TABLE OF CONTENTS North Carolina Cosmetology Update. Self-Assessment Answer Sheet for all sections 89 Course Evaluation 90

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1 TABLE OF CONTENTS North Carolina Cosmetology Update Chapter 1: Principles of Haircutting (4 CE Hours) 1 Chapter 2: Perms - Current Styles and Methods (2 CE Hours) 13 Chapter 3: Wigs and Hairpieces (2 CE Hours) 21 Chapter 4: Indoor Air Quality Guide (2 CE Hours) 28 Chapter 5: Hair Color Principles (4 CE Hours) 40 Chapter 6: Chemical Make-Up of Hair, Skin & Nails (2 CE Hours) 47 Chapter 7: Sanitation and Sterilization (2 CE Hours) 54 Chapter 8: Retail Concepts (2 CE Hours) 60 Chapter 9: Tax Responsibilities for the Personal Service Worker (2 CE Hours) 70 Chapter 10: Domestic Violence and the Salon Professional (2 CE Hours) 81 Self-Assessment Answer Sheet for all sections 89 Course Evaluation 90 Complete this course online 99 Immediate scoring. 99 Instant certificate of completion All rights reserved. These materials may not be reproduced without permission. This publication is designed to provide general information prepared by professionals in regard to the subject matter covered. It is provided with the understanding that is not engaged in rendering legal, medical, or other professional services. Although prepared by professionals, this publication should not be utilized as a substitute for professional services in specific situations. If legal advice, medical advice or other expert assistance is required, the service of a professional should be sought. Page ii

2 Chapter 1 Principles of Haircutting (4 CE Hours) Learning objectives Identify areas of the head. Identify various lines and angles. Identify elevations related to cutting hair. Identify the different face shapes. Describe hair analysis. Describe the use of cutting shears. Identify the proper method to hold cutting tools. Describe appropriate posture and body position when performing a haircut. Identify different types of haircuts. Acquire knowledge in hair cutting tips. Areas of the head As you know, there are many planes and angles in the human skull. As hairdressers, we must be aware of these angles and use them to our advantage, or they will work against us. A look at the human skull reveals some important planes that affect us when cutting hair. For instance, when looking at the frontal bone (Figure 1) from the side view, if you are doing a 90 degree haircut, the angle of your fingers and scissors should be slanted at an angle directly out from the head to follow the shape of the bone structure. When cutting the hair on the top of the head, the hair should be held straight up and the hand and scissors should be horizontal. When looking at the side of the head, if doing a short haircut, it is easy to see where the shape of the head changes. The sides would be cut very short in a vertical line and then the haircut would change at the parietal ridge, where the head starts to round. If doing a short graduated cut, at the top of the occipital bone, the head shape changes and that is where the graduation would end. When moving around the head shape, it is naturally divided into areas we are all familiar with. For instance, everything from the parietal bone and up would be considered the top of the head. Everything from the ear forward and from the parietal bone down would be considered the side. Everything from the ear back and from the parietal bone down would be considered the back. The highest point of the head is called the apex and the triangular section from the apex to the outer corners of the eyes is the fringe (bang) area. From the apex to the parietal ridge is the crown. Lines and Angles There are 3 basic lines one follows when doing a haircut; horizontal, vertical and diagonal. Horizontal lines are used when creating weight lines in the hair and when cutting 0 degree haircuts with a stationary guideline (one that does not move). Vertical lines are used to create movement and lightness in the hair and are used in 45 degree cuts, 90 degree cuts and 180 degree cuts using a traveling guideline (one that moves around the head, using previously cut hair). Diagonal lines are used to connect two horizontal lines. Angles occur where two lines intersect, such as where a diagonal line and a horizontal line connect. A diagonal forward bob has very strong angles at the front hairline. Knowledge of the different types of haircuts and elevations Figure 1. Front and side view of facial bones. Page 1

3 The basic haircuts or elevations include the solid or 0 degree cut, the graduated or 45 degree cut, the uniform or 90 degree cut and the long layered or 180 degree cut. As anyone who cuts hair knows, you cut many other angles besides these based on the effect you are trying to achieve, but the basic four elevations are a good starting point. If you need to create weight in a haircut, you will want to use a very low or 0 degree elevation. This is commonly at the bottom of the haircut, such as in a solid shape. However, throughout the years, 0 degree cuts have cropped up at other places on the head, such as the infamous bowl cut in the eighties. If you want to build a graduated shape at the bottom of a haircut, the 45 degree elevation is the way to go. The most famous example of a 45 degree cut in recent history is Victoria Beckham who spawned a whole movement reminiscent of the Dorothy Hamill cut in the 1970s. A 90 degree cut gives lots of movement to the hair as all strands are cut to a similar length with a traveling guideline. A 180 degree haircut or long layered cut is a beautiful, classic look that never goes out of style. Facial Shapes There are many different facial shapes and while the oval shape is considered the ideal facial shape, it is obvious that women considered beautiful by society have every face shape possible. Round A round facial shape is wide through the cheekbone area with a fairly short forehead and chin. The best hairstyle for round faces is a hairstyle that has volume or height on top and closeness or no volume at the sides will enhance a round face. An elongated shape helps to lengthen the face. Diamond A diamond shaped face has a narrow forehead and chin and has width through the cheekbone area. The best hairstyles for diamond-shaped faces are hairstyles with fullness at the jaw line and forehead while keeping the hair close to the cheekbone will show a diamond shaped face to its best advantage. Heart A heart shaped face carries width through the forehead area tapering down to a narrow chin. The best hairstyle for a heartshaped face includes bangs to reduce the width of the forehead with fullness at the jaw line will make this facial shape look its best. Oblong An oblong shaped face is very long with a high forehead and prominent chin. This facial shape is also narrow. Hairstyles for oblong-shaped faces include not building volume into the top of the hair, but keeping the hair close. Add width to the sides by adding volume to the style. Triangular This facial shape has a narrow forehead and carries width through the jawline. For best hairstyles for a triangular face, on top, style hair with volume at the temples with some height on top. Bangs are beneficial to disguise the narrowness of the forehead. Page 2 Square A square shaped face is broad in the forehead and chin area without an increase in width at the cheekbones. The best hairstyles for square faces create a hairstyle that softens the hair around the temple and jaw. Add volume around the ear area. Oval This facial shape is considered the ideal. The face is evenly divided in measurements from the forehead to the eyebrows, the eyebrows to the tip of the nose and the tip of the nose to the chin. It is 1 ½ times longer than it is wide. This facial shape can wear any hairstyle successfully. Profiles There are three different profiles you with which you should be familiar. These types are straight, convex and concave. A straight profile is the desired profile. The forehead, nose and chin are presented in a relatively straight line. No feature is more prominent than another. Any hairstyle will work with this profile. The convex profile features a receding forehead and chin and a prominent nose. A hairstyle with full bangs to cover the forehead and fill it out will be helpful. Volume at the occipital bone should be avoided as it will accentuate the nose. The concave profile features a prominent forehead and chin with a small nose. Bangs without volume will help to disguise the prominence of the forehead. Knowledge of Hair Analysis There are a number of areas you need to analyze before cutting a person s hair, namely texture, density, elasticity, porosity, and growth patterns. First you need to look at the texture of the hair. The texture describes the diameter of each individual hair strand, whether it is fine, medium or coarse. This will greatly affect how the hair lays after the haircut. Many times when clients choose haircut photos they choose a look on a model who has a different texture hair than them. It is up to you, the professional, to explain how their hair will look with the same haircut. Another aspect of hair analysis that must be examined is density. Density is the number of hairs per square inch. Obviously, the less hair a person has the harder it will be to achieve the desired hairstyle. On the other hand, a person with heavy density may not achieve the desired look if they ask for a razor cut with a feathered look. Elasticity must be taken into account when cutting hair. A person with a lot of elasticity in their hair may end up with bangs or overall length that is a lot shorter than what they desire if the hairdresser doesn t allow for their elasticity. Curly hair can shrink ½ to 2 after being cut. Hair porosity could impact haircutting if the hair is resistant and doesn t want to absorb a lot of water. If the hair dries out during the cut, some hair would have been wet when cut and some of the hair would be cut dry. This is a problem because wet hair can stretch 40-50% of its length and dry hair only 20% of its length. The hair cut will be uneven when completed. The hairdresser must continuously wet the hair to keep an even consistency of moisture throughout the cut.

4 Growth patterns must be analyzed to see how they will impact the finished cut. A young boy with a strong growth pattern in the crown area may need the hairdresser to leave the hair slightly longer in this area so that he doesn t have a cowlick. Many clients will have a cowlick in the bang area. The hairdresser will need to allow additional length at the cowlick to compensate. Also, many clients have necklines that grow in various directions. It is important to look at that before cutting the hair short so that you have a plan to deal with the growth patterns. Knowledge of cutting shears Shears are the backbone of the cosmetology industry. They come in lengths ranging from 5 inches to 7 ½ inches. How do you know what length shear you like best? Don t measure the entire length of the shear. The length is measured from the tip of the shear to the finger holes. Shears come with one of two edges, a beveled edge or a convex edge. The beveled edge is the oldest blade design. It can cut well, but requires more force than the convex blade and can t be used for advanced techniques like slide cutting. The convex edge is a smoother cutting blade. It is a must for slide cutting. Shears with a convex edge are harder to make and therefore are more expensive, but worth it. There are five different types of handle designs; the opposing grip, the offset grip, the crane grip, the swivel grip and the triple ring shear. The opposing grip is the oldest design. This handle design is what many hairdressers used in training and are most comfortable for many cosmetologists. The offset grip is a more modern version of the haircutting shear. It allows the hand to be in a more open position, reducing stress on the thumb and hand. The crane grip allows the hand to open even more and the elbow can be dropped reducing stress on the hand, shoulder and wrist even more. The swivel grip features an ergonomic design which will help the hairstylist guard against carpal tunnel syndrome. The triple ring shear allows for more comfort and control when cutting hair. You should be familiar with at least a couple of shear parts. Shears come with a stopper or silencer between the finger grip and the thumb grip. This is a small bump that keeps the finger grips from hitting together. The stopper quiets the shear and creates a smoother cut. The pivot area of a shear has an area where the blades come together called the ride. The ride must be kept clean of hair. Cleaning, sanitation, and sterilization should be completed according to the guidelines in the Sanitation and Sterilization section of this course. The ride must also be oiled regularly. This reduces the friction and drag between the blades and gives your shears the smooth operation they had when new. Oiling the blades also helps prevent rust and corrosion. Some manufacturers have an aerosol silicone lubricant that blows out the hair and debris while you re oiling the shears. Another advantage of this product is that hair does not stick to the dry silicone film like it does to oil. The only shears that don t get oiled are the newer shears that have the rideless ball bearing. Shears can be adjusted with a coin adjustable tension screw or a leaf spring tension system. You should check your tension adjustment regularly. To check, hold your shears with the tips pointing up. Open one blade to a 90 degree angle and then let go. If the blades close about 2/3 of the way, your tension is correct. If the blades close, the tension is too loose and the hair will bend rather than cut. If the blades will not close, the tension is too tight. This will cause excess wear on the shears and will create problems for you and your hands. Shears are made out of different metal formulas by each manufacturer but generally they are made out of cobalt, molybdenum, stainless steel or a combination of these metals. Shears will be rated on a Rockwell hardness scale. A good quality shear will have a rating around 60 Rockwell. When manufactured, shears are shaped and tempered using one of three different methods; casting, forging and cryogenic tempering. Casting means that the liquid metal is poured into a mold. This is durable but these shears will not hold an edge as long as forged shears. A forged shear is created by dropping a weighted mold onto a hot bar of steel. The metal is then pounded into the desired shape. The last way shears are shaped is through cryogenic tempering. The temperature of the steel is reduced to 300 degrees Fahrenheit. This makes the steel molecules pull together into a compact form. When the steel is returned to room temperature the molecules relax and separate into a stronger and more durable shear. Be very careful of to what you subject your shears. If perm solution or any other chemical gets on them, wipe them off immediately. Any strong solution will pit your shears. Proper Page 3

5 sanitation and sterilization procedures should be used for your shears after each haircut. The shears should be oiled at the end of each day. This will keep them in optimum condition. Never cut anything with your shears other than hair, and safeguard your shears so no one else uses them for anything else. Keep a cheap pair of shears handy for opening perm bottles, or better yet use a T pin for a smaller opening. It is also important for you to get your shears sharpened on a regular basis so that they cut the hair cleanly. How do you know when it is time to get your shears sharpened? Can you cut a wet facial tissue with your shears? If not, it s time. Try to cut a dangling piece of thread using all areas of the blade, working your way from one end to the other. If your shears just fold the thread, check your tension. If your tension is okay, it s time to get your shears sharpened. Page 4 Razors, Clippers, and Trimmers Razor cuts have been very popular for the last few years. This is because they create a softer edge that actually translates into an edgier, shattered look. The razor can transform an ordinary haircut into something new and exciting. Razor cuts tend to look the best on medium to coarse textured hair. A skilled hairdresser with a light hand can do a great job of razoring fine hair. Curly hair may have a tendency to get frizzy if cut with a razor, so be careful with this hair type. Creating the shorter hairs within the haircut allows the wearer to build volume into their hair. The shorter hairs have a tendency to want to stand up thereby holding up the longer hairs. Styling products work more efficiently on the lighter hair. In addition, hair that has multiple lengths built into it will tease much more readily than will hair with a blunt cut. This can be a great addition to your haircutting offerings for your long hair clients who don t want to lose any length. The razor will texturize the hair and give it more movement and swing while allowing the length to remain. A razor is used at a 45 degree angle to the hair and can be used to cut the hair if heavy pressure is applied or it can be used to texturize the hair if light pressure is used. The stylist can use the razor for the entire haircut or just at the ends to customize the look and break up some of the heaviness of the hair. Clippers come in many different styles, colors and configurations. They are used to create short haircuts, fades, and flat tops. They come with one of three different motors to power them. How do you know which type to buy? Is one kind of motor better than another? The first type of motor is the magnetic motor. The design is simple and reliable with few moving parts. It s virtually maintenance free and needs no internal oiling. The motor consists of a spring and an electromagnet working together to vibrate the blade back and forth. The blades run at a high speed to create a smoother hair cut. This motor provides less power than the other two designs. The pivot motor uses two electromagnets and no spring. The blade speed is slower than with a magnetic motor, but produces at least twice the power. Cutting through wet hair is much easier with this motor. This type of motor is ideal for everyday cutting The rotary motor powers the most powerful clippers on the market. They come in AC and DC units. The DC units are cordless and are powered by batteries. The DC units are not as powerful as the AC units, but offer freedom from the electrical cord. Clippers are a great tool to use in the salon. When purchasing clippers and trimmers, they normally come with length guard attachments. Many clients come into the salon and tell the stylist they want a #2 on the sides and a #3 on the top. Anyone can do this. An accomplished stylist will take classes and learn how to do clipper over comb. This technique cannot be duplicated at home and it gives a much more customized look for the client. The technique is the same as with scissor over comb. It is essential to lift the hair up to cut so that when it falls it will be slightly layered. This is so there will be no lines cut into the haircut. Only cut sections of hair that are 1 to 1½ inches in width. As you work around the head, the head shape will change fairly quickly. Working in small sections will allow you to contour the cut to the client s head shape. It is essential to have a lightweight balanced clipper that is comfortable to hold and a comb designed for clipper cuts. The comb will be wider and flatter than an average comb and the clipper will glide over the teeth much more easily. The combs come in light and dark colors and a stylist needs both. If the client has dark hair, the light colored comb will make it much easier to see the hair to give a precision cut. Conversely, the dark colored comb is the comb to use on clients with light colored hair. Trimmers (or edgers) are the finishing tool used for very short haircuts, whether created with scissors or a clipper. Trimmers are used to clean up the hairline, finish a sideburn, and to clean the hair off and out of the ear. Thinning Shears and Notching Shears Thinning shears and notching shears are used to remove bulk from the hair without removing length. The teeth size and spacing affects the final result. Stylists can overuse this tool. If thinning shears are used at every appointment and the client gets their hair cut once every month, soon most of the hair will be cut in a short cut with just a few long strands left of the original cut. If stylists overuse thinning shears at a single appointment, the same thing can happen. If you hold thinning shears on a piece of hair and continue to open and close the blades, all the hair will soon be cut off. If a client has naturally curly hair and the hair is thinned too closely to the head, the short curly hair will soon resemble an afro under the longer hair which will hold the longer hair out from the head. The client will look like they have more hair than when the thinning started. To use thinning shears, comb a vertical section of hair out from the head and place the thinning shears into the section from the

6 bottom about one third to half way down the strand. Place at a 45 degree angle and close the thinning shears but do not necessarily shut them the whole way. If necessary, slide the shears out closer to the ends and repeat. If you buy thinning shears with a double row of teeth, not much hair will be removed. That s because much of the hair will slip between the teeth and will not be cut. A thinning shear with one row of teeth and one regular blade will remove more hair. Notching shears will remove the most hair. Thinning and Notching shears can range from 5 teeth to 60 teeth and everything in between. A notching shear with 5 teeth will create dramatic effects, removing large sections of hair. A 60 tooth thinning shear will carefully blend the thinned hair with the original hair. It is important to hold your tools correctly so that you have control over them and so you don t become prone to repetitive injuries. Shears: To hold your shears and thinning shears, take your dominant hand and place the ring finger of that hand into the finger grip of the still blade and place your thumb into the thumb grip of the moving blade. Place your little finger on the tang and your index and middle finger should rest on the pivot of the shears. When holding both the comb and shears in preparation to cut hair you will perform two actions; palming the shears and transferring the comb. When palming the shears, you take your thumb out of the thumb grip and roll the shears into the palm of your hand. Now, the shears are safely held by the ring finger and you have two fingers (the index and the middle finger) and the thumb to hold the comb. When transferring the comb, you will take the comb that has just finished combing a section of hair and you will place it under the thumb on the non-dominant hand. Now, the thumb can be placed back in the thumb grip by the dominant hand and you can cut the hair. Razors: There are two ways you can hold your razor; the three finger hold and the finger wrap hold. To hold the razor in the three finger hold, open the razor so that the handle is higher than the shank. Place the thumb in the thumb grip, and place the index, middle and ring finger on the shank. Place the little finger in the tang. To hold the razor in the finger wrap hold, open the razor so the shank and handle form a straight line. Place the thumb on the thumb grip and wrap all the fingers around the handle and shank. Clippers: One way to hold the clippers is to place your palm over the clipper and place your thumb on the side of the clipper. Another way to hold the clippers is to place your thumb on the top of the clippers and place the rest of your fingers underneath. Posture and body position Good posture and body position will help you to avoid back and foot problems and will make sure your haircut will turn out great. The first position you want to be aware of is the position of the client. Make sure the client is sitting up straight with their legs uncrossed. It is more efficient to move the client with the chair, than to walk around the client, so make sure to turn the client whenever necessary to reduce fatigue on your part. Next, you want to make sure you are working directly in front of your section. This will keep your body weight centered. Haircutting Partings Four sections versus five sections When cutting hair, many times the stylist will part the hair into four or five sections. When doing a haircut where there will be no layering on the top, part the hair into four sections. Examples include a 0 degree cut and a 45 degree cut. Pull down a guideline at the bottom of each section as you prepare to cut that section. When doing a layered haircut, part the hair into five sections. Examples include a 90 degree haircut and a 180 degree haircut. This parting allows you to have an interior guideline that will be cut in the top section that you will use in addition to an exterior guideline. When parting five sections, pull down a guideline the entire way around the head so that you will be able to create the outline of the whole haircut first, and will be able to see the length of the bangs, sides and back. Immediately after cutting the exterior guideline, you will cut the interior guideline, basing the length of the interior guideline off the bang length. Part a slim section right through the middle of the top section, similar to a Mohawk. Cut this Mohawk section from the bangs to the apex of the head. Now when you take horizontal sections from the left side of the top section to the right side of the top section and hold up the hair, your new interior guideline will be visible in the center of the section. The hair on either side of the Mohawk can now be cut to the same length. At this point, you will have the outline of the cut, and the top length will be determined, so it s just a case of connecting the dots into the desired shape to finish the haircut from interior guideline to exterior guideline. Haircutting Procedures There are many different ways to part and cut hair, but here are some basic techniques and ideas to perhaps suggest a different way than the way you are cutting hair now. 0 degree haircut When cutting a 0 degree cut, the hair should be parted in 4 sections. To simplify the cut, only bring down a guideline in the two back sections of the head to start. Ask the client to bend their head forward, with their chin bending towards their chest. This will cause the hair on the top of the head to travel further to get to the cutting line. When the head returns to an upright position, the hair will be slightly beveled with the hair on top a little longer than the hair underneath. This will create a beautiful, straight line whether the head is moving forward or is in an upright position. The guideline is cut first, again with the client s head bent forward. Hold the hair as close to the back as possible, no more than one finger width away from the back. For an even more precise line, hold the hair against the client s back with the comb in the non-dominant hand and then cut. Make sure the cape is lying flat and there are no towels or bulky clothing holding the hair unnaturally away from the back. Carefully check to make sure your guideline is not going uphill or downhill. This will have an effect on the front of the haircut, even if the line is just slightly angled. The angle will be Page 5

7 magnified as it travels around to the sides and one side will look much longer than the other. After checking the straightness of the line, each subsequent section in the back is brought down to this line and cut to the same length. When all the hair in the back of the head is cut, the head can be returned to an upright position. Now, turn the client s head so that they are looking over their shoulder. Make sure the client keeps their chin up. If their head is tilted down and you cut the hair straight it will be angled up when they return their head to its normal position. The front section of the client s hair should be hanging freely in front of them. Take a section of hair from the back and bring it up over the shoulder to act as a guideline for the front. Cut the front guideline to the same length as the back, keeping in mind the angle of your fingers when doing so. If your fingers are held horizontally the haircut will be the same length from front to back. If the fingers are angled downward towards the front, the hair will be longer in the front than in the back. If the fingers are angled up towards the front there will be some framing of the face. This is an area where you want to make sure you do exactly what the client wants. This will be disappointing to the client if the hair is shorter in the front and she desired a one length haircut. Take down sections on the side and cut to the guideline until all hair on the first side is cut to the guideline. Before turning the head and preparing to cut the other front section, take down the guideline on the 2 nd side. Position the client s head straight forward and cut off a small section of hair at the front of the 2 nd side so that it matches the length on the first side. This will help to ensure the haircut is the same length on both sides. After the length is determined on the 2 nd side, turn the client s head and finish the guideline, blending the hair into the back lengths. Continue taking sections of hair down and cut to the guideline until all hair on the 2 nd side is cut. 45 degree haircut When cutting a 45 degree cut, the hair should be parted in 4 sections. To simplify this cut, only bring down a guideline in the two back sections of the head to start. Ask the client to bend their head forward, and cut the guideline at 0 degrees. Return their head to an upright position and bring down the next sections in the back. Starting in the middle back, take a thin vertical section and comb it out from the head, holding it down at a 45 degree angle. Straight out from the head would be 90 degrees, so you want the hair to project out from the head half way between straight out and straight down. Comb the hair with the dominant hand held with the elbow pointing up and the tips of the fingers pointing down. Hold the hair to be cut in the non-dominant hand with the fingertips pointing up and the palm facing your body. With the hand at the 45 degree position, cut off the hair just pulled down to match the guideline. Lower the hair carefully so you can see the section that was just cut. Part this section in two. Keep the half towards the right side of the head, and comb the rest of the section firmly towards the left along with the uncut hair. Take a thin, vertical section of hair to Page 6 the right of the cut hair and combine it with the previously cut hair. Comb all the rest of the hair not in your hand firmly to the right so the section you are cutting is isolated. Hold the hair in the same position as before with the fingertips pointing up and the palm facing your body. Now you should see a guideline at the bottom of this section, as well as the traveling guideline from the previous section. Cut all hair to this guideline. Lower the hair carefully so you can again see the section that was just cut, and repeat the above steps until you reach the hairline on the right side. At this point, return to the middle of the cut. Section a new piece of hair on the left side of the middle section. Comb the hair out the same way as previously, comb all the other hair away from this section to isolate it and cut the hair to the guideline. Work section by section over until you reach the left hairline. Take down another section of hair in the back and start with a vertical section in the middle back. Hold the hair out the same way as before and cut all hair to the guideline. Work your way over to the right hairline and then return to center and work your way over to the left hairline. Repeat the entire way up to the top of the back sections. Caution - at no time should you lift the hair any higher than 45 degrees. The hair at the top of the head should still travel down to a low elevation to be cut. When the entire back is completed, pull down the guideline on one side and cut to the guideline established in the back. Begin taking down additional hair on the side. Start at the back of the section. Take a vertical slice of hair that contains some of the previously cut hair from the back of the head, as well as some uncut hair from the front. Isolate the section by combing the hair not selected off to the right and left firmly. Hold the hair out at a 45 degree angle and cut all hair to the guideline. Continue with the traveling guideline until you reach the front hairline. Continue bringing down sections of hair and cutting them in the same manner until the entire side is complete. Bring down the guideline on the 2 nd side. Position the client s head straight forward and cut off a small section of hair at the front of the 2 nd side so that it matches the length on the first side. This will help to ensure the haircut is the same length on both sides. After the length is determined on the 2 nd side, turn the client s head and finish the guideline, blending the hair into the back lengths. Continue bringing down sections of hair and cutting them at a 45 degree angle until the entire side is complete. Variations- forward diagonal When cutting the forward diagonal, the hair in the back two sections is cut similar to the back two sections in a basic 45 degree cut. However, when combing the hair out to be cut, the hair will be overdirected toward the middle. The hair will still be combed at a 45 degree angle and the middle sections will be combed straight out from the head. As you work your way towards the sides however, you begin overdirecting the hair in towards the middle. When you are done, the hair should gradually get longer and longer the closer to the ear you get and the middle should be the shortest. On the first side, comb the hair straight down and just follow the forward diagonal line you can see has been developed. Bring

8 down the guideline on the 2 nd side. Position the client s head straight forward and cut off a small section of hair at the front of the 2 nd side so that it matches the length on the first side. This will help to ensure the haircut is the same length on both sides. After the length is determined on the 2 nd side, turn the client s head and finish the guideline, blending the hair into the back lengths at a 45 degree angle. To finish this haircut, you can keep the hair in the front as a 0 degree cut, just bringing the hair down to a stationary guideline and cutting all hair on the sides to the guideline. However, you must blend the hair in the front into the shorter lengths in the back. An easy way to do this is to take horizontal sections of hair right over the ear and blend the two sections together. Start at the crown of the head and part off a horizontal section of hair directly above the ear. When combing the hair out, overdirect it towards the back. You will see the short layered hair in the back and as you rotate your hand you will end up with a short piece of hair at the very front of the hair. Cut off the point that s in between. Continue down the side of the head, over the ear, taking horizontal sections and over directing them towards the back until you reach the bottom of the section. Do the same procedure on the other side. If your client would like bangs or a little movement in her hair in the front, you will need to pull down a guideline that frames the face and cut to the desired length. Section off a top section of hair that extends from the middle of the eye to the middle of the other eye and back to the apex of the head. You will now cut the interior guideline, basing the length of the interior guideline off the bang length. Part a slim section right through the middle of the top section, similar to a Mohawk. Cut this Mohawk section from the bangs to the apex of the head. Now when you take horizontal sections from the left side of the top section to the right side of the top section and hold up the hair, your new interior guideline will be visible in the center of the section. The hair on either side of the Mohawk can now be cut to the same length. At this point, you will have the outline of the cut, and the top length will be determined, so it s just a case of connecting the dots into the desired shape to finish the haircut from interior guideline to exterior guideline. To do this, you will need to elevate the hair on the sides, similar to doing a 180 degree cut so that the angles and look of the cut are not disturbed. When you elevate the hair, and match it to the top section, the only hair that should be cut off will be a little point. The hair on the top of the head has already been cut and the hair at the bottom should not be disturbed, so you are simply blending the two together. As you work around the head, check the crown area as well to ensure that a long point is not left in this area. Very little hair is removed when layering this cut but it creates a lot of movement in the cut. Variation- 90 degree cut with 45 degree nape area Many times women who get their hair cut in a 90 degree cut feel that their hair could use a little lift in the back. At the conclusion of the 90 degree haircut, you can put a 45 degree graduation into the hair in the nape area and completely change the look of the cut. You will re-part the hair in the back and bring down a section of hair. Starting in the middle and holding the hair out at a 45 degree angle, cut the hair using the already established guideline. The hair will be cut up until approximately the occipital bone area and then you re done. If the shorter hair lengths do not reach the 45 degree angle, they do not get cut. If you try to cut them, you will raise the angle of your hands and you will be doing a 90 degree cut rather than the 45 degree graduation you were striving for. This variation puts a lot of bounce and movement into a 90 degree cut. 90 degree haircut When cutting a 90 degree cut, the hair should be parted in 5 sections. When parting five sections, pull down a guideline the entire way around the head so that you will be able to create the outline of the whole haircut first and will be able to see the length of the bangs, sides and back. Cut the bang length first, only cutting from the end of the eyebrow to the end of the eyebrow. Determine this section by how the hair lies naturally. Do not overdirect hair into this section or you will have hair cut the same length as the bangs, lying on the top of the hair on the side of the client s head. Next cut the back guideline. The back guideline extends from the back of the ear to the back of the ear. Start in the middle and establish your length. Slightly overdirect the rest of the back guideline towards the middle. Do not comb it out at an angle between the back and the ear. This will keep more hair length behind the ears where the client can see it. Failure to do this can result in a haircut that looks shorter than intended. At this point you are ready to connect the sides. You now have a beginning point and an ending point and can connect them with an angled cut. To create the angle between the two, simply grasp the hair of the bangs and a little more hair on the side that wasn t cut yet. Bring your hand straight down as if gravity were causing your hand to drop. Upon reaching the guideline length that was cut in the bangs, stop and start rotating your hand downward towards the front. Do not let your guideline go, but simply rotate the hair, letting the lower lengths slide through your fingers. The further you rotate, the longer your side pieces will stay. Why do you slide your hand straight down and then rotate? Gravity is going to force the hair to hang straight down, so it just makes sense to cut it that way. Work your way down the sides of the guideline until all hair is blended and the sides match. Immediately after cutting the exterior guideline, you will cut the interior guideline, basing the length of the interior guideline off the bang length. Part a slim section right through the middle of the top section, similar to a Mohawk. Cut this Mohawk section from the bangs to the apex of the head. The angle and height you hold the hair at this point will determine how long the layers will be in the haircut. Now when you take horizontal sections from the left side of the top section to the right side of the top section and hold up the hair, your new interior guideline will be visible in the center of the section. The hair on either side of the Mohawk can now be cut to the same length. At this point, you will have the outline of the cut, and the top length will be determined, so it s just a case of connecting the dots into the desired shape to finish the haircut from interior guideline to exterior guideline. Because you are doing a 90 degree cut, you will want to follow the shape of the head as you are layering. Part the top section that Page 7

9 is already cut right down the middle so the client has a middle part. If you are right handed, you are going to start cutting the hair on the right side, if left handed, start on the left side. For purposes of explaining this cut, the following directions will be for right-handed people. For left-handed people, just reverse the directions. Picking up the right side of the top section and about an inch of the right side section, elevate the hair directly out from the head following the shape of the head. To do this, grasp the hair to be cut at the base of the hair, resting your hand on the head. This will allow your hand to follow the contour of the head. Without changing the angle of your hand, pull it directly out from the head. Cut off the hair that extends past your guideline and fingers. Work your way back the side section, cutting the hair, keeping your hand up against the middle part on top. Return to the front, and elevate the next section of hair down straight out from the head. Again, relax your hand against the head to get the correct angle. Cut off the hair that extends past your guideline and fingers. Work your way to the back of the section. Return to the front, and elevate the last section on the side. You should see the traveling guideline from the top and you should also see the exterior guideline at the bottom. Simply cut off the hair in-between that does not follow the guideline. Work your way to the back of the section. Take down the next section in the back right. Start at the top of the section. Your guideline will be the hair cut in the first side section and the top hair. To work across the top of this section, you must take pie-shaped sections with the bottom of the section larger than the top. Make sure you have a piece of hair from the apex in every section as you work across the crown. Follow the same procedure as the side section. Working across the section and then down in a pattern until you reach the guideline at the bottom. Take down the next back section, and follow the same procedure as the other back section. Finally, take down the side section on the left and follow the same procedure as on the other side. Since you worked around the head, you will now be standing in front of the client, cutting the last section. At this point it is important to cross check your haircut. Starting at the middle back in the crown area, take a horizontal section of hair and hold up. Look for any hairs that are too long, but be careful. Take off the least amount of hair you can that will still make the haircut even. Be very conservative with this check or you will create a new haircut that has been cut horizontally and you will then have to check it vertically. This could go on and on until the client is bald. So, just remember, take off a conservative amount of hair if you think a section is too long. Continue down the middle back of the head checking the hair horizontally. When that section is completed, go back up to the top of the head and check horizontal sections right behind the ear down to the hairline. Move to the side and starting at the top, take horizontal sections down to the hairline. Repeat the sections behind the ear and on the side on the other side of the head. Finally, go around the guideline one more time and double check the guide. 180 degree haircut When cutting a 180 degree cut, the hair should be parted in 5 sections. When parting five sections, pull down a guideline the entire way around the head so that you will be able to create the outline of the whole haircut first and will be able to see the length of the bangs, sides and back. Cut the bang length first, only cutting from the end of the eyebrow to the end of the eyebrow. Determine this section by how the hair lies naturally. Do not overdirect hair into this section or you will have hair cut the same length as the bangs, lying on the top of the hair on the side of the client s head. Next cut the back guideline. The back guideline extends from the back of the ear to the back of the ear. Start in the middle and establish your length. Slightly overdirect the rest of the back guideline towards the middle. Do not comb it out at an angle between the back and the ear. This will keep more hair length behind the ears where the client can see it. Failure to do this can result in a haircut that looks shorter than intended. At this point you are ready to connect the sides. You now have a beginning point and an ending point and can connect them with an angled cut. To create the angle between the two, simply grasp the hair of the bangs and a little more hair on the side that wasn t cut yet. Bring your hand straight down as if gravity were causing your hand to drop. Upon reaching the guideline length that was cut in the bangs, stop and start rotating your hand downward towards the front. Do not let your guideline go, but simply rotate the hair, letting the lower lengths slide through your fingers. The further you rotate, the longer your side pieces will stay. Make sure your body moves the direction you are rotating the hair towards. For very long hair, you might find yourself standing on the other side of the client, pulling her hair toward you. If you are working on fairly long hair and do not rotate enough, your sides will be short and will not blend into the bottom length. In other words, you will create a mullet!! Why do you slide your hand straight down and then rotate? Gravity is going to force the hair to hang straight down, so it just makes sense to cut it that way. Work your way down the sides of the guideline until all hair is blended and the sides match. This is the most difficult part of the 180 degree haircut. Immediately after cutting the exterior guideline, you will cut the interior guideline, basing the length of the interior guideline off the bang length. Part a slim section right through the middle of the top section, similar to a Mohawk. Cut this Mohawk section from the bangs to the apex of the head. The angle and height you hold the hair at this point will determine how long the layers will be in the haircut. If a client desires fairly short bangs but doesn t want short layers throughout her hair, you will have to overdirect the top Mohawk section forward, matching the hair to the bangs but letting length in the layers towards the crown. Now when you take horizontal sections from the left side of the top section to the right side of the top section and hold up the hair, your new interior guideline will be visible in the center of the section. The hair on either side of the Mohawk can now be cut to the same length. If you have overdirected the Mohawk section, be very careful in this top section. Take thin horizontal sections to match to the Mohawk. If you take thicker sections, you may get confused as the interior guideline keeps getting longer the closer you get to the crown. In a thick section, you may see multiple guides. Part the top section that is already cut right down the middle so the client has a middle part. At this point, you will have the outline of the cut, and the top length will be determined, so it s just a case of connecting the dots into the desired shape to finish the haircut from interior guideline to exterior guideline. Page 8

10 So, how do you connect the dots? Anytime, you want the hair to remain long you must overdirect it away from where it grows out of the head. To keep the hair long in a 180 degree cut, the hair must be overdirected upwards until it reaches the top guideline. The long hair between the interior guideline and the exterior guideline is then cut off. Right handed people should start on the left side of the head in the front side section. Starting on the left side means that the elbow will be elevated and the tips of the fingers will be slanted at a downward angle. This is a more natural position than starting on the other side, and trying to drop the elbow and elevate the tips of the fingers. Left handed people of course should start on the right side for the same reasons. Take a thin, vertical section of hair, slicing the whole way from middle part in the top section down to the hairline on the side. Comb this section up into the correct elevation to be able to connect the top and bottom guidelines. Cut the hair off that extends past the line created by these two guidelines. When dropping this section, place it forward, so that it is separate from the sections still needing cut. Slice out half of the previously cut side section and then slice out a thin section from the hair that has not yet been cut. Comb both of these sections up together to the correct elevation. Now you will have the guideline at the middle top, the guideline at the bottom, and all the hair that was cut in the previous section as your guideline. Continue around the head working from the left side, around the back and to the right side. When you are finishing the haircut, you should be standing in front of the client, with the client to your right. This haircut must be crosschecked to ensure it is straight. Starting at the middle back in the crown area, take a horizontal section of hair and hold up. Look for any hairs that are too long, but be careful. Take off the least amount of hair you can that will still make the haircut even. Be very conservative with this check or you will create a new haircut that has been cut horizontally and you will then have to check it vertically. This could go on and on until the client is bald. So, just remember, take off a conservative amount of hair if you think a section is too long. Continue down the middle back of the head checking the hair horizontally. When that section is completed, go back up to the top of the head and check horizontal sections right behind the ear down to the hairline. Move to the side and starting at the top, take horizontal sections down to the hairline. Repeat the sections behind the ear and on the side on the other side of the head. Finally, go around the guideline one more time and double check the guide. Haircutting techniques There are some interesting techniques that can add a lot of fun and interest to your haircutting repertoire. These techniques allow you to get the hair to move in ways you can t achieve with basic cuts. The techniques include slide cutting, scissor over comb, and point cutting. Slide cutting is a method of cutting the hair by allowing the shears to glide along the edge of the hair. Slide cutting can only be achieved with high quality shears because only one blade does the cutting. The shears are never closed during this technique. It is a very useful technique to blend shorter bangs with much longer lengths in the back of the hair. This technique is always performed on wet hair. The scissor over comb technique is invaluable in blending short hair with slightly longer hair, such as in a man s haircut. You start at the hairline and work your way up the head, using the comb to hold the hair. The area you are working on should be at eye level. It is important to keep the comb angled out from the head, and to lift the hair above where it grows out of the head. This will ensure that the hair will be blended without lines when it lays back down into its natural fall. This technique works best on dry hair, and it is important to keep the still blade parallel to the comb while the moving blade does the cutting. The comb moves upward in a smooth motion while the shears cut the hair. Cross check your scissors over comb technique by working across the area diagonally. Point cutting is an amazing technique that can add movement to longer lengths of hair and can aid in blending. This technique should be used on dry hair. Lift the hair up away from the scalp and let about 3 of hair protrude from your fingers. Turn the palm of your hand to face you so that the ends of the hair are now parallel to the floor. Turn your dominant hand over, holding the shears, so that you are looking at the top of your hand and the palm of that hand is facing the ground. Insert the shears into the hair, at the same angle as the hair. While pulling the shears out of the section, away from you, close the shears. This technique removes very little hair, so you can keep going in to the same section over and over and get a very subtle texturizing of the ends. When you drop the hair, if it needs more texturizing, simply pick the same section up and repeat. Safety in haircutting There are some things you need to keep in mind when cutting hair to keep yourself and your client safe. 1. Always palm the shears. This keeps the shears closed and pointed away from the client. 2. Don t cut past the second knuckle. This will keep you from cutting the fleshy part of your finger. Instead, move your hand so that the section of hair needing cut falls between the tip of the finger and the 2 nd knuckle. 3. When working with a razor, always use a guard. 4. When disposing of a razor blade, place it in a sharps container so that no one gets cut with it when taking out the trash. 5. Wash hands before and after each client. 6. Sweep up hair before blow drying the client s hair. Cut hair is very slippery. 7. Always drape the client to protect their clothing and skin. 8. Sanitize all implements and tools after every client. 9. Replace the blade in your razor after each client. 10. Sanitize your station after each client. Haircutting Tips Haircutting tip #1 - The consultation is vitally important The consultation is the most important part of any haircut. You can be the most brilliant hairdresser in the world, and if you don t listen to your client and do what he or she wants, you will have no business. You must talk to your client about the cut and actually LISTEN to their responses. It does you no good if your brain is mulling over the chores you need to get done at home, or Page 9

11 the errands you need to run after work. You must be fully present and attentive during this conversation. Use reference points on the head to aid in understanding. Don t be afraid to use photos to enhance your understanding of what the client wants. In addition, reflective listening is very helpful in making sure you and the client are on the same page. Reflective listening means repeating back to the client what you think they said, in your own words. If you have misunderstood the client, this technique will bring that to light and help to make sure you are both talking about the same thing. For instance, many people who wear short hair will say they want a trim in the back. If you ask them to point to how short they want their hair, many of them will point to an area on their head halfway between their hairline and their occipital bone. Now if you really cut their hair that short, we would have a lot of people running around looking like medieval monks. This is where you use your knowledge and experience and explain where their hairline is and let them know just how short you can make their hair. In contrast, how many times has a client with long hair entered a salon for a trim and had 3 inches removed from her hair? In this case, the hairdresser sees the split ends and straggly hair and feels they know better than their client what is needed. If you inform the client that they need 3 inches off, and they agree to this, it s a win-win situation. However, if they don t agree to this, do NOT cut 3 inches off the hair. You will feel justified in doing so, but the client will never return and will probably avoid going to a hairdresser for months or even years after that, making the problem even worse. Gain the clients trust by simply trimming their hair ends and then taking some time to trim the split ends off the hair layers. How do you do this without affecting the length of their hair? If you comb a person s hair flat and hold it down with a comb, the splits will tend to stick up from the surface of the hair. Get a comfortable chair to sit in and take 15 minutes and just snip the splits off the surface of the hair without touching the length of the hair. Most split ends are not at the bottom of the hair anyway. They tend to be found throughout the hair. After snipping the splits, recommend a good leave-in conditioner that won t leave the hair feeling greasy. Explain to the client that the conditioner will not heal her hair but will hold the ends together so the hair does not split further. Recommend monthly trims where the client knows you will only be removing 1/8 to ¼ of hair and will be going over the surface of the hair to snip off splits. Explain to the client that their hair will be growing ½ each month, so that even with the trims, their hair will be getting longer and the trims will get it into a healthy state. In a matter of a few months with the client trusting you enough to come in for monthly visits, and using a leave in conditioner, split ends can be banished from the hair. Haircutting tip #2 - Children s haircuts take patience and imagination When cutting children s hair, patience is a necessary virtue. If this stresses you out, imagine it from the child s point of view. Mom and Dad usually only take them to see strangers when they are going to the doctor s office, where they generally get a shot which hurts. Now Mom and Dad bring them into your shop, sit them down on your chair, and tell you to cut their hair. Page 10 In most cases, you are a stranger and their senses are on full alert for anything you are about to do to them. Putting the cape on them is tragic if they can t see their hands. Put the cape on slowly and gently and have the parent free their hands so they don t feel so helpless. If you are going to spray their hair with a water bottle, try spraying your hand and then working the water into the hair with your fingers. Spray bottles can startle the best of us with an unexpected squirt. Eliminate that surprise and the child will remain calmer. Explain to the parent, that under no circumstances do you want them to hold the child s head still. The child is in a strange environment and now someone wants to hold them down in a headlock. This is not a good scenario. Practice holding the hair tightly between your fingers in preparation for cutting but keeping your arms and hands ready to move with the child s movements. This will eliminate having to pick up the hair time and time again to just cut one piece. Children are frightened by the sound of the scissors or clippers at their ear, so make that area one of the last to be cut. Hair falling into the face while cutting the bangs is not comfortable for anyone so keep the hair moist, and while cutting, catch as much hair as you can with the non-dominant hand to keep it off the child s face. What happens if you do all these things and the child is still hysterical? Try showing a favorite video while cutting their hair to get their mind off the cut. If necessary, allow them to climb down off the chair and give them a toy to play with. If your health allows, get down on the floor with them and cut their hair while they play. Usually, once they see there is nothing to fear, the next time they will sit in the chair and allow you to cut their hair. You will have to use your imagination, but if you can get the child comfortable in your chair, you will have gained a new client and possibly the child s family as clients as well. Haircutting tip #3 - Less is more When cutting hair, the old statement it s easier to take off more, than glue it back on is so true. It is so important to make sure you and the client are speaking the same language in regards to length. For instance, when doing a clipper cut, begin cutting the hair on the side of the head, being conservative to start with. Stop when you get to the ear and ask the client if the length looks okay to them. If not, it is an easy task to take more off and then finish the haircut. If you are very aggressive with the length at the start, the hair is cut too short and the client will leave unhappy. When cutting the top of a layered cut, many people have very definite ideas on how short they like their hair. It doesn t behave the way they desire if it is too long or too short. Cut your interior guideline and then use that to cut the entire top of the hair to the guide s length. At this point, ask the client to look at and to feel the hair. What is the best case scenario? You have cut it the correct length or it is a little too long. At this point you can make it a little shorter until the client is satisfied and you don t have to go back and do the entire haircut over. When cutting the back guideline on long hair, it is important to beware of a false guideline. Many clients with long hair have a shorter, broken layer that rests on their back. The constant friction from the hair rubbing their back as well as breakage

12 from ponytail bands creates this layer. If you are not paying attention, you may trim this first layer, and then pull down the next section and cut off the 4-5 inches that are extending over the false guideline. One solution is to take a slightly thicker guideline when dealing with long hair so you see the true guideline. If a client asks you to cut their hair to the tip of their ear, make sure you know which tip they are talking about. They may want their ear lobe to be showing, and you may cut out the hair around their ear entirely, taking it to the top tip. Communication is the key to making sure you always give the client what they want. You may not be a celebrity hairstylist, but if you listen to people, you will be fully booked at all times. Haircutting tip #4 - Detailing, detailing, detailing People spend a lot of money getting their cars detailed so they look their very best. Many hairstylists, however, simply move around the head and mechanically cut a 45 degree or 90 degree haircut. When they get to the end, the haircut is over. This will make for a mediocre haircut at best. At the conclusion of any haircut, it essential to cross check the haircut. This will ensure that any stray hairs have been found and removed. After the cross check you must comb the hair down and recheck the guideline to ensure the hair is lying correctly. If you feel you don t have time for these two steps, you will create the haircuts that have to be fixed at home by a family member with a pair of paper cutting scissors. Obviously, this is not going to earn you a return visit from that client. How do you find and get rid of those stray hairs around the ears in short haircuts? The hair grows back away from the face around the ears, so a simple technique is to comb the hair forward and let the ear hold the hair in place. Place the shears behind the ear and cut around the ear toward the face. This will help you get most of the strays. If you cut toward the back of the head around the ears, the hair will simply lie against the head and your shears will pass over it, not cutting anything. Another technique that will help behind the ears is to comb the hair toward the ear and press the comb to the head, holding the strays forward with the comb in the non-dominant hand. Using the other hand, snip off the pieces that are projecting forward. If using trimmers, especially trimmers with a T-shaped blade, place the trimmers behind the ear with only the very edge of one side of the blade touching the head. Draw an imaginary line against the skin with the trimmer around the ear. The edge of the blade will pick up the long hairs that grow around the ear and will cut them off without disturbing the rest of the hair. Haircutting tip #5 - Ears, eyebrows, and noses A man s haircut is not finished until you check their ears, eyebrows and nose. Trimmers, especially trimmers with a T-blade are very helpful in trimming the hair on and in the ear. The edge of the blade can be inserted into the opening of the ear and rotated around until all hair is removed. On the outside of the ear, check the top, sides and back of the ear for stray hairs. They can grow so long they look like they are a stray hair in the haircut! When trimming eyebrows, it is helpful to have a wide, flat comb to use. The hair can be combed down and all hair protruding from the comb can be cut off with scissors or a trimmer. It will then be necessary to comb the eyebrow hair up to get some remaining hairs. This procedure can be repeated until all hairs are trimmed to a normal length. If long hairs are growing in between the eyebrows, giving a unibrow effect, the trimmer can be used to trim these hairs down to skin level. Some men will need their nose hairs trimmed. It will be helpful to keep a pair of shears with a rounded edge just for this purpose. Rest the non-dominant hand against the clients face and then rest the dominant hand, holding the shears, on the first hand. This will steady your hand to be able to safely trim down the stray hairs protruding from the client s nose. Haircutting tip #6 - Beards and moustaches If your male clients wear beards and moustaches, part of your service should include keeping them trimmed and neat. When trimming a moustache, it should be cut to follow the outline of the lips. You should rest your non-dominant hand on the client s face and then rest your dominant hand on the nondominant hand for a steady cut. After cleaning up the line of the moustache, it is time to layer it. Place your comb under the moustache hairs, and comb up coming out and away from the face. Cut off the hairs that are sticking out from the comb. Lift the comb higher and repeat, similar to doing a scissor over comb technique on the hair. Continue across the moustache using your first cut as your guideline. You will see the moustache hair lying much smoother and more controlled than before cutting. When cutting a beard, the first step is to outline the beard. Determine the shape you want the beard to have around the face and eliminate any stray hairs using your trimmer. The neckline is always an area where stylists aren t sure what to cut and what to let on the neck. A good guideline is to have the client lean his head backwards so that you can see the line where the head meets the neck. It will be in the shape of an upside down U. All hair below this U should be trimmed away. The hair at the corner of the jaw should remain and then a line should be created straight up from this corner into the sideburns. This will give the wearer a very clean look and will make their face appear thinner. Allowing the hair to grow onto the wearer s neck will add visual weight to their face. Haircutting tip #7 - Hairlines When cutting the hair around the hairline, it is important to observe the way the hair grows. The hair at the temple area grows back away from the face. When cutting a very short haircut, many times this hair will remain longer if going over it with clippers. It is necessary to comb it forward onto to the face with the comb in the non-dominant hand and then cut off the excess with your shears or a trimmer. When cutting very short haircuts, the neckline can be a problem for the same reason. Clients can have swirls and areas in the neckline where the hair grows in an upward direction. If you use clippers on this hair and are directing them in an upward manner, the clipper will glide right over the hair and this hair is going to remain longer. You will have to comb the hair in the opposite direction in which it grows and then remove the excess length with shears or trimmers. The hair in the bang area can be a challenge if the client has a cowlick in this area. There are two ways to approach a cowlick in the bangs. First, you can simply cut the hair into a long V directly over the cowlick. When the hair springs up, the goal Page 11

13 is to have it spring up level with the rest of the bangs. Another technique that works very well is to take all the tension off the bangs before cutting them. To do this, it is necessary to rest your non-dominant hand against the face at the desired level for the cut. Comb the hair and grasp to cut, but then open the fingers so the hair can spring up to its natural level. Close the fingers again with no tension on the hair and the hand still resting against the face. Now when the bangs are cut, they will hang straight because they were cut without tension. Principles of Haircutting Self-Assessment Select the best answer for each question and mark your answers on the Self-Assessment Answer Sheet on page 89 or complete your test online at 1. You should sweep up the hair from a haircut before what? a. Applying gel. b. Blow drying. c. Shampooing the next client. d. Taking the cape off. 2. Which one of the following is a shear handle grip that features an ergonomic design? a. Triple ring. b. Offset. c. Crane. d. Swivel. 3. Which shear handle grip allows for more comfort and control? a. Triple ring. b. Offset. c. Crane. d. Swivel. 4. Which line is used to create movement and lightness in the hair? a. Vertical. b. Stationary. c. Horizontal. d. Diagonal. 5. Which line is use to create weight in the hair? a. Vertical. b. Stationary. c. Horizontal. d. Diagonal. Page 12

14 Chapter 2 Perms Current Styles and Methods (2 CE Hours) Learning objectives Discuss how permanent waves (perms) work with hair structures. Identify different types of perms. Discuss various methods of affecting a perm. Identify the various rods used in creating perms. Discuss the affects of variations to a perm. Perm Refresher The word perm often conjures up images of frizzy, dry hair or the big hair of the 90s. However, with the emergence of soft waves and Taylor Swift-like curls in today s media, it is important that cosmetologists understand perming. The pinstraight hair of the early 2000s is fading. Rich, luxurious waves are coming to the forefront. How do perms work with the hair structure? Before discussing different strategies to perm the hair, it is important to understand how perms work. The structure of the hair consists of the cuticle, the cortex and the medulla. It helps to remember that the cuticle is simply a protector for the real hair underneath. The cuticle is made up of overlapping scales that raise and lower with the addition of various chemicals to the hair. Any products with an alkaline ph will raise the scales, allowing the product to penetrate to the cortex where the real work begins. The cuticle is also translucent, which means that the natural or artificial color in the hair is readily seen from the outside. The cortex is where the real transformation occurs. The natural hair color is deposited in the cortex, as well as any artificial color. The bonds in the cortex must be broken before perming or relaxing can take place. Most of the strength of the hair resides in the cortex. The medulla is the innermost layer of the hair. It has no known function, but we know it is present in coarse hair and absent in fine hair. A perm will open the cuticle, soften and swell the hair, and break the bonds in the cortex of the hair. The neutralizer will then close the cuticle, shrink and harden the hair and put the bonds in the cortex back together. To understand the layers of the hair more clearly, it is helpful to envision a drinking straw picked up at any fast food restaurant. When the straw is picked up, it is covered with a paper wrapper. The paper s function is simply protection this is the cuticle. The straw is the main part of the package. It is where all the functionality resides and where the strength resides. This is the cortex. If the straw was opened and a straightened paper clip fell out of the middle of the straw, one would have to question why it was in the straw. No one would know. The paper clip would have no known function. This is the medulla. Why does a perm curl the hair? There are three types of bonds that hold the hair together the salt bond, the hydrogen bond, and the disulfide bond. The salt bonds are broken by changes in ph, which means when the hair is wet prior to a perm, if the ph of the water is 7 and the hair s natural ph is , the salt bonds are broken. So, these bonds have already been broken when wetting the hair before shampooing it for a perm. The hydrogen bonds are broken by water, so again wetting the hair prior to shampooing for a perm is enough to break these bonds. (These are the two bonds that allow hair to curl when doing a roller set. They re broken by water, the hair is wound around a curler and dried and the set lasts until the hair is wet again). The third set of bonds, the disulfide bonds, are more difficult to break. When the perm solution is placed on the hair, the hair is reduced. What this means is that the disulfide bonds are broken, and at each end of the broken bond, the end is given a hydrogen atom to hold. This keeps the bonds broken while the perm solution is working. Because the hair is wrapped around a rod, the bonds are shifted. Why did the hair turn purple or red when I applied the waving solution? If minerals and iron are present in the hair when perm solution is applied, the solution will turn colors, usually purple or red. This is not a cause for concern, but additional time may need to be added to properly process the perm. Rather than being alarmed when this happens, look at it as an advantage. It is easier to tell when all the solution is rinsed from the hair. If purple or red are still seen in the hair, additional rinsing time is needed. How does the neutralizer work? The main ingredient in neutralizer is usually hydrogen peroxide. When the solution is rinsed out of the hair and the neutralizer is added, the neutralizer works as an oxidizer. The neutralizer adds an oxygen atom to the broken ends, bringing the ends back together by creating water. Remember, they are each holding a hydrogen atom, which would be H 2. When the neutralizer introduces oxygen, this becomes H 2 O. The water runs down the drain, and the bonds reattach in their new curly position. One disadvantage to hydrogen peroxide in neutralizer is that it sometimes contributes to hair lightening after a perm. Is there anything I can do if the hair lightens after a perm? The first thing a stylist can do to keep the hair from lightening during a perm is to properly rinse the solution, making sure it is completely removed from the hair. Another strategy is to use haircolor to help keep the hair looking its best. Some manufacturers will allow the stylist to add a small amount of a semi-permanent or demi-permanent color to the neutralizer. This color is deposited into the cortex and then the cuticle is immediately closed by the neutralizer, trapping the color inside, alleviating some of the color fading from the perm. Consultation The consultation is the most important part of the perming process. What are clients expectations? Do they want tight curls, medium curls, or waves? Are they expecting the perm to be the Page 13

15 finished style, or do they want the curls to support the finished style? Will they be setting their hair on rollers or curling their hair with a curling iron? The stylist should ask for any photos they have brought with them, or have a style book handy for them to look at. One challenge for stylists? Many clients will bring in photos of curling iron sets and request a perm that looks just like that. In very rare instances this is possible. The client must have wavy hair to start with and then large rods can be put in. This type of hair will have a lot of bounce and a peach or orange rod curl will look like a peach or orange curl when the hair dries. In most cases, those with wavy hair generally aren t looking for curly hair, so again this is a rare occurrence. A client whose hair will hold a large bouncy curl after a perm will be the best advertisement a stylist could have. Draping and preparation of the hair A perm can be a very uncomfortable experience for the client unless proper draping occurs. The stylist does not want the client leaving with wet clothing because of improper draping, or even worse, ruined clothing from the perm solution saturating the client s clothing. It is important that a clean, dry towel be under the cape at all times. After the shampoo, the towel should be checked. After application of the waving lotion and then the neutralizer, the towel should be checked. If the towel is damp, it should be removed by lifting the cape and sliding the damp towel out, and then replacing it with a dry towel secured around the neck. A dry towel should always be secured on the outside of the cape, so it must be replaced every time it gets damp with water or solution. Before applying the waving lotion, a barrier cream and cotton must be applied around the entire hairline. When the cotton becomes saturated, it must be replaced. If not, irritation or an allergic reaction can occur. To properly prepare the hair for perming, it is important that the stylist shampoo the hair with a clarifying shampoo. Do not allow the client to insist she has already shampooed her hair that day. Many times clients do not use the proper shampoo, and they apply conditioner to the hair that is not properly rinsed out. After using the clarifying shampoo, do not apply a traditional conditioner. Leave-in conditioners are made that can be left in the hair and will not affect the results of the perm. They are a better choice than a detangler or conditioner. The use of the wrong conditioner can result in buildup remaining on the outside of the hair strand, making it more difficult for the waving lotion to penetrate. Sizes of rods The amount of curl is determined by the size of rod used. The order of concave and straight rod sizes from smallest to largest is: red, yellow, blue, pink, grey, white, lavender, peach, orange, green, black maroon, brown. Red rods are used on extremely short hair (two inches or less) and create very tight curls. Yellow rods are slightly larger and should be used on hair that is about 2½ inches long. Blue rods can be used on slightly longer hair for tight curls. Blue and pink rods are commonly used for an older clientele who desires a tight curl that will last for at least three months. This clientele will generally wear the curls as is or will set the hair in rollers. Gray rods give a slightly looser curl that is more suitable for those with longer hair (three to five inches in length). This clientele likes a more natural curly look to the hair. White rods are for medium sized curls. These create a beautiful middle-of-the-road type curl. Purple perm rods create a nice, looser curl that is more suitable for a younger clientele who desires curl. Peach and orange rods will create body and some wave in clients with normal elasticity, or if a client already has some wave in the hair, will create beautiful, large bouncy curls. Rods larger than peach and orange will simply create wave and some volume to the hair, which is perfect for the beach wave look that is popular right now. Is hair length a factor? The combination between the hair length and the perm rod is what determines the amount of curl the client will get. If using a pink perm rod with 2-inch hair, a nice tight curl will result. If using a pink perm rod with 6-inch hair, overly curly, frizzy hair is likely to result. On the other hand, using a lavender perm rod on 3-inch hair will result in a very loose curl, perhaps even a body wave. Using the same perm rod on 6-inch hair will result in a nice, looser curl. Types of rods historically speaking Traditionally, stylists have used concave and straight rods for the majority of their perming. However, if you can wrap hair around it, you can perm around it. The only exception would be metal. Metal cannot be used with perms because it will react with the chemicals being used. Concave rods have a smaller diameter in the middle of the rod, so the ends of the hair, which are wrapped first, have a tighter Amount of curl patron requests Hair is easy to curl Hair curls with medium difficulty Hair is hard to curl Hair is very difficult to curl Body wave (large curl) Hair should wrap around rod 2½ times. Hair should wrap around rod 3+ times. Alternate rods that hair wraps around 2½ times and 3+ times. Not recommended. Medium curl Hair should wrap around rod 3½ times. Hair should wrap around rod 4+ times. Alternate rods that hair wraps around 3½ times and 4+ times. Not recommended. Firm curl Hair should wrap around rod 4½ times. Hair should wrap around rod 4½ times. Hair should wrap around rod 5 times. Hair should wrap around rod 5½ times. Tight curl Hair should wrap around rod 5 times. Hair should wrap around rod 5 times. Hair should wrap around rod 5½ times. Hair should wrap around rod 6 times. Page 14

16 curl than the rest of the hair. Straight rods are the same diameter throughout the rod, so the curl is the same from top to bottom. Concave and straight rods can be used to wrap the hair in the traditional croquinole wrap or in a spiral-type wrap. Other rod types include bendable foam rods, long loop-type rods, crimping rods, spiral rods, long stick-type rods, bendable mesh rods, u-shaped rods and foam blocks. Many of these rods were used in the 90s to create texture in the hair, but may be seeing a comeback with the reemergence of waves in the hair for the new decade. Many more new texture rods will be emerging in the next few years, but a look back at some older curlers may be helpful to understand all the possibilities that exist in texture. The bendable foam rods are very easy to use and make perming a snap. (Figure 1, see inside back cover) The hair is placed in an end paper and wrapped around the rod in a croquinole or spiral pattern, and then the ends of the rod are simply bent inwards to secure. This eliminates the need to secure a rubber band. These rods are still available today. The long loop-type rods are generally made out of a rubberlike material and have a female end and a male end. (Figure 2, see inside back cover) These rods are suitable for long hair spiral wraps. The hair is secured around one end with an end wrap. The hair is then wrapped up the rod toward the other end until the scalp is reached. The ends of the rod are bent down towards the floor, and the two ends are fastened together to secure. These rods are still available today. Crimping rods are a definite 80s and 90s look, but crimping seems to crop up over and over throughout the years, so a review of these rods will be helpful. (Figure 3, see inside back cover) The rods used for this look were about eight inches long and about two inches wide. They were plastic and were molded in an undulating pattern. The hair was placed in between two of these undulating plates that fit together, and starting at the scalp the hair was squeezed in between the plates. They were held together with rubber bands. This process wasn t horrible, but there was no way to get the head into the sink to rinse the perm with these rigid plates sticking out eight inches all over the head. These curlers do not seem to be available today. A variation (seen to the right) was a rounded crimp tool. The tool was inserted at the scalp and then additional rods were hooked together until the ends were reached. Again, this rod was very difficult to rinse. Both of these rods were better suited to a wet set. Spiral perms can be achieved using a variety of methods, but a special spiral rod was produced in the 90s specifically for this purpose. (Figure 4, see inside back cover) The rods were approximately six inches long with a hook at the top end, and ridges spiraling down from top to bottom. There were different sizes, each which came molded in two different directions, one whose ridges ran clockwise, and one whose ridges ran counterclockwise. The idea was to take a section of hair, hook the rod over the hair close to the scalp and then direct the hair in between the ridges to the bottom of the hair. An end wrap was placed over the ends and a clip was placed over that. The difficulty was getting the hair to follow the grooves the whole way to the bottom, and then to make sure you picked up a clip that corresponded to the same direction as the rod clockwise or counterclockwise. These rods are still available on sites such as ebay or Amazon. To create a spiral perm, the long stick-type rods are much easier to use. (Figure 5, see inside back cover) The hair is parted in sections that are about three inches in length. The hair is gathered together between the thumb and index finger and wrapped from scalp to ends, keeping the hand close to the rod, allowing the hair to corkscrew in your hand so that each revolution looks like a Cheerio. At the end of the rod, the hair is secured with an end wrap and a rubber band. Approximately 20 rods are used for the entire head, even on waist-length hair. These curlers are available today under the brand name Revolution rods. The bendable mesh rods were a very innovative tool. (Figure 6, see inside back cover) They consisted of a long piece of nonmetal mesh that is about two inches wide. At each side was a bendable wire. The hair was sandwiched between the mesh and then the wire could bent into any shape desired. It could be wrapped around a circular object and formed into a large spiral curl, or it could be zigzagged back and forth into a crimping pattern. The only limit is one s imagination. These curlers do not seem to be available today. The oval-shaped rod (Figure 7, see inside back cover) was a great tool for creating a different wave pattern than a traditional rod. It made a loose, natural looking wave. These curlers do not seem to be available today. Curlers can be used to perm the hair, using picks to secure them to the head or they can be used to do a transformation perm. A transformation perm is good for hair shorter than seven inches. This process starts by analyzing the hair s ability to bend. This is accomplished by grasping a small section of hair at the scalp and then about two inches further up the strand. Relax the hair between the fingers by pushing them toward each other. The hair will create a loop. Decide what rod size the loop corresponds to. That is the rod the hair should be wrapped on and processed. After rinsing and blotting the hair, the rods are gently removed, one section at a time. At this point the hair is very rough and tangles very easily because the cuticle is still raised. This is where a leave-in conditioner that will not affect the finished results of the perm will come in very handy. It will be possible to comb through the hair. The stylist will then choose a roller size that will produce a desirable size curl. The curlers are placed in a bricklay pattern, wrapped in the direction of the desired final style and secured with picks. The neutralizer is then applied to the curlers and processed. A transformation perm gives the strength of the perm curl and the softness of the curler curl. It gives the best of both worlds. Stack rods were a tool used in the 70s and 80s. (Figure 8, see inside back cover) The idea behind stack rods was to create curl while leaving the root area of the hair straight so that the curls lay close to the head. The rods have grooves cut into the ends that interlock with the next rod, holding them in the hair. After the first two rods are placed at the nape, each rod above them is placed a little farther out from the head than the rod before it. This will create curls on the ends and a straight root area. If the rods are then gradually worked back to the head, on the outside of the hair it will look like everything is permed but underneath there will be straight bases that will reduce the volume of the finished perm. The newest tool on the market today is the foam block. This tool has been developed to create beach waves, the style popularized by Jessica Alba, Jennifer Aniston and other celebrities. The Page 15

17 foam block is approximately three inches wide, two inches long, and one inch thick. The one inch thickness is partially split in two, creating an exaggerated bookend end paper effect, where the hair is placed between the two halves of the foam. The hair is then wrapped around the block, which compresses into a rounder shape and then is secured by placing a pick through a centrally located hole in the block, holding it to the head shape. This creates a very open wave pattern that can be scrunched into shape, or enhanced with a curling iron. Parting patterns The traditional parting pattern is the nine-section parting. In this parting the hair is sectioned from front to back to the width of a rod, centered from the forehead to the nape. Panels are then sectioned out on the sides to the width of the rod, and then the back of the head is sectioned horizontally right at the occipital bone. To finish, the top of the head is sectioned across, connecting the side partings into one continuous line. This creates the ninth section. If the head structure seems too large for this parting, a double halo parting can be helpful. In this parting, a perm rod is used to measure a panel at the front hairline that stretches from ear to ear. Right behind this parting is another panel that starts right behind the ear on one side, wraps up to the top of the head, and then down to right behind the ear on the other side. What is left is a panel that is the size of the perm rod that starts at the crown and ends at the nape in the center of the head. The head is then parted horizontally at the occipital bone across the back three sections. A nice alternative to these parting patterns, especially for younger clients, is the bricklay wrap. In this wrap the hair is parted from one ear, straight up over the top of the head, and down to the other ear. This gives you a front section and a rear section. Starting at the top of the back section, one rod is wrapped in the center of the head. The next row is wrapped in a bricklay fashion. Two rods are placed in the hair, each half centered under the first row. It is important to part the hair for these two rods in an upward diagonal parting. This ensures that the rods will be long enough to reach the parting, and they will begin to follow the curve of the head, rather than trying to create straight rows on a round head shape. The third row starts with one rod in the middle, centered under the original rod, half centered under the second row. Full-size or half-size rods are then used to complete the row to the side parting. This bricklay continues until the nape is reached. The client is then turned around with the stylist standing in front so that all rods in the front half of the head are wrapped forward. The original first rod is still there, so the first row going forward will have two rods half centered to the original rod. The rods are then placed in a bricklay pattern until the front hairline is reached. When the perm is done, rather than seeing neat little rows of curls with lines visible between each section, a very casual relaxed perm is the result. When wrapping spiral perms with straight or concave rods, the wrap begins at the nape of the neck and proceeds to the top of the head. The hair is parted in narrow sections horizontally up the head shape, one row at a time. Each row is then subdivided into sections appropriate to the size of the rod being used. Page 16 On-base, half-off base or off-base? When wrapping a perm, a decision has to be made as to what angle the rod is held to the head shape. If the rod is held 45 degrees beyond perpendicular, an on-base wrap will result. This is not recommended because of the strain placed on the hair in this wrap. It is possible to break the hair off close to the scalp because the hair will swell when the solution is applied and this angle puts a lot of stress on the hair. If the hair is held perpendicular to the head, a half-off base wrap will result. This wrap is good for clients who desire a tight wrap where the curl stands up off the head. This is appropriate for a more traditional result. If the hair is held 45 degrees under perpendicular, an off-base wrap will result. This wrap is good for clients who desire a natural look to their perm. There will not be that new perm look, because the hair already looks like it has grown out for about two weeks. Alkaline wave, acid wave, acid-balanced wave, exothermic wave, thio-free wave, ammonia-free wave or low ph wave? The hair must be analyzed before giving a perm to determine the best type of perm for that client s hair. An alkaline perm will be the best choice if the client has virgin hair or desires a tight curl. Also, if the client has coarse, resistant hair or hard-to-hold hair, an alkaline perm will be the perm of choice. This perm type contains ammonium thioglycolate, also known as thio (or ATG), and is strong enough that it will work on its own without heat. It starts working the second it hits the hair. This can be helpful when wrapping a short, resistant piece of hair at the nape of the neck that keeps trying to spring off the rod. When all rods are wrapped and the stylist is ready to apply the waving lotion, these rods can be saturated with the perm solution and then wrapped. The solution will soften the hair and make it easier to roll around the rod. The solution can then be immediately applied to the rest of the hair. An alkaline perm has a ph of 9-9.6, so it is about 10,000 times more alkaline than the natural state of the hair. One disadvantage is the strong ammonia odor associated with this type of perm. If the client has tinted or highlighted hair or porous, damaged hair, a true acid wave will be the best choice. Also, acid waves are the best choice for those clients who desire a soft, natural looking wave. This wave has a ph of only 4.5-7, which means that it is the same ph as hair if 4.5, or only 100 times more alkaline than hair if a ph of 7. Because of the mild ph, the perm cannot work on its own. It requires a heat source for it to work. This can come in the form of a hooded dryer, heat cap, steamer or heat lamp. The perm solution is applied to the hair and a cap is placed over the hair to hold the heat in while processing. The main ingredient is glycerol monothioglycolate (or GMTG). This type of perm processes more slowly but is much gentler to the hair than an alkaline perm. An acid-balance wave is now available to overcome some of the problems associated with a true acid wave. The ph is , which means the perm will process more quickly and easily. It is not truly acid, (a ph of 0-6.9), but it is not as alkaline as a thio perm with a ph of With a ph of , it is about 1,000 times more alkaline than the natural ph of This is a good middle ground between alkaline and true acid waves. These perms are still good for damaged and porous hair, but the

18 perm will process more quickly and without the need for heat. The result will be soft curls. An exothermic wave is great for those clients who need a stronger perm for coarser, more resistant hair or who desire a tighter curl because the ph is The perm uses a waving solution (usually thio), but the difference is that right before the solution is placed on the hair, an activator is added (usually hydrogen peroxide). When the two solutions are mixed, a chemical reaction takes place, which creates heat. The heat, which speeds up the perming process, comes from within, rather than an outside heat source. A thio-free wave substitutes cysteamine or mercaptamine for the ammonium thioglycolate. These perms are marketed as being less damaging to the hair, but cysteamine and mercaptamine are still thio compounds, and in high concentrations can still damage the hair. These perms process at room temperature and are good for normal to porous hair, giving it a medium curl. The ph of thiofree waves are still , so thio-free does not mean low ph. An ammonium-free wave uses an alkanolamine such as aminomethylpropanol or monoethanolamine rather than ammonium in its formulation. An advantage is that the alkanolamine doesn t evaporate as quickly as ammonium, and therefore, the odor is reduced. These perms process at room temperature and are suitable for normal to porous hair. These perms do not have as strong an odor as traditional perms, but can be just as damaging because their ph ranges from The result is a medium curl. Low-pH waves have a ph of , and they substitute sulfates, sulfites and bisulfites for the ammonium thioglycolate in their formula. This perm is the most gentle of all perms, but is generally not used in the salon because it is also the weakest perm. Their most common use is as a body wave, and because of their formulation need an outside heat source to process. These perms are good for fine or damaged hair. Long hair wrapping When perming long hair, the stylist has several choices, depending on the results desired. Traditional concave rods can be used to wrap a spiral perm. The results are beautiful, but the time involved is substantial. The hair is parted one row at a time, starting at the nape. The size of the parting should be equal to the diameter of the rod, holding the end of the rod to the head to measure. Each rod s parting should be equal to the diameter of the rod, holding the end of the rod to the head to measure. In other words, if using a peach rod to wrap, the diameter of the peach rod is approximately ½-inch, so the section to be wrapped should be ½-inch by ½-inch. The hair should be thoroughly wet, which will help stray hairs stay with the section to be wrapped and reduce the need for multiple end wraps. The hair is combed out at a 45-degree angle, and the section should be ribboned by placing the comb and thumb at the top of the section and pinching the hair between them, bringing the comb and thumb out to the ends of the hair (this technique is similar to creating ribbon curls at Christmas when wrapping presents, using one blade of the scissors and the thumb). The end wrap is folded vertically and placed so all ends are in between the folds. The rod is placed in the hand towards the right. If left-handed, the rubber band should be facing left. The direction the rods are wrapped should be alternated from row to row. If right-handed, the first row will go to the right. To do this, (still holding the rubber band in the right hand) the right elbow must be pointed toward the ceiling and the left elbow towards the floor. The wrap will start on the end of the rod away from the rubber band. Make two turns around that end of the rod to secure the rod and then spiral the hair up to the rubber band, getting to that end of the rod just as the top of the hair strand is reached. Secure the rod. Wrap it so it looks like a candy cane or barber pole. Finish the entire row in this manner. To wrap the next row in an alternating manner, if right-handed, the rod is still held with the rubber band in the right hand. However, to go to the left, the left elbow must come up and point toward the ceiling, and the right elbow must point toward the floor. The wrap is started at the rubber band end. Make two turns around that end of the rod to secure the rod and then spiral the hair up to the other end, getting to that end of the rod just as the top of the hair strand is reached. Secure the rod. Continue alternating the direction of the rows until the wrap is complete. If left-handed, when going to the right, the wrap will start at the rubber band end. When going to the left, the wrap will start at the opposite end. All other directions remain the same. This method will use approximately double to triple the amount of rods of a traditional croquinole wrap, so charge accordingly. An alternative to the spiral wrap with concave rods is the piggyback wrap. In this wrap the hair is parted in a traditional nine-section parting. When wrapping the hair, the end wrap is placed half way down the hair strand. The hair is wrapped to the scalp. The tail that is left over is brought around the rod to the stylist s dominant side each time a revolution is made. When the rod is up to the head and secured, the tail should be hanging over the rod on the styler s dominant side. At this point, the same size rod can be used for the ends or one size smaller if more curl is desired towards the ends of the hair. The rod is place on top of the end wrap, and the rod is wrapped up and away from the stylist until the head is reached. The top rod is secured by placing a pick under the rubber bands of both rods. This will hold the top rod in place rather than partially unwinding and hanging over the bottom rod. This technique is continued until all hair is wrapped. Long loop rods can be used to wrap a spiral perm in a much shorter period of time than either of the two methods already covered. In this method, the wrap is started at the nape. A ½-inch horizontal parting is made and the hair is divided into thirds. The hair is combed down at a 45-degree angle and ribboned with the thumb and comb. Make sure the hair is wet to reduce the need for additional end wraps for stray hairs. The end wrap is placed vertically on the hair to cover more area. On the first row, the hair is placed on the right side of the rod, wrapped a couple of times around the rod to secure the end wrap and then wrapped in a spiral fashion towards the other end of the rod. When the scalp is reached, the two ends of the loop rod are brought together and fastened. The rod then hangs down from the head in a loop. The other two rods in that row are wrapped in the same fashion. The next row is wrapped in the opposite direction. Place the hair ends on the left side of the rod. Wrap a couple of times around the rod to secure the end wrap and then wrap in spiral fashion towards the other end of the rod. Secure as before. Alternate Page 17

19 rows, using three rods in each row until the top of the ears are reached. At this point, when parting a row, the part will go from the front hairline to the front hairline on the opposite side. Three rods will still be used on the back of the head, plus one rod on each side, for a total of five rods in each row. Continue alternating the rods in each row until the top of the head is reached. At this point, because the head narrows, the rows can be wrapped with three rods and then two rods, one on each side of the center part. One disadvantage to this type of rod is that the size of the rods are limited. They cannot be very large or it is impossible to get them to bend into a loop. A straight spiral rod is another option. It is considered a traditional wrap because when the spiral wrap was invented in the early 1900s, the hair was wrapped from the scalp to the ends. This is how these rods are used. This is a fast wrap as only 20 rods are used for the entire head. This is a great wrap for very long hair and the finished look is different than with traditional wraps. The curls look more like Taylor Swift curls than traditional permed curls. The hair is parted at the top of the ears, separating the nape area from the rest of the head. The nape area is divided in half horizontally, and then each half is divided in half horizontally, creating four long, narrow rectangles. Starting at the top of the nape section the first rod is wrapped. The hair is grasped in the left hand between the knuckles of the index finger and the tip of the thumb, with the top of the hand facing up. The smaller end of the rod is held with the right hand close to the scalp. The left hand wraps the hair around the rod, wrapping up and toward the head, holding the hair very closely to the rod, allowing the hair to twist around the rod in a coil until the ends are reached. To secure the ends, an end wrap is wrapped over the hair and held in place until a rubber band can be attached to the top, stretched down the rod and twisted around the end wrap to hold in place and secured. To keep the rod from partially unwinding, a pick is inserted under the rubber band and then under the rod. After all four rods in the nape area are wrapped, the top portion of the hair is divided into four sections. Each of the four sections is subdivided into four pie-shaped subsections. The sections are wrapped toward the front on each side with the hair being drawn up to the top of the head and then wrapped. A ponytail perm is yet another option. The hair is parted straight down the middle from the front hairline to the nape. It is again parted from the back of the ear, straight up over the top of the head to the back of the other ear. The back of the head is then parted horizontally, dividing the back into two equal sections. Each section is then divided in half horizontally resulting in eight rectangles. Each rectangle is combed into a small ponytail and secured with a rubber band. In the front sections, each side is simply divided in half horizontally, combed into a small ponytail and secured with a rubber band. This will give you 12 sections. Divide each ponytail into approximately five to seven pieces and wrap in a spiral fashion, from ends to scalp. A coil of cotton should be wrapped under the rods and over the rubber band, protecting the hair going into the rubber band from the perm solution. An advantage to this perm is that the finished perm will lay close to the head, since the scalp area isn t permed. This would Page 18 be helpful for a client with thick, coarse hair. One disadvantage would be that the stylist needs to take great care when applying the waving lotion. It would not be good to get the hair under the rubber band soaked with perm solution. Breakage would occur, and an indentation would be permed into the hair. Partial perms There are two different types of partial perms that can be given. The first type deals with clients who have short hair. This type of client wears her hair curly, but likes the nape (and possibly the ear area) cut very short. This shortness prevents perming. The challenge is to blend the wrapped and unwrapped areas together into a cohesive whole. The best method for this type of partial perm is to candlestick the rods. First, the top of the head is parted from the front hairline to the crown. The parting is the width of the perm rod. The hair is wrapped forward, backwards or a combination of the two. Next, starting at the front hairline, on the side, a section of hair is parted right underneath the top section, as long as the rod. The rod is wrapped vertically towards the back. The next rod is placed right behind it in the same fashion. Picks placed under the rubber bands are used as the rods are wrapped to hold the rods in place. This wrapping is continued until the edge of the crown is reached. At this point, the sections should be slightly pie-shaped, with the top sectioned more narrowly, and the bottom a little wider. This will allow the rods to travel around the circumference of the head, remaining in a vertical fashion. The hair is wrapped this way to the middle back. The other side is wrapped the same way, starting at the front hairline and wrapping to the middle back. The hair under the wrapped rods must be protected from the perm solution. If a piece of hair is bent due to the cotton or towel and solution runs on to it, it will perm the hair in that shape. To protect the hair, a three-step process is helpful. First, the stylist should apply a conditioner to the hair, covering it thoroughly. Then cotton should be wrapped under the wrapped rods, encircling the head two to three times. Finally, an assistant should hold a towel over the unwrapped hair, covering it completely while the stylist applies the solution. The finished look will seamlessly transition between the curly hair and the straight hair. The second type of partial perm involves long layered hair. A client who has six-inch layers on the top down to a hair length of 18 inches will not need a perm on her entire head every time you give her a perm. The hair that is six inches long will need another perm in three to six months depending on the client s elasticity. The hair that is 18 inches long should not be repermed for at least a year. On the first visit, the client s entire head will be permed. At the next perm visit, the client s hair should first be cut so that it is obvious where there is still perm and where it has grown out. The hair should be parted and the hair that will not be getting repermed should be clipped up. If the client had lavender perm rods on the top at the original appointment, then lavender perm rods should be wrapped up there again, with one exception. At the bottom of each section, a larger rod, and then a rod two sizes larger should be wrapped to help the new perm blend into the old. In our example that would be a peach and then an orange rod. The old perm will have relaxed so simply using lavender on the entire top will make the top look too curly compared to the

20 rest of the head. In addition, it may be necessary to wrap one or two rods in a candlestick fashion at the front hairline so that the curl is seen from scalp to ends. In this type of partial perm, it is even more important to protect the unwrapped hair than in the previous example. If perm solution runs down onto the unwrapped hair, it could potentially straighten the hair. All of the same steps must be taken to protect the hair as above, but the conditioner that is applied to the hair should be a conditioner for permed hair, so it doesn t temporarily relax the curl. At the end, the long hair will still be curly and in beautiful shape. With the addition of new curls on the top, it will look like a brand new perm. Alternative wraps A weave wrap can give a very casual, tousled feel to the hair. The head is sectioned for a basic nine-section wrap. The partings for the rods should be a little larger than usual. When the parting is picked up, the section is weaved similar to weaving the hair for a foil. The top of the weave is wrapped in one size of rod, such as a white rod, and the bottom in another size rod, such as lavender. This is repeated for every parting. The result looks younger and more casual than a traditional wrap. A railroad wrap is a great solution for wrapping long hair. The hair is sectioned in nine-sections, and the wrap begins like a piggyback wrap. However, after three rods are wrapped with their tails hanging out, all three ends are then picked up and wrapped together in one rod in a candlestick fashion. This is almost the same as a piggyback wrap but faster, and the rods are held under control better than in the piggyback wrap. In the alternating wrap (one up, one down), the hair is sectioned in a nine-section parting, and the partings are picked up to wrap as usual. However, the first rod is wrapped traditionally toward the floor and the next rod is wrapped toward the ceiling. The upward facing rods are held in place by picks placed through both rubber bands. This is repeated throughout the head. This will also give a more tousled feel to the finished perm. What s a body wave/beach perm? A body wave is nothing more than a perm wrapped on larger rods. The strength of the perm solution will contribute to the overall effect, but the main determining factor is the rod size. The smallest rod suitable for a body wave would be lavender, especially if used on shorter hair. Peach, orange, green, maroon and black are also possibilities. When doing a body wave on a client, a good consultation and good communication are a must. During the consultation, it is very important to understand clients expectations for the body wave. Is this something they are going to use to support their style when using hot rollers or a curling iron, or do they want to scrunch and go? Clients cannot expect to get a slight body wave on black rods and have it last like a perm done on traditional grey rods. They must understand that it will be necessary to have the body wave done perhaps every three months. A variation on a body wave is a beach perm, which uses a very gentle perm solution with large perm tools to achieve a very relaxed wavy result. Why use picks? Does direction matter? There is some debate over the correct direction to wrap the top of the hair. It is the area of the head most likely to show breakage after a perm. Some experts state that the hair should be wrapped back away from the face, and some state that the hair should be wrapped forward toward the face. Hair on the top of the head tends to grow toward the face, so it seems like the common sense approach would be to wrap the hair the same way to reduce stress on the hair. Traditionally, cosmetology textbooks instruct stylists to wrap the top back except for the last three rods at the face, which are wrapped forward. What if the client requests that the rods be wrapped back away from the face or the stylist determines that wrapping away from the face is the best option? To keep from breaking the hair off, it is necessary to place picks under the rubber bands to keep them off the hair. This will greatly reduce the possibility of breakage. Rinsing and blotting The importance of the rinsing and blotting stages cannot be overemphasized. When rinsing a perm, the minimum amount of time should be five minutes. If the hair is longer, thicker or coarser, the time should be extended to as much as 10 minutes. This allows time for the water to rinse all of the chemicals from the hair. If the time is not sufficient, or an area of the head is not rinsed thoroughly enough, such as the nape, the chemicals will be trapped in the hair when the neutralizer is put on the hair. This will result in perm odor being present when the perm is completed or early relaxation of the perm. Blotting is just as crucial. If too much water is left in the hair after blotting, it will fill up the structure of the hair, giving the neutralizer nowhere to go. The neutralizer will simply run off the hair, failing to properly reattach the disulfide bonds. If the hair is too dry when applying the neutralizer, the neutralizer also will simply run off, rather than being absorbed. Think of a sponge. It is impossible to absorb spilled liquid with a sponge if the sponge is already saturated with water; you will simply smear the spill around. It is also impossible to pick up a spill with a dry sponge. The ideal condition of the sponge should be damp for maximum absorption. This is exactly the same for hair when readying it for the neutralizer. What if I can t get the client into the sink to rinse properly? Some clients are vertically challenged, and it is very difficult to get all of their perm rods in the sink, especially if they are older and have some osteoporosis and curvature of the spine. It is very difficult to rinse their perm properly in the nape area without drenching them and creating a flood on the floor. There are two options if the client is agreeable. Have the client kneel on the shampoo chair and lean over into the sink. Give her a towel to cover her face and explain that the farther she drops the top of her head into the sink, the more the water will run off there instead of face. If the client cannot kneel in the chair, another option is to have the client stand beside the sink, and drop her head into the sink, covering the face with a towel. Neutralization Before applying the neutralizer, there are some steps the stylist can take to ensure an even better perm result. After blotting the Page 19

21 hair with a towel, the stylist can get absorbent paper towels and blot the hair again to ensure that the hair is damp, not wet. If paper towels are not available, the stylist can place the client under a pre-heated dryer for three to five minutes, depending on the thickness and texture of the hair, to remove the excess moisture. Remember, however, that the hair cannot become too dry or it will not absorb the neutralizer. Apply the neutralizer for five minutes, and then either rinse the hair and then remove the rods or remove the rods and then rinse, depending on the manufacturer s directions. If the rods are removed before rinsing, massage the neutralizer into the hair, using a shampooing motion, for about one minute. Then rinse for approximately two minutes. Perm cards One thing that a stylist can do to make his or her life easier is to be diligent with perm cards. It is important to analyze the hair and put all information on the card that will be helpful in the future to ensure continued success. Any decisions that are made concerning the perm should be noted on the card. Rod sizes in every part of the head and wrapping patterns must be recorded, along with diagrams showing what was done. There is nothing more discouraging than doing a great perm, having the client come back in and ask for the exact same thing, and be missing information. If the client asks for a slightly tighter wave or slightly looser wave the next time, the card will give the stylist the starting point to then make the adjustments. Use your knowledge and experience to make an educated guess When stylists are new to doing permanent waves, they are often hesitant as to what perm, what rod size and what wrapping pattern to use. Following are some guidelines to follow when making those decisions: When in doubt between two rod sizes, use the larger rod. It is far better to have a client s perm relax within the first week than to have an overly curly mess. It is easier on the stylist s pocketbook and reputation to have to re-do a perm because it was just too loose, than to have a client walking around with an overly curly, frizzy hairdo, telling everyone who did it. The best procedure is to conduct a consultation, listening to everything clients say. The stylist should then tell clients what he or she is going to do, letting the client know that the decision is based on knowledge and education. However, if a client is new let them know it is an educated guess. Explain that if the educated guess is incorrect, the worst that will happen is that the perm will be too loose and it will need to be redone, at no expense to the client. Assure the client that it will not be too curly and need to be cut off or chemically relaxed. If a client is the type who only gives a stylist one chance to get it right and then moves on, it is important for the stylist to let the person know she will get it right, but some minor tweaking of the perm may be necessary at a subsequent visit. Perm clients will be very loyal to their stylists if they know they can trust them to not give them a frizzy perm. Clients are also better able to relax knowing the stylist will reperm if the hair is not sufficiently curly. It is far better for a stylist to give up two hours of time than to have a negative advertisement walking around for the next three to six months. Perms Current Styles and Methods Self-Assessment Select the best answer for each question and mark your answers on the Self-Assessment Answer Sheet on page 89 or complete your test online at 6. A perm that has a ph of and will process without the need for heat is known as: a. Thio-free wave. b. Acid-balance wave. c. True acid wave. d. Alkaline wave. 7. Oxidation occurs during: a. Neutralization. b. Perming. c. Wrapping. d. Blotting. 8. The bond that is broken by changes in ph is: a. Disulfide. b. Peptide. c. Salt. d. Hydrogen. 9. If a client desires a body wave, the hair should wrap around the rod: a. 4½ - 5½ times. b. 2½ - 3½ times. c. 5-6 times. d. 3½ - 4 times. 10. When doing a partial perm on long hair, it is important to: a. Wrap the hair vertically. b. Place picks under the rubber bands of the perm rods. c. Cut the hair after the perm. d. Wrap a larger size rod next to the unwrapped hair. Page 20

22 Chapter 3 Wigs and Hairpieces (2 CE Hours) Learning objectives Discuss types of clients who want or need a wig. Identify types of hairpieces. Discuss how hair loss occurs. Discuss different types of wig composition and construction. Identify factors in selecting the best wig style for a client. Discuss caring for wigs. History of wigs The history of wigs extends back approximately 5,000 years. Wigs were used extensively in ancient Egypt, as far back as 3,000-2,500 b.c. The Egyptians would cut their hair very short or shave their heads for cleanliness and comfort. The poor wore caps to protect their heads from the sun, while the upper class could afford wigs. The wigs were made out of human hair, sheep s wool or palm-leaf fiber mounted on porous fabric. Wigs were used in ancient Greece for personal use and for the theater. Different colors of wigs designated different types of characters. In Rome, wigs for the affluent were made out of blond or red hair taken from captives. In 1630 in France, Louis XIII began wearing a wig to hide his baldness, and so wigs became fashionable. Their popularity increased during the reign of Louis XIV. He wore wigs to hide his baldness and to make himself appear taller. A look at wig fashions at that time show elaborate, tall wigs on both men and women. In the late 1700s, advances in wig making occurred due to their continued popularity. Ventilating was invented. This process, which is still used in hand-tied wigs, involves tying hairs to a net foundation. Springs were then sewn into the wigs to help them stay more securely on the head. By the 1800s, the French were inventing flesh colored foundations, new knotting techniques, and silk net foundations. Wigs were very popular in England at one time. However, their popularity declined during the reign of George III. The exception to this decline was for individuals who wore them as symbols of their professions, such as judges, doctors and the clergy. Who wants or needs a wig or hair enhancement? Those who wish to change their look may choose wigs for their ease. Maybe a client has always wanted long hair, but her hair won t grow long. On the other hand, maybe a client would like a sassy short style once in a while, but doesn t want to cut her hair permanently. What about those bad hair days? Putting on a wig will give the client instant style. Those going through chemotherapy may experience hair loss and need hair additions. Others may have medical conditions that result in hair loss, such as alopecia. Those with fine hair may need wigs or hair additions to make their hair fuller. Women going through menopause also experience thinning hair. The addition of hair will make the recipient look younger. Will hair enhancements go out of style? In the 1960s wigs were a huge business. However, professional stylists got almost no financial benefit from this product. In addition, consumers didn t benefit from the knowledge of professional hairdressers because wigs were produced and marketed directly to consumers, bypassing the hairdressers. Then fashions changed and wigs went out of style. Now, hairdressers are the ones who are looked to for their expertise in wigs and other hair enhancements. It is still possible for clients to purchase wigs on their own, but these are not the hair additions that are the most popular. Hair extensions are the hair enhancement of choice and are difficult for all but the most experienced hairdresser. Types of hairpieces A wig covers the entire head shape. Hairpieces sit on top of the client s hair and are attached by temporary methods. They are designed for coverage in specific areas or to create particular effects. Usually, they are not worn to bed at night. Some hairpieces are designed to add length, and some add volume. The hairpiece may be attached to a client s ponytail or bun or attached to the hair with combs or clips. A wiglet consists of hair six inches or less in length attached to the top or crown of the head. It adds fullness and height to the client s hair. A fall hairpiece covers the crown, occipital and nape area. It is generally between inches long and creates the look of long full hair. A switch hairpiece consists of one to three swatches of hair worn as a braid or ponytail. A chignon hairpiece is a long swatch of hair preformed into a bun shape to be worn at the crown or nape of the neck. An integration hairpiece has openings in the base through which the client s own hair is pulled. These hairpieces can add volume or length and are good for clients with thinning hair. This type of hairpiece is similar to a wig but is not suitable for clients who are bald or have significant loss of hair. The scalp will be visible between the hair attached to the open weave cap. A bandeau hairpiece is attached to a headband and is worn over the natural hair to add volume. A cascade hairpiece is four to eight inches in length and is worn in the crown area. It is bigger than a wiglet but smaller than a fall. A postiche is made from angora and yak hair and is commonly used in competitions for special effects. How does hair loss occur? The hair growth cycle has three phases, anagen, catagen and telogen. Anagen is the active growing stage, which normally lasts from three to five years. If hair grows one-half inch per month, this means that the average hair has the potential to grow to a length of 18 to 30 inches before it is shed. The hair growth cycle can last longer in some people. That is why it is possible to see people whose hair touches the ground. Approximately 90 percent of all hair on a head is in the anagen stage at any given time. Page 21

23 The catagen stage is a transitional stage between the growing and resting stages. During this stage the follicle shrinks and the hair detaches from the papilla. This stage only lasts one to two weeks and less than 1 percent of the hair on a head is in the catagen stage at any given time. The telogen stage is the resting phase. This stage lasts until the hair is shed. This stage lasts three to six months, and approximately 10 percent of the hair on a head is in this stage at any given time. On average, the entire growth cycle repeats itself every four to five years. Baldness occurs because of a couple of different factors. Age, heredity and hormones cause the follicles to shrink. This shrinkage shortens the hair s growth cycle, eventually shortening it to the point that the hair simply doesn t grow back again. As the person is beginning to go bald and the follicles are shrinking, the hair growing out of these miniaturized follicles becomes shorter and finer. The terminal follicles that produce long, thick hair on the scalp are turned into vellus-like follicles that produce hairs more similar to the short, fine hair found all over the body. These shorter, finer hairs produce less scalp coverage. In addition, more and more hairs are in the telogen phase, eventually not producing any more hairs. Men and hair loss When a man selects a toupee, it normally is not to change his hair fashion, but rather because of hair loss or alopecia. It is helpful to understand and recognize the various types of alopecia to better serve this clientele. Androgenetic alopecia is a combination of heredity, hormones and age that causes shrinking of the hair follicles. The growth cycle of the hair is shortened, with the active growth phase becoming shorter and the resting phase becoming longer. Eventually the hair does not grow back at all. To determine if androgenetic alopecia is the cause of the client s hair loss, ask about family history and if the hair loss has been gradual over a period of years. In men, this is known as male pattern baldness, resulting in hair loss all over the head except for the horseshoeshaped section of hair left around the bottom perimeter. In women, it is most common for the hair to just become very thin. It is very rare for a woman to go completely bald. Alopecia premature is baldness at an early age (25-40 years old). This type of baldness can have a devastating effect on the client. People perceive this client as being older, less successful, less likeable, less assertive and not as attractive. Alopecia senilis is baldness later in life (40 years and older). This starts as gradual thinning and can progress to total baldness. Alopecia areata is baldness in spots. The spots are not inflamed, and this disorder is often attributed to stress. The hair loss is often reversed, but can occur on different areas of the head every few months. Alopecia totalis is complete baldness on the scalp. Alopecia universalis is baldness all over the body, including arm and leg hair, eyelashes and eyebrows. Postpartum alopecia can occur after giving birth. During pregnancy the hair stays in the active growing stage longer than usual. After childbirth, these hairs then all enter the resting and shedding phases, seemingly all at one time, resulting in more hair loss than usual. It doesn t take long until this balances out and the hair returns to normal. Page 22 Toupees A toupee is a small wig used to cover the top of the client s head. It is commonly worn by men but can also be worn by women. This hair enhancement is designed for those with severe hair loss. It can be attached with tape or clips as a temporary method or with weaving, tracks, adhesive or sewing which as a semipermanent method. Surgical options for hair loss Some clients may desire to explore surgical options for their hair loss. Following are a few of the techniques being used in this field today: In the hair transplantation technique, one to four hairs at a time are inserted into the balding area to mimic natural hair growth. The hairs are harvested from the patient s own scalp either by cutting out a strip of skin containing hairs from the back of the head or by removing individual hairs from the back of the head and transplanting them to the bald areas. If the surgeon cuts out the strip of skin, the scalp must be sutured back together and then the surgeon has to cut apart the strip to get the individual hairs and hair follicles to be transplanted. In the tissue expansion technique, surgeons place a balloonlike device called a tissue expander under a portion of the scalp where hair is growing, right next to a bald area. The device is expanded over a period of weeks, causing the skin to stretch. After approximately two months, the device is removed, and the expanded skin is brought over to cover the bald area. In flap surgery a section of bald scalp is cut out and a flap of skin still growing hair is cut away from the head while keeping one end attached to the original location. This flap is then rotated into the position where the bald scalp was cut out and sewn into its place. Because one end is still attached, it still maintains its original blood flow. One flap can take the place of 350 hair grafts. The resulting scar is covered by the relocated hair. Scalp reduction surgery can be used on patients who have baldness at the top and crown of the head, but not those with frontal baldness. First a segment of bald scalp is removed. The skin surrounding the cut-out area is loosened and pulled so that the scalp with hair growth can be brought together and closed with stitches. Wig composition Wigs can be made out of natural hair fibers, synthetic hair or a combination of both. Natural hair fiber comes from China, India or Europe. The hair from Europe is not as common and it is very expensive. The hair from India is soft and has a slight wave. The majority of hair comes from China. China has an official method for collecting hair. There are merchants who travel from village to village, collecting cut hair and hair collected from villagers combs. Remy hair is the term for hair that has been cut from someone s head, keeping all the hairs running in the same direction to reduce tangling. Virgin remy hair has never been chemically processed. When making wigs and other hair enhancements, lighter shades go through more processing to achieve the lightcolor unless virgin light-colored hair is used. Virgin light-colored hair is rare and therefore more expensive. Curly and wavy hair enhancements have to go through more processing to achieve the desired color and texture.

24 Human hair wigs look more realistic but require more care. They have to be shampooed just like a client s real hair. A human hair wig can lose its style or frizz on humid days. In addition, the color will oxide, meaning that it will fade with exposure. The hair will break and split if mistreated. Synthetic hair fiber costs a fraction of what natural hair does. Advances in synthetic hair production have made the fibers look and feel much more natural. Synthetic hair is lighter in weight than natural hair and the synthetic fibers have memory, allowing clients to wash and shake out the wig into its style. Another advantage is that weather will not ruin the style. However, synthetic hair tends to frizz from rubbing against the client s clothing, and the fibers can be easily damaged from heat from styling appliances, an open oven door, or any source of heat. In addition, the less expensive the wig, the less natural the wig will look. For instance, it may be too thick or too shiny. Wig prices also depend on how long the fiber is and the type of construction, such as hand-tied versus machine-made. Some wigs are created out of a blend of synthetic and natural hair. This helps create style-retaining qualities but complicates maintenance because synthetic and natural hair wigs are cleansed and styled differently. Yaki is a hair texture that is designed to look and feel like African American hair that has gone through a chemical relaxing process. There are four types of Yaki hair textures. Silky Yaki (also called Yaki straight) is very close to silky straight hair, but has a little texture to it. It looks like freshly relaxed and flat-ironed hair. Regular Yaki hair looks like relaxed African American hair that has a little more texture to it than silky Yaki. Kinky Yaki hair looks like African American hair that has not been relaxed, but rather blow-dried straight instead. It is very natural looking. Coarse Yaki looks and feels like African American hair that has not been relaxed or blown-dry straight. It looks like natural hair that has not gone through any chemical processing. How can you be sure the hair in a purchased hairpiece is 100 percent human hair? There are three ways you can test a hairpiece to ensure it is all human hair. The first test is the burn test. Cut a small piece of hair off the hairpiece, and light with a match or lighter. Human hair will burn and will give off a distinctive smell. Synthetic hair will melt. If the hairpiece is made from a blend of human hair and synthetic hair, this test will not be conclusive. The next test is the perm test. Cut off and wrap a strand of hair off the hairpiece around a perm rod. Apply perm solution and process. If it is human hair, it will perm. If the hair is synthetic, it will not. The final test is the color test. Place color or bleach on the hair cut from the hairpiece. If it changes color, it is human hair. If it does not change, it is synthetic. Processing natural hair for wigs First, hair must be graded by its quality. Hair can come in three different ways: REMY hair, root-turned hair and processed hair. Remy hair comes from hair that is cut from the head and maintained in a controlled fashion, such as in a ponytail. This hair will all face the same direction, with the ends all together. Since the cuticle is all facing downward, the hair is less likely to tangle. Root-turned hair is hair that has been collected from combs and then turned the same direction by hand, which greatly increases the cost of the wig. Processed hair (or fallen hair) also comes from the hair collected from combs. The hair cuticle will tangle because the hair is all facing different directions. This challenge is met by simply stripping off the cuticle with chemicals so that it doesn t matter which way the hair is facing. Unfortunately, this process leaves the hair drier and more over-processed. An advantage to human hair wigs is that if they develop split ends, the split ends can be trimmed off. Hair color of wigs Wigs come in every color from lightest blonde to black, with variations in the wig color so the hair looks highlighted. Most wig hair must be lightened because most of it comes from China and India, and Chinese and Indian hair is black. To achieve the finished colors, most hair is then dyed with chrome dyes. If it has not been dyed, it will be marked non-dyed. If the stylist wishes to further process the hair, non-dyed hair must be purchased. At that point, the wig can be deposit-only colored to a darker color. How hair is sold? Hair can be purchased in bulk. The hair is loose, making further processing very difficult. It can be used for individual braiding or interweaving techniques. You can also purchase hair in a weft, which makes perming and tinting much easier. To create a weft, the hair is sewn together on a special machine, or the weft can be created by hand. Synthetics used in wigs The main synthetic fibers used in wigs and hairpieces are nylon and modacrylic. These fibers are easy to permanently set in a curl. This is achieved by the wig manufacturers by wetting the hair and then baking the hair in an oven for one hour. Synthetic fibers are dyed to 33 different colors, which are blended to create natural looking colors. These fibers are not the best choice for hair extensions. They do not hold up as well as natural hair, they can t be permed or tinted and they are more likely to mat and tangle. A newer synthetic has been developed that can be curled. However, it is important that the heat not be too high or that the curling iron be held on the fibers too long, because it will still frizz or burn if these factors are present. Wig construction Today, wigs are being constructed with fewer fibers and less teasing to create more natural looks. Wigs are available in readymade one-size-fits-all models. They are held securely to the head by stretchy foundations or adjustable elastic bands around the edge. In addition, silicone foundations are molded to the client s exact head shape and are held in place with a suction fit. They are available in synthetic or human hair and can be purchased in machine-made or hand-tied versions. If a client is willing to pay more, semi-custom wigs are available that are hand-knotted on different size foundations. The most expensive option is a custom-made wig. These wigs are created using the client s exact head measurements. Machine-made wigs are made by creating wefts, which are strips of hair sewn together into a long strip. The wefts are then sewn together to create the wig. There are gaps between the wefts, which can be visible if the hair is parted. The style cannot be changed with this type of construction. Page 23

25 Hand-tied wigs are created by knotting anywhere from one to eight hairs at a time into a foundation. This gives a very natural look to the wig, as if the hairs were growing out of the head. To create a custom-fitted, hand-tied wig, the wig manufacturer turns all the hairs so they are facing the same direction. Short hairs are removed by combing the hair with a hackle (wire brush). The remaining hair is tied together and the hair is hand washed and dried. At this point, the hair can be permed by wrapping and boiling the curls in water. The hair is then blended with as many as five different colors of hair to produce a more natural look. The foundation of the wig is constructed to the client s head shape by taking six different measurements or by making a template of the client s head. The template can be made by making a plaster cast or by covering the client s head with plastic wrap and then applying clear tape over the plastic until the entire head is covered. The hairline is drawn onto the tape and then the template is cut out to that shape. Parts are drawn in. The foundation is created by using fine netting for the hairline and a coarser netting for the remainder of the foundation. If a part will be visible, even finer netting is used in this area. A paper pattern is created from the plaster casting, tape pattern or measurements taken and is placed on a block. The netting is place over this pattern and held in place by lacing cotton thread through the netting and into anchoring points on the block. Springs made from steel watch springs or elastic bands are incorporated into the foundation to hold the completed wig in place on the client s head. Hairs are attached to the foundation by knotting the hair, using a technique similar to latch hooking. The hair must be twice as long as the finished wig, because it is doubled over. Along the part and the hairline, single hairs are knotted, while in the crown up to eight hairs are knotted at a time. A wig requires 30,000 to 40,000 knots, which will take about 40 hours of tying. Lace-front wigs Lace-front wigs can be glued on or sewn on to secure for the client. To glue on a lace-front wig, first create a flat surface for the wig to sit on. You can do this by braiding the hair down, molding it or applying a wig liner over the hair. Cleanse the forehead with alcohol so the glue will adhere properly. The wig hair should be pinned up so that when the wig s pressed down into the glue the hairs of the wig will not get caught in the glue. Trim the excess lace, making a smooth edge. Place the wig on the client s head and lightly outline the edges. Apply adhesive to the client s hairline and allow it to dry to a tacky layer. Place the wig over it and press the edges down with a comb. Do not use your fingers to push the lace down because the hair will mat around the edge. Do not reapply glue to an area that already has glue applied. It will not stick. To remove a glued-on lace-front wig, first pull all hair up into a ponytail. Apply the lace adhesive remover to the adhesive around the hairline. Let it sit a minute or two, then gradually begin to ease the edge loose. Clean the wig when it has been removed from the head. The glue that is embedded in the lace has to be removed before shampooing the wig. To apply a lace-front wig by sewing it in, first secure the hair under a wig cap. The lace edge is then sewn onto the cap. When the wig is secure, the wig is then styled to the desired look. Cap/foundation types A standard cap is wefted in the back and sides and has a closed lace layer at the crown. The hair is teased so that one cannot see the cap. A capless wig is wefted over percent of the wig, making the cap lighter and cooler to wear than a standard cap. A full capless wig is open over more than 90 percent of the cap, making it the lightest of the three options. An adjustable cap comes in an average size and can be adjusted smaller or larger using Velcro tabs. Monofilament caps are constructed out of breathable, fleshtone material that allows the natural color of the scalp to appear through it. The hair is hand tied, allowing a part in any location. The wig may be entirely hand tied, or it may look like this in the top area and have wefted sides and back. These wigs may feature a no-slip band at the front hairline and even at the sides. These wigs sit closer to the head to look more natural. They are available in synthetic and human hair fibers. A lace-front cap gives the most realistic appearance up close. It can be glued down and worn for a few weeks before needing to be removed and reapplied. The lace can go around the entire hairline so the hair can be pulled up into a high ponytail and look natural. An entire hand-tied wig will look very natural and is very lightweight. The hair will move just like a natural head of hair. This is the most expensive but the most beautiful type of wig construction and is available in synthetic fiber and human hair fibers. A skin-part cap has an insert of a scalp-colored plastic with groups of hairs inserted to give the appearance of hair growing out of the scalp. The rest of the wig is wefted, and the part cannot be changed. A V-knot skin top has finer groups of two to four hairs randomly implanted into the skin top. This makes the top look even more natural, without rows of hair. The pure stretch cap will stretch around the entire perimeter and is the most comfortable cap designed. Choosing the best wig style for the client The ideal facial shape is the oval. Clients, on the other hand will have many other facial shapes. The aim is to choose a style that will create the illusion of an oval facial shape. The oval facial shape is longer than it is wide, with cheekbones that are wider than the forehead or chin area. This facial shape looks great with any style. The round facial shape has a wide cheekbone area and more fullness to the face in general. The aim is to narrow the face and add height and length to the face. Keep the style close on the sides and full on top. The square facial shape has a broad forehead and jawline. This facial shape needs height on top without bangs. Keep the hair close on the sides and choose wigs with waves or curls to break up the straight lines. The diamond-shaped face has a narrow forehead and jawline, with width through the cheekbone area. Bangs are a good choice to disguise the narrowness of the forehead. Keep the style close at the sides and add width at the chin (bobs work great for this Page 24

26 facial shape). Make sure there isn t much height to the style or too much volume on the sides. A heart-shaped face is characterized by a wide forehead and a narrow chin. Bangs will help to disguise the width of the forehead. Keep the hair close on the sides, but keep it fuller around the jaw. A pear-shaped face has a narrow forehead and a wide jawline. Keep the hair full and add bangs to the forehead area. Keep the hair close at the sides and nape. The oblong-shaped face is characterized by a long and narrow face. Use a bang to visually shorten the length of the face and add fullness on the sides. Profiles There are three kinds of profiles that must be looked at when choosing wig styles. The first is the straight profile. This profile has no special problems, and any style of wig can be worn. The second type of profile is the concave profile. This profile is characterized by a protruding forehead and chin. When choosing a wig style for this type of profile the aim is to minimize the forehead by selecting a wig with bangs. When viewing the client from the side, the hair should be full in the back to balance out the chin. The third type of profile is the convex profile. This type of profile has a receding forehead and chin with a more prominent nose. The aim when choosing a wig for this client is to disguise the receding forehead with full bangs to balance out the face. In addition, a style such as a forward diagonal bob will help the chin area appear larger. Client consultation A client consultation is the most important part of a wig service. It is important to determine what the client s expectations are. Purchasing a wig or hair extensions can be a huge financial investment for the client. In addition, if the client is in the salon because of hair loss, this purchase can be emotional as well. First, determine why the client is seeking a hair addition service. Next, determine the client s personality. Will the client want a hair enhancement that is natural and doesn t draw attention, or does the client want a bold statement? Also, consider the client s age and occupation. Take note of the client s hair texture, growth patterns, density and condition of his or her hair. Bring to the client s attention all the options available including wigs, hair extensions, hairpieces and toupees. Does the client want a temporary (wig) or semi-permanent (hair extension) hair enhancement? During the consultation discuss color options, using a sample color ring. Discuss with the client costs involved with all options. Also discuss custom services available, such as perming, coloring, cutting and styling of wigs and other hair enhancements. Wig measurement and fitting There are six measurements that are taken to create a custom wig: the circumference of the head, from the front hairline to the nape, across the forehead, the top of the head, from temple to temple and the width of the neck. The circumference is measured ½-inch above the nape of the neck, the ears and the front hairline. This measurement will range from inches. An average size head is between 21½-22½ inches. The second measurement is taken from the hairline in the front, straight over the crown to the hairline in the nape area. The third measurement is taken right along the hairline from the point just in front of the ear, across the hairline in the front, to the point in front of the other ear. The fourth measurement is taken across the crown of the head, from just above one ear to just above the other ear. The fifth measurement runs straight across the back of the head from temple to temple, and the sixth measurement is taken horizontally from one end of the nape, along the hairline to the other end of the nape. Most women can wear an average size wig which fits head sizes 21½-22½ inches. An ultra-petite or child s wig will fit 18-19½ inches heads. A petite wig will fit inches and petite-average will fit 20½-21½ inches. Large-average fits heads with a circumference of inches and large fits head sizes of 22½-24 inches. A wig shouldn t fit too tightly or it will ride up. The front should sit at the natural hairline with the side tabs centered above the ears, and the back will sit under the occipital bone. The tips of the wires in the side tabs should be gently shaped toward the face. How to put on a wig First the hair must be prepared so that it lays flat and the wig will sit correctly on the head. The hair can be cornrowed, wrapped or secured with pin curls so that it lies as flat as possible. A wig cap can be pulled over the hair to secure it. Identify the front of the wig (there will be a tag in the back) and hold it against the forehead. Slide the wig over the head to the nape. Grasp the wig at the ear tabs and pull it down securely. If the wig is loose, take it off and adjust the tabs in the back of the head to make it tighter and then repeat the above steps. How to block a wig A block is a form that the wig is put on to air-dry and style. It is made of styrofoam or cork and is secured to the work area with a clamp. The wig is put on the block in the same manner as the client s head. Hold the wig against the form in the front and then pull the wig down over the form. Pin the wig to the form at the center back hairline, and at the corners of the back hairline. Place a pin at each ear point and at the center front hairline. Cleaning and conditioning lace wig Cleaning and conditioning of lace wigs should be done once a week, when it is removed from the client s head. The client s hair is then shampooed and conditioned as well. Cleaning and conditioning human hair A human hair wig should be washed after every uses. Fill a container with lukewarm water. Add the recommended amount of human hair wig shampoo and agitate with your hands. Place the wig in the water and shampoo mixture and gently swish for about 30 seconds to a minute. Gently scrub the front of the foundation with a cotton ball or toothbrush. Allow the wig to soak for about 15 minutes. Remove wig and rinse in lukewarm water. Apply a spray-on conditioner. Squeeze out excess water by wrapping the wig in a towel and pressing. Do not wring out or twist. The hair can be set on curlers and placed under a warm (not hot) dryer or left out overnight to dry. A curling iron can also be used to style. Remember, the less heat used on the wig, the longer it will last. Cleaning and conditioning synthetic fiber Because synthetic wigs do not hold or attract dirt or oils, they only need to be washed every uses. Fill a container with cool water. Add the recommended amount of synthetic wig shampoo and agitate with your hands. Place the wig in the water and shampoo mixture and gently swish for about 30 seconds Page 25

27 to a minute. Gently scrub the front of the foundation with a cotton ball or toothbrush. Allow the wig to soak for about 15 minutes. Remove wig and rinse in cool water. Apply a spray-on conditioner. Squeeze out excess water by wrapping the wig in a towel and pressing. Do not wring out or twist. Shake the wig out gently and place on a wig block to dry. When the wig is dry, the hair can be picked out. Never use a blow dryer, curling iron or straightener because they will frizz or melt a synthetic wig. To reset a synthetic wig, set the hair on curlers or perm rods, using end wraps to control the ends. Using a clothes steamer, apply steam to each curl for about three to four seconds and then allow to cool and dry before removing from the curlers. This process will relax and then reset the hair into a new curly form without damaging the fibers. Cutting and shaping Hair growing naturally on the head is many different lengths even if it is a solid cut. This is due to the fact that all hairs on the head are at various stages as they are growing out. A wig that is cut to one length will therefore look unnatural. It is important to taper the ends. The cutting and shaping should be done after the hair is placed on the client s head. To cut and shape a wig, it is best to use techniques that mimic a razor cut. Human hair wigs can be shaped and thinned with shears, a razor and thinning shears. Synthetic wigs cannot actually be cut with a razor. The razor will fray the ends. A pair of thinning shears can be used to taper the hair. In addition, very small sections of hair can be twisted and then cut, or a point cut method can be used where the shears are cutting into the hair, rather than cutting the hair off bluntly. Brushing and styling If using heated styling tools on natural hair wigs, always set the tools to low heat. Purchase a good wig brush or comb to use on wigs. For natural hair wigs, boar bristle brushes work well. Synthetic brushes with rounded teeth also work well. With any brush or comb one must be gentle; the hair cannot grow back. If setting the hair with curlers or pin curls, t-pins can be used to secure the curlers or pin curls in place. The challenge when styling is to make the wig look real in the crown, the part and around the hairline. Perming When perming a natural hair hairpiece, make sure it has not been tinted with a metallic dye. It must be virgin hair. It can then be placed on a wig block that has been covered with plastic. The wig is then wrapped and processed as usual. Take frequent test curls because the hair has already been processed prior to making it into the hairpiece. When perming synthetic hair, wrap the hair on curlers or perm rods and then steam with a clothes steamer. Allow the hair to cool and dry before removing from the curlers or rods. This method will work even though dry heat, such as from a curling iron, will melt and frizz synthetic wigs. Tinting All human hair wigs and hairpieces are colored to one of the 70 colors used by wig and hairpiece manufacturers. It is recommended to purchase the wig or hairpiece in the color(s) desired rather than try to change the color after purchase. If Page 26 attempting to tint, natural hairpieces that still have the cuticle intact and have not been tinted with metallic dyes will give the best results. However, remember that the hair in the hairpiece has come from many different heads of hair so not all the hair in the hairpiece will react the same way. Do a strand test and only use semi-permanent, demi-permanent, glaze, rinse or color mousse products if it is absolutely necessary to change the color. Look Good Feel Better Look Good Feel Better is a program offered by the American Cancer Society, the Personal Care Products Council Foundation and the National Cosmetology Association to people going through cancer treatment. This program is free to the patients and is brand neutral, salon neutral and non-medical. Each of the three partners has a different responsibility. The American Cancer Society handles all registrations and scheduling. The Personal Care Products Council Foundation, made up of the toiletry, fragrance and makeup manufacturers, supplies the makeup kits, worth more than $10 million annually. The National Cosmetology Association is responsible for recruiting cosmetologists to conduct the sessions. To volunteer for Look Good Feel Better, a stylist should contact the American Cancer Society. The American Cancer Society will arrange for training so the stylist can conduct Look Good Feel Better sessions. The stylist will be trained in wig care, makeup application, wraps and head coverings and nail care. The sessions are generally held at a community room or the local hospital instead of a salon. Female cancer patients can call LOOK ( ) or log onto to find a workshop in their area. Patients get to talk to others going through the same treatment. The patients can experiment with wigs, hats and turbans. There are some limited sessions for teens, centered around major hospital centers. Teens also have their own website at org. Men have the availability of an informational brochure. Look Good Feel Better does not distribute wigs to participants. Some American Cancer Society offices have wig banks that distribute wigs to those in financial need. The American Cancer Society also provides a $75 voucher towards the purchase of a new wig for qualified individuals. Look Good Feel Better does not accept hair donations for wigs, but there are four organizations that do. Their websites are: locksoflove.org, wigsforkids.org, pantene.com, and pinkbarrette.org. Look Good Feel Better does not accept donations of gently used wigs from individuals, but the American Cancer Society does. Insurance Clients suffering from alopecia or undergoing cancer treatment could be eligible for reimbursement from their insurance company. Have the doctor write a prescription for a cranial hair prosthesis. Send this and a copy of the wig receipt to the insurance company. When filing a claim for a wig, call it a cranial hair prosthesis most insurance companies will cover percent of the expense. Hair extensions Hair extensions are hair additions that are secured to the base of the client s natural hair to add volume or length. The extensions are added through track and sew methods, bonding techniques or fusion techniques. In the track and sew method, first, an on-the-scalp braid or cornrow is braided onto the head. The track can be placed horizontally,

28 vertically, diagonally or along curved lines. A weft (which is a strip of hair sewn together) is then sewn into the cornrow using a needle and a thread. The stitches used include a lock stitch, double-lock stitch or overcast stitch. Make sure to use a blunt needle to attach the weft to the client s head to protect the client. In the bonding method, a weft or single strand of hair is attached to the client s hair with an adhesive or glue. This type of hair extension is fast, but doesn t last as long as track and sew because of slippage. It will last for two to four weeks depending on care and oiliness or dryness of the scalp. The weft is bonded to a clean parting, staying at least one inch from the hairline, crown and part so the extensions are not visible. It is important that the correct amount of adhesive is used so that it will adhere yet not bond together other stray hairs. Always do a patch test with this method to ensure the client is not allergic to the bond. In the fusion method the extension is bonded to the client s hair with a special bonding material activated by the heat from the fusion tool. This attachment is longer lasting (up to four months) and because the amount of hair attached at any one time is very small and it is attached to small sections of hair, it moves like real hair. Off-the-scalp braiding with loose fiber In this method, a small section of loose fiber is doubled over with the closed end toward the scalp and both ends hanging down with the ends of the hair. A section of the client s hair is picked up and divided into three strands. The loose fiber is incorporated into the two outside pieces of hair. An underbraid technique is used to braid the hair down the strand. The tiny individual braids are then incorporated into the final style. This type of extension takes the most time and is very expensive for the client. On-the-scalp braiding with loose fiber In this method, a part is created preparatory to creating a track (or cornrow). Start with a small section of hair at the beginning of the track, divide into three strands and do an underbraid technique. Incorporate a looped section of loose fiber into the right-hand strand. Braid the one side of the loose strand into the track, allowing the other end to hang free, creating more volume in the finished hairstyle. Repeat with the strand on the left side of the track. Repeat this technique all along the track. The finished technique will have tracks created throughout the head, with hair coming out of the tracks along the length of the track, adding fullness and length to the hair. Wigs and Hairpieces Self-Assessment Select the best answer for each question and mark your answers on the Self-Assessment Answer Sheet on page 89 or complete your test online at Donations of cosmetics and toiletries come from which Look Good Feel Better partner? a. The American Cancer Society. b. The Personal Care Products Council Foundation. c. The National Cosmetology Association. d. Look Good Feel Better. 12. A human hair wig should soak in a mixture of lukewarm water and wig shampoo for: a. 10 minutes. b. 15 minutes. c. 20 minutes. d. 25 minutes. 13. What type of Yaki hair texture looks like blow-dried African American hair? a. Silky Yaki. b. Regular Yaki. c. Kinky Yaki. d. Coarse Yaki. 14. Hair that has been manually turned so all the cuticle scales are facing the same way is known as: a. REMY hair. b. Root-turned hair. c. Processed hair. d. Natural hair. 15. An average wig will fit head sizes: a b. 20½-21½. c. 21½-22½. d Track and sew In this method, a three-strand underbraid creates a track. A weft of hair is sewn to the track to secure it. Bonding wefts Before applying a bonded weft, do a patch test to ensure the client is not allergic to the bonding material. Make sure the client s hair and the weft are both completely dry. Cut the weft to the correct length and adhere along the parting. Bonding strands In this method, a small section of hair is parted and isolated by a plastic disc. An equally small piece of loose fiber with a bonding agent already on it is added to the section. A heated tong is used to soften the bonding agent. The fingers are used to roll the two pieces of hair together until the strands have bonded. Page 27

29 Chapter 4 Indoor Air Quality Guide (2 CE Hours) Learning objectives Identify common sources of air pollutants. Identify methods to address contamination. Describe the health effects of exposure to indoor air pollution. Describe sensitivities to indoor air pollutants. Discuss proper salon disinfection. Identify chemical contaminants versus biological contaminants. Explain the proper uses of ventilation systems. Page 28 Indoor air quality guide U.S. EPA/Office of Air and Radiation / Office of Radiation and Indoor Air (6609J) / Cosponsored with the Consumer Product Safety Commission Indoor air quality concerns All of us face a variety of risks to our health as we go about our day-to-day lives. Driving in cars, flying in planes, engaging in recreational activities, and being exposed to environmental pollutants all pose varying degrees of risk. Some risks are simply unavoidable. Some we choose to accept because to do otherwise would restrict our ability to lead our lives the way we want. And some are risks we might decide to avoid if we had the opportunity to make informed choices. Indoor air pollution is one risk that you can do something about. In the last several years, a growing body of scientific evidence has indicated that the air within buildings can be more seriously polluted than the outdoor air in even the largest and most industrialized cities. Other research indicates that people spend approximately 90 percent of their time indoors. Thus, for many people, the risks to health may be greater due to exposure to air pollution indoors than from those outdoors. While pollutant levels from individual sources may not pose a significant health risk by themselves, most buildings have more than one source that contributes to indoor air pollution. There can be a serious risk from the cumulative effects of these sources. Fortunately, there are steps that most people can take both to reduce the risk from existing sources and to prevent new problems from occurring. Because so many Americans spend a lot of time in buildings with mechanical heating, cooling, and ventilation systems, there is also a short section on the causes of poor air quality in salons and what you can do if you suspect that your salon may have a problem. A glossary and a list of organizations where you can get additional information are available in this document. What causes indoor air problems? Indoor pollution sources that release gases or particles into the air are the primary cause of indoor air quality problems. Inadequate ventilation can increase indoor pollutant levels by not bringing in enough outdoor air to dilute emissions from indoor sources and by not carrying indoor air pollutants out of the space. High temperature and humidity levels can also increase concentrations of some pollutants. There are many sources of indoor air pollution. These include combustion sources such as oil, gas, kerosene, coal, wood; building materials and furnishings as diverse as deteriorated, asbestos-containing insulation, wet or damp carpet, and cabinetry or furniture made of certain pressed wood products; products for cleaning and maintenance, personal care, central heating and cooling systems and humidification devices; and outdoor sources such as radon, pesticides, and outdoor air pollution. The relative importance of any single source depends on how much of a given pollutant it emits and how hazardous those emissions are. In some cases, factors such as how old the source is and whether it is properly maintained are significant. For example, an improperly adjusted gas heater can emit significantly more carbon monoxide than one that is properly adjusted. Some sources, such as building materials, furnishings, and products like air fresheners, release pollutants more or less continuously. Other sources release pollutants intermittently. These include smoking, the use of unvented or malfunctioning furnaces or space heaters, the use of solvents in cleaning, the use of paint strippers in redecorating activities, and the use of cleaning products and pesticides. High pollutant concentrations can remain in the air for long periods after some of these activities. If too little outdoor air enters a space, pollutants can accumulate to levels that can pose health and comfort problems. Unless they are built with special mechanical means of ventilation, spaces that are designed and constructed to minimize the amount of outdoor air that can leak into and out of the salon may have higher pollutant levels than other places of business. Solutions to air quality problems involve such actions as eliminating or controlling the sources of pollution, increasing ventilation, and installing air cleaning devices. Often an occupant can take the appropriate action to improve the indoor air quality by removing a source, altering an activity, unblocking an air supply vent, or opening a window to temporarily increase the ventilation; in other cases, however, only the building owner or manager is in a position to remedy the problem. You can encourage building management to follow guidance in EPA s IAQ Building Education and Assessment Model (I-BEAM) ( html). I-BEAM updates and expands EPA s existing building air quality guidance and is designed to be comprehensive, state-ofthe-art guidance for managing IAQ in commercial buildings. This guidance was designed to be used by building professionals and others interested in indoor air quality in commercial buildings. I-BEAM contains text, animation/visual, and interactive/calculation components that can be used to perform a number of diverse tasks. You can also encourage building management to follow guidance in EPA and NIOSH s Building Air Quality: A Guide for Building Owners and Facility Managers (The BAQ is available as PDF files that can be downloaded and viewed individually or as a single file with all of the PDF files. The link is

30 Indoor air and your health Health effects from indoor air pollutants may be experienced soon after exposure or possibly years later. Immediate effects may show up after a single exposure or repeated exposures. These include irritation of the eyes, nose, and throat, and headaches, dizziness, and fatigue. Such immediate effects are usually short-term and treatable. Sometimes the treatment is simply eliminating the person s exposure to the source of the pollution, if it can be identified. Symptoms of some diseases, including asthma, hypersensitivity pneumonitis, and humidifier fever, may also show up soon after exposure to some indoor air pollutants. The likelihood of immediate reactions to indoor air pollutants depends on several factors. Age and preexisting medical conditions are two important influences. In other cases, whether a person reacts to a pollutant depends on individual sensitivity, which varies tremendously from person to person. Some people can become sensitized to biological pollutants after repeated exposures, and it appears that some people can become sensitized to chemical pollutants as well. Certain immediate effects are similar to those from colds or other viral diseases, so it is often difficult to determine whether the symptoms are a result of exposure to indoor air pollution. For this reason, it is important to pay attention to the time and place the symptoms occur. If the symptoms fade or go away when a person is away from the salon and return when the person returns, an effort should be made to identify indoor air sources that may be possible causes. Some effects may be made worse by an inadequate supply of outdoor air or from the heating, cooling, or humidity conditions prevalent in the salon. Other health effects may show up either years after exposure has occurred or only after long or repeated periods of exposure. These effects, which include some respiratory diseases, heart disease, and cancer, can be severely debilitating or fatal. It is prudent to try to improve the indoor air quality even if symptoms are not noticeable. While pollutants commonly found in indoor air are responsible for many harmful effects, there is considerable uncertainty about what concentrations or periods of exposure are necessary to produce specific health problems. People also react very differently to exposure to indoor air pollutants. Further research is needed to better understand which health effects occur after exposure to the average pollutant concentrations and which occur from the higher concentrations that occur for short periods of time. Some health effects can be useful indicators of an indoor air quality problem, especially if they appear after moving, renovating, or treating a salon with an indoor pesticide. If you think that you have symptoms that may be related to your environment, discuss them with your doctor or your local health department to see if they could be caused by indoor air pollution. You may also want to consult a board-certified allergist or an occupational medicine specialist for answers to your questions. Another way to judge whether your environment has or could develop indoor air problems is to identify potential sources of indoor air pollution. Although the presence of such sources does not necessarily mean that you have an indoor air quality problem, being aware of the type and number of potential sources is an important step toward assessing the air quality in your environment. A third way to decide whether your environment may have poor indoor air quality is to look at your lifestyle and activities. Human activities can be significant sources of indoor air pollution. Finally, look for signs of problems with the ventilation in your environment. Signs that can indicate your environment may not have enough ventilation include moisture condensation on windows or walls, smelly or stuffy air, dirty central heating and air cooling equipment, and areas where items become moldy (see Basic strategies Source control Usually the most effective way to improve indoor air quality is to eliminate individual sources of pollution or to reduce their emissions. Some sources, like those that contain asbestos, can be sealed or enclosed; others, like gas furnaces, can be adjusted to decrease the amount of emissions. In many cases, source control is also a more cost-efficient approach to protecting indoor air quality than increasing ventilation because increasing ventilation can increase energy costs. Air cleaners There are many types and sizes of air cleaners on the market, ranging from relatively inexpensive tabletop models to sophisticated and expensive systems. Some air cleaners are highly effective at particle removal, while others, including most tabletop models, are much less so. Air cleaners are generally not designed to remove gaseous pollutants. The effectiveness of an air cleaner depends on how well it collects pollutants from indoor air (expressed as a percentage efficiency rate) and how much air it draws through the cleaning or filtering element (expressed in cubic feet per minute). A very efficient collector with a low air-circulation rate will not be effective, nor will a cleaner with a high air-circulation rate but a less efficient collector. The long-term performance of any air cleaner depends on maintaining it according to the manufacturer s directions. Another important factor in determining the effectiveness of an air cleaner is the strength of the pollutant source. Tabletop air cleaners in particular may not remove satisfactory amounts of pollutants from strong nearby sources. People with a sensitivity to particular sources may find that air cleaners are helpful only in conjunction with concerted efforts to remove the source. Over the past few years, there has been some publicity suggesting that plants have been shown to reduce levels of some chemicals in laboratory experiments. There is currently no evidence, however, that a reasonable number of plants remove significant quantities of pollutants in an indoor environment. Indoor plants should not be over-watered because overly damp soil may promote the growth of microorganisms that can affect allergic individuals. At present, EPA does not recommend using air cleaners to reduce levels of radon and its decay products. The effectiveness of these devices is uncertain because they only partially remove the radon decay products and do not diminish the amount of radon entering the salon. EPA plans to do additional research on whether air cleaners are, or could become, a reliable means of reducing the health risk from radon. For most indoor air quality problems, source control is the most effective solution. This section takes a source-by-source look Page 29

31 at the most common indoor air pollutants, their potential health effects, and ways to reduce levels. Page 30 A look at source-specific controls Radon (Rn) The most common source of indoor radon is uranium in the soil or rock on which buildings are built. As uranium naturally breaks down, it releases radon gas, a colorless, odorless, radioactive gas. Radon gas enters indoor spaces through cracks in concrete walls and floors, floor drains, and sumps. When radon becomes trapped in buildings and concentrations build up indoors, exposure to radon becomes a concern. Health effects of radon The predominant health effect associated with exposure to elevated levels of radon is lung cancer. Research suggests that swallowing water with high radon levels may pose risks, too, although these are believed to be much lower than those from breathing air containing radon. Major health organizations (like the Centers for Disease Control and Prevention, the American Lung Association (ALA), and the American Medical Association) agree with estimates that radon causes thousands of preventable lung cancer deaths each year. EPA estimates that radon causes about 14,000 deaths per year in the United States however, this number could range from 7,000 to 30,000 deaths per year. Reducing exposure to radon Measure levels of radon in your salon You can t see radon, but it s not hard to find out if you have a radon problem. Testing is easy and should only take a little of your time. There are many kinds of inexpensive, do-it-yourself radon test kits you can get through the mail and in hardware stores and other retail outlets. EPA recommends that consumers use test kits that are state-certified or have met the requirements of some national radon proficiency program. If you prefer, you can hire a trained contractor to do the testing for you. You should call your state radon office to obtain a list of qualified contractors in your area. You can also contact either the National Environmental Health Association s (NEHA) National Radon Proficiency Program (NRPP) or the National Radon Safety Board (NRSB) for a list of proficient radon measurement and/or mitigation contractors. Biological contaminants Biological contaminants include bacteria, molds, mildew, viruses, dust mites, cockroaches, and pollen. There are many sources of these pollutants. Pollens originate from plants; viruses are transmitted by people and animals; bacteria are carried by people, animals, and soil and plant debris. The protein in urine from rats and mice is a potent allergen. When it dries, it can become airborne. Contaminated central air handling systems can become breeding grounds for mold, mildew, and other sources of biological contaminants and can then distribute these contaminants through the salon. By controlling the relative humidity level in an indoor environment, the growth of some sources of biologicals can be minimized. A relative humidity of percent is generally recommended. Standing water, waterdamaged materials, or wet surfaces also serve as a breeding ground for molds, mildews, bacteria, and insects. Dust mites, the source of one of the most powerful biological allergens, grow in damp, warm environments. Some biological contaminants trigger allergic reactions, including hypersensitivity pneumonitis, allergic rhinitis, and some types of asthma. Infectious illnesses, such as influenza, measles, and chickenpox are transmitted through the air. Molds and mildews release disease-causing toxins. Symptoms of health problems caused by biological pollutants include sneezing, watery eyes, coughing, shortness of breath, dizziness, lethargy, fever, and digestive problems. Allergic reactions occur only after repeated exposure to a specific biological allergen. However, that reaction may occur immediately upon re-exposure or after multiple exposures over time. As a result, people who have noticed only mild allergic reactions or no reactions at all may suddenly find themselves very sensitive to particular allergens. Some diseases, like humidifier fever, are associated with exposure to toxins from microorganisms that can grow in large building ventilation systems. However, these diseases can also be traced to microorganisms that grow in heating and cooling systems and humidifiers. Children, elderly people, and people with breathing problems, allergies, and lung diseases are particularly susceptible to disease-causing biological agents in the indoor air. Reducing exposure to biological contaminants If using cool mist or ultrasonic humidifiers, clean appliances according to manufacturer s instructions and refill with fresh water daily. Because these humidifiers can become breeding grounds for biological contaminants, they have the potential for causing diseases such as hypersensitivity pneumonitis and humidifier fever. Evaporation trays in air conditioners, dehumidifiers, and refrigerators should also be cleaned frequently. Thoroughly clean and dry water-damaged carpets and building materials (within 24 hours if possible) or consider removal and replacement. Water-damaged carpets and building materials can harbor mold and bacteria. It is very difficult to completely rid such materials of biological contaminants. Health effects of combustion products Carbon monoxide (CO) is a colorless, odorless gas that interferes with the delivery of oxygen throughout the body. At high concentrations it can cause unconsciousness and death. Lower concentrations can cause a range of symptoms from headaches, dizziness, weakness, nausea, confusion, and disorientation, to fatigue in healthy people and episodes of increased chest pain in people with chronic heart disease. The symptoms of carbon monoxide poisoning are sometimes confused with the flu or food poisoning. Fetuses, infants, elderly people, and people with anemia or with a history of heart or respiratory disease can be especially sensitive to carbon monoxide exposures. Nitrogen dioxide (NO 2 ) is a reddish-brown, irritating odor gas that irritates the mucous membranes in the eye, nose, and throat and causes shortness of breath after exposure to high concentrations. There is evidence that high concentrations or continued exposure to low levels of nitrogen dioxide increases the risk of respiratory infection; there is also evidence from animal studies that repeated

32 exposures to elevated nitrogen dioxide levels may lead or contribute to the development of lung disease such as emphysema. People at particular risk from exposure to nitrogen dioxide include children and individuals with asthma and other respiratory diseases. Particles, released when fuels are incompletely burned, can lodge in the lungs and irritate or damage lung tissue. A number of pollutants, including radon and benzo(a)pyrene, both of which can cause cancer, attach to small particles that are inhaled and then carried deep into the lung. Common products Organic chemicals are widely used as ingredients in many common, everyday products. Paints, varnishes, and wax all contain organic solvents, as do many cleaning, disinfecting, cosmetic, and degreasing products. Fuels are made up of organic chemicals. All of these products can release organic compounds while you are using them, and, to some degree, when they are stored. EPA s Total Exposure Assessment Methodology (TEAM) studies found levels of about a dozen common organic pollutants to be 2 to 5 times higher inside than outside, regardless of whether the indoor environment were located in rural or highly industrial areas. Additional TEAM studies indicate that while people are using products containing organic chemicals, they can expose themselves and others to very high pollutant levels, and elevated concentrations can persist in the air long after the activity is completed. Reducing exposure to formaldehyde Ask about the formaldehyde content of pressed wood products, including salon cabinetry and furniture before you purchase/install them. If you experience adverse reactions to formaldehyde, you may want to avoid the use of pressed wood products and other formaldehyde-emitting goods. Even if you do not experience such reactions, you may wish to reduce your exposure as much as possible by purchasing exterior-grade products, which emit less formaldehyde. For further information on formaldehyde in commercial and consumer products, call the EPA Toxic Substance Control Act (TSCA) assistance line ( ). Some studies suggest that coating pressed wood products with polyurethane may reduce formaldehyde emissions for some period of time. To be effective, any such coating must cover all surfaces and edges and remain intact. Increase the ventilation and carefully follow the manufacturer instructions while applying these coatings. (If you are sensitive to formaldehyde, check the label contents before purchasing coating products to avoid buying products that contain formaldehyde, as they will emit the chemical for a short time after application.) Maintain moderate temperature and humidity levels and provide adequate ventilation. The rate at which formaldehyde is released is accelerated by heat and may also depend somewhat on the humidity level. Therefore, the use of dehumidifiers and air conditioning to control humidity and to maintain a moderate temperature can help reduce formaldehyde emissions. Pesticides Routine treatment with pesticides is commonplace, and sometimes mandatory in commercial buildings. Products used most often are insecticides and disinfectants (see Further discussion of salon disinfection below). One study suggests that 80 percent of most people s exposure to pesticides occurs indoors and that measurable levels of up to a dozen pesticides have been found indoors. The amount of pesticides found appears to be greater than can be explained by recent pesticide use; other possible sources include contaminated soil or dust that floats or is tracked in from outside, stored pesticide containers, and surfaces that collect and then release the pesticides. Pesticides used include products to control insects (insecticides), termites (termiticides), rodents (rodenticides), fungi (fungicides), and microbes (disinfectants). They are sold as sprays, liquids, sticks, powders, crystals, balls, and foggers. EPA registers pesticides for use and requires manufacturers to put information on the label about when and how to use the pesticide. It is important to remember that the -cide in pesticides means to kill. These products can be dangerous if not used properly. In addition to the active ingredient, pesticides are also made up of ingredients that are used to carry the active agent. These carrier agents are called inerts in pesticides because they are not toxic to the targeted pest; nevertheless, some inerts are capable of causing health problems. Health effects from pesticides Both the active and inert ingredients in pesticides can be organic compounds; therefore, both could add to the levels of airborne organics inside salons. Both types of ingredients can cause the effects discussed in this document under Common products, however, as with other products, there is insufficient understanding at present about what pesticide concentrations are necessary to produce these effects. Exposure to high levels of cyclodiene pesticides, commonly associated with misapplication, has produced various symptoms, including headaches, dizziness, muscle twitching, weakness, tingling sensations, and nausea. In addition, EPA is concerned that cyclodienes might cause long-term damage to the liver and the central nervous system, as well as an increased risk of cancer. There is no further sale or commercial use permitted for the following cyclodiene or related pesticides: chlordane, aldrin, dieldrin, and heptachlor. The only exception is the use of heptachlor by utility companies to control fire ants in underground cable boxes. Reducing exposure to pesticides Read the label and follow the directions. It is illegal to use any pesticide in any manner inconsistent with the directions on its label. Unless you have had special training and are certified, never use a pesticide that is restricted to use by state-certified pest control operators. Such pesticides are simply too dangerous for application by a non-certified person. Use only the pesticides approved for use by the general public and then only in recommended amounts; increasing the amount does not offer more protection against pests and can be harmful to you and your clients, co-workers and employees. Ventilate the area well after pesticide use. Mix or dilute pesticides outdoors or in a well-ventilated area and only in the amounts that will be immediately needed. If possible, take plants outside when applying pesticides to them. Page 31

33 Use non-chemical methods of pest control when possible. Since pesticides can be found far from the site of their original application, it is prudent to reduce the use of chemical pesticides outdoors as well as indoors. Depending on the site and pest to be controlled, one or more of the following steps can be effective: use of biological pesticides, such as Bacillus thuringiensis, for the control of gypsy moths; selection of disease-resistant plants; and frequent washing of indoor plants. Termite damage can be reduced or prevented by making certain that wooden building materials do not come into direct contact with the soil. If you decide to use a pest control company, choose one carefully. Ask for an inspection of your workplace and get a written control program for evaluation before you sign a contract. The control program should list specific names of pests to be controlled and chemicals to be used; it should also reflect any of your safety concerns. Insist on a proven record of competence and customer satisfaction. Dispose of unwanted pesticides safely. If you have unused or partially used pesticide containers you want to get rid of, dispose of them according to the directions on the label or on special hazardous waste collection days. If there are no such collection days in your community, work with others to organize them. National Pesticide Information Center (NPIC) EPA sponsors the NPIC PEST ( ) to answer your questions about pesticides and to provide selected EPA publications on pesticides. Visit their website at edu/, or read their brochure at Further discussion on salon disinfection Any item that is used on a client must be disinfected or discarded. Disinfection must be done with a hospital-grade disinfectant, effective against bacteria, viruses, fungi, and pseudomonas. If implements accidentally come in contact with blood or body fluids, an EPA-registered tuberculocidal (kills tuberculosis) disinfectant or an EPA-registered disinfectant effective against HIV and HBV (hepatitis B) is required. After mixing, the disinfectant should have a ph between 2.6 and 3.2 or between 10 and 11. This will provide the most hostile environment possible to the microorganisms, without harming the user and the items being disinfected. Disinfectants must be approved by the Environmental Protection Agency (EPA) and each state. Also, federal law requires manufacturers to supply salons with material safety data sheets (MSDS), which will include important information such as directions for proper use. All distributors will provide MSDS on any item in the salon upon request. Disinfection is only done on nonporous substances such as tools, implements and countertops. Disinfection is never performed on the skin as it can harm the skin. Disinfection is chemically destroying bacteria or reducing the frequency of microbes. The ideal disinfectant should be fast acting; be effective against all types of infectious agents; disinfect without damaging or discoloring the material; be easy to prepare; be stable when exposed to light, heat, or other environmental Page 32 factors; be inexpensive; and not have an unpleasant odor. Disinfectants commonly used in the salon can include quaternary ammonium compounds and phenols. Alcohol, bleach and formalin are no longer recommended as disinfectants in the salon. They have been replaced with newer, more effective formulations. Wet Disinfection Standard All tools and implements must be disinfected by complete immersion in an EPA-registered disinfectant that is effective against HIV-1 and human hepatitis B virus or is A tuberculocidal that is mixed and used according to the manufacturer s directions. Quaternary ammonium compounds (quats) are surface-active agents with the property of producing bacteriostasis in very high dilution. Bacteriostasis means that the substance will inhibit bacterial growth but does not kill the bacteria. Consequently, removal of quats can result in a resurgence of bacterial growth; however, prolonged application can often result in bacterial death. That is one reason why it is so important to keep implements completely immersed in a disinfectant after using on a patron, for instance. In the past, quats did not satisfy all requirements as a hospital-grade disinfectant, but now quats are often mixed with other agents to increase their effectiveness. Phenol is a corrosive poisonous crystalline acidic compound present in the tars of coal and wood that in dilate solution is used as a disinfectant, such as in Lysol. With current standards of hospital-grade disinfectants, however, Lysol is not the best choice for disinfecting tools and implements. It is considered a household-level disinfectant and is not designed for professional use. Lysol can be used to disinfect doorknobs, telephones, bathrooms, floors and other non-porous surfaces. Many people may be concerned with the use of disinfectants and their impact on the environment. Unfortunately, green products that are promoted as alternative disinfectants, such as borax, vinegar, ammonia and baking soda, are much less effective than commercially produced disinfectants. The cosmetologist s concern is protecting the health and safety of the public, and so it is imperative that the correct disinfectants are used to prevent transmission of disease. EPA product registration should be the basis for purchase and use. Sodium hypochlorite (bleach) is not considered a viable option for salon disinfection anymore. It is unstable; it has the proper disinfectant qualities when mixed, but when used several hours later, may not. It has been replaced by more advanced and more reliable disinfectants. It is not recognized by the EPA. Alcohol has been used in the past as a disinfectant and an antiseptic, however, it is not the best choice either. Alcohol has been replaced with better technology. Some drawbacks to the use of alcohol include its drying effect on skin, leading to cracking;

34 it evaporates quickly, making it effective for only a few seconds; it is absorbed by the skin; and it is flammable. If hospital-grade disinfectants are required by state law, it is not permitted. Items not recommended for disinfection in a salon include ultrasonic baths used with soap and water, formalin, and UV sanitizers. Ultrasonic baths create bubbles that penetrate into the cracks and crevices of implements. They clean very well; however, they do not disinfect the implements unless used with a hospital-grade disinfectant. Formalin was used in the past as a disinfectant and to create a dry cabinet sanitizer. It has been discovered to cause cancer and other health problems, and so its use has been discontinued. Clean and disinfected implements are now simply stored in a dry, covered container until needed. Ultraviolet (UV) sanitizers are designed for storage of cleaned and disinfected implements only. They do not disinfect implements. Asbestos Asbestos is a mineral fiber that has been used commonly in a variety of building construction materials for insulation and as a fire retardant. EPA and CPSC have banned several asbestos products. Manufacturers have also voluntarily limited uses of asbestos. Today, asbestos is most commonly found in older buildings, in pipe and furnace insulation materials, asbestos shingles, millboard, textured paints and other coating materials, and floor tiles. Elevated concentrations of airborne asbestos can occur after asbestos-containing materials are disturbed by cutting, sanding or during removal. Improper attempts to remove these materials can release asbestos fibers into the air, increasing asbestos levels and endangering those working in the contaminated environment. Health effects of asbestos The most dangerous asbestos fibers are too small to be visible. After they are inhaled, they can remain and accumulate in the lungs. Asbestos can cause lung cancer, mesothelioma (a cancer of the chest and abdominal linings), and asbestosis (irreversible lung scarring that can be fatal). Symptoms of these diseases do not show up until many years after exposure began. Most people with asbestos-related diseases were exposed to elevated concentrations on the job. Reducing exposure to asbestos If you think your workplace may have asbestos, don t panic! Usually it is best to leave asbestos material that is in good condition alone. Generally, material in good condition will not release asbestos fiber. There is no danger unless fibers are released and inhaled into the lungs. Do not cut, rip, or sand asbestos-containing materials. Leave undamaged materials alone and, to the extent possible, prevent them from being damaged, disturbed, or touched. Periodically inspect for damage or deterioration. Check with local health, environmental, or other appropriate officials to find out about proper handling and disposal procedures. If asbestos material is more than slightly damaged, or if you are going to make changes in your salon that might disturb it, repair or removal by a professional is needed. Before you begin any remodel of the salon or workplace, find out whether asbestos materials are present. When you need to remove or clean up asbestos, use a professionally trained contractor. Select a contractor only after careful discussion of the problems in your workplace and the steps the contractor will take to clean up or remove them. Consider the option of sealing off the materials instead of removing them. Call EPA s TSCA assistance line at to find out whether your state has a training and certification program for asbestos removal contractors and for information on EPA s asbestos programs ( Toxic Substances Control Act (TSCA) Hotline. Sponsored by the Office of Pollution Prevention and Toxics, the TSCA Hotline provides technical assistance and information about asbestos programs implemented under TSCA, which include the Asbestos School Hazard Abatement Act (ASHAA), the Asbestos Hazard Emergency Response Act (AHERA), and the Asbestos School Hazard Abatement Reauthorization Act (ASHARA). The hotline provides copies of TSCA information, such as Federal Register notices and support documents, to requesters through its clearinghouse function. address: tsca-hotline@epa.gov Hours of Service: 8:30 a.m. - 5:00 p.m. (EST) M - F Telephone: TDD: Fax: (Fax available 24 hours a day) Lead (Pb) Lead has long been recognized as a harmful environmental pollutant. In late 1991, the secretary of the Department of Health and Human Services called lead the number one environmental threat to the health of children in the United States. There are many ways in which humans are exposed to lead: through air, drinking water, food, contaminated soil, deteriorating paint, and dust. Airborne lead enters the body when an individual breathes or swallows lead particles or dust once it has settled. Before it was known how harmful lead could be, it was used in paint, gasoline, water pipes, and many other products. See also, EPA s website at Old lead-based paint is the most significant source of lead exposure in the U.S. today. Harmful exposures to lead can be created when lead-based paint is improperly removed from surfaces by dry scraping, sanding, or open-flame burning. High concentrations of airborne lead particles can also result from lead dust from outdoor sources, including contaminated soil tracked inside. Health effects of exposure to lead Lead affects practically all systems within the body. At high levels it can cause convulsions, coma, and even death. Lower levels of lead can adversely affect the brain, central nervous system, blood cells, and kidneys. The effects of lead exposure on fetuses and young children can be severe. They include delays in physical and mental development, lower IQ levels, shortened attention spans, and increased behavioral problems. Fetuses, infants, and children are more vulnerable to lead exposure than adults because lead Page 33

35 is more easily absorbed into growing bodies, and the tissues of small children are more sensitive to the damaging effects of lead. Children may have higher exposures because they are more likely to get lead dust on their hands and then put their fingers or other lead-contaminated objects into their mouths. It is critical that salon professionals understand these threats to protect the health and well-being of pregnant clients and clients with children accompanying them to the salon. Children should be tested for lead exposure. To find out where to do this, call your doctor or local health clinic. For more information on health effects, get a copy of the Centers for Disease Control s booklet Preventing Lead Poisoning in Young Children (October 1991). As this is such an important health concern for youngsters, it would be very helpful to make this material available to your client base. Ways to reduce exposure to lead Keep areas where children wait and play as dustfree and clean as possible. If your salon is likely to pose a threat of lead contact, mop floors and wipe window ledges with a solution of powdered automatic dishwasher detergent in warm water. (Dishwasher detergents are recommended because of their high content of phosphate.) Most multi purpose cleaners will not remove lead in ordinary dust. Wash any toys that are kept in the salon to entertain children regularly. Reduce the risk from lead-based paint. Most commercial buildings built before 1960 contain heavily leaded paint. This paint could be on window frames, walls, the outside of buildings, or other surfaces. Do not burn painted wood because it may contain lead. Leave lead-based paint undisturbed if it is in good condition do not sand or burn off paint that may contain lead. Lead paint in good condition is usually not a problem except in places where painted surfaces rub against each other and create dust (for example, opening a window). Do not remove lead paint yourself. Individuals have been poisoned by scraping or sanding lead paint because these activities generate large amounts of lead dust. Consult your state health or housing department for suggestions on which private laboratories or public agencies may be able to help test your salon for lead in paint. Commercial test kits cannot detect small amounts of lead under some conditions. Hire a person with special training for correcting lead paint problems to remove lead-based paint. Workers and clients, especially children and pregnant women, should not be allowed in the salon until all work is finished and cleanup is done. Find out about lead in drinking water. Most well and city water does not usually contain lead. Water usually picks up lead inside the home from household plumbing that is made with lead materials. The only way to know if there is lead in drinking water is to have it tested. Contact the local health department or water supplier to find out how to get the water tested. Send for the EPA pamphlet, Lead and Your Page 34 Drinking Water, for more information about what you can do if you have lead in your drinking water. Call EPA s Safe Drinking Water Hotline ( ) for more information. You can get a brochure and more information by calling the National Lead Information Center, LEAD ( ) or see EPA s Lead in Paint, Dust and Soil page at www. epa.gov/lead/pubs/leadinfo.htm See also, EPA s website at www. epa.gov/lead. What about carpet? In recent years, a number of consumers have associated a variety of symptoms with the installation of new carpet. Scientists have not been able to determine whether the chemicals emitted by new carpets are responsible. If new carpet is being installed in your salon, you may wish to take the following steps (or stress their importance to your employer): Talk to your carpet retailer. Ask for information on emissions from carpet. Ask the retailer to unroll and air out the carpet in a wellventilated area before installation. Ask for low-emitting adhesives if adhesives are needed. Consider leaving the premises during and immediately after carpet installation. You may wish to schedule the installation when most family members or office workers are out. Be sure the retailer requires the installer to follow the Carpet and Rug Institute s installation guidelines. Open doors and windows. Increasing the amount of fresh air in the salon will reduce exposure to most chemicals released from carpet. During and after installation, use window fans, room air conditioners, or other mechanical ventilation equipment you may have installed to exhaust fumes to the outdoors. Keep them running for 48 to 72 hours after the new carpet is installed. Contact your carpet retailer if objectionable odors persist. Follow the manufacturer s instructions for proper carpet maintenance. Do you suspect your salon has an indoor air problem? Indoor air quality problems are not limited to salons where fumes are often prevalent. In fact, many commercial and office buildings have significant air pollution sources. Some of these buildings may be inadequately ventilated. For example, mechanical ventilation systems may not be designed or operated to provide adequate amounts of outdoor air. Finally, people generally have very little control over the indoor environment in spaces within a commercial or office structure. As a result, there has been an increase in the incidence of reported health problems. Health effects A number of well-identified illnesses, such as Legionnaires disease, asthma, hypersensitivity pneumonitis, and humidifier fever, have been directly traced to specific building problems. These are called building-related illnesses. Most of these diseases can be treated, but some pose serious risks. Sometimes, however, building occupants experience symptoms that do not fit the pattern of any particular illness and are difficult to trace to any specific source. This phenomenon has been labeled sick building syndrome. People may complain of

36 one or more of the following symptoms: dry or burning mucous membranes in the nose, eyes, and throat; sneezing; stuffy or runny nose; fatigue or lethargy; headache; dizziness; nausea; and irritability and forgetfulness. Poor lighting, noise, vibration, thermal discomfort, and psychological stress may also cause or contribute to these symptoms. There is no single manner in which these health problems appear. In some cases, problems begin as workers enter their workspace and diminish as they leave; other times, symptoms continue until the illness is treated. Sometimes there are outbreaks of illness among many workers in a single building; in other cases, health symptoms show up only in individual workers. In the opinion of some World Health Organization experts, up to 30 percent of new or remodeled commercial buildings may have unusually high rates of health and comfort complaints from occupants that may be related to indoor air quality. What causes problems? Three major reasons for poor indoor air quality in commercial buildings are the presence of indoor air pollution sources; poorly designed, maintained, or operated ventilation systems; and uses of the building that were unanticipated or poorly planned for when the building was designed or renovated. Sources of office air pollution The most important factor influencing indoor air quality is the presence of pollutant sources. Commonly found office pollutants and their sources include asbestos from insulating and fire-retardant building supplies; formaldehyde from pressed wood products; other organics from building materials, carpet, and other office furnishings, cleaning materials and activities, restroom air fresheners, paints, adhesives, copying machines, and photography and print shops; biological contaminants from dirty ventilation systems or water-damaged walls, ceilings, and carpets; and pesticides from pest management practices. Ventilation systems Mechanical ventilation systems in large buildings are designed and operated not only to heat and cool the air, but also to draw in and circulate outdoor air. If they are poorly designed, operated, or maintained, however, ventilation systems can contribute to indoor air problems in several ways. For example, problems arise when, in an effort to save energy, ventilation systems are not used to bring in adequate amounts of outdoor air. Inadequate ventilation also occurs if the air supply and return vents within each room are blocked or placed in such a way that outdoor air does not actually reach the breathing zone of building occupants. Improperly located outdoor air intake vents can also bring in air contaminated with automobile and truck exhaust, boiler emissions, fumes from dumpsters, or air vented from restrooms. Finally, ventilation systems can be a source of indoor pollution themselves by spreading biological contaminants that have multiplied in cooling towers, humidifiers, dehumidifiers, air conditioners, or the inside surfaces of ventilation duct work. Use of the building Indoor air pollutants can be circulated from portions of the building used for specialized purposes, such as restaurants, print shops, and dry-cleaning stores, into other areas in the same building. Carbon monoxide and other components of automobile exhaust can be drawn from underground parking garages through stairwells and elevator shafts into office, rental or retail spaces. In addition, buildings originally designed for one purpose may end up being converted to use as office or rental space. If not properly modified during building renovations, the room partitions and ventilation system can contribute to indoor air quality problems by restricting air recirculation or by providing an inadequate supply of outdoor air. What to do if you suspect a problem If you or others at your salon are experiencing health or comfort problems that you suspect may be caused by indoor air pollution, you can do the following: Talk with other employees and your supervisor to see if the problems are being experienced by others and urge that a record of reported health complaints be kept by management if one has not already been established. Talk with your own physician and report your problems to the company physician, nurse, or health and safety officer. Call your state or local health department (see our Where You Live pages at or air pollution control agency to talk over the symptoms and possible causes. You can encourage building management to follow guidance in EPA s IAQ Building Education and Assessment Model (I-BEAM). I-BEAM updates and expands EPA s existing building air quality guidance and is designed to be comprehensive state-of-the-art guidance for managing IAQ in commercial buildings. This guidance was designed to be used by building professionals and others interested in indoor air quality in commercial buildings. I-BEAM contains text, animation/visual, and interactive/calculation components that can be used to perform a number of diverse tasks. You can also encourage building management to follow guidance in EPA and NIOSH s Building Air Quality: A Guide for Building Owners and Facility Managers. Frequently, indoor air quality problems in large commercial buildings cannot be effectively identified or remedied without a comprehensive building investigation. These investigations may start with written questionnaires and telephone consultations in which building investigators assess the history of occupant symptoms and building operation procedures. In some cases, these inquiries may quickly uncover the problem and on-site visits are unnecessary. More often, however, investigators will need to come to the building to conduct personal interviews with occupants, to look for possible sources of the problems, and to inspect the design and operation of the ventilation system and other building features. Because taking measurements of pollutants at the very low levels often found in office buildings is expensive and may not yield information readily useful in identifying problem sources, investigators may not take many measurements. The process of solving indoor air quality problems that result in health and comfort complaints can be a slow one, involving several trial solutions before successful remedial actions are identified. If a professional company is hired to conduct a building investigation, select a company on the basis of its Page 35

37 experience in identifying and solving indoor air quality problems in non-industrial buildings. Work with others to establish a smoking policy that eliminates involuntary nonsmoker exposure to environmental tobacco smoke. Call the National Institute for Occupational Safety and Health (NIOSH) for information on obtaining a health hazard evaluation of your office (800-35NIOSH), or contact the Occupational Safety and Health Administration, Reference guide to major indoor air pollutants The pollutants listed in this guide have been shown to cause the health effects mentioned. However, it is not necessarily true that the effects noted occur at the pollutant concentration levels typically found in a work environment. In many cases, our understanding of the pollutants and their health effects is too limited to determine the levels at which the listed effects could occur. Radon (Rn) Sources: Earth and rock beneath building; well water; building materials. Health effects: No immediate symptoms. Estimated to contribute to between 7,000 and 30,000 lung cancer deaths each year. Smokers are at higher risk of developing radon-induced lung cancer. Steps to reduce exposure: Test your workplace for radon; it s easy and inexpensive. Seek necessary repairs if your radon level is 4 picocuries per liter (pci/l) or higher. Radon levels less than 4 pci/l still pose a risk, and in many cases may be reduced. If you want more information on radon, contact your state radon office, or call 800-SOS-RADON. Biologicals Sources: Wet or moist walls, ceilings, carpets, and furniture; poorly maintained humidifiers, dehumidifiers, and air conditioners. Health effects: Eye, nose, and throat irritation; shortness of breath; dizziness; lethargy; fever; digestive problems. Can cause asthma; humidifier fever; influenza and other infectious diseases. Steps to reduce exposure: Install and use fans vented to outdoors in break areas and bathrooms. Vent clothes dryers to outdoors. Clean cool mist and ultrasonic humidifiers in accordance with manufacturer s instructions and refill with clean water daily. Empty water trays in air conditioners, dehumidifiers, and refrigerators frequently. Clean and dry or remove water-damaged carpets. Carbon monoxide (CO) Sources: Unvented kerosene and gas space heaters; leaking furnaces; back-drafting from furnaces, gas water heaters and fireplaces. Automobile exhaust from attached garages. Page 36 Health effects: At low concentrations, fatigue in healthy people and chest pain in people with heart disease. At higher concentrations, impaired vision and coordination; headaches; dizziness; confusion; nausea. Can cause flu-like symptoms that clear up after leaving affected area. Fatal at very high concentrations. Steps to reduce exposure: Keep gas appliances properly adjusted. Consider purchasing a vented space heater when replacing an unvented one. Use proper fuel in kerosene space heaters. Have a trained professional inspect, clean, and tune-up central heating system (furnaces and flues) annually. Repair any leaks promptly. Nitrogen dioxide (NO 2 ) Sources: Kerosene heaters, unvented gas heaters. Health effects: Eye, nose, and throat irritation. May cause impaired lung function and increased respiratory infections in young children. Steps to reduce exposure: See steps under carbon monoxide. Organic gases Sources: Common products, including paints, paint strippers and other solvents; wood preservatives; aerosol sprays; cleansers and disinfectants; air fresheners; stored fuels; dry-cleaned clothing. Health effects: Eye, nose, and throat irritation; headaches, loss of coordination, nausea; damage to liver, kidney, and central nervous system. Some organics can cause cancer in animals; some are suspected or known to cause cancer in humans. Steps to reduce exposure: Use above products according to manufacturer s directions. Make sure you provide plenty of fresh air when using these products. Throw away unused or little-used containers safely; buy in quantities that you will use soon. Keep out of reach of children. Never mix these products (especially cleaning products) unless directed on the label. Respirable particles Sources: Furnaces, kerosene heaters. Health effects: Eye, nose, and throat irritation; respiratory infections and bronchitis; lung cancer. Steps to reduce exposure: Vent all furnaces to outdoors; keep doors open when using unvented space heaters. Have a trained professional inspect, clean, and tune-up central heating system (furnace and flues) annually. Repair any leaks promptly. Change filters on central heating and cooling systems and air cleaners according to manufacturer s directions. Formaldehyde Sources: Pressed wood products (hardwood plywood wall paneling, particleboard, fiberboard) and furniture made with

38 these pressed wood products. Urea-formaldehyde foam insulation (UFFI). Combustion sources. Durable press drapes, other textiles, and glues. Health effects: Eye, nose, and throat irritation; wheezing and coughing; fatigue; skin rash; severe allergic reactions. May cause cancer. May also cause other effects listed under organic gases. Steps to reduce exposure: Use exterior-grade pressed wood products (lower-emitting because they contain phenol resins, not urea resins). Use air conditioning and dehumidifiers to maintain moderate temperature and reduce humidity levels. Increase ventilation, particularly after bringing new sources of formaldehyde into the work area. Pesticides Sources: Products used to kill household pests (insecticides, termiticides, and disinfectants). Health effects: Irritation to eye, nose, and throat; damage to central nervous system and kidney; increased risk of cancer. Steps to reduce exposure: Use strictly according to manufacturer s directions. Mix or dilute outdoors. Apply only in recommended quantities. Increase ventilation when using indoors. Take plants outdoors when applying pesticides to them. Use non-chemical methods of pest control where possible. If you use a pest control company, select it carefully. Do not store unneeded pesticides inside; dispose of unwanted containers safely. Keep indoor spaces clean, dry, and well ventilated to avoid pest and odor problems. Asbestos Sources: Deteriorating, damaged, or disturbed insulation, fireproofing, acoustical materials, and floor tiles. Health Effects: No immediate symptoms, but long-term risk of chest and abdominal cancers and lung diseases. Smokers are at higher risk of developing asbestos-induced lung cancer. Steps to reduce exposure: It is best to leave undamaged asbestos material alone if it is not likely to be disturbed. Use trained and qualified contractors for control measures that may disturb asbestos and for cleanup. Follow proper procedures in replacing wood stove door gaskets that may contain asbestos. Lead (Pb) Sources: Lead-based paint, contaminated soil, dust, and drinking water. Health effects: Lead affects practically all systems within the body. Lead at high levels (lead levels at or above 80 micrograms per deciliter (80 ug/dl) of blood) can cause convulsions, coma, and even death. Lower levels of lead can cause adverse health effects on the central nervous system, kidney, and blood cells. Blood lead levels as low as 10 ug/dl can impair mental and physical development. Steps to reduce exposure: Keep areas where children wait and play as dust-free and clean as possible. Leave lead-based paint undisturbed if it is in good condition; do not sand or burn off paint that may contain lead. Do not remove lead paint yourself. Do not bring lead dust into the work area. Where to go for additional information on indoor air quality Federal information sources for indoor air quality Federal agencies with indoor air quality information may be contacted as follows: U. S. Environmental Protection Agency (U.S. EPA) EPA supports the following hotlines to best serve consumers with radon-related questions and concerns SOS-RADON ( )* Purchase radon test kits by phone RADON ( )* Get live help for your radon questions * Radon Fit-It Hotline. For general information on fixing or reducing radon levels. * Operated by Kansas State University in partnership with EPA Safe Drinking Water Hotline. For general information on drinking water, radon in water, testing and treatment, and standards for radon drinking water. Operated under a contract with EPA. Kansas State University (KSU) Website: Phone: Fax: Radon@ksu.edu As a partner in the Midwest Universities Radon Consortium, conducts National Radon Program Services, including the National Radon Poster Contest, National Radon hotlines, and referrals to state radon programs, radon test kit coupons, radon mitigation promotion and other outreach activities. National Radon Hotline RADON ( ) Information recording operates 24 hours a day. National Lead Information Center LEAD ( ) Operates 24 hours a day, seven days a week. Callers may order an information package or speak to an information specialist. Operates Monday to Friday from 8:30 a.m. to 5:00 p.m. EST. National Pesticide Information Center (NPIC) EPA sponsors the NPIC PEST ( ) to answer your questions about pesticides and to provide selected EPA publications on pesticides. See its website at orst.edu/or, read a brochure at Operates Monday to Friday from 6:30 a.m. to 4:30 p.m. PST. Provides information about pesticides to the general public and the medical, veterinary, and professional communities. Medical and government personnel may call RCRA/Superfund Hotline National toll-free number: In Washington, DC area: Page 37

39 Operates Monday to Friday from 8:30 a.m. to 7:30 p.m. EST. Provides information on regulations under both the Resources Conservation and Recovery Act (including solid and hazardous waste issues) and the Superfund law. Safe Drinking Water Hotline Operates Monday to Friday from 8:30 a.m. to 5:00 p.m. EST. Provides information on regulations under the Safe Drinking Water Act, lead and radon in drinking water, filter information, and a list of state drinking water offices. TSCA Assistance Information Service Operates Monday to Friday from 8:30 a.m. to 5:00 p.m. EST. Provides information on regulations under the Toxic Substances Control Act and on EPA s asbestos program. U.S. Consumer Product Safety Commission (CPSC) Washington, DC Product Safety Hotline: CPSC ( ) Teletypewriter for the hearing impaired (outside Maryland): ; Maryland only: Recorded information is available 24 hours a day when calling from a touch-tone phone. Operators are on duty Monday to Friday from 10:30 a.m. to 4:00 p.m. EST to take complaints about unsafe consumer products. U.S. Department of Housing and Urban Development Office of Energy and the Environment, Washington, DC HUD USER national toll-free number: In Washington, DC area: U.S. Department of Energy Office of Energy Efficiency and Renewable Energy U.S. Public Health Service Division of Federal Occupational Health Office of Environmental Hygiene, Region III, Room Market St., Philadelphia, PA ; fax: Provides indoor air quality consultative services to federal agency managers. Centers for Disease Control and Prevention Lead Poisoning Prevention Branch Centers for Disease Control and Prevention 4770 Buford Highway, NE (F-42) Atlanta, GA Office on Smoking and Health Centers for Disease Control and Prevention 4770 Buford Highway, NE (K-50) Atlanta, GA Occupational Safety and Health Administration (OSHA) Office of Information and Consumer Affairs Room N-3647, 200 Constitution Avenue, NW Washington, DC State and local organizations Your questions or concerns about indoor air problems can frequently be answered by the government agencies in your state or local government. Responsibilities for indoor air quality issues are usually divided among many different agencies. Calling or writing the agencies responsible for health or air quality control is the best way to start getting information from your state or local government. EPA maintains a list of state agency contacts at just click on your state. Other organizations The following organizations have information specifically discussed in this booklet. For more related links, see gov/iaq/moreinfo.html. American Society of Heating, Refrigerating, and Air- Conditioning (ASHRAE) 1791 Tullie Circle NE Atlanta, GA World Health Organization (WHO) Publications Center 49 Sheridan Avenue Albany, NY Your Local American Lung Association (ALA) National ALA Headquarters 1740 Broadway New York, NY LUNG-USA ( ) Other resources Building Air Quality: A Guide for Building Owners and Facility Managers Appendix F: Glossary and Acronyms (PDF) IAQ publications Media/public service announcements The EPA has developed a wide variety of media materials, including public service announcements (PSAs) and video news releases (VNRs). Glossary of terms. Acid aerosol: Acidic liquid or solid particles that are small enough to become airborne. High concentrations of acid aerosols can be irritating to the lungs and have been associated with some respiratory diseases, such as asthma. Animal dander: Tiny scales of animal skin. Allergen: A substance capable of causing an allergic reaction because of an individual s sensitivity to that substance. Page 38

40 Allergic rhinitis: Inflammation of the mucous membranes in the nose that is caused by an allergic reaction. Building-related illness: A discrete, identifiable disease or illness that can be traced to a specific pollutant or source within a building. (Contrast with Sick building syndrome ). Chemical sensitization: Evidence suggests that some people may develop health problems characterized by effects such as dizziness, eye and throat irritation, chest tightness, and nasal congestion that appear whenever they are exposed to certain chemicals. People may react to even trace amounts of chemicals to which they have become sensitized. Environmental tobacco smoke (ETS): Mixture of smoke from the burning end of a cigarette, pipe, or cigar and smoke exhaled by the smoker (also secondhand smoke or passive smoking). See Fungi: Any of a group of parasitic lower plants that lack chlorophyll, including molds and mildews. (see mold) Humidifier fever: A respiratory illness caused by exposure to toxins from microorganisms found in wet or moist areas in humidifiers and air conditioners. Also called air conditioner or ventilation fever. Hypersensitivity pneumonitis: A group of respiratory diseases that cause inflammation of the lung (specifically granulomatous cells). Most forms of hypersensitivity pneumonitis are caused by the inhalation of organic dusts, including molds. Organic compounds: Chemicals that contain carbon. Volatile organic compounds vaporize at room temperature and pressure. They are found in many indoor sources, including many common household products and building materials. Picocurie (pci): A unit for measuring radioactivity, often expressed as picocuries per liter (pci/l) of air. Pressed wood products: A group of materials used in building and furniture construction that are made from wood veneers, particles, or fibers bonded together with an adhesive under heat and pressure. Radon (Rn) and radon decay products: Radon is a radioactive gas formed in the decay of uranium. The radon decay products (also called radon daughters or progeny) can be breathed into the lung where they continue to release radiation as they further decay. Sick building syndrome: Term that refers to a set of symptoms that affect some number of building occupants during the time they spend in the building and diminish or go away during periods when they leave the building. Cannot be traced to specific pollutants or sources within the building. (Contrast with building-related illness ). Ventilation rate: The rate at which indoor air enters and leaves a building. Expressed in one of two ways: the number of changes of outdoor air per unit of time (air changes per hour, or ach ) or the rate at which a volume of outdoor air enters per unit of time (cubic feet per minute, or cfm ). Indoor Air Quality guide Self-Assessment Select the best answer for each question and mark your answers on the Self-Assessment Answer Sheet on page 89 or complete your test online at A growing body of scientific evidence indicates that: a. Air outside of buildings is more seriously polluted than air inside. b. Air inside buildings is more seriously polluted that air outside. c. Air pollution exists at the same levels both inside and outside. d. Air inside buildings is significantly less polluted than air outside. 17. To be most effective, an air cleaner needs: a. A very efficient collector with a high air-circulation rate. b. A very efficient collector with a low air-circulation rate. c. A less efficient collector with a low air circulation rate. d. A less efficient collector with a high air-circulation rate. 18. The predominant health effect associated with exposure to elevated levels of radon is: a. Emphysema. b. Migraine headaches. c. Arthritis. d. Lung cancer. 19. In 1991, the Secretary of the Department of Health and Human Services referred to which of the following chemical contaminants as the number one environmental threat to the health of children in the United States? a. Radon. b. Lead. c. Second-hand smoke. d. Pesticides. 20. It is encouraged that you seek necessary repairs in your workplace if the radon level is picocuries per liter (pci/l) or higher. a. 1. b. 2. c. 3. d. 4. References Last updated on Tuesday, November 24, Page 39

41 Chapter 5 Hair Color Principles (4 CE Hours) Learning objectives Identify the three primary colors and the use of the color wheel. Describe how to produce secondary colors using primary colors. Describe the proper uses of hair dyes. Discuss the importance of client consultation prior to hair coloring. Discuss the various types of hair color and tints. Identify the use of fillers. Discuss various hair coloring techniques. Introduction To best serve clients, it is important to know not only how to do their hair, but why the products and chemicals work the way that they do. To understand why products work a certain way, it is important to understand the histology (study of the minute structures) of the hair, skin and nails. In the Chemical Make-up section, we discussed the Parts of the Hair and ph. We continue with that basis to examine hair color principles. The color wheel Knowledge of the color wheel and how it works is of utmost importance to the colorist. It is essential that the hairdresser understand why color works the way it does and how to correct color if it goes awry. The basis for the color wheel are the three primary colors; red, yellow and blue. These colors cannot be achieved from mixing colors. Red and yellow are warm colors, and blue the only primary. Blue is also the strongest of the primary colors, red is the medium primary color and yellow is the weakest primary color. All colors are created from these three primary colors. When all three colors are mixed in equal proportions, the colors create black or brown. Mixing two primary colors produces a secondary color. These colors are orange, green and violet. Orange is a mixture of red and yellow, green is a mixture of blue and yellow, and violet is a mixture of red and blue. Tertiary colors are created by mixing one primary and one secondary color that are adjacent to each other on the color wheel. Examples include red-orange, yellow-green and blue-violet. Complementary colors are colors that are located opposite each other on the color wheel. Mixing these two colors will result in a neutral color. In essence, any time complementary colors are mixed, what is really happening is that all three primary colors are being mixed. For instance, red and green are complementary colors. Green is created by mixing yellow and blue, so when you mix red and green you are really mixing red, yellow and blue. Yellow and violet are complementary colors. When you mix the two, you are really mixing yellow, red, and blue. The color wheel is a cosmetologist s best friend. If one tints a client s hair and it turns green, the color can be neutralized with red. If the color inadvertently turns orange, it can be fixed with blue. Page 40 ph It is necessary to look at ph whenever discussing products that are placed on the hair, skin or nails. ph stands for potential hydrogen. An acid is a substance that donates one or more hydrogen (H+) ions, while a base or alkaline solution is a substance that accepts one or more hydrogen (H+) ions. In a sample of pure water, a small portion of H 2 O molecules undergoes disassociation to product H+ ions and OH- (hydroxide) ions. When the concentrations of H+ and OH- ions are equal to each other, as in pure water, the ph value is 7. In acidic solutions, ph values fall below 7, while in basic (or alkaline) solutions, they go above 7. The ph of hair, skin and nails is 4.5 to 5.5. The ph scale ranges from Each step on the ph scale is 10 times stronger than the previous step. A ph of 6 is ten times stronger than a ph of 5. A ph of 7 (pure water) is a hundred times stronger than a ph of 5 (the ph of hair). The ph of hair lightener is 10, which is 100,000 times stronger than the ph of the hair. Acids contract and harden the hair. Glycerol monothioglycolate, used in perming is acidic. Alkalis soften and swell the hair. Sodium Hydroxide (lye) used in chemical hair relaxing is an alkaline substance. Client consultation One of the most important parts of the haircoloring process is the consultation. This is where one needs to determine the color the client desires and also the technique they want, such as a tint, cap highlight or foils. It is important to question the client and then use reflective listening to ensure both client and hairstylist are on the same page. Reflective listening involves the hairstylist asking the client a question and then repeating back to the client what he or she thought the client said. This will help to clarify the client s desires. The use of haircolor swatches and photographs will be very helpful in this process. However, as the professional, the haircolorist then must determine the color formula based on the client s hair color and condition. Haircoloring and the hair strand Natural hair color is created by a combination of eumelanin (brown and black color) and pheomelanin (red, ginger and golden blonde color). All natural hair color is a combination in differing degrees of eumelanin and pheomelanin. Gray hair is the absence of melanin. When using temporary color, the color simply coats the outside of the cuticle until the next shampoo, when it is removed. The color uses large molecules too big to penetrate into the hair. The action involved is a physical action of coating the hair shaft, not a chemical action of penetrating it. Temporary haircolor uses food grade dyes approved by the FDA, called certified colors, but has no ammonia, so the cuticle is not opened. The client s natural color is retained and the temporary color rinses out. You can only go darker with temporary color, and no patch test is necessary. Types of temporary hair colors include mascara and colored mousse. What are the drawbacks to temporary colors? The color may run if the client s head gets wet in the rain, or if they sweat

42 profusely. Spray-on temporary hair color can contain metallic salts that can build-up and cause adverse chemical reactions with future chemical services. Also, temporary dyes are flammable. A newer product that is becoming quite popular with younger clients is direct dyes. Direct dyes are applied directly from the tube or bottle without being mixed with anything. They come in a wide variety of unnatural colors and are intended to wash out of the hair. To get a true color effect before applying the dye, the hair should be bleached PAST the pale yellow stage. If not, the yellow in the hair will contribute pigment to the direct dye, creating an entirely new color. For instance, applying blue over yellow hair will create green. The longer you wait between the lightener and direct dye (as much as 2-3 days), the easier it will be to remove the direct dye when the client tires of it. This will insure that the cuticle is closed and the direct dye will simply stain the cuticle of the hair. If however, all the lightener is not rinsed out prior to applying the direct dye, the color will deposit into the cortex, making it much more difficult to remove. Unfortunately, direct dyes generally fade very quickly. Red fades to a washed out pink, blue fades to sea green, pink fades to orange, green fades to a dull green. In addition to having to frequently reapply the color, the inevitable regrowth will occur in a few weeks. The regrowth will need to be pre-lightened to the same shade of blonde and then the direct dye will need to be applied again. Another drawback to direct dyes is that these colors are bright and their job is to stain. Shampoo bowls, towels, etc. will often suffer from these colors, and if a client is not rinsed, and rinsed, and rinsed while in the salon, the after-effect at home may not be so pretty. Acrylic tubs and showers are vulnerable, as well as marble, porous tile and grout. To get the vibrant color to stay as long as possible, rinse the client s hair with cool or warm water, rather than hot. Do not use a clarifying shampoo. One tablespoon of the color can be mixed into the client s shampoo bottle to keep the color looking good for a longer amount of time. Again, however, the client s bathroom may suffer. Another trick to keep the color in longer is to rinse the hair with white vinegar. Mix equal amounts of white vinegar and water in a cup (about half a cup of each) and rinse the direct dye from the hair with warm water until the water runs clear. Pour on the vinegar and water, comb it through and rinse it out. The only direct dye shade that tends to not fade is basic raven black. When applying the color, make sure the skin around the hairline and the ears are covered with a protective cream. The hair can then be covered with a plastic bag and then placed under a warm dryer for longer lasting results. The longer the color is allowed to remain on the hair, the longer it will last. What happens when you are ready to get rid of the crazy color? You can let it grow out, cover it with a dark color, or you can mix up some lightener and apply until the color is removed or faded to the point it can be easily covered up. What about the young blonde client who decides they want an edgy goth look? The best shade is a soft or natural black, not a blue black. You might want to consider using an eyebrow tint to dye their eyebrows to match. Eyebrow and eyelash tints are specialized tints made out of henna, not aniline derivative tints which could cause blindness. When using semi-permanent haircolor you can only go darker. The molecules are a medium size so they partially penetrate the cuticle, and stain the outside of the hair. The tint only lasts 6-8 shampoos, but does require a patch test. Semi-permanent color has a ph of 8.0 to 9.0 which causes a slight alkaline reaction to swell the hair and open the cuticle. A neutral or slightly acid rinse is used to stop the alkaline reaction, which closes the cuticle and traps some of the color molecules inside. Semi-permanent color is less damaging than permanent color. It causes a mild chemical and physical change in the hair. There are some concerns with semi-permanent color. Semipermanent color is derived from benzidine, a known carcinogen. After it is applied to the hair, the color can revert back to benzidine. Two colors that may be added to semi-permanent tint are Direct Black 38 and Direct Blue 6. They are also carcinogenic. Semipermanent tints can also contain ammonia and resorcinol. Tints formulated without these two chemicals are safer for the client. A product that only lasts 6-8 shampoos was sufficient when most American women went to the beauty salon and had their hair done once a week. However, when styles changed and many women started shampooing daily or every other day, semipermanent color wasn t filling their needs any more. To fill in the gap between semi-permanent tint and permanent tint, demipermanent (or long lasting semi-permanent) tint was developed. Many people think it is the same as semi-permanent color. However it contains oxidation, which means it stays in the hair. True semi-permanent color is basically a stain because it doesn t actually penetrate the cuticle of the hair. It lies between the outer cuticle layers and gradually comes out. The demi-permanent haircolor (or semi-permanent polymer) process falls between the semi-permanent and permanent tinting process. This type of color uses a catalyst that is a mild peroxide developer with a non-ammonia alkali to swell the cuticle which allows the tint molecules to penetrate into the cortex and deposit color inside the hair shaft. A neutral or acid rinse is used to stop the swelling and allow the cuticle to close, trapping the color molecules inside. This mild action does not lighten the melanin and barely changes the hair structure. The color molecules are very small however, so over 6-8 weeks will fade as the color molecules slip back out of the cuticle and cortex. One can only go darker and a patch test is required. Demi-permanent color is used mostly to refresh the midshaft to ends of previously tinted hair, as it is milder than permanent haircolor. With what chemicals should you be concerned in a demipermanent tint? The tints use mostly aniline derivative dyes, which require a patch test before using. The alkali used to swell the cuticle is from either monoethanolylamine (MEA) or amino methyl propanol (AMP). MEA is ph adjuster that can release nitrosamines which have been shown to cause cancer in animals and can cause severe eye irritation in humans. There are three kinds of permanent tints, only one of which is used in salons. They are vegetable dyes such as henna, metallic dyes such as those used to gradually cover gray and aniline dyes or oxidation tints which are used in the salon. The first commercial haircolor was created in 1909 by French chemist Eugene Schuller. He used the chemical paraphenylenediamine to create a safe haircolor. Paraphenylenediamine is still used 100 years later in aniline derivative tints. Today, over 75 percent of women color their Page 41

43 hair, and it is a service which is growing by leaps and bounds with the male segment of the population. Permanent aniline derivative haircolor, also known as oxidation tints, penetrating tints, synthetic organic tints and para-dyes, are used daily in the salon. How do they work? Permanent aniline derivative haircolor is mixed with a developer, and it remains in the cortex until it grows out. One can go lighter or darker with permanent haircoloring and it requires a patch test. When the small tint molecules are mixed with the developer, they begin to expand into larger molecules that become trapped in the hair. The color-forming ingredients, known as primary intermediates, consist mainly of para-phenylenediamine. When combined with the oxidizer hydrogen peroxide, a color change results. If the client desires a darker look, the cuticle must be opened so that the tint can be deposited into the cortex of the hair. If the client desires a lighter look, the tint simultaneously lightens the natural color of the hair and deposits a new color. Ammonia acts as the alkaline chemical that opens the cuticle and it acts as the catalyst when the tint mixes with the hydrogen peroxide. Hydrogen peroxide is used as the developer which causes the tint to develop and deposit color and it acts as the oxidizing agent which is what diffuses the natural melanin (or oxides it). The peroxide breaks the chemical bonds in hair, releasing sulfur, which accounts for the characteristic odor of haircolor. As the melanin is broken up, a new permanent color is deposited in the hair cortex. In addition, alcohols and conditioners may also be present. The conditioners close the cuticle to seal in and protect the new color. These tints have the smallest molecule of all tint types which makes it easier for them to penetrate the hair shaft and the scalp. It causes the hair structure to be permanently changed and the cuticle remains slightly shifted. A concern for most cosmetologists is the fading of red tints. Most color molecules are long and narrow. Red dyes have a diamond shape, so they don t color as easily and the color tends to fade. Red is extremely light-sensitive. The red dye most commonly used in haircolor was banned in the United States in the 1970s due to a cancer scare associated with all red dyes. That s when manufacturers in the US were forced to manipulate the shape of molecules in the red dyes as a substitute for the banned dyes. With what chemicals should you be concerned in permanent tint? Permanent tints contain para-phenylenediamines which are derived from coal tar. The darker the color, the more phenylenediamine is present in the tint. This can cause skin, eye and respiratory sensitization, severe allergies, which can cause facial and neck swelling, dermatitis in the form of skin rashes, and it becomes mutagenic (inducing or increasing the rate of mutation) when mixed with peroxide. Permanent tints also can contain resorcinol. Gray hair Gray hair can make haircoloring tricky at times. The first thing a hairdresser should find out is if his or her client would like to completely cover their gray or if they would like it to blend with the pigmented hair. Next, it is important to determine what percentage of gray the client has. When looking at the client s hair, first determine if there is more light colored hair or dark colored hair. If it seems like an equal amount of light and dark, the client has 50 percent gray hair. If more light hair presents itself, the client has over 50 percent gray hair. If more dark hair presents itself, the client has under 50 percent gray hair. Some Page 42 cautions - If a client has 80 percent to 100 percent gray hair, they will look better with a lighter colored tint. If the client only has 10 percent to 20 percent gray hair, applying the desired color onto the hair may result in a color that s too dark. The formula will have to be adjusted so the desired color is achieved. When tinting gray hair that is percent gray, use the desired level of color, percent gray, mix the tint with two parts of the desired level and one part lighter level. When tinting percent gray hair, mix equal parts desired level and one shade lighter. When tinting percent gray hair, mix two parts lighter level and one part desired level. When tinting percent gray hair, apply tint that is one level lighter. If the client is much more gray in the front than in the back, it may be necessary to mix two different formulations, one for the front and one for the back. When tinting gray hair, use 20 volume developer and process the color for 45 minutes rather than the usual 30 minutes. Keep the formulation in the natural/warm tones rather than the ash tones. Ash tint does not cover gray hair very well. Also, the gray hair may pick up the base tones from the tint, and the client will find themselves with violet, blue or green hair. If the client s gray hair is too resistant to accept the color, it may be necessary to presoften the hair. Presoftening will open the cuticle and will prepare the hair to accept color. To presoften, apply 20 percent hydrogen peroxide to the hair and let it on the hair for 5-10 minutes. Rinse off and then apply the desired color. Lighteners (or bleach) work by opening the cuticle and then in the cortex dissolving and decolorizing the hair s pigment. Lighteners contain ammonia that is mixed with hydrogen peroxide that affects the hair physically and chemically. Hydrogen peroxide is used to open the hair shaft. As soon as the developer is mixed with the lightener, it begins to release oxygen creating the lightening effect desired. The lightener oxidizes the melanin. It is still present but now the melanin is colorless. Why does bleached hair tend to have a pale yellow tint? The yellow is the natural color of melanin, the protein in hair. Also, the lightener works more easily on the eumelanin than on the pheomelanin, so gold and red may remain in the hair. Sometimes a drabber is added to remove the gold and red tones from the lightened hair. The hair can be lightened all over, using on-the-scalp lighteners, or can be highlighted. Highlighting is done with off-the-scalp lighteners and can be accomplished with a cap or with foils. If the desired color is not achieved with the lightener, the hair can be toned using a light aniline derivative tint. Hair can go through as many as 10 levels on its way from black to blonde. When the hair has been lightened, there will be contributing pigment left in the hair. It is up to the haircolorist to decide at what level to take the hair to so that the final color is the desired color. It is not advisable to over-lighten the hair. If the desired shade is a level 7 and the colorist prelightens the client s hair to a pale blonde, there will not be enough contributing pigment left in the hair to achieve the desired level 7. The hair will likely grab the base color of the tint, and the client will end up with an ashy, greenish color. On the other hand, if a colorist does not pre-lighten enough, the color also will not be correct. For instance, if the desired color is a level 9 and the colorist only prelightens the client s hair to a gold, there will be too much contributing pigment left in the hair. The hair will not be a beautiful level 9, but rather an orangey blond.

44 Different types of lighteners are used for different applications. Powder lighteners are generally used for off the scalp applications, such as cap highlighting and foils. Cream lighteners are gentle enough to be used on the scalp, for all-over lightening. Fillers Sometimes it is very difficult to achieve the desired color when a client has lightened their hair, and wishes to return to a darker color. There is not enough contributing pigment left in the hair for the final color to be correct. Also, the hair ends are overly porous. In this case, it is necessary to apply a filler to equalize porosity and to deposit color to the hair before applying the desired color. First, determine the desired color. Then determine the missing underlying pigment. For instance, if tinting a client s hair back to a level 5, the missing underlying pigment would be red. In this case, the colorist would mix a level 6 red with 10 volume developer to deposit the red into the hair. The filler would be applied very sparingly, and after 15 minutes the color would be removed with a towel. The final color would then be mixed and applied in a normal manner. Procedures Temporary color Temporary color can come in different forms; liquid, mousse, sprays, mascara and gel. The liquid and mousse forms are the most commonly used. To apply a liquid temporary color, the client s hair should be shampooed and conditioned and then towel dried. While they are still comfortably reclined at the shampoo bowl, put on gloves and apply the color from the bottle, and work it in with gloved hands. Blot any excess color, and while still wearing the gloves, blow-dry or roller set the hair. If using the mousse type of temporary color, shampoo, condition, and towel dry the client s hair. At the station, put on gloves and apply the mousse. While still wearing the gloves, blow-dry or roller set the hair. Temporary color sprays are used mostly at Halloween and by younger clients desiring a quick change to a crazy color. Mascara is used on the eyelashes, but it can also come in a form that can be streaked into the hair for a temporary effect. Colored gel can be applied with a tint brush to produce fun color streaks, or can be worked into the top of spiked hair for a different effect. Semi-permanent color Semi-permanent color will last 6-8 shampoos and then will gradually fade from the hair. It is applied to the hair with a bottle, without being mixed with a developer. Perform a patch test hours before the service. Proceed only if the results are negative. Do a client consultation and part the hair into 4 sections. Outline the four sections and then starting at the top of a back section, apply the tint from scalp to ends. Proceed down to the bottom of the section, and then repeat with the other three sections. Process according to manufacturer s directions and then rinse, shampoo and condition. Demi-permanent color Demi-permanent color is mixed with a developer and will last 6-8 weeks. Perform a patch test hours before the service. Proceed only if the results are negative. Do a client consultation and part the hair into 4 sections. Outline the four sections and then starting at the top of a back section, apply the tint from scalp to ends. Proceed down to the bottom of the section, and then repeat with the other three sections. Process according to manufacturer s directions and then rinse, shampoo and condition. If using demi-permanent color as a glaze, apply only to the mid-shaft and ends to refresh color after the permanent color has been applied to the regrowth. Permanent color Permanent tint alters the natural pigment of the hair and will remain in the hair, resulting in regrowth. There are two different application methods with permanent color; one if going darker with tint, and one if going lighter. When going darker with tint, do a client consultation and part the hair into 4 sections. Mix the tint with a developer, outline the four sections and then starting at the top of a back section, apply the tint from scalp to ends. Proceed down to the bottom of the section, and then repeat with the other three sections. Process according to manufacturer s directions and then rinse, shampoo and condition. When going lighter with tint, it is necessary to stay away from the scalp area and ends initially. This allows the midshaft extra time to lighten. After the midshaft has lightened the tint is applied to the scalp and ends, both of which will lighten pretty rapidly. The ends will lighten because they are more porous than the rest of the hair, and the scalp area will lighten more rapidly due to body heat and incomplete keratinization. This means that the keratin that makes up the hair hasn t fully hardened and so is softer and more susceptible to chemicals. Mix the tint with the appropriate developer and starting at the top of a back section, apply the tint from ½ to 1 from scalp to ½ to 1 from ends. Proceed down to the bottom of the section, and then repeat with the other three sections. Process until the hair has developed almost to the desired color. Mix fresh tint, and starting in the same section as previously, apply the tint to the scalp area and ends. Process according to manufacturer s directions and then rinse, shampoo and condition. Lightener When going using lightener, it is necessary to stay away from the scalp area and ends initially. This allows the midshaft extra time to lighten. After the midshaft has lightened the lightener is applied to the scalp and ends, both of which will lighten rapidly. The ends will lighten because they are more porous than the rest of the hair, and the scalp area will lighten more rapidly due to body heat and incomplete keratinization. This means that the keratin that makes up the hair hasn t fully hardened and so is softer and more susceptible to chemicals. Mix the on-scalp lightener with the appropriate developer and starting at the bottom of a back section, apply the lightener from ½ to 1 from scalp to ½ to 1 from ends. Place cotton at the scalp and pull down another section of hair and apply the lightener. Proceed up to the top of the section, placing cotton between each strand of hair and then repeat with the other three sections. Process until the hair has developed almost to the desired color. Mix fresh lightener, and starting in the same section as previously, remove the cotton, and apply the lightener to the scalp area and ends. Process according to manufacturer s directions and then rinse, shampoo and condition. Page 43

45 Non-professional tint Colors that are not used in the salon include vegetable dyes, metallic dyes and compound dyes. The vegetable dye most commonly used is henna. Henna is taken from the Lawsonia plant, which is found in Africa and Asia. It can be very orange if it comes from Moroccan henna or deep red if it comes from a Lawsonia plant in Iran The plant is harvested, dried in the sun, and then crushed into a powder. Henna may be mixed with Indigo which produces a blue shade, Turmeric, which has a yellow shade, or Senna, which is neutral or slightly yellow. Combinations of these mixtures (or adding metallic dyes to henna) produce the different shades of henna that are available for purchase. Generally, henna is mixed with hot water into a creamy paste, put on the hair, and left for up to one hour. It can be customized for different results. Black coffee can be added to make the color richer, lemon can be added to accelerate the reddening, and 10 percent hydrogen peroxide can be added to lighten the effect. Those who are brunettes or have naturally black hair will get a beautiful chestnut effect. If a very vibrant red is desired, start with a lighter colored hair. Henna will not give you good results used over tints or gray hair. Henna is also very drying, so conditioners should be used on any hair treated with henna. In addition, Henna doesn t coat the hair evenly and doesn t react well with professional chemicals. Henna should only be used if you have nerves of steel as the results can be unpredictable. It can remain in your client s hair for a very long time, and can change the results of other types of haircolor. If hair already has a professional tint on it and henna is applied over the tint, the results may be quite bizarre. Another vegetable dye is Chamomile, which has a gentle lightening effect on hair. It gives blonde and light brown hair a beautiful sun-kissed look. It will not work on brown or black hair, but will give red hair subtle highlights. It is a method however which takes patience, for it takes several applications for it to work. Adding two tablespoons of dried chamomile to a pint of boiling water will produce the rinse. Simmer for 15 minutes, strain, cool and use it as a final rinse that is left in the hair. To speed up the process, use 1 cup of dried chamomile flowers to half a pint of boiling water, simmer for 15 minutes, cool and add the juice of a fresh lemon plus two tablespoons of a rich conditioner. Sit in the sun and allow it to dry the hair. Then shampoo and condition. Other tricks include boiling saffron root in water for 30 minutes, diluting the mixture to the strength required and then adding it to blonde hair for a vibrant, canary-yellow tone. Marigolds give blonde hair soft yellow tones and sage will darken gray hair. The effects of the herbal rinses are gentle and very subtle. Black walnut shells and beet juice have been used to dye the hair and a subtle bleaching effect can be achieved with vinegar and lemon juice. Most of these formulas work by coating the hair shaft with color. There are a few negatives. It is difficult to get consistent results with natural dyes and you run the risk of being allergic to the ingredients. Also, vegetable tints, metallic tints, and compound dyes can cause headaches, scalp irritation, facial swelling, contact dermatitis, lead poisoning and hair breakage. Bottles of metallic dyes can explode. Henna can trigger asthma. Metallic dyes are also called color restorers or progressive dyes. They deposit metallic salts, such as manganese, cobalt, copper, lead and silver and change the color of the hair by gradually building up the color over time. These products are not compatible with professional chemicals and they develop an unnatural, dull, flat Page 44 color over time. Any metallic dye must be completely removed from the hair before salon quality products are used on it. There is also a concern over the use of the lead acetate as the developer in metallic dyes. The manufacturers of metallic dye products claim the amounts of lead are so small they can t be absorbed by a healthy scalp. The US Food and Drug Administration approves the use of these small amounts of lead. Progressive hair dyes gradually change the color of hair by reacting with the sulfur of hair keratin, and also by oxidizing on the hair surface. General cautions Is it possible for haircoloring products to enter the client s body? Yes. The scalp has the richest blood supply in the body, the largest hair follicles in the body, and a large number of sweat glands. When can the products enter the blood supply of the hair colorist? When mixing tint, applying tint, and removing tint. It is imperative to use gloves to protect yourself when tinting or lightening. A cosmetologist is exposed to hundreds or maybe even thousands of tints in a year. It is not worth it to expose your health to that risk because you don t like how gloves feel. Nitryl gloves are the best choice with vinyl gloves being the next best protection. It is also important to protect your respiratory system from particulates and powder when mixing henna and lightener. How do you protect your clients? Give them a patch test hours before the aniline derivative color service. It is possible for a client who has had their hair tinted for 30 years, even with the same color formula, to one day develop a reaction to the tint. If the patch test is positive, do not proceed with the service. Make sure you examine the client s scalp for abrasions, irritations or eruptions. If in doubt about the ability of the hair to successfully take a tint, perform a strand test. Always ask your client to remove glasses, necklaces and earrings. The chemicals in the color preparation you are using can stain or harm them. Protect the client and their clothing with a towel under the cape and one over the cape. Apply a barrier cream around the entire hairline and over the ears. If needed, test for the presence of metallic or compound dyes by snipping off a small piece of hair and immersing in a solution of 20 drops of 28 percent ammonia and 1 ounce 20 volume developer for 30 minutes. If a slight lightening action is observed, it is safe to proceed; the hair does not contain metallic salts. If the hair lightens rapidly, it contains metallic salts. If the solution boils and smokes and has an unpleasant odor, the hair contains metallic salts and the service should not be performed. Aniline derivative tints should never be used on the eyelashes or eyebrow, as this could cause blindness. Many commercial tints designed just for eyebrows and eyelashes are available. They use henna and are very quick and easy to use. Some kinder, gentler solutions to requested hair color services involve going lighter or lightening the hair is safer than going darker due to the increase in phenylendiamine in darker tints. Off the scalp highlights are safer than tinting the entire head. Give gray hair off-the-scalp lowlights, rather than tinting the entire head. What about men and haircoloring? Men today are becoming more and more conscious of the possibilities that are open to them in the world of beauty. So a gentleman who desires to change his haircolor has to make

46 a decision; go to the beauty salon or do his own hair at home. Cosmetologists of course know what decision they hope the gentleman makes, but can we offer him services comparable to what the drug store offers? At-home tints, such as those geared to the male audience offer our male clients a quick and easy way to get rid of his gray. Five minutes with the tint on, rinse, shampoo and rinse - it s that easy. Plus, he doesn t have to sit in a beauty shop full of women with haircolor on his head. How can you compete with that? One way would be to use a tint accelerator or a hair color steamer. If you can get the time down to 6-10 minutes, and the client doesn t have to figure out what color to buy or deal with the messiness of applying tint, you ve got him. Gentlemen desire a more manly experience, so maybe it would make sense to apply the tint right at the shampoo bowl so it seems more like a treatment than a tint application. Perhaps hair colorists could take a page from the ad copy for a male targeted tint to understand how to market haircolor to an aging male population. You ll be amazed at how something as simple as getting rid of your gray hair can affect other aspects of your life. Take a look at how easy it is to turbo-charge your love life and boost your career once you look as good as you feel. Targets only gray As easy as shampooing no harsh ammonia special conditioners for thicker, healthier hair that s easy to control Women s haircolor is designed to be dramatic; our tint helps a man look his natural best nine natural looking shades, each carefully matched to your natural haircolor. Wow, anyone would want a haircolor that does all that! The client gets the girl and a promotion. The color only targets gray - this makes it seem like a smart tint that knows which hair is gray, and leaves the rest of the hair alone. Any haircolorist knows that deposit only color amazingly will do the same thing if the shade chosen is just slightly lighter than the virgin hair. The directions interestingly enough tell the gentlemen that if they can t decide between two shades, choose the lighter one. The manufacturers have even chosen a shade out of the nine they offer that is carefully matched to the client s natural haircolor. That s a good product!! As a haircolorist, you can get your male clientele out of the grocery aisles and into your chair if you know what they are looking for. Think of the increase in your business if you could tap into this potential market. Hair Coloring Techniques Cap Highlights were very popular in salons from the 60 s to the 80 s and even part of the 90 s. Foiling has definitely taken over as the most popular hair coloring service, but to compare the two services, below you will find the pro s and con s for both. Cap highlights Pros Cheaper than the foil method. Done in all but the most exclusive salons. Quick. Cons Only suitable for short hair as the process can put unnecessary stress on mid-length to longer hair. Can be painful as a hook is used to pull strands of hair through the cap. Not suitable for curly hair as it tangles as it is pulled through the cap. Not good at getting close to the scalp when the hair is very thick. Hard to place lights in nape area close to the scalp. Hard to control highlight placement to get them exactly where you want. Foil highlights Pros Painless. Can use many different colors. Gets the lights closer to the scalp and the hairline. Can get the pieces of color exactly where you want them. Can create differing sizes of light more easily, e.g. thick swooshes of color or fine strands. Does not stress the hair as there is no pulling of strands through tiny holes. Cons Takes longer to do. More expensive. The skill of the hairdresser is very important, as they can look shocking if they are not done well. Not available in all salons. Methods of foiling hair Slicing - parting out a tiny sliver of hair with straight partings, either horizontal, vertical, or diagonal depending on the look you want to achieve. Take into account how the piece will lay when it s hanging in its natural position. Weaving - parting off a small section and weaving the tail of your comb along the surface, creating either thick or thin strands. Paneling - creating large sections of hair are colored in contrasting or complimentary tones. The panels are generally underneath or at either side of the part so the paneled sections can be either exposed or hidden entirely, depending on where the hair is parted. Positioning is critical with this technique, as is choosing the right color combinations. Foil and Base Change - sections of hair are either sliced or weaved and highlights and/or lowlights are placed in the hair. At the same time, in-between the foils, a base color is applied scalp to ends. The base color can be used to mask previous highlights, to totally change a client s look, or to cover the gray that may be left between the foils. Framing - Sections of hair are either sliced or weaved into the hair just around the front hairline to accent a cut and bring out the client s eyes. No matter what technique is chosen, the way to beautiful highlights involves a couple of rules that will help you to become a foiling superstar. First, whether weaving or slicing, the sections must be very thin to allow the color to get very close to the scalp. When slicing, if thicker, bolder highlights are desired, take back-to-back slices without skipping any hair in-between, or even line up three Page 45

47 foils in a row. If weaving, take the first slice and apply color to the hair that is woven out above the comb, without skipping any hair, take the next slice and color the hair that is woven out below the comb. In this matter, you will be able to create bolder highlights while staying close to the scalp. Secondly, when applying the lightener, start the application in the middle of the strand. When the brush is drier, turn it sideways and apply the lightener up to the edge of the foil. This side brushing will create a softer, more diffused line at the top of the highlights, rather than an arrow straight line. The fun part about foiling is that all these techniques can be mixed and matched on the same head of hair for a totally custom look. However, make sure you have a plan for how and where you re placing the highlights or lowlights before even mixing the color. Don t just wing it, or you ll likely end up with a hair color that was obviously done on a whim. Balayage haircoloring Balayage is the next trend Cosmetologists will see in haircolor. Gisele Bündchen s bleached waves generated so much attention, it wasn t long before the same look showed up on others seeking the same multi-tonal do. Derived from the French word balayage, meaning to sweep, the technique involves hand painting of the hair with color or lightener to produce an incredibly individual result. Using a tint brush, a thick mixture of lightener is painted onto individual hairstrands, from thin at the scalp to thicker at the midshaft and ends. The process is extremely versatile and can be combined with traditional American techniques, such as foiling or single process color, for a combination that has come to be known as American tailoring. There is simply no end to the customization that can be created for each client. This technique can be used for subtle highlights as well as bold highlights. The great thing about balayage is the elimination of foil lines. It achieves an ultra-natural effect by mimicking nature s way of lightening hair. Hair should always be darker at the base of the hair shaft, or scalp area, rather than having light roots and dark ends. To balayage the hair means giving the hair colorist more room to play and have fun, rather than applying methodical streaks. Foils aren t used and precision weaving is no longer necessary. This provides ultimate control over the color application, allows for less outgrowth, more color contrast within the hair, and minimal damage to the hair, which is wonderful for clients with long hair. The result is beautiful sun-kissed color of various shades of blond and honey-toned hues that look like you just came from the beach. They are the most natural looking highlights ever. This technique really taps into the hair colorist s creativity because the streaks aren t defined and a pattern isn t developed. Balayage can be used on any color of hair and the lightener mixture can be painted on wet or dry hair. The only limits are the Cosmetologist s imagination. Balayage consists of the following main techniques: Basic Balayage: The thick mixture of lightener is painted very lightly onto hair strands with a paddle and brush. The mixture dries out on the surface of the hair, but underneath the lightener keeps on working. This is how a multi-tonal effect is achieved. The strands can be toned if the final result is too golden. Baly-Color: The color is first applied to the roots and then Balayage is applied to the ends. This 2-step process gives all-over natural looking color & highlights while saving time for client and hairdressers. Balayage with Lowlights: Basic Balayage technique is used while adding contrasting lowlights to create a softer, more natural look. Darker streaks are controlled by using lowlight papers. Hair Color Principles Self-Assessment Select the best answer for each question and mark your answers on the Self-Assessment Answer Sheet on page 89 or complete your test online at Red color molecules are long and narrow, that s why reds tend to fade quickly. True False 22. A con of foiling is that it takes longer to do. True False 23. Semi-permanent tints contain ammonia. True False 24. Paneling means to slice out thin pieces of hair to be highlighted. True False 25. Para-dye is another name for demi-permanent tint. True False Page 46

48 Chapter 6: Chemical Make-Up of Hair, Skin & Nails (2 CE Hours) Learning objectives Discuss the physical components of hair, skin and nails. Identify the different types and permanence of hair coloring. Discuss chemical relaxing as it applies to the hair strand. Discuss the origin of skin cells and their movement through the stratum. Identify the causes of dandruff and proper treatment. Discuss various skin and nail disorders. To best serve clients, it is important to know not only how to do their hair, skin and nails, but why the products work the way that they do. To understand why products work a certain way, it is important to understand the histology (study of the minute structures) of the hair, skin and nails. The parts of the hair The main structures of the hair include the follicle, sebaceous glands, bulb, papilla, arrector pili muscle, and the hair shaft and root. The follicle is simply a pocket in the skin from which the hair grows. Attached to it is the sebaceous gland, which secrets sebum (oil) to keep the skin and hair lubricated. The bulb is the lowermost portion of the hair root (the part of the hair still under the skin), that fits over the papilla. The papilla is located at the bottom of the follicle, and supplies the hair with nutrients to allow it to grow. If the papilla dies, there will be no more hair growth from that follicle. The arrector pili muscle is attached to the follicle. When one experiences fear or cold, it tightens up and goose bumps result. As stated above, the hair root is simply the portion of the hair still encased in the skin, and the hair shaft is the visible portion of the hair. There are three layers to the hair shaft, the cuticle, cortex and medulla. The cuticle is the outermost layer. It consists of a layer of cells that looks like overlapping fish scales. The cuticle is translucent so that the pigment in the cortex is visible. The cuticle s function is to protect the inner structures of the hair. Any chemicals applied to the hair must have a ph that is alkaline in order to raise the cuticle scales so that the chemicals can get into the cortex where the changes will take place. The cortex is the middle layer of the hair. This layer contains about 90 percent of the total weight and strength of the hair. It contains the pigment of the hair (melanin) and the salt, hydrogen and disulfide bonds used to create new textures and styles. All changes created by wet sets, thermal styling, perming, relaxing, tinting and bleaching take place in the cortex. The medulla s function is unknown. However, its presence contributes to the total diameter of the hair. It is absent in fine hair and present in coarse hair and male beard hair. The hair is composed of a protein called keratin. As hair moves up the follicle, the cells die and are filled with keratin. When hair emerges from the scalp, sometimes this keratinization is incomplete. The cells are still soft, instead of being hardened keratin. This fact, along with the presence of body heat, explains why when going lighter with tint or lightener, the product must be applied away from the scalp initially. Otherwise, the product may get too light. The protein of the hair is made up of amino acids, which are made up of elements. The elements are carbon, oxygen, hydrogen, nitrogen, and sulfur. They are referred to as COHNS. Sulfur makes up the majority (51 percent) of the hair. End bonds hook these elements together. If these bonds are broken, the hair will break off. Side bonds, which cross-link the elements like rungs on a ladder, are hydrogen bonds, salt bonds, and disulfide bonds. These side bonds are what create the strength and elasticity of the hair. These side bonds are broken when wet setting, thermal styling, perming or relaxing takes place. Shampooing, conditioning and styling When shampooing the hair, the shampoo contains surfactant molecules, which are cleansing agents. Surfactant molecules work through the use of their two different ends. The lipophilic end of the shampoo molecule is attracted to oils and debris present on soiled hair. It rolls up the dirt and oils into balls ready to be removed. When water is added to rinse the hair, the hydrophilic end of the shampoo molecule is attracted to the water, pulling the dirt and oil balls off the hair and down the drain. When choosing shampoos, it is important to take into account the ph of the shampoo, and the condition of the hair that is being shampooed. An acidic shampoo should have a ph of 4-6. The higher the ph (7 and above) the harsher the shampoo will be on the hair. However, there are times when a higher ph shampoo is PURE Hair Water Bleach Relaxer Page 47

49 desirable. For instance one will need a higher ph shampoo such as a clarifying shampoo when build-up is present on the hair. When looking at ingredients on a label, each ingredient making up at least 1 percent of the product must, by law, be listed. The order that ingredients are listed is also important, with the largest ingredient being listed first to the ingredient that is smallest being listed last. Typically, water is the largest ingredient in most products, as it is the solvent that allows the other ingredients to blend. Oily hair Oily hair is caused by overactive sebaceous glands. Even though shampooed every day, it often looks greasy by the end of the day. Daily shampooing can over-stimulate the oil glands, so a ph balanced shampoo ( ) is essential. If a high-alkaline shampoo is used to try to get rid of the oil, one runs the risk of stimulating the sebaceous glands to produce more oil. Oily hair can develop dry ends, but the good news is that only the dry ends will grab onto the conditioning agents in shampoos. The conditioning agents will slide off the oily scalp area of the hair and will concentrate on the ends where it s needed the most. Dry hair Dry hair has underactive sebaceous glands, and is more prone to split ends. Look for ingredients such as silicone in the shampoo. Silicone will smooth rough hair, make it easier to control, and it will make it shinier. When shampooing, massage the scalp to stimulate the sebaceous glands. Chemically treated hair can become dry and porous. Silicone in shampoos and conditioners will smooth the hair, and will close the cuticle, making the hair appear shinier and locking in the color to prevent fading. Fine hair Fine hair tends to lie flat. Shampoos for fine hair contain polymers and silicones to add volume to limp hair. Oat protein is a very effective volumizing ingredient. Conditioners Hair is dead by the time it emerges from the scalp, but it responds well to external applications to keep it looking its best. The outer layer of the hair is composed of overlapping cuticle scales which should be flat. Flat surfaces reflect light better, making the hair shinier. Shampooing and chemical abuse can raise the cuticle, making it look dull and damaged. The raised cuticle scales grab onto the raised scales of the next hair, causing tangles. Conditioners coat the hair and smooth the cuticle, eliminating tangles and improving shine. One of the key ingredients in conditioners is quaternary ammonium compounds (quats) which coat the hair shaft, but are not absorbed into the hair. The quats that are in conditioners are attracted to hair allowing it to remain in the hair longer. Other common ingredients in conditioners are moisturizers which add softness and control to dry hair and silicones for extra shine. Also, one might find humectants which help retain moisture, and lubricants which reduce surface friction and smooth the cuticle of the hair. A polymer is a water-soluble adhesive which may be added. Page 48 Conditioners for normal hair coat the cuticle, smooth down the cuticle scales, detangle, prevent moisture loss, and add shine. Rinse immediately, as they do not penetrate. Leave-in conditioners moisturize the hair and form a protective layer between the hair and the environment. They also improve volume by individually coating each hair strand. Deep conditioners penetrate the cuticle layer and replace moisture in the hair. Good for chemically processed hair. Allow to remain on the hair for several minutes to allow the ingredients time to work. Heat will allow the conditioner to penetrate more by opening the cuticle. Common ingredients There are some ingredients that one sees listed over and over again in shampoos, conditioners and styling products. Here are a few and their purpose in the preparation. 66 Fatty alcohol: A chemical compound that is creamy in texture, consisting of a string of many fatty bonds and one alcohol bond that delivers moisturizing properties onto the hair shaft. Common names include cetyl alcohol, coconut alcohol, stearyl alcohol or oleic acid. 66 Ethanol: A water-loving volatile alcohol used to deliver styling polymers onto the hair shaft. It quickly evaporates so it does not cause dehydration. 66 Oil: A liquid found in plants or minerals that provides moisturizing benefits to the hair shaft. An emollient or smoothing agent, it is put in to make the cuticle or outer layer of the hair lie flat and help the hair feel smooth. Common ingredient names include isocetyl stearoyl stearate, isopropyl myristate, mineral oil, petrolatum, glycerin and PEG-60 hydrogenated castor oil. 66 Proteins: A complex chain of amino acids and nitrogenrelated particles that add gloss and luster to the hair shaft. They are derived from a variety of natural sources such as milk, keratin and silk. Common label names include hydrolyzed keratin, hydrolyzed soy protein and hydrolyzed whole-wheat protein. 66 Pro-Vitamins: Precursors to vitamins A, B and E that penetrate the hair shaft to help strengthen the cortex layer, increase tensile strength and make hair more flexible and elastic. Common label names are biotin, pantethine and panthenol. 66 Silicone: An organic compound used to coat the cuticle layer for smoothing and filling in the layers. Benefits include ease in combing, combating frizz, protecting against damage and promoting shine. Common names include dimethicone, trimethylsilyam odimethicone and dimethicone copolyol. 66 Polymer: Whether using gels, mousse, pomades or waxes, a key ingredient is polymer, a water-soluble adhesive that helps expand the hair by breaking up its surface tension. As the water is dried from the hair, the polymer remains. If you add hair spray, you get more polymers, making the hair more resistant to humidity. Thermal Styling Ceramics and ionic hair care tools are some of the newest technologies on the block. They use negatively charged ions to make hair more beautiful. Ions are particles that are either positively or negatively charged. When an oxygen atom has an extra electron, it is negatively charged, and when the atom lacks

50 an electron, it is positively charged. Contrary to the wording, the negative ion is the desirable ion. Ceramic flat irons, curling irons and blow dryers create negative ions, resulting in shiny and silky hair. The ion hair dryer uses negative ions to dry hair faster and condition the hair. The negative ions generated by the dryer enable the water to better penetrate the hair, moisturizing the hair. More moisture will result in less flyaways and frizzies. ph It is necessary to look at ph whenever discussing products that are placed on the hair, skin or nails. ph stands for potential hydrogen. An acid is a substance that donates one or more hydrogen (H+) ions, while a base or alkaline solution is a substance that accepts one or more hydrogen (H+) ions. In a sample of pure water, a small proportion of H 2 O molecules undergo disassociation to product H+ ions and OH- (hydroxide) ions. When the concentrations of H+ and OH- ions are equal to each other, as in pure water, the ph value is 7. In acidic solutions, ph values fall below 7, while in basic (or alkaline) solutions, they go above 7. The ph of hair, skin and nails is 4.5 to 5.5. The ph scale ranges from Each step on the ph scale is 10 times stronger than the previous step. A ph of 6 is ten times stronger than a ph of 5. A ph of 7 (pure water) is a hundred times stronger than a ph of 5 (the ph of hair). The ph of hair lightener is 10, which is 100,000 times stronger than the ph of the hair. Acids contract and harden the hair. Glycerol monothioglycolate, used in perming is acidic. Alkalis soften and swell the hair. Sodium Hydroxide (lye) used in chemical hair relaxing, is an alkaline substance. Permanent waving and the hair strand When perming hair, one has a choice of using an acid perm or an alkaline perm. When the perm solution is applied to the hair strand, it opens up the cuticle, allowing the solution to penetrate into the cortex. In the cortex, the hydrogen bonds are broken by the water used to shampoo the hair. The salt bonds are broken by changes in the ph created by the chemicals in the perm solution. The disulfide bonds are broken by ammonium thioglycolate (alkaline perms) or glycerol monothioglycolate (acidic perms). When the neutralizer is applied, the disulfide bonds are reformed. When the ph of the hair returns to normal, the salt bonds are reformed, and when the hair is dried, the hydrogen bonds will reform. C= salt =C O= salt =O H= hydrogen =H N= hydrogen =N S= disulfide =S C= =S O= =C H= =O N= =H S= =N =S =C The chemical make-up of hair: There are more salt and hydrogen bonds than disulfide bonds. The salt and hydrogen bonds are weaker, but their strength comes from numbers. When the hair is wrapped around a rod, and the solution is applied, the disulfide bonds are broken. The last diagram shows the bonds reattached in their new curly formation. After the hair has been neutralized, the ph has returned to normal and the hair has been dried, the hair will remain in its curly state. Chemical Relaxing and the hair strand Chemical Hair Relaxing is the process of chemically reforming overly curly hair into straight hair. This procedure is very similar to permanent waving, as both procedures change the hair by breaking disulfide bonds. There are two types of chemical relaxing chemicals that are used in the salon. Sodium hydroxide (also known as Lye) has a ph over 13, which makes it 100 million times more alkaline than the ph of hair. The sodium hydroxide relaxers break the disulfide bonds in a different manner than the thio relaxers or perms. The bonds broken by hydroxide relaxers are broken permanently and can never be reformed. This is why hydroxide relaxers and thio products can never be used on the same head of hair. Severe damage and breakage will occur. Other types of relaxers that are similar are no lye relaxers which use lithium hydroxide, potassium hydroxide, and guanidine hydroxide. Still another category is low ph relaxers such as ammonium sulfite and ammonium bisulfite relaxers. They are compatible with thio relaxers, but are not compatible with hydroxide relaxers, and do not completely straighten the hair. Low ph relaxers are intended for use on color-treated, damaged or fine hair. Ammonium thioglycolate relaxers have a ph above 10, and are thicker than the thio solutions used in perming. Neutralization is necessary to maintain the straightened hair. Haircoloring and the hair strand Natural hair color is created by a combination of eumelanin (brown and black color) and pheomelanin (red and blonde color). All natural hair color is a combination in differing degrees of eumelanin and pheomelanin. Gray hair is the absence of melanin. When using temporary color, it simply coats the outside of the cuticle until the next shampoo, when it is removed. Temporary haircolor uses certified colors. You can only go darker with them, and no patch test is necessary. Types of temporary haircolors include mascara and colored mousse. When using semi-permanent haircolor, the molecules are small, so they partially penetrate the cuticle, and stain the outside of the hair. They only last 6-8 shampoos, but do required a patch test. Semi-permanent color contains a developer that opens the cuticle slightly. The developer is a low-strength hydrogen peroxide buffered with conditioners. When the semi-permanent tint is mixed with the developer, it results in a chemical change. When applying Demi-permanent haircolor, it penetrates into the cortex through the cuticle. The color molecules are very small however, so over 6-8 weeks will fade as the color molecules slip back out of the cuticle and cortex. One can only go darker, and a patch test is required. Demi-permanent color is used mostly to refresh the midshaft to ends of previously tinted hair, as it is milder than permanent haircolor. Demi-permanent and permanent colors contain ammonia, the cause of the smell associated with hair coloring. Ammonia is added to assist in the reaction that occurs when the developer mixes with the tint. It also swells the hair. Demi-permanent color has less hydrogen peroxide than permanent color, but in both cases the cuticle is opened so the color molecules can penetrate into the cortex. Demi-permanent color is basically a non-lift color or a deposit-only color. It doesn t shampoo out but it won t lighten Page 49

51 hair. Many people think it is the same as semi-permanent color; however it still contains oxidation, which means it stays in the hair. True semi-permanent color is basically a stain because it doesn t actually penetrate the cuticle of the hair. It lies between the outer cuticle layers and gradually comes out. Permanent haircolor is mixed with a developer, and remains in the cortex until it grows out. One can go lighter or darker with permanent haircoloring and it requires a patch test. When the small tint molecules are mixed with the developer, they begin to expand into larger molecules that become trapped in the hair. The color-forming ingredients, known as primary intermediates, consist mainly of para-phenylenediamine. When combined with the oxidizer, hydrogen peroxide, a color change results. Permanent color is milder than it used to be due to the addition of buffers. A concern for most cosmetologists is the fading of red tints. Most color molecules are long and narrow. Red dyes have a diamond shape, so they don t color as easily and the color tends to fade. Red is extremely light-sensitive. The red dye most commonly used in haircolor was banned in the United States in the 1970s due to a cancer scare associated with all red dyes. That s when manufacturers in the US were forced to manipulate the shape of molecules in the red dyes as a substitute for the banned dyes. Lighteners work by dissolving and decolorizing the hair s pigment. As soon as the developer is mixed with the lightener, it begins to release oxygen, creating the lightening effect desired. The hair can be lightened all over, using on-the-scalp lighteners, or can be highlighted. Highlighting is done with off-the-scalp lighteners and can be accomplished with a cap or with foils. If the desired color is not achieved with the lightener, the hair can be toned using a light aniline derivative tint. Colors that are not used in the salon include vegetable dyes and metallic dyes. The vegetable dye used is henna. It is a natural plant substance that coats the hair. However, it doesn t coat the hair evenly and doesn t react well with professional chemicals. Metallic dyes contain metal salts and change the color of the hair by gradually building up the color over time. These products are not compatible with professional chemicals and they develop an unnatural color over time. Haircoloring works in different ways depending on the lasting ability of the color. Skin chemistry When working with the skin, it is helpful to know the journey cells take to get to the surface of the skin and the changes they go through. The skin consists of two main divisions, the epidermis and dermis. The epidermis is the one closest to the environment and it is the thinner of the two. It consists of multiple layers of cells that are constantly shedding. In the epidermis, the cells start life in the stratum germinativum and look like juicy grapes. They are full of moisture and are plump and young looking. As they move toward the surface the cells begin to flatten out and lose some of their moisture. They begin to look very spiny, hence the name Stratum Spinosum. As they continue their journey up to the surface, they become flatter and look granular in appearance (stratum granulosum). The moisture inside the cell continues to be forced out of the cell. The stratum lucidum is a clear layer which is found only in the palms of the hands and soles of the feet and offers more protection to these areas. By the time the cells reach the stratum corneum, the moisture has been completely forced out of the cell. The cell is simply hardened keratin at this point. The moisture which has been forced out is now a sticky substance that works like glue to hold all of the hardened keratinized cells together. This knowledge is helpful when giving a facial and exfoliation is indicated. A preparation containing enzymes will help to consume the hardened keratin and alpha hydroxy acids will help to dissolve the moisture around the cells. When working on the skin, a dermatologist is licensed to work as deep as the stratum (layer) germinativum if the client s condition indicates the need for this. However, this is a major procedure accompanied by blood loss. The cosmetologist or esthetician is only licensed to work on the Stratum Corneum. Underneath the epidermis is the dermis (the true skin), which contains two layers, the papillary and reticular layer. It contains collagen and elastin fibers which give the skin its elasticity and strength. Collagen is a protein that gives the skin structure. Elastin is a protein similar to collagen that allows the skin to stretch and return. Aging, lack of moisture, environmental damage and extreme fluctuations in weight will damage the collagen and elastin, causing wrinkles and sagging. The dermis also contains hair follicles, sweat and oil glands, blood and lymph vessels and some melanocytes. Melanocytes give the skin its color and protect the body from the UV rays. Moles are groupings of melanocytes. Underneath the dermis is the subcutaneous tissue (fat). This tissue gives shape and contour to the body. Temporary Demi-Permanent Semi-Permanent Permanent The skin and UV rays The vast majority of aging (80-85 percent) comes from sun exposure. One even receives sun exposure walking from the workplace to the car in the dead of winter. Sun protection of at least SPF is essential to protect the skin every day. Products designed today with moisturizers, sun protection and a foundation combined into one product greatly simplify the morning routine. To best demonstrate how UV rays age skin, look at the face of someone that spends a lot of time behind the wheel of a vehicle. The side closest to the side window will have more wrinkles and more hyperpigmentation (brown spots) than the other side. The epidermis is as thin as a sheet of paper, and so this long-term exposure to ultraviolet rays creates wrinkles. Page 50

52 fortunately most of the UVC rays are absorbed in the atmosphere before they reach the earth, as UVC has a very short wavelength. The longer rays of UVA and UVB pass through the atmosphere, even on a cloudy day. Sunscreens absorb most UVB and prevent it from reaching the skin. Most sunscreens however, do not protect skin from UVA. Skin cancer When sunlight strikes the atmosphere, it enters the ozone layer. When it emerges from the other side, about half of the ultraviolet (UV) radiation is gone. However, what remains is more than enough to damage skin. The incidence of skin cancer keeps rising. The three most common skin cancers are basal cell carcinoma, squamous cell carcinoma and malignant melanoma. It is believed that more than 90 percent of these cancers are caused by the UV radiation in sunlight. There are differences in melanoma and squamous cell and basal cell carcinomas. Basal cell and squamous cell carcinomas develop in the cells of the epidermis, while malignant melanomas develop in the melanocytes. It is estimated that one in 75 Americans will develop malignant melanoma, but if caught early it is highly curable. If left untreated however, it will invade neighboring tissues and will metastasize to other parts of the body. PREVENTION STRATEGIES Stay out of the sun between 10 a.m. and 4 p.m. Stand in the shade or use an umbrella to avoid sun exposure. Wear wide brimmed hat and tightly woven clothing. Wear UV screening sunglasses to avoid cataract development. Use a sunblock with an SPF of 15 or above. UVA, which is the ultraviolet ray used in most tanning equipment damages the collagen and elastin, leading to wrinkling, premature aging and the development of skin cancers. The tanning industry claims that tanning indoors is safer than tanning outdoors since the amount of UV rays the client is experiencing can be controlled. Tanning beds emit UVA and UVB rays, with more of the UVA than the UVB being emitted. However, tanning beds emit amounts of UVA that are 2-3 times higher than received in the natural sunlight. UVC - the rays most responsible for Cancer. They are absorbed in the atmosphere before they reach the earth. UVA - the Aging rays. They are the rays responsible for weakening collagen and elastin, leading to premature aging. Ozone UVB - the Burning rays. They also contribute to tanning by stimulating melanin production. Dermis Epidermis UVB is also responsible for much of the skin damage caused by sunlight, especially sunburn. UVC is the most damaging, but Watch moles for any changes. The American Cancer Society recommends using the ABCD checklist to recognize possible skin cancer. A - asymmetry B - border C - Color D - Diameter Environmental enemies of the skin Smoking and alcohol use have been linked to the premature aging and wrinkling of the skin. Nicotine is responsible for weakening and contracting blood vessels. This causes decreased circulation to the skin. Alcohol is responsible for dilation of the blood vessels. Over time the capillaries will break causing a flushed look to the skin. The combination of the two can be devastating to the skin. Skin disorders and treatments Dandruff is not caused by a dry scalp. It is actually the result of abnormal shedding of the stratum corneum cells. These cells normally form continuously in the stratum germinativum and work their way to the surface within about two weeks. As the cells reach the surface, they are flattened, hardened keratin, and through normal wear and tear, are routinely shed from the scalp. For most people, this shedding is continuous and imperceptible. For others, however, the rate of production and shedding is accelerated, resulting in noticeable flaking and scaling. Itching may occasionally be a problem, but the most common complaint is the unsightly shedding. Dandruff is most severe from October through December and it seems to occur more commonly in people with oily skin or acne. The condition is common among teens and peaks in the early 20s. What causes dandruff? Some researchers feel it comes from an infection of the scalp, improper diet, hormonal imbalances, or vitamin deficiencies. One theory attributes it to a yeast-like fungus known as Pityrosporum ovale. P. ovale is a common fungus, and most everyone harbors it, however some people with high levels of the yeast appear more likely to suffer from dandruff. In seborrheic dermatitis the cells turnover rate is even higher than with dandruff, making it even more annoying and Page 51

53 embarrassing. It also is marked by inflammation, causing more itching than dandruff. The shedding affects not only the scalp, but also the eyebrows, eyelashes, external ear canal, behind the ears, and in the nasal folds. No one knows the cause of seborrheic dermatitis, but it runs in families, and its severity fluctuates over the years. A harmless form of seborrhea that occurs in infants is known as cradle cap. It is very common in the first week or two of life, but can occur any time during infancy. Psoriasis is a chronic inflammatory skin disease. Its symptoms include pink or red areas covered with coarse, silvery scales. It can occur anywhere on the body, and may be a chronic disorder, or may go into remission for brief periods. One to three million Americans have psoriasis. The disorder is most common in those who categorize themselves as white, and it is hereditary. Stress and anxiety may trigger outbreaks, and pregnancy often clears it, only to return after birth, suggesting hormonal influence. It generally occurs between the ages of 10 and 30, and most cases can be controlled with topical treatments. For those who have not responded to typical therapies, a new medical treatment has been developed. It uses long-wave ultraviolet radiation in combination with a drug treatment that increases the skin s sensitivity to light. This treatment effectively controls psoriasis, but doesn t cure it. This treatment doesn t work as well on the scalp however, because the hair blocks the light rays. Treatments for scalp disorders Active ingredients for dandruff and other scalp disorders include the following: Antimicrobials - Zinc pyrithione controls scalp conditions, but scientists don t know exactly how it works. Kerotolytics - they loosen scales and allow them to be more easily washed away. Includes salicylic acid and precipitated sulfur. Antipruritics - they curb the pain and itching that sometimes accompany scalp conditions, and slow down the flaking and scaling. Menthol is one active ingredient. Corticosteroids have mostly replaced these products. Corticosteroids - one of the most commonly used antidandruff treatments. Relieve itching and slow down flaking. They are anti-inflammatory, reducing redness and swelling that contribute to scalp conditions. Because they are newer preparations, some experts believe they shouldn t be used continually for more than a month without consulting a doctor. Coal tar - a byproduct of treated bituminous coal. No one knows exactly how they work. One theory proposes that coal tar takes oxygen from the skin, inhibiting cell reproduction and causing a decrease in the number of cells that can be shed from the scalp. Coal tars may also work by penetrating the outer skin layer and removing the scales. Coal tars are messy and smelly. They can stain the skin and hair, but recently, manufacturers have emulsified the coal tar into a gel that eliminates these drawbacks. One caution- because coal tars make the skin susceptible to sunburn, clients need to avoid sunlight for 24 hours after use. Again, coal tar shouldn t be used for long periods without consulting a physician, and they shouldn t be used in conjunction with psoriasis therapies without consulting a physician. Coal tar is also effective on Seborrhea. Page 52 Prescription remedies Prescription drugs such as selenium sulfide suspension are available for dandruff and other scalp conditions. Selenium sulfide will cut down on scaling and itching. If p. ovale is indeed the cause of dandruff, it is believed that it is converted into ions that block the enzymes responsible for the growth of cells on the outer layer of the scalp. It apparently slows the rate of cell turnover and reduces scaling. The prescription strength remedy contains 2½ times the amount of selenium sulfide as over-thecounter products to treat more severe cases. The next most commonly used prescription medication is steroid lotion. It reduces inflammation and suppresses itching. The FDA has approved a new anti-fungal cream, called ketoconazole, available by prescription. Researchers believe it also reduces p. ovale. There are always side effects to drugs. Selenium products may discolor hair. Prescription products may cause excessive dryness of the hair, itching and even hair loss, but most dandruff sufferers feel that s a small price to pay to eliminate dandruff. Other skin disorders Tinea is the technical name for ringworm caused by a vegetable parasite (fungi). It is very contagious, and infected skin scales or hairs can spread the disease. Pediculosis Capititis is the technical term for head lice. Lice are transmitted from one person to another by hats, combs, and personal articles. Cosmetologists cannot work if either of these conditions is present. Proper universal precautions will prevent the spread of both of these disorders. The nail structure The manicurist or cosmetologist works primarily on the nail plate. The hyponychium is the skin under the free edge of the nail. The eponychium is the skin at the base of the nail, and the peronychium is the skin surrounding the nail plate. The lunula is the half-moon at the base of the nail. At the base of the nail plate, under the skin, is the nail root. Under the nail plate is the nail bed. At the end of the nail bed and nail root is the matrix. If the matrix dies, there will be no more nail growth. Manicurists and cosmetologists work on the nail plate, giving manicures and pedicures and applying artificial nail enhancements. The best way to remember the names of the structures surrounding the nail is to use the acronym HELP (Hyponychium, Eponychium, Lunula and Peronychium) as you travel counterclockwise around the nail. Nail Plate Eponychium Hyponychium Lunula Peronychium

54 Common nail disorders The cosmetologist should only work with healthy feet and toes. No I should be present: inflammation, infection, injury, or any indication that anything is abnormal. The nail is quite porous. It will absorb moisture more quickly than skin. This is why one cannot do a water manicure and then apply an artificial nail enhancement. The nail will swell and then when it dries out will separate from the nail enhancement. Also, moisture can encourage fungal growth. Fungi are of primary concern to the cosmetologist or manicurist. Fungus is contagious and can be spread to other clients through unsanitary practices. The fungus appears under the nails as a cheesy, sticky residue. A client with suspected fungus must be referred to a physician. In the past, discolorations between the natural nail and nail enhancements were thought to be mold. It is now known to come from pseudomonas aeruginosa, a bacterial infection. The bacteria are naturally present on skin, but can grow out of control in the no-oxygen conditions present between nails and nail enhancements. It looks like a greenish yellow spot that becomes darker with time. You may remove the nail enhancement to expose the natural nail to air, but you must wear gloves to do so. However the stain will not be removed; it must grow out. Artificial nails Artificial nails are made from the same type of chemicals that are used to make the base for dentures. The powder is usually polymethyl methacrylate and benzoyl peroxide, and the liquid is a mixture of a methacrylate ester monomer and a promoter. When combined the chemicals react so that the monomer becomes a polymer. UV gels contain methacrylic or acrylic ester monomer, polyurethane and a curing agent mixed together. The UV light then hardens the mixture. Tips may be used to increase the length of the nail. Wraps, made of paper, silk, linen or fiberglass may be used with or without tips. The tips are combined with glue to create a hardened shell over the nails. Dipped nails are an easy way to create strong longer nails. A glue or resin is painted onto the nail and then the nail is dipped into a polymer. The process is repeated 2-3 times, creating a sculptured look without the need for the skill necessary. Chemical Make-Up of Hair, Skin & Nails Self-Assessment Select the best answer for each question and mark your answers on the Self-Assessment Answer Sheet on page 89 or complete your test online at Coal tar is a common ingredient in dandruff preparations. True False 27. Tanning beds primarily emit UVB rays. True False 28. A form of Seborrhea that occurs in babies is known as cradle cap. True False 29. Dipped nails are created with fiberglass and glue. True False 30. Dandruff is not caused by a dry scalp. True False Disorders related to artificial nails Methyl methacrylate (MMA) was the original substance used to create artificial nails. However, MMA created problems, causing discoloration, deformity, loss of fingernails, irritation and inflammation of the nail bed. Action by the FDA led manufacturers to reformulate their products. Methyl methacrylate was replaced by ethyl methacrylate, isobutyl methacrylate and other chemically related monomers. The use of MMA is prohibited in North Carolina. Even now, clients may have a reaction to artificial nails, but they are likely to occur when the methacrylate monomers are not completely polymerized, leaving some monomer free to enter the natural nail. This would result from an incorrect powder to liquid ratio. However, allergic reactions are infrequent. Of greater concern are bacterial and fungal infections on artificial nail wearers. If a nail separates from the artificial nail and dirt or moisture get in between, trouble may occur. If the nail pate is not properly sanitized before applying the artificial product, problems can occur. Page 53

55 Chapter 7 Sanitation and Sterilization (2 CE Hours) Learning objectives Distinguish between non-pathogenic and pathogenic bacteria. Categorize the different types of pathogenic bacteria. Determine the difference between viruses and bacteria. Assess his/her knowledge of the various types of parasites. State the possible sources of contamination in a salon. Demonstrate a knowledge of infection control procedures. Review salon protocol for sterilization, disinfection and sanitation procedures. Cleanliness of the salon is vital for many reasons. Protecting the health and safety of the public is the most important service a cosmetologist, esthetician and manicurist can render to the public. If one does not safeguard the public, it is likely to result in the loss of one s license and business. A dirty salon conveys an unprofessional image and will result in loss of income and clients. The cosmetology regulatory agencies require salons to follow certain sanitary precautions. Bacteriology To understand the organisms one must be concerned about it is necessary to study them. The study of bacteria (also known as microbes and germs) is known as Bacteriology. Bacteria are very small organisms with both plant and animal characteristics. They can exist almost anywhere: in manicuring files, on hairbrushes, and under fingernails, to name but a few. Bacteria are so numerous, that each human being has more bacteria living inside the human body (without hurting it) than the entire population of Earth. Bacteria that live in and on the body outnumber the body s cell by nine to one. Microbes are present in veins, collect on one s eyes, and gather in digestive and respiratory systems. They can harm humans or benefit them. Among other benefits, they aid in digestion, and stimulate development of the immune system. There are two types of bacteria, pathogenic and non-pathogenic. Non-pathogenic bacteria Non-pathogenic bacteria are helpful or harmless bacteria and they make up approximately 70 percent of all bacteria on earth. They are capable of producing many enzymes necessary for the building up and breaking down of organic compounds. Non-pathogenic bacteria are used for soil enrichment, for preservation by pickling, for fermentation, and for decomposition of organic wastes. Pathogenic bacteria Pathogenic bacteria, which compose only 30 percent of all bacteria, are the ones cosmetologists must be concerned about. They cause diseases and can be harmful to human beings. Making them even more dangerous, bacteria reproduce at a considerable rate. One bacterium grows and then splits into two daughter cells, and this can be repeated thirty times in a single day. To put this another way, bacteria can pass through thirty generations in a single day. This same feat by human beings would take 1,000 years. Pathogenic bacteria such as staphylococci, streptococci and even fungi grow on the scalp and near sweat (sudoriferous) and oil (sebaceous) glands. Microbes congregate in mucus secretions near body openings such as the mouth, nose and eyes. They are removed temporarily by washing. The bacteria then return from the environment and from deep down in the sebaceous gland ducts. The outer ear can be home to bacteria, yeasts and molds. Examples of pathogenic bacteria that live in and around the eye include staphylococcus and streptococcus. When the number of bacteria overwhelms the body s immune system, infection occurs. This can be a local infection, such as when pus is present in a pimple. If the bacteria or virus travel throughout the body through the circulatory system, a general infection occurs, such as influenza. Pathogenic bacteria classification - cocci There are three classifications of pathogenic bacteria, cocci, bacilli, and spirilla and they are categorized by the shape of the bacteria. Cocci bacteria are round shaped bacteria. They do not have any means of self-movement. They are distributed in the air, water or within the substance in which they land. If a cosmetologist uses a comb on more than one person without disinfecting it, cocci bacteria may well travel from one head to another on the comb. Cocci bacteria are further subdivided into three groups, including staphylococci, streptococci, and diplococci. Memory hint - If you look at the word cocci, you will see that most of the letters are round. Cocci= OOOOi. This will help you to remember that this is the round type of bacteria. Staphylococci form a cluster of round bacteria and causes pus and infection, (i.e. After the operation, he developed a staph infection). Staphylococcus aureus lives on our skin at all times, and is perfectly safe, as long as it stays on the outside of our bodies. The problem occurs when there is a break in the skin, and staphylococcus aureus enters the body. This is one of the most likely causes of infections in hospitals, such as skin infections. This is why it is so imperative to use good infection control procedures in the salon, especially in the case of a blood spill. Memory hint - the skin was pierced by a staff, and now the patient has a staph infection. Streptococci look like a chain of round bacteria, and it causes strep throat. Strep throat is usually characterized by an extremely painful throat with white spots, enlarged tonsils, and sometimes gastrointestinal (digestive tract) disturbances. The same bacteria can produce scarlet fever and rheumatic fever. Scarlet fever is strep throat accompanied by a characteristic skin rash. Fortunately, scarlet fever responds well to modern antibiotics. Memory hint - streptococci look like a chain of bacteria. Chains are worn around the neck, which is also where you get strep throat. Page 54

56 Diplococci grow in pairs and it can cause pneumonia and cerebro-spinal meningitis. In pneumonia, the organism reaches the lungs through the respiratory passages. Usually an upper respiratory infection precedes the disease. The symptoms include high fever, chills, pain in the chest, difficulty in breathing, and coughing. Cerebro-spinal meningitis is an inflammation of the brain and spinal cord. It is often epidemic and fatal. Memory hint - diplococci grow in pairs. A double dip ice cream cone has two scoops of ice cream. Pathogenic bacteria classification - bacilli The second classification of bacteria is bacilli. Bacilli are rod shaped bacteria. They may have a hair like structure attached to them called cilia or flagella that enables them to move about. They can cause tetanus (lockjaw) and tuberculosis. Tuberculosis is an infectious disease caused by the bacilli bacteria, Mycobacterium tuberculosis. It is spread through the air through coughing, sneezing, or yelling. When another person inhales these bacteria laden droplets, they become infected. A contagious person will infect other people each year. Another rod shaped bacteria called Mycobacterium fortuitum furunculosis caused great concern in A pedicure salon in California had over one hundred clients come down with stubborn leg sores, due to improper cleansing of the whirlpool foot spas in the salon. The bacteria were living and reproducing in the built up debris of the foot spas. Memory hint - If you look at the word bacilli, you will see that many of the letters are rod shaped. Bacilli = Bac Pathogenic bacteria classification - spirilla The third classification of bacteria is spirilla. They are spiral or corkscrew shaped bacteria. Spirilla may also have flagella or cilia to aid their movement from surface to surface. They may cause syphilis and Lyme disease. Syphilis is primarily spread by sexual contact, but infection through an open wound or lesion is possible. Lyme disease is a nonfatal bacterial infection spread by the deer tick. The disease occurs mainly in the northeastern United States among people who frequent grassy or wooded areas. Most people with syphilis and Lyme disease are successfully treated with antibiotics. Memory hint - If you look at the word spirilla, you will see that the word begins with a spiral letter. Spirilla= pirilla. Syphilis also begins with an S. Bacterial growth Bacteria enjoy the greatest growth and division potential under warm, dark, damp and dirty conditions. A salon will most likely be warm, and will be damp in certain areas such as the shampoo area. If the salon is also dirty, three of the four conditions for optimal growth of bacteria have been met. Now imagine that there are closed dark cupboards around the shampoo bowls. Four out of four conditions are present. If these conditions are not present the bacteria may die, or some will form a thickened covering called a spore. Imagine an operating room. It is cold, very light, very clean and dry. Not conditions conducive to the growth of bacteria. Just as one will put on a coat to go outside in cold temperatures to avoid hypothermia and death, the bacteria will put on this coat-like spore and will remain dormant until conditions improve. At that point, it will shed this coat and will begin to grow and reproduce again. Viruses and bacteria what s the difference? Bacteria are independent organisms that exist alongside one s cells. When an antibiotic is prescribed for a bacterial infection, it is likely to work because the antibiotic can readily get to and destroy the bacteria. However, many bacteria are becoming resistant to antibiotics. This may be due to the overuse of prescription antibiotics or failing to complete a course of antibiotics prescribed to one by a physician. Also, one-quarter of all antibiotics used in the United States are used as growth enhancers in livestock, and to avoid microbial attacks on fruit. People who have never taken antibiotics for sickness are still being overexposed to them through the food they eat and are acquiring serious infections that are resistant to antibiotics. Viruses are dependent organisms. They must invade host cells to live. They reproduce inside the cell and then the cell erupts, discharging its contents to other cells which are then also invaded. Antibiotics cannot get to the virus inside the cell. It would have to destroy the body cells along with the virus to be effective. The common cold is one of the more widespread viruses. Children can expect approximately four to eight colds a year, and adults can expect three to five colds per year. There are more than one hundred types of common cold, and getting over one gives no immunity to the other ninety-nine plus. The most likely route of transmission of the common cold is contaminated hands. Viruses also produce hepatitis, which causes an inflammation of the liver. Hepatitis is characterized by jaundice, fever, liver enlargement and abdominal pain. Hepatitis A, B and C each come from a different viral family, and each has specific preventative measures, methods of spreading and treatments. Hepatitis A is spread by putting something in the mouth, such as food or water that has been contaminated with the stool of a person with Hepatitis A. The virus is spread more easily by people lacking proper hygiene. That is why it is so important to wash hands with soap and water after using the restroom. The best way to prevent Hepatitis A is to be vaccinated. The vaccine can give at least 20 years worth of protection, although most people recover on their own after a couple of months of sickness. Once one has had Hepatitis A, one cannot contract it again. About one-third of Americans have had a past infection that has led to immunity. Hepatitis B and C are transmitted through blood and body fluids from an infected person. The best protection is the three-dose vaccination. It is absolutely necessary to follow proper blood spill procedures to protect the cosmetologist and the client at all times. HIV (Human Immunodeficiency Virus) is a rapidly mutating retrovirus that causes AIDS. It attacks the helper cells of the body s immune system and leaves the victim vulnerable to infections and malignancies. In many cases, a person s immune system will fight off HIV for many years before it succumbs and the signs of AIDS develop. HIV, as well as many other pathogens can be transmitted in the salon by a sharp implement that accidentally pierces the skin. Page 55

57 Many of these diseases require direct exchange of body fluids, such as blood. This is something that might happen in rare instances in the salon. However, if a blood spill occurs during a manicure due to a cut with file for instance, all blood spill procedures must be followed to protect the cosmetologist and the client. When doing extractions in the facial room, gloves must be worn. If hands are chapped or dry, broken skin is present and must be protected. Parasites A parasite is an organism that lives off of another organism without giving anything in return. There are two different types of parasites that can invade the human body, vegetable and animal parasites. Vegetable parasites Ringworm (tinea) is a fungus caused by a vegetable parasite that is classified by its location on the body: tinea capitis (head), tinea unguium (nails), and tinea pedis (feet). It is highly contagious, and cosmetologists that find they have been invaded by ringworm should not work until given the okay by their physician. Fungi are present on the bodies of most people, but some are more resistant to this parasitic invasion than others. A prolonged moist, airless condition such as on feet encased in shoes for hours a day, may subject a formerly resistant person to this invasion. Nail fungus can be acquired through improperly disinfected implements or by moisture trapped under an artificial nail. Even though fungi have a bad reputation, they have their good points too. They are a source for antibiotics, vitamins, alcohols, acetone and enzymes, and they play a significant role in fermentation. They are also important in the decomposition of organic matter. Animal parasites Head lice (Pediculosis Capitis) are parasites that feed on small amounts of blood from humans. Their favorite feeding sites include behind the ears and at the nape of the neck. Their feeding is what is responsible for the itching that is often the first sign of their presence. Although usually confined to the head, lice can sometimes spread to beards, eyebrows, and in rare instances, eyelashes. Lice do not fly, but can easily spread from head to head through close contact, and through the sharing of hats and combs. Lice can live up to two to three days apart from the body and in closets can travel from hat to hat. They may also hide in the stitching of school bus seats waiting for their next victim. The female louse lays 6-10 nits a day and the nits hatch in seven to fourteen days. The lice mature in about another week to 12 days. It is easier to spot the nits than the lice themselves. Because the nits are whitish in color, it is easier to spot them on brunettes and redheads than on blonds. To determine if the suspicious substance is dandruff or lice, pick up a strand of hair and pull your fingernail across the strand where the whitish substance occurs. If the substance comes off easily, it is likely dandruff or hairspray. If it stays attached to the hair, it is lice. Stop the service immediately, disinfect all surfaces and refer the client to a physician. The physician may prescribe a shampoo containing lindane or a cream rinse containing permethrin. Lindane shampoos are applied for four minutes and a second application is usually not required. The cream rinse containing permethrin is applied after shampooing and is left on for 10 minutes. A second application is usually not required, but it should not be used by anyone allergic to chrysanthemums. Immunity Immunity is the ability of the body to destroy any bacteria that have gained entrance and to resist a disease. Naturally acquired immunity occurs when a person is exposed to a pathogen, develops the disease, and become immune as a result. Naturally acquired passive immunity occurs during pregnancy, in which antibodies are passed from the mother to the child. Artificially acquired active immunity can be developed through the use of a vaccine. This stimulates the body to create a response against the antigen without causing symptoms of the disease. Artificially acquired passive immunity is a short-term immunization created by the injection of antibodies, such as getting a tetanus shot. Environmental contamination To protect oneself, it is necessary to recognize all the places where contamination can occur in a salon. Microorganisms are everywhere, but there are certain areas where there is likely to be a higher than average concentration. The shampoo bowl is a very receptive area to bacteria. Pseudomonas bacteria love warm, moist places like the shampoo bowl, the drain, the faucet and the handles. The shampoo bowl and its surrounding structures can also be contaminated with staphylococcus or streptococcus from a patron s hair, nails or skin. Implements used on clients, such as scissors, files and brushes are other main sources of contamination. Extra care must be taken to decontaminate these articles in between clients. Microorganisms may be present in products being used in the salon. If sanitary measures are not followed, and fingers are dipped into creams, gels and lotions, the product is contaminated. Even if proper measures are taken, with age, some products may lose the preservatives that keep microorganisms from growing. If any products change color or develop an odor, the product must be discarded. It may be contaminated. Another possible source of environmental contamination is the heating and cooling system in a salon, especially if they are not cleaned in a timely fashion. If filters are not changed regularly and an odor is noticeable, there are probably microbes growing in the system. When the fan turns on, these same microbes are blown all over the salon. Legionnaire s disease was spread throughout a hotel in a similar manner. Direct and indirect contamination There are a number of ways that bacteria, viruses and fungi can be transmitted to individuals. Bacteria can be transmitted through direct or indirect contact. Direct contact includes personto-person contact with blood and other body fluids. Indirect contact occurs from transmission through a contaminated intermediate object. Usually the object is one s hands. Viruses can also be transmitted through direct or indirect contact. Some viruses can survive for a number of hours on surfaces, providing an opportunity to contaminate hands. When hairdressers touch their eyes, nose or hair without hand washing, their contaminated hands can spread bacteria, viruses and fungi Page 56

58 to others. Careful hand washing is as effective as wearing gloves to avoid picking up these pathogens. The most common unhygienic practices in the salon include: infrequent and poor handwashing, lack of handwashing prior to servicing clients and lack of handwashing after contact with the cosmetologist s face, mouth, nose and hair during work hours. In a survey of Americans by the American Society for Microbiology, 48 percent of respondents reported that they do not wash their hands after petting an animal, 33 percent do not after coughing or sneezing, and 22 percent do not after handling money. One of the more bacteria- and virus-ridden surfaces in the salon is the phone. The more it is used, the more it is contaminated. Bacteria and viruses can also be present on faucet handles, door handles and sponges, and transfer to hands is highest from hard, nonporous surfaces such as counter tops. Once contaminated, these surfaces can transfer the bacteria and viruses to additional people. Infection control Bacteria and viruses are kept out of the body primarily through unbroken skin. It is therefore extremely important that the skin be kept as intact and healthy as possible. Chapped skin during the winter months is not unbroken skin. There are many minute breaks in the skin that can allow bacteria and viruses to enter. The skin s water content and ph are affected by hand hygiene. Some of the antibacterial characteristics of the skin come from its normally acidic ph. Soaps are generally alkaline in ph (ph greater than 7) and can result in long lasting changes in the ph. Some hand hygiene practices such as frequent washing with detergents can result in dryness, irritation, chapping and cracking. Moisturizers can help prevent dehydration. For those with dry or damaged skin, it is important to keep the skin moisturized to keep the hands hydrated. Cosmetologists should not be in the salon if they have a communicable disease. Examples of communicable diseases include ringworm, strep throat, tuberculosis, and head lice. The most frequently experienced communicable disease is the common cold. Antibiotics are frequently requested to treat the cold, yet the antibiotic will not help as the cold is caused by a virus, and may hurt the patient by allowing resistant bacteria to multiply. The best treatment for a cold is home care and rest. Indeed no one wants to take off work for a cold, but it can be eliminated quickly with rest, or can linger for days and even weeks without, contaminating everyone and everything around the cosmetologist. When is one the most contagious? In the early stages of a disease, when a person has the beginnings of symptoms. People are much more likely to acquire an illness from something that they touch and then transfer the bacteria to their eyes, nose and mouth than by any other route. One must consider that the world around them is contaminated with many viruses and bacteria, and must learn to wash his/her hands. Decontamination Decontamination is the removal of pathogens and contaminants from tools and surfaces. There are three levels of decontamination: Sanitation, which is the lowest level, Disinfection, which is a higher level, and Sterilization, which is the highest level of decontamination. Sanitation Sanitation is the cleaning of pathogenic microorganisms from hands and surfaces. It can include washing of the hands, which removes dirt and microbes from the hands mechanically and the use of antiseptics. Antibacterial soap and water are the most commonly used products for cleaning. Pump type soaps are recommended, as bar soaps can encourage the growth of microorganisms. The first line of defense in any salon is simple hand washing. This is the easiest and most effective way to prevent the spread of disease, yet it is often the most overlooked. What is the proper way to wash hands? One should wash their hands for about 30 seconds (the amount of time it takes to sing Happy Birthday twice), scrubbing the tops, palms and nails of the hands and any exposed portions of the arms with antibacterial soap. Antiseptics may also be used for sanitation purposes. However, they are not a substitute for hand washing when the hands are physically soiled, since they do not clean. The Center for Disease Control recommends soap and water hand washing on hands that are visibly soiled. They are advantageous when immediate germicidal activity is needed and where soap and water are not immediately available. Hand Washing Standard Thoroughly wash hands and the exposed portions of arms with antibacterial soap and water before providing services to each client and after drinking, eating and using the restroom. Disinfection The second level of infection control is disinfection. Any item that is used on a client must be disinfected or discarded. Disinfection must be done with a hospital grade disinfectant, effective against bacteria, viruses, fungi, and pseudomonas. If implements accidentally come in contact with blood or body fluids, an EPA registered tuberculocidal (kills tuberculosis) disinfectant or an EPA-registered disinfectant effective against HIV and HBV (Hepatitis B) is required. After mixing, the disinfectant should have a ph between 2.6 and 3.2 or between 10 and 11. This will provide the most hostile environment possible to the microorganisms, without harming the user and the items being disinfected. Disinfectants must be approved by the Environmental Protection Agency (EPA) and each state. Also, federal law requires manufacturers to supply salons with Material Safety Data Sheets (MSDS) that will include important information such as directions for proper use. All distributors will provide MSDS on any item in the salon upon request. Disinfection is only done on non-porous substances such as tools, implements and countertops. Disinfection is never performed on the skin as it can harm the skin. Wet Disinfection Standard All tools and implements must be disinfected by complete immersion in an EPA registered disinfectant that is effective against HIV-1 and human hepatitis B virus or is Tuberculocidal that is mixed and used according to the manufacturer s directions. Page 57

59 Disinfection is chemically destroying, or reducing the frequency of microbes. The ideal disinfectant should be fast acting, be effective against all types of infectious agents, disinfect without damaging or discoloring the material, be easy to prepare, be stable when exposed to light, heat, or other environmental factors, be inexpensive, and not have an unpleasant odor. Disinfectants commonly used in the salon can include quaternary ammonium compounds. Quaternary ammonium compounds (quats) are surface-active agents with the property of producing bacteriostasis in very high dilution. Bacteriostasis means that the substance will inhibit bacterial growth but does not kill the bacteria. Consequently, removal of quats can result in a resurgence of bacterial growth; however, prolonged application can often result in bacterial death. That is one reason why it is so important to keep implements completely immersed in a disinfectant while giving a manicure, for instance. In the past, quats did not satisfy all requirements as a hospital grade disinfectant, but now quats are often mixed with other agent(s) to increase their effectiveness. Some people may be concerned with the use of disinfectants and their impact on the environment. Unfortunately, green products that are promoted as alternative disinfectants, such as borax, vinegar, ammonia and baking soda are much less effective than commercially produced disinfectants. The cosmetologist s concern is protecting the health and safety of the public, and so it is imperative that the correct disinfectants are used to prevent transmission of disease. EPA product registration should be the basis for purchase and use. Sodium Hypochlorite (bleach) is not considered a viable option for salon disinfection anymore. It is unstable, and has the proper disinfectant qualities when mixed, but when used several hours later, may not. It has been replaced by more advanced and more reliable disinfectants. It is not recognized by the EPA. Items not recommended for disinfection in a salon include ultrasonic baths used with soap and water, formalin, and UV sanitizers. Ultrasonic baths create bubbles that penetrate into the cracks and crevices of implements. They clean very well; however, they do not disinfect the implements unless used with a hospital grade disinfectant. Disinfection of Whirlpool Foot Spas After each customer: Drain water and remove debris. Clean surfaces with detergent and rinse with clean water. Disinfect with an EPA-registered Hospital Grade disinfectant. Rinse and wipe dry. At the end of each day: Remove screen and clean with detergent and clean water. Immerse screen in an EPA-registered hospital grade disinfectant for minutes. Replace screen and flush system with low-sudsing soap and warm water for 10 minutes. Rinse, drain, and air dry. Once every two weeks: After daily cleaning, fill foot spa with a 5 percent bleach or chlorine solution. Circulate through system for 10 minutes. Allow to sit overnight. The next day, drain and flush system. Page 58 Formalin was used in the past as a disinfectant and to create a dry cabinet sanitizer. It has been discovered to cause cancer and other health problems and so its use has been discontinued. Clean and disinfected implements are now simply stored in a dry, covered container until needed. Ultraviolet (UV) sanitizers are designed for storage of cleaned and disinfected implements only. They do not disinfect implements. Sterilization Sterilization is the highest level of decontamination. It kills all organisms on a surface, even bacterial spores. Methods include the steam autoclave and dry heat. It is not commonly used in the salon. However, it can be used whenever skin is pierced or potential contamination with blood or body fluids is possible. On the other hand, estheticians have access to pre-sterilized disposable lancets or needles which may be a simpler solution. An autoclave is a device used to sterilize equipment. It uses steam under pressure, similar to a pressure cooker, to completely kill all microbes on implements. Exposure to 121 degrees Celsius (250 degrees Fahrenheit) for 15+ minutes is typically sufficient to sterilize. Another type of sterilization requires dry heat, similar to an oven. To be effective, dry heat typically requires higher temperatures than moist heat. It is also less penetrating and typically requires longer exposure. Exposure should be at 171 degrees Celsius (340 degrees Fahrenheit) for at least one hour. Bead sterilizers do not sterilize anything and therefore are misnamed. Sterilization occurs when the implement reaches 171 degrees Celsius for one hour, which doesn t occur with the bead sterilizer. The bead sterilizers do not even disinfect implements, as the entire implement is not immersed in a disinfecting solution. Use of a bead sterilizer in the salon will bring a false sense of security to the cosmetologist and client, while their health is being compromised. Salon cleanliness The salon must be kept clean and free of any visible dirt or debris, but more importantly the tools, implements and surfaces of the salon must be kept as disinfected as possible. Surfaces which are recommended to be disinfected with a hospital grade disinfectant include sinks, drinking fountains, shampoo bowls, stations, facial beds, manicure tables, etc. Floors must be swept clean after every haircut, and should be mopped on a regular basis. All implements should be free of any hair or any other debris, washed in hot soapy water, rinsed and then placed in the appropriate hospital grade disinfectant for minutes. At the end of this time, implements should be removed safely (using a basket, tongs or gloved hands) rinsed, allowed to dry and should be placed in a dry sanitizer until the next use. Items that cannot be disinfected should be discarded. Any lotions, creams or liquids should be kept in closed containers and the lid should be replaced immediately after use. A clean towel should be used on each client. Headrest coverings and neck strips must be changed for each client. Hands must be washed with an antibacterial pump type soap and warm water after touching hair, eyes, or skin. They also must be washed after every customer, and after eating, drinking and using the restroom.

60 Proper blood spill procedures must be followed to ensure the health and safety of the cosmetologist and the patron. When mixing disinfectants, gloves and safety goggles should be worn and all directions for mixing followed. One of the most important safety precautions is to first pour water into the container that the disinfectant is being mixed in, and then pour in the disinfectant. This prevents possible splashing of the disinfectant onto the cosmetologist if water is added to the disinfectant. Blood Spill Procedures If a cut is sustained: 1) Stop the service. 2) Clean the injured area. 3) Apply antiseptic and/or styptic as appropriate without touching the skin or wound. 4) Cover the injury with a dressing. 5) Cover injured area with finger guard or glove. 6) Clean model, client, and station as appropriate. 7) Double bag all blood-soiled articles, label with red or orange biohazard warning and dispose. 8) Clean hands with antimicrobial cleanser. 9) Return to service. Cleaning salon surfaces can be accomplished by first washing with hot, soapy water to eliminate soil and visible dirt. Then the surface should be disinfected with an EPA registered disinfectant that is designed for this use. The surface to be disinfected should be flooded with disinfectant for 10 minutes, and then wiped off with a clean dry towel. The surface should then be sprayed with the disinfectant again and allowed to air dry. Tools and equipment should be washed in hot, soapy water. All hair and debris must be removed or the disinfectant will be compromised. A product specifically designed to dissolve all hair is especially helpful and time saving for the cosmetologist in preparing the implements and tools for the disinfectant. The articles are then completely immersed in an EPA registered disinfectant for the proper amount of time (usually minutes). They are removed with tongs, a basket, or gloved hands and then rinsed, dried and stored in a dry sanitized container. Directions for the disinfectant must be read carefully as some disinfectants are designed for metal implements so they will not rust, and some are designed for plastic and rubber tools so they are not harmed. If a sponge is used to clean up in the salon, understand that it can harbor high concentrations of pathogens. Sponges can be decontaminated by boiling for 5 minutes, heating in the microwave for 30 seconds, or laundering with detergent and bleach. This will reduce the number of pathogens by 99.9 percent. Conclusion Remember, first impressions are lasting impressions. The word will quickly get out if a salon is dirty. Carelessness with cleanliness equals carelessness with professional skills in many people s minds. A clean salon will fill clients with confidence in their stylist. Proper decontamination will help to ensure any salon s success. Sanitation and Sterilization Self-Assessment Select the best answer for each question and mark your answers on the Self-Assessment Answer Sheet on page 89 or complete your test online at Bacteria have both plant and animal characteristics. True False 32. Cocci bacteria move about using small hair-like structures called cilia. True False 33. Ringworm (tinea) is an example of an animal parasite that feeds on small amounts of blood from humans. True False 34. Pseudomonas, which cause a fungus-like growth, survive best in warm, moist conditions. True False 35. Communicable diseases are most contagious in the later stages as symptoms begin to lessen. True False Page 59

61 Chapter 8 Retail Concepts (2 CE Hours) Learning objectives Recognize differences in retail products available. Discuss the different categories of cosmetology products. Implement methods to gain and retain clients. What do I do with all of these products? As a busy professional in the beauty industry, you may find it is very difficult to keep up with all of the changes and advances in styling products. For instance, many product lines these days contain natural ingredients. You may be wondering what their purpose is. Is it just a ploy to make consumers think the products are better because they contain plant materials? Also, there are certain ingredients that you hear about over and over. You may wonder, Why do all of these products contain silicone and polymers? Following is a list of natural ingredients and their purposes in hair care products and then a list of common hair product ingredients and their purposes. Page 60 Ingredients found in hair styling products Natural Ingredients Found in Hair Styling Products Ingredients that are antioxidants (a substance that inhibits the destructive effects of oxidation): Sage Red Sage Gingko biloba Rosemary Hibiscus Hops Chamomile Ingredients that add shine: Chamomile Jojoba Aloe vera Rosemary Ingredients that are emollients: Sunflower extract Wheat germ Jojoba Ingredients that are water-binding: Quillaja Algae Kelp Panthenol Ingredients that are UV inhibitors: Beta Carotene Ingredients that provide pliable texture: Beeswax Common ingredients found in hair styling products There are some ingredients that one sees listed over and over in styling products. Here are a few and their purpose in the preparation: Silicone: An organic compound used to coat the cuticle layer for smoothing and filling in the layers. Also used to stop moisture from penetrating. Benefits include ease in combing, combating frizz, protecting against damage and promoting shine. Silicone is a man-made ingredient whose base is silicon, found in sand, clay and granite. It s found in many conditioners and styling products designed to control the hair without leaving a sticky residue on the hands. Common names include dimethicone, trimethylsilyam odimethicone and dimethicone copolyol. Polymer: Whether using gels, mousse, pomades or waxes, a key ingredient is polymer, a water-soluble adhesive that helps expand the hair by breaking up its surface tension. This helps build volume into the style. As the water is dried from the hair, the polymer remains. If you add hair spray, you get more polymers, making the hair more resistant to humidity. Panthenol: Water binding, builds body and strength and makes hair look and feel thicker, adds Vitamin B. Resins: Expand as hair dries so hair looks fuller. Ceramides: Important oil-soluble compounds (or lipids) within hair, responsible for maintaining proper moisture and elasticity. They are used to repair and reinforce the hair s cuticle and restores strength to hair. Fatty alcohol: A chemical compound that is creamy in texture, consisting of a string of many fatty bonds and one alcohol bond that delivers moisturizing properties onto the hair shaft. Common names include cetyl alcohol, coconut alcohol, stearyl alcohol or oleic acid. Ethanol: A water-loving volatile alcohol used to deliver styling polymers onto the hair shaft. It quickly evaporates so it does not cause dehydration. Oil: A liquid found in plants or minerals that provides moisturizing benefits to the hair shaft. An emollient or smoothing agent, it is put in to make the cuticle or outer layer of the hair lie flat and help the hair feel smooth. Common ingredient names include isocetyl stearoyl stearate, isopropyl myristate, mineral oil, petrolatum, glycerin and PEG-60 hydrogenated castor oil. Proteins: A complex chain of amino acids and nitrogenrelated particles that add gloss and luster, and build body and strength to the hair shaft. They are derived from a variety of natural sources such as milk, keratin and silk. Common label names include hydrolyzed keratin, hydrolyzed soy protein, silk protein and hydrolyzed whole wheat protein. Pro-vitamins: Precursors to vitamins A, B and E that penetrate the hair shaft to help strengthen the cortex layer, increase tensile strength and make hair more flexible and elastic. Common label names are biotin, pantethine and panthenol.

62 What s the deal with ions? Ceramics, Tourmaline, and ionic hair care tools are some of the newest technologies on the block. They use negatively charged ions to make hair more beautiful. Ions are particles that are either positively or negatively charged. When an oxygen atom has an extra electron, it is negatively charged, and when the atom lacks an electron, it is positively charged. Contrary to the names, the negative ion is the desirable ion. Ceramic flat irons, curling irons and blow dryers create negative ions, resulting in shiny and silky hair. The ion hair dryer uses negative ions to dry hair faster and condition the hair. The negative ions generated by the dryer enable the water to better penetrate the hair, moisturizing the hair. More moisture will result in less flyaways and frizzies. Categories of Styling Products When manufacturers come out with new products, do you feel overwhelmed? Products such as serums, waxes and pomades will help the client s finished hairstyle look and perform better. Also, retailing in your salon will increase if you become familiar with the products. But, what should you use for any given client and style? Some categories of hair styling products, their benefits, applications, disadvantages and the type of hair to use them on follow: Serums Benefits A serum is a clear, thick liquid that coats hair, reflecting light better and helping the hair to look instantly shinier. A serum also will take away frizzies, and will tame the hair. A very small amount is used per application, making the product very cost, effective for the client. Type of hair to use on Serums are great on medium/coarse hair and for longer-haired clients. They are wonderful on straight hair but also good for defining curls and super as a shine enhancer on ponytails. Applications Apply from mid-shaft to ends, avoiding the scalp area because they will make hair limp and greasy looking. You can apply to dry hair to repel moisture and finish the look and can apply to curls to add separation and give a textured and piecey look. Disadvantages Overuse of this product may leave hair looking oily. If the directions state that the serum must be used on wet hair, the client may forget to use it because the frizzies aren t apparent yet in the styling process. It may be too heavy for fine hair and may or may not give protection against heat damage. Pomade Benefits A pomade is a lighter product than wax and contains a protective moisture barrier that helps lock out humidity. It controls flyaways and static and creates texture. It also helps mold and fix hair into the desired style and adds a light sheen. Pomades are great for structuring individual strands and curls for that wow factor. Type of hair to use on Curly hair and any hair needing shine. Application Rub a thin layer over palms then apply all over short hair to rough it up without dulling it like clay. On longer hair, rub a little into fringes or layers to add texture. A pomade can also be scrunched into longer styles to make them a little messier. Disadvantages Too much product might give hair a greasy look. Shine mists Benefits A shine mist will control frizz and flyaways. It may provide heat protection and UV protection, but check individual products for this claim. This product is light and won t weigh down hair and is easy to apply. Type of hair to use on Use on any length or texture desiring shine and control. Application Spritz on hair when it s completely dry for shiny, beautiful hair. Disadvantages This product gives no hold. Blow drying and finishing crèmes Benefits A finishing crème will turn dried-out-looking hair into smooth, shiny healthy-looking hair. The product works to camouflage dryness and instantly moisturizes dry ends. It softens and adds shine, controls frizz, offers heat protection, and provides a soft-to-medium hold. Type of hair to use on Use on hair that needs a conditioning styling-aid to achieve a great looking straight effect. Application Apply to towel-dried hair, avoiding scalp area. Disadvantages This product can make hair appear greasy if too much is applied. Root lifters Benefits A root lifter helps fine, limp hair to have bounce and lift. It coats the hair to increase the diameter, thereby increasing the volume of the hair. Type of hair to use on Root lifters are designed for fine or limp hair. Application The nozzle is directed at scalp area where lift is needed the most. Dispense product and gently massage into scalp. Finish by blow drying, setting the hair or allowing it to dry naturally. Disadvantages It is possible to use too much, which can make hair unworkable. Mousse Benefits A styling mousse is a very versatile styling aid that works great at the scalp area for lift. It adds volume and hold and it should contain ingredients to give hair shine. It is best for adding volume when blow drying because it contains resins to add fullness to hair. Type of hair to use on A mousse is excellent for fine or limp hair. It also can control and defrizz thick or coarse hair or can be used to give added boost to curls. Application Shake the bottle, tip it upside down, and dispense a golf-ball sized amount in one hand. Rub your hands together and apply from the scalp to the ends. Work the mousse through the hair evenly. If hair is curly, scrunch curls as you dry them. You can also add big rollers when the hair is almost dry for a glamorous look. Disadvantages Mousse may contain alcohol, which will dry the hair. The stronger the mousse, the more alcohol it probably contains. Try to look for alcohol-free versions. The manufacturer may offset the drying action of the mousse with conditioners put into the formula, which is super for chemically treated or dry hair, but fine hair may go limp from too many conditioners in the formula. Page 61

63 Spray Gels Benefits Spray gels are lighter than ordinary gel and have a medium hold. They generally will not dry crunchy or stiff and will add volume without being too heavy. Type of hair to use on Spray gels are great for fine hair, however they can be used on all hair types for volume, control and support. Application Spray the gel from the bottle directly onto hair. Work into hair with hands. Disadvantages May not hold hair as firmly as you wish. Glaze Benefits Glazes are lighter than gel, but will still add volume without being too heavy. Type of hair to use on Great for fine hair. Application Apply to damp hair. Disadvantages May not give enough control to thick, coarse hair. Gel Benefits Gel comes in a thicker formulation. It is a waterbased styling aid that goes on wet and dries to a shiny finish. It is used for shaping and overall design. It can also be applied to dry hair to give a messy look. Type of hair to use on It is good for medium to thick/coarse hair and will give great control to heavier hair. Gel is used for styling hair, scrunching, molding and sculpting. Application Put a small amount in hands and rub together. Apply to towel-dried hair. Work a small amount into short hair to create separated, spiky effects or apply all over with the palms of your hands to create a slicked back effect. Blow drying will help set the gel and give you maximum hold. Disadvantages Avoid on fine or very light hair because the client s scalp will end up showing through. It can dry hard and crisp if allowed to dry without disturbing. Gel wax Benefits Gel wax builds body and fullness like a gel but defines and shines like a wax. It has the firm hold of a gel but the flexibility of a wax. It gives lasting volume and piecey texture to fine or limp hair Type of hair to use on Use on fine, limp hair and those styles needing hold and control. Application Apply desired amount to towel-dried hair and blow dry for medium hold and separation. On styled hair, use it for strong hold and separation. It can be used to define any look or style, on wet or dried hair. Disadvantages Gel wax is not for extreme styles because it only has a medium hold. Soft Wax Benefits Soft wax controls curls and adds definition to shorter styles. It can give hair that rock star, very messy, just out of bed look. Soft wax has flexible hold and pliability and controls flyaways and static. It has a light to medium hold and texturizes and shines the hair for separation and definition. It is reworkable throughout day. Page 62 Type of hair to use on Apply to hair needing texture and definition. Application Put product on fingertips, rub fingertips and hands together and then apply where needed to dry hair Disadvantages A little goes a long way, and too much might give the hair a greasy look. Spray wax Benefits Spray wax is great for creating a quick bedhead look. It s easy to use and has a medium to firm hold. Type of hair to use on Any hair needing texture and volume. Application Use sparingly on dry hair. Spray and shape as desired. Disadvantages Spray wax can build up on hair and be difficult to remove, especially if it is used heavily. Hard wax Benefits Hard wax creates a moveable finish. It has a firm hold formula and will create a messy, bedhead look. Hard wax creates texture, helps mold and fix hair into its style, and adds a light sheen. It s great for structuring individual strands and curls for that wow factor. Type of hair to use on Hard wax can be used on all hair types, especially for styles needing a product that will give them a flexible hold, texturizing ability and pliability. Application Use hard wax directly from the stick onto dry hair. On shorter hairstyles, rub the product directly into scalp area and work through hair. To detail areas of the head, run stick down hair in direction you wish it to stay. Disadvantages Hard wax can be over applied. Clay Benefits Clay products are thick styling aids that give hair a matte finish for a more natural effect and a messy, bedhead effect. They can also be used to give texture to a style and create strong definition with firm hold. Clay products are reworkable throughout the day. They can create a bold statement, or they will help slick the hair back for a polished look without creating a shiny or crunchy helmet. Type of hair to use on On short hair, use clay to ruffle up the hair. On heavily razored hair, use clay to define texture. On longer, wavy hair, squeeze it into the hair for a sexy look. Clays are great for piecing, and creating gravity-defying styles. Application Rub between palms and then apply to scalp area to ruffle up the hair. Rub a little into the ends with fingertips to define texture. Clay can be rubbed between palms then squeezed into the hair for a sexy look. Disadvantages Apply sparingly all over or hair will simply look dirty. Paste Benefits Paste adds extra texture and definition when applied to dry hair. It has a firm hold, but also has the ability to be moved around.

64 Type of hair to use on Pastes are fantastic for thicker hair and for men s hairstyles. Application Apply to dry hair to aid in root lift and volume. Disadvantages Pastes can be over-applied. Putty Benefits Putty is light, but offers a slightly tacky consistency for more hold. The product may contain fibers that help to hold hair. It offers shine and definition, but it doesn t make hair greasy or stiff like some other products do. The hair can be reworked throughout the day. Type of hair to use on Putty is great for men s looks or short spiky styles. Application Work a small amount onto fingertips and apply to wet or dry hair. Style hair with or without heat. Disadvantages Putty can be over applied. Glue Benefits Glue is fast acting, quick drying, and firm holding for extreme hairstyles. Type of hair to use on Use styling glue on any hairstyle needing maximum styling retention. Application Apply a small amount to damp hair. More may be needed for thicker hair. Disadvantages Glue can be over applied. Thermal protection products Thermal protection products help repair surface damage and prevent cuticle cracking, making the hair smoother and more resistant to mechanical damage. A smoother surface and tighter diameter will greatly reduce drying time and speed up styling time. These products will protect hair from damage and will give a flatter, glass-like finish. Heat activated thermal spray Benefits Thermal spray is useful when using a paddle brush to smooth the hair or a round thermal brush to create body and waves. It is also great for use with a curling iron to really set the curls. Type of hair to use on Thermal spray is good for hair that is blow-dried and curled with a curling iron daily. Application Spray on damp or dry hair to create a firmer set blow-drying or when using the curling iron or hot rollers. Disadvantages This product eventually may build up on iron. Heat activated straightening product Benefits Straightening products help hair go smooth and silky when blow-drying it straight. The product contains silicone, which leaves behind shine when hair is dry. Type of hair to use on Use this product on any hair that needs to be straightened. Application Apply the product to damp hair. Point the nozzle of the blow dryer from roots to ends to lay cuticle scales flat. Straighten hair section by section and make sure each is completely dry before moving on. For poker straight hair, finish with a ceramic/tourmaline flat iron. Disadvantages Heat activated straightening products can only do so much. If the iron is too hot, the hair will still end up dry and brittle. Clients How to Gain Them, How to Retain Them (or How to Open a Salon and Keep it Open) Opening a salon Opening a salon is one of the most exciting events that can happen in a stylist s career. When opening a salon, how do you determine what prices you will charge for services? Do you just arbitrarily pick a number out of thin air? Do you determine what every other salon in the area is charging and then pick a number somewhere in the middle? It s important to know what the competition is charging, but what if they are all charging $10 for haircuts? Can you make a living and stay in business if you also charge $10? Fill out the following chart to help determine the pricing for your salon, or to see if your current pricing will allow you to make a living in your salon. Yearly income Example 1. Amount you would like to bring $ $ 20,000 home for the year. 2. Now add that same amount to the $ $ 20,000 first number. You need to double the amount you would like to make because your overhead will take 50 percent of your gross. 3. NEW TOTAL $ $ 40, Now, take your original amount $ $ 26,000 and add 30 percent. This is what the government will take from you in taxes, as a business owner. Example- $20,000 X 1.30=. 5. Now, add lines three and four. This is the amount you will need to bring in for the year to achieve the income you desire. $ $ 66, Divide by 50 weeks for amount $ $ 1,320 needed per week. (Assuming a two-week vacation each year) 7. Divide by five days for amount $ $ 264 needed per day (Assuming two days off per week) 8. Divide by eight hours for amount $ $ 33 needed per hour. (Assuming an eight-hour workday) 9. Divide in two for amount needed per half hour. This is the amount you should be charging for a haircut or for every half hour increment of service time as a self employed salon owner to support the lifestyle you want. $ $ Page 63

65 Customer service Generally, when thinking of opening a salon, the chief concern is being a financial success. Setting financial goals is great, but should not be the sole criterion for company success. Gaining and keeping clients should be the primary goal of a salon. If this goal is realized, financial success will follow. Without customers, the shop has no reason to exist. A shop owner must determine who his or her clients are to help define the appropriate customer focus. Also, the shop must determine what clients want in a salon. This entails putting yourself in the client s shoes. Do the clients need more flexible hours? Do they like a Starbucks-type atmosphere to help them unwind during their appointment, or are they looking for a fun, high-energy salon where they can get the latest looks? Take a good look at your salon. A client can get a manicure, a facial, or a haircut almost anywhere. Why would someone choose your salon over the competitor s salon, most things being equal? Anyone can provide beauty services with a reasonable degree of accuracy. The key is to provide those services with a high level of caring and customer service. High-quality customer service comes from being proactive. Customer service must be planned. It must be part of the vision of your salon, not some afterthought because you are losing business. Clients want to be more than pleased with the service they receive; they want the feeling that the entire shop considers their business to be vital to its operation. To start with, identify simple customer service opportunities that will delight clients and contribute to your salon s success, such as a genuinely enthusiastic greeting. Offering to take the client s coat and making sure he or she has something to drink while filling out the customer questionnaire will get the client s experience started off on the right foot. After you have identified these opportunities, the next question you should ask is, Are we consistent in our customer service? Consistency in service from all employees is of the utmost importance for any business. Did everyone in the salon, from receptionist to shampoo person to stylist make the client feel welcome? Was everyone accommodating to the client without making them feel like they were intruding or being a bother? There can be no lapses in the level of service from employees because the customers will not remember the 15 positive encounters with various employees during a salon service, but rather the one rude or curt encounter. One underpaid and disgruntled receptionist or shampoo person can destroy a salon. Think of how many client experiences they can influence either negatively or positively. Service pricing for your salon Now determine how long it takes you to do each service and then multiply your half-hour base amount by that time length to determine the prices you should charge. Remember, while a tint is processing, you can do a haircut. While a perm is processing, you can do one or two haircuts, so you don t need to charge the whole amount to the tint or perm. Example: You need $20 every half hour. It takes you 1½ hours to do a tint, with a haircut in between. You charge the haircut $20, and the tint $40 for your services. You will still end up with $60 coming in for 1½ hours of your time. Page 64 Time / Amount Haircut / Tint / Perm / Foil highlight / Manicure / Pedicure / Art nails / Cap highlight / Spiral perm / This will give you your salon pricing. Unfortunately, we often think of customer service as only those instances where one is actively serving the client in an attempt to gain a sale. For example, what is the level of service clients receive from the stylist or manicurist? However, customer service includes everything clients encounter, from the time they arrive in the parking lot to the time they leave that very parking space. How does the parking lot look? Is the view that of the employees gathered outside the door, having a smoke break? How are clients greeted? Do all employees look the part of a professional? Is the salon environment clean, safe, comfortable and relaxing? Are clients escorted to the station or shampoo bowl? Are employees knowledgeable about the services offered on the salon menu? Are employees also knowledgeable about the products being used? How is the check-out procedure? Are clients thanked for their patronage? How do you know if your salon is providing good customer service? Your salon needs feedback on how well it is meeting client expectations. Employees must be involved in this process by making each employee responsible for ensuring that every client has an extraordinarily high-quality experience with your salon. What about after clients leave? Do they get follow-up phone calls to check on their satisfaction? An easy way to increase client satisfaction is to implement follow-up phone calls. After every appointment, a staff member should contact clients to make sure everything about the salon experience was pleasing. This will give your salon members immediate feedback on things you are doing correctly and incorrectly. Another method of gaining feedback is to mail out surveys. Customer surveys sent out the day after an appointment (with, of course, a self-addressed, stamped envelope) will allow the salon to get feedback and to tweak its customer service. Remember: What one team member considers excellent service can be drastically different from another team member s view of service. The only way to ensure that everyone is on the same page is to have written guidelines, consistent and ongoing training, and reinforcement from the top down. Don t assume everyone knows the proper way to greet a client, or the proper way to escort the client to the stylist s station. Go over every possible interaction with clients and how you would like your employees to handle them. You may have to go over these interactions periodically at staff meetings, and then make

66 certain everyone is following these guidelines by monitoring communication between your staff members and clients. This will help your salon to manage the balance between gaining new clients and retaining clients already present. Studies show that retaining a client is much more important than gaining a new client, and long-term client relations clearly affects the salon s growth and financial results. It costs five to seven times more to find new customers than to retain current ones. Ninetyeight percent of dissatisfied customers never complain; they just switch to other competitors. Totally satisfied customers are six times more likely to purchase again than are merely satisfied customers. Imagine you and your staff making it the salon s primary goal to try to totally satisfy every customer. If you do that and can attain a 5 percent reduction in clients who leave your salon because of dissatisfaction, you will certainly profit. A 5 percent reduction in clients who defect to other salons can result in profit increases ranging from 30 percent - 85 percent. Who wouldn t want a 30 percent increase in business from one year to the next? Employees must be trained (or hired in the first place because they have been identified to have this trait) to understand that at your salon, it s not a problem to go out of their way for their clients. Also, you need employees who can identify a problem, and instead of being negative or making excuses for the problem, can quickly identify a solution. Nemacolin Woodlands Spa, a destination spa located in Pennsylvania, has one key motto that drives everything they do. If asked ANY question by a client, the answer is Yes, and then the goal becomes how to make that request a reality. The answer is never Maybe, or I ll see if that s possible. The employees are trained to respond Yes. There is often a certain stigma associated with being labeled a yes-man. But, what about when it comes to providing great customer service? Isn t this the best time to be a yes-man? After all, the customer is essentially your boss. They spend the money that eventually comes back to you in the form of a paycheck. Wouldn t your organization rise to new heights if everyone tried to be more of a yes-man when it came to customer service? Giving authority to stylists to solve clients concerns without the need for management intervention empowers the stylists and results in greater client satisfaction. Many salons will not allow their stylists to say yes to a client trying to get satisfaction for an unfavorable appointment or for a product that is a poor match to the client, unless given authorization by a manager. Then the manager is asked to talk to the client and gives the client everything the person asked for. The client wonders why the employee was being so disagreeable, and the manager gets to look like the hero. Wouldn t it be better if every employee in your salon got to look like the hero to your clients? Imagine every employee solving problems and making customers happy. Your salon would grow by leaps and bounds. Naturally, there will be occasions where accommodating a customer s wishes is just not possible. But what if your salon thought proactively about some situations where it would be impossible to say yes. Consider some creative solutions to the problem that would make your customer satisfied and feel as if the request was in some way granted. Discuss these situations with your employees at staff meetings. Brainstorm solutions. You will be surprised by the number of creative solutions you can come up with. The most important thing is that employees are empowered to do whatever it takes to deliver genuine customer service. Your dedication to this will far outweigh any minor inconveniences at the time and will be rewarded with loyal repeat customers. A salon owner or manager must also evaluate all the possible interactions that could form a negative impression on clients and look for opportunities to improve and deliver service that exceeds expectations. Imagine a restaurant, late in the evening, with almost no customers. A couple arrives weary from traveling all day, just needing a place to get a bite to eat. The waitress takes the couple s order and returns with their beverages. She removes the straws from her apron and begins to put them on the table. One straw paper has become dampened and has torn. The waitress stands looking at the straw for a few seconds, and then asks the customer, You didn t want a straw, did you? This is a true story, and a shining example of poor customer service. Now imagine a shoe store, and a customer looking for running shoes. Upon carefully picking out the right pair with the help of the sales associate, the salesperson discovers that the store is out of his size. However, when he tells the customer, the sales associate also says he has already determined the closest store that has this shoe in stock and has come up with a plan to get the shoe to this store. What a wow experience! Hiring and training correctly Most of the current graduates from beauty academies are members of the Internet Generation. They are used to logging on to the Web and doing research, checking and chatting with friends. The newspaper, with its expensive classified ads and limited distribution, is not the first place your future employees will look when they are ready for the job market. They tend to fire up their laptops and let their mouse do the work. Make sure you hire individuals who are truly a good fit to succeed in the position you have open. Every employee hired will be a customer service representative. They represent your salon. You can not afford to hire a stylist with impressive credentials who does not embrace your vision of a client-first atmosphere. The stylist may have great technical skills but will discourage repeat patrons if they are not properly handled. Nail techs can encourage or discourage clients from getting hair services at the salon. Receptionists can drive away potential clients with unfriendly phone etiquette. The salon work environment should emphasize trust and teamwork, focused on providing excellent customer service. Clients should never be made to feel they cannot move around stylists within the salon, or that they are the property of a particular stylist. This will hurt the salon as a whole, rather than building it up. Salon employees with an attitude of teamwork will work together, helping each other out with clients when behind, shampooing for each other or rinsing texture services or tint out. The clients should feel comfortable with the staff as a whole. When a client s desired stylist is booked for a potential appointment, it should not be a problem for another stylist to step in and take care of the client, if that s all right with the client. Once you hire a stylist, how do you get them to stay with your salon? Stylists, nail techs, and estheticians are no longer easily Page 65

67 dispensable. They represent the salon s first market. If the salon is not investing in and listening to employees as well as clients, it is probably missing opportunities to create a competitive edge in their salon. High turnover in salons can only be addressed through the employee being able to trust in the salon to provide equitable pay, training and advancement. Make sure that your employees are well trained and highly motivated. Put together a commission structure or sales incentives that are in line with other salons in the area. Research other salons and what they offer in terms of salary and benefits. If you are not competitive, your stylists will find this out and will go looking for other salons with better benefits and salary. If these concerns are not addressed, employees will not stay around long enough to become effective team members. Effective team members will be empowered to create happy clients, and happy clients buy more from your salon. Communication with your employees on a regular basis will help keep them happy in their jobs. Create opportunities to communicate with your employees; and make sure they know their roles, job description and responsibilities within your salon: 1. Write up an employee handbook and enforce the rules in it. Make sure all employees are treated equally and avoid favoritism at all costs. 2. Have regular staff meetings to communicate new company policies or initiatives to ensure everyone is on the same page. Include your employees in decision making. This will ensure that employees will own the decisions and will have an interest in enforcing them. 3. Give staff members feedback frequently. This will keep performance levels high and will reinforce positive behavior. 4. Create mentoring relationships among staff, where more experienced employees share techniques and information with less experienced staff members. One way to ensure loyalty from your staff is to give employees a chance to balance their professional and personal lives by being as accommodating as you can with scheduling. Imagine the employee loyalty when stylists or estheticians know they can use flex scheduling to ensure they don t miss their child s soccer game. A little preplanning and give-and-take on your part will make much happier employees. Another way to ensure employee loyalty is to make sure stylists have an opportunity for advancement. This may mean having a sliding scale with commission percentages increasing with an increase in business or by allowing stylists to advance within the company. One salon in Ohio promotes advancement by allowing employees to buy into the company, expanding and opening new salons with key employees allowed to purchase larger-shares of the new salons with an increase in compensation and also responsibility. The stylists get to become salon owners but do not end up competing with the original salon; instead they become a partner salon. A third way to ensure employee loyalty is to recognize employees who demonstrate the quality of plain hard work. People love recognition for a job well done, and something as simple as monthly thank-you gestures in the form of gift certificates or salon tools will go far in recognizing team members who go above and beyond in service dollars, upselling, or retail sales. This will cost you a little out-of-pocket expense, but will earn you a lot of good will and a definite increase in your bottom line as stylists strive more and more to earn recognition and bonuses. Marketing the salon Developing a marketing plan involves identifying a niche for your salon, summarizing your objectives, preparing a strategy, and monitoring its success. Will your business be the convenient, no appointment needed salon for busy families or will it be the one-of-a-kind quirky boutique on the corner, filled with interesting décor and knickknacks? What kind of salon will succeed in your area? What kind of data can you use to make your decision? Identify your target customers, their per capita income, age, sex, geographic locations and attitudes. This information helps you to decide whether to enter or abandon a market niche. Once you settle on a direction for the salon, how will you monitor whether it is a success? Just as a coach adjusts his game plan at half time, so must an entrepreneur periodically update his or her marketing program to stay ahead of the competition. To be effective, a marketing plan must be a living document, a responsive strategy that provides the fuel and direction that drives a company forward. When updating a marketing strategy, assess what s working and what s not. If a strategy is not bringing in and keeping clients, drop it and try something else. Branding is one way to have your salon stand out among the competition by communicating your business core attributes and qualities. It also creates a simple but instinctive association of those qualities in the minds of your potential customers. For example, if you want a strong, tough pickup truck, you think of Ford: Built Ford tough ; if you want to Have it your way, you think of Burger King. Branding can be a very important part of your overall marketing plan. It includes creating a compelling name for the salon, creating a logo and creating a style for your salon. The style should be well thought out, with a color scheme that is consistently maintained in all correspondence, the salon menu, and décor. What response do you want from potential clients when they see your name, logo and style? Do you want them to see the salon as hip and modern, serene and calming, or elegant and refined? This image can be conveyed to them through keeping your style consistent. Another way to ensure your salon will stand out is to put together a mission statement for your salon. A mission statement forces you to think about your salon s goals and where you see the salon going in the future. As a part of the mission statement, create a slogan that states what the key attributes of your business are that sets it apart from other salons. When assessing your salon, don t forget to monitor your competition. Your competition includes companies that are selling essentially the same product to the same customer, as well as those offering alternative products or services. Examples include nail salons, spas, skin care salon, and beauty salons. A simple method for tracking the competition includes keeping a file on each competitor. Whenever you come across a flyer, a newspaper ad or article, dump it into the folder. Review the file each month to check prices, marketing strategy and such. If a Page 66

68 salon is experiencing a lot of success, try to identify what they are doing right. Will this same strategy work in your salon? Your location can be a major marketing tool for you. When choosing where to open your business, is a shopping mall ideal for your salon or a stand alone site? Be sure to check whether the parking is easily accessible, safe and convenient. Will foot traffic help you to achieve your sales objectives? Install attractive signage on your building and around your business location. Drive by or walk by your location. Can you read the sign? Is it obvious what you do at your place of business? Marketing doesn t end when the client enters the door of your salon. Make sure to budget money for a service menu that entices the client to request services based on the luxurious feel of the brochure and wonderful descriptions of the services. Careful use of desktop publishing programs on high quality paper with spell check can be a cost-effective way to get the word out about your services. However, poorly done menus full of spelling mistakes will do more harm than good. If you do not have the computer skills to make up a great menu, take it to a professional printer. A good marketing tool that most people would not consider would be a computerized bookkeeping program. A good bookkeeping program can save you a substantial amount of money in your salon and can give you a lot of valuable information that can be put to good use. A bookkeeping computer program will more than pay for itself in time saved and productivity. It should be able to track which services are the most popular, and which are the least popular. It should also be able to let you know which services are the most profitable. It should track retail sales and alert you when reordering is necessary and in what quantities. It will also let you know what times of the day are busiest so you can schedule employees more efficiently. Direct marketing Traditionally, direct marketing has involved the use of the U.S. Postal Service and the telephone. Recently, direct marketing has grown to include fax, , instant messaging, text messaging and voice mail. When using traditional direct mail advertising, mail out specials and promotions to your current clients. Another idea is to find another area business that may share a similar client base and do a cross promotion mailing. Consider partnering with a day spa, sun tanning spa or massage therapist and sending a promotion to customers of both businesses. Some methods of marketing, such as advertisements, can be perceived in a negative light if the marketing is unsolicited and unwanted. Deleting huge quantities of unwanted s every day is frustrating and a time robber. However, if you only send information and special offers to clients who have given you their address and cell phone number, knowing it will be used for that purpose, you will not generate negative feedback. Many salon clients will welcome reminders and specials, and text messaging a reminder about their appointment to your younger clientele can be very effective. However, you must secure permission from clients before sending any business correspondence to their fax machines or by calling or texting them on their cell phone. Commercial advertising both to fax machines and to mobile phones has been banned, mostly because both methods of advertising cost the client money. Nevertheless, if clients like the convenience of receiving notices of specials from you and give you permission to contact them in this manner, by all means take advantage of this access to them. Collect the addresses of your clients by asking for it when they make appointments, buy merchandise, or pay for services. Simply ask, May I have your address so we can contact you with specials and coupons? All addresses collected should be entered into a database or into the Guestbook page of your website (if you have one) so that you may include the client in future mailings. With the increase in business being done over the Internet, it is a good idea to create and promote a website for your salon. This should be a key element of your marketing strategy if you want to be competitive now and in coming years. Afraid you can t afford a web designer, and don t know how to create a website yourself? Contact your local high school, technology center, or college to find students who love to do this kind of work and will likely charge you far less than a professional. If your website requires information to be entered before being able to access the site, or includes a for more information area where names and addresses are entered, you will have the means to gather an entire database of prospective clients to send promotions and specials. Publish your website s address EVERYWHERE! At little or no cost, you can put it on: Salon and stylists business cards. Stationary, letterhead and envelopes. Fax cover sheets. Note cards and pads. Message pads. Appointment cards. Checks and invoices. Brochures, pamphlets and fliers. Thank-you notes. Name tags. Rubber stamps and labels. Postage meter and receipt tape. Price tags and shopping bags. Packing materials. Consider having your website address printed on any office supplies you need to order, such as: Pens and pencils. Mouse pads. Paperclip holders. Letter openers. When giving out special items for your salon s anniversary or a holiday, make sure your salon s web address is on items such as: Magnets. Calendars. Mugs. Balloons. Tee shirts and hoodies. Once you have a website, one avenue of advertising that is worth your while to explore is pay-per-click local/regional web advertising. You place an ad on the Internet but you don t pay for it unless a potential customer finds your ad and takes the Page 67

69 action to click through to your website. You might wonder how that could possibly benefit a small area salon. It is because you can target local businesses and services in your area that do get a lot of Internet traffic and place your ad only on their websites. For instance, your local news station has a website and many people visit it during the day when checking on the weather or breaking news stories. Everyone who is trying to see whether to take an umbrella to work with them for the day will be exposed to an advertisement of your salon. It is then their choice whether or not to respond to the ad. Your return on your investment can be ten times as high as traditional yellow page advertising, print, radio or TV advertising. Radio and TV advertising is probably too cost prohibitive for a single salon. However, if you own several salons in an area, it may work for you. Make sure you track your return on investment to make sure it is worth your advertising dollars. When a new client comes into the salon, they should be filling out a form with one of the questions being How did you hear about our salon? Yellow page advertisements If using traditional yellow pages advertising, stay away from simply putting your business card in your ad. There s nothing to entice a person to call your salon. If you are going to spend the money, use the space to put a provocative, thought-provoking statement into the ad, or use a well-thought-out slogan. You want to get the prospective client s attention, generate interest, create desire and spark some attention. One way to do this is to make a claim in your ad. You may want to claim that your salon offers the town s most sought-after foiling services. Will anyone be able to dispute this? Can you really determine if this is true or not? No one will ever know which salon has the most sought-after foiling services. The idea, however, is to make a big statement that gets people s attention while the competition is placing a copy of a business card in the Yellow Pages. Another way to get attention for your business is to have fun with an ad caption; it will pay off in the long run. Examples such as Salon owner guarantees texturizing service will put more bounce in your step than Beyonce, will certainly attract more attention than a run-of-the-mill ad. You could also make a big promise or offer in your ad, You ll be delighted or it s FREE. Most salon owners are afraid of an offer like this, afraid the clients will take advantage of the salon. The truth is that a big promise or offer s ability to land sales far outweighs its potential cost. Most salons already will refund purchases upon complaint, they just don t tell anyone about it. Use this guarantee to gain sales rather than as a fall-back in the event of an unhappy client. One thing you don t want to do in an ad is resort to discounting as a marketing strategy. Discounting is a bad idea. If you resort to discounting, there will always be someone who will do it cheaper. It will put a big hole in your bottom line, and your clients will become conditioned to it and will expect it all the time. Instead of discounting, make an offer. Making an offer is adding extra value onto a service. With every foiling service, receive a coupon good for one eyebrow wax. Not only do you get full price for your foils, you have introduced the client to a new service they may want to continue in the future. Bottom line, there is more potential income coming into your salon. Page 68 When it s all said and done, you need to look at every aspect of your business as if you were seeing it for the first time. Make sure you are charging enough to make a living from your salon. Hire correctly and treat your employees well. Review your marketing strategies on a regular basis, but most of all, treat the client like royalty and enjoy your salon s success! References: 23 Ways to Finally Beat Those Bad Hair Days; Emma Johnson Looks at Great Gadgets and Powerful Potions to Tame Your Tresses. Daily Post (Liverpool, England) : 6. Questia. 10 Dec < BEAUTY: STYLING PRODUCTS SUSSED; Don t Know Your Putty from Your Pomade? Clueless about Clay and Mystified by Mousse? We Asked Celebrity Hairdresser Michael Douglas* to Explain Exactly What You re Meant to Be Doing with All Those Cans, Tins, Pumps and Sprays. Sunday Mirror (London, England) 23 Jan. 2005: 42. Questia. 10 Dec < Cobella, Beverly. Hair Special: Brunettes Are Back; If You re Looking for Inspiration to Freshen Up Your Dull Winter Hair, Read on. We ve Teamed Up with Beverly Cobella, GMTV s Hair Guru and Creative Consultant to Head & Shoulders, to Give You the Low- Down on New Looks.Starting with Colour. Sunday Mirror (London, England) 20 Feb. 2000: 27. Questia. 10 Dec < Fletcher, Martyn. Frizzy or Fine, Keep That Shine; YOU CAN MAKE THAT SLEEK SALON SHINE LAST FOREVER... IF YOU HAVE THE RIGHT STUFF ON YOUR BATHROOM SHELF. MARTYN FLETCHER IS YOUR GUIDE THROUGH THE HAIR CARE JUNGLE. Sunday Mirror (London, England) 22 Mar. 1998: 47. Questia. 10 Dec < Hair Peace; Great Locks Is Matter of Right Chemistry. The Washington Times 18 Mar. 2004: B01. Questia. 10 Dec < PM.qst?a=o&d= >. Jones, Coy A. Extraordinary Customer Service Management: THE CRITICAL SUCCESS FACTORS. Business Perspectives Summer 2000: 26. Questia. 10 Dec < Welch, Tricia, and Amanda Bradbury. The Hair Doctor s Clinic; with British Hairdresser of the Year, Umberto Giannini. The Mirror (London, England) 4 Apr. 2000: 26. Questia. 10 Dec < YourLife: TakeSix. Hair Shine Serums I; THE PAGE WHERE YOU PUT EVERYDAY ITEMS TO THE TEST. Coventry Evening Telegraph (England) 20 Feb. 2006: 18. Questia. 10 Dec < About.com:Beauty. The Scoop on the Goop. 27 Nov < hairproducts/a/goop.htm>. Style Hair Magazine.com. Hair Wax, Clay, Mud, Paste & Putty Texturizing Products. 27 Nov < Folica.com. TIGI Bed Head Headrush Shine Mist. 04 Dec < com/tigi_bed_head_h_d2021.html>. Hairstyle.com, Hair Products for Men. Hair Style Products. 04 Dec < hairstyle.com/mens-hair-styles/men-hair-products.htm>. Eva Beauty. Brocato Hair Care Products 04 Dec < products/brocato/>. Hair Care USA. Alterna Professional Haircare 06 Dec < com/alterna_styling.htm>. Delaney, Joan. Crafting a Marketing Plan That Works. Black Enterprise Nov. 1994: Questia. 10 Dec < Jones, Coy A. Extraordinary Customer Service Management: THE CRITICAL SUCCESS FACTORS. Business Perspectives Summer 2000: 26. Questia. 10 Dec < Shiman, Daniel R. An Economic Approach to the Regulation of Direct Marketing. Federal Communications Law Journal 58.2 (2006): Questia. 10 Dec < Wright, Patrick M., and Scott A. Snell. Highlights of the Human Resource Planning Society s 2002 State-of-The Art & Practice Study: Managing Strategic, Cultural and HRM Alignment to Maximize Customer Satisfaction and Retention. Human Resource Planning 25.2 (2002): 45+. Questia. 10 Dec < PM.qst?a=o&d= >. BusinessSeek.biz Business Directory. Salon Marketing That Sells Like Crazy: Marketing Strategies. 21 Nov < PowerHomeBiz.com. Opening a Beauty Salon. 21 Nov < powerhomebiz.com/guide/cases/lermsg.htm>. SalonBuilder, Salon Business Development-Keys to Salon Business Success. Salon Website Marketing and Spa Web Marketing (Part 4). 27 Nov < salonbuilder.com/salon-marketing-and-spa-marketing.asp>. SalonBuilder, Salon Business Development-Keys to Salon Business Success. Salon Recruiting and Human Resources (Part 5). 27 Nov < salon-recruiting-jobs-human-resources-hr.asp>. SalonBuilder, Salon Business Development-Keys to Salon Business Success. Keys to Running a Successful Salon or Spa Business (Part 2). 27 Nov < salonbuilder.com/salon-business-success.asp>. SalonBuilder, Salon Business Development-Keys to Salon Business Success. Salon Marketing and Spa Marketing (Part 3). 27 Nov < salon-marketing-and-spa-marketing.asp>.

70 The Rainmaker Group, Customer Experience, The Sinecera Way. Being a yes-man helps to create customer experience 10 Jan Nov < com/customerexperience/2007/01/being_a_yesman_.html>. The Rainmaker Group. Useful Tips to Improve Employee Retention in Your Organization 27 Nov << The Rainmaker Group, Customer Experience, The Sinecera Way. Consistency is Key to Creating an Exceptional Customer Experience 24 Apr Nov < typepad.com/customerexperience/2007/04/consistency_is_.html>. The Rainmaker Group, Customer Experience, The Sinecera Way. The Importance of Touch Points in Providing Exceptional Customer Service and Creating a Powerful Customer Experience 16 Mar Nov < customerexperience/2007/03/the_importance_.html>. The Rainmaker Group, Customer Experience, The Sinecera Way. Creating Powerful Customer Service by Exceeding Expectations 01 Feb Nov < typepad.com/customerexperience/2007/02/creating_powerf.html>. The Rainmaker Group, Customer Experience, The Sinecera Way. Customer Service Defined by Four Little Words 24 Jan Nov < customerexperience/2007/01/customer_servic.html>. Retail Concepts Self-Assessment Select the best answer for each question and mark your answers on the Self-Assessment Answer Sheet on page 89 or complete your test online at The ingredients red sage and kelp, found in many hair styling products, are emollients. True False 37. Resins are used in hair styling products to expand as the hair dries so that the hair looks fuller. True False 38. Ceramic flat irons, curling irons and blow dryers create positive ions which increase the silkiness and shininess of hair. True False 39. Thermal protection products prevent cuticle cracking and make hair more resistant to mechanical damage. True False 40. In order to be effective, a marketing plan must be a static document that is adhered to closely by all staff members. True False Page 69

71 Chapter 9 Tax Responsibilities for the Personal Service Worker A Guide for Employers, Employees and Booth Renters (2 CE Hours) Learning objectives Determine the taxability of income. Recognize the specific tax forms on which certain types of income are to be reported. Discuss record keeping responsibilities of the Personal Service Professional, especially with regard to reporting tips to employers. Determine the similarities of and differences between employer, employee, independent contractor and booth renter. Identify the tax responsibilities of each of these types of workers. Identify which business expenses are deductible and which are not. Identify the benefits of properly reporting income and the disadvantages of not doing so. Discuss the different types of retirement plans and opportunities available to Personal Service Professionals. Identify educational credits and benefits available to Personal Service Professionals that wish to attend college or other post-secondary educational institutions. Identify specific resources and publications made to the Personal Service Professional for further assistance in understanding tax responsibilities. Foreward As a licensed Personal Service Worker (PSW), you are required to follow a number of laws, rules, and regulations designed to ensure the continued health, safety, and well-being of your clients. As a business professional you are also required to follow specific tax guidelines that affect your business arrangement and its profitability. This continuing education activity has been produced by through direct interaction and assistance from the Internal Revenue Service (IRS) Taxpayer Education Division to educate and inform all members of the personal service industry. This activity offers an overview of the basic tax issues that you need to be aware of as you go about your day-to-day business. It is not intended to be the only guide you should use as tax laws change over time. This activity is designed to offer a general overview of your federal tax obligations and the benefits of complying with federal tax laws. For questions regarding federal tax matters, course participants are urged to seek the assistance of tax professionals or to contact the IRS directly. A listing of resources in these matters is given at the end of this chapter. All Personal Service Workers completing this education are encouraged to review these publications available FREE from the IRS. Introduction Whether you are operating as a salon owner, an employee, or booth renter (independent contractor), you need to be aware of federal income tax requirements regarding your income, especially with regard to tip income. This activity is designed to give you a basic working knowledge of income tax requirements that apply to your individual business arrangement. Believe it or not, you will have definite advantages by complying with IRS tax laws. All income you receive must be reported on your income tax return, including tips. In general, you need to know that all income you receive from your work, whether in the form of wages, commissions, tips, sales, or rent whether by cash, check, or charge, is taxable. You also need to know the requirements concerning reporting your income on your tax return and to your employer (if you are an employee). If operating as a booth renter, all income received (including tips) must be reported on the appropriate income tax return such as Individual Income Tax Return Form 1040, Schedule C. Both income and employment taxes must be paid. Whether you prepare your own tax return or pay a tax preparer, you need to know enough about the tax law so you can minimize potential problems that could be costly in terms of time and money. Section 1. Tax Laws And Forms There are three main sources of revenue or income in the Personal Service Industry: fees for services, sale of retail products and the rental of space. Your income may come from one or all of these sources. However, you must remember: All income is taxable Internal Revenue Code Section 61 provides that all income from whatever source is taxable, unless it is specifically excluded by statute. In the case of Personal Service Professionals, taxable income includes payments such as wages, commissions, client fees and tips. Examples of taxable income: Wages Wages consist of per hour, per day, or per week monies paid by an employer to an employee. Example: A cosmetologist is paid $ per week regardless of the number of services completed or products sold. Commissions Commissions consist of percentages paid by an employer to an employee based on the total amount paid by clients for services of retail products. Example: A nail technician is paid 40 percent of the total fee paid by each client plus 20 percent of the total price paid by a client for all products sold. Page 70

72 Tips Tips consist of cash, goods, or services paid by a client directly to the Personal Service Worker in addition to the price of the service. Note that tips do not necessarily apply only to cash and they also do not apply only to tips paid in cash. Goods and services as well as tips paid by credit card or check or tips left at the salon station are considered as taxable income. Example: A facial specialist is given a concert ticket worth $20.00 as a tip for services performed. The value of the ticket is taxable, for income tax. If the specialist is an employee, the value of the ticket is not reported to the employer as a part of tips received, but it must be reported in her tax return. Employees will generally report the types of income listed above on forms 1040EZ, 1040A, or NOTE If the Personal Service Worker is Self-Employed, they must use form 1040 to report these types of income. Client fees Client fees consist of the entire fee a client pays for services performed. The full fee is a gross receipt to the salon if the worker is an employee. If the worker is a booth renter or independent contractor, the full fee is gross receipts to the worker. Example: A cosmetologist is paid a fee of $25.00 for a shampoo/condition and cut plus a $5.00 tip. If the cosmetologist is a booth renter, the full $30.00 is gross receipts to him/her and must be reported on Schedule C of Form Other forms of taxable income (examples): A shop owner/landlord that receives $ rent from a booth renter must report such income on Schedule E, Form A booth renter that shows net profit after expenses of $7, must report such income on Schedule C, Form Two terms that are used in the Internal Revenue Code are income and wages. Amounts that are included in income are subject to federal income tax, and a person computes what is owed for federal income tax on Form Amounts that are included in wages are subject to federal income tax as well, but are also subject to withholding taxes such as federal income tax withholding, Social Security Taxes, and Medicare Taxes. More information regarding tips As mentioned before, all tips are income subject to federal income tax. Generally, Internal Revenue Code Section 3121(q) and 340(f) provides that all tips received by an employee are also wages for purposes of the applicable withholding taxes, provided the employee receives $20.00 or more in tips in a calendar month. An employee who receives tips of less than $20.00 in a calendar month does not have to report the tips to his or her employer; however, the tips must be reported as income on the employee s income tax return. Internal Revenue Code Section 6053(a) requires that an employee who receives tips of $20.00 or more in any one month must report all such tips on a written statement which must be given to the employer. This report must be done at least once a month and no later than on the 10 th calendar day of the following month after the tips are received. The employer may ask that these tips be reported more often than once a month; daily, weekly or before each pay period, for example. This reporting ensures accurate determination of withholding for Income, Social Security, and Medicare taxes. As an employee, full disclosure of your tip income will maximize your Social Security benefits as well as provide you with a number of other, possibly unexpected, benefits that we will discuss later in this section. Reporting your tips correctly is not difficult. You must do three things: 1. Keep a daily record. 2. Report tips to your employer. 3. Include all tips as income on your tax return. Keeping records Every person liable for any tax is required to keep records, statements, receipts, and returns. Under Internal Revenue Code Section 6001, these documents must be made available to a representative of the Internal Revenue Service upon request, to determine whether or not a person is liable for tax. The Internal Revenue Code Section 7602 gives authority to the IRS examiners to request these records. Section 2. DEFINITIONS AND RESPONSIBILITIES Business owners in the Personal Service Industry structure their businesses in various ways. Personal Service Workers will choose salons with the business arrangement that suits them best. This section describes the most common business arrangements and the federal tax responsibilities for each. Your federal income tax responsibilities are based upon your employment status. In the previous chapter, there was considerable discussion regarding the terms employee and employer. This section will further define the differences between these terms and examine the two basic types of employment status; employee and self-employed. Employee A person who works for another in exchange for compensation may be an employee. Many newly licensed Personal Service Workers go to work as employees of existing salons or shops. The salon generally sets work hours, provides supplies, tracks appointments and collects all receipts. The employee is paid either a salary, a commission, or a combination of the two. Factors that may indicate you are an employee include: Required uniforms. Required hours. Page 71

73 Tip Reporting Forms These forms have been recreated for use in this publication. Figure 1: Forms 4070 and 4070A (Excerpted) Worker does not handle own sales receipts. Worker does not make own appointments. Business owner provides training. Business owner provides towels, smocks, etc. Employee tax responsibilities If you are an employee of a salon you should receive a Form W-2, Wage and Tax Statement, from your employer at the end of each year. You must report your tips to your employer so that they may be included on your Form W-2. You must report your wages on Form 1040, 1040A or 1040EZ, U.S. Individual Tax Return. You must report all income received from all employers, whether the payment was made by check or cash and whether or not the income is included on Form W-2 or Form As mentioned in the previous section, taxable income includes: Wages. Tips. Payments for services. Commissions for product sales. As an employee, you must keep a running daily log of all your tip income. You can use Publication 1244, Employee s Daily Record of Tips and Report to Employer, to record your tip income. Publication 1244 includes Form 4070, Employee s Report of Tips to Employer, and Form 4070A, Employee s Daily Record of Tips. This publication is available by calling the IRS at Page FORM (3676) or online at pub/ irs-pdf/p1244.pdf and includes places for you to record: Your name, address and Social Security Number. Employer s name and address. The name of the establishment in which you worked. Period during which the tips were received. The amount of tips received. The amount of tips paid out to other employees. Name of the employee to whom you paid tips. If you fail to report all tips to your employer, you will include these unreported tips on Form 4137, Social Security and Medicare Tax on Unreported Tip Income, and report them on Form 1040, U.S. Individual Income Tax Return. You will pay your share of Social Security and Medicare Tax, and you may be subject to a penalty of 50 percent of the Social Security and Medicare Tax due for not reporting your tips to your employer. Independent contractor If you work for yourself rather than for another, you are not an employee. You are considered self-employed, or and independent contractor, in business for yourself. If you have an arrangement or contract with a business owner to provide certain services, you may be either an employee or an independent contractor. Whether you are an employee or an independent contractor depends on the facts and circumstances, including some of the factors listed in the EMPLOYEE section.

74 A contract that states that you are an independent contractor does not automatically mean you are an independent contractor for tax purposes! If you are receiving payments from the business and you are an independent contractor (self-employed), you should receive a Form 1099-MISC showing payments to you by the business owner. Factors that may indicate that you are an independent contractor and not an employee include: Having a key to the salon. Setting your own schedule. Purchasing your own products. Having your own telephone number. Independent contractor tax responsibilities You should receive Form 1099-MISC from the salon owner. You must report all of your income (including tips) on the appropriate Income Tax form, such as Schedule C or Schedule C-EZ, Form 1040, U.S. Individual Income Tax Return. The income is subject to self-employment tax (Social Security and Medicare) and reported on Schedule SE. You will probably be required to pay estimated taxes on Form 1040-ES. Estimated tax payments are made quarterly. You may deduct allowable expenses on your Schedule C or Schedule C-EZ on Form 1040, U.S. Individual Income Tax Return. Booth renter If you are an operator leasing space in someone else s shop or salon, you are a booth renter. Just because someone has a lease agreement to lease space in someone else s shop or salon does not mean he/she is an independent contractor. In one situation a cosmetologist agrees to lease a space in a salon for the purpose of operating individually and catering to his or her own customers. The cosmetologist was paid a specified percentage of all money taken in with the salon retaining the remaining percentage. Based on the facts, it was concluded that the cosmetologist was an employee of the salon. 1 In another situation booth renters were found not to be employees. 2 Similarly a beautician who enters into a lease agreement for space in a salon could be an employee 3, or could be an independent contractor. 4 The fact that someone is leasing space is not conclusive that the individual is an independent contractor or an employee. As with any situation, all the facts and circumstances relating to independence and control are relevant in determining employment status. Tax responsibilities of a booth renter who is an independent contractor You must report all income (including tips) on Schedule C or Schedule C-EZ Form 1040, U.S. Individual Income Tax Return, if appropriate. Social Security and Medicare Taxes must be reported on Schedule SE (Form 1040). You must issue Form 1099-MISC for business rent paid of $ or more to non-corporate landlords each year. You must issue a Form 1099-MISC or Form W-2, Wage and Tax Statement, to any workers you may have. Estimated taxes must be paid each quarter on Form 1040ES, Estimated Tax for Individuals. You may deduct allowable expenses including rent, supplies and utilities on the appropriate income tax return. Example Jane Smith is a cosmetologist who owns Jane s Salon. Her friend, James Doe, recently received his cosmetology license. Jane has agreed to let James rent a workstation for a fixed monthly fee. Jane will furnish air conditioning, lights, and water. James will order all of his other supplies and will set up his own appointments. James is just starting out and he hasn t built up a steady clientele. His work hours will vary, but this won t be a problem because he will have a key to the shop. Jane Smith is the shop owner and landlord. Jane receives no other payments from James other than a fixed monthly fee. Subject to the fixed monthly fee he pays Jane, James is entitled to keep all fees and tips that he earns from his customers and does not account to Jane for the fees that he receives. He determines his own work routine. James is a booth renter who is an independent contractor. Generally, the common law rules apply in determining whether a worker is an employee for tax purposes. Under the common law rules, a worker is an employee if the person or company for whom the employee performs services can control what will be done and how it will be done. This is so even if the worker is given freedom of action. What matters is that the person or company for whom the services are performed has the right to control the details of how the services are performed. In deciding whether a worker is an employee or an independent contractor under the common law, it is necessary to consider the facts and circumstances of the relationship of the worker and the business. All information that provides evidence of the degree of control and the degree of independence must be considered. Facts that provide evidence of the degree of control and independence fall into three categories: behavioral control, financial control, and the type of relationship of the parties. Behavioral control These factors show whether there is a right to direct or control how the worker does the work. The presence of these factors showing direction and control tends to indicate that the worker is an employee. The business does not have to actually direct or control the way the work is done, as long as the employer has the right to direct and control the work. If the worker receives instructions from the owner on how work is to be done, this suggests direction and control by the owner. Instructions can cover a wide range of topics, for example: What tools or equipment to use. How, when, or where to do the work. What assistants to hire to help with the work. Where to purchase supplies and services. Additionally, if the worker receives training on required procedures and methods, this suggests the business owner wants the work done in a certain way, and the worker may be an employee. Financial control These factors show whether there is a right to direct or control financial aspects of the business. For example, if the worker has a significant financial investment in the facilities he or she uses in working that is an indication that the worker is an independent contractor. Page 73

75 If the worker is not reimbursed for some or all of the operating expenses, then the worker may be an independent contractor, especially if the unreimbursed business expenses are high. If the worker has the opportunity to realize a profit or incur a loss, this also suggests the worker is an independent contractor. Relationship of the parties A written contract may show what both the business owner and the worker intend and indicate how the business owner and the worker perceive their relationship. Additionally, if the worker receives benefits, such as health insurance, the worker may be an employee. Shop owner/employer If you own or operate a salon and have workers who are not independent contractor or booth renters, you are the employer of those workers. As the employer, wages paid to your employees are generally subject to withholding. Tips your employees receive from customers are considered wages under the law. You must collect Social Security, Medicare (FICA) Withholding and Income Tax Withholding on employee wages and tips. Your employee must report his or her tips to you by the 10 th of the month following the month that tips are received. The report should include tips that may have been added to a credit card ticket or check and paid to the employee (service provider), as well as tips the employee (service provider) received in cash directly from customers. Your employee may report the tips on Form 4070, Employee s Report of Tips to Employer, or on a similar statement. The statement must be signed by the employee and must show the following: The employee s name, address, and Social Security number. Your name and address. The month or period the report covers. The total tips. Example The stylists at Brenda s Hair Barn were given Publication 1244, Employee s Daily Record of Tips and Report to Employer, when they were hired. Every Friday, Brenda requires the stylists to give her a completed and signed Form 4070, Employee s Report of Tips to Employer. Shop owner/employer tax responsibilities The responsibilities of the employer include: Notifying employees of their responsibility to report their tips to you and establishing a tip reporting system. Including the total of tips reported to you in total wages when you complete Social Security and Medicare (FICA) Withholding and Income Tax Withholding for each employee. Paying the matching employer portion of Social Security and Medicare as well as Federal Unemployment Tax (FUTA) on the total wages. Issuing Form W-2, Wage and Tax Statement to each employee at the end of the year, reflecting total wages. Shop owner/landlord If you own and/or operate a shop or salon, you may have other workers in your shop that pay you rent for space to operate their own business. These individuals are booth renters. The rent they pay to you, the landlord, is rental income. As a shop owner/ landlord, this rental revenue (income) is taxable and reported on Schedule E of your Form 1040, U.S. Individual Income Tax Return, or the appropriate tax return. You may have workers in your shop who are neither booth renters nor employees, but who perform services at your establishment and meet the standards of an independent contractor with respect to your establishment. You should review the factors regarding employer-employee relationships to assure proper tax treatment. Example 1 Karen Jones is a manicurist who works at Joe s Place, owned and operated by Joe Smith. Karen and Joe have agreed that Karen will furnish manicuring services to patrons of the shop five afternoons per week. Karen schedules all of her appointments, owns all of her nail equipment and buys her own supplies. Karen expects to make a profit. Joe Smith is the shop owner and Karen is an independent contractor. Example 2 Julie Brown owns Headtoppers. Besides Julie, the salon has four hair stylists. Julie pays each stylist a percentage of the income he or she generates. All income from their services is paid to the shop. All appointments are made through one receptionist. The shop equipment and supplies are purchased by the business. The stylists are employees, and Julie Brown is their employer. Example 3 Joanna Williams has been a booth renter at Traci s Beauty Shop for a number of years. In 2007, Joanna s net income, or profit, was $32, Based on Joanna s marital status and the standard deduction for 2007: Joanna s total self-employment tax is $4, Joanna s income tax is $2, Joanna s Total Tax due is $7, ($4, plus $2,827.00). Joanna should make estimated tax payments of $1, each quarter. Additional references which are available free of charge by calling the IRS or by visiting their website at gov are listed at the end of this chapter. Section 3. Business Expenses In the first two sections we discussed that income generated from services you provide to clients, income from the sale of products, and income from rent of space are business income. All are reportable and taxable. If you are self-employed, your business income is reported on Schedule C or a Schedule C-EZ. This business income is Page 74

76 referred to as Gross Receipts. If you are an employee, your wages, commissions, and tips are reported directly on your Form 1040, 1040A, or 1040EZ. Rents received from renting or leasing space to operators within your salon/shop are reported on Schedule E. As a self-employed business operator, you may deduct expenses incurred as a cost of doing business that are ordinary and necessary. This section briefly discusses the general type of expenses you may incur. To be deductible, a business expense must be: ORDINARY Common and Accepted in your trade or business. and NECESSARY Helpful and Appropriate for your trade or business. If you sell products to customers, your income is reduced by the amount paid for the products sold. You can further reduce your income by the amount you pay for business expenses to earn that income. Common business expenses include supplies, rent paid, advertising, employee salaries, telephone services, and utilities that, again, are ordinary and necessary. A more extensive list of business expenses is identified on Schedule C. Some general expense definitions follow. Supplies: Items purchased for use on your clients as part of providing a service. These may include hair color, styling gel, hair spray, shampoo, etc. Supplies can also include tools such as nail clippers, buffers, smocks, and scissors. Supply purchases need to be kept separate from inventory as they are not sold to customers. Equipment: A portion of the cost of equipment, tools, and furniture purchases for your business may also be deducted as depreciation; special rules apply. Education & training Once you have started working in your field, any expense you incur to maintain or improve your skills on the job is a deductible business expense. Common examples include hair shows and workshops. However, the education and training you receive in order to enter the personal service industry is not a deductible expense. Uniforms and upkeep The cost and upkeep of work clothes are deductible if the following two requirements are met: 1. The clothing must be worn as a condition of employment. 2. The item(s) of clothing are not suitable for everyday wear. An employee who personally incurs any business expenses that are required by his or her employer, but is not reimbursed, has employee business expenses. Employee business expenses are deductible for individuals only as itemized deductions on Schedule A, Form They are called miscellaneous itemized deductions and are subject to a limitation based on your adjusted gross income. Note: The appendix identifies publications and other resources that can assist you in meeting your tax obligations. Section 4. What s In It For Me? Reporting all of your income and paying the appropriate amount of tax can be taxing on anyone. You may wonder whether it s worth your time and effort to follow the guidelines set forth. This section helps to put into perspective the positive side of tax compliance in the big scheme of things. Believe it or not, what may be initially saved in taxes by not reporting all taxable income will never outweigh the long-term benefits of honest and proper reporting. Greater social security benefits The benefits you ll receive from Social Security will be calculated on the earnings and other information recorded under your Social Security Number (SSN). If you work for someone else, your employer withholds Social Security and Medicare Tax from your paycheck, matches that amount, and sends those taxes to the Internal Revenue Service. If you are self-employed, you pay your own Social Security Taxes when you file your tax return. The Internal Revenue Service (IRS) reports your earnings (from your tax return) to the Social Security Administration. According to the Social Security Administration, the amount of earnings reported directly correlates to the amount of Social Security benefits one might receive. Based on a July 13, 1999 survey of chain salons commissioned by the NACCAS (National Accrediting Commission of Cosmetology Arts and Science), the average income of a worker in the cosmetology industry was approximately $18.00 per hour. 5 Using the average of $18.00 per hour and working full time, and employee who began working at age 22 and had current earnings of $37, (based on 40 hours per week for 52 weeks), social security benefits at age 62 will be approximately $ per month. If the employee did not report all income and only reported $32,500.00, the benefits would be reduced to $ per month. There are five major categories of benefits paid through the social security taxes: retirement, disability, family benefits, survivors and Medicare. For more information about these benefits you may contact the Social Security Administration at Increased unemployment benefits Unemployment Insurance (UI) is an employer paid insurance program that helps workers who are unemployed through no fault of their own. It provides temporary financial help to qualified individuals based on their previous earnings while they are looking for work. Employer taxes and reimbursements support the unemployment trust fund. The law governing unemployment benefits varies by state. For example, in West Virginia it may be found in Chapter 21-A of the WV Code. A key component of qualifying for unemployment benefits is past wages. If you fail to include all of your income, including tips, unemployment benefits are reduced. Improved financial profile for loans When you apply for a loan to purchase a car, house, your own business, or anything else, the financial institution reviews your current and prior year s income. The amount of money you can borrow (in part) will be based on the earnings/income you have Page 75

77 reported. Again, if you DO NOT report this income, it will not be considered in determining whether you qualify for a loan. Example Iris could not get a car loan based on the income reported on her tax return. She had not reported all tips to her employer. She asked for a revised W-2, but her employer could not provide her one, because the original W-2 was based on the amount of tips she previously reported. Iris amended her tax return and reported tips not reported to her employer on a Form 4137 (Social Security and Medicare Tax on Unreported Tip Income), paying the appropriate increase in taxes. Based on her amended returns, Iris received the car loan. Increased pensions (Traditional IRA or Roth IRA) or 401(k) Few benefits are as important to you as your pension plan. The average American will spend more than one-quarter of his or her life in retirement, a period when the income of many people will be greatly reduced. The key to creating and experiencing a satisfying retirement is planning financially. Today there is a wide variety of deferred income retirement plans available to you. 1. If your employer does not have a savings plan, you might want to consider either a traditional IRA or ROTH IRA. You must have earned income, and your contributions are limited to $5,000 per year (in tax year Limit is $6,000 if you are over 50 years old). 2. An employer may offer a savings plan, such as a 401(k) RETIREMENT plan or SIMPLE plan. These plans are legal tax shelters available to many individuals who work for wages. The funds in the plan cannot be used to finance business operations. The contribution amounts are limited to a percentage of income and can be based on either a specific dollar amount or a percentage of income. Contributions reduce taxable income reported on the Form W-2. The employer usually matches a percentage of the contributions. Self-employed individuals, as well as other employers, can set up a simplified employee pension (SEP) plan. Example Danny, a 22 year old employee, contributed 10 percent of his $36, salary to a 401(k) plan. He contributed $ per month. The $3, was contributed to a savings plan each year, which earned 10 percent. The employee will accumulate $1,913, in 40 years. 6 If the employer also made contributions, the amount would be substantially greater. Peace of mind Finally, having a general idea of your Federal Tax responsibilities will lessen the amount of time and energy expended on complying with the law. No financial value can be attached to the comfort of knowing what rules apply in your particular situation. If you are unable to afford professional accounting assistance, a variety of free help is available to you through the Internal Page 76 Revenue Service. You may download forms and publications from the IRS Website at html or order through the IRS by dialing Publications. Free Tax Seminars and Clinics. Free Telephonic Assistance. Volunteer Income Tax Assistance (VITA). . Disadvantages of not reporting income The Internal Revenue Code provides for the assessment of a number of penalties in relation to federal income tax reporting and filing. Penalty amounts range from 0.5 percent to as much as 75 percent (depending upon the failure and intent), making noncompliance costly. A few of the tax penalties are listed below: Section Penalty 6651 Failure to file tax return or pay tax. 6652(b) Failure to report tips Failure by individual to pay estimated income tax Failure to make deposit of taxes. 6662(c) Negligence 6662(d) Substantial understatement of income tax Failure to collect and pay over tax, or attempt to evade or defeat Fraudulent statement or failure to furnish statement to employee False information with respect to withholding Willful failure to file return, supply information, or pay tax Fraud and false statements. You can avoid these penalties by taking these simple steps: Keep accurate records; Report all income; and File timely and accurate returns. Section 5. Education Credits and Benefits Two nonrefundable tax credits are available for persons who are paying higher education costs for themselves and/or members of their families. This section discusses the Hope credit and the Lifetime Learning credit. Hope credit The Hope credit is available for the first two years of undergraduate education. You may be able to claim a Hope credit of up to $1, for the qualified tuition and related expenses paid for each eligible student that is either yourself, your spouse or a dependent for whom you claim an exemption on your tax return. The amount of the Hope credit is 100 percent of the first $1, plus 50 percent of the next $1, you pay for each eligible student s qualified tuition and related expenses. The Hope credit is gradually phased out if your modified adjusted

78 gross income (MAGI) is between $47,000 and $57,000 ($94,000 and $114,000 if filing a joint return). Rules that apply: The credit is based on qualified tuition and related expenses paid. Qualified tuition and related expenses are tuition and expenses required for enrollment or attendance at an eligible educational institution such as course-related books, supplies and equipment, and student activity fees. Qualified education expenses do not include insurance, medical expenses (including student health fees), room and board, transportation or similar personal, living or family expenses even if these payments must be paid as a condition of enrollment or attendance. An eligible educational institution is any accredited college, university, vocational school, or other accredited postsecondary educational institution eligible to participate in a student aid program administered by the Department of Education. (The educational institution should be able to tell you if it is an eligible educational institution.) In addition, the eligible student must meet the following requirements: 1. Did not have expenses that were used to figure a Hope Credit in any 2 earlier tax years. 2. Has not completed the first two years of post-secondary education. 3. Is enrolled in a program that leads to a degree, certificate, or other recognized educational credential. 4. Is taking at least one-half of the normal full-time workload for his or her course of study for at least one academic period beginning during the calendar year. 5. Has no felony conviction for possessing or distributing a controlled substance. Lifetime learning credit A lifetime learning credit of up to $2, may be taken for the total qualified tuition and related expenses paid during the tax year. The maximum amount of the credit is 20 percent of the first $10, paid for qualified tuition and related expenses for all students in the family. Unlike the Hope credit: The lifetime learning credit is not based on the student s workload. It is allowed for one or more courses. The lifetime learning credit is not limited to students in the first two years of post-secondary education. Both degree and non-degree courses are eligible. Expenses for undergraduates, graduates, and students acquiring and/or improving their job skills are eligible. There is no limit on the number of years for which the credit can be claimed for each student. The credit does not vary (increase based on the number of students in a family. The maximum credit was $2, per taxpayer for 2007). There is no requirement that a student s record be free of any felony drug convictions. Rules that apply: The credit is based on qualified tuition and related expenses you pay for you, your spouse, or a dependent you claim on your tax return. Qualified tuition and related expenses are tuition and expenses required for enrollment or attendance at an eligible educational institution, such as course related books, supplies and equipment, and student activity fees. Qualified education expenses do not include insurance, medical expenses (including student health fees), room and board, transportation or similar personal, living or family expenses even if these payments must be paid as a condition of enrollment or attendance. An eligible educational institution is any accredited college, university, vocational school, or other accredited postsecondary educational institution eligible to participate in a student aid program administered by the Department of Education. (The educational institution should be able to tell you it is an eligible educational institution.) You may not claim either of these educational credits if: Your MAGI is $57,000 or more ($114,000 if filing jointly). Your filing status is married, filing separately. You are listed as a dependent in the Exemptions section of another person s tax return. You or your spouse was a nonresidential alien for any part of the tax year and the nonresidential alien did not elect to be treated as a resident alien for tax purposes. You claim the lifetime leaning credit or a tuition and fees deduction for the same student in the same tax year. As you can see, many of the rules surrounding these two types of education tax credits are identical. However, you can elect only one of the credits during any tax year. You may therefore wish to claim the Hope credit for the first two years of post-secondary education (as it generally provides greater tax relief during this period), and claim the lifetime learning credit in later tax years. The education credits for both programs are gradually reduced (phased out) if your modified adjusted gross income (MAGI) is between $47,000 and $57,000 ($94,000 and $114,000 if filing a joint return). Neither the Hope Credit nor the Lifetime Learning Credit may be claimed by a single taxpayer with a MAGI of more than $57,000 or a married couple filing jointly with a MAGI of more than $114,000. These credits reduce your tax, but they are not refundable. This means if the credits are more than your tax, the difference is not refunded to you. Form 8863 is used to claim the credits and is attached to your income tax return. Tips on Tips A guide to tip income reporting for employees who receive tip income (Reprinted from IRS Publication 3148) If you work at a hair salon, barber shop, casino, golf course, airport, hotel, or perform cleaning, food delivery, or taxi cab services, and receive tips, this guide is for you. The tip income you receive as an employee from the services such as those listed above whether cash or included in a charge is taxable income. As taxable income, these tips are subject to federal income tax, social security and Medicare taxes, and may be subject to state income tax as well. The Internal Revenue Service (IRS) has prepared this guide to aid the employee who may need answers to tip income reporting questions. Page 77

79 What tips do I have to report? Do I have to report all my tips to my boss? If you received $20.00 or more in tips in any one month, you should report all your tips to your employer so that federal income tax, social security and Medicare taxes, and maybe state income tax can be withheld. Do I have to report all my tips on my tax return? Yes. All tips are taxable income and should be reported on your tax return. I was told that I had to report only a certain percentage of my total sales as tips. Is this true? No. You must report to your employer all (100 percent) tips you receive, except for the tips from any month that do not total at least $ Sometimes I don t get tips directly from customers, but rather from another employee. Do I need to report those tips? Yes. Employees who receive tips from another employee are required to report tip-outs. Employees often disburse tips out of their earned tips to another employee (tip-outs). Remember, all tips are taxable income. Do I have to report tip-outs that I pay to other employees? No. You report to your employer only the amount of tips you retain. However, you must maintain records of tipouts with your other tip income (cash tips, charged tips, split tips, tip pool). What records do I need to keep? You must keep a running daily log of all your tip income. You can use Publication 1244, Employee s Daily Record of Tips and Report to Employer, to record your tip income for one year. Publication 1244 includes Form 4070, Employee s Report of Tips to Employer, and Form 4070A, Employee s Daily Record of Tips. These forms have spacing for you to log your name, the employer s name and address, date tips were received, date of entry, tips received, tips paid out, and name of employee paid. Your daily log would be your best proof should your income tax return be questioned. For a free copy of Publication 1244, call the IRS at What can happen if I do not keep a record of my tips? If it is determined in an examination that you underreported your tip income, the IRS will assess the taxes you owe based on the best available records of your employer. Tip income adds up. Underreporting could result in you owing substantial taxes, penalties, and interest. If I report all my tips to my employer, do I still have to keep records? Yes. You should keep a daily log of your tips so that in case of an examination, you can substantiate the actual amount of tips received. There are a number of reasons why you might need records: Your return could be randomly selected for a federal income tax examination. Example Your Form 1040, U.S. Individual Income Tax Return, establishes that you have your own home, two cars, and three exemptions, and your Form W-2 shows that you earned only $10,000 in income. In this scenario, an examination may occur if the examiner determines that income may have been underreported. Page 78 A tip examiner could review your employer s books and records. The examination could reveal unreported tip income that you may later need to verify. An Internal Revenue Service Center may run a match of your income information from your Form 1040, U.S. Individual Income Tax Return, with the income information from your Form W-2. If these figures do not match, you could receive a notice about the discrepancy and a possible examination of your tax return. How does this affect my income tax filing? I forgot to report my tip income to my employer, but I remembered to record it on my federal income tax return. Will that present a problem? If you do not report your tip income to your employer, but you do record the tip income on your federal income tax return, you may owe a 50 percent social security and Medicare tax penalty and be subject to a negligence penalty and possibly an estimated tax penalty. When you do not report your tips to your employer, it places your employer at risk of possible assessment of the employer s share of social security and Medicare taxes. If I report all my tips but my taxes on the tips are greater than my pay from my employer, how do I pay the remaining taxes? You can either pay the tax when you file your federal income tax return or you can reach into your tip money and give some to your employer to be applied to those under-withheld taxes. The employer will then record these taxes and you will get credit on your Form W-2. If you wait to pay when you file your tax return, you may be subject to an estimated tax penalty. What can happen if I don t report my tips to the IRS? If the IRS determines through an examination that you underreported your tips, you could be subject to additional federal income tax, social security and Medicare taxes, and maybe state income tax. Also, a penalty of 50 percent of the additional social security and Medicare taxes, and a negligence penalty of 20 percent of the additional income tax, plus interest, may apply. What s in it for me if I report all my tip income? There are many good reasons why you want to report all your tip income: Increased income may improve financing approval when applying for larger loan amounts (mortgage, car, and other loans). Increased worker s compensation benefits, should you get hurt on the job. Increased unemployment compensation benefits. Increased social security and Medicare benefits (the more you pay, the greater your benefits). Increased employee pension, annuity, or 401(k) participation. Check with your employer for other increased benefits (based on pay) that your company may offer, such as life insurance, disability payments, and the right to purchase stock options. Compliance with the tax law. Is tip reporting unique to a specific industry? Does tip income reporting apply only to employees in a specific industry? No. Anyone who receives tip income is required by law to report it to his or her employer. The Tip Rate Determination/Education Program (TRD/EP) was first promoted in the gaming industry

80 (casino industry) in Las Vegas, Nevada, and subsequently to the food and beverage industry. Other individuals that receive tip income include airport skycaps, bartenders, hair stylists, bellhops, casino workers, delivery service people, golf caddies, hotel housekeepers, manicurists, masseuses, parking attendants, railroad redcaps, and taxi drivers. Why should I report my tips to my employer? When you report your tip income to your employer, the employer is required to withhold federal income taxes, social security and Medicare taxes, and maybe state income tax. Tip reporting may increase your social security credits resulting in greater social security and Medicare benefits when you retire. Tip reporting may also increase other benefits to which you may become entitled, such as unemployment benefits, worker s compensation, or retirement benefits. Additionally, a greater income may improve financing approval for mortgage, car, and other loans. Why has tip reporting become such an issue? To report all tip income has always been the law. The IRS has put greater emphasis on reporting tip income over the past few years because a significant number of taxpayers are not reporting all their tip earnings as taxable income. What is this compliance program I ve heard about? My employer has entered into a compliance agreement with the IRS concerning tips. What is this? The Tip Rate Determination/Education Program was developed in 1993 to help those employees receiving tip income and their employers understand the laws on reporting tip income. Under this program, and depending on your specific business, your employer may enter into one of two arrangements the Tip Rate Determination Agreement (TRDA) or the Tip Reporting Alternative Commitment (TRAC) (created in June 1995). Ask your employer for more information about this program. Currently, the TRDA is only available to the food and beverage industry and the gaming (casino) industry. At this time, TRAC is open to the food and beverage industry and the hair styling industry. Ask your employer for more information about this arrangement as it may be extended to other industries where tipping is customary. TRDA What is my responsibility, as an employee, under the Tip Rate Determination Agreement? You are required to file your federal tax returns. You may be asked to sign a Tipped Employee Participation Agreement proclaiming that you are participating in the program. The employer, as a participant in the TRDA, has agreed with the IRS to a tip rate for the employer s establishment. To stay a participating employee, you must report tips at or above the tip rate determined by the agreement. Furthermore, as part of the TRDA arrangement, the employer is required to report your name, social security number, the hours worked or sales made, your job classification, and your reported tips to the IRS if you do not report tips at or above the determined tip rate. TRAC What is my responsibility, as an employee, under the Tip Reporting Alternative Commitment? Directly-tipped employee: Your employer will furnish you with a written statement (at least monthly) reflecting your charged tips. You are to verify or correct this statement. You are to indicate the amount of cash tips received. When reporting your cash tips, you should remember that there is a correlation between charged tips and cash tips. (Your employer may be able to inform you of the establishment s charged sales to cash sales ratio. For example, if the establishment is 50 percent charge and 50 percent cash, and you received and reported $100 in tips on charged receipts, it is reasonable to believe that you should be reporting close to $100 in cash tips.) You may be asked to provide the name and amount of any tip-outs to indirectly-tipped employees. Indirectly-tipped employee: You are required to report all your tips to your employer. If the establishment has the directly-tipped employee provide the name and amount of tips shared with you, the establishment could provide you with a statement of tips that you would need to verify or correct. The IRS provides the following publications and forms relating to tip income reporting. These products can be downloaded from the IRS Web site at and ordered through the IRS by dialing (TTY/TDD equipment access, dial ) You can also get IRS forms with instructions faxed back to you when you dial (703) from a fax machine and follow the voice prompts. Pub Tax Withholding and Estimated Tax. Pub Reporting Tip Income. Pub Employee s Daily Record of Tips and Report to Employer. This publication includes Form 4070, Employee s Report of Tips to Employer, and Form 4070A, Employee s Daily Record of Tips. Form 1040ES - Estimated Tax for Individuals. Form Social Security and Medicare Tax on Unreported Tip Income. Appendix 1. Publication 4: Student s Guide for Federal Income Tax 2. Publication 17: Your Federal Income Tax 3. Publication 334: Tax Guide for Small Business 4. Publication 463: Travel, Entertainment, Gift, and Car Expenses 5. Publication 503: Child and Dependent Care Expenses 6. Publication 505: Tax Withholding and Estimated Tax 7. Publication 529: Miscellaneous Deductions 8. Publication 531: Reporting Tip Income 9. Publication 533: Self Employment Tax 10. Publication 575: Pension and Annuity 11. Publication 583: Starting A Business and Keeping Records 12. Publication 587: Business Use of Your Home 13. Publication 590: Individual Retirement Arrangements 14. Publication 596: Earned Income Tax Credit 15. Publication 915: Social Security and Railroad Retirement Benefits 16. Publication 970: Tax Benefits for Higher Education 17. Publication 1244: Employee s Daily Record of Tips 18. Publication 1244-PR: Report to Employer 19. Publication 1779: Independent Contractor or Employee 20. Publication 1875: Employer/Tip Income Reporting 21. Publication 3144: Tips on Tips/for Employees 22. Publication 3148: Tips on Tips/for Employers 23. Publication 3207: Small Business Guide (CD-ROM) 24. Publication 3518: Beauty and Barber Industry Federal Guidelines References: 25. Publication 334, Tax Guide for Small Business 26. Publication 505, Tax Withholding and Estimated Tax 27. Publication 1244 and 1244-PR, Employee s Daily Record of Tips and Report to Employer Page 79

81 28. Publication 1779, Independent Contractor or Employee 29. Publication 3207, Small Business Resource Guide (CD-ROM) 30. Form 4070-a, Employee s Daily Record of Tips 31. Form 4070, Employee Report of Tips to Employer 32. Form 4137, Social Security and Medicare Tax on Unreported Tip Income 33. Publication 17, Your Federal Income Tax 34. Publication 463, Travel, Entertainment, Gift, and Care Expenses 35. Publication 529, Miscellaneous Deductions 36. Publication 946, How to Depreciate Property 37. Publication 575, Pension and Annuity 38. Publication 590, Individual Retirement Arrangements 39. Publication 915, Social Security and Railroad Retirement Benefits. 40. Publication 4, Student s Guide for Federal Income Tax 41. Publication 970, Tax Benefits for Higher Education Footnotes 1. Rev. Rul , C.B Rev. Rul , C.B Rev. Rul , C.B Rev. Rul , C.B NACCAS News:7/13/99 - Results of First Ever Chain Salon Survey 6. TAX RESPONSIBILITIES FOR THE PERSONAL SERVICE WORKER Self-Assessment Select the best answer for each question and mark your answers on the Self-Assessment Answer Sheet on page 89 or complete your test online at For tax purposes, the term tips refers to cash payments only. True False 42. An employee who receives tips of less than $20.00 in a calendar month does not have to report the tips to his or her employer or report those tips as income on his or her income tax return. True False 43. If someone has a lease agreement to lease space in someone else s shop or salon, that means that he/she is an independent contractor for tax purposes. True False 44. Course fees and travel expenses paid for training in order to obtain a Cosmetology License are considered legitimate, deductible expenses. True False 45. Penalty amounts for improper reporting or filing of income tax can be as much as 75 percent (depending upon the failure and intent) of what would have been due had you reported accurately. True False Page 80

82 Chapter 10 Domestic Violence and the Salon Professional (2 CE Hours) Learning objectives Realize the prevalence of domestic violence in the United States. Discuss specific models of behavior with regard to domestic violence. Relate the cosmetologists role in helping victims of domestic violence. Recognize a friend or client who may be at risk for abuse. Discuss the benefits of restraining orders taken out against batterers. Provide friends, co-workers and clients with resources against domestic violence. Domestic violence The National Cosmetology Association, a section of the Professional Beauty Association, is a partner in the Cut It Out Salons Against Domestic Abuse program ( More than 90 percent of victims of violence are women. Started in 2001, CUT IT OUT is based upon the recognizing that women usually see their salon professional more often than any other professional. The salon is a sanctuary where secrets are sometimes whispered to trusted confidants who happen to be their stylists. CUT IT OUT has an objective of raising awareness of the epidemic of domestic abuse and getting victims the help they need. The program is designed to educate salon professionals to recognize signs of domestic abuse in their clients and safely refer those clients to local resources. Introduction Domestic violence is the single greatest cause of injury to women in this country, and may affect as many as two out of every five women. It is a problem that can no longer be viewed as a personal failing of victims and abusers. There are few known risk factors, and any client who walks in your door could potentially be a victim of domestic violence. It is important that the personal service worker be able to recognize some signs of domestic violence and be willing to offer assistance. Cosmetologists often have a long-standing and friendly relationship with their clients. This relationship added to the fact that people often tend to open up while in the chair may allow you to discover signs of abuse and assist a friend or client in getting the help they need. Cosmetologists certainly cannot be expected to solve problems of this nature, but neither should they ignore it. It is important to establish trust and to let her know that you care. If she is a victim of abuse, your role should be to support her and refer her to appropriate resources. By developing a better understanding of the nature of abuse and the process of recovery, you can help a friend or client in a straightforward but empathic way. Advice and support may help the victim recognize options, make changes, and face the challenges that lie ahead. By helping, you could save the life of a friend, a client or a co-worker. Definitions of abuse Domestic, family, or intimate violence refers to a pattern of behavior used by one individual to exert power and control over other individuals within the context of an intimate relationship. These behaviors include physical violence (often called battering ) and intimidation by force, emotional abuse, sexual abuse, economic control, and neglect. Many examples of behavior and actions that constitute abuse appear nearby. They may be directed towards a partner or children. Regardless of whether the abuse is physical, sexual, or psychological, and no matter whom the victim or perpetrator, the message and goal remain the same: achieving control and establishing a hierarchy of power within a relationship. Injury resulting from domestic violence is not merely physical, but psychological as well. Rarely do batterers choose physical violence alone as a means to exert control. Physical violence is almost always preceded by emotional or verbal abuse. Physical violence is also accompanied by sexual abuse in about 60 percent of abusive relationships. There is often an increase in the frequency and severity of abuse over time (e.g., cycle of violence ). This can lead to a condition known as battering syndrome, where repetitive physical assault is followed by an increase in general medical symptoms and emotional problems in the victim. Myths and realities about individuals experiencing abuse If one of my friends or clients was being abused, it would be obvious to me. An estimated one in three women is the victim of emotional, physical, or sexual abuse at some point in her lifetime; however, few clients will share that information unless they are encouraged or asked. Such women, because they exhibit problem behaviors (e.g., substance abuse, psychosocial problems, poor health behaviors, low motivation to change, noncompliance, and inferior social skills) tend to be dismissed as problems. As a result, only a fraction of abuse victims are recognized. Victims must not want to talk about the fact that they are being abused, or they would volunteer that information. Abuse victims suffer an inordinate degree of shame and embarrassment about their condition and are uncomfortable revealing it to anyone, including their family and friends. They have been taught (by their abusers) that they have little or no self worth, and they tend to blame themselves for their predicament. Cosmetologists may sometimes be in a position to either reinforce or correct these misperceptions; however, a woman will probably only reveal her condition if she is invited to do so and/or feels it is safe. Page 81

83 If a friend or client wants or needs my help, she ll ask for it. Marriage counseling might help; it certainly can t hurt to try. Abused women frequently want assistance, but rarely are assertive enough to ask for help directly. Instead, they seek permission to tell their stories through direct questioning or other nonverbal clues. An abused woman can leave the relationship anytime she wants. Most victims are so emotionally and physically exhausted that it requires a great effort just to sort out what is happening to them, let alone make an effort to change it. They may have been subjected to years of disappointment, dashed hopes and failed expectations. Added to that, they must deal with the episodes of violence. There has been no rationality to the abuser s treatment of them, no end to the double binds to which they have been subjected (i.e., told they were incapable of making decisions, yet when they made decisions, always being wrong; told they must try harder, yet criticized for everything they do). Restoration of their belief in themselves, and their own capabilities will be a gradual process. Aside from these psychological difficulties, years of isolation and dependency may have rendered them unknowledgeable about or incapable of finding a job or a place to live, managing finances, being a responsible parent, or even getting around on their own. All of these things will seem overwhelming at first, but can be accomplished within a framework of outside support and training such as that provided by domestic violence networks and social service agencies. However, it, too, will require a period of adjustment, and victims will face setbacks that sometimes cause them to doubt themselves and/or change their minds. A majority of victims will wind up making several attempts to leave an abusive relationship before they succeed, and will place themselves at great risk by doing so. Even after all that, they may find themselves vulnerable to abuse in the future from other partners. These matters are private and should only be talked about within the circle of family and close friends. Abuse travels through generations and often stems from a history or pattern of dysfunctional relationships. Family and friends may deny the problem and fail to provide a viable support system, which is why it is important to recommend and refer victims to other sources of help, including support groups. Ultimately it may be possible for a woman to cultivate the supportive relationships she needs. Cosmetologists may be able to help by encouraging friends or clients to educate themselves about the problem. If the relationship fits the pattern of abuse (e.g., inappropriately controlling behavior on the part of the abuser), then it s a bad idea to refer a victim to marriage counseling. Doing so could erode the patient s ability to make decisions to end her victimization, and stall or impair the process of recovery. Marriage counseling traditionally rests on the concept that both partners contribute to the problems in a relationship, and that by effecting positive change, it is possible to mediate behavior. Women who are abused have fallen prey to the fallacy, put forth by their abusers, that if they only improve themselves, and do a better job of meeting their partners demands, they will be rewarded with kinder treatment. If this approach does not, in fact, work to stem the escalating cycle of abuse, then continuing to encourage it (especially by authority figures ) will only serve to reinforce a woman s sense of failure and increase her risk of danger. It is crucial to refer abuse victims to professionals who are trained to intervene in domestic violence. Local support groups and/or coalitions against domestic violence serve as good contact points. If they still love each other, there must be something about the relationship worth saving. Many abuse victims continue to feel strong love for their former partners, which renders them ambivalent and vulnerable to renewed contact. The abuser may continue to manipulate them from afar with emotional blackmailthreats and/or indulgences, including lavish displays of affection. Wishful thinking may get the better of them. Unfortunately, controlling behaviors on the part of the abuser, and the victim s vulnerability to them, almost always portend the return of abuse. For that reason, victims who leave abusive relationships are discouraged from maintaining a close relationship with their former partner, even if he enters a treatment program and receives counseling for his problems. Experts believe that one of the final hurdles for a woman in ending her abuse consists of giving up the belief that she can end the violence without ending the relationship Peoples avoidance of this topic is rooted in the myths about the nature of domestic violence and its victims, some of which have been described here. However, research has shown that rather than being offended, most abuse victims do want to discuss their problems but they are unlikely to initiate the discussion on their own. Page 82

84 Addressing the problem Most experts agree that the roots of domestic violence are based in our society as a whole. Tolerance of abuse, widely-held beliefs that women should be submissive to men and that men should be granted control over their families, views of women as property, as well as poverty, lack of education, and the stresses of modern life (e.g., tolerance of violence, substance abuse, and family/marital breakdown) are often cited as contributing factors. Abuse victims often are denied regular contact with family and friends and thus tend to lead isolated lives. This is part of an attempt by the abuser to control them. Regular visits to their hairdresser or manicurist may be one of their few privileges and contacts with the outside world. For these women, this is a rare opportunity for reality testing, i.e., for viewing their situation as it really is, unfair and wrong, rather than as their abuser perceives it (that their restrictions make sense, or that they somehow deserve the abuse to which they are subjected). Prevalence of the problem The problem of domestic violence is widespread, with an estimated 2 to 4 million physical assaults occurring each year in the United States, and another 21 million cases of verbal or emotional abuse. Women are about 10 times more likely than men to be the victims. This document reflects that fact by referring to victims as women and abusers as men. However, violence by women against men does occur, as does violence in same-sex relationships, heterosexual dating, and relationships where someone is providing care for an older person. Being victimized by abuse is far more prevalent than breast cancer, thyroid problems, hypertension, and colon cancer - all of which are routinely screened in the primary health care setting (see Table 1.). Yet only a fraction of this abuse is correctly diagnosed. Directly or indirectly, the impact of abuse may be felt for generations. Among its most tragic victims are children who witness or become targets for violence in the home. An estimated 7.5 million U.S. children each year are exposed to such violence, either as spectator or victim. An estimated 70% of all men who abuse their female partners also abuse their children, and wife battering is the greatest risk factor for child abuse. Even when they are not the direct victims of beatings, children who witness domestic violence become psychologically traumatized and are also at heightened risk of neglect. They experience constant fear and terror for their life as well as for their parents, and often blame themselves for the violence and any subsequent separation or divorce. Impulsive behavior, running away, and sexual acting out are some of the behavioral consequences; over time, such individuals may begin to assume that violence is the norm in relationships and to exhibit little respect for personal boundaries (their own and others). Ultimately, children who grow up in a violent home tend to have poor social and coping skills and learn to model the behavior of abusers or victims. An estimated 30 percent of them go on to batter their own children or spouses in succeeding generations. Males as young as two years old have been observed exhibiting aggressive behavior after seeing their mothers beaten, and among the very few consistent risk factors for becoming an abused wife are having witnessed or been abused as a child. Understanding the nature of abuse Various models have been developed to illustrate and explain the dynamics of abusive relationships. While any one of them by itself might prove inadequate to describe a victim s experience, together they provide a composite portrait of the domestic violence syndrome. a. The Cycle of Violence model Three decades ago, in 1979, Lenore Walker first published her classic prototype of domestic violence, which she described as the Cycle of Violence. In it, she described how most abusers TABLE 1. WHO ARE THE VICTIMS OF DOMESTIC VIOLENCE? Women. Each year an estimated 2-4 million women are battered at the hands of their partners. 2 out of every 5 women seen in doctor s offices. One in three women will be the victim of intimate abuse (physical, psychological, or sexual) at some point in her lifetime. Children. An estimated 70% of men who abuse their female partners also abuse their children. Lesbians and gays. Some surveys have estimated the incidence to be as high as 50%. Pregnant women. An estimated 10% to 25% of all pregnant women are battered. The elderly. An estimated 2 million cases of battery, exploitation, psychologic abuse, or neglect. Teenagers. An estimated one in ten high school students experiences physical violence in dating relationships, and among college students this figure doubles. Date rape accounts for the majority of sexual assaults reported by young women. A substantial proportion of such assaults (38%) occurs to very young women (between the ages of 14 and 17). Page 83

85 are not uniformly violent, but become violent in a repetitive or cyclical basis as their tension level builds, and then is released. Over time, the violent phase lengthens and intensifies, and the calm phase becomes shorter or disappears altogether, leading to a downward spiral and an increasingly lethal situation (Figure 1). CRISIS TENSION CALM Figure 1. The Cycle of Abuse TENSION CALM CRISIS Source: Adapted from L. Walter, The Battered Woman, Harper and Row, New York, 1980 The syndrome has been described in three phases: Tension-building phase (may last weeks or months) Characterized by increased stress (financial, emotional, or physical), reduced communication, growing hostility, and abuser s desire for extreme control over mate, home, and family. Abuser may fear losing control, resent demands, or have unreasonable expectations or demands of victim; minor conflicts build. Emotional abuse escalates and erodes victim s sense of self worth and self determination. Victim senses growing danger, tries to placate; blames herself or external circumstances for partner s behavior; denies that tension will escalate to more severe incident (even though it has happened before). Crisis phase (may last several hours or days) Tension becomes unbearable. Abuser s rage escalates dramatically; both abuser and victim accept myth that it cannot be controlled. Abuser tries to teach lesson to victim; may cause severe injury or death. Victim may respond with shock, denial, anger or fear; does whatever is necessary in order to survive. Victim may escape and return when crisis is over, only to collapse emotionally. Calm phase (may last days or weeks) Abuser remorseful, contrite; displays charm, kind, loving behavior; seeks forgiveness, promises to change. Victim s desire to leave is strongest, but may be worn down with abuser s persuasion; victim may accept promises, presents, etc. Symbiotic bonding reinforced; batterer elicits guilt and sympathy from victim. Family relieved that crisis is past; children become caretakers to keep the peace. Batterer seeks affirmation from others of loving behavior; enlists aid of family and friends. Victim gives in to false hope that violence will not recur; may be reluctant to prosecute, testify. The Cycle of Violence model conforms with several observations about domestic violence, i.e., that it is episodic in nature, averaging three to four incidents a year, and that it tends to escalate over time, with less time between violent incidents. A victim caught in this cycle demands attention because she faces increasing risk over time. b. The Power and Control Wheel Model Not all victims experience domestic violence or abuse as a cycle ; instead, it may seem like a constant or chronic condition within the relationship. In 1984, the Duluth (Minnesota) Domestic Abuse Intervention Project developed the Power and Control Wheel (Figure 2) as an emotional inventory describing the behavior of physically and emotionally abusive men. This model differs from the Cycle of Violence in that it does not PHYSICAL USING COERCION AND THREATS Making and/or carrying out threats to do something to hurt her, to commit suicide, to report her to welfare making her drop charges making her do illegal things USING ECONOMIC ABUSE Preventing her from getting or keeping a job making her ask for money giving her an allowance taking her money not letting her know about or have access to family income USING MALE PRIVILAGES Treating her like a servant making all the big decisions acting like the master of the castle being the one to define men s and women s roles USING CHILDREN Making her feel guilty about the children using the children to relay messages using visitation to harass her threatening to take the children away PHYSICAL VIOLENCE POWER AND CONTROL USING INTIMIDATION Making her afraid by using actions, gestures smashing things destroying her property abusing pets displaying weapons USING EMOTIONAL ABUSE Putting her down making her feel bad about herself calling her names making her think she s crazy playing mind games humiliating her making her feel guilty MINIMIZING, DENYING AND BLAMING Making light of the abuse And not taking her concerns about it seriously saying the abuse didn t happen shifting responsibility for abusive behaviour saying she caused it VIOLENCE SEXUAL USING ISOLATION Controlling what she does, who she sees and talks to, what she reads, where she goes limiting her outside involvement using jealousy to justify actions SEXUAL Figure 2. The Power and Control Wheel Page 84

86 attribute, as a trigger for violence, the abuser s inability to cope with stress or growing frustration. Abusers who fit this description tend not to reflect ambivalence about their own behavior. They may have been indoctrinated as children to uniform patterns of hostility or violence against women and other groups. They may also have been abused or denied love and nurturing as children. c. The Process of Abuse Model A still more recent model of domestic violence, this one framing the abusive experience and recovery from it according to the victim s perspective, has been developed. This model reflects the victim s steady ability to process her experience and make choices based on individualized core values that emerge. The process is portrayed in Figure 3. It is depicted in four phases: SELF RELATIONSHIP ABUSE BINDING ENDURING Figure 3. The Process of Abuse DISENGAGING RECOVERING Source: Landenberger, A process of entrapment in and recovering from an abusive relationship Binding Relationship new and perceived as loving. Victim responds to abuse by working harder to make the relationship work and to prevent future incidents. Logical, creative strategies are used to appease abusive partner. Enduring Problem-solving begins to seem futile, victim begins to question durability or relationship. Abuse is weighed against positive aspects of relationship and tolerated; victim feels partially responsible for its occurrence. Victim may tentatively seek outside help without revealing circumstances out of fear of compromising her own/ partner s social status. Disengaging Victim labels relationship as abusive. Sees abuse as undeserved. Reaches breaking point (possibly precipitated by realization of danger and/or unchecked hostility towards abuser). May come and go from relationship as she/he struggles with independent living and safety concerns. Recovery Victim successfully adjusts to independent life; remains separated from abuser; realizes it is impossible to maintain good aspects of relationship without invoking the bad. This last model holds an advantage in that it postulates a victim s success in ending an abusive relationship. As health care providers attempt to counsel these individuals, there are important issues to keep in mind. Disengaging and recovering from abuse is a gradual process, and may take several tries. During the intermediate stages, a victim will tend to view abuse as just one aspect of a relationship that is otherwise positive. It may require considerable movement in and out of the relationship before a victim is able to let go of the hope or belief that the good aspects of the relationship can be saved (while ending the abuse). Ultimately, after several tests, the basic incompatibility of such goals should become clearer. Identifying someone who is at risk It is really not possible to paint a picture of the typical victim of domestic violence. Although many stereotypes exist, they are not accurate. There are no socioeconomic or psychological factors or classic set of injuries that will correctly point you to the victims. Researchers have attempted to probe these issues, but the few risk factors that have been identified are of little use in defining an at-risk population. In one of the largest studies of domestic violence ever attempted in a medical setting, found that women currently experiencing abuse were likely to be young (under 35); single, separated, or divorced; to be uninsured or receiving medical assistance; and to have a partner abusing drugs or alcohol. That study surveyed a total of 1,952 female patients in four medical practices. Abused women reported a higher number of physical symptoms than non-abused women and scored higher for depression, anxiety and low self-esteem. Abused women were more likely to be abusing drugs or alcohol and to have attempted suicide. They also had a history of more visits to the emergency department, but did not reflect more mental disorders. Another study involved a survey 629 English- and Spanishspeaking patients in three medical clinics. Overall, 28 percent had experienced domestic violence at some point in their lives and 14 percent were experiencing it at the time of the study. Being female, unmarried and poor were common characteristics of victims; however, domestic violence occurred in all patient groups, regardless of gender and marital or socioeconomic status. In fact, in this study, a large number of patients who are traditionally considered at low risk for abuse (e.g., 12 percent of men, 17 percent of married patients, and 22 percent of patients at the highest income level of $11,000 year) had experienced domestic violence at some point in their lives. Other experts found that one of the most consistent risk factors for adult women was having witnessed abuse or been physically or sexually abused as a child. This information, while of limited use in identifying current victims, has valuable implications for understanding and treating patients who have been repetitively abused in a series of relationships. Page 85

87 The literature is full of qualitative observations about the experience of abuse. These can be of great benefit in understanding and assisting patients. Most abuse victims are struggling individuals who, through fear, stress, disappointment, coercion and probably sheer exhaustion, have grown maladapted to their plight. They are described as suffering post-traumatic stress disorder. In the literature, the effects of domestic abuse have been likened to the experiences of prisoners of war, torture victims, hostages, and disaster victims. Reports also describe learned helplessness (e.g., passivity and inability to make decisions) in abuse victims. This may be brought about by the belief that they have no control over their lives, and possibly also by the knowledge that any exercise of their own initiative will be viewed by their batterers as insubordination and therefore retaliated against (See About the Abusers on the previous page). Abused women may therefore exhibit a numbed resignation that can be mistaken for compliance, and this has led to prejudice and victim-blaming. Friends, while remaining sensitive to the problems associated with battering syndrome, should not give in to the hopelessness they suggest. Victims may find it necessary to be passive in order to survive. Underneath these qualities may lie a strong sense of self. Under threat of violence, a woman may give up bits and pieces of herself: her preferences, her opinions, her voice, her friends, her job, her freedom of movement, her sexual autonomy. She may learn to lie, or at least to keep the truth to herself. She may learn to say the sex was good when it wasn t, or that she s sorry when she s not. Unable ever to give the right answer, she may retreat into silence. It s often easy to mistake her apparent passivity for submission, masochism, complacency. But she does not give in A battered woman lies low while she tries first to make sense of her situation, then to change it, and finally to get out. When it comes to getting out, women are enormously ingenious, resourceful, and brave It is not too much to say that from the first moment a man abuses her, a woman begins, in some sense, to leave - emotionally, spiritually, physically. Shocked at first, she may try to stop the violence by becoming a better person, but she ends by trying to be in another place. She may embezzle from the grocery money for months, placating the batterer all the while she squirrels away the price of a ticket to freedom. Abused women describe this process of going underground within themselves, hiding out inside, lying low until they can emerge, like some moth shedding caterpillar skin, becoming themselves. Escapees say Now I m myself again. Legal protection against abuse Laws in most states offer women three types of legal recourse against domestic violence: divorce or legal separation, civil protection orders, and criminal prosecution. Civil protection orders, sometimes known as restraining orders, are issued by civil court judges in response to written petitions from victims. They command the abusive individual to stop abusing, harassing, or threatening his partner, and to stay away from her under penalty of being cited for contempt, fined, or arrested and jailed. Such orders can also specify custody, visitation rights (supervised or unsupervised), child and spousal support, and eviction from the family home (even if it is in the abuser s name). They may prohibit the batterer from contacting the woman at her residence, school, or place of employment; require him to About the abusers Abusers, like their victims, come from all walks of life and do not have noticeably deviant personalities. In fact, they can really be quite charming most of the time. They are often described by their victims as having Jekyll-and-Hyde personalities. The proportion of individuals with psychological disorders who batter their family members is no greater than that among the population in general. While abusers do exhibit a high rate of alcohol use, this appears to be an association and not a cause. Treating alcoholism does not cure battering, and many alcoholic batterers also batter when completely sober. As powerful as they would make themselves out to be, abusers are described as individuals who are tormented by their own sense of powerlessness and who thus rely on the process of abuse, or total domination of a weaker individual, to gain a sense of mastery over their own lives. This feeling of weakness or loss of control actually may be aggravated by intimate relationships because love makes people dependent upon one another: Page 86 For men, who aren t supposed to be either dependent or powerless, love sometimes produces feelings of resentment, even rage, especially when the loved one who holds that power is merely a female, a person who s supposed to be inferior. It can be experienced as intolerable humiliation, though it may seldom be expressed or even recognized as such. The more vulnerable the man feels, and the more important invulnerability is to his sense of masculinity, the more he may hate the one he also loves. However, some experts dispute the notion that batterers are actually out of control, however much they may feel that way. They point out that physical assault is usually carried out in private, and that battering injuries tend to have a specific distribution on the body. Furthermore, batterers seldom kill their mates during typical battering episodes, he says, because they know when to stop. It has been proposed that abusers behave the way they do because they can get away with it. When there is no retribution, the man learns that he does have sovereignty over his home and that he can use violence against his family... he remains in control, his partner acts according to his will, and his dominance of the home is preserved. It is estimated that half of all men who batter their partners do so three or more times per year. Abusers typically express less and less remorse each time their actions go unchecked. As long as the violence is confined to crisis outbreaks, their abusive traits go unperceived by all except their closest family members. However, one of the greatest threats they face is if the victim makes plans to leave. At such times they may become unpredictable and begin to act recklessly, even without regard for their own safety and threat of legal consequences.

88 pay for her moving, medical, and legal expenses; or require him to get counseling or participate in a substance abuse or batterer s treatment program. Abusers do not acquire a criminal record as a result of being put under a restraining order, and this may be reassuring to women who are reluctant or fearful to press criminal charges; however, violation usually results in their arrest and may constitute a misdemeanor or criminal offense. The process of petitioning for and receiving protective orders can take several weeks, although some states have arranged to issue them on an emergency basis, and on evenings, weekends, and holidays, when most abuse is likely to occur. Legal representation may be necessary, and court filing fees may be involved. Victims can seek more information, including how to apply for legal assistance, from local domestic violence coalitions. Divorce and separation cases are also civil proceedings, but entirely separate from the process of obtaining protective orders, even though they address many of the same issues (e.g., custody, visitation, financial support, etc). There is an advantage to their separateness. When, and if, a victim decides to file for divorce, a civil protection order may offer some immediate protection against a vengeful partner. Criminal prosecution, usually in the form of assault charges, may be brought against a batterer by the state or by the victim. Some states have laws mandating arrest of the abusive individual when the police are called to intervene in domestic violence. Usually it remains the woman s decision whether or not to press charges, however. In some cases, such as those involving child abuse, the state is likely to press charges, regardless of whether the abused partner does or not. The rationale is to protect all citizens from a criminal who may strike again. Petitioning for a protection order does not make it impossible to bring criminal charges against an offender; in fact, sometimes women are advised to pursue both civil and criminal action, particularly in cases of aggravated assault. In those cases, restraining orders can help provide immediate protection against an abuser who has been charged with a crime or is bent on retaliation. In addition to these mechanisms, some states are enacting antistalking legislation. It can be an effective deterrent to violence against women who do not reside with or have left their abusive partner. How effective are these legal deterrents to domestic violence? In order for restraining orders and other measures to work, there must be a coordinated response against domestic violence throughout the justice system, with police officers enforcing the law, prosecutors filing charges against violators, and judges imposing appropriate sanctions. In the past, such laws have been inconsistently enforced. In a Colorado study, 290 separate calls made to police to report violations of protective orders brought in only 59 arrests. A handbook with most of this information may already have been prepared for your community. Check with your state or local coalition to prevent domestic violence. The following is a list of national resources that may help cosmetologists in intervening: National Coalition Against Domestic Violence, P.O. Box 18749, Denver, CO 89218; tel. (303) ; fax This organization will direct you to your state hotline and local coalition or shelter. It publishes the National Directory of Domestic Violence Programs: A Guide to Community Shelter, Safe Home and Service Programs ($50 plus shipping and handling). National Domestic Violence Hotline. A national toll-free number providing direct assistance and support to victims; tel SAFE (or ); TDD. National Resource Center on Domestic Violence, Harrisburg, PA; tel. (800) ; fax An information clearinghouse funded by the U.S. Department of Health and Human Services, offering materials especially designed to enhance community-wide response to domestic violence. National Center on Elder Abuse, Washington, DC; tel. (202) ; fax American Medical Association, Chicago, IL; tel. (312) ; fax Publishes several diagnostic and treatment guidelines for child abuse, elder abuse, sexual assault, and mental health effects of family violence; also Domestic Violence: A Directory of Protocols for Health Care Providers. American College of Obstetricians and Gynecologists, Washington, DC; tel. (202) Publishes clinical guidelines, patient education brochures, office posters, and pocket cards to give patients. Also has developed a slide/ lecture presentation for clinicians: Domestic Violence: The Role of the Physician in Identification, Intervention, and Prevention. Referring friends and clients to sources of help Abuse victim need to know the local sources of help. To help in this, you should assemble a list of resources within your own communities. Examples of the types of information include local hotlines for domestic violence, child abuse, alcoholism, substance abuse, etc; numbers of abused women s shelters (usually the location of these facilities is kept secret for security reasons); and domestic violence support coalitions and support groups. Page 87

89 Domestic Violence and the salon professional Self-Assessment Select the best answer for each question and mark your answers on the Self-Assessment Answer Sheet on page 89 or complete your test online at The prevalence of domestic violence in the United States accounts for 2 to 4 million physical assaults each year. TRUE FALSE 47. Of the men who abuse their female partners, 70 percent are estimated to also abuse their children. TRUE FALSE 48. It is during the disengaging phase described in the process of abuse model, that the victim often reaches her breaking point. TRUE FALSE 49. An estimated 2 million cases of abuse against the elderly occur each year in the United States. TRUE FALSE 50. It is estimated that 30 percent of children raised in violent homes will grow up to abuse their own spouses or children. TRUE FALSE Page 88

90 Self-Assessment Answer Sheet North Carolina Cosmetology Update Remove Pages 89 and 90 carefully. DO NOT TEAR. All information must be submitted for processing. Please complete pages 89 and 90 in their entirety. Once you have completed these pages, you may use NETPASS, FAXPASS or MAILPASS to submit your answers and evaluation. If paying by check or money order, please make them payable to. RETURN CERTIFICATE TO: Personal Information (Please print clearly) First Name Middle Last Name Cosmetology License Number Mailing Address Mailing Address City State Zip Code ( ) Telephone Number Address PAYMENT METHOD The cost for this educational activity is $ (Make check or money order payable to ) Check / Money Order VISA / MASTER CARD / AMEX / DISCOVER (Complete ONLY if paying for course by credit card) Credit Card #: Expiration Date: Security Code: Signature: Use the area below to indicate your Test Answers. Please make dark marks and fill in the circles completely. Principles of Haircutting Wigs and Hairpieces Hair Color Principles 21. True False 22. True False 23. True False 24. True False 25. True False Sanitation and Sterilization 31. True False 32. True False 33. True False 34. True False 35. True False Tax Responsibilities 41. True False 42. True False 43. True False 44. True False 45. True False Perms - Current Styles and Methods Indoor Air Quality Guide Chemical Make-up 26. True False 27. True False 28. True False 29. True False 30. True False Retail Concepts 36. True False 37. True False 38. True False 39. True False 40. True False Domestic Violence 46. True False 47. True False 48. True False 49. True False 50. True False NCCOS1314 Page 89