Sam McKnight, the legendary, award-winning Scottish hairstylist, business owner, and MBE, has an undeniable passion for people. His long-time collaborator Kate Moss and countless models and celebrities can attest to what Moss calls his ‘magic touch.’ Unless you’ve been in hiding, you've likely encountered his work. Sam's creations have left an indelible mark on the fashion industry, from magazine covers to fashion shows and high-profile campaigns. His iconic haircut for Princess Diana and his work with supermodels and celebrities highlight the boundary-pushing instincts that have taken him from salon novice to styling icon over a career spanning decades.
Hailed as a 'legend' by Vogue and praised as a 'gifted one' by the late Karl Lagerfeld, Sam's global admiration reflects his influential contributions to hairstyling. His work for brands like Chanel, Tom Ford, Fendi, Dior, and Armani, coupled with collaborations with renowned photographers like Tim Walker and Solve Sundsbo, and accolades such as the BoF 500 and Isabella Blow Lifetime Achievement Award, firmly places Sam at the pinnacle of his career.
Words by Leigh Maynard. Portrait by Jason Lloyd Evans. All images courtesy of Sam McKnight.
As we sit down to chat, he’s enjoying a well-deserved break following the whirlwind of fashion week. Naturally, our conversation gravitates towards hair, and he shares that he’s been reading a book about David Bowie. We touch upon that iconic Ziggy Stardust look — brief in its time yet eternally etched in our collective memory. “That’s one of the most iconic haircuts,” Sam reflects, adding, “[the hairstylist] said she didn't know what she was doing. She just went ahead with it. I think we all can relate to that. I certainly can because that's how I started. When you're young, you don't know what you're doing.”
Ziggy's look reminds us of the transformative power of hair and how styles like this can inspire, unite, and even galvanise young minds toward extraordinary things—something that resonates with Sam, whose journey began humbly. Having tried various jobs, from window cleaning to waiting tables, he found himself helping at a friend's salon. "I quickly realised the power of making somebody feel good. It's not just about looking good; it's [a form of] communication because you're talking to people and developing a way [to understand] what they want. It's quite psychological, and I loved that. Ten times a day was quite addictive.”
Backstages from Balmain Spring Summer 2025 and Richard Quinn Spring Summer 2024
Sam's journey began in the 1970s amidst fashion's explosive transformation, with one iconic fashion store capturing his imagination. "I'm from Scotland, so we went on holiday to London and discovered Biba –– the most highly stylised place I’d ever seen. I became attuned to the idea that hair, makeup, and clothes were all important. I moved to London a couple of years later, around 1975, [as] the UK was [emerging] from a severe depression, and I think people were starting to emerge like butterflies from this sort of chrysalis.”
Working at the Miss Selfridge salon on Regent Street, Sam found daily inspiration as he travelled on the bus through the fashionable Kings Road. “I saw the whole thing [change] from [Biba’s] retro forties glamour to Americana and disco, and then, suddenly, punks [appeared] outside Vivienne Westwood shops with parrot-coloured Mohicans. I had the best view of the changing dynamics, not just in fashion but in hair.”
It was a time when a pivotal cultural shift was underway. Fashion was becoming democratised, with retail stores offering more accessible clothing and exclusive fashion shows beginning to open their doors to a broader array of creative talents. As fashion grew more inclusive, it welcomed greater experimentation and self-expression, perfectly aligning with Sam's boundary-pushing instincts. “I remember doing a fashion show for the Emmanuels. It would have been 1977, maybe 1978. That's the first show I'd ever done. I think it was me and one other hairdresser with eight models, and they did their own makeup. Probably fifty people [were] in the audience. [That’s when I realised] I wanted to do this – it was the beginning of session [styling].”
In the late 1970s, session styling was just emerging in the fashion industry. With his visionary spirit and a keen eye for trends, Sam was well-positioned to pioneer this uncharted territory. His willingness to embrace the unknown and turn it into a creative advantage would become a defining trait of his career. Transitioning into a relatively new field of session styling showcased his adventurous spirit. Reflecting on this crucial decision, Sam shares, “I was at Moulton Brown, the hot salon in the late seventies when the owner asked us to [stop doing] photo shoots and return to the salon. I thought, 'No, I don't want to do that.’ Everyone said [I was] insane [and would] never make a living doing that, but I [took] a risk.”
Around this time, Sam began what would become a long-standing collaboration with British Vogue and its then-assistant fashion director, Lucinda Chambers. “I was fortunate because, at the time, Vogue was using hairdressers from different salons, mainly Moulton Brown, [which was] around the corner from Condé Nast. They would come in and get their hair done, and in 1979, I did a shoot with a very young Lucinda Chambers. Nearly 50 years later, [I’m still working with her]. It's quite extraordinary.”
The young stylist thrived in the dynamic, collaborative environment of editorial sets, working alongside influential creatives who inspired him. “One of my first jobs was with Barbara Daly, the [legendary] make-up artist and photographer Eric Bowman. It was [nerve-racking], but I loved it,” Sam recalls. “It taught me discipline, teamwork, etiquette, and [the realisation] that it was not [all] about [me]. You're young [and fuelled by] nerves and adrenaline – it's really powerful. [Seeing] [your work] come out in the magazine three months later [was] an extraordinarily intoxicating high.”
This adrenaline is also what sustains him when things don’t go as planned, and his ability to improvise under pressure has solidified his reputation as a true master. “We went to Egypt once [for] a shoot with Tatjana Patitz on the Nile. The clothes were embargoed at customs, and they wanted something like $60,000 dollars to [release them] –– Vogue didn't have [that] for a whole issue, [let alone] one shoot.”
This adaptability and Sam’s disciplined, collaborative spirit allowed him to thrive during the nineties when he worked with top talents like Tatjana Patitz and all the ‘Supers.’ “I met all of them in the mid-eighties when they were [just starting] –– Naomi [Campbell] was 15, and [the concept] of the supermodel [didn’t] yet exist. I was lucky to be a small part of that [world] at the right time [as] only half a dozen hairdressers were doing [editorial] work.”
What left a lasting impression on Sam was the unwavering professionalism displayed by these young models, regardless of the challenges they faced. Their composure and dedication were remarkable, especially considering the often-demanding nature of fashion shoots and shows. Meanwhile, Sam, true to his passion and expertise, was constantly attuned to the hair. Naomi in her now infamous Vivienne Westwood heels is a case in point. "Yeah, I remember looking at the monitor backstage, it was a tiny little monitor, and I saw the ankle go, I saw the leg go, and I remember I wasn't thinking about the ankle; I was hoping the wig wouldn't fall off, and she just laughed and got herself up, it was quite amazing, it's quite extraordinary, and that's why they got the big bucks you know."
Possibly, one of the most iconic moments in Sam's career came in the nineties, when he cut Princess Diana’s hair for Vogue. His forward-thinking spirit, combined with Diana’s openness, made hair history. “We weren't told who it was going to be, but at the end of the day, Diana [walked into] the studio. It was Patrick Demarchelier, Anna Harvey as the editor, and Mary Greenwell on makeup. Diana was just lovely [and asked], ‘What would you do if I said, do anything you like?’ I replied, ‘I'd cut it all off and start again.’ Because in [the nineties], everything was changing, there were a lot of models with shorter hair, and everything was becoming [more] sleek and sharp.” The bold haircut sparked a seven-year collaboration with Diana, during which Sam balanced his work with the Princess and his session work, and true to his reputation, he made it all happen.
With so many iconic moments from his past, Sam’s passionate about advocating for better conditions for young professionals and pushing for positive change. “What [started] as a small, niche cottage industry has become this big machine. My [main concern] now is that backstage people are in danger of being [exploited]. It's been my bugbear for a while because I see [how] young kids are treated, and I believe there needs to be regulation. There’s so much money in [the industry], yet it's not filtering down. They're asked to do too much for ‘free exposure,’ [which] doesn't pay the bills. This needs to change. Until there's regulation, there will be no respect,” he explains.
Sam’s passion for the people in his profession extends to his vegan hair care line, Hair by Sam McKnight. Born from backstage time constraints, this line has grown into a global brand. And every girl who knows her hair’s worth has it in her bag. As he enthusiastically discusses some of the products, it’s evident that this is more than just a brand –– it’s a labour of love. “We [launched] four dry texturising sprays: from hairspray to dry shampoo, to a light and strong texturiser,” he explains. “Just having those four [lightweight], dry products – launched seven years ago – completely cut our [styling] time in half. Instead of taking half an hour, it [takes] 15 minutes. Most importantly, you can brush them out, which was my initial goal. People nowadays don't want to feel like they've got products in their hair.”
Sam with Stanley at his garden; Sam with Jodie Comer and Irina Shayk
Sam offers his advice to aspiring hairstylists: “Dump that idea of being a superstar within six months or a year. Park that [ambition] and [focus on] putting in the work, building skills, and being kind. Remember, you're part of a team –– it’s not all about you.”
When asked about his own aspirations, he reflects on his incredible portfolio. He admits that there’s no one person he looks to work with but values one quality in every collaboration: etiquette. “I've worked with great people like Cate Blanchett, Tilda Swinton, Jodie Comer, and Sienna [Miller]. I work well with people I get along with, but I don't want to go back if someone's [difficult].”
With a client list that reads like a who's-who of Hollywood, it's evident that Sam’s strengths lie in his artistry, authenticity, and meticulous attention to detail. Behind every great hairstyle is a great hairdresser, and just as that haircut inspired a generation, Sam must have inspired a multitude of budding stylists who look to his work and dare to dream big about styles that will do the same for the generation that follows. However, to truly excel in this industry, they’ll need a unique blend of qualities, and Sam McKnight embodies them all: risk-taker, listener, entrepreneur, psychologist, and, in his case, maestro. This man behind countless iconic looks has himself gone on to become iconic in his own right. And while his success is built on hard work and determination, it’s that same sentiment that brought him where he is today and continues to fuel his passion: a genuine and undeniable love for people.
This interview is part of The Britannia & Éire Issue. Purchase your copy here.
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