Everyone tells you to shoot a collection. Nobody teaches you how.

Two days that follow a collection all the way through, with Pablo Kuemin and Andrew O’Toole, the hairdresser and the photographer, in the same room for the first time.

Day one is the thinking and the preparation: where an idea comes from, how it becomes a moodboard, how you shape a clear creative direction, assemble the right team, and communicate what you mean so that other people can build it with you. Then we move into the hair itself, at the standard the final image demands.

Day two, we shoot it. A full collection, live, in front of you: model, stylist, photographer and hairdresser working as one unit, with all the negotiation, decision-making and problem-solving that normally happens behind a closed door happening in the open, while you are standing in it.

What You’ll Learn

Finding the Idea

Where a collection actually starts, and why “I want to do something editorial” is not a starting point.

Moodboarding

Building a moodboard that communicates instead of decorating: what to put in it, what to leave out, and how to use it to hold a whole team to one idea.

Building and Briefing a Team

Who you need, how to find them, what to pay attention to, and how to brief a photographer, a stylist and a makeup artist so that what comes back is what you asked for.

Designing for the Lens

Hair built for a lens, not a mirror. Shape that survives a wide shot, texture that reads under a hard light, and why the thing that looks incredible in the salon can disappear on the day.

The Live Shoot

On-set workflow, hair and camera in real time, directing a model, sequencing a shot list, and solving problems live as part of the crew.

The Collection Framework

The full working method, on paper, from first idea to final selects, so you can run it yourself the week you get home.