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00:00 Hey everyone, I'm Teresa Adams. Thank you so much for joining me for our Rose Gold tutorial
00:07 here at the L'Oreal Professional Soho Academy. Shout out to all my salon-centric people.
00:12 You'll be able to see the before and after shots at salon-centric either on Instagram
00:17 or here on Facebook. Let's get into it. If you're interested at the Soho Academy, we
00:23 just finished a balayage techniques class. So let's continue on with a little bit of
00:27 balayage today. When I want to do Rose Gold in a client's hair, I need to know where I'm
00:33 starting, where I'm going, and what type of Rose Gold do I want to get. Rose Gold can
00:39 be a huge gamut. It can be dustier, it can be peachier, it can be more on the golden
00:45 side. Clients are asking for this, and I think it's great for holiday seasons. We're playing
00:50 off of those metallics, really getting some movement in the hair. Whenever you add Rose
00:55 near a complexion, it's like candlelight against the skin. Everybody looks fantastic with Rose
01:00 against their skin tone. For my gorgeous model today, MK, shout out MK, we did a little prep
01:08 work. So for MK, she came in with a couple inches of regrowth, and she's a natural six
01:15 in the front, five in the back. So I used Richesse, which is our demi-permanent for
01:20 L'Oreal Professional. I used half 4.8, which is our mocha shades. I love them, they're
01:26 super rich. And half five natural, so I could get a little pigment weight. That was with
01:30 nine volume. I feathered that down into the hair, and then I balayaged her hair with our
01:35 multi-techniques, which really allowed me to break through the artificial pigment that
01:40 was in her hair and get a nice golden honey result. When I'm doing Rose Gold, I want to
01:45 make sure that there's pigment weight still left in the hair, so I get a really, really
01:49 beautiful, rich, exquisite result. Sometimes we want to lift it really pale so we can get
01:55 a really vibrant result, but today I want luxury from top to bottom. So when I was painting
02:01 her hair to begin with, I divided her hair in half. I took diagonal sections, because
02:08 I take diagonal sections when I want to get the most movement, and we want this hair to
02:12 move, right? And I took large single points, really saturating those ends. So you can see
02:19 in her hair right now, we left a little bit more copper, but that's okay, because Rose
02:23 Gold should have a little bit of that copperiness to it. And then went into a more saturated
02:28 end where I'm going to have that be a little bit lighter, because I want lots of tone and
02:32 movement. I don't want it to be a solid color. I want gradation. I worked up her hair, varying
02:42 where those single points were so I would get nice movement. We did one, two, three,
02:50 and four sections. On the opposite side, I did three sections, so it was a full head
02:54 and seven sections. Fantastic, right? Because it's about being able to add on to my book,
03:00 because we want to make that money, honey, right? And we also want to be able, for the
03:04 holidays, to add a little something special for our clients, and it doesn't take a long
03:08 time. It was a 30-minute application, right, MK?
03:12 Yeah. So for my setup, what I've done on the other side, utilizing the Sweet Meshes, which
03:19 I love the Sweet Meshes. You can reuse them. They allow me to isolate the hair. Getting
03:25 close up, yes. But I can also rinse them and reuse them, so they're a little bit more on
03:29 the green side. They're fantastic. I can also use them to isolate. If I'm doing a block
03:34 color, they have tons of purpose as a colorist behind the chair. What I am using for the
03:40 beginning part of my rose gold is I am using a Noah, and I used 40 grams of clear and 10
03:49 grams of our 562, because I wanted to make a really sheer pink. So I'm using level 562.
03:56 Six is red, and two is violet, because pink should have a little bit of violetiness to
04:01 it. If I wanted it to be on the peachier side, then I could maybe use our 6.66, which is
04:06 a six red red. I used that with our amazing Smart Bond, and because I used over 30 milligrams,
04:15 I used eight millimeters of it. If I used 30 or less, I would use four. And we're just
04:20 making sure that the hair feels fantastic and looks amazing and shiny.
04:25 When I'm going through for my application, I'm going to follow the pattern that I created
04:30 with my balayage to begin with. I'm taking my diagonal line. I worked up one half of
04:37 the head. I'm going to isolate that hair away. Now, a little trick for me, when I'm taking
04:46 my meshes, I put a little bit of product, and I can pick it up with my brush, which
04:50 is a little bit faster for behind the chair. It also becomes kind of my super glue so that
04:55 the hair stays nice and adhered to it. Take my section, lay the hair right on top, and
05:04 it's okay if it's coming into a little bit of the depth. I'm going to keep my brush on
05:09 its side and feather down. I always use two brushes for this type of thing, one with my
05:18 product and then a dry brush so I can really blend in. And I'm leaving a little bit of
05:24 the ends out because what I'm going to do after this is processed for its 30 minutes
05:30 is I'm going to take the hair and I'm going to gloss it with Dialyte. Dialyte is our amazing
05:36 acid technology demi-permanent. It's kind of my watercolor, if you will. When I'm painting
05:42 and I'm deciding what type of varied degree of saturation of color, I like to look at
05:48 the entire color portfolio so I can make these fashion tones. For me, do you mind tilting
05:53 your head? Thank you. For me, when I'm working with Dialyte, it's a paint so I call it my
06:01 watercolor. If I want something that's a little bit more opaque, like an oil pastel, I'll
06:06 use my Rochesse. If I want something that's almost like a car paint, has a little iridescence,
06:11 I go to Luo. If I want my acrylic, so super high shine, I go to Inoa. And if I want something
06:18 that has like richness and shine and the most depth to it, I use Majorelle. So right now
06:25 I'm going for acrylics and watercolors, which everything is a paint, but they all have different
06:29 texture. So I'm going to take my sections, dividing along the hair. My brush is always
06:38 at an angle because it's easier to feather when your brush is on its side rather than
06:44 square. Square brushes create square lines in the hair. Making sure that I'm really pushing
06:52 that color through to saturate. I already did my surface painting with the balayage,
06:57 but I want to make sure that I'm getting that beautiful rosiness all the way through. Leaving
07:02 the ends out, I'm going to gloss it with 1032, so that's our lightest blonde, gold, violet,
07:10 and a little bit of the 526, so five violet red. And I'm going to use that, I'm going
07:17 to do three quarter of the 1032, one quarter of the 526. So in the end it ends up being
07:24 around an eight, so it still leaves that lightness and brightness, and because the finish of
07:29 it is nice and sheer, I'm going to get a beautiful deposit of tone, but I'm still going to have
07:34 the lightness that I want in her hair so that we get lovely movement. So feathering my product
07:42 out. I think clear with an Inoa is one of those tools as a colorist that I can't live
07:52 without. It allows me to dilute the pigment a little bit, so this is going to be a more
07:57 sheer result than usually a 5.62 would be, right? Because a 5.62 would usually be what
08:05 I'd want if I wanted to create a cherry or a raspberry, which sounds delicious. As colorists,
08:10 we always talk about color as food, I know. And as my clients are coming in and asking
08:18 for this, I always want to make sure tonally I'm playing against their skin tone, right?
08:24 What makes special about their eye color, their skin tone, and when I met MK, I was
08:29 super, super, super excited because I just knew that the rosiness would be so beautiful
08:34 on her, kind of that like antique. So it becomes the difference for me between taking a trend,
08:40 something like rose gold, and then how I can make it couture for my client, right?
08:45 So we have a question from our users. Liz and Lydia want to know what your formula is
08:56 and how much clear is in your formula.
08:58 So my formula is 40 grams of clear and 10 grams of 5.62 from Inoa. So I'm majority clear
09:08 because I want a more pastel acrylic, if you will, and I also love using the Inoa for this
09:14 because I know it's going to have a little bit more longevity in her hair. So when she
09:18 comes to see me the next time, even if it has oxidized or faded a little bit, it's going
09:23 to have like a honey rose to it rather than leaving her hair in just a like oxidized kind
09:31 of raw state. And because I'm using the Inoa, which is ammonia free, I'm also protecting
09:37 her hair as I am creating these fun tones in it. So you can see I'm just lightly feathering
09:43 my color on. Now I take my dry brush and I push through. If I wanted to intensify the
09:53 rosiness of it, I could have done 30 and 20.
09:57 We have a question from Tracy. Hi, Tracy.
10:03 She wants to know where you got your sweet meshes.
10:08 I got my sweet meshes at Salon Centric and you can actually buy product at Salon Centric
10:15 at www.saloncentric.com. So anything that you see that we're using today, go to the
10:21 website and pick it up. Try some new stuff out. I always love to play with new things.
10:26 I use L'Oreal Professional behind the chair. I actually work here in New York at Dot Dot
10:30 Salon located in Soho. And we love using L'Oreal. It has changed, it's really changed my life
10:39 behind the chair. I love doing hair and I love having the best of products to be able
10:43 to do it to make my clients happy. And I feel with L'Oreal Professionnel, I can always do
10:47 that.
10:50 So placing that hair on my sweet mesh, brush on its side. For those of you who saw me last
10:58 time, you know I love a pinkies up because I'm fancy. And it also is a weight balancer.
11:06 I started in this industry as a makeup artist and I think it's just kind of flown from there.
11:12 I also studied art, so it's kind of like my balance for my hand. It also lets me blend
11:17 up on the hair a little bit only with gloves. We're working with colors still. People always
11:22 wear a glove. It's my thing.
11:30 And for those of you who are just tuning in for the pre-work, just so you know what we
11:34 use to begin with on MK's base, we used Richesse 4.8, our mochas 5N and 9 volume. And to pre-lighten
11:44 her hair, I use the multi techniques with 30 volume Magi Creme. I love to mix that product
11:50 when I'm painting. I want it to be kind of yogurt-y, so it gives me a beautiful glide
11:55 on the hair so I can really sweep on the color, pun intended. Balayage means to sweep. I know
12:01 that this is a two-part look, but really it allows me, sometimes you have to separate
12:08 you know your processes because there's only so much you can do in one go. And we sometimes
12:13 want to rush things behind the chair, but our clients, so they get the best longevity
12:19 out of their look and the tone really lasts in their hair, are usually willing to go through
12:23 that two-part sitting. So that way they can get you know the shiniest, most long-lasting
12:30 because they don't want it to disappear after you know a shampoo. So I know with this we're
12:36 going to, when she comes in next, which will be in six weeks for a regrowth application
12:41 because she's naturally a little bit lighter, I'd be able to go through and re-gloss the
12:45 hair with Dialyte or if I wanted to change up her tone a little bit because it's a demi-permanent,
12:51 I'm not worried about the hair being stained. Taking my next section, still working on the
12:58 diagonals and I always love a diagonal because it allows for softer movement within the hair.
13:12 Now when I was painting MK, what I wanted to remember was as I was working up her hair,
13:18 I started to pick my balayage up a little bit higher, right, so I'm going to start to
13:22 work higher up on the hair as I'm getting to the parietal ridge because I wanted to
13:27 make sure visually when I'm placing it that I was really coming in near her eyes because
13:31 like them's is some peepers and they're beautiful shape and for her heart-shaped face it really
13:38 accentuated where I wanted to create balance in her features and then that way I knew when
13:43 she would get the glimmer of that rose gold that would fall along her cheekbone and into
13:47 her cheeks and add a lovely flush to her complexion. So in salon, my first application, hi Lois,
14:04 happy holidays by the way, my first application took 30 minutes and then when I would do this
14:10 behind the chair, like that would process, it processed for about 30 minutes, 20-30 minutes,
14:16 that would be shampooed out, dried and then this application would take me about 20-30
14:21 minutes behind the chair. And I don't know if you do but I book in between so I would
14:29 see her for 30 minutes, she would come back to me probably 30-45 minutes later, I would
14:33 do some clients in between and then she would come back and process with this. This is a
14:39 Noah so it should process up to 35 minutes in the hair to get the truest result. What
14:44 ends up happening when we are trying to rush color and take it down too early, we can't
14:51 guarantee the oxidation, right? So if I want to get the truest result of what a Noah is
14:56 meant to do or any color is meant to do, I want to leave it on for the timing that has
15:00 been set. So she would process for her 30 minutes. And also a little tidbit for you
15:09 guys, we did a new haircut and we changed MK's style up, her hair was a little bit more
15:15 one length to begin with. What I would suggest if you're going to do a big change either
15:20 in shape or in length on a client before you even do your pre-work, do your haircut first,
15:26 right? When it comes to balayage, it's about painting a haircut. So even when I'm trying
15:31 to create something bespoke like this with the rose gold, you know, I want to make sure
15:35 that I'm really accenting those special places according to where the haircut is and her
15:40 bone structure is. So do your haircut first so that way you're not cutting your work out
15:46 because we all hate when that happens. And I'm pushing that color through, leaving the
15:53 ends out because I want them to have the most vibrancy. Place my mesh rod on top. It's super
15:59 neat, super fast, super easy. Taking my piece in the back, smoothing that hair out. And
16:10 I'm using for the first part of our rose gold, Inoa clear, 40 grams of that and 10 grams
16:19 of our 562. So I'm creating a really beautiful light pink to go over the coppery. I know
16:25 that it's a little bit warmer in her midsection, but I did that on purpose because I want to
16:30 create a lovely gradation in her hair. And I want to have that pigment weight still in
16:36 her hair so this lasts a little bit better. If I had made her hair a little bit paler,
16:41 then I would have had to add the copper into my formula. Right now I'm working with the
16:46 copper. So for me, if you know you've lifted the hair a little bit paler, maybe a little
16:51 formula for you for rose gold and one that I love. I'm a big fan of the 04s, so the natural
16:58 coppers. So doing a clear, a 804 and a 562 would be a great option if the hair has been
17:06 lifted to like a clear 9 or level 10 because you want to put that copper back in the hair
17:11 so that it has the weight to hold on to the pink. If I just put the pink on light blonde
17:16 hair, it's going to wash out really quickly and I'm not going to get that golden-ness,
17:20 that honey and that copper in the hair that makes it really rich and special. And for
17:26 any of these products, don't forget to go to www.saloncentric.com. And if you're also
17:33 interested in more creative education when it comes to color, styling, balayage or hair
17:39 cutting, please visit us here at the Soho Academy and you can go to www.sohonycregister.com.
17:51 I said that 20 times. I don't know why I suddenly tripped up on that in that moment. Thanks
17:58 Facebook.
18:00 Little key for you guys when I'm taking these sections, I never take my sections, if you
18:04 make like a little peace sign, wider than that because that's the curvature of the head.
18:09 So when I try to, when I'm not doing this like super fast all in one section, is my
18:14 hands can't really handle that and then I'm going to get dragged and not really be able
18:17 to saturate all the way through. So I'd rather take my smaller sections. Also, it's going
18:23 to add more movement to where my gradation of the richer pink comes into before I use
18:28 my Dialyte at the end, which my Dialyte formula, which we're going to do at the sink, which
18:33 is going to be three quarters, 10.32. So our golden violet and it's going to then be a
18:41 quarter five six two. So our five violet or red, five two six, five violet red. And I'm
18:49 going to do that with a six volume so I can leave it on the hair a little bit longer because
18:54 when it comes to acid color, it's the opposite of alkaline, right? So the higher the developer,
19:00 the faster and more deposit that I get. But sometimes I don't want to work faster in that
19:05 way. Sometimes I want to be able to leave it on the hair a little bit longer. So that
19:10 way I know that it's going to have better longevity because I'm never going to get the
19:15 same longevity on something that's been on for two minutes versus something I can leave
19:19 on for 10 minutes. Feathering with my dry brush, blending out. One more section after
19:36 this. I'm really excited for you guys to see the finished look of this. So don't forget
19:40 to check out at saloncentric.com and at L'Oreal Pro US you can see the befores and afters
19:46 that we're doing. Feather out the hair, keeping my brush always on the diagonal to push through,
20:05 hitting those pieces with my clear and five six two from a Noah with 30 volume. And the
20:15 reason I'm using 30 volume is because MK has a little bit of history in her color. So she
20:20 has an oxidative permanent color through her mid lengths and ends. Now we know that color
20:24 doesn't lift color, but I can create a little bit of movement to release a little bit more
20:29 tone in the hair. And so you guys can see how the sweet meshes come. They come in the
20:38 box and I can tear them to size. So if I needed more length, I can use it for longer hair.
20:44 For MK, they're already the perfect size, so I don't have to add more to them. But they're
20:50 really, really easy to use behind the chair. And then I can reuse them later if I want
21:01 to. So we're in our last section. Mind tilting your head down so we can see. And you can
21:06 really see this power piece that I put in the front. It's her supermodel moment, right,
21:10 where she's going to get that really lovely play of the pink on top of her rich chocolaty.
21:16 When I was formulating her base, the Richesse, the 4.8 with the 5N, I love the 4.8 and I
21:23 love the mochas in general. I use them a lot within redheads to add a little bit of smokiness
21:28 to it. But I like that it has a slight rosiness to it, so that way I could continue on. So
21:34 we see a lot of blush tones within brunettes. And I think it just adds a softness to the
21:39 complexion. You know, that candlelight, that little bit of something special. Because I
21:44 never want my base color, especially for a client, to look like it's something they could
21:49 do themselves or get out of a box. I always want it to be something that they feel like
21:54 has been ultimately made just for them and has that couture feel that nobody else has
22:01 that special color that they have. And L'Oreal Professionnel really lets me do that. Now
22:11 if I wanted to create a dustier result rather than a rose goldy result for my final gloss,
22:20 I could use, as opposed to the 10.3.2 and the 5.2.6, I would use the 10.2.2, so the
22:26 10.3.2 Violet Violet with the 5.2.6, which is going to give me a little bit more of a
22:30 lilac play against the copper. So that can be a dustier result, which would look really
22:36 great on somebody who has a really cool complexion. Because sometimes golden doesn't look great
22:41 against that skin tone. Any questions out there?
22:48 Yes, Phillip and Lisa would love you to recap your formulas and the developer changes.
22:56 Sure. So my formulas were, for the base color, Richesse 4.8, 5N, those were half and half
23:04 and that was with 9 volume because I was just depositing. For my lightener, I used the multi-techniques
23:10 because I was breaking through oxidative, so permanent hair color. For my deep part
23:17 of my rose gold, I'm using a NOAA with 30 volume and I'm using 40 grams of clear and
23:24 10 grams of 5.6.2. When this is all processed in 30 minutes, I'm going to use Dialyte. I'm
23:31 going to use 10.3.2, so our lightest blonde with a gold violet with a quarter of 5.2.6,
23:37 which is our 5 with a violet red. So I get a really beautiful golden pinkiness to the
23:42 hair. It's going to glow, which makes me happy because who doesn't want our clients to glow?
23:48 And a way that I really started to choose, if you want to come in, is when I was looking
23:54 at MK's complexion, I saw rosiness, but then on her eye color, they have a little bit of
23:59 a tealiness to it. So I thought opposing, like it's complementary tones, right? Red
24:04 and green, it's not just because Christmas is coming, but it's tertiary tones. Rose gold
24:09 is a tertiary tone, right? So it's about really getting to play off of those tones that are
24:14 inspired by Art Nouveau, which is one of my favorite time periods when you look at painting.
24:20 So when I look at getting inspiration as a colorist, I like to play off of those type
24:26 of movements. Art Nouveau comes from turn of the century in France. So I highly suggest,
24:31 if you're out there, check out artists like Mucha, various other people. You'll see teals,
24:37 kind of those Madonna blues, rose golds, golds. They all have a basis in nature, but there's
24:43 something really special about it as then it's switched into an art deco. I'm super,
24:49 super stoked that I got to share the beginning part of rose gold with you guys. I can't wait
24:54 to see you guys here at the Soho Academy. Don't forget to check us out at www.sohonycregister.com.
25:03 And when you want to see the finished look of this, don't forget to check out @saloncentric
25:09 and go to @lorealeprous for more stories that are coming up on the latest and greatest and
25:15 the hottest trends that are out there. I'm Teresa Adams. I'm a proud L'Oreal professional
25:20 artist and you can follow me @teresadamscolor on Instagram. You guys have an amazing holiday
25:27 season. I love you and thanks for hanging out.
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