From Viktor & Rolf to the KURO Academy: Wiardi on editorial hair

Can you tell us more about the inspiration for the shoot?

“It was a collaboration for the special Numéro issue about Amsterdam, celebrating the city’s 750th anniversary. For that magazine, they wanted to create a special edition with different Amsterdam-based designers and artists.”

Can you take us through the process?

“Beforehand we had prepared three looks. The day before, I even picked up a wig so I could prep one style in advance. On the day itself we started at five in the morning, because the model had a flight to catch later that evening. We wanted to shoot at iconic locations in Amsterdam: the garden of the Rijksmuseum, Café Nol, and the Albert Cuyp Market.

For the first look we had envisioned loose hair, but because of the rain the style collapsed. In a little restaurant, I decided to create a new look on the spot. Within twenty minutes I transformed it into a bold hairstyle that eventually became the foundation of the entire shoot. The restaurant filled with the smell of hairspray and people complained, but the result was worth it: all of the outfits worked better with that one creation.”

What kind of hair did you create to match this Amsterdam inspiration?

“The concept revolved around iconic Amsterdam spots. I translated that into big, chic hair with striking shapes. It needed to look fashionable and powerful.”

What is it like working for such experienced and iconic designers? How is that different from other jobs?

“I thought it was amazing to do this shoot. Especially because I worked with Dion Bal, a photographer whose work I really admire. Seeing the result in print was incredible. At its core, the work doesn’t feel very different, but it is special when the final outcome looks that strong and powerful.”

Do you have a story or moment from the set that will always stay with you?

“Yes, the moment when I had to create the final look in the middle of a restaurant in just twenty minutes. That was intense: the whole restaurant smelled of hairspray and people were complaining. But the result looked amazing.”

Which skills or techniques really come into play during shoots like this?

“You need to have a clear vision of the final result and the technical ability to make it happen. And you need to work fast. Luckily, I had Rick van Ekeren with me [editor’s note: a KURO Academy alumnus], a great assistant who knows exactly how I work and can sense what I need. That makes a huge difference.”

How do you handle the speed and pressure of a day like that?

“You just switch off your mind and keep going. Usually by the end of the day I’m completely overstimulated, but when I look back at the photos I feel proud. Honestly, I should take more time to pause and realize how special it is, because that awareness often only comes afterward.”

You teach at the KURO Academy, where as a session stylist you give masterclasses together with founder Bianca van Zwieten. What do you bring from this shoot into your lessons?

“Maybe I’ll explain certain techniques: how I created a style and which steps I followed. I also want to show people what a shoot day can look like, because every day is different and you have to be prepared for anything.

For example, I always drag around a 25-kilo suitcase so I have everything with me. You always need to be able to adapt. For this shoot we had prepared three looks, but in the end it turned into one look that I had to invent on the spot. I like to use that example in my masterclasses.”

And the mental aspect?

“I want participants to understand that if you have a goal, you have to give it 100 percent. It’s not easy, you have to give up a lot, but if you keep pushing forward you will eventually be rewarded. Often that means working weekends, doing unpaid shoots, or missing birthdays because you’re working. But if you say yes to opportunities, you’ll be asked again later because you deliver good work and you’re reliable. There are always ten others who can take your place, so you need to show that you’re the one who deserves it.”

Why is it important that salon stylists also learn to think like editorial hairstylists?

“I think it’s super important, because there’s a big difference between a salon stylist and an editorial stylist. When you learn to think like an editorial hairstylist, you work faster and more creatively in the salon. Instead of spending 45 minutes blow-drying, you think differently about styling. You develop a more fashion-forward eye, which makes your clients look more modern and stylish.”

Do you want to learn how to grow from salon work into session styling, and discover the techniques and mindset it takes? Sign up for the KURO Academy masterclasses and learn directly from Wiardi and founder Bianca van Zwieten how to take your skills to the next level.