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
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AUTUMN WINTER 2020 C RE ATIVEHE ADM AG.COM
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C O N T E N T S AU T UM N/ W I N T E R 2 0 2 0 06 TOP FIVE MOMENTS The finest selection from the A/W20 runways
14 THE TRENDS What clients will be demanding this season
22 HOW HAIR HAPPENS Take a closer look at five key hair stories from Fashion Week
34 RE:C RE ATE Satisfy your fashion cravings with a deep dive on the hair backstage
38 I PUT A SPELL ON YOU
42 IN COLL ABOR ATION WITH How the hair leads pair up with designers at On|Off to make magic happen
44 CENTRAL SAINT MARTINS We explore how the iconic fashion college celebrates and innovates in 2020
48 A MAN FOR ALL SEASONS The University of Westminster’s Andrew Groves on menswear and the future of fashion
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Cover image: Erdem, courtesy of L’Oréal Professionnel
Chinese couture label Mithridate makes its London debut at the V&A
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EDITOR’S LETTER
EDITOR’S LET TER Welcome dear Runway readers! 2020 may have been officially filed under the most challenging year in recent times but it all started out so well, thanks to some hair magic at the A/W20 shows. Looking to the future was a common theme for the hairstylists and designers alike, from the futuristic silver bobs at Erdem and Star Wars-inspired ’dos at Angus Tsui (from page 34) to the Central Saint Martins MA show, which showcased the bright young stars of tomorrow (see Top Five Moments from page 6). And if that wasn’t enough to whet your appetites, we also have a feature on the amazing Mithridate show at the V&A over on page 38, before we take a look at how designers at On|Off collaborate with the L’Oréal Professionnel hair leads on page 42 – a must-read for budding session stylists. Then there’s an interview with University of Westminster’s Andrew Groves (page 48) and, on the subject of young brilliance, this year L’Oréal Professionnel celebrates its 20th anniversary of working with Central Saint Martins (see page 44), where the iconic school was also figuring out how to turn around the graduating class of its BA Fashion course during lockdown. Global pandemics aside, A/W20 is still set to be an inspirational one for hair with looks we’re sure will weather any storm (quite literally judging by the ‘windswept’ textures on display in Trends, from page 14). This year may have been an unprecedented one but it’s also forced us all to think a little more laterally and be a bit more inventive when it comes to showcasing our craft. I for one can’t wait to see what you all do next!
Cassie Steer Runway guest editor Beauty editor Editor in chief: Amanda Nottage Art: Graeme White Chief sub editor: Adam Wood Contributors: Kelsey Dring, Deborah Murtha, Anna Samson Publisher: Catherine Handcock R U N W A Y ALFOL LTD, PO BOX 289, HEXHAM, NE46 9HJ 01434 610 416 enquiries@alfol.co.uk 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 part where we get to big up our favourite quintet…
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G I LT Y P L E A S U R E S ERDEM ‘ROLL OUT THE BACOFOIL and crank up the fabulosity factor to gas mark 10’ was the (probable) call to arms at the National Portrait Gallery, where floors were slicked in silver to transform them into a resplendent runway. The occasion? Why, Erdem’s A/W20 show of course, where the designer had sought inspiration from his favourite venue’s upcoming retrospective of Cecil Beaton’s ‘Bright Young Things’ portraits. As scandalous as they were glamorous, this motley crew of boho aristos and smart-set socialites were the glitterati of the roaring 1920s, and the designer took a deep dive into their gilded universe by way of Beaton’s theatrical silver foil backdrops. Even the sprinkling of seven silver bob haircuts among the modern-day finger waves were gutsy rather than bonkers, which Anthony Turner for L’Oréal Professionnel attributed to the high-shine finish keeping things from going too “costume drama”. RUNWAY
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BRIGHT YOUNG THINGS CENTRAL SAINT MARTINS MA CECIL BEATON’S in-crowd had nothing on this multifarious and multi-talented bunch. The Central Saint Martins MA show saw the atrium of the college transformed into an immersive space complete with projections and soundscapes, and the ensuing 100 looks from 21 students was an assault on the senses – in the best possible way. From cyber knitwear to classic workwear and everything in-between, the succession of styles was at times trippy and thrilling, while the hair, led by Richard Phillipart of The Boutique Atelier, was as idiosyncratic as the garbs (often an amped up version of the model’s natural texture). One of the winners of L’Oréal Professionnel’s coveted Creative Award was Sarah McCormack, who summarised her collection (think feral fairies and worldly wood nymphs) as “joyriding on a wave of pleasurable transgression”. It’s a sentiment that couldn’t be more appropriate for the annus horribilis of 2020. 08
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C U LT U R E V U LT U R E MITHRIDATE WITH OUR RECENT enforced hiatus on cultural excursions, Mithridate’s homage to one of our most treasured institutions is like a retrospective balm. Named after a semi-mythical remedy to cure all poisons and ward off potential threats of plague (note to selves: start stockpiling now), Mithridate founder and chief designer, Demon Zhang, paid tribute to the V&A. “The prints are all inspired by the V&A’s marble architectural surfaces and medieval murals and artefacts,” she divulged. Though there was nothing fusty about her timeless garbs in rich, autumnal hues of russet, wine, chestnut and fawn. The show saw models swathed in ruched retro-esque leather dresses, cashmere rollnecks and kimono-like coats. For the hair, Jack Merrick-Thirlway at Neville Hair & Beauty for L’Oréal Professionnel kept things classically chic with a slick, low side-parted ponytail finished off with a section wrapped around the base. RUNWAY
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C H I L D ’ S P L AY MOLLY GODDARD SOMETIMES YOU SEE a snapshot of someone as a kid and it all falls into place. In this instance the kid was designer Molly Goddard, and the photo was one of her with her father published in Japanese magazine Fruits in 1992, which she sent out as a press release. Seeing Goddard as a toddler, complete with red woolly jumper and trousers with a teeny grey ruffled skirt over the top, was an enlightening insight into the irreverent styling that has become her trademark. The resulting collection was a lesson in self-expression, with mismatched silhouettes and textural and tonal clashes. And for the first time ever she introduced a menswear faction with a decidedly nerdy ’90s bias. Over on hair, Luke Hersheson for L’Oréal Professionnel echoed the ’90s sensibilities with his ‘Kirsten Owen meets Kate Moss’ texture. “We’re using a hint of oil, to give hair that grungy feel,” he explained. 10
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B U I LT TO L A S T
Images courtesy of L’Oréal Professionnel
REJINA PYO
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A DANK RAILWAY arch with a crude concrete floor and questionable drips from the ceiling is not, on first reflection, the most fitting of venues for an unforgiving fash pack. But Rejina Pyo is no ordinary designer. Her ‘found’ space reflects the environmental awareness that saw her eschew the allure of a physical invitation for an email and which keeps her committed to sustainable production. Pyo’s inspiration for the collection itself was photographer Harry Gruyaert’s ’80s photographs of LA and Las Vegas and the post-minimalist work of sculptor Eva Hesse. Pyo plundered a muted palette of khaki, rust, terracotta and retro brown, and the result was anything but mundane. So what about the hair? It was equally unpretentious with a ‘just got out of the bath’ texture that Shiori Takahashi for L’Oréal Professionnel described as “carefree but expensive-looking”. AUTUMN/WINTER 2020
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THAT WAS THE SEASON… From face masks to fabulous FROWs, it was a funny old Fashion Week but one we’re more than happy to relive…
VIVE L A REVOLUTION
Bora Aksu
FORGET WEARING your heart on your sleeve; it’s all about wearing your manifesto on your boiler suit. Following in the hallowed footsteps of fashion rebels like Dame Vivienne Westwood and Katherine Hamnett, On|Off kicked off A/W20 with white overalls emblazoned with ‘All Power to the Imagination’. Borrowing from the slogans of Parisian avant-garde revolutionaries during the uprisings of 1968, it’s a rally cry to get behind self-expression and to champion individuality.
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Charlotte Knowles
NEW HORIZONS
TOGA
BRIEFCASES at the ready, it’s time to get studious about style. No longer content with being the hapless sidekick, nerds are now fashion protagonists in their own right. Yes, you heard it here first; geek is officially chic. From thick-rimmed Where’s Wally? glasses to retro suiting in all manner of condiment colours (mustard and BBQ sauce were favourites), it’s all about embracing some terribly British eccentricity.
Central Saint Martins MA
#AW KS
ROMANCE WAS being played out somewhere between the lashline and browbone, as sunset eyes heralded a new dawn in beauty. These multi-tonal wonders ranged from pretty ombre washes of pink, orange and gold at Bora Aksu, to more intense daubs at Charlotte Knowles, while the fluoro hues at Central Saint Martins MA show were more like a holiday postcard on acid.
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THAT WAS THE SEASON
Mithridate
Molly Goddard
S PAC E I N VA D E R S
FROM HIGHBROW to low-key, godly to gritty, this season’s venues didn’t disappoint in the intrigue stakes and often it’s the only means of gaining access to buildings that are otherwise off-limits to the public. Our first ‘though the keyhole’ moment started at the BFC Showspace for On|Off; a Brutalist building on the Strand. Then it was on to Molly Goddard, who chose the lecture hall and library of Central Hall Westminster as a stately show setting, while Mithridate opted for the grandeur of the Medieval and Renaissance galleries at the V&A.
GLAD HANDING
QUILT Y FE E LINGS MAKE EVERY day a duvet day in the form of some fashion comfort food. From quilted jackets to padded puffas, insulated outerwear is the trend that we’re totally down with. House of Sheldon Hall’s gargantuan gold creation at On|Off was pure fashion fantasy. Or, if a tad more skin on show is more your cup of tea, opt for Central Saint Martins’ cut-away alien-esque puffas.
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Mithridate
House of Sheldon Hall at On|Off
FASHIONISTAS aren’t exactly known for their warm welcomes but University of Westminster graduate Brandon Choi took it to the next level. Inspired by the beauty of raw, unfinished works-in-progress, his calico creations were elegantly poetic, but it was the plaster of Paris moulds cradled by some of the models that got our thumbs up as they added an extra layer of eccentricity. Also rather handy for avoiding germ-ridden touchpoints we think.
SPOT ON FORGET SMOKY eyes and red lips, A/W20 is all about specks appeal. Bringing a 3D aspect to making up faces, make-up artist Lan Nguyen-Grealis went for black and red ‘alien beauty’ dots in different configurations at Yan Dengyu while at Mithridate, Jorge Balzaretti used teeny-tiny pearls to accessorise the models’ faces. Our verdict? Make-up on point.
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THE TRENDS Unexpected accessories and clandestine accents make for a suspenseful season of creative potential
Hairdressing for L’Oréal Professionnel T H E L O O K : Eclectic colour and strong visual impact to celebrate the collection H O W: Individual looks were created dependent on each model, with bands and paperclips woven into hair to AUTUMN/WINTER 2020
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University of Westminster
271 at On|Off
House of Sheldon Hall at On|Off
Erdem
D’IYANU at On|Off
GET THE LOOK
T H E S H O W: D’IYANU at On|Off H A I R : Mark Woolley at Electric
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GLOWUP
ONCE UPON A TIME, ordinary hair was transformed into something exceptional. No, not the stuff of hair fairy tales, we’re talking about the accessories trend that saw pedestrian plaits transmuted into bewitching braids while everyday objects metamorphosed into enchanting accoutrements. At House of Sheldon for On|Off, extreme plait/pony hybrids were accessorised with a chin chain sewn into the crown for added authenticity, while at 404 Studio for On|Off covetable charms were woven into the hippie braids at intervals. Everywhere you looked, it was all about giving hair a glow-up. But creating impact doesn’t have to be ostentatious, and while the diamante headbands at Erdem were fabulously flamboyant; the plain, silver bobby pins that were used on some of the other models were equally arresting when set against the dark finger waves. Context, it seems, is everything, whether it’s pinning a plaited weft across the back of the head as Daniel Galvin’s Frankie Pullen did at the University of Westminster BA show or using stationery to elevate a look to dazzling effect. Cue Mark Woolley at Electric Hairdressing for L’Oréal Professionnel’s beautifully eccentric ode to paperclips at D’IYANU at On|Off. Creating individual looks, including a fringe made entirely from the office supplies, the inspiration was the designer’s Nigerian roots and cultural identity.
complement the colourful prints. Prep hair with L’Oréal Professionnel TECNI.ART Fix Max gel and, on longer hair for shine opt for L’Oréal Professionnel Mythic Oil. Tie coloured elastics around lengths and dreads and wind short hair into little bunches with the bands. Pin paperclips at the parting. RUNWAY
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TRENDS
T H E S H O W: Blind by JW H A I R : Cristiano Basciu
at Richard Ward Hair & Metrospa for L’Oréal Professionnel T H E L O O K : Student life H O W: Prep hair with L’Oréal Professionnel TECNI.ART Pli RUNWAY
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House of Sheldon Hall at On|Off
GET THE LOOK
Blind by JW
Blind by JW
House of Sheldon Hall at On|Off
University of Westminster
House of Sheldon Hall at On|Off
PINTSIZED PL AITS
SOMETIMES IT’S THE little things… Case in point, the small but mighty plaits packing a big ol’ power punch on the runways. These itty-bitty braids may be diminutive in stature, but what they lack in size they certainly make up for in impact. At the University of Westminster BA show, Frankie Pullen at Daniel Galvin for L’Oréal Professionnel got to grips with her ‘renaissance waves’; baroque ’n’ roll braids coiled around the head with extra decorative plaited wefts added in to up the drama. Each take on the trend began with a smooth blow-dry but for Tina Farey of Rush Hair for L’Oréal Professionnel at 404 Studio at On|Off, the base texture of her ‘modern hippie’ look was a touch more relaxed. While curly hair was smoothed, straight hair was given a little extra movement before delicate boho braids were added to the front section of the head with a couple more peppered throughout. Cristiano Basciu at Richard Ward Hair & Metrospa for L’Oréal Professionnel went for quantity with a ‘student life’ quality over at Hong Kong’s Blind by JW, while Neville Hair & Beauty’s Jack Merrick-Thirlway for L’Oréal Professionnel rallied the troops at House of Sheldon Hall at On|Off, with Royal Horse Guards braids that commanded attention. Vertical braids close to the scalp were plaited from the hairline to the crown where they were gathered into a vertiginous ponytail and wrapped in black latex to resemble the stately plumes of a cavalry helmet.
and blow-dry smooth, using some TECNI.ART Liss Control for an ultra-smooth finish. Divide the hair into one-inch sections and plait the lengths in fine plaits. Finish with TECNI.ART Ring Light Shine Spray. AUTUMN/WINTER 2020
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TRENDS
#IWOKEUPLIKETHIS
L’Oréal Professionnel T H E L O O K : Piecey texture with a hint of movement. It’s slightly grungy and undone. H O W: Spritz L’Oréal Professionnel TECNI.ART Ring Light Shine AUTUMN/WINTER 2020
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Yeung Ching
Yeung Ching
Central Saint Martins MA
GET THE LOOK
T H E S H O W: Molly Goddard H A I R : Luke Hersheson for
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APUJAN
TOGA
Molly Goddard
LIKE THE MUCH-MALIGNED hashtag, the reality of the born-this-way barnets we all covet requires a little more effort than might be implied. While the premise of the incidental ’dos backstage was working with the models’ best hair, product was still very much a feature; whether it was recreating Richard Phillipart at The Boutique Atelier for L’Oréal Professionnel’s undone, ‘slept in’ hair at the Central Saint Martins MA show or the piecey, cool-girl texture over at Molly Goddard. For the latter, the glint of grunge was encouraged with a touch of oil by Luke Hersheson for L’Oréal Professionnel. Speaking of grunge, ‘Come As You Are’ must surely have been on the subliminal soundtrack to shows such as TOGA where Shiori Takahashi for L’Oréal Professionnel cited the muse as the models themselves. “It’s as if she’s just walked into the casting from waking up; fresh, natural and completely unforced.” Similarly, at Yeung Ching at On|Off, Luke Pluckrose at Saks referenced natural street looks, working with the model’s own choppy cuts and colour, adding in L’Oréal Professionnel’s TECNI.ART Beach Waves to enhance texture, or straightening with Steampod 3.0 to emphasise more graphic shapes. Meanwhile, at APUJAN, Taku Morimoto at Daniel Galvin for L’Oréal Professionnel took the trend to the next level with his ‘astro travel’ texture that had an undone, windswept feel.
Spray onto dry hair. Run your fingers through the hair to distribute the product evenly so it feels sheeny and separated. If hair is curly, blow-dry it straighter first and saturate it using TECNI.ART Ring Light Shine Spray and TECNI.ART Liss Control+ Serum. RUNWAY
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TRENDS
T H E S H O W: Rejina Pyo H A I R : Shiori Takahashi for
L’Oréal Professionnel T H E L O O K : Fresh and pushed back off the face, more ‘damp’ than wet. H O W: Section hair and spray L’Oréal Professionnel TECNI.ART Pli on hands and pull through the roots, RUNWAY
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University of Westminster
GET THE LOOK
ZAFUL at On|Off
Charlotte Knowles
Charlotte Knowles
Bora Aksu
Charlotte Knowles
DOUBLE TAKE
THERE’S NOTHING MORE satisfying than scoring a twofer and, in the case of the dual-texture ’dos on display for A/W20 there may have been twice as much graft involved, but the result was double the fun. While some take on the trend were more overt, playing on hair that was at opposite ends of the texture spectrum, others showed a more subtle shift in character. Take the wet/dry contrasts at the University of Westminster BA show, where Frankie Pullen of Daniel Galvin for L’Oréal Professionnel sculpted wet-look Marcel waves in opposition to the more natural texture of the ends, while at Rejina Pyo, the ‘just got out of the bath’ look by Shiori Takahashi for L’Oréal Professionnel was only a shade drier on the mid-lengths than it was at the crown. Similarly, for ZAFUL at On|Off, Fowler35’s Darren Fowler for L’Oréal Professionnel created big, fluffy, ’70s curls in stark contrast to the smooth, shiny roots, while at Bora Aksu the differentiation was made less distinct by Daniel Martin for L’Oréal Professionnel. But it was the split personality of Shiori Takahashi’s slicked-back hair at Charlotte Knowles that really had us on the edge of our seats. The sleek look was broken up by ‘secret spikes’ that Takahashi explained hinted at the strength of the model. Depending on the hair texture of each model, these anarchistic accents either took the form of punky liberty spikes or tough twists.
pulling hair back completely off the face. Dry on a low heat with a diffuser to set, then rub a small amount of TECNI.ART Web Paste to create hold and texture around the roots and the front, as if it’s been pushed back when wet. Mist the lengths and ends lightly with water to finish. AUTUMN/WINTER 2020
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BACK TO COOL As summer fades away, cool things down with L’Oréal Professionnel’s palette of tailor-made tones and finishes
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ADVERTORIAL
1) Google trends FY2019. 2) Consumer Markets Insight Salon Tracker 2020 (conducted 26 March to 2 April 2020, 1,017 Women 16 to 75 years old). 3) Versus Majirel core range. 4) Instrumental wet sliding test.
EVERYONE LOVES A BIT OF SUN – even if we’ve had to stay closer to home this year than usual. What we don’t love is the effect it has on hair; unwanted warmth and brassiness is a key concern for women after summer.1 L’Oréal Professionnel’s broad palette of cool colours and finishes means that you can easily reset or refresh tones which have tipped too far into warmth. With a simple diagnosis you can offer clients a bespoke finish which leaves them feeling fabulous and more like themselves.
FEEL GOOD FACTOR
Almost one-third of women use hair colour to feel good about themselves.2 Banishing the brassiness can offer women a huge boost of confidence. All you need is the right colour product along with the professional technique to customise the result for each client. From subtle colour finishes to next-level natural, L’Oréal Professionnel has the perfect palette.
ENHANCED NATURAL
Not everyone wants their colour to be eye-catching. Majirel Glow from L’Oréal Professionnel offers translucent, delicate cool finishes in 18 shades. Expect more reflect and less base colour for a neutralised finish with a luminous shine.
A TRUE NEUTRAL
With nine shades to choose from, the Majirel Cool Inforced range from L’Oréal Professionnel is boosted in cool reflects.3 These true-to-tone combination shades, particularly the .13 shades, are perfect for clients who want a cool, natural beige blonde.
DIVE DEEPER
The Majirel Cool Cover line-up in 19 shades is perfect for a deep, neutralised result. The cool coverage gives optimal neutralisation, even on dark bases, with the highest concentration of extra cool blue reflect to fight brassiness.
A REFRESHING RESULT
Tone and refresh older colour work with DIA Light from L’Oréal Professionnel. This gentle colour option gives intense shine and 30 per cent more conditioned hair,4 with a cool-gloss tone to previous colour and balayage work. The fast development time is ideal for topping up between permanent colour services to keep clients looking cool. And with the new shades there’s a finish for everyone. Take clients back to cool with L’Oréal Professionnel’s cool colour palette. To find out more, visit lorealprofessionnel.co.uk or call 0800 030 4034. @lorealprofessionnel #lorealprouk #backtocool RUNWAY
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ADVERTORIAL
“Pro Longer is going to be amazing for so many of my clients! Thin, unhealthylooking ends is one of the biggest concerns for my guests in the salon. Pro Longer plumps and thickens ends to look full as well as healthy” ADAM REED, L’ORÉAL PROFESSIONNEL UK EDITORIAL AMBASSADOR
A TOUCH OF BRILLIANCE Many clients are embracing longer locks for the first time, so keep them coming back with the Microtrim service and Serie Expert Pro Longer range from L’Oréal Professionnel LONGER LOCKS ARE IN. Whether it’s enjoying the extra length gained in lockdown, embracing the ’70s summer style or looking at the longer finishes sported by celebrities, many clients might be tempted to keep their hair that bit longer now that the tricky growing out phase has passed. But long hair with no style or shape is rarely flattering – and this is where you can keep clients engaged and returning to the salon. How many clients beg you to “just take off the ends?” Well, offering a Microtrim service keeps the structure of the cut without taking too much off the ends, a quick and efficient pop-in service between longer appointments. As Microtrims are done on dry hair, you can emphasise the speedy side of the service,
and pair it with an equally fast-acting treatment: L’Oréal Professionnel Serie Expert Pro Longer Ends Filler Concentrate. This lightweight treatment works on thin ends, or areas where help is most needed, in just 15 minutes. It works by penetrating the hair fibre core to plump and thicken the hair from the inside. Amino acids in the formula work to strengthen the hair from the outside, leaving hair looking and feeling thicker at the ends, where it’s often most fine and weak. Finish off that Microtrim service with a take-home prescription from the Serie Expert Pro Longer range to help clients keep that length as healthy as possible. From shampoo to styling, the line-up helps to reduce the appearance of split ends and keeps hair strong and looking plumper.
You can find a full tutorial on how to pull off the perfect Microtrim service on L’Oréal Professionnel’s Access education platform at uk.lorealaccess.com. Discover how the Serie Expert Pro Longer range can restore clients’ lacklustre lengths at lorealprofessionnel.co.uk or call 0800 030 4034 to stock it in your salon. @lorealprofessionnel #lorealprouk #serieexpert #prolonger #keepitlonger 20
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ADVERTORIAL
GO BIG AT HOME Achieve great volume from root to tip with the winning combination of Steampod 3.0 and TECNI.ART from L’Oréal Professionnel IT’S WHAT EVERY client desperately wants – to be able to style salon-worthy looks at home. Boost their confidence and self-esteem in one fell swoop by sending them home with the tools to do exactly that. Re-establishing your trust and expert opinion with your clients – extending beyond their time in the salon – is the best way
TO SHAPE TECNI.ART Pli
This spray does it all. Add shape, grip and hold to any style, or create volume at the roots with this prepping multi-tasker.
TO LIFT TECNI.ART Volume Lift
A pillowytextured mousse which is both supple and strong. Ideal for creating volume without weighing ends down.
to remind clients why they come to you in the first place. So share the insider secrets you know deliver the goods. The TECNI.ART range isn’t just a lifesaver for stylists; its iconic black and white bottles and tubs have earned a spot on many a dressing table. Pair this do-all product edit with the upgraded Steampod 3.0 for sleek, healthy-looking hair in hardly any time at all.
TO FIX TECNI.ART 6-Fix
Don’t worry about styles dropping with this super-strong fixing spray, with triple diffusion for extreme hold and quick drying.
TO SHINE TECNI.ART Ring Light
Shine on with this ultra-fine finishing spray. A micro-dispersed high-shine spray, it gives hair that final, gleaming finish.
TO STYLE
*Instrumental test versus regular straightener. **Instrumental test versus regular straightener after 15 uses
Steampod 3.0
Lighter and thinner than previous versions of the professional styler, Steampod 3.0 uses steam technology to deliver two-times faster and two-times smoother styling* than a regular straightener, with 78 per cent less damage.**
Discover how at-home styling options from Steampod 3.0 and TECNI.ART from L’Oréal Professionnel can create lasting relationships with your clients. Visit lorealprofessionnel.co.uk or call 0800 030 4034
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@lorealprofessionnel #lorealprouk #steamforward AUTUMN/WINTER 2020
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HOW HAIR HAPPENS Head backstage with five of the most visionary stylists to see them create the looks that count for A/W20
THE SHOW HOUSE OF SHELDON HALL AT ON|OFF THE LEAD JACK MERRICKTHIRLWAY AT NEVILLE HAIR & BEAUTY FOR L’ORÉAL PROFESSIONNEL
To create a strong foundation for this regal look, hair was prepped with TECNI.ART Pli from L’Oréal Professionnel and blow-dried smooth to reduce frizz
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Hair was divided into sections vertically around the head, and then plaited upwards, close to the scalp. Models were asked to tip forward in their seats, so gravity could help keep the plaits in place
Towering ponytails were created by scooping the hair up to the crown and securing tightly with an elastic
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HOW HAIR HAPPENS
The lengths of hair were smoothed using Steampod 3.0 from L’OrÊal Professionnel, and wire and tape were wrapped around the base of the ponytail
Lips were bejewelled with red glitter, with sparking accents added to the inside corners of the eyes. Brows were sketched in to be strong, dark and straight
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The collection had a Cool Britannia edge, with models stomping down the runway in red, white and blue
The Royal Horse Guards served as the inspiration behind this look, and chin straps were added to exaggerate this vibe
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HOW HAIR HAPPENS
THE SHOW ZAFUL AT ON|OFF THE LEAD DARREN FOWLER AT FOWLER35 FOR L’ORÉAL PROFESSIONNEL
To begin, hair was blow-dried straight at the roots, with very curly hair being smoothed out by Darren with Steampod 3.0 from L’Oréal Professionnel
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To set the hair, TECNI.ART Constructor from L’Oréal Professionnel was sprayed over and heat applied with a Steampod 3.0
One-inch sections were created around the head. The lengths were then wrapped in a figure of eight around the prongs of large U pins
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HOW HAIR HAPPENS
The pins were then removed, and the crinkled hair was brushed out to create extreme, ’70s-style body
The result was an explosion of volume throughout the lengths, and slick roots defined by TECNI.ART Liss Control
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Extra sparkle was added with metallic accents painted above the eyelids. The rest of the face was left soft, dewy and natural
A menagerie of high-shine fabrics were employed for a multi-textured collection that was equal parts modern and classic
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HOW HAIR HAPPENS
THE SHOW 404 STUDIO AT ON|OFF THE LEAD TINA FAREY AT RUSH HAIR FOR L’ORÉAL PROFESSIONNEL
Modern hippie hair was the order of the day, so hair was blow-dried to keep a natural wave and a Steampod 3.0 from L’Oréal Professionnel used to iron out flyaways
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Sections were then plaited right down the lengths and tied at the ends
One-inch sections were created at the front of the head by Tina, and other pieces of hair were clipped out of the way
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HOW HAIR HAPPENS
Looking at the hair even closer, tiny charms secured by small metal loops pierced some of the plaits
Coloured bands and glittery thread were woven around the braids to provide a bohemian edge
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Models wore party dresses with cutouts revealing peeps of skin, perfectly complemented by their free-spirited hair and striking make-up
Arching, cartoonish eyebrows in unnatural colours were the focus of the make-up, with a vinyl finish
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HOW HAIR HAPPENS
THE SHOW YAN DENGYU AT ON|OFF THE LEAD JONNY ENGSTROM AT GUY KREMER FOR L’ORÉAL PROFESSIONNEL
Hair was prepped with TECNI.ART Pli from L’Oréal Professionnel, to provide root lift and a smooth canvas to work on
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The sides were brushed back with TECNI.ART Fix Design to make them super-sleek and then pinned at the back of the head
The front section of hair was blow-dried back off the face by Jonny and pulled back
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HOW HAIR HAPPENS
Models took to the runway in ‘future couture’, a dramatic collection in a palette of fiery reds and black. Tulle ruffles collided with silky capes and hands sported dark talons
The hair was then smoothed over to create a strong, solid silhouette with a futuristic, sleek feel
The hair at the top of the head was backcombed gently from the roots to create volume and height
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As a finishing touch, TECNI.ART Fix Max was misted over the hair to provide hold, and small gems in red and black were applied to models’ faces
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HOW HAIR HAPPENS
THE SHOW ERDEM THE LEAD ANTHONY TURNER FOR L’ORÉAL PROFESSIONNEL
Anthony wanted a high-shine wet-look featuring modern-day finger waves. “It’s a ‘20s style with a futuristic twist,” he said
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Using a tail comb, a single finger wave was shaped into the front so that it resembled a brush stroke
Hair was combed in a low side-parting from left to right and about half a tube of L’Oréal Professionnel TECNI.ART Fix Max was applied
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HOW HAIR HAPPENS
The top of the head was gently diffused for about 15 to 20 minutes to ‘bake in’ the TECNI.ART Fix Max gel and set the style
A strict, low pony was secured at the nape for those with longer length before heat was applied with a dryer and a precision nozzle for a sleek finish. L’Oréal Professionnel Mythic Oil was smoothed on the ends for shine
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A silver bobby pin was added before the first loop to secure the finger wave. The vibe was the 1920s world of society photographer Cecil Beaton
In addition, there were seven silver cropped bobs pre-styled with S-shaped bends celebrating the silver tone of Beaton’s famous photography. The eyelids sported silver foil, too
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AU REVOIR UNWANTED R
BACK TO COOL COLOUR TAILOR-MADE
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TO COOL
MADE TO YOUR HAIR STORY
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The rights to use this visual are acquired from July 15th, 2020 to January 15th, 2022. Beyond that date the use of this visual shall be considered as a breach and you will have to pay any compensation that would be seek by the model or the photographer.
D RED, ORANGE AND YELLOW TONES
10/08/2020 6:31 pm
RE:CREATE
T E A M P L AY E R A/W20 WELCOMED Shiori Takahashi to the L’Oréal Professionnel fold where she led three shows. The Japaneseborn hair whizz has always had a fascination for subcultures, something that stood her in good stead at Charlotte Knowles, where subversive spikes had a distinctly punky edge. Having being part of the teams of Eugene Souleiman, Duffy and Tina Outen, it’s no surprise she has perfected the effortlessly sexy looks seen at TOGA and Rejina Pyo where the emphasis was on individuality. A star in the making…
Frankie Pullen (left) at University of Westminster
TOGA
Shining a spotlight on hair that deserves to take centre stage
WHO RUNS THE WORLD?
Shiori Takashi at Rejina Pyo
SPOILER ALERT: the answer is Frankie Pullen. This super-stylist not only proved that she is the mother of reinvention by creating not one but THREE different looks at the University of Westminster BA show, but her incredible work ethic meant she was doing shows just two weeks back from maternity leave. Perhaps it’s her day job at Daniel Galvin that prepped her to create Marcel waves, Hellenic plaits and twisted ponies under pressure, but one thing is sure: she’s on fire!
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RE:CREATE
ROLL WITH IT CRISTIANO BASCIU of Richard Ward Hair & Metrospa for L’Oréal Professionnel was clearly on a roll at Hong Kong’s Bettie show, where his androgynous quiffs were reminiscent of rebellious Teddy boys. Combining a vintage roll with a low ponytail, the look was teamed with graphic eyeliner and a bold red lip in a nod to classic femininity with a modern twist.
I ’M W I T H T H E BA N D
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Erdem
Central Saint Martins MA
THERE’S SOMETHING about a headband that instantly elevates a look; they just seem to ooze a certain well-bred vibe. Whether they’re erring on the side of lady of the manor aristo, Italian nobility or even a bit ’80s Sloane Ranger, they help you to look like you’ve made an effort – even when you haven’t. At Bora Aksu, Daniel Martin for L’Oréal Professionnel added a single hairband into the mix which instantly gave his ethereal, pre-Raphaelite waves a touch of refined formality.
WELL GEL PREVIOUSLY SYNONYMOUS with dodgy ’80s dos, gel proved just what an amazing all-rounder it can be backstage. It was slicked, combed, twisted and painted onto hair giving form to finger waves and structure to spikes, while imparting some mega-watt shine. Get the TECNI.ART Fix Max ready, then set… AUTUMN/WINTER 2020
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ZAFUL at On|Off
FULL STEAM AHEAD THERE WERE SOME steamy scenes backstage and it was all down to the work of one mane libertine. Say hello to the L’Oréal Professionnel Steampod 3.0 – the next generation steam styler that got everyone hot under the collar, including Darren Fowler and Daniel Martin. Harnessing the power of steam for smooth, long-lasting shine, the upgraded iron now boasts a 360-degree swivel cord as well as a more streamlined design. Cue heart eyes.
R I D E T H E WAV E S THE ’20S WERE clearly having a moment this season (the 1920s that is; 2020 should just be relegated to Room 101). At the University of Westminster BA show, this was translated as high-shine Marcel waves that were contrasted with dry-textured lengths. Daniel Galvin’s Frankie Pullen for L’Oréal Professional etched a strong centre-parting to add a contemporary nuance.
FELINE FINE
STRONGHOLD
Central Saint Martins MA
FOR HAIRSPRAY with a little more clout, L’Oréal Professionnel’s TECNI.ART 6-Fix was the can for the job, judging by the number of stylists spritzing backstage. Made up of just six ingredients for a purer formula, it’s the ideal fashion show heavyweight as its lack of fragrance means that the ultra-fine mist is more backstage (and salon) friendly.
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WHO CAN resist the raw, animal magnetism of leopard print? Channelling some big cat energy, Daniel Fiorio for L’Oréal Professionnel set to work creating individual looks for the models at ARNIERI at the Celebration of Canada Design showcase, the most intricate being the leopard print manes. Pre-coloured wefts were applied to the hair before the lengths were smoothed with Steampod 3.0 to enhance the pattern. AUTUMN/WINTER 2020
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APUJAN
Central Saint Martins MA
RE:CREATE
Central Saint Martins MA
HOW LOW C AN YOU GO ALL RISE FOR STYLES that have sunk to new levels. At the Central Saint Martins MA show, the low-slung ponytails and buns had a slept in (before going for a skydive and sleeping in them again) feel thanks to The Boutique Atelier’s Richard Phillipart. At APUJAN, Taku Morimoto at Daniel Galvin for L’Oréal Professionnel took windswept to the next level and his ‘undone astro travel’ ponies were so low that the hairbands almost grazed the ends of the hair.
Images courtesy of L’Oréal Professionnel
S I LV E R L I N I N G S M AY T H E F O RC E B E W I T H YO U IN A BACKSTAGE far, far away (well, Somerset House) hair Jedi Luke (Pluckrose of Saks) set to work transforming models’ hair into otherworldly creations. The inspiration behind these extraterrestrial looks at Angus Tsui? Star Wars movie The Force Awakens and robots, and the result was simply masterful. Prepping the hair with L’Oréal Professionnel’s TECNI.ART Pli, he blow-dried it straight before applying Fix Max gel to the front section, which was shaped into angular protrusions, while the remaining hair was brushed back into a low cyborg chignon and pinned into place. Light sabre optional. RUNWAY
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THE MOST exquisite catwalk creations often require a little creative thinking. Case in point – how to turn seven bobs into hair that resembles a precious metal? The answer, according to Anthony Turner for L’Oréal Professionnel at Erdem, was some industrial chrome spray paint. After a LOT of trial and error, Turner’s solution meant that the pre-prepped wigs (complete with S-shape bend) could be fitted to the models on the day. Sterling work. AUTUMN/WINTER 2020
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10/08/2020 16:16
I PUT A SPELL ON YOU The London debut of Chinese couture label Mithridate was a mesmerising spectacle that graced the incredible location of the Victoria & Albert Museum’s Medieval and Renaissance galleries. Runway takes a peek at the magic at work behind the scenes‌
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EVERY ONCE IN A WHILE, a fashion show comes along that is truly special, and the London debut of Mithridate was just that. The Chinese couture label arrived in the UK in a blaze of artistic glory, and the location was none other than the iconic V&A Museum in Kensington. Mithridate’s founder, Demon Zhang, honed her talent for design at Central Saint Martins before returning to China to launch her label. However, the inspiration of the British capital was never far away. “As a city that combines the modern and the ancient, London never fails to inspire me,” she wrote in the show notes. The collection melded couture high glamour with Chinese craftsmanship and even featured beads shaped like raindrops, in a nod to typical London weather. The show was the perfect reflection of the Mithridate brand, a sublime experience tied together by exquisite detail, lighting and artworks. Models weaved among sculptures, scored by classical music, while guests sipped champagne just inches from the models. “We wanted to recreate a scene of visitors hanging out in the gallery space – being inspired and discovering the beauty of all the artworks,” explains Zhang. “The show was focused around the appreciation of art as part of the brand DNA and to celebrate this we delivered immersive performance. It was a choreographed story with all the models mimicking groups of friends gathering, talking about art and coming together in a creative, inspiring environment.” The A/W20 collection is Mithridate’s third, and with Zhang regularly drawing inspiration from visiting the V&A while studying in the city, the collection pays 40
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homage to the art and architecture of the iconic museum, featuring art-historical reference reinterpreted as modern, wearable designs. The prints are inspired by the V&A’s marble surfaces and the medieval murals and artefacts in the collection. The label name itself derives from King Mithridates VI of Pontus, who legend has it created a potion, mithridate, that was an antidote for poison. In a similar vein, Mithridate wants to “provide a cure for women who are continually exploring their identity through clothing”. Couture veteran Jack Merrick-Thirlway, who works regularly on the Paris shows with the Neville Hair & Beauty team, was tasked with creating the hair for this unique show for L’Oréal Professionnel. “The show was like an exhibition, more like Paris Couture Week rather than London Fashion Week,” he says. “The V&A gives you so much inspiration for your work – the building and pieces of art in it are incredible.” However, despite his years of experience, the day was a true test of his hairdressing skills. “We were preparing the models in a hotel opposite, as you aren’t allowed to spray products in the museum,” he explains. “We only had two hours to prepare 25 models and, two minutes in, the electricity blew because we had too many hairdryers on. It got fixed, but then the same thing happened again – so an hour and a half into our prep, we had no models ready and no electricity!” Luckily, Jack and his team are ready to step-up in a crisis. “We had to totally change products and tactics, styling all the models then taking them to the museum and quickly running a L’Oréal Professionnel Steampod 3.0 through their RUNWAY
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MITHRIDATE
ponytails to finish the looks. You just can’t panic, you have to crack on with it. That’s what you prepare for – we know our products and we put in so much hard work behind the scenes in case things don’t go smoothly. Anything could happen.” The hero product that came to save the hair was TECNI.ART Fix Design from L’Oréal Professionnel. “It’s a very wet hairspray with a lot of alcohol in it so it dries itself – so you don’t need heat!” explains Jack. “We used that all over the top, and really soaked the hair down. We also used a tiny bit of TECNI.ART Liss Control on the lengths.” He continues: “We still wanted to have a little bit of movement, so there was the dual texture between the head and the ponytail. As simple as it looks, it’s actually quite hard to make sure that every single ponytail is at the right height on the head and the parting is in the right place.” With minutes to go, the team pulled it off, and guests never knew that the effortless looks had enjoyed their own drama. The result was a smooth ponytail that shone under the spotlights, perfect in its simplicity, reflecting the beautiful surroundings. “The hair was glossy, simple but really well executed,” adds Jack. “We wanted it to be so slick because we knew the lights in the V&A were so powerful that they would hit the top and it would look even more shiny.” It was a bold presentation, an event that incorporated performance cleverly to best depict the mythical otherworldliness of the Mithridate collection. Proof positive that London can deliver couture just as well as its Parisian cousins.
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WHEN TWO BECOME ONE The On|Off show at London Fashion Week is a hotbed for fresh new design talent, who work with L’Oréal Professionnel hairstylists to create a complete look. When creatives collaborate, great things happen…
Z AFUL AND DARRE N FOWLE R
HOUSE OF SHE LDON HALL AND JAC K ME RRIC KTHIRLWAY
YAN DE NGYU AND JONN Y E NGS TROM
ZAFUL AND Darren Fowler have partnered on shows before and the teams’ work highlights the importance of long-lasting relationships. “The creative process was great – we have a synergy and always connect well when building the moodboards and the creation of models’ personas for the collection,” says Darren. Renowned for creating characters for editorial shoots and runways shows, Darren is an expert on the importance of showing and telling the story behind a collection. “More designers are starting to appreciate what designing the hair properly will do for both the collection and the show,” he adds. “Collaboration is paramount and reputation is everything. The end result being spot-on is key.”
JACK AND the Neville Hair & Beauty team have a history of couture work where they mastered the up-do – so they were a great match for UK couture brand Sheldon Hall. “The designers had a clear direction of what they wanted from the show with a strong eye for detail. It makes my job much easier when everyone is on the same creative path,” explains Jack. Though based in different areas of England, Jack and Sheldon Hall kept in touch regularly. “As it’s not always possible to sit down with the designers face-to-face and have a hair test, trust is always a massive factor from both sides,” he says. “We decided to make the hair quite regal but with a modern twist. We knew the accentuated high ponies would work well with the patriotic dresses.”
A GREAT working relationship between Yan Dengyu and Jonny Engstrom began at On|Off S/S20 and has continued this season. “Yan Dengyu is an amazing designer; he is a very creative, forward-thinking and gentle person. Before the show we discuss ideas and it takes the stress out of hair trials,” says Jonny. With a theme of ‘future couture’ for the hair, together they decided on a slicked-back hair look with height at the crown. “When you are a hairstylist working on runway shows, you have to realise the designer already has a concept, and you have to build on that to make the complete image,” he adds. “You have to listen and have new ideas to deliver each time. The hair is one main part of the collection and it can make or break the show.”
AT F O W L E R 3 5
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AT N E V I L L E H A I R & B E A U T Y
AT G U Y K R E M E R
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11/08/2020 13:46
IN COLLABORATION WITH
ELSEWHERE AT LFW E RDEM AND ANTHON Y TURNE R
IYANU AND M ARK WOOLLE Y
404 S TUDIO AND TINA FARE Y
AS AN expert in men’s hair, Mark’s parntership with menswear designer IYANU for On|Off made perfect sense. He worked with the designer to create looks that complemented her clear vision for the show, which celebrated her Nigerian roots. “It’s fantastic to work with a designer who has great vision and understanding of hair,” says Mark. Though busy schedules can make it hard to meet in person, prior to the show Mark and the designer had several calls and Zoom meetings to discuss ideas using visual prompts from the brief. “I always find that building a partnership with the designer is very important. It is vital to discuss the desired outcome fully, and spend time listening to the development of their ideas,” he adds.
TINA FAREY is no stranger to working with emerging designers for the On|Off shows. For A/W20, she worked with 404 Studio – a Spanish fashion brand with a passion for reinventing tradition. Tina credits much of the show’s success to their meeting at the RUSH Hair Academy beforehand. “It’s important to look at the clothes and the brief so you can visualise the story. It’s vital to make sure the designer is happy with the hair,” she says. Inspired by Jodorowsky’s The Holy Mountain, Tina and the designer decided on a loose wave and braids featuring charms and sections of yarn. “Sometimes it’s about not just focusing on the one look,” she adds. “You may have to do more and really work through options to achieve what you want.”
Images courtesy of L’Oréal Professionnel
AT E L E C T R I C H A I R D R E S S I N G
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AT R U S H H A I R
TOGETHER THEY are a creative duo that has stood the test of time. Maybe it’s because Erdem and Anthony Turner are both Scorpios, the session stylist has wondered. “Erdem is a perfectionist – he knows what he wants. He likes my input though and that’s where we work really well together; because I can tap into his ideas really easily,” Anthony explains. “I also really like it when he plants something in my mind – he’ll send me an image or a quote by email and say: ‘Run with it! This is what I’m thinking – now you’ve got a few weeks until the show to show me what you’ve got!’” For A/W20, the pair met at Erdem’s studio two weeks before the show to discuss ideas and align their visions. “We sat talking for hours. He’s like a mad scientist,” Anthony smiles. “In the collection there was a lot of references from Cecil Beaton’s photographs, which is where the idea came from for the silver hair,” he adds. “From season to season, I never know what he’s going to concoct, or what he’s seen somewhere or which historical person he’ll reference next. He’s brilliant.”
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Richard Phillipart
PASSION PROJECT A dedication to excellence. A passion for creativity. A nurturing of minds. The partnership between Central Saint Martins College of Art and Design and L’Oréal Professionnel has been an extraordinary success, and the 20th anniversary show saw yet another incredible collaborative vision come to life
LIFE WAS VERY DIFFERENT back at the turn of the century. Long before influencers, leaks and fast drops, fashion shows were the blueprint for what trends the world would see in the following six months. Central Saint Martins was – and remains to this day – the school that produces some of the key designers leading the fashion landscape. This training ground for tomorrow’s taste-makers was exactly the sort of environment that L’Oréal Professionnel wanted to collaborate with. “Hairstyles and hair colour say as much about you as the clothes you wear,” says Monica Teodoro, general manager of L’Oréal Professionnel UK and Ireland. “It is not only tremendously exciting, but also absolutely vital for L’Oréal Professionnel to forge a relationship with one of the most important fashion schools in the world. This ongoing partnership merges the very latest in fashion talent with the creativity of
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young hairdressers – it’s a unique and inspired collaboration.” The likes of Christopher Kane, Mary Katrantzou, Rejina Pyo, Molly Goddard, Matty Bovan, Grace Wales-Bonner and Richard Quinn – whose first solo show was even witnessed by Her Majesty the Queen – often continue this relationship even after graduating. It all starts at the Central Saint Martins BA and MA showcases. With big buyers and recruiters in the audience alongside peers and family members, this is the first test for future design stars – and having the support of an experienced L’Oréal Professionnel hair team behind the scenes is indispensable when executing a bold vision. “The flow of ideas and creative energy is central to both industries,” insists Sarah Gresty, director of BA Fashion at Central Saint Martins, backstage with Fabio Pires, director of MA Fashion.
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Sarah McCormack
CENTRAL SAINT MARTINS ANNIVERSARY SHOW
Runway was invited to the front row of the star-studded MA show, to witness the emergence of fashion’s next big stars and to celebrate this ground-breaking partnership which extends beyond backstage. Tying together 21 collections with disparate aesthetics is no mean feat, but it was beautifully pulled off by The Boutique Atelier’s Richard Phillipart and the L’Oréal Professionnel Portfolio Team. To further complicate matters, 106 models also made it one of the longest Central Saint Martins shows to date. The over-arching theme was one of texture, a nomadic desert-wanderer which looked almost slept-in and mussed. “The looks were all personalised for each model – we had to really get in there with our hands,” Richard told us backstage. L’Oréal Professionnel TECNI.ART Savage Panache was the key product for the look, massaged into the hair to open the roots out. A little TECNI.ART Super Dust
took the style further, helping to pull out and emphasise flyaways to give a dehydrated effect. Each look was tweaked slightly to accommodate the styling or headwear, and the team’s Herculean efforts made for a striking, multi-sensory catwalk show, which also featured projections throughout. This support and collaboration with Central Saint Martins doesn’t stop at the runway either; L’Oréal Professionnel created bursaries that are awarded to three MA Fashion students each year to offer financial support to complete their studies. The L’Oréal Professionnel Young Talent and Creative Awards, worth £5,000 with an opportunity to showcase the winning collections, are also presented at the BA and MA graduate shows. To add a little extra drama to proceedings, there was an unexpected tie-break for the winner of the L’Oréal Professionnel Creative Award 2020.
Selected by Monica Teodoro and Andrew Davis of The Face magazine, Leeann Huang and Sarah McCormack were revealed as the joint winners. Leeann’s over-sized, bright hats contrasted brilliantly with Richard’s dry hair texture, while the styling fit perfectly with Sarah’s ‘feral fairy’ creations. Both designers looked to the future with collections that combine re-used materials with the high level of craftsmanship Central Saint Martins graduates are known for. Leeann said: “I’m really grateful there were so many experts backstage to keep things together and help produce such wonderful looks. I never thought I would be able to win an accolade like the L’Oréal Professionnel Creative Award, and to do so
“This ongoing partnership merges the very latest in fashion talent with the creativity of young hairdressers – it’s a unique and inspired collaboration”
Leeann Huang
MONICA TEODORO
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with my family there was very gratifying.” The question now, post-lockdown, is how the world of fashion will evolve, particularly when it comes to showing work and large scale events. The Central Saint Martins BA course might just give us a glimpse into the future. Turn the page to discover how…
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Rebekah Guo
Jisoo Jang
A NEW FRONTIER 2020 is a year nobody will forget. This year’s BA Fashion graduates at Central Saint Martins are set to go down in history – and for all the right reasons
THE MARRIAGE OF FASHION and technology has long been an unpredictable love affair, with the likes of Hussein Chalayan and Alexander McQueen having presented futuristic fashion and electronics on the catwalk even before the turn of the century. As we journey through a new decade, the fashion industry is turning to technology more than ever before to stay relevant and able to continue operating. The effects of a global pandemic continue, meaning a growing need to adapt in a new digital landscape. It was on 18 March, when Glastonbury Festival was officially cancelled, that Sarah Gresty, BA Fashion course director at Central Saint Martins, realised that the 109 graduating students would face a year like no other – with their final months as students spent in family homes across the world. “When lockdown happened, we knew we wouldn’t be able to host a physical fashion show, so we quickly had to adjust what we were doing,” recalls Sarah. “We felt it was important to celebrate students’ creativity despite the huge challenges of the crisis, so decided on making a film and creating a digital showcase of their work.”
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With minimal access to materials and equipment, and without hair and make-up teams on hand, the students were “pushed creatively in completely different ways”, explains Sarah. Ahead of the showcase, they were asked to make two looks of their final collection and produce an accompanying film to illustrate their narrative. Each film would then be used as a part of a digital ‘lockdown show’, streamed online across YouTube and a new bafcsm.com platform. Collaborating with industry partners, such as L’Oréal Professionnel, was key to Sarah’s vision for the new online platform. For the collection films, students were offered the opportunity to partner with the brand’s network of creative young hairstylists through a virtual collaboration. “We are proud to continue to work with the students, help to nurture them and see their talent flourish. It is precisely this talent that is shining even more brightly as we all navigate these times together,” says Monica Teodoro, general manager of L’Oréal Professionnel UK and Ireland. In total, 17 of the students worked with hairdressers virtually to discuss styling options for each of the looks. “We really value our
relationship with L’Oréal Professionnel and working with the hairstylists on the looks, as well as discussing the physicality of what is possible,” adds Sarah. As well as building virtual connections, the digital brainstorms between students and stylists has paved the way for blossoming friendships and future collaborations, in what L’Oréal Professionnel’s Catherine McMahon has described as an “explosion of creativity”. Since the film made its debut in June, it has been viewed more than 21,000 times (in comparison to the 1,200 guests who usually attend the physical show) and has received masses of support from industry figures with a huge reaction from the media. “Students at Central Saint Martins lead the way in so many areas, and I think people have been so interested to see what we would do. We had our showcase a couple of days after London Fashion Week Digital, and I think what our students did in comparison was really exciting,” says Sarah. “During the period, the articles published about our show were the most viewed during the entire show season,” she adds. As Central Saint Martins continues to
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Sabah Iqbal
Alexandra Sipa
Louis Shengtao Chen
CENTRAL SAINT MARTINS BA SHOW
Zoe Sujin Lee
champion rising stars of the industry, it is clear that this year’s graduates are perfectly poised to reinvent the fashion show as a digital-first event. The class of 2020 are young trailblazers who understand how to create work that is fun and engaging for a digital platform. While there is still a desire for physical interactions and the need for togetherness, the pandemic has forced the fashion industry to re-evaluate its practices – with current approaches to sustainability, seasonal fashion trends and Fashion Week as we know it, all pulled apart. “We didn’t plan this and had to react day by day, but we achieved something that was absolutely amazing. The students have
“It was important to celebrate students’ creativity despite the huge challenges of the crisis”
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created work that was really reactive and current. They were already looking at issues such as sustainability, the impact of social media and race – isolation had just made the results that much more significant and exciting,” Sarah enthuses. This could be the start of a movement towards a new digital frontier for London Fashion Week, but it’s also an opportunity for the next generation of designers to make sustainability a core value and change the future of fashion. Despite the hurdles they’ve had to overcome, the class of 2020 is already making history and for all the right reasons, Sarah believes: “This is such a special year. It’s one that everyone will remember forever.”
Johannes Warnke
Taya Louisa Badgley
SARAH GRESTY
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ANDREW GROVES
A MAN FOR ALL SEASONS Andrew Groves has taken University of Westminster students’ final show onto the Fashion Week schedule while also championing the importance of menswear within the industry. Runway caught up with the course director for BA Fashion Design during lockdown to talk about his career, his love of Mr Benn and the future of fashion
R: What did you learn from your time with
the Alexander McQueen label, where you designed with Lee McQueen? AG: You don’t really need anything in terms of money or resources to make something really powerful. On some days you had to sew by hand because you had no money for the electricity to run the sewing machines. And I always think that lack of resources is actually good because it forces you to think: ‘Well what can I do with the things I have?’. That’s why everyone now, because of the pandemic, is thinking about what they’re able to do – it gets you thinking creatively.
R: What do you think the long-term effect
is going to be of the pandemic, both on design and fashion students, and in terms of the kind of trends we’re going to see? AG: There’s a need for intimacy that we’re missing; it’s an experiential thing that we don’t necessarily get from something digital. But then we’ve had five or 10 years of people digitally creating themselves on Instagram. There’s a lot students can already do that can push the boundaries.
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the whole year is when we do run-throughs with individual students and they’re suddenly confronted with the models in their outfits with the hair and make-up. It transforms the collection and I can see them almost in tears. I love all those technical things and the students learn lots from that and the expertise that the people and stylists from L’Oréal Professionnel bring. They’re a passionate, professional team.
R: At Westminster you’ve helped create a
Invisible Men exhibition
Runway: Do you remember the moment you realised ‘It’s got to be fashion for me’? Andrew Groves: No! I wonder when that moment was? I think I was far more interested in what other people were wearing, what that meant, who looked cool and who didn’t. Now I think about that, it makes more sense that I went into designing for others and then working with students and their vision. I remember watching the cartoon series Mr Benn and I loved the fact that he had this amazing wardrobe with all these different outfits that led to adventures when he wore them. The idea that what you wear can help you become something else, I love that.
R: What it’s all going to look like – shows, events, courses – in September?
AG: I’m thinking about it because we
moved our show from June to February three years ago to be on the Fashion Week schedule but of course now, what does it actually mean now to have a runway show? I think it’s going to be a hybrid of physical and digital. And I don’t think it’s going to be at one point in time [i.e. seasons]; it’s going to be a number of points in time.
R: L’Oréal Professionnel works closely with
the students on their final show each year. How integral is the hair to the overall look? AG: It’s really important because students are so busy on the production of the garments they don’t step back and think about the image. My favourite moment of
menswear archive – why did you feel that was necessary, was there a particular gap? AG: We’d always be saying to students: “Go and look at that trench coat in Burberry, or see what Commes des Garçons has done with this coat in Dover Street Market, see how it’s finished”. And of course they would never go because they were too busy. I thought it would be much easier if we had some garments at the university to show them. We’ve got just under 2,000 garments now. It’s a lot of eBay discoveries and donations as well, we’ve actually got quite a few garments that belonged to hairdressers! For example from Michael Rasser of michaeljohn we’ve got a ’60s Tommy Nutter suit. It comes back to that idea that if you wear a certain outfit, you become something.
R: You helped pull together an impressive
menswear exhibition, Invisible Men, last year. Why did you feel it was important? AG: The more I researched the archive, the more I realised there had been nothing out there. The famous McQueen exhibition, for example, none of that was menswear, even though he began working in Savile Row. We wanted to show a much bigger picture of menswear that took you from designer and practical garments to uniforms, and show they’re all connected.
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A/W20 HAIR IS…
“IRREGUL AR L AYERED CUTS, HEALTHY AND SHINY BOHO HAIR WITH A MODERN BIBA WAVE, SEXY UNDONE FRENCH T WISTS AND MESSY PONY TAILS FOR THE EVENING, UNDONE BUT ORGANIC”
Cristiano Basciu, Richard Ward Hair & Metrospa
“A RETURN TO CL ASSICS WITH A ZERO WASTE UNDERSTANDING. ST YLING IS MORE MINDFUL , POSSESSING A PUNK AT TITUDE OF BEING A RESPONSIBLE REBEL”
Daniel Martin, session stylist
“CHAR ACTER DRIVEN. IT’S ABOUT INDIVIDUALIT Y AND USING YOUR HAIR AS AN EXPRESSION OF WHO YOU ARE, OR WHO YOU WANT TO BE”
Darren Fowler, Fowler35 and Fowler Hair Academy
“STRUCTURED COLL ARBONE LENGTH CUTS WITH NATUR AL WAVES AND CHOPPY FRINGES THINK PAT TI SMITH AND NEW YORK IN THE ’70S. SLEEK, WET LOOK LOW PONY TAILS WITH LONG PARTINGS, TOO”
Frankie Pullen, Daniel Galvin
“ALL DOWN TO THE CUT! IT SHOULD FR AME THE FACE PERFECTLY, WITH A COLOUR THAT COMPLEMENTS THE SKIN TONE. NO MORE THAN T WO SHADES EITHER SIDE OF A NATUR AL BASE”
Jack MerrickThirlway, Neville Hair & Beauty
A summary of the season, in the words of the professionals
A/W20 HAIR IS…
“ABOUT MORE R ADICAL CHANGES. CLIENTS WILL ASK FOR MORE FRINGES, SHORTER HAIR BUT STILL WITH A SOFT ROMANTIC WAVE OR TEXTURE”
Jonny Engstrom, Guy Kremer
“HEADING IN T WO DIRECTIONS. SUPER GL AM, EXPENSIVE, OT T LOOKS THAT MAKE UP FOR THE NIGHTS OUT THAT HAVE BEEN LOST, OR MORE LOCKDOWNST YLE TOPKNOTS WITH ROOTS IF WE FACE A SECOND WAVE”
Luke Pluckrose, Saks
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“A NOD TO THE ‘70S, WITH A MODERN T WIST. THE SHAG CUT OF SOFT L AYERS, LONG FRINGE AND LOTS OF BODY, WHILE A DEEP SIDEPARTING WILL GIVE SIMPLE ST YLES A CL ASSIC, POLISHED FINISH”
Mark Woolley, Electric Hairdressing
“WATERLIKE MOVEMENT, STRUCTURED, WITH NATUR AL FLOW. COLLISIONS OF TEXTURE BET WEEN THE SMOOTH AND THE ASYMMETRIC”
Takuya Morimoto, Daniel Galvin
“ABOUT FL AT, MINIMAL ST YLING. SLICKED DOWN MIDDLE PARTINGS WITH A GRUNGY SHINE, AND PONY TAILS FL AT TENED WITH EITHER SIDE PARTINGS OR BRUSHED BACK WITH A DIY FINISH”
Tina Farey, RUSH Hair
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