image of a woman's hair set in foam rollers for an american wave hair style

Wet, Hot, American Wave Summer

Hey babes!

Welcome to the launch of WINDOWWALL’s monthly journal. In addition to handling your in salon needs and booking, our new girl Kiki will be collaborating with our Creative Director Kim to create original content and write a journal for you. We are both so excited to share what we are currently loving in style and beauty trends. The journal will update you on everything relevant–current trends, new hair techniques, and any changes in the salon. Please give us your email at checkout to receive our journal and keep up with WINDOWWALL.

We are happy to announce a new service to our salon–American Wave by Anna. The service curls the hair and gives the client a no fuss, casual, and modern look. Schedule a complimentary consultation to learn more about the service.

The summer is a great time to switch up your hair routine. Our Davines’ sea salt spray and silver shampoo are incredible at refreshing hair after spending time in the sun. Stop by the salon to shop our favorite products and learn more about how to maximize your cut and color. Coming soon… look out for exciting new product launches this summer.

Please note that starting August 1 the salon will be implementing a cancellation policy which requires 24 hours’ notice prior to your upcoming appointment. If you cancel within 24 hours or less, you will be charged for ½ the cost of your service.

As a reminder, our hours are Tuesday through Saturday 10:00 AM to 7:00 PM. Please call to speak with Kiki and schedule your next appointment.



Photo of hair model with an example of a brazilian blowout.

Brazilian Blowout

Brazilian Blowout is a professional smoothing treatment for all hair types. Using bonding technologies that actually improve hair quality, make it customizable for each individual and their smoothing needs. This one of a kind formula is designed to create a protective protein layer around the hair shaft, eliminating damage created over time. This is the perfect service for those curly haired clients who want to keep their natural wave or curl pattern, but eliminate unruly frizz.

 Some of the ways Brazilian Blowout differs and succeeds other smoothing treatments is the lack of down time. After the service is finished, clients are free to immediately wash hair, exercise, and tie up hair following the service. Brazilian Blowout is also the only smoothing treatment proven to improve the quality of the hair. Universally usable to all hair types, and customizable to each client, you are guaranteed to get that wash and wear hair you have always dreamed of.
Brazilian Blowout lasts up to 14 weeks. Most clients are back in the chair for a retouch around 12 weeks. Full, partial, and split end treatments are available for your particular needs.
Price points start out as;
Full – 300$ +
Partial – 175$ +
Full Retouch – 150$ +
Partial Retouch – 100$ +
Split End Treatment – 75$ +
First time Brazilian Blowout clients are required to buy the Brazilian Blowout Shampoo and Conditionar of their choice upon first visit. This ensures that the clients service will last the full 14 weeks and you will continue to have the results you desire.
It is recomended that you come in for a retouch service within 12-14 weeks after first full Brazilian Blowout service. The appointment can last anywhere between 3-4 hours for a full, and 2-3 hours or a partial or retouch.
Head to WINDOWWALL Salon to book your consultation with Emily, our certified Brazilian Blowout Technician today!

Photo of new stylist Anna

Introducing Anna

Fav thing to do in Portland…
When I first moved, there was so much rain. I spent most of my time learning the area and finding my favorite coffee spots, shops, and restaurants. Summer was spent with day trips to swim in the river and a good hike on weekends. The town turns into one big summer camp (water shoes and all) and I love that.

Why move to Portland…
My boyfriend Joe moved here in February of 2016 for a job. When he first moved, I just wasn’t ready to part with Los Angeles. After a year of doing long distance and a couple of trips to Portland behind me, I knew I was ready! The quality of life can’t be beat.

Favorite thing to do in spare time…
I’ve started gardening and have come to absolutely love it.

Inspired to be a hairdresser…
I knew pretty early on in high-school that I wanted to be a hairdresser. To me, there’s an instant expression and satisfaction with hairdressing that I have yet to find elsewhere.

Style icons do you love/ hair inspo…
Everything Bardot

Why work at windowwall…
I had found Windowwall via Instagram and knew that when I moved they would be my first and only choice as a salon. When I started planning my move, I found out they were hiring on the same day joe and I put in our rental application for a house here. It was too perfect. Through a friend, I was put into contact with Kelly, the salon’s master colorist, and it went from there. As a haircutting specialist, it was amazing to know I would have a colorist to collaborate with.

What to expect to see in next year…
To continue building a great and consistent clientele while enjoying all of Portland!

Photo of woman with balayage technique applied to her hair.

Balayage and the Hand Painting of Hair

I know by now you all have heard the word balayage, but what is it? It is the French technique for hair painting. It is one of the most sought out services in our salon and women love the results. Its look is a modern, chic color that creates depth and dimension giving you a final look that is sun kissed.

The sun-kissed look is here to stay and with many factors going into making it great is getting the perfect long-layered cut to show off your balayage. Balayage is a free hand painting technique that is designed specifically for the client and their hair. The looks can range from being more subtle or dramatic depending on what look you are looking to achieve.

The appeal is a range… It depends if you want more of a punky look or if you want something more sexy, or even more subtle. These are all looks that can be achieved with balayage. Another great factor to Balayage is an economic one. It is great option if a client cannot afford to come in every 4 weeks or wants to visit the salon less frequently. On the downside with balayage, if the color gets overlapped by the stylist, the hair can become severely damaged. So, the right techniques and a properly trained stylist must be taken into the assessment of the desired look.

Balayage is best on natural hair. I personally think it looks best with a beachy texture, a tousled look. With sharper haircuts reflecting precision, I always prefer a stronger hair color technique, something that reflects the shape. Balayage is left more for sexy beach hair looks.

Balayage will dry out your hair more than foils or even a single process color. So, it is important to speak to your stylist about getting the right color shampoo that keeps the color locked in and a conditioner that is hydrating, but will not weigh your look down. A balayage look will last you longer, but this doesn’t mean you should shy away from coming in for your regular toner appointments to keep up with the desired shade. Call WINDOWWALL Salon to set up a consultation with Danielle (left). She is our go-to colorist for Balayage!

xo, Kim

A photograph of a young woman with long wavy blond hair standing outside.

Fall Artist Laura Burke

In Video Green, author Chris Kraus confesses to a period of loneliness in her life spent online “cruising websites for computer sex [and] driving around the countryside listening to Frank Sinatra Classic Hits and weeping (31).”

These songs cause Kraus to weep, because rather than a series of interchangeable and vapid online encounters, the songs evoke a world that reminisces in the nuances and idiosyncrasies of each lover. “The old Cole Porter songs,” Kraus writes, “evoked a world of specificity, where lovers were remembered for the hats they wore, the way they held a fork, their smile, rather than forgotten through the infinitely exchangeable signifiers of computer sex and porn.”

Laura Burke’s drawings and printmaking work expresses a similar disconnect in desire and experience. In the series of prints currently on view in WINDOWWALL, it is as though Burke is recalling the tiny details remembered of specific lovers and affairs. Each piece is composed of the elements of sex and dating that make up the notion known today as modern-day romance. This work is about the intense encounter, the casual one night stand, or the evening spent alone.

When the figure appears in Burke’s current work, it is always fragmented and solitary, and serves to record specific mannerisms: a tug at a shirt neckline, or a facial twitch. These moments are nested within a catalogue of objects that stand silent witness to each encounter.

Despite the attention to detail, Burke’s current work seems devoid of the syrupy-sentimentality evoked in the songs Kraus mentions. Instead, Burke’s work is executed with a kind of clinical-cool that reads as detached at first glance. Take for instance, “Me, Myself & I” where the topic of masturbation isn’t mute or taboo, but rather matter-of-fact. Yet, there are dead giveaways in this series as well, moments when things seems to splash and spill over. Take for example, the gushing paint swatches above a dried cup-ring stain set directly onto the printmaking paper on “Your Coffee Stain,” or how in the largest piece of the series, the blue triangle of paint bleeds across an intersecting line, rather than sitting contained underneath it.

Then there’s this: a tiny moment where static-electricity from the clear panel protecting the printmaking paper has trapped one lone strand of hair that sits coiled and pressed between the paper and this frame. It’s a detail that’s easy to overlook or pass over as a mistake, but I think it’s a vital key to the work to know that Burke left it there, rather than fight against the natural clinginess of the materials.

Laura Burke is a Portland-based artist and printmaker who received her BFA from Pacific Northwest College of Art. Burke’s work will be on view in the salon this Fall 2016.

Photo of woman with balayage technique on hair in Portland, Oregon.


I’m sure you, like myself, have been inundated with images of pretty much every celeb or model sporting grown out or softly blended highlights. Typically, this look is achieved with a hair coloring technique that has exploded in recent years in the U.S. called Balayage or Hair Painting. While this technique has been popular in Europe for quite some time, only in the last 4-5 years has it become one of the most asked for services in salons all over the country. If you’re a natural brunette who is looking to achieve soft brown to medium blonde highlights or a natural blonde who is looking to amp up her blonde to the next level, balayage is a great idea!

Because of all the hype around this technique, the traditional foil has taken a backseat. But, i believe with the proper application, you can achieve a very natural/blended or dimensional look. When applying a hand painted technique the hair is typically left in the state in which it falls into gravity, making it challenging to place into a foil. While there are some exceptions to this, for example a corrective scenario, that is typically the case. To incapsulate the hair once it has been painted, it is typically wrapped in plastic, paper or nothing at all, those methods do not seal in heat as well as foil can.

Why do u need heat, you ask? Well, heat is the thing that helps color to process. Without heat, either from the scalp or with a heat source, hair color will not lift as efficiently, potentially not achieving your desired lightness. This is why i plead the case for the foil! With foil highlighting you have a better chance of reaching higher levels of lightness and more predictability when working in corrective situations ie. breaking thru previous all over color. Also, when trying to achieve “cool” toned looks for naturally dark hair, i stay loyal to the foil. To achieve a very natural, blended look with foils, the more the better! If you want a more dimensional look, less foils are typically more suitable.

What about combing the two techniques together to create a soft, yet bold look? Recently, a foiling procedure was introduced called “Babylights”. Babylights are VERY finely woven highlights meant to lighten just a few levels. when doing this you can also incorporate hair painting techniques between the foils, focusing on the mid-lower lengths. By combining these two procedures, you get a very blended soft root color working into something bolder and brighter thru the mid lengths and ends. i find that by combining these 2 methods, you can have the same hair that you’re seeing on the pages of magazines or on the red carpet.

In the quest to go lighter, by seeing a professional colorist, they should be able to assess what technique would be best to achieve you’re hair color dreams.

Photo of Portland Artist Morgan Reedy

Interview with Artist Morgan Reedy

Born and raised in a small town in South Dakota, artist Morgan Reedy moved to Portland around 15 years ago. Reedy attended Pacific Northwest College of Art for her BFA, slowly finishing the degree to allow time to make a living and travel on the side. Reedy now works under the umbrella of “Reedy’s Hardware,” the namesake of her grandparent’s hardware store, started in Vermillion, South Dakota in 1962. Forty-five years later, Reedy has expanded the concept of the hardware store to include the multitude of ways that she now works as an artist and designer.

Reedy recently answered several questions about her art practice via email. A recent selection of her work, a series of paintings inspired by old surf legends, while be on view in WINDOWWALL Salon during the month of August.

Debra Woodward: What originally brought you to Portland?

Morgan Reedy: Coming from the Midwest, I needed to go somewhere, and the West Coast is where I landed.

Woodward: Has living in Portland influenced your approach to making?

Reedy: For the most part, Portland has provided the time and space to make and live as an artist…although that all feels like it’s changing on the broader spectrum with the rising costs of living and growth in general. But with growth comes new opportunities, and I’ve had the chance to help other creative women open new businesses and launch new projects. I also have an awesome community of friends that look to each other, and their trades [and] talents, to support and encourage new opportunities.

Woodward: Is there a definitive moment in your life that inspired you to become a maker?

Reedy: No real definitive moment…I’ve always been a weirdo. It’s been just the last 5 years that I’ve actually identified as an artist out loud.

Woodward: What is your approach to art and design as a maker?

Reedy: Art is life. I try to bring attention and intention to everything I do. Presence has always been my window into seeing. “Be here now” has long been an ongoing theme of the moment…which has also allowed for an assortment of mediums and subject matter.

Woodward: Are there any particular favorites, as far as inspirations, influences, subject matter, themes, or areas of inquiry in your work?

Reedy: Everything all of the time…the present provides 😉

But a few specifics…Robert Irwin, sign painting, Bob Dylan, Bauhaus, Jamaica in the 1960’s & 70’s, old botanical drawings, and cooking. [As well as] …light and clouds and spacey everyday simplicities. I’ve always had a strong relationship to words, text, and letters- both in their meaning(s) as well as their shape and form. This particular body of work grew legs while I was on holiday in South Africa this past winter. On a big road trip along the coast line, I was getting a cool-combo tour of history (political & social), stories (personal & collective), and geography (surf, swell, weather and plants).

Woodward: What are some other upcoming projects, visions, or collaborations for you?

Reedy: This spring I took Reedy’s Hardware (my creative umbrella where I do all kinds of work…but as a business) above board, and have had some neat projects. I’m doing some work for Libby (of Portland Museum of Modern Art) for her big project (for Houseguest & PICA’s TBA Festival) at Pioneer Courthouse Square in September. I’m excited about some hand lettering and hand painted sign projects going into the fall.

For more information about Morgan Reedy’s diverse practice, as well as upcoming projects, check out


Interview with Artist Leif J. Lee

Leif J. Lee, a multi-disciplinary artist currently based in Portland, OR., has been busy. It’s exactly two years to the date since Lee graduated as an MFA from Pacific Northwest College of Art, and since that time, Lee’s studio practice has continued to expand and transverse a wide variety of media. Lee’s current body of work, titled: “Why a queer occult?” coincides with Lee’s practice as part of the Rainmaker Residency. This body of work includes: four drawings, a large scale embroidery piece (hand-dyed by Lee), a short animated film, four photographs, a floor sculpture, a performance, and a zine. Lee recently sat down to discuss this inclusive studio practice, as well as themes in Lee’s current body of work.

Woodward : Your practice includes drawing, performance, sculpture, print, fabric, film, and photography. Would you describe how you begin to choose each material for each project?

Lee: I would say that it always starts from drawing, that drawing is where I begin all my creative process, and often when I’m drawing I’ll be reviewing some of my drawings and certain aspects of [them] will kind of draw response out of me. So sometimes I’ll draw some lines, and then I’ll think: “I really want to get my hands around these lines, so that I can understand them.” So I’ll make clay sculptures out of certain shapes, and turn them into almost game pieces, so that I can turn them around and move them quickly. Other times, the drawings that I’m doing kind of tell me that I need larger pens, or bigger fabric markers or paint brushes or something- to tell me I’m expressing the movement of the line in more detail. Other times, the drawings I feel are kind of expressing animation or movement, so I’ll then jump into Super 8 film and start trying to animate them. And then there’s times that the drawings that I make – working with the clay sculpture that I made based on drawings – where I realize that the performance of using those sculptures becomes really apparent to me, and so then I will shift the work into performance. And photography, I don’t know that I would call myself a photographer, but now with iPhones, we’re all photographers, so in that case I would say I am, because I am always taking pictures of the work – I’ll cut up the photos, or I’ll enhance them, or I’ll zoom in on certain pieces, and I can do that really quickly with the phone. And sometimes the photos end up being the work, and sometimes the photos lead me to other drawings.

Would you please discuss some of the current themes in your work “Why a queer occult?”

I think that’s the most exciting piece about it for me. [The work] specifically centers around these specific ideas around occult as something hidden, and how that connects to queer identity. And so I showed in the exhibit a series of drawings that I did that were really private. I did about 50 or 100 of these little drawings and each time I created one of those drawings, it would be after sitting in a period of 20 minute meditation. I did that everyday for a few months leading up to the show. And what I found in those drawings that would immediately follow meditation, was that they were really free from judgments, or free from requirements or outside influence, and it just sort of came from a source within me, I guess, as opposed to being in response to politics or media or trends in the art world, (even though I think some of the work is on trend with some things that I see currently). But what I found in all those little drawings was a theme and repetitive symbols, that started to show the interplay between those symbols, and that to me is connected to this concept of the “hidden” and the “occult.” I see some of the symbols that I drew from my meditations all over, in the Illuminati and [Solomonic] Magic, and just a lot of different “occults” that I see, that I don’t necessarily say that I belong to, but that I see as these universal or collective consciousness of symbols. And so, I’m also just curious as a queer person, “where do queer people fit into a spirituality?” It’s interesting to see other artists that are simultaneously working with these really similar aesthetics – and I’m not attaching too much to that other than seeing it – and I think it’s interesting to see how we affect each other, especially with the internet, and specifically Instagram, and how rapidly connections are made because of that. I think simultaneously that technology is connecting other artists and it’s also connecting these spiritual, hidden ideas. I think that they are affecting each other and their evolution, and I think that we’re evolving very rapidly. And so to counter that with slowing down, and meditation, and actually looking at what is seeping in and what I’m drawing out of me – literally drawing out of me – making that the focus of the work, [ was ] trying to connect to my own sense of spirituality in a time where everything seems available to everyone all the time. What do I tether myself to in all of that? As a queer person asking, when religion specifically was really damaging to me? And yet I still long to find a place where I can feel like I belong or I connect to, and so the place where I find that to be the most welcoming is the occult. For better or worse.

You currently have a studio space as part of the Rainmaker Residency. How has that influenced your practice?

It’s been great [working so large]! I think having Rainmaker’s Gallery as a place where I can sort of expand these ideas into a container, and show them to people, has been really helpful to me and my practice. Otherwise, all that stuff just sits in my studio. It gave me a chance to try all of these ideas and push myself to do my best to show all of it, and then kind of pare down as I go – or edit as I go. Having a space to try out those ideas has been really, really helpful.

Selected works from Leif J. Lee’s past show “Why a queer occult?” will be on view in WINDOWWALL Salon during the month of July, 2016.

Photo of cutting bangs at home

How to Cut your Bangs at Home

There are many different styles of bangs and I personally love them all. Sometimes just adding a little hair in the right areas around the face can change your entire look. And yes, I know the next question… What about growing them back? As stylists, we get asked this several times a day. When working with a well-trained stylist, they can help you grow your fringe out effortlessly. It’s a love/hate relationship with fringe, but I say, I always love it more. Also most high end salons will offer one complimentary bang trim in between visits, but sometimes a girl just needs a quick snip before a night out.

Now most importantly, I wouldn’t recommend this at home if you currently do not have a fringe. The reason for this is what we into account when creating the perfect fringe for you. A highly trained stylist will create balance through head shape, length and width of face.

What you will need:
-A nice comb with fine teeth.
-A sharp pair of hair cutting shears (not kitchen shears!!)
-A few hair clips.

1. First, start by pulling all of your hair back into a tight ponytail, leaving out the bang section. Make sure this hair is clean and dry. Dirty hair is too hard to cut and it’s too hard for a beginner at home.

2. Make sure you stay true to the section that has been created by a professional. Next, split the section in half. Clip the top part of the section back.

3. Now here comes the hard part. Comb with the fine teeth only the part of hair that falls between eyebrows. Determine the desired length and err on the longer side. Use your scissors and cut point-up into the section of hair and with a slight angle.

4. Next, comb the next section down and place between pointer and middle finger. You will start to angle down towards the corner of the eye. Point cut the hair you are holding using the same angle and cutting only into 1/2 of the perimeter.

5. Now, onto the right side, this is optimally where it is the most challenging. My advice, start at the bottom and work up to the hair that you cut between the brows. Comb with the fine teeth again, point cut utilizing the same angle of the previous side. Softly connect the right side to middle brow section.

6. After this has been done and both sides match, continue on by dropping all of the bang section over the hair. Comb and make sure the hair is laying where you want it to. The next rule, where you cut it is where you want it to be.

7. Repeat all of the steps with the hair that is laying on top of what you have previously cut. Blow out any loose hairs and hit with a soft hairspray. Primp Workable Spray from Arrojo is my personal favorite.

xo, Kim

Photo of two brunettes with hair styled and colored by Windowwall Salon.


Shimmering brunette hair is a classic favorite. There are many ways to get this look. Sometimes we need gray coverage, more dimension, or several tones of a level of brown that make it feel more natural and show more depth. I have noticed a high demand for cool toned browns that cancel red and brassy hues.

I have had new clients who have tried to find the perfect brown shade, or it is always going too red, too brassy, or just not rich enough. Autumn and winter are the perfect time for rich and reflective brunette tones. Shades like jade brown, rich cocoa, espresso, and matte golden brown have been a favorite this season. I have found the perfect reflective warm and cool brunette tones for these looks.

The most important thing with this color is to cancel unwanted brass or flatness, and dullness. When this color is reflected it looks shiny and bright without having any washed out pigments. The right shades bring out the best skin tones that will keep us looking fresh and glowing during the colder months. My favorite examples of this are cool espresso and a coffee/chocolate brunette.

Lindsey came in with her natural roots grown out a few inches so she wanted some gray coverage. She also needed to cancel the red and brassy mid-to-ends, and over-processed breaking ends. There were around 3 different shades of brass, red, and brown. We trimmed the ends, reshaped her layers, and that gave us a healthy head of hair to work with. We did Goldwell TopChic on the roots and Colorance on the mids to ends. This brought us one level darker, using the depth of the cool ash tone to create a rich almost slate-espresso brunette. The ash reflects the most when the light hits it, rather than looking red or brassy in different kinds of room lighting. We did an Olaplex treatment to further repair Lindsay’s hair, and finished with a Phytokeratine mask and leave-in heat protector spray.

Amanda wanted to go darker to a rich chocolate brunette. Rather than reds, this medium brown has some gold tones in it. She wanted a bob with bangs as well, so we did that before the color, but there were also some hightlights left. She wasn’t sure she wanted to be dark forever, maybe just for winter, so we did a semi-permanent Goldwell Colorance gloss. This gave us great dimension with the ends having some existing highlights. The slight gold tones look so shiny and the light reflects a balanced all over coffee/dark chocolate colored brunette.

I used a similar formula for my client who wanted a tint back from blonde balayage she had previously, and wanted a rich and soft warm brown. We were able to do a semi permanent with Cover Plus by Goldwell, that is long lasting for the colder season, but can gradually transition back to lighter shades for summer.

xo, WW