I couldn’t find any credible or recent sources confirming that Chris Appleton has specifically “given a modern update to the mullet” in a “glow‑up makeover.”

But there are enough about his work, approach, and past transformations that let me sketch out what such a makeover might look like—drawing on his style, trends he favors, and the ways he works.

If you like, I can also try to track down if that mullet update is indeed happening and get you the real details. Meanwhile, here’s an article imagining how Chris Appleton might modernize the mullet in a glow‑up, infused with what’s known about his aesthetic and techniques.

Chris Appleton has built his reputation on re‑imagining hair—taking classic or even overlooked styles and turning them into something fresh, standout, and deeply personal.

What if he turned his attention to the mullet, a cut with plenty of history, and brought it into the now? In the hands of Appleton, the mullet wouldn’t be a throw‑back—it’d be a reinvention.

First, the modern mullet under Appleton’s direction would lean into texture. No more rigid lines, no harsh contrast between the short front and long back without nuance. Think soft layers cascading into longer lengths at the back, combined with choppy yet controlled fringe in front.

He would use techniques like point cutting, texturizing shears, maybe even razor work, to avoid the cut looking boxy. That way, the silhouette is unmistakably mullet, but feels airy, modern—something the wearer can move in.

Color would play a big role. Appleton, as a color ambassador (for example with Schwarzkopf) and someone who’s done platinum transformations and lived‑in roots, understands how color interacts with cut. To modernize the mullet, he might incorporate shadow roots, balayage or subtle ombré, maybe even face‑framing highlights.

These color effects would soften the transitions, add dimension, and shift attention in ways that contour the face and make the style feel more flattering. If the back is longer, those deeper tones can give depth; lighter bits at the front or around cheekbones can lift features.

Styling is critical. Appleton tends to embrace volume, texture, movement. The glow‑up mullet he does would be finished with layered blowouts, diffused waves, or even undone curls—styles that let the mullet breathe.

He knows big hair, and he knows when to let it loose. But he also knows when sleek or polished sections can contrast well with messier parts. The balance between the two gives that polished yet edgy feel the modern mullet needs.

Maintenance and hair care would not be an afterthought. Since the mullet involves significant varying lengths, Appleton would likely emphasize conditioning, trimming to maintain shape, and using products to protect the ends—repair treatments, glazes, protein where needed.

Also, using heat tools carefully: if you’re going for textured waves or curls, controlling the damage is essential so that even the longer back stays healthy and glossy.

Another factor: personalization. What works for one face shape won’t for another, and Appleton’s work shows he tailors styles. For a modern mullet, he might adjust the fringe’s length and shape to the client’s forehead, the side sections to cheekbones, the back to neck length and shoulder height.

He might even blend in other styles—slightly shaggy, a little faux hawk in front, longer layers in back that can be styled up or down. That adaptability makes the glow‑up feel less like a trend and more like an individual statement.

In addition, he might use accessories or styling accents to elevate the look. Subtle metallic clips, micro braids, or even gloss sprays to enhance shine—small touches that catch the light without overwhelming the style. For editorial or red‑carpet versions, perhaps deep‑set parting, dramatic root smudge, or layering extensions to give weight without bulk.

Appleton’s past transformations show he loves contrast: soft vs strong, natural vs dramatic, polished vs undone. A mullet makeover would probably lean into those juxtapositions—something like a sleek, styled front fringe with messy, textured back, or a polished top with wavy, lived‑in ends.

The glow‑up would also probable come with confidence coaching: part of what makes a makeover work is how the person feels with it.

Chris often talks about trust between stylist and client (such as in his platinum blonde transformation with G Flip) and how that trust lets someone let go of hesitation. For a style like the mullet, which has edge and can feel bold, that trust can give the wearer freedom to own it.

Finally, the finishing touch might be photographic/visual: hair shoots, lighting, product for gloss and motion. Appleton often ensures his work translates off camera as well as in real life.

The glow‑up wouldn’t just be in the haircut; it would be how the shape moves, how the color shifts, how the light plays off the texture. Everything aligned so that every time the wearer moves, the mullet performs, too.

Even though I couldn’t find a source confirming Chris has done this exact modern mullet glow up, it’s well within the range of what he does based on his style portfolio.

If you want, I can try and see whether there is a specific celebrity or client of his who just got a mullet, and give you the factual version. Do you prefer fact or a polished speculative / stylized version like this?