For eighteen years, Paul built the teaching methodologies that L'Oréal Professional Canada deployed nationally — not as an educator, but as the architect of how other educators were trained. He taught in-salon, at the national academy, and at shows across the country. The distinction matters: he was not passing on technique. He was building the systems through which technique gets passed on.

Paul founded this brand in Canada in 1990. Thirty-five years later, the approach hasn't changed — only the address. Three years ago he relocated to La Jolla, and in November 2024 Jax & King moved into its current space in La Jolla Village — a larger, more considered environment built to reflect everything the brand had become.

He has worked backstage at New York Fashion Week — part of a two-decade thread that runs through this salon's DNA, alongside Jaylin and Franco. Fashion week is not background colour for Paul; it is where the discipline of working fast, working clean, and working under pressure gets tested against the highest standard in the industry.

He cuts with an architect's logic: every decision made in relation to what's already there, never in spite of it. His sense of proportion — how a line sits against the jaw, how weight is removed without disrupting fall — is the kind of thing clients cannot always name but notice immediately when it's gone.

He also directs the creative identity of the brand: the space, the standards, the experience before and after the chair.

Jaylin trained at Sassoon and spent years there as a teacher. His understanding of cut is not intuitive — it is structural, repeatable, and transmittable. He then became a national-level educator for L'Oréal Professional in the United States, building the methodologies that other educators were trained on, deployed across the country at the national academy and at shows nationwide. Between him and Paul, Jax & King's founders have shaped how a significant portion of the North American industry was trained.

He began at José Eber Salon in Beverly Hills — one of the most recognized names in high-end hair in Los Angeles. That foundation shaped his understanding of what exceptional client work actually looks like: not just technically, but in terms of how a guest is made to feel from the moment they arrive.

For twenty years, Jaylin has worked backstage at New York Fashion Week. That record is not a credential he displays — it is the pressure test against which everything else in his career has been calibrated. The speed, the precision, the ability to read a brief and execute it cleanly under conditions that allow no second attempt — that is where his standard was set, and where it has been maintained season after season.

Thirteen years ago, Jaylin opened Jax & King in La Jolla. While Paul started the brand, it is Jaylin who holds its vision — the direction it moves in, the standard it holds itself to, the experience a guest should feel before they sit down and after they leave. He is the reason this salon looks the way it does, speaks the way it does, and refuses the things it refuses. As Director of Color, he also governs every color decision made in this salon — the standards, the methodology, and the philosophy that underpins all of it.

That philosophy is Cura Obscura. The care found in shadow. Jaylin's approach to color begins not with what you add, but with what already exists beneath the surface — the undertone, the history, the way a particular light falls on a particular person at a particular time of day. Most colorists work toward brightness. Jaylin works toward truth. The result is color that does not announce itself — it simply belongs. His clients don't come back because their color looks good in the chair. They come back because it still looks right eight weeks later, in their own bathroom, in their own life.

Franco came up through the industry when craft still had to be proven with your hands. He trained with L'Oréal Professional and went on to lead national education programs in Mexico City — work that shaped the technical foundation of an entire generation of stylists across the country. Fashion week found him the same way it finds people who are genuinely serious about the work: the industry noticed, and the invitations continued. New York first, then Los Angeles and San Francisco — a presence at the shows that has become part of the rhythm of how he lives the craft. The runway is not a credential he visits occasionally. It is where Franco has always returned to stay honest about what the work actually requires.

In the salon, that same discipline applies across both cut and color. His cuts are built on observation — growth patterns, density, how hair actually behaves in the three weeks after an appointment, not just the day of. His color work follows the same logic: no unnecessary moves, nothing added that doesn't serve the structure already there. He works quietly, moves with precision, and has an almost architectural approach to texture and tone: nothing added, nothing removed without a reason.

If you have had a haircut that was consistently right for years and you could never quite explain why — that is the kind of work Franco produces.

Lindsay built her foundation on the East Coast — training and working in Greenwich, Connecticut, where a high standard was simply the expectation. Sixteen years later, that foundation still shows. Her specialty is color that disappears into itself: natural tone, soft dimension, nothing forced. She is drawn to work that looks like it belongs to you, not color that announces itself.

She has worked backstage at New York Fashion Week — an environment that demands a different kind of precision than the salon, and one she navigated with the same quiet control she brings to every appointment.

She is particularly skilled with guests navigating a color transition — those growing out, softening, or stepping back toward something more authentic. She has a patience for the process that makes her exactly who you want for that kind of work.