Amy E.: Hi! I am Amy E. on the Cutting Edge Hair Show for Scissor Boy, and we are here in Baltimore, Maryland at the Goldwell Studio where John Simpson works and he is the North American Hair Colorist of the Year. He is the first one of Goldwell to win and we are about to go meet him. So, let's go see him, maybe I can some color and tone as well. This is actually a school as well. So, they teach the students here and he is a teacher. John. There you are!

John Simpson: You found me.

Amy E.: It's so good to see you

John Simpson: It's good to see u.

Amy E.: And finally meet you.

John Simpson: It's a pleasure.

Amy E.: Congratulations on your win.

John Simpson: Thank you.

Amy E.: I heard something about Goldwell's special mixing hair color, what is it?

John Simpson: The Goldwell Depot System.

Amy E.: What is that?

John Simpson: I would share just a bit. This is my dorky side, if you will. The Color Depot System through Goldwell is not measured from the outside end, it's measured from the bottom up. So, as a lot of time in coloring what happens is there are uneven markings, as maybe a client has been retouched or even new highlights, so the Color Depot System always gives me pin point perfect accurate hair color each and every time. So, we are going to begin the mix.

Amy E.: Okay, so what is this? What is this bowl? How does the color get in?

John Simpson: It looks like a Martini glass though, doesn't that?

Amy E.: It does, cocktail cosmo for ladies.

John Simpson: Of course, right after. We'll get it. Boy, okay.

Amy E.: Okay.

John Simpson: Back to the hair color. With this martini, so we are talking about the color depot system. So, you can see into the base, there is actually a wonderful pressure trigger that the color pushes up and through. A lot of times and with tube color or even just liquid color, you can't just have it perfect accuracy, it's there but it's an ish? So it's simple, right so we re going to come through into the bottom, simplicity into the color, I am measuring throughout the millimeters, that are working inside, so I can see. So, making it even balanced, I am pressing through and you can see the color.

Amy E.: Wow! Fresh color.

John Simpson: Fresh color, no oxidation and I can have perfect measurement 16 millimeters, stop.

Amy E.: Wow! Chefs should take example from you people.

John Simpson: Exactly.

Amy E.: People who cook food --

John Simpson: That's right.

Amy E.: They can get exactly the right amount of sugar by sticking their bowl.

John Simpson: Exactly. And I understand that sometimes there is a pinch of this and a dust of that but --

Amy E.: Exactly, but how can you get the same flavor you time.

John Simpson: You can't.

Amy E.: Let's go cook up some hair.

John Simpson: Let's do it. I am excited.

Amy E.: Yeah, me too.

John simpson: Let's go. What happens a lot of time in hair color is you can start to get multiple shade banding. We did speak about that, that I know I have the accuracy to mix it. However, I think at one point colorist keep overlapping so much that you can start to see very black reds or very brown reds whenever it's not necessarily intentional.

So, what I want to do with Mary's hair is, I don't think that it always has to be such a complicated hair color story, think about where do I want to take it, what tones, what characters do I want to meet. So, well let's introduce you to her cast. Here what we have, it's a cast --

Amy E: The drama of your hair.

John Simpson: There is always a color story exactly. So, here if we look, there is a lot of old fading throughout the ends, some multiple bands that have happened throughout the middle, new highlight touch up, dark retouch, newest.

Amy E: Wow!

John Simpson: I know.

Amy E.: So, who is the lead character? Who is the main character?

John Simpson: Well, we are actually going to write the next chapter. This book is already done. So, we are going to open up a whole new story. Now into the characters, who I want to meet; my color story always is, the light is only as strong as the dark place beside it.

So how can I make the red pop just a little bit when it doesn't need to be just a screening shade? We are going to apply through the interior of the hair and I'll talk about the sectioning in just a little bit. I am going to have the highest, most shining character, which is really reflective tone. We'll have a nice kind of the evil sinister guy, that's more of an opaque shading. I know he is scary, but we will love him in the end, this shade, they're actually going to support. So, the deeper opaque coloring is going to push up the light.