coolness caused by the slight graying, you can also suggest a few lighter tips to add sparkle. While the low lights are processing, simply paint a few lighter pieces but only the tips of the hair (not roots through to ends. For this, I recommend using high lift tints for the lighter pieces rather than bleach - this way you have more control getting the desired tones without having to gloss her hair after using bleach.
Remember, this approach is all about giving the client a sophisticated, modern hair color, leaving her feeling soft and sexy with a color that compliments her curls and texture. After all the color classes I have done, I still find myself going back to the basics. Put clients’ hair condition first, the desired results second and my pocket last. With this approach, I find both my client and I are happy maintaining a strong relationship full of trust.
My next installment? Techniques using bleach to help add that extra edge to your brunette or blond client.
Destined For Greatness?
by CurlStylist on Thursday, February 17th, 2011
Entry deadline is May 27, 2011
Are you ready to show the world just how creative a stylist you are? Then get your creative juices flowing, because it’s that time of year again: Color Zoom 2011 is here! This year, Goldwell Color Zoom is hitting South Beach with the color event that stylists around the globe look forward to. The winners will be part of the Goldwell team, with the opportunity to team up with their expert colorists to design the 2013 color line.
Each year is focused around one theme, and 2011 will center around two words: Play Strong. Goldwell spans the globe for the latest trends in fashion and style in order to build criteria for each year’s competition. Play Strong encompasses this, focusing on militant lines, blacks and whites with accents of red.
So if you think you’re up to the challenge, log on to the Color Zoom website for more inspiration, tips, and tricks for making your entry the best it can be. Happy coloring, CurlStylist!
Go here for more information on the Color Zoom 2011 challenge.
What’s the Difference Between a Gloss and a Glaze?
by Antonio Gonzales on Monday, December 13th, 2010
I was born in Trinidad in the height of a hurricane. I spent my childhood surrounded by the sights and sounds and smells of Carnival and the other Indian, African and Spanish festivals of the Islands. Loving the amazing costumes, I got my start dressing my sisters and doing their hair and makeup. An opportunity came up to work with Trinidad’s leading costume designers, makeup artists and hair stylists. After I left the Island, my career evolved with work in Munich, Los Angeles and now New York City. Here in New York, I am a stylist at the Orlo Salon in the Meat Packing district. Vogue magazine recently named me as one of the rising hairstylist stars in N.Y., I was awarded the best haircut of 2008 by shecky’s.com, Gotham Magazine called me a Shear Genius and Allure Magazine featured me as one of the best cuts 2009.
What’s the difference between a gloss and a glaze? Over the years I’ve heard these terms used interchangeably (often from my own clients), and I’m here to set the record straight. After some extensive online research and reading many articles from fellow New York stylists (including NYC Colorist Marie Leppard and my coworkers at the Orlo salon), I feel confident to speak intelligently on the matter. I want to bring you a point of view that, although personal, makes sense in my eyes. I hope this helps you to answer your own clients’ concerns on the matter.
What comes to mind when I hear the word “glaze” is a shiny, delicate surface, like that of a glazed cake—a temporary coating.
After my research, I was happy to know that we stylists all can agree that a glaze is a temporary, clear substance that adds great shine to either virgin or color-treated hair. We also agree that glazes have pigment added to boost any matching hair color: blond or brunette. Whether it’s a clear glaze (with no color pigment) or a colored glaze, all certainly add a safe, translucent coating to the hair shaft that washes off in eight to 12 shampoos. Glazes contain no ammonia or peroxide, which means they do not have the ability to lift your natural color or to aggressively open the cuticle to deposit color. This kind of product gently lays on the surface of the hair rather, adding a complementary tone. Also, glazes will not fully cover gray hair (not even a few strands). However, on a client who’s just slightly gray, it can add overall shine and a hint of tone while possibly staining those few strands.
One of my favorite glazes is Sebastian Colourshines by Cellophanes. I have been using this product for more than 16 years, from my time in Trinidad, to Los Angeles and now in New York, and I still love the results. This temporary gel-like substance comes in clear and also a variety of colors that can complement any brunette or blond. Keep in mind that there are other glazes on the market for you to sample, but this is again by far my favorite; I’ve yet to be disappointed by this glaze. The easiest way for me to describe the coverage of this product is by recommending that you experiment: Get a piece of colored cellophane paper. Place it over several surfaces of varying colors. If the paper you choose is red (for example), then all the surfaces you have covered with the cellophane look the same in depth or lightness, though now just have a red translucent tone. The idea is that the glaze cannot actually change the depth and existing color pigment, but does add a translucent tone.
The best way to choose the right color for your client is by taking a white paper towel and smearing your desired color on it. This way, you get a good idea of the color and underlying pigment. It is important to keep in mind the desired effect, so keep the “color tone” relative to the client’s existing hair color. In other words, if it’s a copper red, do not use a blue-base red. It’s great on brunettes who are losing their sparkle, if you think there’s too much pigment and you are fearful of it going too dark, then what you should do is add clear. This will help dilute the pigment, giving less coverage. This product is also amazing for blonds: For a head of fair hair that’s too gold, add a mixture of pearl blonde and clear. Or for the blond who’s too ashy, the honey blond mixed with clear works wonders!
To use on virgin hair, I first shampoo the hair with a clarifying shampoo to remove all product residue. I then towel-dry thoroughly and apply from roots to ends. Apply a plastic cap and sit under heat for 20 minutes. Afterward, allow to cool for five minutes and rinse well. Use an old-school hooded dryer (the heat and strong flow of air from these works better), rather than a Rollerball or a Climazone. But careful: do not shampoo. Rinse well (seven to 10 minutes) and condition only. If applying a colored glaze, apply protective cream to the hairline and wear gloves. Comb the glaze on the hairline, avoiding the client’s scalp. This way you get an even application without staining her scalp, and trust me when I say this baby stains!
For virgin hair in need of shine that’s sensitive to chemicals (or for the client who’s sensitive to the slightest tonal change in their hair), I highly recommend using a glaze. As we know it fades naturally from the hair without a line of demarcation. Do not take any chances with the lowest-volume peroxide in a gloss. It’s better to be safe than sorry!
If your client’s hair is damaged and you have a choice between either a gloss or a glaze, I highly recommend a glaze. Even the lowest-volume peroxide can make a bad situation worse.
When I think of a gloss, I think of car paint or nail polish: something stronger and longer-lasting.
A hair gloss is the stronger of the two. It contains peroxide and has the ability to budge the cuticle, depositing longer-lasting color. If used with heat on virgin hair, some glosses will give lift to the hair, changing the tone by perhaps a shade (I’ve seen this happen several times with my own eyes). When used on color-treated blond or brunette hair, it will add shine and enhance the existing tones in the hair, which can be a lifesaver a month or so after coloring the client’s hair. As you already know, glosses can be clear or come in a variety of shades (more so than do glazes), and can last up to four weeks. They can be applied to dry or towel-dried hair, and as previously mentioned, can be used with or without heat (Color Touch by Wella is a good example of this capability).
One of my very favorite glosses is Diacolor by L’Oréal, which can make a blond sparkle a month after getting the color done, while controlling warmth in the base. Unlike many glosses on the market that leave warm tones on the hair, this product will keep a brunette on tone, be it warm or cool. It comes in many shades, allowing you to create any desired hue. Keep in mind that I do use a lot of glosses in my everyday work, but I try to keep it as healthy as possible. So instead of the fast five minutes at the sink with a gloss, take 20 minutes with a glaze to achieve a shine that’s “to dye for”!
Remember that glosses can be a girl’s best friend (especially for blending gray hair), but should be used only when necessary, on hair that really needs it. Glazes, on the other hand, can make a world of difference on virgin hair, and are a great way to introduce your more inexperienced clients to hair color.
I wish you shine, shine, shine this holiday season!
American Board of Certified Haircolorists Tests Brands
by CurlStylist on Monday, October 25th, 2010
There was much discussion on to how the test on INOA haircolor was to be conducted. It was determined the best way was to compare it with one other haircolor. We elected to go head to head with WELLA Color Charm tube haircolor. We selected this haircolor for two reasons. We wanted a color that was opposite in both the price and ingredients. INOA contains no ammonia, and WELLA has the reputation as being loaded with ammonia (even though it is not true). This was not a comparison such as the 6N comparison, pitting one color aganist all others. It was simply comparing an expensive haircolor against a less expensive one.
The test result was based on several areas of hai color, such as gray coverage, fading, mixing time, application time, smell, condition of the hair after the applications and consistency. This was the first of two tests. The second part of the test, which will appear later, will include INOA in the same test as the other 6Ns, both with the brand peroxide and generic peroxide
There were 2 applications of color. After each application the color was left on for 35 minutes, then shampooed twice and left to dry. The drying time included normal sun exposure. The process was repeated 5 times over a 5-day period. The hair was shampooed a total of 10 times. It was then colored a second time and the entire process repeated.
This was no contest. The first time mixing INOA color was slow and cumbersome. It took 4 minutes and 34 seconds to mix the color. It took both hands to squeeze the ingredents out of the oil and the peroxide bottles because of the thickness of the product. This also made it difficult to measure, even with the measuring device provided. The second time the mixing time was cut in half. Still it was twice as long as the WELLA color, which took 1 minute 15 seconds. The color had to be mixed in a bowl and applied with a brush, unlike the WELLA which can be used with either the brush or bowl.
After comparing the two sides of the mannequin there were mixed reviews as to the coverage of the gray,hair. There appeared to be little or no difference in the gray coverage. After the second application the coverage was much better. This is true of both haircolors.
Because of the thickness of the INOA haircolor it took longer to apply. It took 14 minutes to apply the color from scalp to ends on half of the mannequin. Almost three times longer than WELLA color, which took only 6 minutes. The consistency of WELLA tube color makes it easy to mix in an applicator bottle. I fail to see the advantage of having a product so thick it make the application more difficult.
Here again the fading was significant. We found with both colors the hair faded to the same degree. It did not appear that one color faded more off tone than the other. The gray hair had marginal coverage after the first application. After the second application the color was much more through than the first application.
Without special instruments, it is difficult to determine which of the two sides of the mannequin was in better condition. We made a point not to use any conditioning product after the shampoo. Both sides became much fuller and both had coarse feel. It became increasingly difficult to comb the hair the more it was exposed to the sun. It is difficult to determine what caused the rough cuticle, probably a combination of the color, shampoo and sun. After the last shampoo we used Oxyfree on the hair which made the combability much better.
The smell of INOA color was nondescript, not perfumey, not medicinal, just a nice gentle smell. WELLA color smelled like ammonia.
It was no surprise to anyone that WELLA was going to win this battle. The price of INOA was difficult to determine because of the way it is measured and the manner in which it is priced. We mixed four ounces of haircolor and priced it per mixed ounce.
One application (4 ounces) WELLA $1.44. INOA $11.42. The consistency of INOA would make it difficult to complete an application with 4 ounces.
The consistency of the INOA hair color after it was mixed was a beautiful creamy conistency. It was all you could do to keep from eating it. The WELLA color on the other hand was WELLA color, a nice golden consistency, but there was no urge to consume it.
The purpose of this experiment was to aid haircolorists in determining whether to switch to another, more costly, haircolor based on the comparisons. The mannequin will be available for inspection at the next Energizing Summit.
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