In the early 1960s, London was beginning to swing just as Galvin entered the family salon business. He became intrigued by color, and taking it beyond the utilitarian gray-coverage. Just as Vidal Sassoon set out to revolutionize the way hair was cut, Gaivin set out to change the way the world thinks about hair coloring. Among his first clients: Twiggy, transforming her into a pale blonde using a highlighting system he’d invented called ‘brickwork’. This technique is now used by colorists worldwide. In the late 60s, Daniel then began to develop his famous “Crazy Colours,” experimenting with dyes formulated for silk and nylon to create dazzling, iridescent effects.
In 1977, in addition to creating hair concepts for major films including Barry Lyndon and A Clockwork Orange, he opened Europe’s first specialist color salon, and it was here that Daniel began training a new generation of specialist colorist. He has since become known as the man who introduced the concept of professional hair color to Japan and the Far East, where some 63 million people now color their hair. He continues to innovate new formulations and techniques, and to inspire the industry via his creative vision.
HH: Daniel, you started working in the industry so young – was this a good thing?
DG: I think it should be so. At first I needed pocket money, that is why on Saturdays I used to work in my father’s salon sweeping the floor and hanging towels. When my children grew, they also started working in my salon on Saturdays.
HH: Did you want to work with coloring from the very beginning?
DG: No, that desire emerged a little later. When I was an apprentice to a hairdresser, I noticed that coloring changes the customer dramatically, which seemed to me very interesting. However, at that time no more ten per cent of clients used to dye their hair. I wanted people to realize that dying hair can be a way of self expression!
HH: And what did you do to change the state of affairs?
DG: Two well-known London salons, Vidal Sassoon and Leonard Lewis, fell over one another. And both invited me to work for them almost at the same time.
I chose Leonard. What I wanted was to work with color, and in Leonard’s salon there was a special area dedicated to coloring, and he himself encouraged me in my experiments. I tried to use dyes for silk and nylon, to get “a glow effect”. And with the appearance of Crazy Color, I got a chance. I decided to shock everyone.
HH: So, did everything change after that? DG: By and large, not so much. That caused furor, yes; yet, people were still unwilling to color their hair.
HH: Well, when did people’s attitudes really change?
DG: Soon, I thought it would be perfect to have henna back in saloons. I mixed it with black coffee, lemon juice, egg yolks and red wine. You just cannot imagine what we did! I invented not only the very colors themselves, but also application techniques. For example, I created Tortoiseshell Lights, where three shades are used. My model was Grace Coddington, who used to be a famous British model at that time. Now she is the Creative Director of the American Vogue.
HH: And I also know that Princess Diana used to be one of your clients. Do you remember your first meeting?
DG: Yes. Once I was told that the next morning the Princess will come to my salon, and on the same day I was to go to Japan, so I missed the plane because of Diana’s visit. She was my client for about 10 years. I had no idea about how to meet her, and was very nervous. I put on my best suit, met her at the entrance, and showed her in. I later learned that Diana told someone that I looked more like a banker than a stylist. Of course, after that, I changed my clothes for work.
HH: Today, there are also a lot of celebrities among your clients.
DG: I started working with movie stars in the 70s. For the last seven years I have been working with Nicole Kidman and doing her hair for her movie roles. When I met her at the Venice Film Festival, she insisted on our taking a gondola trip through the canals. She took my hand and squeezed up against me, and all around us the paparazzi started taking shots, and I was a little at a loss. Maybe at that moment, I knew what it felt like to be a celebrity.
I don’t like the fact that Nicole is a blonde now. I am afraid this is the Hollywood influence — I believe her natural red color suits her skin and eyes more! all contributed to the fact that other customers started visiting the salon specially to have their hair dyed. Then the Punk Era came, and everybody started dying their hair.
HH: Blondes are always in fashion in Hollywood.
DG: You know, I don’t believe that there should be any hair color fashion. Hair coloring is a serious matter! Hair is the most valuable, most precious part of the woman’s beauty; the only thing she will never take off!
HH: Daniel, what surprises me the most
is how much you work. DG: Five days per week! I adore my work. I don’t need retirement to be happy and to do what I like — I am happy every day with my clients, with my stylists. My trade is the best in the world!
HH: And your salon is AMAZING!
DG: When we just opened it in 2003, it was the largest salon in Europe! And now, we have 28 colorists. Our atmosphere is very friendly, and everybody just concentrates on their work. If Sir Paul McCartney himself were to pass by, no one would make a big fuss.
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