YO U R E SS E N TI A L GU I D E TO T H E N E W S E A SO N
RU N WAY
AUTUMN WINTER 2 019 C RE ATIVEHE ADM AG.COM
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L’ORÉAL PROFESSIONNEL’S TRANSLUCENT PERMANENT HAIR COLOUR FOR A NEUTRALISED FINISH & EXTREME LUMINOSITY
BOOSTED IN COOL REFLECTS For a neutralised finish
+50% LIGHT REFLECTION*
For extreme luminosity
4X MORE TRANSLUCENCY* Made with specifically designed balanced range of dyes
* VS MAJIREL CORE RANGE
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NO COMPROMISE
BETWEEN NEUTRALISATION & LUMINOSITY
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C O N T E N T S AU T UM N/ W I N T E R 2 019 06 TOP FIVE MOMENTS The highlights of the A/W19 catwalks
16 THE TRENDS Billionaire barnets and sci-fi chic
24 HOW HAIR HAPPENS How the styles from a trio of shows were created
32 RE:C RE ATE Micro trends with mega clout
36 GU I DO PA L AU
38 DIOR V&A curator Oriole Cullen takes us round a landmark exhibition
42 JOSH WOOD The Redken colour hero on how he painted the look at Mary Katrantzou
44 HIGHER EDUC ATION Come backstage at the college shows and meet some of the styling talent from salons
48 COUTURE Neville Hair & Beauty takes couture to the next level
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Cover image: Erdem, hair by Anthony Turner for L’Oréal Professionnel
The one and only discusses working with Riccardo Tisci at Burberry
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EDITOR’S LETTER
EDITOR’S LET TER A/W19, you are really spoiling us… Dear Runway readers, you are in for a treat! And we don’t mean of the Ferrero Rocher variety. If you like your fashion shows with a huge side-helping of fun, this was the season for you. Raucous, righteous (Vivienne Westwood’s show was utterly inspirational – check it out in Top Five Moments in Hair and Fashion from page 6) and just a bit bonkers (if you don’t believe us head to That Was The Season from page 14), it was ‘Fashion’ with a capital ‘F’. When it came to inspirational hair looks on the runways, A/W19 had it all going on. If the ’dos in Re:Create (from page 32), don’t get the creative juices flowing, check out The Trends from page 16. But it’s our inspirational interviews with the hair greats that we’re most excited about. Head over to page 42 for our exclusive interview with King of Colour Josh Wood, backstage at Mary Katrantzou, where he talks about matching hues to the prints in the collection. Or find out how Guido created what went on to become one of the seminal styles of the season at Burberry on page 36. And if that hasn’t given you fabulousness fatigue, we also talk to the Neville Hair & Beauty team (page 48) about its growing reputation at Couture shows, while we also interview the curator of the breathtaking Dior exhibition at the V&A from page 38. Finally, we meet some of the young talent backstage at all the college shows (see page 44). The take home of A/W19? Do beautiful hair; but make it fashion.
Cassie Steer Runway guest editor Beauty editor Editor in chief: Amanda Nottage Art: Graeme White Chief sub editor: Adam Wood Contributors: Deborah Murtha, Alison Rowley, Anna Samson Publisher: Catherine Handcock R U N W A Y 21 THE TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND 020 7324 7540 enquiries@alfol.co.uk creativeheadmag.com Runway is published twice a year by Alfol Ltd. CreativeHEAD is a registered trademark. No part of this magazine may be reproduced without prior permission of the publisher. All information correct at the time of going to press
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TOP FIVE MOMENTS IN HAIR & FASHION The shows so monumental they deserve their own page (we are #shooketh)
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HARDY PE RE N N IAL
Image courtesy of L’Oréal Professionnel
MOLLY GODDARD
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THE RUGGED TERRAIN of rural England provides the perfect backdrop to fated heroines and fitting fodder for Molly Goddard to plunder for her moodboard. Tess of the d’Urbervilles was this season’s protagonist and the atrium of Durbar Court within the Foreign & Commonwealth Office was the perfect setting for dishing up a little drama, complete with wind machines. “Dressed for the storm” was how Goddard described her collection, which saw mint green and rose pink smock dresses and lemon tulle gowns layered over utilitarian trousers and all-terrain boots. Luke Hersheson for L’Oréal Professionnel was clearly also prepared for any eventuality with wet texture hair bound with a length of jersey, brought into the 21st century with some modern grooming. “The quiff at the front adds a boyish, chic detail,” he explained. But it was the fuschia finale dress (made from 100m of tulle) that really went down a storm. AUTUMN/WINTER 2019
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THE PRINCESS DIARIES ORIETTA POGSON DORIA PAMPHILJ; now there’s a name fit for royalty if ever we heard one, and this late Italian princess was the somewhat unlikely muse for Erdem’s A/W19 collection. Taking up residence at what has become his preferred haunt – the National Portrait Gallery – Erdem took a leisurely amble through her eventful life, delving into the notion of “how we deal with what happened in the past”, and settling on Orietta’s visit to our capital in 1963 as his main inspiration for the clothes. The result was a perfect marriage of opulence and a touch of swinging ’60s. It was brocades, ostrich feathers and jacquard fabrics galore, with full Jackie O-style skirts and opera coats harking back to a more glamorous age. On hair, Anthony Turner for L’Oréal Professionnel kept to the ’60s theme with his ode to Tippi Hedren and other Hitchcock heroines. 08
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Image courtesy of L’Oréal Professionnel
ERDEM
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THIS IS ENGLAND
Image courtesy of James Cochrane
BURBERRY
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TEMPEST WAS THE TITLE of Riccardo Tisci’s second collection for Burberry; and another jolly good ode to dear old Blighty it was too. “It’s inspired by the contrasts in British culture, from the structured to the rebellious, as well as the weather,” he divulged. Riccardo carved up his show into four separate groups – the Girl, the Boy, the Lady and the Gentleman. The first two translated as an homage to youth culture – think track-style tops and joggers, slip dresses, Del Boy coats and faux fur. Then, as if prompted by a Cliff Richard song at a rave, the youths swiftly exited to make way for a procession of adult properness. Backstage, Guido for Redken echoed these four tribes with sleek chignons and genteel grooming for the elders, while the yoof were treated to one of the most stand-out hair looks of the season. “It’s an intricate gelled look for the girls, while the boys have buzzcuts with a bit of an extreme bang,” he said. AUTUMN/WINTER 2019
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ACTIVE(ISM) WEAR DAME VIVIENNE WESTWOOD knows a thing or two about creating a ruckus both on and off the runways and this season was no different. Combining her two main passions – fashion and activism – our favourite environmental zealot treated her captive audience to some sobering monologues about climate change with a little help from actor-turned-activist Rose McGowan, members of Intellectuals Unite and the UK director of Greenpeace. With her political stage set, she proceeded to send models down the catwalks with thought-provoking messaging like “all profit belongs to me so long as you keep buying crap” under an image of ‘Louis the banker’ and imploring people to “buy less crap”. Hair was equally dramatic, described by Gary Gill for L’Oréal Professionnel as “messy and full-on but with a beauty to it”, a lot like Viv herself. Our new mantra? Save the planet – be more Vivienne. 10
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Image courtesy of L’Oréal Professionnel
VIVIENNE WESTWOOD
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ANGEL OF THE NORTH
Image courtesy of James Cochrane
ALEXANDER MCQUEEN
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SARAH BURTON TOOK us on a whistle-stop tour of her home town of Macclesfield and the surrounding countryside with a little more panache than a trip on the National Express. We saw chicly sombre, exquisitely tailored trouser suits amid a smattering of duffle coats, tuxedos and leather trench coats that could have come straight out of The Matrix, before some softer ruffle was introduced (but only layered under tough-girl leather coats or with knee-high boots). The pièce de résistance however, was the magnificent red ballgown made from swathes of taffeta to represent the Red Rose of Lancaster. Perhaps to juxtapose this symbol of femininity, the hair was a touch more androgynous. “The look is very boyish,” confirmed Guido for Redken backstage. “We created a lacquered, controlled ponytail which we then bound in leather to give it a great fetish feel, very McQueen.” Dark romance at its best. AUTUMN/WINTER 2019
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THE NEW TONE ZONE
Blonde toning techniques are on the rise and client demand for A-List blondes is higher than ever before. Own the trend and up your blonding game with new Shades EQ Level 10 toners and Flash Lift Bonder Inside from Redken
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ADVERTORIAL
“Now I can give my clients the lightest, brightest blonde while still delivering the health and shine they’ve come to expect using Shades EQ – it’s a win-win!” TRACEY CUNNINGHAM CELEBRITY COLOURIST
London salon owner Samantha Cusick is also feeling the love for the new Shades EQ toners: “I LOVE the new Level 10s, the results are so luminous and glossy! Shades EQ gives me an unlimited palette for blondes and it’s even better with the new Level 10s. Obsessed!” Are you ready to enter a new tone zone? Step up your blonde services from start to finish with Redken’s power blonding duo for a long list of happy clients.
*Mintel Colorants Report 2018
SCROLL THROUGH YOUR social media feeds right now and you’ll find endless techniques to create healthy, shiny blonde hair. With more than a third of Brits going blonde,* and platinum one of the most popular blonde colour choices, this trend will just keep on skyrocketing. We’re talking rich, liquid-looking lighter lengths from some of the biggest influencers and stylists across the globe. To create these dreamy, on-trend blondes you need to make sure you have the right tools at your disposal. Blondes need the utmost care and protection to avoid damage to the structure, but with the right lighteners and toners you can nail a healthy, ultra-glossy blonde every time. Own the latest blonding techniques and create the perfect base with Redken’s Flash Lift Bonder Inside. Ideal for both busy clients and colourists, the fast-acting formula gives up to eight levels of lift AND contains a built-in bonder. So you can have stronger, brighter blondes and even save time doing it. It’s the secret weapon of Josh Wood, Redken’s global color creative director. “Redken’s Flash Lift Bonder Inside gives amazing results with the added benefits that a bonder can provide. It means I can deliver results without compromise,” he says. Lifting hair quickly without compromising on quality, what’s not to love? Not all hair colour is created equal, especially when toning to create A-list blondes. Nail the perfect shade and tone every time with Redken’s iconic Shades EQ. The liquid demi-permanent formula is loved by It-list colourists worldwide for its intense conditioning properties that deliver flawless shine and vibrancy. Master the tone zones for unbeatable blondes with two brand new Shades EQ Level 10 toners – 010VV Lavender Ice and 010N Delicate Natural. Picture true-to-tone results for customised toning perfection and your brightest blondes yet. Amy Fish, colourist at Larry King Salon, is already a fan: “The new Level 10s are the perfect toners for the ultimate blonde – with their high shine finish no blonde will ever look dull. That’s why my clients love Shades EQ.”
Join the colour tribe today. For a bespoke colour demonstration or more information, email info.redken@loreal.com or visit redken.co.uk @Redken #ShadesEQ #FlashLiftBonderInside RUNWAY
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THAT WAS THE SEASON… Think big for A/W19; big stars, bigger coats and Big Bird as the latest fashion muse
Vivienne Westwood
S AY I T W I T H FA S H I O N WHEN IS A CATWALK not a catwalk? When it doubles as a political stage complete with chanting, monologues and poetry. There were no mutes here at Vivienne Westwood, these models were extremely vocal in their call to arms to address climate change. The manifesto was loud and clear: ‘Buy Less, Choose Well, Make It Last.’
LE FREAK, C’EST CHIC
WARNING: EXTREME outerwear up ahead. We’re talking OTT Puffa jackets with the volume turned UP. From maximal quilting at Reshake at On|Off where Puffers came in prints as well as high-shine black and pastel incarnations to the capacious padded ballgowns at Moncler Genius, it’s a look we’re (eider) down with. 14
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Reshake at On|Off
S TAY P U F T
THERE WAS A decidedly naughty undertone to the season, which saw lashings of latex with a bit of bondage thrown in for good measure. At Pam Hogg, the Miss Whiplash characters in the show made way for a deliciously deviant full-length latex trench which was covered in silver studs. RUNWAY
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THAT WAS THE SEASON
KING (HONG) KONG
TO SAY DESIGNER Jimmy Paul at On|Off was inspired by Sesame Street is like saying the Cookie Monster is partial to a particular baked good. Big kids and fashionistas alike will love the Bert & Ernie jumpers, the Elmo-smattered jacket and the magnificent yellow feathered homage to Big Bird.
PEARLS HAVE SHAKEN off their fusty image to become the unexpected treasures of Fashion Week. The earrings at Erdem were about as traditional as it got, while at the London College Of Fashion MA show, pearls were used as facial piercings as well as abstract adornments. One creation graced the model’s ears like headphones and morphed into something that resembled a horse’s bit. Granny would not approve.
TOP OF THE POPS
London College of Fashion MA show
PEARL JAM
Images courtesy of L’Oreal Professionnel and Toni&Guy
GROVER’S IN THE HEART
Erdem
Loom Loop
IT WAS A LIGHTNING-SPEED trip to the East by way of London W1 as Fashion Hong Kong showcased four of its hottest designers as part of a collaboration with the Hong Kong Trade Development Council. With labels such as HOUSE of V and Loom Loop, the presentation was as diverse and dynamic as the country itself.
SOME PEOPLE ACCUSE fashion of being full of hot air, but in the case of Central Saint Martin’s BA show, this was quite literally justified as models swathed in rubber dresses with blimp-like sleeves bounced down the runway. The pièce de résistance? A huge red balloon dress that engulfed the model inside like strawberry bubble gum. Steer clear of sharp objects (and small children). RUNWAY
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Joan Collins, courtesy of Instagram, @joancollinsdbe
#FROWGOALS ERDEM CAN be relied upon for some star pulling-power and this season was no different, so excuse us while we proceed to shamelessly name drop. There was Laura Carmichael, Michelle Dockery, Damian Lewis and Helen McCrory, even Alexa Chung managed to tear herself away from her own collection to take her place on the front row. But our favourite this season had to be the grande dame of fashion herself – Joan Collins, we salute you. AUTUMN/WINTER 2019
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Rejina Pyo
THE TRENDS Billionaire barnets, equestrian chic and a bit of sci-fi thrown in. You’re so A/W19 darling…
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i-am-chen
University of Westminster MA show
TRENDS
T H E S H O W: Alberta Ferretti H A I R : Guido for Redken T H E L O O K : Polished natural H O W: Wash hair with Redken
Frizz Dismiss, towel dry until slightly damp, then apply a little Frizz Dismiss Rebel Tame to tame and protect hair. Create a RUNWAY
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Dior
David Koma
Rejina Pyo
Markus Lupfer
Coach
Kalissi
RICH PICKINGS
LET’S FACE IT, beautiful, expensive-looking hair is never going to go out of fashion, but when hair guru Guido specifically tells you it’s a trend for A/W19, you’re going to bank his advice. “We’re definitely seeing a trend for more ‘done’ hair but it’s the modern take on ‘done’, which means that it has a certain quality and finish to it,” he explained backstage at Alberta Ferretti. Translated into hair terms it relies on an old-fashioned blow-dry (Guido’s preferred product was Redken Frizz Dismiss Rebel Tame) with some texture re-introduced. Luxe locks were also spied at Rejina Pyo, where Tina Outen for L’Oréal Professionnel gave her “super-luxe, polished woman” waves that were finished with a spritz of L’Oreal Professionnel TECNI.ART Ring Light. The key to adding your client’s locks to the rich list? Ensure they exude a certain well-heeled quality at all times. And for the time-poor? Redken’s Blow Dry with Benefits menu, with an opulent Shades EQ glossing service for a colour boost, should do the trick. Plump up destitute-looking locks with a bonding additive such as Redken’s phBonder or Smartbond from L’Oréal Professionnel. And keep your eyes peeled for new Majirel GLOW from L’Oréal Professionnel – shimmering semi-permanent shades that will add a luminous gleam.
GET THE LOOK natural centre-parting then lightly blow-dry the top layer with a boar-bristled brush to remove frizz. Allow to air-dry. Once fully dry, add in a few bends into lengths with a curling iron. Spray Triple Dry 15 Dry Texture Spray for a little texture. AUTUMN/WINTER 2019
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Cassey Gan
Molly Goddard
TRENDS
Prada
Alexander McQueen
Givenchy
Victoria Beckham
Ralph Lauren
David Koma
SUBLIME EQUINE
SADDLE UP, it’s time to show off your pony skills. The preferred placement may have been low but it was the nuances in texture and finish that took the looks to totally different places, from well-bred to wilder incarnations. Take the strict, whiplash tails at Alexander McQueen that Guido plied with Redken Hardwear 16 gel and Forceful 23 hairspray for a lacquered finish. Restraint was also the theme at Akris, where tails were bound dressage-style for an equestrian edge. At Molly Goddard, Luke Hersheson for L’Oréal Professionnel looped up the ponytails before wrapping them in lengths of black jersey. Meanwhile, at the other end of the texture spectrum, dry texture spray made an appearance at Givenchy, where Guido dispensed Redken Triple Dry 15 throughout lengths and ends for texture while pulling out wisps for a slightly disheveled feel. He also employed this at Victoria Beckham, for her signature effortless vibe. Elsewhere, it was the finishing touches that elevated the looks to show pony status. Shows such as Ralph Lauren and Markus Lupfer used pieces of hair wrapped around the base of the ponytail to give a chic, sophisticated edge while also serving to disguise the hair elastics. Tina Outen’s opulent criss-cross ponytails at David Koma, created a “beautiful, super-clean butterfly shape”. Giddy up!
GET THE LOOK T H E S H O W: Markus Lupfer H A I R : Tina Outen for L’Oréal
Professionnel T H E L O O K : A cool girl who wants her hair to work with accessories H OW: Spray L’Oréal Professionnel TECNI.ART Volume Lift onto damp hair, apply Liss Control RUNWAY
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Plus to the ends and blow-dry. Break using Depolish on lengths and ends for matte texture. Secure the pony loosely at the nape. Take a piece of hair from one side, wrap around the pony and tuck into the elastic for a subtle detail. Use Fix Anti-Frizz to hold. AUTUMN/WINTER 2019
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Longshaw Ward
Central Saint Martins MA show
TRENDS
ALL INCLUSIVE
Natasha Zinko
David Koma
IA London Tata Naka
London College of Fashion MA show
Reshake at On|Off
Humanity and all its glorious incarnations was splashed across the catwalks like a raucous rainbow. Characterising every shape, colour, gender and age bracket, the myriad models that were spied everywhere from Vivienne Westwood to IA London kept the backstage stylists busy. Of course, diversity has been a valuable message both on and off the runways for a few seasons now, but this ‘anything goes’ attitude seems to have ramped up a notch for A/W19 thanks to designers such as IA London helping to push the boundaries. As well as proving that even octogenarians can rock a Tim Burton-esque beehive, this trend also ensures that every conceivable hair type is represented so the stylists need to be fully versed in the idiosyncrasies of kinky, coily and curly hair. “We’re treating models like clients and accentuating what they love most about their hair. We want them to own it,” said Tina Outen for L’Oréal Professionnel at Natasha Zinko, a sentiment shared by Yesmin O’Brien for L’Oréal Professionnel at the London College of Fashion MA show and Adam Reed for L’Oréal Professionnel at the Central Saint Martins MA show. “It’s a modern, effortless, undone look styled individually for each model,” he explained backstage of his “curls in a hurry” hairdo, which enjoyed an African/Latin American vibe to it.
GET THE LOOK T H E S H O W: Vivienne Westwood H A I R : Gary Gill for L’Oréal
Professionnel T H E L O O K : The Vivienne Westwood Woman H O W: Spritz L’Oréal Professionnel TECNI.ART Pli to boost volume and massage at the roots. Spray Full 20
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Volume Extra mousse through lengths and ends to prep for blowdrying. Using a dryer on a hot/fast setting, twist hair at the roots with a vent brush. Blast roots with cold air to set. Sprinkle Morning After Dust and Super Dust as you Backcomb the roots. Set with Air Fix. RUNWAY
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Prada
Erdem
TRENDS
Prada
Pam Hogg
MiuMiu
ALEXACHUNG
Images courtesy of L’Oréal Professionnel, Redken and Toni&Guy
ALEXACHUNG
FUTURE TENSE
THE FUTURE IS looking bright for avant-garde ’dos. With references to The Matrix, The Fifth Element and Gattaca punctuating the backstage dialogue, teleport yourself to A/W19 and expect ‘alien’ headshapes and otherworldly colour, as demonstrated to cosmic effect at Prada by Guido Palau and Redken global color creative director Josh Wood. At Bora Aksu, Tina Outen for L’Oréal Professionnel cited a beautiful girl with a sci-fi edge as the inspiration for her irridescent hair. “We’re hinting at the sci-fi character with a hazy texture and the models have an exaggerated crown that’s almost alien-shaped,” she divulged backstage. Pushing the alien shape a step further were the ‘sci-fi Hitchcock heroines’ over at Erdem, who relied on L’Oréal Professionnel TECNI.ART Full Volume Extra Mousse as a base for the aerodynamic up-dos. “It’s a futuristic version of ’60s hair that’s sculpted and slightly alien-shaped. We want it to feel very ‘done’ but modern,” explained Anthony Turner backstage. Meanwhile it was ethereal baby hairs over at Valentino and ALEXACHUNG that lent the looks a futuristic feel. “We’re adding a bit of post-apocalyptic static energy to the hair with a balloon,” said Alex Brownsell for L’Oréal Professionnel of her “futuristic cult member breakaway” hair at ALEXACHUNG.
GET THE LOOK T H E S H O W: Bora Aksu H A I R : Tina Outen for L’Oréal
Professionnel T H E L O O K : Beautiful with a sci-fi edge H O W: Spray L’Oréal Professionnel TECNI.ART Constructor through the roots RUNWAY
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and dry in. Apply Siren Waves through the lengths and ends. Enhance the hazy texture with a light layer of Super Dust and Morning After Dust. Smooth Liss Control Plus through the ends to create a contrast and TECNI. ART Ring Light for detail. AUTUMN/WINTER 2019
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REALISM, REVIVED Adam Reed has always loved hair – real, touchable, wearable and imperfect as it is – which is why he’s so passionate about the revamped L’Oréal Professionnel TECNI.ART range
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WHEN EVERYTHING COMES DOWN to the handful of minutes before the first model hits the catwalk, you need to know that the products you’ve put your trust into can deliver. When you need to nail a look in one go, you need products that you know inside-out. This is how Adam Reed, one of the UK editorial ambassadors for L’Oréal Professionnel, feels about the refreshed TECNI.ART range. Having been involved from the early development stages of the relaunch in Paris to the launch event in London, Adam describes TECNI.ART as his ultimate backstage styling collection. “I’m thrilled to have been able to be a part of the relaunch,” he says. “The campaign is all about zero retouching, something I am fanatical about. The collection celebrates diversity, and is designed for all hair textures and all genders. This just cemented my passion for the collection even further.” Adam works with hair in a way that recognises it for what it is – a variable, living canvas from which he can create. “I have always been super-passionate about hair looking natural, anti-retouched and actually looking like hair,” he agrees. “Hair itself is really beautiful and I think that beauty continues when hair is allowed some movement and texture. Sometimes when you retouch hair it removes that innate beauty – it’s thousands of individual strands of fibres and it should look so.” His hero product needs no introduction. “Without a doubt, my absolute go-to is always L’Oréal Professionnel TECNI.ART Pli,” he insists. “I know I can get pretty much everything I need from it.” From layering it to spraying it on pins and grips, the combination of flexibility and hold that Pli offers is unbeatable. “It’s also great at breaking product back down if you use too much of something else. Pli is the fundamental prepping product – without Pli it’s like having a house with no floor, it’s just not going to work,” he adds. If not Pli, Adam’s reaching for the
L’Oréal Professionnel TECNI.ART Transformer Lotion for its incredible, variable texture and L’Oréal Professionnel Infinium hairspray for good hold. His love for the products isn’t limited simply to the hustle and bustle of backstage either. “Being involved with the TECNI.ART co-development was a unique experience and it was great to look at what we can bring to products for artists both in-salon and backstage,” he admits. When asked what his salon clients are reaching for given the rise in selfie culture, it just had to be new TECNI.ART Ring Light. “It’s perfect for adding an even more luminous finish with the micro-dispersion of the ring light applicator, my clients love it!” With an expansive and highly varied career behind him, we’re sure Adam is constantly fielding questions about how to break into the session and fashion sector. So we decided to ask on your behalf – what’s the biggest lesson he’s learnt to pass along to fresh-faced assistants? “My top tip is honesty – be honest about everything you talk about, what is possible and the image you create. You will build unparalleled trust between your clients, peers and industry. It’s also important to have a little ego and to be kind.” Wise words indeed.
Adam Reed
ADVERTORIAL
For more information, call 0800 0304034 or visit lorealprofessionnel.co.uk Follow @lorealpro #TECNIARTIST RUNWAY
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HOW HAIR HAPPENS
HOW HAIR HAPPENS Find out how this season’s styles were created as we go backstage at the A/W19 shows in London
THE SHOW DAVID KOMA THE LEAD TINA OUTEN FOR L’ORÉAL PROFESSIONNEL
Polished ponytails are always a catwalk favourite, and at the David Koma show they were seriously on point
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Tina Outen blow-dried L’Oréal Professionnel TECNI.ART Pli into hair, which was then straightened for a smooth foundation
The ends were spritzed with L’Oréal Professionnel TECNI.ART Ring Light for some extra sparkle
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HOW HAIR HAPPENS
The ponytail was created using three sections criss-crossed over each other and secured at the nape
A smoky eye complemented this grown-up ensemble, with just a hint of pink applied to the lips
The result was simple yet effective, a clean look with a classic elegance that allowed the earrings to really make a statement
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Structured clothing in an array of luxurious fabrics were worn down the catwalk, perfect ponytails in formation
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HOW HAIR HAPPENS
THE SHOW ALEXACHUNG THE LEAD ALEX BROWNSELL FOR L’ORÉAL PROFESSIONNEL
Alex Brownsell began the transformation to “breakaway cult members from the future” by wetting the hair and smoothing it back with L’Oréal Professionnel TECNI. ART Liss Control and Liss Control Plus
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Backstage hero TECNI.ART Pli was also spritzed throughout, and the hair was mushed into position then set with L’Oréal Professionnel Infinium Soft Hold Hairspray
The hair was tucked behind the ears and nets and headscarves were positioned to give models the impression of having just run away from home
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HOW HAIR HAPPENS
Balloons and blusher brushes were rubbed over the hair to create flyaways and static energy
Practical coats were layered with silky shirts and pretty patterns for a thrown-together aesthetic that worked perfectly for these tearaway characters
Models had dewy, fresh skin and just a hint of shadow around the eyes, with subtly glossy lips
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HOW HAIR HAPPENS
THE SHOW NATASHA ZINKO THE LEAD TINA OUTEN FOR L’ORÉAL PROFESSIONNEL
Individuality was the order of the day at Natasha Zinko’s show, with a range of girls and guys embracing what makes them unique
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Tina Outen used L’Oréal Professionnel TECNI.ART Hollywood Waves Siren Waves sparingly to twist and define curls
Tina’s approach was to create a tailor-made look for each model. “We’re treating them like clients and accentuating what they love most about their hair. We want them to own it,” she said
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HOW HAIR HAPPENS
The collection was a riot of colour, pattern and texture, taking inspiration from street style
Make-up was kept simple, with just a flick of neon at the eyes to make the look pop
Wayward hair was tamed using TECNI. ART Liss Control Plus and for an extra boost of shine, Tina misted the hair with TECNI.ART Ring Light
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#@GRLOESDSKITENUP
#GL
#SHADESEQ
Paul Costelloe
RE:CREATE The micro trends with mega clout you’ll want to start channeling, stat!
KNOT AMUSED
PARTING GIF TS
UPPER CRUST UP-DOS were the order of the day in contrast to some of the more unrefined styles on show. There were lady-like buns at Burberry, Toni&Guy topknots at Paul Costelloe and well-to-do twists at Longshaw Ward, which Cristiano Basciu at Richard Ward Hair & Metrospa for L’Oréal Professionnel described as ’30s glamour “with the edge of a Helmut Newton muse”.
Longshaw Ward
HOW TO TURN ordinary into extraordinary? Think outside the lines, as seen at HOUSE of V, part of the Fashion Hong Kong presentation. “We created a fine braid along the centre parting and hairline for a modern look with a twist,” said Jack Merrick-Thirlway at Neville Hair & Beauty for L’Oréal Professionnel. Tail combs at the ready!
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Givenchy
Valentino
RE:CREATE
Jolin Wu
FLYAWAYS ARE officially fly this season. No one puts baby hairs in the corner as hairline wisps were thrust into the spotlight everywhere from Givenchy to Valentino, where Guido was on hand for Redken. At ALEXACHUNG, Alex Brownsell for L’Oréal Professionnel even deployed blusher brushes and balloons (see page 26) to encourage ‘cool-girl static’. At Jolin Wu, Philip Haug for Toni&Guy teased out soft strands for a windswept effect.
Jolin Wu
O O H , B A BY B A BY…
Mark Maciver, pictured inset (centre)
R O L L U P, R O L L U P
WELL GROOMED AT LOOM LOOP, part of Fashion Hong Kong presentation, Luke Pluckrose at SAKS for L’Oréal Professionnel created a pared-down Victory Roll look for a modern jungle warrior princess. The key ingredient? “I rolled up a piece of stiff paper to form long, slim cones, which I used to wrap the hair around to create the rolls,” he divulged. Victory is his. RUNWAY
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IT’S NOT EVERY DAY you get to hang out backstage at Burberry, let alone get in on the mane event. But that’s exactly where Mark Maciver, founder of East London barber shop Slidercuts, and his team found themselves. Enlisted to cut the afro-haired models, “doing the show reminded me of how much detail goes into producing them. The finished product looks simple but the process never is”, he said. AUTUMN/WINTER 2019
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REFERENCE REBEL
NINE TEASE Luke Hersheson
WHEN TWO ERAS COLLIDE, good hair happens. At least that was the result at 16 Arlington, London Fashion Week’s latest darling. Backstage, Larry King used Redken products to fashion his ‘grunge x Marlene Dietrich’ look. And what exactly does this mash-up look like you ask? Think Hollywood waves. On Kate Moss. After two days at Glastonbury.
Images courtesy of L’Oréal Professionnel, Redken and Toni&Guy
Larry King
Larry King backstage
SOME THINGS are better left unsaid. At least that was the case for Luke Hersheson’s ‘anti-reference hair’ at Molly Goddard, which eschewed time-honored beauty icons and traditional inspiration narratives for a ’do that defied classification. The result was wet-look hair (thanks L’Oréal Professionnel Mythic Oil) accessorised with a length of jersey.
I CAN FEEL AWARD FOR THE most prolific product of the season surely goes to L’Oréal Professionnel’s TECNI. ART Ring Light, which was spied all over. No wonder really as this nifty hair hero offers unparalleled shine without any greasiness thanks to the unique applicator. They liked it, so they put a ring on it…
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Natasha Zinko
YO U R H A LO
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RE:CREATE
PIN INTEREST
Yeung Chin at Fashion Hong Kong
Erdem
Yeun Chin at Fashion Hong Kong
THE SHARPEST TREND on the block? Pins as embellishment. At Yeung Chin’s Fashion Hong Kong presentation, Luke Pluckrose at SAKS for L’Oréal Professionnel created lightweight voluminous up-dos on which to anchor the hair accessories. Meanwhile, over at Erdem, Anthony Turner’s ’60s sci-fi French pleats were finished off with brooches more in keeping with raiding your granny’s jewellery box.
FAUX ROWS CORNROWS WERE flourishing across every fashion capital but if the real thing feels a little too time-consuming, make like Fowler35’s Darren Fowler for L’Oréal Professionnel and fake it. “We created ‘warrior rolls’ with an individual finish,” he explained backstage at Reshake at On|Off, where he applied plenty of TECNI.ART Full Volume Mousse throughout to give the hair grip.
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EASY LIKE S U N DAY M O R N I N G MARC JACOBS has been a brilliant hair showcase over the past few seasons, but for A/W19 it was all about simplistic beauty. “Marc decided he wanted to go lighter this season with a soft, clean look to the hair,” explained Guido, who reached for Redken Triple Dry 15 to get this soft, modern texture.
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t
t THE GIRL
“Riccardo talked about the idea of baby hairs and gelling them, and I don’t really know how all that happened. It was almost like Art Nouveau in the end. It just started as a test, I don’t really know how I got there! I guess that’s creativity – it was intricate, interesting.”
THE BOY
“The look for the boys was buzzcuts with a bit of an extreme bang. Having the fringe left out in this way gives a kind of nod to youth culture, to the street, but still high end. With Burberry, there’s the street client who is wearing it in a cool way, remixing it.”
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GUIDO & BURBERRY
STREET MEETS CHIC
Images courtesy of Redken
With possibly the most talked-about look from the A/W19 shows, Redken global creative director Guido Palau shows why he’s the master of subverting expectations…
THE BURBERRY A/W19 COLLECTION was a individuality. That, to me, is what Riccardo was clash of contradictions – in the best possible way – saying with the collection.” that led session legend Guido Palau to represent the From streetwear-savvy, younger clients who like brand’s disparate customer base visually to remix the classics, to the chic and ladylike through four distinct hair looks. Titled appeal of the heritage of the brand, having The Girl, The Boy, The Lady and The such a broad spectrum of clientele was a Gentleman, the theme of Riccardo catalyst to creating such disparate looks. Tisci’s second Burberry show was “I realised how it appeals to so many Tempest, drawing on the ideas of different kinds of people,” he explained. contrast and perspective, which only Riccardo’s sharp eye for detail meant heightened this idea of individualism. that each look went under a magnifying “Riccardo was glass to make sure it looking at the had the perfect vibe. English class system “For the beauty side “Riccardo Tisci is very tough – in a sort of of it he’s very tough he challenges me and he pushes me traditional sense, – he challenges me to do anything” which maybe isn’t and he pushes me to GUIDO PALAU really there as much do anything,” now,” muses the Redken global creative director. Guido explains about working with the designer. “I think it’s become more blurred. We’re probably “Even the chignon, the placement of it, what size it known for this kind of heritage, this Englishness, is, the knot, if it’s messy or if it’s clean – he needs to and obviously well-known for our street culture and see every version. He’s got the eye.”
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t THE LADY
“We blow-dried away from the face, smoothing the hair out for a luxury feel with Redken Satinwear 04. Then I used Triple Dry 15 once I pulled it back into the ponytail and to create the knot. It just adds that bit of texture. We finished the look with Forceful 23 hairspray.”
THE GENTLEMAN
“It was about an almost banker-type person, a classic Englishman. Hair was trimmed, I put on Satinwear 04 and let it dry naturally, and then ran my fingers through with Redken Brews hairspray. That way it had a bit of hold but it kept some of the elegant naturalness.”
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DIOR AT THE V&A
DREAM A LITTLE DREAM Christian Dior – Designer of Dreams has dominated the V&A this year, with sell-out crowds and an extended run due to overwhelming popular demand. As it folds away the tulle, curator Oriole Cullen discusses the impact of both the exhibition and the heritage of creative talent that has passed through the House of Dior
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Oriole Cullen
LONDON’S VICTORIA & ALBERT MUSEUM (V&A) knows a thing of two about staging a fashion exhibition that excites the general public, as the clamour for tickets for the Alexander McQueen Savage Beauty exhibition in 2015 illustrated. And now the curtain is falling on another extraordinarily successful show, one that sold out its run in three weeks and was extended to try and fit in thousands more people desperate to see a mesmerising mix of original pieces from one of the most successful and defining fashion houses – Dior. Behind the V&A’s Christian Dior – Designer of Dreams exhibition is fashion and textiles curator Oriole Cullen and her team. Usually it would take two years to bring this kind of show to life (indeed, at the V&A they’re often programming content up to five years in advance), but this exhibition went from green light to open doors in just 10 months. However, she did have a strong starting point: “There was a big Dior show in Paris in July to celebrate 70 years of the House of Dior,” she explains. “It was a fantastic exhibition, and we also have a Christian Dior collection in our own V&A archives. So we thought it would be fabulous to bring it all to the V&A and use it as a vehicle to show our own collection as well.” She is quite right – and with the addition of the V&A’s own continued to take in the Temple de l’Amour in Versailles before a archive it was an even more fabulous experience, occupying the jaw-dropping climax in the magnificent ballroom – a true museum’s new Amanda Levete-designed galleries and divided into embarrassment of couture riches. 11 sections. Visitors travelled through a recreation of the Avenue But there was a challenge: “Our space was smaller than in Paris Montaigne Dior boutique façade and a focus on The New Look, so we had to cut some content, but before seeing The Dior Line, the we also added about 60 per cent 10 definitive looks from his tenure new content,” she explains. “We at the house. A new installation “You have to think about the message sat back and asked ourselves: ‘how explored Dior’s fascination with you’re telling visitors, although it might do we want our visitors to the UK and the Royal Family, who not be explicit – how they walk through, experience it?’ You have to think were enamoured with his work the pace of the journey” about the message that you’re following his first show at The ORIOLE CULLEN telling visitors, although it might Savoy in 1950. The journey not be explicit – how they walk through, the pace of the journey.” Once they had decided on the narrative, Oriole and her team collaborated closely with Nathalie Crinière, the exhibition designer from the Paris show. They reworked the plan, looking at the V&A’s space and lighting, and how it would all translate. Following that, much of the set was constructed off-site and brought in, with the physical installation taking about six weeks. Another four weeks on top of that saw all the garments installed. And while all this was going on, for about five months the textile restoration team was working on all the mannequins and the underpinning. “Each mannequin is created as a soft sculpture underneath each dress,” says Oriole. “All of the pieces on show were couture, which means they’ve been made to fit the body shape of a particular client. It’s a very intricate process and it’s important to try and get a uniform look. You’re dealing with lots of different body shapes from different periods and different styles of design.”
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Photography from the V&A archive; Fashion in Motion photography by Jon Bradley for L’Oréal Professionnel
DIOR AT THE V&A
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FASHION IN MOTION
Indeed, those different styles of design are an integral part of the House of Dior story. “Christian Dior, sadly, was only at the helm for 10 years before he died,” recalls Oriole, “but it’s such a positive moment when he comes to the fore, because the world had been through such a tumultuous time [he led the company just after the second world war], and he brought a fresh start, literally a New Look. A lot of hope was symbolised by that New Look.” A fascinating part of the show’s journey was to travel through the 70-year history of the fashion house and see how all of the designers who followed Dior worked, and how some of them are known much more than others. “It’s been really nice to revisit the Yves Saint Laurent years as he was only there for quite a short time,” smiles Oriole. “It’s also lovely to look at the work of Marc Bohan. He was there for 29 years but is often overlooked. He designed some really beautiful, very wearable pieces.” But that’s the wonderful element about the House of Dior, the legacy. It’s not just about Christian Dior, it’s about an incredible roster of names who have worked there. Across the decades, heads of the house have also included John Galliano and Raf Simons, while the current incumbent is Maria Grazia Chiuri. It was, quite simply, a breathtaking display to share – from Princess Margaret’s 21st birthday dress to red-carpet couture sported by Dior ambassadors such as Jennifer Lawrence and Natalie Portman, the mix of pieces encapsulated the breadth of creativity and personality of the house’s lead designers across the decades. You saw the swashbuckling vibe of the Galliano era against the cooler restraint of the Raf Simons years, and yet it all had a common thread uniting their individual takes. “I don’t think any other house really compares with such a roster of talented names,” says Oriole. “It’s very interesting that following Gianfranco Ferré joining in 1989, all of the designers’ first collections for Dior reference the New Look and the Bar Suit. It’s almost a statement of intent, how they’re going to honour the legacy and also shape Dior for their time.”
To coincide with the V&A’s exhibition, Fashion in Motion presented Inspired by Christian Dior, a showcase displaying a unique selection of outfits created by students of Central Saint Martins BA Fashion Design Womenswear course, in honour of one of the 20th century’s most influential designers. The V&A’s Fashion in Motion series brings catwalk shows by some of the greatest designers to the museum and makes catwalk couture accessible to a wider audience, modelling it against the V&A’s stunning backdrop. For this event, Central Saint Martins students took inspiration from both original Christian Dior garments and the six artistic directors who succeeded him, with a selection of 20 displayed as part of the V&A Fashion in Motion programme. Since its inception, L’Oréal Professionnel has worked closely with Fashion in Motion to deliver talent to style hair for the shows. For Inspired by Dior, John Gillespie and a L’Oréal Professionnel hair team worked with the shapes and elegance of Dior’s work, creating a modern look with height and movement. The hair was prepped with TECNI. ART Pli and blow-dried, with TECNI.ART Full Volume Mousse applied to roots and sides, then brushed back with TECNI.ART Extreme Splash for a smooth sheen tying in a low ponytail. The top was curled with large tongs and pinned to set, then pulled back with fingers, using TECNI. ART Transformer Gel and brushed over the ponytail. “L’Oréal Professionnel’s support is fantastically important because without it, we just wouldn’t be able to do it all,” says Oriole of the Fashion in Motion programme. “And it’s great working with the hair team – they’re very open to working with the designers and finding solutions to getting the perfect looks for those shows.”
John Gillespie
Photography from the V&A archive; Fashion in Motion photography by Jon Bradley for L’Oréal Professionnel
DIOR AT THE V&A
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MARY KATRANTZOU & JOSH WOOD
EVENT HORIZON Mary Katrantzou’s A/W19 show explored multi-coloured and multi-textural elements, and Runway was there to watch star colourist Josh Wood apply her vision to hair BRITISH-BASED DESIGNER Mary Katrantzou is renowned for her innovative and extraordinary use of prints. Season after season she produces intricate, kaleidoscopic designs that are flooded with colour, and her A/W19 collection was no exception. So who better to translate her vision than Redken global color creative director, Josh Wood? “Mary wanted to work with me to create a pattern – but with hair colour,” Josh explains backstage to Runway at the show space, where session stylist Anthony Turner was leading the hair styling team. “She gave me three different samples of fabric from the collection to try to create a kind of ‘print’ on hair. It actually turned into the two core looks that we created.” The first, named Colour Clouds, saw puffs of colour painted on the wefts. The coloured areas sported an intense centre and then faded out towards the edge. “We tried to do it with sponges but
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that didn’t really work, so we ended up applying the colour with rollers,” admits Josh. “We created little spheres using the rollers, then pushed the edges out with our fingers. Mary was keen that the effect was painterly and not ‘festival’, with muted and blended tones rather than defined shapes.” The other technique Josh created, Horizon Colour, had a more ombre approach, but with a focal point in the middle rather than at the root or at the end of the hair. “We kind of had to make it up as we went along, but we eventually coloured all the hair and then went back in and bleached a horizon line into it,” explains Josh. For that, the team reached for Redken Flashlift and “every single shade” in the City Beats range. Josh’s first assistant – 2018 It List Fashionista winner Mads-Sune Lund Christensen – broke down some of the formulas created. “We used 25 packs of extensions – enough to do 50 models’ hair,” he laughs. “For the greens we played a bit with the Time Square Teal, a little High Line Green and added some Yellow Cab for a more customised shade. The beauty of City Beats, according to Mads, is that the shades are so intense the team is able to control the fade across certain wefts by using Redken Clean Maniac Hair Cleansing Cream and a little hot water to dilute them. “This has been useful on the Horizon Colour wefts, making sure the fade is smooth top to bottom,” he
Josh Wood with hairstylist Anthony Turner
Photography by Simon Martin; backstage photography by Clement Leon Mogensen
MARY KATRANTZOU & JOSH WOOD
says. It’s the epitome of backstage make-do as Josh leads us to the makeshift colour lab (a sink in the men’s toilets – the glamour!) to mute the ends of a green weft. For the Cloud wefts, more Clear is added to the mix to take tones more pastel. “For the pinks, for example, we mixed it with City Ballet Pink, a drop of Big Apple Red and the tiniest bit of Midtown Magenta,” explains Mads.
“Mary wanted to work with me to create a pattern – but with hair colour” JOSH WOOD
“The idea is that the models’ own hair colour diffuses the effect,” says Josh. “It makes it more ethereal. Then, when they walk the runway and you see it alongside the clothes, you get little hints of the colours as the strands move. It makes you take a second look as the shades really mirror the tones and blends in the fabric and it all slots together without your eye really registering why.”
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Holly Fulton x Cambridge School of Visual Arts, hair by Jonathan Soons, supported by the Headmasters team
YOUNG GUNS GO FOR IT
British universities and colleges are renowned across the globe for their fashion courses, with international students travelling to attend these prestigious institutions – and with graduates such as Stella McCartney, Christopher Bailey and Grace Wales Bonner, is it any wonder?
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ISTITUTO MARANGONI FA S H I O N B A “I felt honoured to be working at the first Istituto Marangoni show in the UK. The show went smoothly and I had a strong team. I started session work with L’Oréal Professionnel – it opened so many doors. It’s also important to use social media if you want to get into session work, as you can offer to be an assistant for stylists.”
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Images courtesy of L’Oréal Professionnel
L E D BY Tina Farey at Rush
Tina Farey
WHEN THE FASHION DEPARTMENTS open their doors and new graduates send their collections down the runway, buyers elbow each other to get to the front row in the hope of discovering the next McQueen, Galliano or Gareth Pugh. L’Oréal Professionnel has a long history of supporting emerging design talent, with the best graduate at the Central Saint Martins Fashion BA show taking home the L’Oréal Professionnel Designer of the Year Award. And as part of its dedication to fuelling this creative spirit, the brand opens up the world of session work to salon stylists from across the UK and Ireland, so they can taste a little of that fashion world for themselves. Runway flashes its backstage pass to quiz leads and the assistants on why this is so vital to their careers and life on the salon floor…
LONDON COLLEGE O F FA S H I O N FA S H I O N B A
LONDON COLLEGE O F FA S H I O N FA S H I O N M A
L E D BY Frankie Pullen
L E D BY Luke Gregory
L E D BY Andrea Daley
L E D BY Yesmin O’Brien at
at Daniel Galvin
at Fowler35
at Barbara Daley
seanhanna
“I’m lucky enough to have been asked to lead the Westminster MA show for the past few years and it’s always great to work with new designers! Each model will walk for two or three different designers, so I work with the course lecturers to design a hairstyle that will go with all of the looks they need. Positive thinking and not panicking is key. Session work is so fun and varied – ask around as people are always in need of assistants!”
“I had to be really focused for this show as I had only a week of preparation. You have to get to know the designers, what their collections are trying to say to the audience and how to translate each of their visions into hair. It’s given me confidence in my ability to convert the often revered but unobtainable designs on the catwalk for use with my commercial clients in the salon. Using relatable references is key for clients so they can enter this world.”
“To be asked to lead such a prestigious show was amazing. The highlight has to be seeing your work walking down the runway – that feeling when it all comes together with models in full hair and make-up, wearing some incredible designs – it can’t help but make you feel proud of everyone involved. Getting 60 models ready in such a tight timeframe is always going to be difficult, but we had a great team from the L’Oréal Professionnel ID Artists programme.”
ASSISTED BY Olivia Collison at MACK Hairdressing “There were so many inspiring people like Yesmin working at this show and I gained a lot of insight into how other stylists work and the techniques they use. We had to use a wide range of skills and I was nervous at first. But it has really boosted my confidence and I have overcome my worries about working under pressure. I would love to do session work again, as it’s so different to salon work.”
Luke Gregory
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Yesmin O’Brien and Olivia Collison
UNIVERSIT Y OF W E S TM I N S T E R M E N ’S FA S H I O N M A
Andrea Daley
UNIVERSIT Y OF W E S TM I N S T E R FA S H I O N M A
Frankie Pullen
Holly Fulton x Cambridge School of Visual Arts, hair by Jonathan Soons, supported by the Headmasters team
YOUNG TALENT
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YOUNG TALENT
CENTR AL SAINT MARTINS FA S H I O N B A
L E D BY Adam Reed,
L E D BY Jack Merrick-Thirlway, Neville Hair & Beauty
Clare Hansford
ASSISTED BY Clare Hansford, Headmasters “There’s such a huge amount of talent at Graduate Fashion Week, from the design students to the other hairstylists and make-up teams, too. It’s hard not to be inspired by all the creativity. It’s such a privilege to be part of something this big. I always learn a lot at as you have to manage the expectations of the designers – some hair lengths and textures mean you have to tweak the look.”
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ASSISTED BY Ilker Nalkiran, seanhanna “It was an amazing experience to be part of this team and an absolute privilege to work with them. Up-styling is the skill I find the most challenging but working backstage taught me specific techniques and has really inspired me. I’ve used the
Jack Merrick-Thirlway with the L’Oréal Professionnel Portfolio Team
Percy & Reed
tricks I learnt in to create hairstyles for festivals and nights out for my salon clients.” ASSISTED BY Meg Summers,
Stuart Holmes “To be part of this was a really big deal to me because I had always dreamt about being part of a big fashion show. The biggest backstage challenge I had to overcome was with plaiting. But after I had help from other hairdressers in the team I was able to turn it into a strength. I improved my skills and am more confident.”
K I N G S T O N UNIVERSIT Y FA S H I O N B A L E D BY Cristiano Basciu,
Richard Ward Hair & Metrospa ASSISTED BY Sabrina Chappell, Richard Ward Hair & Metrospa “This is a big show with a huge number and variety of models. The main challenge was working with these different hair types in a short space of time to achieve the same or very similar look! Working at a show like this always gets your creative juices flowing – which is great for salon clients who want to be more adventurous.”
Cristiano Basciu and Sabrina Chappell
CENTR AL SAINT MARTINS FA S H I O N M A
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YOUNG TALENT
Nicole Iroh and Paul Davey (centre) with the L’Oréal Professionnel Portfolio Team
UPSKILL FOR SESSION
G R A D UAT E FA S H I O N W E E K C O L E D BY Paul Davey,
Davey Davey “It is such an honour to get involved with such a prestigious event. Working with the future of fashion with progressive ideas was what really sold it to me. L’Oréal Professionnel is always at the forefront of fashion and it was an honour to represent it.”
ASSISTED BY Frankie McGowan, Andrew Hill “This was the most amazing experience of my career so far. I learnt new hair techniques and new ways to style quickly. Back in the salon I have used new curling techniques and am also more conscious of my timings.”
C O L E D BY Nicole Iroh,
Headmasters “There were 23 shows spanning four days – you can imagine what a fast-paced but also inspiring environment the backstage area was! We led a team of 26 hairdressers from L’Oréal Professionnel Portfolio Salons across the country. It was great to see the team grow so much in such little time.” ASSISTED BY James Parr, Nashwhite “I learnt that we all have strengths and weaknesses but as a team we can achieve exceptional standards. I got a complete overview of how the whole production comes together, from preparation to the moments on the runway.”
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biggest challenge, you have to be efficient and make it work. It was a fantastic opportunity for networking, too. Back in the salon I’ve been able to share how to create different looks with my colleagues.” ASSISTED BY Rhys Jones, Blushes “It was by far one of the best experiences of my hairdressing career. Back in the salon it has given me a completely different way of looking at things and approaching situations, trying out different products and being more confident in myself.” ASSISTED BY Hugo Santos, Andrew Mulvenna “It felt incredible to part of the team and to work with so many models, right in the heart of such a big operation. Focusing on the finer details was hard at times – it’s a serious challenge but when you get through it you learn so much about yourself.”
ASSISTED BY Vishali Visavadia, George’s Hairdressing “I had never done much session work so it was amazing to be part of something so big. It is on a huge scale and it was a really different world to step into. Time management was the
ASSISTED BY Jessica Hau, Rush Hair “I love the pace of a fashion show, the whole atmosphere was buzzing. It’s so important to have a keen eye and always ensure your work is perfect. You learn so many new things.”
REDKEN ST YLING M ASTERCL ASS 23 SEP TEMBER , R E D K E N E XC H A N G E HAMMERSMITH, LONDON Fresh from London Fashion Week, the Lockonego team will be sharing the latest trends, techniques and tricks. At this one-day course you’ll find out how to translate hot runway looks for clients back in the salon – it’s the perfect opportunity to get inspired, learn something new and kick-start your session career. lorealaccess.com/uk
L’O R É A L PROFESSIONNEL C R E AT I V E S E S S I O N S 9 SEPTEMBER EDINBURGH, 23 SEP TEMBER LEEDS, 2 O C T O B E R B E L FA S T. LONDON AND M A N C H E S T E R DAT E S IN OCTOBER TO BE RELEASED ON LO R E A L AC C E S S .C OM/U K Do you know what’s hot this season? Experts from the L’Oréal Professionnel Education Team and ID Artist programme will be sharing new sectioning patterns, creative formulas and inspirational colour techniques at these three-hour sessions. With interactive demos and chances to share your ideas, it’s your chance to ignite your session skills.
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Ziad Nakad, images by Anna Stockland, courtesy of Neville Hair & Beauty
THROUGH THE LOOKING GLASS The Neville Hair & Beauty session team has spent the past seven years working at couture fashion shows all over the world. Here they explain what it’s like to work behind the scenes at the most glamorous presentations imaginable, and how it impacts life back in the salon‌
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GOING BACKSTAGE AT a haute couture show is like entering another world. Through the mists of hairspray come dresses heavy with beads, regal silhouettes made from ornate fabrics. And for seven years, Neville Hair & Beauty has been there, creating the intricate hairstyles that accompany some of the most exquisite – not to mention expensive – gowns in the world. It all started when Elena Lavagni, owner of the Mayfair salon, found out about Singapore Fashion Week and decided her team was ready for a challenge. “I flew to Paris to meet the president of the Asian Couture Federation and to convince him that Neville Hair & Beauty should be a part of the show.” The salon took six hairdressers from London and, with kitbags bulging with L’Oréal Professionnel TECNI.ART products, worked alongside a team from Singapore. It was stressful, Elena notes, but the hard work paid off and it opened the door to the couture capital of the world: Paris. “At our first couture season in Paris we did six shows, including three in one day,” she says. “It was amazing, and I learnt quickly how to manage and divide the work. I really believe in preparation – by the time we get to a show everyone knows what they’re doing.” For Jack Merrick-Thirlway, senior stylist and member of the Neville Hair & Beauty session team, the opportunity to work backstage was enticing. “Session work was always something I wanted to be a part of – I love the creativity and how you can express yourself,” he explains. Having joined Neville Hair & Beauty 14 years ago, he earned a place on the session team through hard work and enthusiasm. “I was dedicated to getting better at my craft, and everyone else could see how much I wanted it. In the beginning it was about being in the mindset of wanting to work hard – even more than the skills.” The Neville team regularly creates the hair looks for couture shows such as Antonio Grimaldi, Rami Kadi and Celia Kritharioti,
Guo Pei
COUTURE
with team leads including Jack, Cristian Pignatta and Fernando Spano. But the Guo Pei presentations are the highlight for Jack. “I love the big ballgowns,” he says. “The intricacies of each look make these shows very challenging but at the same time it’s so rewarding to be a part of. Each model’s look takes about two hours and everything has to be perfect – so much effort goes into these shows.” Elena believes that the time spent out of the salon working backstage at couture shows is immensely valuable, benefitting both the business and the members of the team. “When the staff return to the salon they are so enthusiastic and they always reflect back on
“Session work was always something I wanted to be a part of – I love the creativity and how you can express yourself”
Jack Merrick-Thirlway at Guo Pei
JACK MERRICKTHIRLWAY
RUNWAY
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the shows when talking with their clients,” she explains. “The clients know that their stylist is the best person for the job as they have worked on couture fashion shows – and that brings credibility. Also the stylists learn to be independent, as they have dealt with any number of problems backstage.” Jack agrees that the session work has a huge impact on his life in the salon, training him to seek perfection. “I’ve really learnt the art of dressing hair,” he says. “Couture work has to be so perfect – your eye changes and you look at little details and become more aware. Our clients are always interested in the shows and they feel more confident in you and your ability.” And his advice for stylists who want to experience the world of couture? “The most important things are putting in time, working hard and having a lot of patience. You have to know how everyone else in the team works. It’s like playing football – you have to pass at the right time. When I started I thought it was impossible but it starts to click – and getting that knowledge comes from practice.”
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A / W 19 H A I R I S …
“GLOSSY. THERE IS A RETURN TO COLOURS LOOKING MORE PRIMARY AND INTENSE. AN EXTREME CAN BE AS SIMPLE AS BL ACK OR WHITE, LIKE THE COLOURS WE CREATED AT PR ADA”
Josh Wood, Redken global color creative director
“VERSATILE AND HAS SOMETHING FOR EVERYONE. IT R ANGES FROM ‘50S AMERICANA SILHOUET TES TO THE EFFORTLESS FRENCH GIRL TEXTURE, WITH CLEVER WAYS OF ACCESSORISING PONY TAILS”
“ABOUT VOLUME, DIANA VREEL AND, ‘60SINSPIRED, HARPER’S BA ZA AR, THE COLOUR VIOLET AND THE GROWN OUT BUZZ CUT!”
Tina Farey, Rush Hair
Nicole Iroh, Headmasters
“ABOUT MAKING A STATEMENT! THINK EL ABOR ATE, POWERFUL LOOKS AND MODERN, UNDONE VIBES. BOLD UPDOS AND SLICK, HIGH SHINE ST YLES ARE DOMINATING THIS SEASON”
Cristiano Basciu, Richard Ward Hair & Metrospa
“ABOUT BIG HAIR, LOTS OF VOLUME, MAKING A STATEMENT. BIG HAIR IS NOT FOR FAINTHEARTED ST YLISTS; IT REQUIRES TIME, SKILLS AND EFFORT SO IT DOESN’T LOOK LIKE PROM HAIR”
Jack MerrickThirlway, Neville Hair & Beauty
A summary of the season, in the words of the professionals
A / W 19 H A I R I S …
“REALLY GOOD FUN, ANY THING GOES! BE CREATIVE WITH TEXTURE, SHAPE, COLOUR. HELP CLIENTS TO ENJOY THEIR HAIR!”
Adam Reed, Percy&Reed
“EXPENSIVE, INDIVIDUAL AND GLOSSY. SHORTER CUTS WILL COME THROUGH AND TEXTURE, WAVES, FRINGES AND ACCESSORIES ARE ALSO ALL PART OF THE STORY”
Darren Fowler, Fowler35
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“EXTREME IN ITS SIMPLICIT Y“
Guido, Redken global creative director
“UNIQUE! FORGET IDENTIKIT HAIR LOOKS, THIS SEASON IS ABOUT EMBR ACING WHAT MAKES YOU DIFFERENT AND CELEBR ATING THAT!”
Richard Phillipart, The Boutique Atelier
“INDIVIDUALLY SUBJECTIVE! IT’S WHATEVER YOU WANT IT TO BE WE’RE EMBR ACING CHOICE!”
Luke Pluckrose, Saks
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