Guido Palau indebted to the scroll. “I follow a lot of hair colorists from Japan, China and Korea,” says the legendary stylist, noting a recent fascination with a specific hair coloring technique that has long been popular in Asia and is starting to spread in the United States. This feeling is almost conceptualized by computerized color,” says Palau, who has built a beauty hypothesis around the technology’s pervasive impact. After years of clinging to the idea of being “real” — no makeup, hair that comes with you — we’re now approaching “hyperreality,” he says, of our collective consumption of archiveable inspo photos and glitched pixels via our smartphones Build an avatar.
“There’s definitely a sci-fi anime feel to it,” Lena Ott says of the particular quality Palau has captured. Ott, a New York-based colorist and frequent Palau collaborator, is responsible for the vivid color vision here, bringing bright green bobs to Dolce & Gabbana’s Alta Moda show; blue stripes for Coach’s fall offerings; and spring for Thom Browne Fairytale pink, aqua and lime tips. As if on cue, clients at Ott’s popular Suite Caroline studio in SoHo began asking for “a little less smokiness” in brightness, she reports, and favoring “cheesy but rich” applications. )
What happens in the salon often spills over to the red carpet. Jodie Turner-Smith recently debuted a saturated fuchsia, buzzy gradient ombre at the New York Film Festival, reminiscent of Tilda Swinton this summer in The shadows of Venice transform the picture. The Oscar-winning actor often dyes her puffy headpiece an inappropriate color. But for the The Eternal Daughter premiere, she opted for bold bird yellow. (What the near-neon dye job lacks in subtlety, it makes up for in social media impressions.)
You don’t have to be fully into Swindon, though, to engage in fantasy, Palau Say. “Just take the wig to your colorist and dye it the way you like it,” he advises. “Another fun beauty experiment accessory.”
Fashion Editor: Patrick Mackie. Hair, Guido Palau; Makeup, Diane Kendall.