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I got into hairdressing and moved from Dorset to London, where I got an apprenticeship at Vidal Sassoon. This was around '83 or '84. I was working on South Molton Street, which was then the epicenter of all the shops. It was like a catwalk. So I did my apprenticeship there, but I wasn't successful.

Guido Palau

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Guido Palau
Successful
Apprenticeship
Working
Shops
Around
London
Like
Street
South
Moved
Epicenter
Streets
Hairdressing
Wasn
Catwalk

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I have a total complex [because of my curls], though, because I got teased a lot as a kid.
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Fashion is emotional, and the way women look at it is emotional, so it's very important to try to connect with a woman's idea of how she might feel.
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I think it's more funny how every bit of information is up for grabs.
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I must say, Gisele's [Bundhen] got some of the best hair I've ever touched.
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It's hard to be shocking now. It's hard to challenge people because the Internet has allowed everyone to become much more worldly, much more visual. It's very hard to surprise people.
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Suddenly it was cool to have your hair lank . . . It was a whole different way of looking at things, and it shook up the whole industry.
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Every culture to me - be it Asian, African, be it whatever - is a source of reference. I don't think I'm 'stealing' it or anything.
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I didn't do great in school. I didn't have many options. I mean, I'd like to have gone to art college, but I didn't have the grades. I didn't have any qualifications. But I had some friends who were hairdressers, so I just thought, Well, I'll have a go at it.
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I celebrate every culture. I love the mix of cultures and I'm never going to change that because that's inspiring to me.
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Fashion now is just so confusing. It doesn't feel as easy. Fashion seems to be in a much more eclectic place.
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With Steven Meisel, I'd looked at his work from afar and always loved it, and when I started to work with him, I was blown away. He taught me so much about looking at women and looking at images.
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I didn't know I wanted to be a hairdresser. I was always interested in fashion and imagery in a very naive way, but it was always an attraction, like glitter balls.
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When you work with great people, you learn - about film, about clothing, about life, about sex.
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I like hair that's been 'worn in' because it's much easier to deal with.... I actually don't like it when [models] come in with this beautiful, thick, glossy hair. I think, Oh, no! I can't do a thing with this!
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When I think of the people I've worked with, all of them have great passion, and the passion is what keeps people inspired.
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Fashion was a very insider industry then - it was very closed. So I didn't really know what I wanted to do.
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I worked in salons, where you do learn the basic sort of thing. But I didn't know anything about the kinds of things I'm doing now. I learned how to put hot-rollers in.
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I'm not giving up on my work. I'm still trying to challenge people's aesthetics and myself.
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