Vidal Sassoon models flaunt Sassoon haircuts

In the freedom-loving 1960s, British-born hairstylist Vidal Sassoon did more for women than simply tame their unruly locks: he liberated them from styles that kept them chained to their salons for hours at a time (think Mad Men). He saw the world in a different way, creating a Bauhaus-inspired architectural version of the bob that changed fashion, film and art forever (Vogue’s Grace Coddington, then a model, was the first to don his famous 5-Point-Cut). Now, at 83, Sassoon stars in Vidal Sassoon: The Movie, a documentary about his incredible life, which has included time in New York and L.A., and a trip through the deserts of Israel. We found out what continues to inspire him.

The documentary is completely extraordinary. One thing that struck us is that it seems you are truly awed by what you call the “adventure” of your life. When you look back on it now, what do you see?
VIDAL SASSOON: As a shampoo boy at 14, how could one even venture to think that the adventures that I’ve had with hair, could possibly happen? It wasn’t even a dream.

How did the film come about?
VS: Craig Teper directed and edited the film, but my friend Michael Gordon, who came from London and brought in Bumble and Bumble, came to me when I was 79, and said, “I’d like to give you a present.” I said, “I don’t need anything.” He said, “I want to make a documentary on your life, and I’ve got a very professional crew.” Which is very, very true. Four years later, here we are, bringing out this film. It took a lot of work, a lot of writing and a lot of editing. I came away feeling that Craig had done an extraordinary job. Michael, who was the producer, and Craig worked very hard together. At 83, I’m just wondering what my next career will be.

Vidal Sassoon

What do you hope people will take away from the film?
VS: Inspiration. I really worked on that sense of, what you put in it, you will take out of it: working 14-hour days, working all weekend. [I wanted to convey] the sense of an art form that was growing, and we were helping to make it grow.

Who was “we”?
VS: I say “we” because I trained a wonderful team. We were in a small salon to begin with, 700 square feet, a walk-up. And suddenly I realized I could do exactly as I wanted. Yes, I listened to the clients, but I didn’t take them too seriously. If they wanted the old stuff, I said, we don’t do that. We’re  Bauhaus, we love geometry, we love great buildings. We want to make hairdressing a modern art form. Half of [the clients] didn’t understand that, but the other half that did stayed with us and grew. And the excitement just grew and grew. When did you realize that you were doing something special? You never did, because you always thought you could do better, and I think that’s part of it. If you feel that it could have been better, there’s always a chance that it will be. One cut grew into another, the Nancy Kwan, the asymmetric, the Grace Coddington 5-Point-Cut. All these became quite interesting because so many people wanted them.

When you look back at your career, what are some of the things you are most proud of?
VS: Teaching. We opened the academy in 1967, and the second one just opened in Shanghai, which is extraordinary because the Chinese have this fascination for the work, and so do the Japanese. To be able to develop a system that went international is probably the most important thing that I’ll leave behind. I’m not going anywhere by the way.

There’s no doubt that you revolutionized the hair industry, but some might say you had an effect on the metaphysical lives of women as well, introducing an element of freedom that they had not experienced before. Do you see it that way?
VS: It’s very interesting because a professor from London University said exactly what you just said three months ago, and I was totally flattered that someone would bring intellect into it rather than the usual questions that you sometimes get. You’ve got to remember it was the 60s. London was the place to be. It was the place to be for artists, architects, it was the place to be for writers. I was totally fascinated by the French writers after the war. They came out with some brilliant ideas. People like Camus and Sartre and Genet. We were influenced slightly by them, and then it came to England. There was still rationing in the late 50s, and suddenly in the 60s, the sun came out. And that’s rare for England. People were doing things that were so different in so many art forms. To be involved in that era was pure luck on birth, but also to be involved in that era and to take ideas from others as they took from you—the growth was absolutely extraordinary. You’re working with the top echelon of thinkers, people who were creative, visionary and who had real thought for what the future should be. That was what was fascinating.

At the very end of the film, you say something like, “If you truly find out who you are, and find a way to create something from that, you will surprise yourself.” What advice do you have for young people, artists, who have yet to realize their vision?
VS: Work. Just work. We often did a 14-hour day, worked with the clients, went and had something to eat, came back, and worked with the models. If you put enough into something, whatever it is, [you get] the sense of, “I think I’ve got something here.” It’s part cerebral, part gut. But you cannot do it by going to parties every night. You have to have that sense of urgency about the artistry that you may have, and bring it out.

What’s next for Vidal Sassoon the company and Vidal Sassoon the man?
VS: The company will carry on, it will teach and it will have salons. As for the man, it depends what offers come. And I don’t mean money offers, I mean things that are fascinating and interesting. The film truly is a good one, solid and beautifully made. It gives that kind of message: hey, anybody can do this if they put forth the effort. As Spinoza said: Will and morality are just but one.

Vidal Sassoon: The Movie is playing now at The Sunset 5.