NotebookMay 1, 2007 By: American Salon Staff American Salon
Another acquisition followed in the 1990s—this time by the Colomer Group—which invested heavily in new packaging and eye-catching visuals to ensure a bright future for the brand. According to Dan Easton, vice president of sales and marketing for the Professional Systems Group, Colomer USA, Roux's name will continue to be synonymous with innovation thanks to the June debut of Violites, a dust-free, violet-based bleach that lifts up to seven levels and can be used on- or off-scalp. "And that's just the tip of the iceberg," says Easton. "We're looking forward to more product introductions later this year, including one that offers a unique approach to temporary haircolor for men. It's important to keep the beauty industry moving forward, and Roux is poised to do just that in the months and years to come." —KELLEY DONAHUE
Divining for Louise Brooks
Cheryl Kaplan visited Louise Brooks' grave to uncover the real life behind the star of Hollywood's silent-film era.
The day I arrived at Holy Sepulchre Cemetery in Rochester, NY, the snow was knee deep. I'd come to see Louise Brooks, the Hollywood silent film star of the 1920s and '30s whose iconic bob haircut was the perfect foil for a volatile combination of innocence, seduction and brutal intelligence. Here, she was merged into a list of names on the front office's computer screen: Mary Louise Brooks, 1985. As the clerk turned away, I saw her old address: 7 North Goodman Street. It was her all right, but now she was in plot 33S. Climbing through the snow, a man in yellow waders pulled a shovel out of his truck and began divining for Louise Brooks. As he cleared the stone, the letters filled with white.
Brooks' gravestone at Holy Sepulchre Cemetery in Rochester, NY
Fade to 1971. The documentary filmmaker Richard Leacock is visiting Brooks at her apartment in Rochester. He removes his shoes, entering her small, austere apartment. The actress is barefoot in her housecoat and nightgown. At 64, this would be one of her last, yet most stunning interviews. The actress, who toured America dancing with Martha Graham in the Denishawn Dancers troupe, hadn't been outdoors since 1960, except for a few visits to local doctors. She was holed up in Rochester, where, in 1956, James Card, film curator of the George Eastman House, helped her move, believing in her insights into silent film. Rochester wasn't Hollywood, but it was the home of Kodak.