Women who color their hair and prefer an ammonia-free experience will have an at-home option in January with Garnier Olia.
Featuring similar technology to Inoa, L’Oréal Professionnel’s ammonia-free professional product, Olia is designed to provide “maximum color performance” while remaining extremely gentle, according to Emilie Poisson, assistant vice president of marketing for Garnier Haircolor. “Olia elevates the hair color experience and, because there is no ammonia, it helps restore hair quality.”
Introduced in September to Europe, Olia comes in 24 shades, including two blacks, 10 browns, five reds and seven blondes. Although the brand declined to provide numbers, industry sources estimate the range, which will be available in 30,000 mass, drug and food store doors in early 2013, could generate more than $70 million in its first year at retail.
According to Poisson, L’Oréal had been working on an at-home version of Inoa since its 2009 launch, but the Olia formula had to be perfected for the mass channel. “It had to be velvety enough to not drip but also go through the bottle applicator. It’s very thick and creamy and almost like a skin-care product,” said Poisson, adding that the formula stars a oil-based technology containing natural oils from sunflower, passion flower, camellia and meadow foam to “maximize” the coloring process.
When it came to shades, Poisson said the brand wanted to offer a wide range of colors so that salon consumers felt they had the options they would in the professional sector. “We really needed a beautiful shade palette because in the salon a stylist can mix anything to get what they want,” she said. “We made sure our palette ranged from natural to more vibrant shades in order to appeal to more of the marketplace.”
There are 21 patents pending on the $9.99 formula, which utilizes an ammonia-substitute called monoethanolamine, or MEA, to impart permanent color. “MEA mimics what ammonia can do without the big chemical changes that can damage hair,” said Patricia Slattery, assistant vice president of education and technical training for L’Oréal USA. “MEA is gentler than ammonia [as] it only slightly opens the cuticle to make way for color. It also allows hair color to lift, giving the same benefit of permanent hair color, but there is a much more minimal disruption to the hair shaft, creating better, shiner smoother hair and hair color.”
Additionally because Olia is oil-based rather than water-based, hair fibers are coated with color more effectively, with minimal disruption to the hair shaft. “You will get all the vividness and permanency but, because there is no damaging ammonia, it helps restore the hair quality,” said Poisson, adding, “Oil boosts the effectiveness of MEA.”
Olia’s formula was given a floral fragrance, with fresh, sweet, woody and citrus notes, for a “sensorial” coloring experience.
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast