Runway A/W17

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TOP FIVE MOMENTS The standout shows from Autumn/Winter 2017

14 T H AT WAS T H E S E ASO N A closer look at the quirky and the spectacular

16 TRENDS From prepping to finishing, this season’s trends were transcendent

24 HOW HAIR HAPPENS Behind the scenes at Haizhen Wang, Topshop Unique and JW Anderson

36 THE HAIR INFLUENCERS We take a look at the hairdressers making the biggest impact

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42 CO LO U R O N T H E C AT WA L K How colour filters through to the high street and why grey is okay

46 FROM COMB TO COUTURE How some of the busiest hair names made it into fashion

50 A / W 17 H A I R I S …

The trend makers sum up their season

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Cover image: Daks, hair by Stephen Low of Neville’s Hair and Beauty for L’Oréal Professionnel

MAN OF TOMORROW We talk to the head of Graduate Fashion Week, Martyn Roberts

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Photography by Rasha Kahil

Photography by Rasha Kahil

T OR R’ S’ SL EL ET TT ET ER R E EDDI TI O Oh, hi there Runway readers!

Dearest Runwayers, It’s your biannual instalment of all things Fashion Week with our latest offering of

Yes. It’s that time again. The time to look at all things hair-related at the world’s coverage from both front and – more importantly, in our biased opinion – back of Fashion Weeks and put them under the microscope. From the top shows on the house for Autumn/Winter 2017. catwalk to the tutorials, trends and know-how that you need to know to be in the We’ve got the usual big hitter features, such as the Top Five Moments in Hair & know, here at Runway, we’ve got it all covered.

Fashion (page 6); our spotlight on those special little moments in That Was The Season (page 14); and the nitty-gritty of the hair action in The Trends (page 16) and And for this Spring/Summer 2016 issue we have prepared something a little bit Re:Create (page 32). But we also have a few other special pieces in there for you as special (if we may say so). We have an interview with hair supremo Guido Palau – part of this issue’s Colour on the Catwalk special (page 42), with a look into how the Most Wanted Session Stylist 2015 no less! – talking about his favourite moments and colour we see on the runway filters down into real life styles. There’s an exclusive essential kit for the season. We have cornered myriad stylists to ask what the new interview with Redken global color creative director, Josh Wood, reassuring us that season means to them; and we have also gotten to grips with all the intricate details Grey is Okay, and his Redken collaborator, global creative director Guido Palau, joins of how to reconstruct looks like the pros. In other words, we have all joined forces to in with Mr Wood to discuss how the shows and social media have influenced high bring you the best the season has to offer, inspired by the teams that are at the front street style, too. We also discover how some of backstage’s busiest stylists started line creating them. Because, while the full and final looks that are sent down the out and worked their way up, from passing the comb up to, in Stephen Low’s case, runway are, of course, important, we beauty geeks know that the real action goes leading couture shows in Paris (page 46). And we enjoy an exclusive audience with down backstage. That’s really where the magic happens!

Martyn Roberts, the driving force behind Graduate Fashion Week… and the cofounder of Fashion Scout, as well (page 40).

So join us for your exclusive access behind the scenes…

As always, soak up and enjoy all that the new season has to offer – and flex those fingers for all the fun times you’re about to have in the months ahead…

Yours in faithful backstage service,

JESSICA DINER JESSICA DINER GUEST EDITOR OF RUNWAY; RUNWAY GUEST EDITOR CONTENT AND BEAUTY ANDCREATIVE LIFESTYLEDIRECTOR DIRECTORAT ATBIRCHBOX VOGUE UK Editor in Chief: Amanda Nottage Art:Art: Graeme White Chief SubSub Editor: Adam Wood Editor in Chief: Amanda Nottage Graeme White Chief Editor: Adam Wood Contributor: BethBeth Davie Publisher: Handcock Contributors: Davie, AnnaCatherine Samson Publisher: Catherine Handcock RUNWAY, TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND WRITE TO US21 ATTHE RUNWAY, 21 THE TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND 0207324 73247540 7540E:enquiries@alfol.co.uk T: 020 enquiries@alfol.co.uk

Runway is a supplement of Creative HEAD, published twice a year by ALFOL Ltd, All rights reserved. Creative HEAD is a registered trademark. No part of this magazine may be reproduced without prior permission of the publisher.

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TOP FIVE MOMENTS IN HAIR & FASHION T H E S E S H OW S W E R E S O FA B U LO U S T H AT W E J U S T H A D TO S I N G L E T H EM O U T. R E A D O N F O R J ES S I C A D I N E R ’S H I G H F I V E O F T H E A / W 17 S E A S O N

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Image courtesy of L’Oréal Professionnel

SOMETHING FOR THE WEEKEND TOPSHOP UNIQUE

IT SAYS IT ALL in the name really: Topshop Unique. This season, it was a call to arms for kids who live for their weekends – off school and in the clubs. Sweatshirts emblazoned with logos such as ‘The World is Waiting’ and ‘Weekend Forever’ were seen on models Lily Donaldson and Lottie Moss. They were combined with floral or tartan midi skirts and strappy heels for the perfect “off duty, night out” look. Other key standout pieces included shearling coats, striped bodysuits and a sheer pink embellished slip dress worn by model-of-the-moment, Adowa Aboah. In the beauty department, hair stylist Duffy worked with L’Oréal Professionnel to create a ’90s look that was “stripped back and sleek” – the perfect paredback backdrop to a full-on collection.

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A MOMENT OF appreciation for Alexander Wang, who continues to represent for the New York Fashion Week cool designers brigade. Almost all models were head-to-toe in black, bar a breakout cluster of grey outfits that broke up the rhythm.

A technique he has used in the past, Wang very much played to his strengths, knowing what works best for the design house and running with it. The effortless aesthetic of the Wang girl has long been the barometer of fashion cool, with beauty playing an integral role in the equation too. Backstage, models were being given the rock and roll treatment

by Redken global creative director, Guido Palau, who cut seven models’ hair into choppy bobs, while the rest were treated to a grunged-up version of their own hair with messy, touselled results.

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Photography by James Cochrane

BACK TO BLACK ALEXANDER WANG

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SUITS YOU DAKS

Image courtesy of L’Oréal Professionnel

Photography by James Cochrane

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DAKS HAS LONG been the purveyor of heritage British tailoring and this season was no exception. Think perfectly executed cropped cigarette trousers, double breasted coats, suit jackets and crisp shirts in a plethora of pinstripe, tartan, Prince of Wales check and houndstooth.

All of which gave a strong nod to a powerful and strong vision of the working woman – the kind of woman you wouldn’t want to mess with in the boardroom. The best part? It was anything but corporate. Just look to the slouchy beanie hats that featured throughout. Backstage, Stephen Low for Neville Hair and Beauty was using L’Oréal Professionnel to create his look that he dubbed “Savile Row waves” – fluid and feminine shapes that worked just as well with the aforementioned beanies as they did on their own. The Daks #GirlBoss – we’re totally leaning in.

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FUR, MICRO MINIS, ruffles, prints, sky-high heels‌ there was no way you would confuse this show as anything other than Versace. Instagram sensations, Gigi and Bella Hadid, took to the catwalk alongside epic runway models Anna Ewers, Catherine McNeil and Amber Valletta, representing Donna’s vision of independent women across all spectrums of ages and looks.

A tale for our times, the collection was punky but with a moral message. Tulle hems poked out from woollen skirts emblazoned with words such as EQUALITY and COURAGE, while other pieces were peppered with slogans such as POWER, UNIFIED and LOVE. Beauty was an important element, with models sporting bright, primarycoloured hair pieces fashioned by Redken global color creative director, Josh Wood, and styled by Redken global creative director, Guido Palau.

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Photography by James Cochrane

MORE THAN WORDS VERSACE

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TURKISH DELIGHT ERDEM

Image courtesy of L’Oréal Professionnel

Photography by James Cochrane

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HALF-BRITISH/half-Turkish designer, Erdem, wanted to pay tribute to his heritage with his excellently English yet overtly Ottoman-collection for A/W17, inspired by the idea of what his two great-grandmothers would have worn, should they ever have met. The dresses were printed with Ottoman manuscripts as well as beautifully British floral prints on Edwardian-style collared dresses and tunics, made modern with elegant cut-outs and asymmetric hems. Beauty-wise, strong brows and flawless skin acted as the perfect canvas to the equally neat and clean centre-parted ponytail by Anthony Turner for L’Oréal Professionnel. In a new direction to the usual ‘troubled woman’ that is often the inspiration at his show, Erdem wiped the slate clean. “There’s an angelic feel to it all. It’s very pure,” explains Anthony. What’s not to love?

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THE NEW MAKEUP I N T RO D U C I N G S MO K E Y OM B R É BY J OS H WO O D  T H E M A K E  U P I N S P I R E D H A I R T R E N D T H AT E V E R Y O N E I S TA L K I N G A B O U T

“Smokey Ombré is a way to think about hair colour as make-up. It’s a way of adding light and shade to make any style look amazing” Josh Wood, global color creative director for Redken

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Shout

FORGET CONTOURING FOR THE FACE, clients are now turning to their hair colourists to recreate the strobing and contouring effects that they love in their make-up, in their hair. In fact, hair colour trends are one of the biggest drivers getting people to the salon. At-home dyes don’t cut it and clients are turning to the professionals to get the make-up inspired shades they want. And what do they want? If social media is anything to go by, it’s smokey, silver, charcoal shades. These have always been timeless make-up shades and now consumers demand them for their hair. Good news for you as you can offer a unique twist on the trend by recreating these shades on the hair with Smokey Ombré by Redken. Smokey Ombré combines two of the biggest beauty trends to have ever come our way – ombre and smokey eye. The result is a new and customisable technique that will appeal to your fashion-forward clients, while attracting a younger generation to your salon.

HAIR COLOUR AS MAKEUP Redken, working in partnership with the world’s top talent in colour, Josh Wood, has created three techniques inspired by makeup. Using words the client is familiar with, such as smokey and ombre, the three looks provide a new way to attract clients while helping the colourist to unlock their creativity. Inspired by Redken’s

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unique approach to colour and its philosophy ‘hair colour is the new make-up’, the three Smokey Ombré looks perfectly encapsulate the trend’s versatility. The three looks are: • Whisper: this pop of silver is perfect for clients wishing for a subtle hint of colour.

• Talk: try this halo of metallic blue for clients wanting to show off their shade a bit more.

• Shout: this bold haze of violet is for those really wanting to make a statement.

Smokey Ombré can be achieved using the unique Redken colour palette, which combines permanent, demi-permanent and vivid colours in a way that both respects the integrity of the hair and maximises results.

EXCLUSIVE TO REDKEN Your clients will love these insta-worthy shades, but to get them right, you need Josh Wood’s formulas and his tips on how to apply – something only Redken can give you access to. Like the smokey eye, Smokey Ombré will be a trend that transcends time, so make sure you can offer this service to your clients today with Redken.

WANT TO BE PART OF THE REDKEN REVOLUTION? TO FIND OUT MORE CALL 020 8762 4121 OR VISIT REDKEN.CO.UK Autumn/Winter 2017 RUNWAY

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THAT WAS THE SEASON THE OFFICE

“GOOD MORNING. Milo Maria will see you now…” For the Milo Maria A/W17 On|Off presentation, guests checked in at reception to find themselves in a show space repurposed as an office. Yes, an office, and circa 1987 at that. Models went about their admin duties dressed in pieces from the collection that included chic roll neck sweaters, structured jackets and lightweight fluid midi dresses, while the audience could approach and look up close and personal at the clothes. It’s the only way to show office wear, wouldn’t you say?

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S AY I T W I T H S PA R K L E S

FA S H I O N S H OW S W E R E T R A N S F O R M E D I N TO O F F I C E S A N D C I N E M A S; C L O T H E S A N D M A K E  U P L O O K S W E R E R A I N B O W B R I G H T; A N D A F E W F A M O U S FAC E S C O U L D B E S P OT T E D B AC K S TAG E . L E T ’S TA K E A C L O S E R L O O K …

FA M I LY

THERE IS LITTLE ELSE that looks more glorious walking down the catwalk than the shimmering glimmer of sequins. This elaborate hand-crafted dress from Erdem was was the ultimate show-stopper. Quite literally. It was one of the looks that closed the show worn by epic model, Jamie Bochert.

TIES

TOPSHOP UNIQUE was all about the mini-supermodelin-the-making strutting her stuff. Spotted backstage was Lottie Moss, half-sister of one Kate Moss. She did a rather fine job following in her sister’s fashion footsteps.

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BEANIE BABIES NOTHING MARKS the coming of a winter season more than a cosy hat.

So if you’re looking for inspiration, look no further than the offering at Daks, where models were kept warm with these woollen beanies.

Images courtesy of L’Oréal Professionnel, Redken and Toni&Guy

MOVIE NIGHT

Prada

DON’T RESTRICT colour to clothes this season! Look to Prada, Prabal Gurung and Central Saint Martins, who all brought their season’s colours up onto the eyelids with brightly coloured make-up treatments that screamed modern elegance. Painterly perfection in action.

Prabal Gurung

Central Saint Martins

SINGING SOCKETS

TECHNICOLOR DREAM IT WAS ALL A DREAMY haze of brightly coloured clothes for Topshop Unique’s London Fashion Week spectacular. Yes please to floral print skirts, stripy bodysuits and graphic printed dresses. Soft focus filter would be rather lovely too, thank you.

I PREDICT A RIOT

THE CENTRAL Saint Martins Fashion Week show was exactly what you might expect from the up-and-coming fashion designers of tomorrow: FUN! Inspired by the rave culture of the ’80s and ’90s, the clothes were a riot of colour and texture: lamé, lycra, tulle, even tinsel. This is exactly the kind of creativity and experimentation that is required for our Fashion Week fantasies.

WE LOVE A mise en scène for Fashion Week, and Charlotte Olympia delivered in true theatrical form with a screening at London’s Curzon cinema for her film noir, An Accessory to Murder – a shoedunnit (get it?!) murder mystery. Killer (ha!) heels made an appearance in the form of Mary Janes, kitten heels and ’40s style boots with popcorn-style clutches that boasted pearls instead of kernels leading the way with accessories.

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Topshop Unique

THE TRENDS FROM H OW YO U P RE P TO H OW YO U S T Y L E, T H E T RE N DS T H I S S E ASO N T R A N SC E N D T H E N O R M A L . R E A D O N F O R A L L Y O U N E E D T O K N O W A B O U T H A I R F O R A / W 17 16

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Victoria Beckham

Coach

Daks

Zeynep Kartal

Paul Costelloe

SAY HELLO TO HAIR’S answer to ‘no make-up’ make-up. The trend that isn’t about a particular cut or way of styling, but rather about texture and how it has been prepped to make for a beautiful, good quality finish. Backstage at Topshop Unique, hair stylist Duffy was using the L’Oréal Professionnel Steampod to kickstart shine in models’ waist-length hair, citing ’90s Versace as his reference. “This isn’t grungy, it’s healthy, glossy hair that has been prepped well and looked after,” he explained. At Dolce & Gabbana, Redken global creative director, Guido Palau, ‘Dolcified’ each model, giving each an individual look best suited to her.

The consistency among all the different looks, however, lay in the preparation – washing hair with Redken’s All Soft Shampoo and Conditioner. The end result? Softness and shine that lent itself perfectly to the romantic Dolce look. And quite a few other looks too, it would seem, as Guido prepped hair in this way at Alberta Ferretti and Ralph Lauren. Ramping things up a notch at Coach and Calvin Klein, Guido relied on the Diamond Oil Shampoo and Conditioner duo for even more lustre and high shine, and, once washed, hair was left to air dry.

Backstage at Victoria Beckham, he declared that this was the new approach to hair that we have been waiting for: “I have seen a resurgence of a new idea of luxury,” he explained, “very clean hair that’s left to dry naturally.”

Coach

Christopher Kane

Calvin Klein

Ralph Lauren

Topshop Unique

ALL ABOUT THAT BASE

GET THE LOOK ZE YNEP K ARTAL HAIR Jason Collier at Matthew Curtis Hair Salon, Rosewood London for L’Oréal Professionnel.

THE LOOK Calabasas glam meets pared down chic.

HOW Prepping hair with L’Oréal Professionnel Tecni.

ART Liss Control Plus, it was blow-dried in sections for a

sleek finish. After pulling into a centre part, cool air was blasted through the sides for a mirror shine. Irons were run through the lengths, then front sections were tucked behind the ears using Infinium. And it was finished with plenty of Tecni.ART Wet Domination Shower Shine.

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Central Saint Martins 18

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Central Saint Martins Alexander Wang Alberta Ferretti

Central Saint Martins

Daks

THE TERM “BED HAIR” has long been bandied about in beauty; it’s a saying that describes tresses that has been tousled ‘just so’.

For the new season, hairdressers were feeling inspired by hair that had been achieved by way of amorous encounters, which brings a blush and a flush to the cheek and a flurry to the hair. At Daks, Stephen Low of Neville Hair and Beauty worked with L’Oréal Professionnel to create sleek waves that were ever-so-slightly deconstructed. While it was still very polished, it was definitely a bit rough around the edges, with Low describing the look as “effortless bed head with natural texture”. At Alexander Wang, Redken’s Guido tuned into the usual personality of the classic Wang girl: “she’s been out all night at a party, she’s the type of girl that everyone wants to hang out with”. Accordingly, models’ hair was treated to Redken Wax Blast 10 for guts to hair and sexy separation between strands, before being layered up with Wind Blown 05 and scrunching the ends between hands for added texture. So too, Guido’s Marc Jacobs girl with her touselled locks, and the look he created at Alberta Ferretti where a long plait was slowly starting to unravel itself. At Éthologie, Cheryl Munoz and Lino Carbosiero at Daniel Galvin worked with L’Oréal Professionnel on messy curls that had a distinct air of the-morning-after about them, as did various looks created by Adam Reed and his L’Oréal Professionnel team at Central Saint Martins. Naughty, but oh so nice.

Central Saint Martins

Daks

Éthologie

Hyein Seo

ROUGH & TUMBLE

GET THE LOOK MARC JACOBS HAIR Guido Palau for Redken.

THE LOOK The classic Marc Jacobs girl – she’s downtown and cool.

HOW Hair was readied with All Soft Shampoo and Conditioner from Redken to cleanse and add some softness and shine, and then

allowed to air dry. To enhance natural texture and to add a bit of grip, a generous spritzing of Redken’s Wind Blown 05 was applied throughout the mid-lengths, and then hair was tousled using fingertips.

A hat or hair clip then completed the style.

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Loewe

Tory Burch

Erdem

Malan Breton

Leon Lloyd London

Sid Neigum

Leon Lloyd London

Eudon Choi

IN THE WORLD OF backstage beauty, barely a season goes by where ponytails don’t make a statement appearance somewhere on the catwalks. For A/W17 there were myriad show ponies seen across the fashion cities. And while they mostly all replicated the beautiful quality texture mentioned above, it was the nuances that allowed each style to tell its own story. At Tory Burch, Redken’s Guido was inspired by Katharine Hepburn in the movie The Philadelphia Story. “I’ve kept the hair at a centre-parting instead of a side-parting to give a more girly, feminine touch,” he said. Low and long was the way to go for Anthony Turner and L’Oréal Professionnel at Erdem. It was a “fresh and innocent” take on hair that felt like a simple palette cleanser to the woman who has favoured dishevelled up-dos in previous seasons. It was divide and rule at Leon Lloyd London at On|Off, where Rush Hair’s Tina Farey for L’Oréal Professionnel used multiple bands for a rougher, textured result. Side-parted ponies also cropped up at Malan Breton by Toni&Guy’s Philipp Haug and at Eudon Choi,

by Stephen Low from Neville Hair and Beauty working with L’Oréal Professionnel. Take note too: wrapping a little seam of hair around the base of the pony to conceal the elastic was a popular choice, as seen at Sid Niegum by Daniel Fiorio for L’Oréal Professionnel. Wrap it, part it, extend it. Whatever you do, just work it.

JW Anderson

BEST IN SHOW

GET THE LOOK SID NEIGUM HAIR Daniel Fiorio for L’Oréal Professionnel.

THE LOOK “Effortless elegance” inspired by the luxe fabrics in the collection.

HOW Tecni.ART Dual Stylers Sleek & Swing and Liss Control were used in the hair to prep ahead of blow drying to provide gentle frizz 20

control and shine. He then used a Steampod through the lengths to straighten before parting in the centre and creating an undercut with a pony. Finally, he loosened the hair and tucked so that she looked like “she had been walking against the wind – slightly dishevelled”.

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W E T, W E T, WET

All images courtesy of L’Oréal Professionnel, Redken and Toni&Guy

Palmer-Harding Haizhen Wang Caplanentwistle Baja East

Annderstand

Mary Katrantzou

Annderstand

Haizhen Wang

Annderstand

FASHION WEEK IS ALL about extremes, right? So while we witnessed the popularity of glossy, shiny, natural hair on the catwalks, we also saw the complete contrast, with wet-look hair offered as an alternative. At Paul Costelloe, Toni&Guy’s Cos Sakkas worked with the show’s inspiration of Game of Thrones meets The Tudors, to create a modern wet-look texture quiff that then flowed into loose waves. Meanwhile, at Mary Katrantzou, Toni&Guy’s Indira Schauwecker slicked hair back and tucked it behind the ears, while at Annderstand, Sophie Springett for Toni&Guy slicked kiss curls down the hairline while the rest of the hair hung loose. Two-texture hair also played a part in the look at Haizhen Wang

by Adam Reed for L’Oréal Professionnel, which referenced “understated goth meets high-end fashion”. This look was all about product and Adam used Tecni.ART Pli and Tecni.ART Glue on the top of the hair, before setting them in with a dryer and diffuser on low. Slick texture wasn’t just reserved for hair that was long and loose though either; at Baja East Redken’s Guido relied on Hardware 16 Gel for the sleek buns he was creating, while at On|Off ’s Caplanentwistle, Kathryn Dartnell for L’Oréal Professionnel saturated hair in product to create a raw edge. Adding a certain coolness and edge to any look where high-shine featured, the backstage styling directive was clear – it’s time to dive in.

GET THE LOOK CHRISTOPHER K ANE HAIR Guido for Redken.

THE LOOK Imperfect hair with personality.

HOW Hair was prepped with All Soft Shampoo and Conditioner to cleanse and add softness and shine, then left to air dry. If hair was straight, a curling iron was used on the length to add a

little texture. The top section was blow-dried to push hairline back. Fingers were used to run through the front top section, flipping it to one side, then doused in Control Addict 28 Hairspray to hold the style. Clips were used to help set and removed when it was all dry.

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FRONT ROW FIVE INTRODUCING THE SESSION ST YLISTS’ ESSENTIALS, B Y L’O R É A L P R O F E S S I O N N E L

WHAT DO SESSION STYLISTS Duffy, Adam Reed, Anthony Turner, Stephen Low and Daniel Fiorio have in common? They can’t be without Tecni.ART by L’Oréal Professionnel!

Tecni.ART is a range session stylists can trust – they know it will always meet their demands, no matter what. The highperforming products have everything session stylists need to create the latest hair trends quickly and easily. From a super sleek ponytail to tousled, barely touched hair, Tecni.ART is the range they use to make it happen.

We had a sneak peek into these session stylists’ kit bags to discover the exact Tecni.ART products they couldn’t do Fashion Week without…

TECNI.ART PLI USED AT: TOPSHOP UNIQUE USED BY: DUFFY

“I applied Tecni.ART Pli to damp hair and blow-dried until the hair was dry – it created a glass-like finish and the hair appeared almost to shatter on the runway”

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TECNI.ART LISS CONTROL

TECNI.ART VOLUME LIFT

USED AT: SID NEIGUM USED BY: DANIEL FIORIO

USED AT: JW ANDERSON USED BY: ANTHONY TURNER

“I used Liss Control throughout the hair before blow-drying so the hair wasn’t weighed down. The result was an effortless, shiny and luxurious-looking finish”

“I saturated the hair with Volume Lift before blasting it dry to provide the perfect foundation and glassy smoothness for the ‘poor little rich girl side-pony’ story”

TECNI.ART FIX MOVE

TECNI.ART VOLUME ARCHITECT

USED AT: HAIZHEN WANG USED BY: ADAM REED

USED AT: EUDON CHOI USED BY: STEPHEN LOW

“I used lashings of Fix Move to finish the look, providing the hold I needed for the ‘no-pony’ style”

“I worked Volume Architect into the lengths to add volume and a subtle lift without it being sticky. This is the base product I couldn’t live without this season”

GET TECNI. ART IN YOUR SALON TODAY. CALL 0845 600 0122 OR VISIT LOREALPROFESSIONNEL .CO.UK AND FOLLOW @LOREALPRO #LOREALPROUK ON INSTAGR AM AND T WIT TER Autumn/Winter 2017 RUNWAY

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HOW HAIR HAPPENS H E A D B AC KS TAG E W I T H T H R E E O F T H E G LO B E’S P R E M I E R S T Y L I S TS TO S E E TH EM FA S H I O N T H E T R E N DS FO R T H E S E A SO N

Smooth as silk, the look created by Duffy at Tophop Unique calls for Tecni.ART Pli by L’Oréal Professionnel to build the perfect texture.

Closely matched extensions are added to each model’s hair for seamless, long lengths.

THE SHOW TOPSHOP UNIQUE THE LEAD DUFFY FOR L’ORÉAL PROFESSIONNEL 24

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R U N WAY H O W H A I R H A P P E N S

With straight hair with intense shine, this look is reminiscent of the Versace girls of the ’90s.

Hair gleams under the catwalk lights, mirroring the sequins and metallics of the chic Topshop Unique collection.

Duffy checks that not a hair is out of place for a pristine and precise style.

Backless dresses allow the hair to flow down models’ backs – a fuss-free finish.

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15/08/2017 15:57

THE SHOW JW ANDERSON THE LEAD ANTHONY TURNER FOR L’ORÉAL PROFESSIONNEL

To ensure a smooth texture, Anthony cocktails Tecni.ART Pli, Tecni.ART Full Volume and Mythic Oil, all by L’Oréal Professionnel, before blow-drying.

Anthony Turner’s inspiration at JW Anderson this season was a sweet schoolgirl who’s enjoying her first night out.

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Hair is swept from right to left and secured into a low ponytail.

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R U N WAY H O W H A I R H A P P E N S

The hair was pulled apart slightly on the left-hand side so that the ear poked through.

For shine and natural hold, hair is sprayed with a light mist of Infinium.

Models took to the runway with their ponytails swung over their shoulders, innocence with a hint of rebellion.

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17/08/2017 14:46

THE SHOW HAIZHEN WANG THE LEAD ADAM REED FOR L’ORÉAL PROFESSIONNEL

To create a wet, piece-y texture, hair is blowdried gently though a hair net.

Adam Reed preps hair by combing it into a severe centre parting.

Hair is dampened down with backstage favourite Tecni.ART Pli and water, before Tecni.ART Glue is smoothed through the lengths.

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R U N WAY H O W H A I R H A P P E N S

Before the show, hair is shaken out to create a “pony no pony� effect, which stays rigid as the models walk.

Hair is then scraped into a low ponytail and left to set with clips to make kinks.

These disciplined sleek hairstyles are perfectly balanced with oversized tailoring, bare eyes and dark lips.

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R U N WAY A D V E R TO R I A L

DON’T YOU KNOW WHO I AM? F O R C O L O U R W O R T H Y O F T H E R E D C A R P E T, C H O O S E T H E N O T S O  S E C R E T S U C C E S S B E H I N D A  L I S T C O L O U R I S T S ’ T R A N S F O R M AT I O N S  REDKEN SHADES EQ KEEPING UP-TO-DATE on the latest fashion and celebrity hair colour trends can be difficult, so when it comes to choosing your hair colour brand, it makes sense to go with the one celebrity colourists wouldn’t be without. Loved by leading colourists, including top celebrity colourist and Redken color creative consultant, Tracey Cunningham, Shades EQ is the number one colour in the US and an award-winning acid based demi-permanent formula that truly delivers A list colour results.

WHY DO PROFESSIONALS LOVE SHADES EQ? Shades EQ comes in two formulas, a cream and a gloss, and is the epitome of Redken’s slogan – Haircolor is the new makeup.

Think of Shades EQ Gloss like a lipgloss for hair.

The high-shine liquid consistency gives hair the glossiest red carpet results you could hope for. It also leaves hair with 100 per cent more shine than before colouring, enhances vibrancy and hair condition.

Meanwhile, Shades EQ Cream is like the lipstick of hair colour and will leave hair with rich, intense colour results.

But Shades EQ is so much more than a colour formula – it’s your opportunity to grow your business and attract a whole new clientele. How? It’s the most versatile demi-permanent colour around and can be diluted with clear to create bespoke colour results. This means it can be used to gloss or tone prelightened hair, refresh faded colour, add shine… the list goes on!

Shades EQ truly appeals to all clients; it’s a lowcommitment service so great for clients who have never had colour before, while the selfie generation and colour obsessives will both like it as it’s as accessible as a manicure, but is sophisticated enough to use in premium services. And for the timepoor it’s perfect as it provides instant results in just a 20-minute service.

Redken Shades EQ is the boost your colour business needs. Trust us, your clients, colourists and wallet will thank you for it.

T R I B E TA L K W H Y CO LO U R I S TS A R E # R E D K E N O B S ES S E D NOBODY HAS A GLOSS QUITE LIKE SHADES EQ. IT’S TRULY IN ITS OWN CATEGORY AND IS PERFECTION! TRACEY CUNNINGHAM, CELEBRITY COLOURIST

THE ACIDIC PH LEVEL IS INCREDIBLE FOR SENSITIVE HAIR AND ITS TRUE DEMIPERMANENT QUALITY MEANS THERE IS NEVER A REGROWTH LINE. IT IS A PRODUCT WE COULD NOT BE WITHOUT! CLAIRE BONNEY, RADIO LONDON HAIR SALON

SHADES EQ IS LIKE NO OTHER COLOUR RANGE. IT’S SUPER POPULAR WITH GUESTS WHO JUST WANT TO BLEND AWAY 50 PER CENT OF THEIR GREYS, BUT DON’T WANT ROOTS OR UNWANTED WARM HUES REBECCA ADAMS, THE CHAPEL

WHAT I LOVE ABOUT SHADES EQ IS THAT I GET A PERFECT TONAL RESULT EVERY TIME  NO MATTER HOW POROUS THE HAIR’S TEXTURE. CLIENTS LOVE IT! PAUL BINGHAM, LOCKONEGO

FOR RED CARPET COLOUR, IT’S GOT TO BE SHADES EQ BY REDKEN. BE PART OF A NEW GENER ATION OF COLOUR, CALL 020 8762 4121, OR VISIT REDKEN.CO.UK. FOLLOW @REDKEN ON INSTAGR AM Autumn/Winter 2017 RUNWAY

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15/08/2017 16:02

RE:CREATE

House of Holland

Milo Maria

Fenty x Puma

Fenty x Puma

WE’ VE GIVEN YOU THE BIG IDE AS, AND SO NOW ONTO THE MIC RO TRE NDS THAT PEOPLE ARE BUZ ZING ABOUT BACKSTAGE. DE TAILS, DE TAILS

… KEEPS HAIR BOREDOM away – and there was plenty of inspiration on the catwalks to choose from. See the braids that were worn tight to the scalp at Rihanna’s Fenty x Puma,

by Yusef Williams for L’Oréal Professionnel. Or, check out the two side braids at House of Holland by Cos Sakkas for Toni&Guy. Pretty edgy, right? Then there were the more romantic options such as the loose and long weave at Alberta Ferretti by Guido Palau for Redken, and this beautiful textured fishtail at On|Off ’s Milo Maria by Matthew Curtis for L’Oréal Professionnel.

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Alberta Ferretti

A B R A I D A D AY…

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Bottega Veneta

R U N WAY R E C R E AT E

Jack Irving

Jayne Pierson

WANT A SEASONAL style update with minimal effort? Just whip your parting over to the side. And voila! That’s it. You’re good to go. Seen everywhere from Bottega Veneta by Redken’s Guido Palau to Eudon Choi by Stephen Low at Neville Hair & Beauty for L’Oréal Professionnel and JW Anderson by Anthony Turner for L’Oréal Professionnel. So simple, it’s simply brilliant.

JW Anderson

Eudon Choi

S I D E WAY S

T H AT ’S S L I C K , RICK SO WE KNOW that the wet look is IN. But we all know water alone won’t cut it. Make like Richard Phillipart from The Boutique Atelier at Jack Irving’s On|Off show and get painting. His team slicked-back models’ hair using a winning combination of Tecni.ART Fix Move and Infinium hairspray from L’Oréal Professionnel, and a damn hard bristled brush.

We’re well gel.

TWIST & TURN OOH, DON’T YOU love a good thriller? All the twists in the story that you didn’t see coming? That’s how we felt about the tubular tresses revealed at Jayne Pierson at On|Off, deftly crafted by Darren Fowler at Fowler35 for L’Oréal Professionnel. Lengths were left loose but drenched, an expert counterpoint to the future print paint silks on display. This thriller has a very happy ending.

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17/08/2017 11:03

Éthologie

Micro trend alert! Curls are back in a big way for the new season and just how curly you want to go is up to you. At Charlotte Olympia, Adam Reed worked with his stash of L’Oréal Professionnel products to create sleek, retro curls that were a perfect nod to Charlotte’s personal style, as well as the Film Noir theme of the collection, too. Things were then really amped up at Éthologie where Cheryl Munoz and Lino Carbosiero at Daniel Galvin for L’Oréal Professionnel created big, brushed out curls that made a larger-than-life statement.

Charlotte Olympia

C U R L YO U R ENTHUSIASM

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Images courtesy of L’Oréal Professionnel, Redken and Toni&Guy

Tory Burch

WHEN BOWS APPEAR in the hair at both Dolce & Gabbana and Tory Burch (and they are fashioned

by Redken’s Guido Palau), you know that you’re going to start seeing them filter down into the mainstream.

These beautiful ties made a classic but glamorous statement that was worn in two different ways: floppy and velvet at Tory Burch, then structured and satin at Dolce & Gabbana. It’s time to get all tied up.

Dolce & Gabbana

BOW DOWN

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IN THE PINK YOU KNOW WHEN Rihanna puts on a show, everything is gonna get turned up to 11. Yes there were badass braids in abundance at her Fenty x Puma show in Paris, but we also spotted this rosehued RiRi gem, courtesy of new #COLORFULHAIR from L’Oréal Professionnel. Petal perfection.

Ashley Isham

Boo Pala

AT JESSIE WESTERN, Richard Ward’s Cristiano Basciu was working with L’Oréal Professionnel on these Navajo-inspired braids that had all manner of detail woven into them. From exotic bird feathers to beads, the bohemian vibe worked perfectly when paired with a suede Stetson hat.

Baja East

BIRDS OF A FE ATHE R

Fenty x Puma

TYING UP LOOSE ENDS

Jessie Western

R U N WAY R E C R E AT E

THERE IS SOMETHING effortlessly cool about a hairstyle that is left purposefully undone, and for A/W17 leaving the ends of an up-do loose kept cropping up. See the unfinished buns by Redken’s Guido at Baja East, or the ponytail loops at Boo Pala

by Tina Farey at Rush Hair for L’Oréal Professionnel, or the knotted styles at Ashley Isham by Jon Wilsdon for Toni&Guy. The message is clear: let it all hang out.

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17/08/2017 13:11

All images courtesy of Instagram, L’Oréal Professionnel and Redken

THE HAIR INFLUENCERS F R O M R U N WAY L O O K S T O B U Z Z I N G I N S TA G R A M F E E D S A N D W H AT ’ S O N T H E S T R E E T, T H E S E A R E T H E N A M E S L E A D I N G H A I R ’ S C O N V E R S AT I O N

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Josh Wood

JOSH WOOD JOSH WASN’T named Most Wanted Hair Icon of 2016 for nothing. The Redken global color creative director is the man behind the manes of many a famous lady (Kylie, Laura Bailey and Elle MacPherson are just a few), but he also turns his hands to backstage where he can be seen at the likes of Prada, Givenchy and Versace, transforming models into vibrant-stranded, otherworldly creations.

When his salon, The Atelier, launched in 2011, it was hailed as the ‘anti-salon’: no big mirrors (you are shown your hair on large hand mirrors), no tatty magazines (only slick iPads), and no nonsense – it is as revolutionary as it is impeccable. And Josh continues to be a leader in the industry and on the high street.

Versace

Alexander Wang

HERE IS A stylist so famous in the world of hairdressing that he goes just by his first name.

Like Prince. Or Madonna. Guido, Redken global creative director, is the man on the backstage scene who does more shows than any other, which is most probably why he’s a former Most Wanted Session Stylist award winner. Influencing trends is something that runs in Guido’s blood. The styles that he creates become moments in time that filter down and become embedded into our culture. Remember the Kate Moss Calvin Klein ad of the ’90s? That was him. Remember the beach-y side plait from Alexander Wang? Yep, that was him. Remember the romantic bejeweled styles at Valentino and Dolce & Gabbana? Also him. The thing about Guido is that he is just so versatile: whether a designer or editor is after raw, romantic, graphic or theatrical, he can do it all. He is the ultimate influential creative.

@georgenorthwood

GUIDO

IF THE ’90S were all about ‘The Rachel’, then the Noughties have been all about ‘The Alexa’.

As in Alexa Chung, whose hair, cut by a certain George Northwood, has become something of a modern day symbol. He is also the man responsible for the hair of Daisy Lowe, Gwyneth Paltrow, Julianne Moore, Alicia Vikander and Rosie Huntington-Whiteley. Celebrity clientele aside, George has carved out a niche out for himself as the man behind the salon chair as much as he is out on shoots. Creator of cool in-salon concepts, such as The Bob Bar and The Curated Cuts menu, George’s salon has become a real go-to for innovative cuts that feel natural and easy – and that don’t require a huge amount of styling at home. A recipe for success.

George and Rosie Huntington-Whiteley

Guido at Dolce & Gabbana

Another Magazine

GEORGE NORTHWOOD

Chinese Vogue

George and Alexa Chung

R U N WAY H A I R I N F L U E N C E R S

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16/08/2017 16:12

Not Another Salon

Topshop Unique

Duffy

Sophia Hilton

Denim for Hair

ADAM REED

L’Oréal Colour Trophy show

ONE HALF OF hair duo Percy & Reed, Adam has made a name for himself both in the salon and out of it. You’ll find him backstage at London Fashion Week where he has headed up shows such as Daks and Haizhen Wang for L’Oréal Professionnel. It’s not enough for Adam to simply create beautiful hair for high fashion shows – his keen understanding of how elegant hair can be translated from the runway to the street has meant that he’s the brains behind numerous hair trends (think Hairbadashery embellishments and Denim for Hair). With both an East End and a West End salon, he’s got London covered, and a host of celebrity clients and beauty editors to boot.

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WITH HER CANARY yellow hair, Sophia is such a recognisable presence that it’s hard to believe she has achieved so much by the age of 29. She burst onto the scene when she won It Girl in 2011 and L’Oréal Colour Trophy in 2013, and hasn’t stopped since. Sophia has enjoyed an insanely successful first 18 months as a salon owner – and her Brick Lane-based Not Another Salon has an incredible 170k Instagram followers already. Her stylists are fully booked, and hundreds of salons globally are talking about her approach to colour and business, such as her gender-neutral pricing and her No Judgement Policy for clients, and she’s even personally featured on the front page of the Evening Standard. Her influence is such that when her salon created a ‘hidden rainbow’ it went viral with 102 articles written within 24 hours. Nothing that good can stay hidden for very long.

DUFFY DUFFY LEARNED the ropes at Vidal Sassoon, which furnished him with his incredible understanding of texture and shape, and he took his first steps into the world of session styling with none other than Eugene Souleiman. You’re guaranteed to spot him backstage at Fashion Week, and that’s not just because of his long ginger beard. His approach is based on intuition and he’s not afraid to cut hair backstage – extensions or real. Duffy isn’t obsessed with perfection – rather, he favours feeling and movement that verges on the abstract. This easy breeziness can be seen in his attitude too, as he’s known for being a laid-back presence at hectic high fashion shows.

Duffy

Adam Reed

SOPHIA HILTON

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Chris (right) and Kim Kardashian West

Kate Moss for Miu Miu

Chris and Katy Perry

ANTHONY TURNER ANTHONY TURNER’S calling card is beautiful hair with a touch of darkness – his work often finds the beauty in the unusual and more than often has a hint of the macabre about it.

A regular on the Erdem shows, he has found inspiration from throughout history, and doesn’t shy away from tragedy – his muses have included the ghosts of shipwrecked girls, and his Instagram is peppered with Edward Gorey-esque doodles. He has collaborated with fashion photography legend Alasdair McLellan and has worked his dark magic on titles such as i-D, Love and Dust. But it’s not all doom and gloom – when Harry Styles cut his iconic long hair, Anthony Turner was the man to do the job, and his recent work includes styling Kate Moss for the latest Miu Miu campaign and Jessica Chastain for Prada.

CHRIS APPLETON KIM KARDASHIAN WEST is one of the most famous women in the world – the ultimate celebrity who “broke the internet” – and who often styles her hair? Step forward Chris Appleton, a former L’Oréal Professionnel ID Artist and It List It Guy. George’s Hairdressing in the East Midlands is known to be a hothouse for rising stars, and Chris is one of its most successful exports. He’s been the brains behind many of Katy Perry’s show-stopping looks, igniting trend after trend and setting the bar for festival style – the wigs, braids and bright colours we have grown to love have all been influenced by Chris’ work. He’s also a red carpet regular, styling at the Oscars, Cannes and the Grammys for a host of A-Listers. Not bad for a lad from Leicester.

Chris and Ariana Grande

Bleach London

EVER WONDERED why every second girl in East London is nonchalantly sporting washedout tones of candy pink, soft lilac and mermaid blue? You have Alex Brownsell to thank for the pretty-grunge trend, which started off in a makeshift salon in her flat before moving to a nail salon in 2010. Fast-forward to the present day and there are Bleach salons in Dalston, Soho and Oxford Street’s flagship Topshop store. She’s a regular head stylist at shows such as Molly Goddard, and headed up the hairstyling for Alexa Chung’s new line, Alexachung, which set the fashion world alight. Alex is also responsible for Georgia May Jagger’s iconic platinum blonde hair. Her next venture includes an in-salon bespoke colour station, which we predict will channel the same cool girl vibes.

JW Anderson

ALEX BROWNSELL

Anthony at Peter Pilotto S/S17

Alex Brownsell

R U N WAY H A I R I N F L U E N C E R S

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W

A

RRO

N O

O

F

TOM

M

A S M A N A G I N G A N D C R E AT I V E D I R E C T O R O F G R A D U AT E FA S H I O N W E E K , M A R T Y N R O B E R T S I S V I TA L F O R T H E D E V E L O P M E N T O F FA S H I O N ’ S F U T U R E S TA R S . R U N WAY E N J O Y S A N E X C L U S I V E A U D I E N C E …

Runway: How did you get into fashion?

Martyn Roberts: It was a complete coincidence! I’d studied chemistry at university in New Zealand, but I’d organised a lot of gigs for friends’ bands, so I ended up doing a post-graduate diploma in PR. I came over here and a friend of mine said they were working with a fashion designer on a show – Justin O – would I like to help out with some PR? From that moment I was bitten by the fashion bug! I worked at Kim Blake’s PR agency and her first client was Alexander McQueen. She went on to discover a whole generation of talent, and I worked on young and emerging designers.

R: You created young talent champion Fashion Scout – what need did you identify?

MR: I worked with some technology brands and their sponsorships, and I realised there was a real link between creatives and commercial brands. I left and secured Christopher Kane his first sponsorship, and started working with designers. What I realised then was that we were getting designers sponsorships, and they would spend it all on one show, and the next season they would come back to us needing more money, and we wanted to figure out a way to help. So, with show producer John Walford, we set up a showcase for designers. There was no name, we just pulled it together, and that

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first season we had Osman, Karen Walker and Jean-Pierre Braganza. I thought, why are we looking for sponsorship for people, why don’t we bring in the money ourselves? The car company Vauxhall had sponsored Giles Deacon and Christopher Kane, and it was looking for ‘the next one’. We said: ‘why are you looking for one – why don’t you sponsor us and you can support a number of them?’ And we created Vauxhall Fashion Scout in 2006.

R: You’re five years into the Graduate Fashion Week (GFW) job – what does it entail and what changes have you made?

MR: When I started, it was already well run and all the systems were in place but it was quite a corporate event. The key word is ‘graduate’ – it’s got to be exciting, innovative, a bit edgy. I encouraged all the universities to look at their stands and be more creative in presenting just what they do. I spent a lot of time working with the tutors and course leaders on how to talk to industry and help them find the graduates to offer them jobs. It’s really paid off – we get so many more people from the industry coming along now because they know they can go to a stand and the lecturer can say: ‘You’re looking for childrenswear designers? Let me show you the two best portfolios.’ We also moved it to the Truman Brewery in Shoreditch. That

was fundamental, to be in a more creative environment. The fashion industry is now very much based out east, particularly the young creatives, while some of the big houses are west.

R: GFW is huge – how do you put it together?

MR: We work on it throughout the year, and there’s something to work on every day. There are long schedules and lists of things to be done!

The biggest challenge is that there are so many different elements. At an average Fashion Week event you have an exhibition, catwalk shows, media lounge, presentations and they all work in sync with each other, whereas here you also have talks, masterclasses, judging, sponsors and their stands and different activities going on. The sheer scale of it is immense!

R:What do you see for the future for GFW? MR: We’ve been developing an international element, showcasing more universities from overseas. We’ve teamed up with Swarovski to produce a series of masterclasses for international students – fashion is a global industry and that’s become more important.

Also important is sustainability and how we can encourage the universities and the graduates. We’ve just registered the Graduate Fashion Week Foundation and this will take over from the charity that runs the event, which is also called Graduate Fashion Week. There

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R U N WAY G R A D UAT E FA S H I O N W E E K

TEAM SPIRIT

Ellenora and Luke pictured centre

B A C K S TA G E AT G R A D U AT E FA S H I O N WEEK A VETERAN AND A NEWBIE LED THE HAIR TEAM. WE ASK THEM W H AT I T ’ S L I K E W O R K I N G A C R O S S 23 S H O W S I N F O U R D AY S !

This page: Graduate Fashion Week Gala Shows 2017, images courtesy of L’Oréal Professionnel

LUKE PLUCKROSE, SAKS

was always a bit of confusion! The Foundation will be looking to develop activities such as masterclasses outside of London throughout the year. We can talk to graduates as also preuniversity students, get information out there about this wonderful industry.

R: GFW works with L’Oréal Professionnel on the catwalk shows – how vital is that collaboration with hair?

MR: It’s essential. We have about 24 catwalk shows, and our hall holds 800 people, and during the week we’ll have 400 to 500 graduate collections go down the catwalk, that’s about 1,000 models. The runway is the most effective, efficient and exciting way of looking at garments, but clothes don’t go down that catwalk by themselves. There are two fundamental areas – hair and music. Imagine a model walking down the catwalk with no music – you’d look at the clothes in a completely different way. The same applies to hair. How it is expressed helps the collections to shine – you understand the vision of the designer better, it puts them into context. We have our Gala awards show, where those 400 to 500 collections are narrowed down to about 25, and the team at L’Oréal Professionnel works closely with the show producers and the universities to create forward-looking, modern looks that

complement those collections. One of the biggest challenges is that they have to create a look that will work across all the collections.

R: What else does the L’Oréal Professionnel partnership bring?

MR: One of the biggest elements it brings is in its name – professionalism. It’s essential we have this level of professionalism at the shows, it means we can keep a high standard. If L’Oréal Professionnel wasn’t involved, it wouldn’t be as good for anybody.

How was this GFW event compared with previous ones you’ve worked?

Luke Pluckrose: “I was more relaxed as I knew what to expect. Early starts, late finishes, models everywhere – a different pace to London Fashion Week. Some models had four looks a show which can take some organising!”

Which skills have you improved by leading a team at GFW? LP: “I’ve learnt to think on my feet more.

We don’t have the luxury of doing tests; we just receive images of what designers like. So models arrive and we’re testing on the spot and showing the team the look all in one go.”

ELLENORA DEAN, PERCY & REED Runway: What was working Graduate Fashion Week for the first time?

Ellenora Dean: “I loved it! The energy is something I’ve only ever experienced at GFW. I had a great bunch of stylists from L’Oréal Professionnel Portfolio salons and they all worked so hard, which made the whole experience much more fun and enjoyable.”

R: Why is it such a good experience for a young stylist?

ED: “It’s intense! All of the shows overlap, there are four to five shows a day. It’s a crash course in session hair and how to cope with the backstage madness.”

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16/08/2017 16:26

Donatella Versace and Kylie Jenner at the Met Gala

Versace 42

colour lines that empower salons to deliver the insta-worthy hues straight to the clients who crave them. Redken’s City Beats and #COLORFULHAIR from L’Oréal Professionnel were launched this year with enormous excitement on social media.

Redken global creative director, Guido Palau, believes this runway-to-reality movement has reached fever pitch. “With the rise of social media, everything works quicker now and there isn’t such a gap between runway and reality anymore,” he explains. “It helps that there is much more ‘real hair’ coming out of the catwalks. At the moment, designers are looking for a pushed kind of reality, so when you do see it on the runway, it’s easy to recreate.”

While Josh agrees, he places an emphasis on people being willing to adopt more statement trends: “We overshare now, so it’s almost by the law of averages that a look is going to be adopted. People are willing to be more daring.

They want to look different and they have access to information and inspiration from the shows, so they are more inclined to try it.”

It’s filtering down to the salon, too, in the language people use to speak to their stylist.

“Clients use words that I know they have got from a digital platform, such as ombre and stippling,” Josh explains.

Yet it works both ways – the runway influences reality, but street style regularly inspires session work. “As a hairdresser in fashion, you look at the street for inspiration, putting it on the runway, and then it comes back full circle as you see a girl wearing a look you know you created backstage,” says Guido.

It’s a bit of a chicken and egg ‘who wore it first’ situation, but in the ever-evolving world of fashion, it doesn’t really matter the inspiration or influence. All that matters is that hair is very much part of the conversation.

Josh Wood Bella Hadid at Versace

Gigi Hadid at Versace

SUNSHINE YELLOW here; a tangerine dream there. The bright hues we see across social media and on the high street can often be traced along an ancestral tree of fashion life.

What designers, stylists and make-up artists create one season are uploaded with abandon across social media and filter down from runway to reality at an increasing pace.

At the root you’ll often find Guido Palau and Josh Wood working in synergy to curate a cut, style and colour story to complement a designer’s collection. At Versace A/W17, neon flashes in the hair served as punctuation marks in the label’s slogan-heavy, street-style offering.

It was no accident when Donatella Versace appeared with similar canary yellow lengths weaved into her tresses at the Met Gala in May; the power of that look was cemented.

“Hair as a medium has become much more conversational,” says Redken global color director, Josh Wood. He isn’t wrong. Take a look at your Instagram feed and even if you’re not a beauty devotee, it’s likely that pictures of your favourite bloggers and street stylers will feature images of their hair in various stages of dress (or undress). And Josh is adamant that colour is having its moment: “It’s like the ’80s where people were expressing themselves through hair colour more. People are bored with editorial, glossy Park Avenue hair.”

And social media, in the way it’s defining so much of what is considered to be ‘on trend’, is impacting on the beauty world, specifically in the time it takes for hairstyles on the catwalk to filter down into real life. It has been cut down to almost nothing. If you want to recreate the look at Versace, you can do it that same afternoon if you equip yourself with the right tools.

Indeed, the impact has been felt in the hair industry, with professional colour brands unveiling trend-led, high performance bright

Versace

B A C K S TA G E S TA R S , G U I D O PA L A U A N D J O S H W O O D , D I S C U S S T H E C I R C L E O F FA S H I O N L I F E WITH JESSICA DINER

Versace images courtesy of Redken

Guido Palau

THE FILTER FACTOR

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Colour Correction by L’Oréal Professionnel

Copper Foilyage and Nude Beige by L’Oréal Professionnel

STROKE OF GENIUS FROM CO N TO U R E D C H E E KS TO SMO K E Y E Y ES, HAI R ST YLISTS ARE LE ARN I N G TH E L AN GUAGE AN D T E C H N I Q U E S O F R U N WAY A N D E D I T O R I A L B E A U T Y

Headmasters Colour Cure

Foilyage

He admits they’re not necessarily new, but “we’re framing them in a different way for the client so that they understand it”.

Foilyage and Nude Beige, both techniques

by L’Oréal Professionnel, are far more in-tune with the ‘no make-up is the new make-up’ trend.

The former acts as a colour enhancer, while the latter plays up to the ‘barely there’ nude trend.

And UK salons are creating their own makeup inspired services, such as Blushed Blonde by Toni&Guy. “Rose-based blushers give a healthy glow and it has the same effect on hair,” says its international technical artistic director, Siobhan Quinn.

L’Oréal Professionnel’s #Pastelage technique, using its #COLORFULHAIR line, is similar to balayage, but uses pastel shades, while Redken’s Smokey Ombré technique is a take on that timeless classic: the smokey eye. “This is about blending and diffusing one colour into another,” explains Josh.

Headmasters has applied the make-up for hair trend across many services, such as Colour Cure and Light Effects. “This uses an ultra-fine hair colouring wand to place lights along the baby fine hairs around the face to create a soft, illuminated effect,” explains Siobhan Jones, Headmasters colour ambassador.

“There has been such a surge in new techniques in the UK that I think clients had found it overwhelming,” adds Siobhan. “But these make-up inspired techniques have made colouring seem more accessible.”

Blushed Blonde by Toni&Guy

Redken Smokey Ombré

Nude Beige

Nude Beige

A POP OF PINK BLUSH, a slick of granite grey, a swipe of strobing highlighter… in the modern landscape of beauty, you could just as well be discussing hair colour as make-up.

Clients are embracing the idea that colour can be fun, interchangeable and low commitment.

Your salon must be a beauty hub that uses this language and these techniques to deliver the colour style-conscious clients crave.

“I think the more we have a conversation about colour as make-up – wash-off colour, you’re not tied in for life – the better,” says Redken global color creative director, Josh Wood. “Shades EQ best represents this idea of hair colour being thought of like make-up.

There’s a sheerness, a sparkle that feels more like make-up language.”

Yet hair-colour-as-make-up isn’t all about the shades; it’s very much about the techniques, too. The correct colour placement can create definition in a person’s facial features; the right shades make someone’s skin tone seem warmer – model Taylor Hill was the face of the Colour Correction technique for L’Oréal Professionnel, illustrating just what its Majirel portfolio of colours can do. Contouring, strobing, blush and so on are not new but the make-up trend provides a new opportunity in how to approach clients about colour.

“These make-up inspired techniques are a much easier way to communicate with the consumer as it’s language they use on a daily basis,” says Paul Edmonds’ Jack Howard.

M A K E U P YO U R CO LO U R S K I LL S Colour Consultation: Contouring and Placement

This L’Oréal Professionnel course will guide you in how to offer bespoke colour services via a thorough consultation. Then you can choose formulations to provide a personalised service.

Color Contour

Color Contour, in partnership with NYX Professional Make-Up, sees Redken artist, Paul Watts, help you discover the skill in hair colour contouring and placement to give the ultimate #NoFilter colour.

20:20 Colour

This L’Oréal Professionnel course runs throughout the year with different guest artists, including Alan Edwards, Nathan Walker and Chris Williams, who are on hand to develop your creative colouring.

TO BOOK, CALL L’ORÉAL PROFESSIONNEL AND REDKEN ON 0800 028 3448 Autumn/Winter 2017 RUNWAY

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C H E E R U P, G O I N G G R E Y “ I S O K AY ” A C C O R D I N G T O R E D K E N G L O B A L C O L O R C R E AT I V E D I R E C T O R , J O S H W O O D . L O O K A R O U N D A N D Y O U W I L L S E E T H AT T H E H A I R W O R L D H A S G O N E A L L F I F T Y S H A D E S …

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Smokey Ombré from Redken

GRE Y IS OK AY

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*One Poll, 2017. 3,000 respondents aged 20 to 70. UKI. For Redken and L’Oréal Professionnel.

BEING A BIT OF A SILVER fox himself, you could say that Josh Wood, hair colourist to the shows and the stars, is biased towards grey hair.

This is a man well-known for his catchphrase “grey is okay”, after all. But he is not the only one championing this steely shade; grey hair is everywhere: see original supermodel Kristen McMenamy’s long silver locks on the catwalk; Kylie Jenner has a grey wig or three in her repertoire; Kate Moss and In The Frow blogger, Victoria Magrath, regularly rock icy dove tones; there’s even the Grey Model Agency, a silver hair-only bookings firm.

As the man who helped Kristen go grey for that Calvin Klein show and that American Vogue shoot, Josh admits that Kristen put grey on the fashion map: “She has made grey okay. She would say so herself that I reignited her career by colouring her hair grey. It just somehow turned people onto the fact that it can be beautiful and glamorous – and it doesn’t need to be dowdy.”

It’s a trend gaining traction with consumers, not just the colour experimenters. Nearly 40 per cent of women aged 20 to 30 say the rise in platinum and silver hair trends make them feel more comfortable with grey hair, with 28 per cent embracing or considering silver/platinum for their hair colour. And it’s good news for salons – for those considering silver hair, 71 per

Redken City Beats

L’Oréal Professionnel

Josh Wood with Kristen

Kristen McMenamy

R U N WAY C AT WA L K C O LO U R

cent would opt to have it done in-salon.* Indeed, one of Josh’s first projects in his new role as Redken global color creative director has been to curate this season’s colour trends, and he’s unveiled a new technique that’s perfect for this pewter palette – Smokey Ombré. And where grey hair has truly found a second life is online; Google searches have increased 142 per cent year on year, and you’ll see thousands of posts on Instagram. In the UK, just look at the trend alert on charcoal hair, fuelled by a mix of L’Oréal Professionnel colourists including Rush’s MJ Farmer, Fowler35’s Andria Kaisharis and Westrow’s Jenny Pelter. Andria explains: “Charcoal is a nice side step from all the unicorn/rainbow shades. It’s ashy, supercool, it’s for everyone who’s got a little inner goth in them.”

But going grey gracefully doesn’t mean clients can cancel their next salon appointment; quite the contrary. “When it comes to grey hair, styling and care is almost more important.

When you’re talking about grey, it has to look good and be in good condition,” Josh explains.

“Witchy, old grey is not a good look on anyone.

It needs to be premium and hydrated.”

Whether it’s using bleach and tone or a direct dye, this trend needs a healthy-looking canvas for shine, giving salons a perfect opportunity to introduce a colour additive, such as L’Oréal

Professionnel’s Smartbond or Redken’s pH Bonder to protect hair from damage.

It’s a fashion-focused colour that not only can welcome new colour clients into your salon, but also fuel retail sales, as it’s a service that needs careful post-salon care to keep the brass at bay. L’Oréal Professionnel has relaunched its iconic silver shampoo from Serie Expert with a new look, enriched with magnesium and with a deep purple hue to neutralise yellow tones and not a moment too soon. And, with the take-home conditioners available for salons to retail (Smartbond Conditioner and pH-Bonder Post Service Perfector), it means greys can look gorgeous for longer once they’ve left your chair.

The cut is of equal importance, too: “It looks better if you have a one-line, blunt haircut,” admits Josh. “Layering doesn’t work because the choppiness takes away from the tones of grey that are needed to make it look chic.”

Admittedly though, it can be a bit of a painstaking process. How do you get through those awkward in-between stages of root regrowth?

“Unfortunately, there is no quick trick to going grey,” says Josh. “But if a client is thinking of doing it, the colourist must enhance the areas where the most grey pieces are. If there is one thing about grey, it’s that you can’t be apologetic. No pain, no grey!” That sounds like a new slogan we can get our head around.

G ROW YO U R G RE Y S K I LL S

PERFEC TING GRE Y IN SALON NEEDS A COLOURIST WITH CONFIDENCE IN THEIR SKILLS  THIS IS THE EDUC ATION YOU NEED TO KNOW L’Oréal Professionnel Colour Specialist

This is the ultimate in colour education, a 15-day specialist education programme that takes you on a journey into specialising in hair colour and excelling at it!

With ongoing support through the Colour SpeciA-List programme, this is a career investment that keeps on giving back.

Redukation Color

This Ltd:Ed course from Redken is an action-packed colour date hosted

by AJ Blackadder for those keen to have confidence in client colour makeovers. You’ll learn techniques and skills to produce bespoke colours that will win hearts (and heads).

TO BOOK, CALL L’ORÉAL PROFESSIONNEL AND REDKEN ON 0800 028 3448

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FROM COMB TO COUTURE FOR E VERY MODEL IN A GORGEOUS GOWN DRIF TING DOWN THE RUNWAY, THERE’S A SESSION ST YLIST LE ADING AN ARMY OF HAIRDRESSERS BACKSTAGE, PERFEC TING THE TOTAL LOOK . BUT HOW DID THESE BUSY ARTISTS GE T THEIR BIG BRE AK? RE AD ON TO FIND OUT…

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Guo Pei

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Milo Maria

Pa5h 48

Johanna Cree Brown Trevor Sorbie Salons

Matthew Curtis Matthew Curtis Salon Group

Jason Hall Jason Hall Hairdressing

“I began by assisting Angelo Seminara when he was creative director at Trevor Sorbie, which was an amazing learning experience.

“I assisted him on shows such as Gareth Pugh and Vivienne Westwood. I got my big break from L’Oréal Professionnel, when I was asked to do the hair for David Koma, who collaborated on the regional L’Oréal Colour Trophy shows in 2010. David opened my mind – he shared his inspirations, drawings and designs and he made me think of hair the way a designer thinks of hair. With hard work, determination and great team support, I went onto lead some amazing shows in London and Paris and collaborated with designers on their look books. I’ve worked on haute couture with Stéphane Rolland in Paris and in London I’ve led teams at Corrie Nielsen, Fyodor Golan and Central Saint Martins, among others. I love fashion, it’s such an integral part of what we do.

“I learn so much from each designer I work with – to deliver your best work you often need to be pushed beyond your comfort zone, and that’s when the work gets really exciting!”

“I started backstage at London Fashion Week when I was on the Art Team at Toni&Guy. I was hooked and began to contact agencies to see if I could assist, passing pins and so on.

“I got a job assisting Guido Palau and worked on shows including Prada, Marc Jacobs, Ralph Lauren and Dolce & Gabbana. I also helped Orlando Pita at Vera Wang. Working backstage at these shows taught me how to execute some incredible work in a short amount of time.

“The first show I ever led was in 2007 for the designer Andrew Majtenyi at the Canadian Embassy in London. I was relieved to find the products were from L’Oréal Professionnel – when you have capable products you can spend more time worrying about other things.

“I first led a show in New York in 2010. After talking directly to designers over there I took a leap of faith and paid out of my own pocket for my team to fly over and work on three shows.

The risk paid off as our work at Falguni Shane Peacock was picked up by the Joan Rivers Fashion Police show; we ended up working the show for six seasons.”

“I’ve been assisting on fashion weeks for the past six years in New York, London, Milan and Paris, on shows such as Chloé, Dior, Fendi, Prada, Armani and Burberry, and I now do up to 60 shows a year.

“The first show I assisted on was in London.

My L’Oréal Professionnel rep said there was a chance to assist and I jumped at the chance. I ended up working on three shows in two days.

The next season I was invited back, and I got to assist James Pecis; he was amazing and asked if I would like to travel to Milan with his team. I didn’t need to think about it!

“From there everything just snowballed. I started emailing all the agencies and because I had gained the experience being part of a L’Oréal Professionnel team, different agencies began offering me jobs. At the same time, I was attending every course that was even remotely relevant and I was asked to be part of the UK education team for the relaunch of the L’Oréal Professionnel Tecni.ART range. I now teach a course called EDitorial Inspiration [see box] where I share all I’ve learnt.”

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“When I was at Hershesons I took my first step into the world of session work, when Luke Hersheson asked me if I wanted to assist Guido on a show at London Fashion Week.

“Soon after this, the talent agency Streeters asked if I would be available for shows and shoots working with Eugene Souleiman. While the work was still mostly assisting and very hands-on, it was a great experience for me to learn the craft. As my salon career developed I moved to Neville Hair and Beauty, where the celebrity clientele further enhanced my visibility

with brands. I got full representation and led my first shows at Todd Lynn, Tata Naka and Mary Katrantzou.

“By 2013 my international demand had gained momentum and Neville was made the official hair sponsor at FIDé Fashion Week in Singapore, where I headed a team of stylists for 30 shows. I’m now represented by ELSL Management and, as creative director for Neville Hair and Beauty, which is a L’Oréal Professionnel Portfolio salon, I’m often asked to lead at London Fashion Week. With the salon I’ve led the couture shows in Paris for Guo Pei, Ziad Nakad, Julien Fournié and Antonio Grimaldi.”

Guo Pei

Stephen Low Neville Hair and Beauty

Ziad Nakad

Julien Fournié

Guo Pei

Antonio Grimaldi

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C L A SSROOM TO C AT WALK

WANT A SESSION C AREER? HERE ARE THE OPP ORTUNITIES THAT C AN M AKE A DIFFERENC E L’Oreal Professionnel ID Artist Programme

Launched in 2003, this course is your career’s warp speed button. It is a two-year programme that offers an unparalleled

opportunity to improve your skills, get on stage and even make a name for yourself backstage.

Check out the ID Artist Be Prepared Live course online and see what you need to do to take your hairdressing skills to the next level.

Fashion Inspiration Hair Up

Explore the fashionfocused ways to dress hair for your clients, with Sally Montague’s Angel Montague-Sayers, Guy Kremer’s Jonny Engstrom and Trevor Sorbie’s Mai Ha.

EDitorial Inspiration

Discover the difference between salon and editorial styling and how you can make it work with the EDit Team, featuring Rush’s Jamie Benny and Jason Hall.

Trend Translation Backstage boss Adam Reed delves into the latest concepts and illustrates how you take trends and create something clients will want to wear.

Beautiful and bottom line-boosting!

Redken Exposure, with Radio London With vision and a clear eye for detail, the Radio London team will share the inside track on how to prepare for a shoot, enjoying the full session experience from the world of editorial.

TO BOOK, CALL L’ORÉAL PROFESSIONNEL AND REDKEN ON 0800 028 3448

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R U N WAY A / W H A I R I S …

“ABOUT EMBR ACING THE INDIVIDUALIT Y OF YOUR HAIR AND YOUR ST YLE AND PUT TING IT OUT THERE WITH CONFIDENCE”

Guido, Redken global creative director

“HEALTHY! THE DAYS OF GREASY, L ANK HAIR ON THE RUNWAYS ARE NUMBERED. FREEFLOWING, NATUR AL HAIR IS WHERE MOST DESIGNERS ARE HEADING”

Richard Phillipart, The Boutique Atelier

“PERFECTLY IMPERFECT. WE’RE SEEING TOTALLY WEAR ABLE HAIR AT PRET T Y MUCH ALL OF THE SHOWS THIS SEASON, SO TRENDS CAN BE DIRECTLY TR ANSL ATED INTO THE SALON AND EVERYDAY LIFE”

Ellenora Dean, Percy & Reed

“A QUIRK Y COMBINATION OF BRITISH IDIOSYNCR ASY MIXED WITH THE EASE AND SOPHISTICATION OF FRENCH ST YLE. IT’S NOT ABOUT WHAT’S EXPECTED, SO ADD SOMETHING TO DIFFERENTIATE”

Darren Fowler, Fowler35

“CONTR ASTING NATUR AL TEXTURE AGAINST STRUCTURED MINIMALISM. THINK LONG MESSY BR AIDS AND LOOSE PONY TAILS SET AGAINST SHARP PARTINGS AND GL ASSY SHINE”

Cristiano Basciu, Richard Ward Hair & Metrospa

A S U M M A RY O F T H E S E A S O N , I N T H E WO R D S O F T H E P R O F E S S I O N A L S

“A/ W17 H A I R I S …”

“BIPOL AR: ABSOLUTELY HYPERNATUR AL AND DOESN’T LOOK COLOURED, OR IT’S SYNTHETIC AND CR A Z Y NEON. THERE IS NO MIDDLE GROUND”

Josh Wood, The Atelier and Redken global color creative director

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“WORN VERY NATUR AL  ‘DRESSY MESSY’.

IT’S A MORE REL A XED FEEL, PARTINGS ARE NOT PERFECT, WAVES ARE LOOSER WITH STR AIGHTER ENDS AND TEXTURE SPR AY REPL ACES HAIRSPR AY”

Cheryl Munoz, Daniel Galvin

“EASY, WEAR ABLE AND FUN. WE SAW TRENDS IN CLEAN PONY TAILS AND TEXTURED QUIFFS, WINDSWEPT UPDOS WERE WORN WITH AN EMPHASIS ON EMBELLISHMENT. AND THE BL ACK VELVET BOW RETURNED!”

Tina Farey, Rush Hair

“ABOUT COOL, L AID BACK ST YLES THAT ARE EASY TO CREATE AT HOME, SUCH AS PREPPY FISHTAIL PL AITS AT THE BACK WITH SECTIONS PULLED WIDTH WAYS FOR A FAT TER, LESS SEVERE TEXTURE”

Matthew Curtis, Matthew Curtis Salon Group

“PUSHING THE BOUNDARIES OF UNDONE HAIR TO THE MA X, FULLY EMBR ACING THAT SLEPTIN, SWEAT Y HAIR THAT IS INCREDIBLY SEXY, EMPOWERING AND FEMININE”

Kathryn Dartnell, Haringtons

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