Born and raised in Marseille, Jurnjack was offered his first styling opportunity – a shoot for French Elle – in the early 1980s. At this point, he was a young and relatively inexperienced hairdresser. “I had barely thought of a career in fashion,” he admits, “but I found that the work came naturally and easily to me, I had an affinity for it. I’d never been an assistant so had no inkling of the techniques used on set, even less about those used on a location shoot. I found myself on the beach with just a few hair pins in one back pocket, a brush in the other and a mini hair spray to style the long, wavy hair of a young Swedish model, which was roughly tousled by the wind and covered in fine sand.”
The experience prompted Jurnjack to move to Paris to pursue a career in session styling. Two years later, he landed his first Vogue cover. Jurnjack admits that in these formative years he often worried whether his technical skills were good enough to deliver the high calibre projects entrusted to him. “I still felt that technically, I had a long way to go compared to the work of hairstylists I was seeing in international magazines,” he recalls, “but the editors of Vogue asked for me again and again – despite my somewhat unorthodox approach to hair. I made it my personal duty to overcome any technical shortcomings as quickly as possible, developing an obsession with technical mastery so that I could deliver any request.”
We spoke to Jurnjack about his varied sources of inspiration, use of unorthodox materials and why the Statue of Liberty would be his ultimate client.