In First Place
Exploring the People the Process & Passion behind the work
Christopher Huia Woods
NZ Mens Hairdresser of the Year 2026
For Christopher Huia Woods, competition is more than the pursuit of a title. It is a way of pushing his creativity, trusting his instincts and creating work that sits outside the everyday rhythm of the salon.
His winning men’s collection began with two brothers who were also long-time clients, and with an idea centred around youth, gender and ambiguity. From the clean visual direction through to the final image selection, Chris relied increasingly on instinct rather than over-analysis.
But while the award carries his name, Chris is quick to recognise the people around the work — from photographer and creative collaborator Jock Robson, to makeup artist Guilherme Baptista and the models themselves.
Here, Chris talks about his competitive mindset, finding the idea, trusting the people around him, dealing with the uncertainty of judgement, and what he hopes to give back to the next generation.
01 — THE COMPETITIVE MINDSET
For Chris, competition creates a different kind of creative pressure — one that encourages him to trust his instincts and push beyond the familiar. But the relationship works both ways, with the salon informing his competition work just as much as competition sharpens his everyday hairdressing.
You’ve had success competing in Australia as well as here in New Zealand. What is it about competition that continues to appeal to you, and what do you think it brings out in you creatively?
Through my career I’ve entered many competitions, some successful, some not, but I always go in with the mindset that I’m there to win.
That attitude creates a strong, positive foundation and, for me, pushes creativity to a higher level. It’s important to trust your intuition and let it drive the work. That’s what ultimately makes an image stand out.
Having the right team around you is just as important — people whose opinions you respect and value, because more often than not they will elevate the final result.
You’ve competed in different competitions and environments. What have those experiences taught you about what it actually takes to produce work that stands out from everyone else?
For me, it comes back to trusting your intuition. You have to be able to back the idea and allow yourself to create something rather than overthinking every decision.
Is there a difference between being a great hairdresser and being a great competition hairdresser? What skills or mindset does competition demand that you don’t necessarily use behind the chair?
Competition work informs salon work, and vice versa. Working behind the chair sharpens your eye for what people want day to day, which can then feed into your competition work and keep it relevant and current.
You’ve experienced success in different competitions. Has competing changed the way you approach your everyday hairdressing, or has your salon work influenced the way you compete?
Definitely both. There’s a constant exchange between the two. The salon keeps you connected to what people actually want, while competition gives you the opportunity to push your creativity further.
“I always go in with the mindset that I’m there to win.”
02 — FINDING THE IDEA
The collection started with the people rather than a predetermined hair concept. Chris was drawn to the contrast between the two brothers and used that relationship to explore youth, masculinity, femininity and ambiguity through the entire image.
Where did the idea for your winning collection come from, and what was it that made you believe it had the potential to become something special?
This collection was developed around my models, who are brothers and long-time salon clients.
I was fascinated by the contrast between them — both carried strong masculine and feminine qualities, something I feel is closely tied to youth. The collection is rooted in that sense of youth and a balance of gender.
When you’re developing a men’s collection, how do you balance strong hairdressing with the character of the model, styling, photography and overall image? How important is the person in bringing the hair to life?
That was expressed through the ambiguity of the clothing, tattoos and makeup. Keeping the imagery clean allowed that ambiguity to really come through.
The person is hugely important. The hair has to work with everything else in the image for it to feel convincing.
How ruthless do you have to be during the editing process? Are there ideas or images that you love but ultimately have to remove because they don’t strengthen the collection?
Choosing final images used to be a challenge, but over time I’ve learned to trust my instinct more.
Rather than over-analysing small details, I now let intuition lead the final selection.
How much of your own identity as a hairdresser do you want the judges to see in a collection? Is it important that someone can look at an image and immediately recognise it as your work?
While I’d like viewers to recognise my work, creating the strongest possible image will always come first.
“While I’d like viewers to recognise my work, creating the strongest possible image will always come first.”
THE TEAM BEHIND THE TROPHY
The final image may be judged as an individual achievement, but Chris sees the work very differently. The photographer, makeup artist and models each contribute to the final result, with mutual respect forming the foundation of the collaboration.
The category might have your name on the award, but creating the final images is a team effort. Who were the people behind your collection, and what did each bring to the finished work?
The award might carry my name, but without the right team it wouldn’t have happened.
For me, the photographer is the most important collaborator. I rely heavily on their expertise and their ability to interpret and often help drive the vision.
So, thank you Jock.
I was also fortunate to work with a fantastic makeup artist who completely captured what I was after. Thank you Guilherme Baptista.
This time, I chose to style the collection myself, which added another personal layer to the work.
And finally, the models, the Sheppard brothers. Having a strong relationship with your models is essential.
Above all, it comes down to mutual respect for everyone involved and the time and energy they contribute.
What makes a great competition team? Do you want people who simply understand your vision, or do you need people who are prepared to challenge you and push the work further?
For me, it comes down to having people around you whose opinions you respect and value. The right people elevate the final result.
When you’re competing, there is always the possibility that the judges won’t see the work in the way you intended. How do you deal with that uncertainty and the pressure of putting something so personal up for judgement?
Once I’ve submitted my work, the outcome is out of my hands.
As long as I’m genuinely happy with what I’ve created, that’s enough. From there, I move on and keep focused on the bigger picture.
You’ve now added NZ Men’s Hairdresser of the Year to your competition achievements. What do you think competition has given you that you couldn’t have gained simply by working in the salon — and where do you want it to take you next?
Competition is about the journey — something that’s very different from day-to-day salon work.
At this stage in my career, it’s about giving back. I’m interested in finding a space where I can support and teach younger creatives, and help guide the next generation coming through.
“The award might carry my name, but without the right team it wouldn’t have happened.”
Chinney Yeap
NZ Colourist of the Year 2026
For Chinney Yeap, creativity has never been about standing still. A two-time NZ Hairdresser of the Year, business owner, colour specialist and mentor, Chinney continues to push herself by questioning what she already knows and looking for new ways to translate an idea into something real.
Colour may be central to her creative identity, but her approach extends far beyond colour itself. Her work begins with stories, characters, textures and visual worlds, with every element of a collection carefully considered before the first image is created.
In this interview, Chinney talks about the importance of evolving beyond what people already know you for, the trust required to build a great creative team, the lessons she has learned from working alongside Michael Beel, and the pride that comes from watching the next generation begin to find their own voice.
CREATIVE EVOLUTION
For Chinney, the desire to create is inseparable from the desire to keep learning. Her collections begin with a feeling or story rather than simply a colour, and while she plans carefully, she deliberately leaves room for the unexpected. Most importantly, she refuses to become a formula.
You’ve already won NZ Hairdresser of the Year twice, and now you’ve taken out NZ Hair Colourist of the Year. What keeps you wanting to challenge yourself creatively after achieving so much already?
Chinney:
“I think I’m just a bit obsessed with creating and actually challenging myself! I used to play games with myself as an apprentice to one up on my last cut, colour or blow out haha.
Winning is obviously amazing, but honestly, I love the process more. I love having an idea in my head and then figuring out how to actually make it happen. Sometimes the idea is probably a lot easier in my head than it is in real life!
I don’t think you ever stop learning in this industry. There’s always another technique, another colour combination, another way of looking at something. I think that’s what keeps it exciting for me. I’d get bored if I just kept doing the same thing.”
Colour has become such a recognisable part of your creative identity. When you approach an award collection, do you start with the colour—or does the colour emerge from the wider concept?
Chinney:
“It can happen either way, but usually I start with a feeling or a story that I want to tell.
I get inspired by so many random things. Movies and shows I’ve watched are actually a big one for me haha. I’ll see a colour, a character, a texture or a whole visual world and think, ooh, I could do something with that.
Then the colour starts coming.
For me, colour is such a big part of the storytelling, but it can't just be colour for the sake of colour. Everything has to work together—the hair, shape, styling, makeup, wardrobe, lighting and photography. It all needs to feel like it belongs in the same world.”
When you have an idea for a collection, how do you develop it from that first spark into something cohesive across the images? What are the decisions that happen before you ever get on set?
Chinney:
“There’s actually a lot that happens before we get on set.
Once I have the idea, I start building the whole visual direction around it. I look at colours, shapes, textures, styling, makeup, wardrobe and lighting.
I’ll often sketch out my colour placement ideas and use swatches to check how the blends are going to work. I’m definitely a visual person, so I need to see it in front of me.
I like having a really clear story and plan before the shoot, but I also don’t want to control every single thing. Sometimes you get on set and something happens that you didn't plan for and you're like, YES, that's it!
So I like to have the structure there, but still leave room for a bit of magic.”
As someone with so much experience, do you ever find yourself deliberately trying to move away from what people already know you for? How important is it to keep evolving rather than simply becoming better at what you’re already known for?
Chinney:
“Absolutely.
I think once people start to know you for something, it’s very easy to just keep giving them more of the same because you know it works.
But I don't want to become a formula.
Of course I want people to look at something and know it’s my work, but I also want them to think, oh, I haven't seen her do that before.
I think that's really important creatively. You have to be willing to make things that might not work, otherwise you're not really pushing yourself.”
THE POWER OF COLLABORATION
Chinney is clear that the work she creates could never happen in isolation. Her creative relationships are built on trust, shared ideas and the freedom for each person to bring their own expertise to the work. That philosophy extends to her long-standing partnership with Michael Beel, where difference rather than agreement often becomes the most valuable part of the collaboration.
An award may have one person's name on it, but the work is usually the result of a whole creative team. Who were the key people behind this collection, and what did they contribute that you couldn't have achieved alone?
Chinney:
“There is absolutely no way I could create these collections alone.
Lou Shields, my photographer, is amazing because she completely gets on my crazy train and then somehow takes it even further! I’ll have some crazy idea and she’ll be like, okay, let's go! What about this, this and this!
Sopheak Seng is incredible with styling. I can sometimes give him quite loose ideas (this probably annoys him lol) and somehow he just gets what I'm trying to do. We bounce ideas around a lot and he always sends me refs of what he is sourcing along the way so that we are both on the same page.
And Natalee Fisher the makeup artist on this shoot is someone I totally trust with my ideas. She has such a good eye, I will tell her my concept and just she knows how to take something to the next level and will send me a bunch of stuff and I will say yes no to what I’m vibing and she will develop the yes stuff further to something magic!
Everyone brings something different, and that’s what makes the final images so much better than what I could create on my own. You have to trust your team.
The trophy might have my name on it, but there are a lot of people behind it.”
You're also business partners with Michael Beel, who is another hugely accomplished creative. How do you work together creatively? Do you challenge each other, inspire each other—or know when to stay out of each other's way?
Chinney:
“Definitely all three!
Michael and I have known each other for 20 years, so there’s a lot of history there.
We definitely challenge each other. We both have strong opinions, which can be interesting haha, but we also really respect what the other person does.
Sometimes we see things completely differently, and actually that's really good. You don't always need someone to agree with you. Sometimes you need someone to say, no, that's not it or in our case - um that looks wild! Haha, and make you rethink it.
And yes, we definitely know when to stay out of each other's way!
At work we heckle each other constantly, which our team and clients find hilarious. I think after 20 years, we’re probably allowed to.”
What have you learned from working alongside someone at Michael's level, and what do you think he has learned from you?
Chinney:
“Michael has taught me a lot about OCD planning haha. He is SO organised and focused.
I’m a bit more... airy fairy. Hurricane Chinney, as I like to call it.
He has taught me to slow down, think things through and look at the bigger picture. He also has an incredible eye, so I really value his opinion.
What have I taught him? Probably that sometimes you just need to be patient - not one of his virtues haha things aren’t always immediate and instant! And to be nice lady lol. He also respects my eye and will ask what I think, which look to drop which to keep, we often help each other pick our final selects so we are both casting our eyes on each others collections together!
He also jokes he could actually be a colour director now, which is another thing we laugh about in salon!
We balance each other really well. We have very different strengths, but we also have a crazy sense of humour that we both get. I think that’s a big part of why it works.”
MENTORSHIP, PERSISTENCE & LEGACY
For Chinney, success becomes more meaningful when it is shared. Her pride extends beyond her own awards to the people she has helped develop and the culture she and her team have built. Her message to the next generation is equally clear: careers take time, setbacks are part of the process, and the only way forward is to keep showing up.
Your apprentice has also achieved major recognition, winning Emerging Apprentice of the Year. What does it feel like to see someone you've helped develop begin to experience their own success?
Chinney:
“It makes me really, really proud.
Winning awards yourself is amazing, but seeing someone you've invested time and energy into start achieving things for themselves is a completely different feeling.
You want them to eventually fly on their own. That's the whole point of teaching someone.
Seeing my apprentice win was really special because I know how much work goes into it. You see the hours, the mistakes, the frustration, the little wins along the way.
So when they get that recognition, you feel like a proud mum haha. I don't often get emotional but that was definitely an emotional moment for me.”
When you're teaching or mentoring someone, how do you balance giving them the technical knowledge you've built over your career with allowing them to develop their own creative identity?
Chinney:
“I think you have to teach them the fundamentals really well, but you can't teach someone to just be you.
I can give them the knowledge and techniques I've learnt over the years, but then they have to figure out what their thing is.
I actually love seeing people take something I've taught them and do it completely differently.
That's exciting to me.
If everyone I taught ended up creating exactly like me, then I'd probably feel like I'd failed somewhere.”
You've been in the industry long enough to have seen enormous changes in hairdressing. What do you think the next generation needs to understand about building a career—not just becoming a good hairdresser?
Chinney:
“Being a good hairdresser is just the beginning.
You need to have resilience because there will be plenty of times when things don't go your way.
You need to keep learning, keep showing up and be willing to put yourself out there.
And I think people sometimes want everything to happen really quickly now. But a career takes time.
Say yes to opportunities. Ask questions. Find people you look up to. Learn from them. Make mistakes. Put yourself in uncomfortable situations.
And remember that hairdressing is a people business. You can be technically amazing, but if you're not good with people, it's going to be a much harder road. BE A NICE LADY and dont burn your bridges.”
You've experienced the highs of winning at the very top level, but also the years of entering, refining, collaborating and sometimes not getting the result you wanted. What has that process taught you about persistence?
“You definitely have to learn how to handle both sides of it.
There have been times where I've put absolutely everything into something and it hasn't won. And sometimes you think, what the hell?! haha.
But you have to be honest with yourself too. Sometimes the work wasn't good enough. That's part of it. You have to be able to look at it, take the feedback, be humbled and then do better.
Other times you know you created something you're really proud of and it just wasn't the judges' choice. That's okay too.
I think every year teaches you something if you're willing to listen.
The biggest thing is just don't stop.
Keep creating. Keep entering. Keep learning. Keep putting yourself out there.
You can't win if you're not in the game.”
When you look at everything around your name now—the awards, the business, the creative work and the people you've helped develop—what are you most proud of that isn't actually written on a trophy?
Chinney:
“I think honestly, I’m incredibly proud of what we’ve achieved in five years.
Sometimes I actually have to stop and think about it. Who knew that buying a salon just after COVID, with a two-year-old and an eight-month-old, that five years later I’d be sitting here reflecting on everything that’s happened.
It’s been a bloody journey. There have been some really hard moments, a lot of juggling, a lot of learning on the fly, a lot of tears, and probably a few moments where I thought, what the hell am I doing? haha.
And then you look back and realise we’ve had some pretty special moments along the way — winning Hairdresser of the Year twice, being recognised as a Salon Team finalist, and now Colourist of the Year. But what makes those moments even more special is knowing they’ve happened alongside an incredible team, business partner and friend.
I’m especially proud of the apprentices we have coming through. To see them grow in confidence, find their own strengths and start getting recognition themselves is something that means a lot to me.
I think that’s the bit you don’t necessarily see on a trophy. It’s the people, the relationships, the culture and the fact that we’ve created a place where people can genuinely grow.
I’m bloody proud of the awards, of course I am, but I’m probably even more proud when I look around the salon and see what we’ve built together.
If you’d told me five years ago, with a two-year-old and an eight-month-old, buying a salon just after COVID, that I’d be sitting here today reflecting on all of this, I honestly would have laughed at you!
At the end of the day, I think it's the people you've helped, the relationships you've built and the things you've created together that stay with you.
That's probably what I'm most proud of.”
Michael Beel
NZ Hairdresser of the Year 2026
runner up
Few hairdressers have had a more enduring influence on New Zealand hairdressing than Michael Beel. Having already won NZ Hairdresser of the Year multiple times, Michael continues to challenge himself creatively, driven by the belief that there is always more to learn, explore and create.
For Michael, staying at the top is not about repeating what has worked before. It is about remaining curious, pushing beyond the salon chair and surrounding himself with people who bring different skills, perspectives and creative strengths to the process.
His latest collection draws on a love of big hair, disco glamour and editorial fantasy, while demonstrating the importance of a cohesive story and a collaborative creative team. In this interview, Michael reflects on what continues to motivate him, the thinking behind his collection, the value of being challenged, and what it takes to build a career that remains creatively relevant.
THE DRIVE TO STAY AT THE TOP
Michael has already achieved what many hairdressers spend their careers aspiring to. But recognition has never meant that he considers the learning process complete. His motivation comes from continuing to master his craft, creating work beyond the salon chair and finding new ways to challenge himself creatively.
1. You’ve been recognised as one of New Zealand’s leading hairdressers for many years. What is it that still drives you to put yourself through the process of creating work at this level?
Michael:
“I feel like I’m still mastering my craft, I don’t feel like I know it all, and I never will, so I keep pushing myself too create stuff I can’t do in the salon chair. I adore the creative process of conceptualising an idea, moodboarding, prepping wigs and hairpieces and working with other creatives to get a vision across… that fills my creative cup!”
2. You’ve already achieved what many hairdressers spend their careers aspiring to. Has your definition of success changed as your career has evolved?
Michael:
“What is the definition of success tho? For everyone that’s so different. When your an apprentice it’s mastering the fingerwaves our passing your assessments to get qualified, For some it might mean a fully booked column or others it might mean creative opportunities. For me personally it’s always been to win ‘NZ Hairdresser of the Year’ … I’m lucky to have won it a few times but it’s tougher to stay at the top so that’s why I keep pushing.”
3. After so many years in the industry, how do you keep yourself creatively curious and avoid simply repeating what you already know works?
Michael:
“If I knew why worked I would have won a few more times hahaha…. I’ve always like the fantasy of telling a story and I always like variety so what’s the point of telling the same story over and over again. But there’s always a common thread to my work I think, an essence of soft beauty even in the stronger silhouettes. And I feel like I want to keep pushing myself so that’s why I keep mixing it up.”
CREATING THE COLLECTION
Michael’s collection began with a love of exaggerated hair, disco glamour and the fantasy of editorial transformation. His process combines a strong central concept with an understanding of how individual images need to work together as a complete hair story.
Where did the idea for this collection begin, and what was it that made you want to pursue that particular creative direction?
Michael:
“Ive always adored big hair, I grew up listening to icons such as Dolly Parton, and my algorithm is full of wig stylists prepping big drag queen hair so I was like I’m gonna produce some XXXL hair and see what that looks like in a more editorial fashion. Also I’m a disco queen so having that big Diana Ross energy is a must.”
With your experience, do you approach creating an award collection differently now than you did earlier in your career?
Michael:
“Essentially the process is the same. I come up with an idea, a hero shot or the queen bee of the group, who is she, who are her friends and what am I trying to say. I then mood board up a master concept, fire it off to my team and then allow magic to happen.”
There are always countless creative possibilities when developing a collection. How do you decide which ideas to pursue—and perhaps more importantly, which ones to leave behind?
Michael:
“I’ve never been good at editing it back. If a collection calls for 6 shots I always shoot 8 as a backup in case some concepts don’t work. It’s then about working out which 6 are the strongest in a hair story, at the end of the day it’s a hair collection. Is there something short?, something textured?, an updo?, is the a haircut? But are they all part of the same gang… what’s going to stop a judge from scrolling thru hundreds of entries and go - that’s cool!”
At what stage does the collection stop being about individual images and start becoming a complete body of work? How important is the story or connection between the images?
Michael:
“That is everything, it needs to be cohesive…. It looks too disjointed otherwise. It shouldn’t just be down to a grey backdrop and lighting to make it all work together lol. I love a collection of 3 or more images, as you can tell a story then, I struggle with a single shot competition.”
THE PEOPLE BEHIND THE WORK
For Michael, collaboration is central to the creative process. He understands the importance of trusting specialists to bring their own knowledge and perspective to a shared vision—and recognises that the strongest work often comes when someone challenges an idea rather than simply following instructions.
We often talk about an individual winning an award, but creating work at this level is incredibly collaborative. Who were the key people behind this collection, and what did they bring to the process?
Michael:
“Collaboration is everything. I know nothing about lighting, makeup or frocks so why would I tell people that specialise in those fields how to do thier job. That’s when the moodboarding comes in handy. They can see my vision and put their own creative spin on it. Lou Shields, my photographer suggested the brown backdrop and the grainy treatment on my shots to give it an almost vintage feel. Michaela, my makeup artist, got the brief of a disco eye so did variations on all the girls to enhance their own unique features and then my stylist Sopheak… he understands fashion and is great at guiding models whom may be not so experienced with the calmer to get the best out of the shot. A great team is everything!”
After working with so many creative teams throughout your career, what makes a great collaboration? What do you look for in the people you choose to work with?
Michael:
“I think by not hand holding the creatives, allowing them to do their job. I once was told ‘To surround your self with people that know more than you!” And it will lift what you’re bringing to the table to a new level. And I believe in working with the best you possibly can manage every single time. I also look for working with nice people that you can have a little bit of banter and laugh on set… no one likes working with a diva!”
Has there been a moment during this collection—or others you've created—where someone else's contribution challenged your thinking and ultimately made the work better?
Michael:
“On this collection, Sopheak mentioned that my big blowout wasn’t big enough when compared to the other two looks. I was like, how can it not be, I’ve backcombed this to beyond oblivion. Stepping back and looking at it objectively I was like he’s right so added another layer of padding which then made it more cohesive as a collection.”
You came away as runner-up this time, but you've experienced both winning and not winning over the course of your career. Has your perspective on awards and recognition changed as you've got older?
Michael:
“When I started my career, there was no social media, so to get noticed by the industry, brands to do platform education or magazines for editorials you needed to enter awards to be noticed and to start getting those side hustles. I still believe in that. I think it’s important to enter to still have a voice in our industry, to be relevant, to show our creativity and our technical skill and to show to the general public we are more than ‘just hairdressers’… social media has added a new dimension and you can be noticed in a different way but I think winning a title in a competitive environment counts so much as well.”
Looking at your career as a whole, what do you think has been the real key to staying creatively relevant for so long—and what advice would you give to the next generation who want to build a career that lasts?
Michael:
“I’m always like what’s next, and I love instagram as it visually shows me people’s creativity everyday from all over the world…. And that inspires me to keep pushing. I’m also inspired to motivate my team to enter and to share their own creativity with the world. I’m not wanting to create mini Michael’s I’m trying to create the best versions of themselves. And for those that want to do build a career that will last… Never stop learning, always put your hand up, ask as many questions as you can and keep pushing. This career has sent me around the world, made me work with celebrities and met so many amazing people all while doing the thing I love the most…. Hair!”
Kelly Manu
NZ Hairdresser of the Year 2026
Few achievements in New Zealand hairdressing carry the weight of Industry Collective’s NZ Hairdresser of the Year. For Kelly Manu, the title represents far more than a trophy—it is the culmination of years of persistence, creative growth, self-belief and a willingness to keep showing up.
Kelly's journey has been shaped by a deep commitment to creativity and the process of making work. She understands that an award-winning collection is never simply about the finished image, but about the planning, experimentation, collaboration and people who bring an idea to life.
In this interview, Kelly reflects on the journey to finally achieving a goal she had carried for years, the realities of staying committed when the results don't go your way, and the importance of building a creative team around you. Ultimately, her story is less about winning a title and more about what it takes to become the person ready to win it.
THE JOURNEY TO FIRST PLACE
Winning NZ Hairdresser of the Year was the culmination of a goal Kelly had carried for years. But her story isn't simply about persistence in pursuit of a title. It's about learning to accept setbacks, Understanding that awards are subjective, and continuing to create because the process itself matters.
What did winning NZ Hairdresser of the Year mean to you personally? Had it been something you’d been actively chasing for a long time?
“Winning NZ Hairdresser of the Year meant so much to me personally. It felt like a reminder that the things you dream about are possible when you keep backing yourself, keep learning, and keep showing up. It had definitely been something I wanted for a long time, but I think you have to grow into the person who is ready to hold something like that. It wasn’t just about the title - it represented years of work, resilience, and belief.”
There can be a lot of years between deciding you want an award and actually winning one. How much stickability do you think is required to keep putting yourself forward when the result doesn’t go your way?
“It takes a huge amount of stickability, because creative work is so personal. When you put everything into a collection and the result doesn’t go your way, it can feel really exposing. But I also think you have to understand that awards are subjective. You could create the best collection you’ve ever done, and at that moment the judges might simply be drawn to something else for reasons you can’t control. That’s where the growth happens - you have to love the process enough to keep evolving, not just chase the outcome.”
Was there ever a point where you thought, “Maybe this isn’t going to happen for me”? And if so, what kept you coming back?
“Yes, absolutely. There have been times where I’ve taken space away from entering because life, business, and the reality of running a salon had to come first. This year, I actually made the decision not to enter anything because we had just moved salon locations, and realistically, I didn’t have the time, capacity, or resources to give a collection what it needed. I think people don’t always realise the investment that goes into creating a collection - not just financially, but creatively, emotionally, and energetically too. But I really missed creating something, and that reminded me how much the creative process means to me outside of any award or outcome.”
CREATING THE COLLECTION
For Kelly, the creative process begins well before the hair. She builds a visual world first, then brings together the elements that will make that world cohesive. Planning is important, but so is leaving room for the unexpected—and allowing the creative team to influence where the work ultimately goes.
Where does the idea for a collection begin for you? Is it a hair idea, an image, a feeling, a reference, a model—or something completely different?
“It usually always starts with a feeling or a reference. Hair is usually the last thing for me. I try to never put a hair-focused image or idea on my initial moodboards because I think it can subconsciously sway me to recreate something instead of pushing myself to try something new. I like to lock in the feeling, the world, and the visual direction first - but then sometimes a model can arrive and inspire a completely new idea too.”
Once you have that initial idea, how do you turn something that exists in your head into a collection of images that feels cohesive and tells a story?
“Cohesion comes from being really clear on the world you’re creating. I look at how everything connects - the hair, colour palette, styling, makeup, model choice, lighting, and mood. I don’t want the images to just look beautiful separately. I want them to feel like they belong together and have a clear point of view running through them.”
How much planning goes into a collection before you actually get on set—and how much do you leave open for the unexpected things that can happen on the day?
“There’s definitely planning, but I’m also usually working within a really tight timeline. I travel a lot with work, so once I know I want to shoot for something, I’ll lock in a day with my creative team and start assembling ideas - but realistically, I often don’t have the time or brain space to properly plan it until about three weeks out. I’d say around 90% is pre-planned, but on the day that 90% could change by 90%. I like having a clear plan going in, especially if I’m creating more elaborate hair pieces rather than working with the model’s own hair, but I’m also really adaptable. If something shifts on the day, it doesn’t bother me - sometimes the best moments come from something unexpected, like a movement, a light change, or someone on the team seeing something differently.”
When you’re creating specifically for an award, how conscious are you of the judging criteria? Do you create for yourself first and think about the award afterwards, or is the category part of the creative thinking from the beginning?
“The category and judging criteria definitely play a part in the creative thinking from the beginning. I’ll work within the judging criteria, because you need to understand the space you’re creating within, but I’m not creating purely with the judges in mind. It still needs to feel true to me. I don’t think you can create only for criteria, because then the work can lose its heart. The best work happens when your creative identity and the expectations of the award meet in an intentional way.”
THE PEOPLE BEHIND THE TROPHY
The award may carry one name, but Kelly is clear that the work is collective. Her creative team has become an extension of her own creative process—people she trusts enough to contribute their own ideas, challenge the work and ultimately make it bigger than anything she could create alone.
The award has your name on it, but no collection like this is really created by one person. Who were the people you needed around you to make this collection happen?
“All of my collections lately have been created with the same creative team - Liz Hyun on makeup, Claudia Li on styling, and Apela Bell on photography - plus whoever is available from the UNA team to lend an extra pair of hands. The reason I’ve stuck with this team is because they’re truly my best friends. We create so much together that it only feels natural to create my collections with them too. I think that’s also why I missed entering something - because it’s so exciting to be the art director of such a talented team. It’s really fun to steer the ship every now and then, but I absolutely couldn’t do it without them.”
What does each person bring that you can’t bring yourself? And how important is it to surround yourself with people who are better than you in certain areas?
“It’s so important to surround yourself with people who are better than you in certain areas. A photographer sees light and composition differently, a makeup artist understands balance, a stylist brings fashion context, and a model brings emotion and energy. When everyone brings their strength, the work becomes bigger than what you could create alone.”
Have you ever had someone on a shoot challenge an idea you arrived with—and ultimately make the work better because of it?
“Ooh, I love this question. On my own collections, I don’t think that has happened in a big way on the actual day for a while, but I wouldn’t mind if it did. I’m an open book and love collaborating. A lot of the collaboration for my collections happens before the shoot. I have a live moodboard that my creative team is linked into, and as I’m building the collection, I’m always sharing what I’m creating with them so they can add their ideas or flavour too if they want. On editorial and commercial shoots, that collaboration often happens on the day. I’d never arrive thinking my idea is 100% the final answer, because those environments are always more reactive and collaborative in the moment.”
Take us back to the moment you found out you’d won. What do you remember—and did your mind immediately go to the people who had helped you get there?
“I remember it feeling really surreal. There was this huge rush of emotion because you know how much work, hope, doubt, and love has gone into getting there - but honestly, I don’t think I even fully knew what was happening in the moment. I flew straight to a business forum in Australia afterwards, so I still don’t think it has fully sunk in. My mind definitely went to my salon team and creative team, because they’re such a huge part of my life and they’re the reason I’m able to do so much of what I do. I kept saying, ‘This is theirs,’ and they kept correcting me saying, ‘No, it’s your award!’ I’m not always the best at owning my achievements, but I think that made the moment even more emotional.”
When your name is on the trophy, it’s easy for people to see an individual achievement. What do you think they don’t see?
“I could go on and on about what people don’t see. They don’t see all the years behind it - the self-doubt, late nights, planning, pressure, setbacks, and moments where you had to recover and keep going. The saying ‘blood, sweat and tears’ definitely didn’t come from nowhere. They also don’t see all the people behind the scenes who gave their time, talent, support, and belief. For me, that’s what makes the win so meaningful.”
