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31-07-2013
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Love F/W 13.14
Fantasia

Photographer: David Sims
Model: April Tiplady
Stylist: Karl Templer
Hair: Guido Palau
Make-Up: Linda Cantello
Nails: Mike Pocock


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05-08-2013
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Vogue Italia August 2013



Next Level
Photographer:
Steven Meisel
Stylist: Marie-Amélie Sauvé
Models: Amanda Murphy, Julia Nobis, Chiharu Okunugi & Alana Bunte
Make-Up: Pat McGrath
Hair: Guido Palau


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13-08-2013
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US Vogue September 2013
Cinderella Story

Photographer: David Sims
Model: Edie Campbell
Stylist: Grace Coddington
Hair: Guido Palau
Make-Up: Lucia Pieroni


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29-08-2013
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Vogue Italia September 2013



Like Mother, Like Daughter
Photographer:
Steven Meisel
Models: Julia Nobis, Julia Stegner, Doutzen Kroes, Stella Tennant, Amanda Murphy & Saskia De Brauw
Stylist: Marie-Amelie Sauve
Hair: Guido Palau
Make-Up: Pat McGarth
Nails: Jin Soon Choi


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29-08-2013
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Vogue Italia September 2013 HC Supplement
Beyond the Dream
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Craig McDean
Model: Karen Elson & Ava Smith
Stylist: Tabitha Simmons
Hair: Guido Palau
Make-Up: Pat McGarth


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29-08-2013
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Vogue Italia April 2007

"The Greatest Show on Earth"

Model: Karen Elson
Photographer: Steven Meisel
Stylist: Grace Coddington
Hair: Guido
Makeup: Pat McGrath
Set Designer: Jack Flanagan


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30-08-2013
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Vogue Italia September 1997


Prêt-à-Porter Pt.1
Photo Steven Meisel
Editor Joe McKenna
Model Kirsten Owen
Hair Guido Palau & Garren
Makeup Diane Kendal & Pat McGrath




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30-08-2013
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Prêt-à-Porter Pt.2




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05-09-2013
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Quote:

The Hair-Raising Work of Guido Palau

From the supermodels in George Michael's "Freedom! '90" video to the custom headpieces for the Metropolitan Museum of Art's Costume Institute's "Punk: From Chaos to Couture" exhibition, the stylist has created many of the industry's iconic looks

"AT THE END OF THE DAY, I am a hairdresser," protests Guido Palau, as he sinks into a faded floral sofa at London's Charlotte Street Hotel. Wearing a love-worn blue shirt, sand-colored jeans and desert boots, and with a very full head of dark hair himself (he is a fan of the hair nutrient Viviscal), he seems much younger than his 50 years.

And there's no sign that the hotel bar's regulars have any clue they are near one of fashion's elite tastemakers, who's behind many of the industry's most memorable images. His vision will influence the way women will want to appear.

"In fashion, you want to be on the cusp," says Palau, whose career spans three decades working with photographers Steven Meisel and David Sims, makeup artists Pat McGrath and Diane Kendal and designers like Sarah Burton and Marc Jacobs. "When I work with designers and photographers, I can express what is about to happen." His imaginative prophecies can be seen all over the fashion world: This fall season, he racked up 32 major womenswear shows: proposing sleek modernist ponytails at Alexander Wang; wet, deeply side-parted and sexily tousled looks at Prada; and choppy, just-out-of-bed starlet wigs for Louis Vuitton. And when he's not backstage, he's ricocheting around the globe creating game-changing looks for magazine shoots and ad campaigns for clients including American and Italian Vogue, Dior, Lanvin and Valentino. He can be credited for such styles as the return of the once-maligned ponytail and for the recent obsession with girlish braids and chicly undone buns. For men, rockabilly quiffs and foppish Eton schoolboy hairdos have all had their moment in Palau's lexicon. Meanwhile, his tips and techniques are filtered through to armies of salon hairdressers who wield the styling products Palau helps create in his role as creative consultant for Redken, the professional hair-care line.

Imbuing hair with gesture, mood and personality is what Palau excels at, say his fans inside the industry. His imagination is one that fuses and sculpts all manner of references, from Japanese manga to neoclassical art, into an ever-changing vision of contemporary beauty. "What Guido brings is more about art direction than just hair," says Katie Grand, the editor-in-chief of the cult fashion publication Love and the show stylist for Marc Jacobs and Louis Vuitton. "He likes to understand who the character is. He views the whole image, and then he works out the proportion: Should the hair be small, big or should they wear a hat? Would a curl be right or wrong—or so wrong it's right?"

That "wrongness" is of key importance to Palau, who particularly enjoys pushing his audience to question the accepted norms of attractiveness. "My inspirations are classical, but it's how you twist them," he explains. "I might create a chignon, but rather than one that's dry and perfect, I will make it stringy and wet—it's a classic shape but not how the eye is used to seeing it. That's how hair can be modern now. Every era has been plundered, and every youth trend has been explored, so subtlety and classicism is what I try to achieve."

Of the sculptural "Adonis" curls he created for WSJ. Magazine, Palau explains: "It is neoclassical versus avatar. It is something from my imagination; something from the past—referencing Greek mythology—and something from the future."

PALAU NEVER GREW UP dreaming of being a hairdresser, ending up in the profession completely by accident. The son of a hotel manager and real estate entrepreneur father (Spanish by origin) and stay-at-home mother, he grew up in the sleepy seaside town of Bournemouth, Dorset, with his three brothers. He dropped out of school at 16 to bum around Europe, earning his way by waiting tables and working in bars. When he returned to England, he discovered a few of his mates had begun working as hairdressers, prompting him to make the move to London and land himself a trainee position at the Vidal Sassoon salon on South Molton Street.

But the strictures of salon life were not for him, and he was fired after 18 months, being told, "We don't think this is your career." "I never could imagine myself behind a chair doing 10 appointments a day," says Palau. He assisted a friend on a fashion shoot and was hooked, scrapping for any job he could get: women's weekly magazines, makeovers, even working for mail-order catalogues. Despite the limited platform, his later style was already emerging as Palau began seeking ideas beyond beauty's conventional references in the era's exuberant street style. "In 1984 and '85, the street was like a catwalk. I was informed by that," explains Palau of the inspiration that has since fascinated him.

His first big break came in 1990, when he landed a dream job styling a roster of supermodels including Linda Evangelista, Naomi Campbell and Cindy Crawford for George Michael's "Freedom! '90" music video. "George Michael had seen a beauty story of mine in British Vogue that he really liked and sent it to the director, David Fincher," recalls Palau. "And I was booked." The video ended up on seemingly permanent rotation on MTV and ushered Palau directly into fashion's inner circle.
online.wsj.com

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05-09-2013
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Quote:
Although the glossy vision of sexy supermodels with perfectly coiffed locks put him on the map, it was grunge—with its insistence on extreme naturalism—that serves as his legacy. Gone was any effort to look salon-perfect: Models like Kate Moss, Emma Balfour and Rosemary Ferguson were styled in a mix of vintage and new clothes and shot in suburban environments by kindred spirits Sims and the late Corinne Day. "The thing was to not 'do' the girls' hair, and instead make it look greasy or accentuate their not-so-beautiful parts," remembers Palau. "It was such a reaction to the supermodel era. Grunge made the fashion industry look at the way people were really wearing their clothes, hair and makeup. What had been right suddenly looked wrong. Now that level of naturalism is considered perfectly acceptable—it's the face of modern beauty. Women do not have to look as if they've spent hours doing their hair and makeup, but 20 years ago that was so new."

American designer Calvin Klein sat up and took notice of the British youthquake. Soon, Palau found himself in New York, working on Klein's runway shows as well as his ad campaigns along with Sims, under the art direction of Fabien Baron. The image of Moss taking her turn on the Calvin Klein catwalk for the spring/summer 1993 collection with her twisted, wet, beachy locks, slip dress and flat sandals was a seminal image that would shift the course of fashion—and Palau's career—forever. "For Calvin Klein to endorse me was huge: He was one of the most powerful designers in the U.S., and the brand image was watched by everyone," he remembers. "From that moment, the door opened; it was key to the start of my success in America."

Klein's stamp of approval attracted more high-profile work, notably with designer Helmut Lang, Harper's Bazaar's editor-in-chief Liz Tilberis and photographer Richard Avedon, with whom he worked on the fall 1996 Versace campaign, starring Moss in the house's sexy dresses juxtaposed with dramatically permed hair and little makeup. "I learned so much from working with Avedon," says Palau, who was then in his early thirties. "He would ask me to his apartment to watch films so that when you got to the studio you could interpret that influence."

Today, Palau devours books and films as part of his research process and lives a quiet life in New York's Chelsea neighborhood, where he moved full time a few years ago. He takes pottery classes ("It's a lot harder than you think"); gardens on his roof terrace; and does transcendental meditation twice a day as a way of coping with the stresses of 3 a.m. call times, hectic show seasons and constant trips around the globe. He regularly visits London, where he remains fond of the city's "cheese toastiness," as he calls it. "There is a lot of craziness, creativity and laughter, so I come home at the end of the day feeling satisfied in so many ways," says Palau.

There has also been loss: A source of great inspiration was the late Alexander McQueen, with whom Palau shared a 13-year collaboration until his suicide in 2010. "Working with McQueen was often the most challenging," he remembers. "I miss him as a friend, and I miss his brave vision about beauty. He pushed me in ways I would never think to go. I feel so lucky to have worked with him and to have been part of his world." For his first show for McQueen, in fall/winter 1998 (the so-called Joan of Arc collection), the models wore nude skullcaps through which slender braids emerged and looped around their faces. The ensuing years saw all manner of creations: from tundra-punk topknots to classic Hitchcock blondes. Palau continues to collaborate with the house's current designer, Sarah Burton, for whom his first show, in 2011, featured woven checkerboard hairpieces inspired by straw corn dolls; the latest being tight pin curls under Elizabethan lattice-work lace and pearl masks.

"I think it's amazing that Guido is able to immerse so deeply into the world of the designer," says Burton. "He completes and complements the vision and is incredibly inspiring to work with. It's more than just hair: The masks, the futuristic visors from autumn/winter '12 and the beekeeper's honeycomb veiled hats from spring/summer '13 were all extraordinary and innovative ideas that were developed with Guido."

With such complex creations, he has arguably blurred the lines between hairstyling and a kind of wearable sculpture. In 2011, he was tapped to create the headpieces for the mannequins in the McQueen retrospective at the Metropolitan Museum of Art's Costume Institute. "When Palau suggested [we use] masks for that show, it was a real departure for us—but the masks actually humanized and unified the exhibits," says curator Andrew Bolton. Since then, Palau has created masks decorated with surrealist motifs like lobsters, bananas and lipsticks for 2012's "Schiaparelli and Prada: Impossible Conversations," as well as spiky wigs in hot-pink, green and black for this year's "Punk: Chaos to Couture" exhibition. "What's extraordinary is that Guido thinks so conceptually, he's rigorous in research and wants to know about the mannequins, the rooms, the context, so everything works in proportion," adds Bolton. "He has a strong sense of history, but there's a true modernity in his work—he anticipates and creates a new language."

Despite such accolades, Palau remains determinedly humble about his work. "There is a disposability about what I do—it's not like an artist," he says, shaking his head and grinning. "My work is always one water spray away from being trashed."
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20-09-2013
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Vogue Italia August 2010: Christy Turlington by Steven Meisel


CHRISTY
Photo : Steven Meisel
Styling : Karl Templer
Hair : Guido
Make-up : Pat McGrath
Manicure : Jin Soon Choi
Set Design : Mary Howard
Model : Christy Turlington




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26-09-2013
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Vogue Paris October 2013
"Tribal"
Photographer: David Sims
Model: Iselin Steiro
Styling: Marie Chaix
Hair: Guido Palau
Make Up: Lucia Pieroni
Nails: Marian Newman







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29-09-2013
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AnOther Magazine Spring/Summer 2002
Summer 2002
Photographer:
David Sims
Models: Maja, Rasa, Line Gost, Jake, Anders & Thor
Stylist: Katie England & Alister Mackie
Hair: Guido
Make-Up: Lisa Eldridge



Digital Edition AnOther Magazine via Mat Cyruss

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Digital Edition AnOther Magazine via Mat Cyruss

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AnOther Magazine Spring/Summer 2002
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Photographer:
Martina Hoogland-Ivanow
Model: Kirsten Owen
Stylist: Alister Mackie
Concept & Hair: Guido Palau


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