IN CONVERSATION WITH JAG MOUSSA

In the heart of Victoria’s alternative fashion scene, where individuality reigns and creativity takes fearless form, award-winning hair stylist Jag Moussa has built more than just a salon — he’s cultivated a movement. As the visionary behind JagHed Couture Salon & Studio, Moussa has spent over two decades redefining what beauty can be: fluid, expressive, and unapologetically inclusive.

Raised in a family of stylists, Moussa’s artistry is both inherited and self-forged. His work has graced international stages, where he has repeatedly ranked among the world’s top competitors, earning acclaim for his daring couture hairpieces and theatrical creations. Yet beyond the awards and glamour, his studio stands as a refreshingly inviting, gender-neutral space — a sanctuary where fashion meets freedom and clients are encouraged to show up exactly as they are.

His creative universe stretches far beyond the traditional salon chair. From avant-garde wigs that blur the line between sculpture and style to collaborations with performers and drag artists who embody his philosophy of transformation, Moussa’s craft operates where art, identity, and community intersect. In a world that often equates beauty with conformity, he’s busy proving that sustainability and inclusivity are not trends — they’re the future of fashion itself.

TPM: Your journey began in a family of stylists and evolved into high-impact competitive work and couture creations. Tell us a bit about your “pedigree” and how it initially molded your approach to salon work.

Ever since I can remember, I’ve been exposed to beauty as a lifestyle, being a way to pay the bills and express myself artistically. Even though when you’re a kid, you don’t really know that your parents are being expressive. You just know that they’re working, there are a lot of smells at their workplace, and they are very tired at the end of the day. I had no idea that this talent was inside of me, just waiting to be released. I didn’t attempt anything artistic until I was 17, and then… nothing but fear. Being creative, where I come from and in the time that I grew up, was a way to typecast yourself and be excluded from the norm as a boy. It took me three years after graduating to decide to try something artistic. From the moment I started studying design until today, I would have been studying beauty and design professionally for 25 years now. I have so many rich experiences to reference because of how in love I am with my job.

TPM: You’ve described your salon, JagHed Couture, as a gender-neutral space. How does this shape the creative culture of your studio?

Well, it’s made my salon very niche. I anticipated that once I became a gender-neutral or inclusive space, I would deter those who are not familiar with spaces like this and are not looking to educate themselves, but also those who are seeking them out. I’m extremely proud of my salon and of my three years in business contributing to an inclusive, visible culture in my community. People come here to learn about inclusivity and possibly gauge where they stand. They come because it’s inclusive and they feel safe expressing themselves in my business under my care. Others may come feeling uncomfortable, and I do my best to anticipate their needs and offer them as much information as I can about an inclusive culture should they ask. There’s also tons and tons of art in my salon; I am constantly creating. The salon is forever changing, and so the energy shifts all the time based on the art being presented or the current projects I’m working on. It’s quite visually stimulating at JagHed Couture.

TPM: What was the defining moment when you realized you wanted to push hair fashion into the realm of avant-garde?

I grew up watching my father and my uncles compete in hair competitions, always exposed to the art of hair, the creative energy that drives the industry and influences less creative hairdressers. I love to cut hair and do hair. What I didn’t realize is that I’m very avant-garde, and my work has become almost extreme these days. The most defining moment was creating a collection of five custom, hand-painted, unique human hair wigs and cold-calling Bea Akerlund in Los Angeles to show her my work. Then I flew down to LA to show them to her in person. She has an extremely famous list of clients, including Madonna, Kim Kardashian, Fergie, and others. That was my first attempt at presenting my designs; that was the moment.

TPM: The piece with YAM Magazine, “Bringing the Drama,” talks about working with alt-culture icons, and you’ve engaged in creative projects like music videos. How do you choose the fashion and entertainment projects you engage with, and what do they say about your creative voice?

I’m usually brought onto projects when a serious style statement is needed, like an artist breaking into the industry. Live creative expression and performance enhance the energy of the room — big videos. I not only style clothes; I also dance, do makeup, and do hair. I’m an actor, a clown, a model. With 25 years of experience managing teams on set, I’m quite an asset to any creative endeavor. I love collaborating with other creatives and feel confident using my voice in a room or on my independent projects regarding the overall style and message. I consider myself an artist and feel qualified to tackle many mediums.

TPM: In a sustainable fashion context, many studios are rethinking materials, waste, and chemicals. How do you approach or integrate sustainability in your hair art practice (e.g., eco-friendly products, recycling, wig reuse)?

I’m often asked about where all my creative projects have gone and where I store them. The truth is, I reuse almost everything I have. I’m pretty sure there are about 20 wigs cut up in the back because they’ve been used on other projects but were originally utilized in the beginning. If I need something, I source it, but mostly I try to reuse as much as I can.

TPM: From styling individual clients to creating theatrical wigs and hairpieces, how do you adapt your process when designing for runway, editorial, or couture scenarios versus regular salon clients?

Many factors go into how I work, but the number one thing that comes to mind is time and money. Creativity often operates against the constraints of time and budget — ha ha ha! My experience representing Canada at world championships in timed hair competitions has made me quick on my feet when it comes to fast styles for impromptu projects, as well as being prepared to execute in a small amount of time. For instance, at a world championship, we would typically have 30 minutes to cut and style a competition haircut and color. That timeframe isn’t long, but the preparation required to execute the design in 30 minutes takes considerable time. I would time myself in five-minute increments down to the last five minutes, and then in two-minute increments down to the very last minute. Everything is pre-calculated and rehearsed, which takes a tremendous amount of effort to become efficient at. It’s quite exhilarating, and a lot can go wrong in those 30 minutes!

TPM: You’ve competed internationally and achieved world-stage recognition. How has that competitive background influenced your everyday work with clients and your creative mindset?

Clients aren’t usually informed about what it takes to achieve the honor of representing Canada at a world championship hairdressing competition. I was 12 years into my career when I acquired enough points to be invited to represent Canada at my first world championship. I was the youngest independent Canadian in history with the highest placing ever recorded. I was quite shocked, and it’s a lot of excitement, pressure, and joy — it’s allowed me to celebrate creativity with my clients. It’s given me the ability to create an easy space for them to try new things because I’ve seen the best in the world up close and personal. I’ve been creating and interacting with them, and the high end of hair fashion influences all the trends. Small things from these big competitions trickle down into commercial work. Because of my experience, it’s easy for me to present these ideas to clients in a way that makes them feel comfortable trying them.

TPM: Your salon is located in Victoria’s “alt” scene. How does being in a city with that vibe influence your work, your client base, and your collaborations?

My salon is situated in an alley that reminds me of Europe. This location has greatly influenced the vibe and style of how I dress and what music I play. The interactions between clients are quite beautiful surprises for those unfamiliar with my space. We have many tourists in my city who are always amazed to discover such a vibrant, unique space unexpectedly located in Waddington Alley, Victoria, BC. I’m quite a performer; I’m now very well-known and wave over 50 times a day to people on their way to and from errands and work. I maintain an open-door policy, inviting people to come in and say hello, even if I’m with another client. That is a house policy here — I trust that I can ensure that every client has a luxurious and well-rounded experience.

TPM: That’s actually one of the things we noticed about your space. It’s not intimidating at all; it feels very friendly and inclusive. On the humanitarian/community side, how do you see hair fashion, salons, or creative hair art contributing to social inclusion, self-expression, and empowerment for marginalized groups? Are you involved in any specific initiatives?

I take this as a badge of honor and quite seriously. I often feel like a walking inclusion parade daily. I have a very eccentric style that develops more and more each day, and I’m proud to express myself through fashion. I love shapes, colors, textures, patterns, and I do not conform to cisgender ideas of imagery. As a result, I’ve become quite the style icon for my community. I’m proud to be openly inclusive, expressive, approachable, and a member of a progressive community.

TPM: What does “fashion” mean to you beyond clothing? How does hair, wigs, and styling fit into the broader style ecosystem, especially sustainable fashion?

Fashion doesn’t hold importance for everyone because it can’t; instead, it’s significant for those who understand that fashion is the visible way to move humanity forward — sustainable fashion, political fashion. It’s a visual representation of where we are and where we want to go. For those who grasp this idea, leading is not a chore — it’s a privilege, and it should be regarded that way more often. Eccentric style can hold profound meaning.

TPM: That’s one of the best answers we’ve received to that question. Your art and clothing pieces definitely reflect that. When you create a couture wig, art piece, or headpiece, what story or emotion are you trying to convey? How do you translate that into hair form?

Firstly, I always pray to the Hair Gods every morning in the shower. Trusting that the Hair Gods and I are still BFFs, I usually wait for a feeling — the same feeling you get when you finish a haircut or a creative project. Even though you can keep adding to them, there is a moment when you know it’s ready to be seen, ready to be used, and ready to be explored as intended. It can then possibly evolve further from that point on.

TPM: Looking back, what is one piece of advice you’d give your younger self when you were starting out in the hair industry?

Acknowledge the work around you, but stay true to your instincts about the message you want to send out into the world. Don’t ever think that you lack a voice with whatever you create.

TPM: That’s an important message that resonates in many areas. Agreed. With the rise of digital media, social platforms, drag culture, gender fluidity, and alternative fashion — how has your work evolved to respond to these cultural shifts?

Instant access to design information via platforms like Instagram, TikTok, Facebook, and Snapchat allows so much information to be sourced quickly. The pressure to keep creating can seem quite high because there is constant access to new imagery. Again, I stress the importance of sticking to the message you wish to relate to the world and being true to that message through your work. Praise other artists, for they are going through the same challenges you are. Still, have confidence that your message belongs as well.

TPM: Yes! What are the biggest misconceptions people have about being an “award-winning hair stylist” or working in the haute-couture wig/headpiece space that you want to correct?

One misconception is that my day-to-day engagements feed my soul and provide the confidence to put my ideas out into the world. I’ve been a professional hairstylist for 25 years and value my career behind the chair just as much as any creative endeavor. Creative work can be mentally and physically exhausting. I’m striving to achieve a balance to avoid burnout. I am still going and still very motivated, so I believe I’m managing well thus far.

TPM: For you personally, what does success look like now? Is it about more awards, bigger productions, deeper impact, sustainability leadership, mentorship, or something else entirely?

I believe my work has a message, and I’d like that work to be seen by more people when the time is right for them. I have a lot of faith that one day I will be global with my contributions.

TPM: Your salon narrative mentions “wig designs & styling and custom hair pieces.” How did your work in theatre and drag inspire you to dive into wig creation and couture pieces?

Actually, it was a client of mine behind the chair who encouraged me to design wigs and hairpieces. My work in theatre and with the drag community came a little later.

TPM: You auditioned for Atomic Vaudeville and created your own “outrageously garbed clown character.” What was that character, and what did you discover about yourself through performing on stage?

My clown character is named ‘Silly Onset.’ Discovering clowning became a gateway for immense creativity and self-discovery. The unique aspect of clowning is that there’s a lot of self-discovery involved in creating your character and how your character performs, but when performing, you really just react and allow yourself to stay in the moment. There are many things to discover on stage while performing — you never know what’s going to happen when you’re clowning around 🙂

TPM: In working with the drag community, such as designing headpieces for Jimbo, how do you approach collaboration with drag artists?

Firstly, I think it’s really important to understand the history of the person you’re collaborating with and how your style can merge into their next project. Whether you’ve reached out or they’ve asked you to collaborate on a project, you should always be well-informed of what they are up to and how you can contribute. Also, consider what you can learn from them, and how your skill set and portfolio can enrich their world. Every decision made while collaborating carries significance on both ends of the partnership, and everyone brings unique gifts to the table to achieve a successful project. Investing in the talents of the people I work with is crucial for creating a fruitful outcome.

TPM: How do the aesthetics of theatre (clowning, cabaret, alt culture) inform your vision of fashion hair, and vice versa?

It definitely depends on the project, and if it calls for elements from my many interests, I always push boundaries to leave things for my audience to ponder.

TPM: Do you perform regularly in drag or theatre under your own stage name or persona? If yes, how would you describe that persona and what it allows you to express?

I do not perform regularly with any persona. I’m more likely to bring out ‘Silly Onset,’ my clown, more often than ‘MizPizzaz,’ my drag persona, which I reserve for special occasions only.

TPM: In your view, what is the role of hair and wig art in drag and theatre? Are there metaphors or deeper meanings you like to explore (identity, transformation, exaggeration)?

It’s quite amazing what happens when someone puts on a wig or hairpiece, and it’s a pleasure to facilitate that expression for artists and clients.

TPM: True; it’s often underestimated how much a wig, hat, or even a new hairstyle can impact one’s personality. Victoria’s alt-arts scene is referenced as home to you. How has being active in this scene (both in the salon and on stage) shaped your creative path?

Victoria’s alternative scene is very underground, and I like to be visible daily. I dress how I feel and wear what I want when I want.

TPM: Could you talk about a memorable performance or show you did? What was the concept, what did you wear, what was your role, and how did it connect to your broader work?

One of my most memorable roles was when I flipped the narrative on drag queen storytime and performed three mini skits: one set in prehistoric times, one in the 50s, and another in the distant future. At a time when drag queens, trans individuals, and the entire LGBTQIA+ community were being attacked and highlighted for political gain, it was vital to reframe negative connotations associated with drag queen storytime. I felt that it was a real opportunity to connect with the audience in a meaningful way without putting anyone down. This inspired a personal monologue I shared with the audience after the three skits, recounting the first drag queen I ever met and how they guided me on my journey of self-acceptance after enduring ridicule in my teenage years.

TPM: How do you balance the functional aspects of your salon business (cuts, color) with the theatrical/drag side (wigs, costumes, performance)?

That balance is indeed a tricky high-wire act! Directing attention where it’s needed is not the easiest of tasks, especially when juggling multiple projects at once. However, I somehow manage, and there are downtime periods that allow me to catch up on anything that might have slipped through the cracks.

TPM: How do you see drag and theatre as platforms for social commentary, expression, or inclusion — and how does hair art fit into that?

Everyone has an opinion, and everyone’s opinion is valid, whether it’s from drag performers, public speakers, presenters, actors, models, or anyone willing to voice their opinions in the world. They all have the right to be heard.

TPM: Amen. What is the reaction you get from salon clients who know about your performance side? Does it change the way they approach their own hair and identity?

This very question crafted my salon’s motto or mission statement: “ABSOLUTELY NOTHING IS BORING.” Clients often express that they assume I must get bored only doing root retouches or basic haircuts. However, even if that’s the case, I can assure you that the client themselves is not boring, so I am not bored at all. Wink wink!

TPM: If you could create a theatrical hairpiece or drag performance specifically centered on activism, what might that look like?

I created an anti-gun hairpiece for Lily Gatins to wear at Paris Fashion Week, and I would like to recreate that piece with the skills I have now. I am genuinely not a fan of how many people have died because of gun laws.

TPM: For someone unfamiliar with drag and theatre wigs, which are quite an art form, what’s one thing you want them to understand about the craftsmanship and artistry that goes into them?

So much process, timing, and care go into making any wig or hair design, and you can be assured that a JagHed Couture

TPM: Amen. What is the reaction you get from salon clients who know about your performance side? Does it change the way they approach their own hair/identity?

It is this exact question that is crafted the salon motto or mission statement. ‘ ABSOLUTELY NOTHING IS BORING.’ Clients often might say that I must be bored, just doing the root retouch or basic haircut. However, even if that is the case, by any sense of the imagination, I can assure you that the client themselves not boring, so I am not bored at all. Wink wink!

TPM: If you could create a theatrical hair piece or drag performance specifically centered on activism, what might that look like?

I created an anti-gun hairpiece for Lily Gatins to wear to Paris fashion week, and I would like to re-create that piece with the skills that I have now I really am not a fan of how many people have died because of gun laws.

TPM: For someone unfamiliar with drag/theatre wigs. They are quite an art form. What’s one thing you want them to understand about the craftsmanship and artistry that goes into them?

So much process, timing and care go into making any wig hair design and you can be assured a Jaghed Couture piece is one of a kind.

TPM: You’ve worked on styling and hair-art for bbno$’s music-video projects — can you walk us through how that collaboration first came about, what your role was, and how your couture hair-design translated into the visual language of the video?

I was initially scouted then hired because of my clown, Silly Onset, later to be recognized for my styling, visual performance and Wig abilities and skill set. On set I became a major contribution to the team. OK buddy. 😉 Quite honestly, with the way the production is shot, a lot of work is on the fly and without a ton of prep time.

TPM: Looking ahead: are there upcoming theatre or drag collaborations you’re excited about, or new directions you want to explore?

I 100% believe that Jaghead couture has a message for the world, and that my brand and mission is important. I am open to all things at this time. Every project is intensifying and so I can only gather that they will continue to do so, so I’m catching up on sleep right now. Lol. I do hear the big screen calling my name though. I am in the later stages of being cast for a six episode, docudrama as an indigenous Shapeshifting trickster. Wish me luck!!!