ALEXANDRE BY ORIBE He defined tHe craft of tHe coif and tHe cult of celebrity Hairdressers. alexandre’s legendary creations inspired a legion of imitators—and a young oribe canales was watcHing
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“When I was a kid I was never really interested in fashion. I loved beautiful women and all that, but I think the first time I saw anything that Alexandre had done was Cleopatra. As a kid, I was obsessed with seeing that movie and because there was nudity my mother wouldn’t allow it. Once when I was at a drive-in I snuck in and got to see it—the images of Elizabeth Taylor as Cleopatra were so beautiful and amazing. At that time I didn’t know I wanted to be a hairdresser, but I was definitely obsessed with the way she looked. In my career, I had the opportunity to make his acquaintance. I actually had two run-ins with him—one fantastic and one not so fantastic. The first time, I was doing an Azzedine Alaïa show with The Girls—Christy had her short, cropped hair—it was a famous, famous fashion show. After the show, Alexandre came backstage to congratulate me, to tell me the hair was just spectacular. It was the most incredible moment because for him to love it, I was like, Oh my God! I felt like I was on top of the world. Then the second time, my
Powder type photography Stéphane Pelletier using Lancôme Blush Subtil Duo in stylish coral; Brush still-life photography Jamie Chung
For most of the 20 th century—which is to say, those dark ages before Botox injections and microdermabrasion—movie stars, royals, and cultural luminaries alike sought out a decidedly less invasive beauty fix: their hairdresser. But not just any old coiffeur would do. In the middle of shooting Cleopatra, Elizabeth Taylor, the film’s namesake star, became very ill. When asked if there was anything that would make her feel better, she reportedly instructed her attendees, “Bring me Alexandre.” She was, of course, referring not to her doctor or her paramour, but to Alexandre Raimon, the flamboyant and mysterious hairdresser known simply as Alexandre de Paris. (His salon logo, an image of him as the sphinx, was drawn by his close friend, the playwright Jean Cocteau). Alexandre took the first flight to London and as Taylor lay on her sick bed, propped up by a team of nurses, he proceeded to give her what became known as his “artichoke” cut. To this day it remains one of the most iconic looks in the history of hairdos. It certainly made an impact on Oribe Canales, then a boy growing up in North Carolina, who was himself destined to become a single-named hair impresario. In fact, when Oribe’s career took off in the ’80s, he heralded the return of the over-the-top glamorous hairstyles that hadn’t been in vogue since Alexandre’s heyday in the ’50s and ’60s. Oribe is quick to note that times were different then, but Alexandre’s groundbreaking career had paved the way for the recognition of the hairstylist as an indispensable collaborator, a highly regarded craftsman, and a powerful creative force. Here, he discusses his hero, in his own words. Grace Kapin