Creative space

💬You can't sleep here. This place doesn't fall asleep. This is where it is created.

Wiktoria Ozimek, editor-in-chief of Jobs Door: Maybe we'll start with space, a little unusual. We're in an old lace factory, right?

Jaga Hupalo, hair expert, founder of the studio, stylist, artist: Yes, we are in the space of a former lace factory. Born to Create studio appeared on the map of Warsaw 25 years ago, so this year we are celebrating its jubilee. This is an important moment, also because on the other side of the Vistula River, in Prague, our second place was created — Space of Creation, which also has a rich history; it once housed a millstone factory.

JD: I've read about it.

JH: One place is delicate, ethereal, and the other more powerful, minimalist.

JD: Which is which? I will admit that I have not yet reached Space of Creation, although I live in Prague.

JH: I invite you — we are preparing another exhibition, tomorrow the montage. Space of Creation is minimalist, clean form, modern. Born to Create is more ethereal. Space of Creation has in it strength, dynamics, movement, cycle.

JD: This kind of space, the old factory, seems to have a unique influence on the creators. Does this place take you back to that time?

JH: There is certainly a huge creative energy in it, a melting pot of mobilization. When my daughters were little, I had an upstairs apartment in Born to Create overlooking the studio. I tried to spend the night here, but I didn't sleep one night. You can't sleep here. This place doesn't fall asleep. This is where it is created. I have been coming to the studio for 25 years and I never leave tired. The creative anxiety I experience keeps me from falling asleep. Born to Create is dedicated to work, projects, meetings — not the quiet of the night. You can calm down only after the implementation of the project, when cortisol decreases and serotonin increases. The state of sedation is very nice, but it is not a state of sleep. JD: Her achievements include both theatrical performances and musicals, e.g. Cats, We Will Rock You, Wicked whether Dance of the Vampires in the Roma Music Theatre, as well as opera productions by Mariusz Treliński — Eugene Onegin, Madame Butterfly, King Roger, Othello. There were also international awards and presence on the list of the magazine's hundred most influential Polish women She. Opera, however, is a space that goes beyond the everyday, “standard” framework of hairdressing. How have these experiences influenced your creative practice?

JH: It was a special moment for me when I got an invitation to create hairstyles for Madame Butterfly. I then came to Warsaw for art and fashion, experiencing a different life than that in the studio. I was moved when I saw my work on stage. I had complete creative freedom — I could create an image of Madame Butterfly in line with my style. The only challenge was to get shiny, long, straight hair — then practically unavailable on the market. The minimalist style, which is iconic today, has just been born. Today we have straighteners, the wig industry, but it all starts with a vision. Madame Butterfly is still in the repertoire of the National Opera to this day, and you can see that this style does not get old.

JD: How do you remember the beginnings of your work, comparing it to today's industry? How did you start what was easier and what was harder?

JH: Now we have a great abundance — knowledge, resources, materials. There is cultural and visual diversity. And I started in the early 1980s, right before martial law. I remember walking through the riots to practice, where tear gas was in the air. It was a difficult time, and at the same time we were doing modern hairstyles, because the master hairdresser I studied with was going to Paris. The events taking place on the street did not penetrate the studio - creativity and beauty reigned there. Then I felt what creation means and what its power is. Today, too, we live in the shadow of war, so such places as studios are oases.

JD: In those difficult times, creativity was perhaps even more important.

Work ethics

💬That is why I value the ethos of the studio so much: professionalism, science, awareness of the needs of man and hair.

JH: Yes, a great workout for modern challenges. I focus on creation, not destruction. That is why I value the ethos of the studio so much: professionalism, science, awareness of the needs of man and hair. We have trichology, cameras, scientific knowledge — it all changes the approach. I used to rely on a vision that came from intuition. Today, with these devices and with current knowledge, my creative humility has certainly developed. We create consciously, not just impulsively. However, then the visions of the young wizard were priceless - without them I would not have taken off into the world. I used to act impulsively, today I create more design. And at the same time, the courage of the experiment is the foundation - without it I would not have won the trust of so many people, recipients, clients, institutions or students who accompany me throughout my life, creating new places.

JD: So, despite more knowledge, the experiment still remains important?

JH: Very much. In theater or film, a case study is done, but in the studio there is also a constant search. Knowledge gives comfort, but experiment enlivens.

Values in the creative world

💬I'm still thinking about creating, not destroying. In times of ecological crisis and any other, creation requires us to constantly reflect, to relate to a system of values, a creative decalogue is helpful. When we work it out - it is easier to move.

JD: And as for the rules, the code of ethics in your studio?

JH: Every year we create a motto related to values. Together with my daughters, I often write them down, make them in the form of sessions, films, which then go not only to a narrow group, but are presented at festivals or in galleries. I'm still thinking about creating, not destroying. In times of ecological crisis and any other, creation requires us to constantly reflect, be attentive, relate to the value system, a creative decalogue is helpful. When we work it out - it is easier to move. Today, some things in my work are unacceptable. Some treatments, once considered necessary, are today replaced by more conscious, non-destructive ones. We are introducing new solutions all the time.

Art in contact with life

💬I felt the meeting of art with reality — how delicate is what we create and ourselves.

JD: In this context, I think it is worth mentioning the project that you created - Fragile Beauty - which also had a social dimension. This artistic and performative project was related to the tradition of Meissen porcelain figurines, the decay and fragility of the world and at the same time it was associated with the power of giving - the participants of the event could voluntarily agree to cut their hair and give it to the Give Hair Program! The Rak'n'Roll Foundation to create wigs for women undergoing cancer treatment.

JH: Yes, I like socially engaged projects. Fragile Beauty was an interpretation of small Rococo figurines, including Polish ones — Polak, Polka, Polish kiss. The project depicted scenes from the life of the Rococo, that is, the historical period when my profession had the greatest development; pomades, shampoos, wigs. This is the only moment in history when the Polish style was recognizable in the world. I wanted to read it anew — from head to toe, together with Ania Hupało-Sikorska, Antonia Wolff, Jan Sikorski, Idalia Sarzyńska, with the support of costume designers from the Academy of Fine Arts, directors and photographers. And then something mystical happened: during the final of the project, a flood came in Lower Silesia and the water exposed cracked porcelain. I felt the meeting of art with reality — how delicate is what we create and ourselves.

JD: I think this experience must have been unusual for the artist. Especially since it is again associated with hair and wigs and therefore with carriers of some unusual energy.

JH: Very much. Hair has symbolism, it is precisely this carrier of energy, communication, ornament, history. You can read a lot from them. No wonder I'm touched by stories of families passing on their hair — like your story about a great-grandmother who wore a tuft of her granddaughter's hair attached. It's moving. And on the other hand, we also know the dramatic stories of hair cutting as violence. I have seen braids in museums, cut hair in such files, until words are missing. Therefore, when I reach for hair-based art, which means so much, I often set myself limits where ethics are, because these are personal topics.

The power of passion

💬Hairdressing has become a full-fledged art, the field of hair design, and contact with other creators releases energy.

JD: What inspires you about creative work?

JH: New technologies, art, young generations. I love watching people create their own style. The closest thing to me is art, and Space of Creation was created to combine its fields. Hairdressing has become a full-fledged art, the field of hair design, and contact with other creators releases energy. A lot of people have given me a hand in my life — now I give it to others.

JD: How do people react to Space of Creation?

JH: With great enthusiasm, curiosity and positive reception of the activities presented there. We have craft, design, fashion and, above all, art in different forms. Space of Creation is a multidisciplinary studio, equipped both for image creation, education and presentation of art. It is located near the footbridge over the Vistula River, on the side of Prague — an artistic district. Everyone who comes says: “Beautiful place!” , “Nice service and nice tea, interesting meetings”. It is a place of artistic and cultural meetings.

Industry in Poland

💬In many parts of Europe, it is easier to combine private and professional life. There, after work, there is still space to live. In order to support ourselves economically, we work for a long time.

JD: How do you assess today's work in the hairdressing industry in Poland? JH: In Poland, it has never been easy in our industry. Today we are facing a crisis on many levels — economic, but also resulting from living in fear and uncertainty. Added to this is the ecological crisis, which forces the abandonment of spontaneous creativity in favor of a more rational one, which I consider a good direction. I see how many places keep coming and going. Nice to look at the studios, which, like mine, are still going on. I opened Warsaw in 2000, but it was the 90s that were the biggest boom of the fashion and beauty industry. Some studios have survived, many are gone. It's sad. But at the same time, I see that we feel like citizens of Europe — more and more people are leaving, working in parallel in different places. I am considering an international franchise myself.

JD: And what is abroad that is not in Poland? Why do people leave?

JH: In many parts of Europe, it is easier to combine private and professional life. There, after work, there is still space to live. In order to support ourselves economically, we work for a long time. Added to this are short days in autumn and winter, lack of light, vitamin D... And the nightlife is exhausting enough that it is difficult to function the next day. This forces rationalism.

JD: Are the trends in the hairdressing industry important to you or more your own style?

JH: Trends are very important because they bring new energy. Style is an anchor, but it always evolves with trends. Trends come to life, allow you to abandon the comfort of predictability and look for new solutions. This is one of the most enjoyable parts of our work — imagination works, working with people and for people. Trends are like spring: they bring the joy of creation. Thanks to them, we have many faces in life.

Organizational culture

💬I am very happy that together with my daughters we create spaces and visions together.

JD: In terms of work style: Is your work more individual or community?

JH: One and the other. It may sound like a difficult thing to reconcile, but it is necessary. Born to Create is a group of creators — everyone has their own individuality and developed style, but together we create a common language. There is room for personality and at the same time we are a team.

JD: Do you work with your daughters?

JH: Yes. Each of us has a different strength of personality, but we are united by creativity, creativity, craft and art. We create, provide services, produce, and at the same time have forest facilities — a place for herbs, rest, privacy. It brings us together as a family. In the studio we have a clear division: Antonia is the art director, Ania — the director of development. Ania is engaged in handicrafts, Antonia in photography and is responsible for off-site'ing. Jan is also with us - manager, is engaged in production and photography, husband of Ani. In fact, it was a family business from the beginning. — I wore it with Antonia's dad — and today it just has a different image. I am very happy that together with my daughters we create our spaces and visions together.

Hairdressing as a life force

💬Despite decades in the profession, I know that I have not yet exhausted all possibilities.

JD: Have you ever had a moment when you wanted to leave the profession altogether?

JH: Never. Based on the skills of working with hair, I can do everything It's an ocean of possibilities.

JD: So manual talent is very useful?

JH: Yes, but most of all this work excites me. The need to be needed, the agent, in contact with people — that gives me strength. My profession gives me the ability to create publications, projects, research — everything. It's endless, because it's about life. Hair reflects human health, is a carrier of information. Despite decades in the profession, I know that I have not yet exhausted all possibilities.

JD: Do you have a place of comfort? Your sacred place?

JH: I feel the most relief when I have scissors in my hand. It's a really great condition. I also have my forest space — my natural laboratory. I collect herbs there, especially nettles, my sacred herb. In nature, I rest differently - the biochemistry of the forest regenerates every cell in the world, which often moves away from nature.

About goals and dreams

💬I hope nothing will stop me.

JD: What are your plans for the future? Is there something new on the horizon?

JH: Now we are celebrating our 25th anniversary and a workshop in Prague — it is already working, but it needs standardization. I have many interior, product and production plans. Next year we will dedicate to the project “After the thread to stone, paper, scissors, herbs and mirrors” — this is a whole ball of magnificence: a session, a film, new realizations. I hope that we will present it during the Night of Museums and at the Festival of Literature Mountain, in the Band of Art. We want to create modern, multimedia mirrors — a tool for style presentation, trichological analysis, but also for displaying videos and graphics. It's a big challenge and our next goals — there are a lot of them, it's good that I have such a strong team and daughters who contribute to everything. I just need the world to calm down a bit, because I really have a lot of plans. This is my wish for the universe. I am grateful, but the time is not easy. I hope nothing will stop me.

JD: And that is what we wish you. Thank you very much for the conversation.

JH: Thank you.