Danilo Giangreco: The Editorial Stylist

 

His talent and tasteful touch has seen him shoot for magazines such as Wonderland and Paper magazine as well as leading teams backstage at London Fashion Week. Amongst his accolades, Danilo was named International Hairdresser of the Year at the Contessa Awards 2023, Tribu-te’s The One for you Client 2020 and The Team One in 2020 and 2023. Most recently Danilo won International Hairdresser of the Year at the Live Fashion Hair Awards.

 

We managed to catch Danilo before he headed off to LFW to find out what it takes to be an editorial stylist:

 

 

1. What’s the number one thing you’ve learned about making hair look incredible on set?
That less is usually more. Overloading hair with products can kill its movement and flatten its personality. On camera, hair needs to look alive,shiny, touchable, and with just enough structure to hold.

2. Do you have a go-to product or tool that you always carry in your session kit?
My tail comb, mini flat iron and my Revlon hairspray. They’re my secret weapons! With them I can part, polish, smooth, or create texture in seconds, whether it’s a flyaway emergency or a precision detail.

3. What’s your secret for keeping hair looking fresh under hot lights or long shoots?
Prep properly and refresh cleverly.  Revive the style with a whisper of dry shampoo or a mist of water to reset shape. It keeps hair light instead of weighed down.

4. How do you quickly fix hair disasters backstage or on set?
I have a three-tool survival kit: elastic, pins, and hairspray. With those, I can whip a broken style into a sleek bun, fix a fallen curl, or disguise any last-minute drama fairly quickly!

5. What’s your tip for creating styles that photograph well (vs. styles that look good in real life)?
Think in shapes, not strands. A style that looks gorgeous in the mirror can look flat on camera. I always check hair from every angle under the lights, making sure the balance and silhouette read beautifully through the lens. 

6. How do you approach working with different hair textures on editorial shoots?
I try not to fight the hair if the brief allows, each texture has its own beauty. My approach is to enhance what’s naturally there, whether that’s amplifying curls, smoothing waves, or celebrating coils. Respecting the hair’s integrity makes it shine in photos.

7. Do you have a technique for getting lasting volume or hold without overloading with product?
It’s all about the foundation. I blow-dry roots with real tension, clip-set to cool for memory, and then build shape into that base. I tend to use very little product to start with, then layer it up if needed, that way the style lasts without looking heavy.

8. What’s your best hack for achieving glossy, camera-ready hair?
A touch of serum or shine spray on a brush or comb! I sweep it lightly over flyaways and frizz so hair catches the light beautifully, while still moving naturally. Gloss without the grease.

9. How do you prep hair differently for runway vs. editorial?
Runway is about repetition, every model’s hair has to last through quick changes, humidity, and sometimes chaos backstage. It needs to be bulletproof. Editorial hair can be more fluid, playful, and even undone, because you’re creating one perfect image, not a 30-minute show.

10. What’s your top advice for managing time and pressure in a fast-paced shoot environment?
Stay calm and stay kind. Sets can get stressful, but panic doesn’t help anyone. I always plan a “plan B” for each look, so if things shift, I can pivot quickly. A cool head makes everyone trust you more.

11. What’s the most important skill for a stylist wanting to break into editorial work?
Adaptability. You might have prepped a polished wave, then suddenly the photographer decides they want it raw and wet. The ability to switch gears quickly and gracefully, it’s what keeps you getting called back.

12. How should hairdressers start building a portfolio for session styling?
Collaborate! Reach out to up-and-coming photographers, models, and makeup artists for test shoots. Don’t just fill a book, curate it. Show only your strongest, cleanest work. Quality speaks louder than quantity.

13. What’s one mistake you often see new stylists make on set, and how can they avoid it?
Overworking the hair. Too much product, too much heat, too much “fussing.” The camera loves hair that feels effortless. My advice: do your magic, then step back and edit. Know when to stop.

14. How important is collaboration with makeup, styling, and photography teams?
It’s everything. You’re not creating hair in isolation,you’re building a story together. The best images happen when the whole team talks, adapts, and blends their vision so every element feels connected.

15. What advice would you give to stylists wanting to transition from salon work to session/editorial?
Say yes,even to small jobs. Every shoot, no matter how humble, is a chance to learn, meet people, and prove yourself. The session world is about building trust and networks as much as it is about skill.

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