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 2 016 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 2 016 06
TOP FIVE MOMENTS Our standout shows that really rocked the runway
16 TRENDS The looks you need to know this season
22 HOW HAIR HAPPENS Behind the scenes at Joseph, Anya Hindmarch and Peter Pilotto
30 RE- C RE ATE The details and how to interpret them
36 GU I DO PA L AU We talk to the legendary stylist about the evolution of the Marc Jacobs A/W16 show
40 F R O M R U N WAY TO S A LO N How savvy salon owners capitalise on the catwalk experience
THE RIGHT HAND GANG From assistants to integral team players
46 G R A D UAT E FAS H I O N W E E K Backstage styling at breakneck speed
48 W I L L I E WA LT E RS The outgoing Central Saint Martins lecturer on her incredible career
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Cover image: Alexander McQueen, hair by Guido for Redken
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RUNWAY Autumn/Winter 2016
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Photography by Rasha Kahil
E D I T O R ’S L E T T E R Dearest Runwayers, Hello Runway readers,
Yes. It’s your that time again. to look thingstime hair-related at from the world’ Check watch. TimeThe fortime trends, timeatforalldetails, for words the s Fashion Weeks and to puttalk them underAnd the have microscope. Fromathe top shows on the maestros… it’s time A/W16. we prepared stunning installment catwalk to theissue tutorials, trends that you need knowwish to befor. in the for you! This is packed fulland of allknow-how the backstage magic youtocould know, here at Runway, we’ve got it all covered. From the Top Five Moments that have us all excited to the Trends you’ll be looking And thisinspiration Spring/Summer issueOh, weand haveweprepared something a little bit to forfor style for your2016 clients. have all those little backstage special we may saythat so). we Weknow have an with hair supremo Palau – nuances(ifand details youinterview adore in Re:Create and ThatGuido Was The Season. Most Wanted Session Stylist 2015 no less! – talking about his favourite moments and essential for the season. have stylists to askinterview what thewith new We’ve alsokitbeen chatting toWe those in cornered the know myriad – read my exclusive season to them; weabout have also to grips withshow all the intricate details the onemeans and only Guidoand Palau howgotten that Marc Jacobs came together. We of how to reconstruct looks salon like the pros. In other words, have joined forcesto to also have the UK’s canniest owners sharing with uswe how theyallbring runway bring theGeorge best the season hasand to offer, inspired by the teams are athow thethey front reality,you with Northwood Adam Reed, among others,that sharing line them. Because, while and the full andafinal looks thatservice are sent down the takecreating what they see on the catwalk deliver commercial that excites runway of course, important, we beauty geeks know that the real action goes clients…are, all with masterful, multi-tasking ease! down backstage. That’s really where the magic happens! Myself and the Runway team couldn’t be more excited to share with you the new So join us access behind scenes… season asfor weyour see it.exclusive We do hope you enjoythe every second! Yours Yours,in infaithful faithfulbackstage backstageservice, service,
JESSICA DINER GUEST EDITOR OF RUNWAY; CONTENT AND CREATIVE DIRECTOR AT BIRCHBOX UK Editor in Chief: Amanda Nottage Art: Graeme White Chief Sub Editor: Adam Wood Contributor: Catherine Handcock Contributors:Beth BethDavie Davie,Publisher: Anna Samson Publisher: Catherine Handcock WRITE TO US AT RUNWAY, 21 THE TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND T: 020 7324 7540 E: enquiries@alfol.co.uk Runway is a supplement of Creative HEAD, which is a registered trademark. All rights reserved. No part of this magazine may be reproduced without prior permission of the publisher. All information correct at the time of going to press
Spring/Summer Autumn/Winter 2016 RUNWAY
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TOP FIVE MOMENTS IN HAIR & FASHION E V E RY S E A S O N T H E R E A R E S TA N D O U T S H OWS T H AT S T AY I N Y O U R M I N D L O N G A F T E R T H E C A T W A L K L I G H T S H AV E D I MM E D. H E R E , J E S S I C A D I N E R R E V E A L S H E R A / W 16 F A V O U R I T E F I V E …
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RUNWAY Autumn/Winter 2016
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R U N WAY TO P F I V E
Image courtesy of Redken
ROCKING IT ALEXANDER WANG
THERE WERE slogans aplenty at Alexander Wang’s NYC show as the designer exclaimed his rebel yell. With hats and T-shirts emblazoned with the logos “STRICT”, “GIRLS” and “LONDON” , it was a cool, classically Wang collection. Punky, but still wearable and chic, he celebrated the rock chick with leather skirts, chunky silver jewellery, studded boots, marijuana print fur coats, mohair beanies and jumpers, juxtaposing their anarchic vibe with the angelic venue – St Bartholomew’s Church on Park Avenue. As ever with Wang, the beauty look was all about the individual, with each girl being treated to a consultation by Redken’s Guido Palau and then deciding, there and then, what her hair should look like. Sure, there was the overarching theme of the “cool girl cut”, but no two girls emerged onto the runway as carbon clones of one another. Autumn/Winter 2016 RUNWAY
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SHE’S ONTO a good thing, that Anya. Her range of stickers put her firmly on the fashion map, and so now she’s gone to town and included them in her latest collection. For A/W16, she decided to cherry-pick some of the motifs that have been most popular in her sticker line – fried eggs, smiley faces and emoji eyes – and then mixed them in with her new season inspiration: pixelation and Pac Man. Bags came in all shapes and sizes, from backpacks to shopping totes, mini purses, briefcase style bags, cross-body satchels and oversized clutches. Long-time collaborators in the backstage beauty department, Anya Hindmarch called on the services of Sam McKnight, who worked with L’Oréal Professionnel to deliver cool, effortless hair contrasted with the high-tech theme of the collection. Anya is a prime example of quirky British fashion at its best. 08
Image courtesy of L’Oréal Professionnel
LEADER OF THE PAC, MAN ANYA HINDMARCH
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Image courtesy of L’Oréal Professionnel
HIGH STREET HEAVEN TOPSHOP UNIQUE
HELL FOR LEATHER, shearling, fur, houndstooth and sequins – texture played a key part in the new season aesthetic over at Topshop Unique. A twist on classic British style, these fabrics and textures made up wardrobe staples such as biker jackets, utility coats, mini skirts, jumpsuits, tea dresses and wide-legged trousers. It wasn’t so much a case of reinventing the fashion wheel, but rather giving it a good polish, as these were all key pieces that will easily slot into the wardrobes of Britain’s fashion-savvy youth. As always, the democratic approach ruled at Topshop. There was something for every type of girl: the deb, the rebel, the diva, the tomboy – all were catered for. The same went for the suits-all beauty approach in the form of a quiffed and voluminous side-parted style fashioned by Anthony Turner for L’Oréal Professionnel. High street never looked so good. Autumn/Winter 2016 RUNWAY
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BACK IN LONDON after years at Paris Fashion Week, the Alexander McQueen show was a return to glory for designer Sarah Burton. “Almost sleepwalking, in a state where reality and dreams become blurred,” read the show notes, depicting the dreamy inspiration behind the most breathtakingly beautiful, romantic and serene collection to date. Set in the Royal Horticultural Halls, caped floor length gowns were hand-embellished with shimmering crystals depicting constellations and the moon. Cutaway, frilly, floral chiffon gowns in moody autumnal tones sat alongside nude embroidered column dresses, with the odd sharp tuxedo jacket thrown in for good measure. Redken’s Guido Palau adorned hair with multiple floral enamel and crystal hair accessories, which sat atop a look that was the epitome of bed hair – dishevelled, messy chignons. If this is what McQueen dreams are made of, I don’t ever want to wake up. 10
Image courtesy of Redken
IN A DREAM LAND ALEXANDER MCQUEEN
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Image courtesy of L’Oréal Professionnel
ALL LOVED UP MARY KATRANTZOU
YOU CAN ALWAYS expect something spectacular from Fashion Week darling, Mary Katrantzou. Best known for her dedication to craftsmanship and conjuring up a good print, Mary looked to ’50s Americana this season. Sticking to the silhouettes of the era (pencil skirts, billowing blouses, shirt dresses, long coats and tulle prom dresses) it was, as you might expect, her designs and prints that stole the show. She was said to have been inspired by Baz Luhrmann’s Romeo+Juliet and this collection was a true love story. See the butterfly, star, heart, flame and firework motifs painstakingly embellished or embroidered and it was hard not to fall head over heels for every piece. For the hair look, Duffy for L’Oréal Professionnel worked with the Americana theme, accenting some models’ hair with a printed silk scarf worn over sculpted fringes that mirrored the points of the stars in the collection. Autumn/Winter 2016 RUNWAY
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THAT WAS THE SEASON… A S I D ES TE P FROM TH E H A I R TO TH E OTH E R E XC ITEME NT FROM TH E G LO B E’S FA S H I O N W E E KS . F R O M FA S H I O N TO T H E AC C E S S O R I E S , T H E M A K E U P A N D T H E C E L E B R I T I E S , I T ’ S A M A R V E L L O U S LY M A G I C A L W O R L D
MUST HAVE Please form an orderly queue for Huishan Zhang’s outstanding new collection. We’ll take one of everything, please.
ACCESSORISE, ACCESSORISE, ACCESSORISE
Vin+Omi
Huishan Zhang
Dolce & Gabbana
All images courtesy of L’Oréal Professionnel, Redken and Toni&Guy
FASHION WEEKS are no stranger to hair accessories recently, and this season was no exception. From the printed scarves at Mary Katrantzou, to the bejewelled offerings at Alexander McQueen, Dolce & Gabbana and Peter Pilotto, to the simple hippy headband at Versace, get your head around it.
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Alexander McQueen
FABULOUS!
WHO’S THAT we spy walking the runway at Vin+Omi? Only Bubbles from Ab Fab. Blink and you might have missed her, as she was in one of the specially created wigs for the show fashioned by James Galvin and the Daniel Galvin Team, but we have a beady eye here at Runway. Nothing gets past us. RUNWAY Autumn/Winter 2016
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R U N WAY T H AT WA S T H E S E A S O N
HELLO, DOLLY THERE WAS some serious False Lash Effect going on at Eudon Choi this season. Recreating doll eyes by layering up masses and masses of mascara, this look was the right side of clumpy. Wave your mascara wand for some quick beauty magic.
EYE SEE YOU
Zandra Rhodes
Anya Hindmarch
Eudon Choi
WE KNOW that hair colour is a trend and it has seemed to have filtered down to eyelids, too. See the peepers at Anya Hindmarch and Zandra Rhodes for a veritable rainbow of shades to choose from. The future’s bright – so be bold!
FASHION, SQUARED FORGET FLORAL prints this season. For A/W16 it’s all about pixelated square prints as seen on accessories at Anya Hindmarch, and pretty silk dresses at Eudon Choi.
Lantern Sense
PIERCING BEAUTY THE TREND for chic punk piercing shows no signs of fading, as seen at Lantern Sense in London, where nose, lip and septum rings and big ear cuffs accented the silver rings woven into rebellious box braids.
WE SPY with our little eye, something beginning with G. That’s G for Gigi Hadid, model of the moment, who can be seen here backstage at Versace with Redken’s Guido Palau.
Anya Hindmarch
Versace
G FOR GIGI
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David Koma
N E E D N E W S E A S O N I N S P I R AT I O N F O R YO U R C L I E N TS? LO O K N O F U R T H E R T H A N R U N W AY ’ S T O P H A I R T R E N D S F O R A / W 16 . YO U ’ R E I N F O R A T R E AT…
THE TRENDS 16
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FLOATY, WAFTY, beautiful and breezy – these new season styles may have been less adventurous than their more extreme counterparts, but that didn’t mean that these looks were any less aspirational. Speaking backstage at Ralph Lauren, where he fashioned quite possibly the most beautiful blow-drys on the planet, Redken global creative director, Guido Palau, explained: “there was a real sense of ease to the glamour [of these looks]”, summing up perfectly the ethos of this trend: low-key, low maintenance but still glamorous. Much more than just a case of wash and go, these looks were still beautifully manicured, with blowdrys accented with either a curved side parting, as seen at Calvin Klein, or windswept volume around the face, as at Lanvin (also both by Guido). At Anya Hindmarch, Sam McKnight accentuated lengths with a soft centre parting, while at David Koma, Stephen Low of Neville Hair & Beauty lightly tonged tresses for gentle movement. The looks didn’t have to be left loose to exude the trend either: see the ethereal Game of Thrones-type twist showcased at Peter Pilotto by Anthony Turner or the relaxed, looped ponytails by Adam Reed at Barbara Casasola (all for L’Oréal Professionnel). Because why look like you have tried too hard… less is more, right?
Ralph Lauren
David Koma
Peter Pilotto
Lanvin
EASY BREEZY
GET THE LOOK BARBAR A CASASOL A HAIR Adam Reed for L’Oréal Professionnel THE LOOK Typically cool but ultimately serious girl HOW Only Tecni.ART Pli is needed for this look – warm it in your hands and then press it into the hair to give
it a relaxed, almost DIY feel. Pull the hair back into a ponytail, then bend the pony over again and, using a homemade elastic, cinch in the tail’s midsection.
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All images courtesy of L’Oréal Professionnel, Redken and Toni&Guy Mary Katrantzou
Daks Apu Jan
FOR A/W16 IT’S all about getting glossy, as demonstrated by the varying gradients of shine seen on the catwalks from New York to Milan. From the fullon, seriously slick finger waves at Marc Jacobs, to the moderately less wet, but still gleaming, curls at Prada, this was a trend spearheaded by Redken global creative director, Guido Palau. “It was very extreme at Marc Jacobs, but at Prada it was a broken-down romance using curl and wave to create a darker look,” he noted. From these two shows, the trend proliferated throughout the rest of fashion weeks. See the wet-look fringes at Mary Katrantzou by Duffy for L’Oréal Professionnel, or the more wispy, slicked-down baby fringes created by Indira Schauwecker for Toni&Guy at Apu Jan. L’Oréal Professionnel’s Adam Reed offered two slick styles with some high-shine, side buns at Daks and sleek ponytails at J JS Lee. High shine buns were also the order of the day at Yana Chervinska at On|Off, thanks to Darren Fowler from Fowler35 for L’Oréal Professionnel. While at JW Anderson, Anthony Turner worked to create an ‘otherworldly’ look, a slightly more gothic take on hair styling that signified runway hair at its best. Join the posse now – you can totally sit with us.
Yana Chervinska
GLOSSY POSSE
GET THE LOOK JW ANDERSON HAIR Anthony Turner for L’Oréal Professionnel THE LOOK A woman so perfect, she has an eerie, otherworldly quality HOW Prep the roots with Tecni. ART Pli, then blow-dry Tecni.ART Full Volume Mousse into the top section,
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sweeping it backwards. A lick of Mythic Oil and a misting of Infinium on lengths added a super shiny, reflective quality. Leave the ears poking out for a small detail that has a big impact.
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IF THERE WAS one underlying message coming from the catwalks this season it would be that you should dare to be different. Whether that played out through how you styled your clothes, or how you styled your hair, individuality was very much a thing to be celebrated. No more so than at Alexander Wang, where Redken global creative director, Guido Palau, cut and coloured the hair of new model Katherine Moore backstage to make a flame red, graphic, fringed bob. Katherine opened the show, paving the wave for this new aesthetic. “Designers’ eyes are getting attuned to looking at different types of hairstyles. It’s the idea that you can really be who you want to be and wear your hair in a way that celebrates your individuality,” Guido explained. To that end, fuchsia pink locks were spotted at Zandra Rhodes and Typical Freaks, styled by Bianca Tuovi for L’Oréal Professionnel and Toni&Guy’s Daniele De Angelis respectively. At Graduate Fashion Week, hair was painted red by the L’Oréal Professionnel team, and at Clio Peppiatt, neon orange hair was styled by Jonny Engstrom from Guy Kremer, also working with L’Oréal Professionnel. So make no mistake, now is the time to be bold. After all, where is the fun in looking like everyone else?
Alexander Wang
Typical Freaks
Zandra Rhodes
Clio Peppiatt
All images courtesy of L’Oréal Professionnel, Redken and Toni&Guy
AGAINST THE GR AIN
GET THE LOOK ALEXANDER WANG HAIR Guido for Redken THE LOOK Emphasising individuality, character, and acknowledging every type of woman, whether boyish or feminine HOW Shampoo and condition hair with Redken’s Beach Envy, then while hair is still damp, create a messy middle part using your fingers. Lightly
spray Beach Envy Volume Wave Aid on damp hair for added texture. Tuck hair behind the ear on both sides and let hair air-dry. Once hair is dry, lightly spray wax blast 10 high impact finishing spray-wax from mid-lengths to ends to create natural waves.
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PREP AND PERFECT T O P S T Y L I S T S R E V E A L W H Y L’O R É A L P R O F E S S I O N N E L’ S T E C N I . A R T P L I I S YO U R G O TO P R E P P I N G PA R T N E R A N D T E C N I . A R T F I X D E S I G N I S A M U S T F O R A FI N I S H T H AT L A S TS
19 L I T R E S O F FIX DESIGN ARE USED BACKSTAGE EVERY SEASON
23 LITRES OF PLI ARE USED BACKSTAGE
Illustrations by Michalis Christodoulou
EVERY SEASON
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TAKE A PEEK into any session stylist’s bag and you’re sure to find L’Oréal Professionnel Tecni.ART products, especially the irreplaceable prepper Pli and fabulous finisher, Fix Design. Why? Because it’s the range that meets the needs of top hairstylists. A total of 1,500 formulas have been tested and approved by more than 100 session hairstylists and the L’Oréal research team, making the range incredibly evolved and refined. What stylists really love about Tecni.ART is that each product can be layered and cocktailed with one another – a technological feat for ultra-demanding, detail-oriented professionals.
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THE PREP PROS
“Tecni.ART Pli is a must-have. It’s an amazing multi-tasking product and because it’s translucent you never get any flaky build up. I use it to add texture and grip. For setting hair from wet to dry its hold is spot on.” JOHANNA CREE BROWN, TREVOR SORBIE @TREVORSORBIE
“Tecni.ART Pli is my go-to product. Models’ hair is typically ravaged by the time they get to your show, so using such a versatile and lightweight product enables me to create a smooth base on which I can do pretty much anything.”
“Tecni.ART Pli is the ultimate product for prepping the hair, whether it’s wet or dry. It’s light and versatile and can easily be layered many times over without making hair heavy.” JONNY ENGSTROM, GUY KREMER @GUYKREMERSALON
S T E P H E N L O W, NEVILLE HAIR & BEAUT Y @NEVILLESALON
THE FINISH FIXERS
“I love that Tecni.ART Fix Design gives superstrong hold, but doesn’t leave any residue, meaning I can layer it up and the hair won’t drop an inch on the catwalk. I use Fix Design backstage at every single show – my session bag wouldn’t be complete without it.” C RIS TIA N O BA SC I U, RIC H A RD WA RD H A I R & M E T ROS PA @RIC H A RDWA RD H AI R
“Tecni.ART Fix Design is what I use for when I need serious fix and hold in a style. Whether you need to mould or shape, it’s no problem with Fix Design.” DARREN FOWLER, FOWLER 35 @FOWLER35LDN
“Tecni.ART Fix Design is a must-have. I assisted Malcolm Edwards a few years ago and seeing what he could do with it completely blew my mind. I love it for sleek ponytails and sculptured clean, finished looks.” JONATHAN SOONS, HEADMASTERS @HEADMASTERSUK
GET THE HARDESTWORKING BACKSTAGE HEROES TODAY. CALL 0845 600 0122 OR VISIT LOREALPROFESSIONNEL .CO.UK AND FOLLOW @LOREALPROUK #LOREALPRO ON INSTAGR AM AND T WIT TER Autumn/Winter 2016 RUNWAY
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HOW HAIR HAPPENS T H I S S E A S O N L’O R É A L P R O F E S S I O N N E L B R O U G H T O U T T H E B I G G U N S ! WE GO BEHIND THE SCENES WITH SOME OF THE BIGGEST NAMES I N S ESS I O N S T Y LI N G TO S E E TH E M AG I C I N AC TI O N Individuality is a massive trend this season, taking what each model is blessed with and enhancing it, rather than making the girls all look the same.
Hair is protected with Tecni.ART Constructor to shield against heat styling, before being loosely tonged into subtle waves.
Contrast was key at Anya Hindmarch. As the futuristic set is put together, Sam McKnight begins by creating simple and youthful hairstyles.
THE SHOW ANYA HINDMARCH THE LEAD SAM MCKNIGHT FOR L’ORÉAL PROFESSIONNEL
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How do you ensure the hair looks happy, healthy and catwalkready? Add a touch of Tecni.ART Liss Control to keep dry ends at bay.
Hair isn’t just confined to heads – shoes and coats boast furry textures alongside jewelled details.
Pops of primary colour on the eyelids are a quirky reference to the tones in the collection, while the skin is dewy and flawless.
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THE SHOW PETER PILOTTO THE LEAD ANTHONY TURNER FOR L’ORÉAL PROFESSIONNEL
This look needs a strong foundation, so Anthony and the team prep the hair with Tecni.ART Wild Stylers and Pli.
Anthony Turner loves to tell a story with hair, and this time his inspiration comes from seasons in Iceland and the way they shift and change.
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Brushes are overlooked in favour of finger drying to create natural bends and movement in the hair, to echo the bleak landscape.
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The rest of the hair is made to look as if it has been weathered by the elements. Anthony uses Tecni.ART Fresh Dust and Infinium hairspray to create lived-in texture.
Wearing twinkling thread and Nordic patterns, the models floated down the catwalk as if in a Scandinavian fairytale.
A section of hair is braided from each ear to the back of the head, to create an ethereal, slightly pagan look.
The finishing touch is a glittering piece of Swarovski jewellery, which is sewn into the braids and sparkles as the models take to the runway.
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THE SHOW JOSEPH THE LEAD DUFFY FOR L’ORÉAL PROFESSIONNEL
There is no holding back when it comes to building body, with an entire can of Tecni.ART Volume Lift used on each model for supersized hair, which is then blasted dry.
The entire head of hair is tightly crimped and brushed out to create the wild, bushy texture. The front is split into three sections and bent away from the face for a retro shape.
Although darkness is falling, the sun hasn’t set on London Fashion Week yet. Duffy and the team get to work prepping models for a show that really turns up the volume.
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To hold the styles while on the catwalk, a generous dose of Infinium Extra Strong hairspray is applied.
Heavy, mismatched fabrics come together for a patchwork collection that is gloriously oversized and perfect to wrap up in for winter.
The front sections are then secured in a side ponytail at the back and the lengths are fanned out for maximum impact.
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WHOSE SIDE ARE YOU ON? T H I S S E A S O N B AT T L E L I N ES A R E D R AW N B E T W E E N # R E D K E N D O N E A N D # RE DKE N U N DON E . T WO TE A MS RE VE AL WHY THE LOOK OF THE SE ASON IS E I T H E R S I M P L E , S L E E K A N D S E X Y O R T E X T U R E D, TO U S L E D A N D U N TA M E D
#REDKENDONE TEAM LEADER: LEO BANCROFT “Done hair exudes glamour and elegance. A neat updo or straight, sleek strands can really finish a look and help make a woman feel chic and complete. The Coach show had smooth, straight ponytails and Sacai models wore tight, neat knots. My go-to products for done styles are Redken Diamond Oil High Shine Airy Mist and Redken Satinwear 04 Thermal Smoothing Blow-Dry Lotion.” @LEOBANCROFT
LEO’S DONE TIP: “ACHIEVING DONE HAIR IS ALL ABOUT PREPARATION. USE A GOOD LEAVEIN BLOWDRY PRODUCT TO TAME FLYAWAYS AND LEAVE HAIR LOOKING HEALTHY AND LUXURIOUS.”
PAUL WATTS
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CRAIG CHAPMAN
“I like to mix trend colours with a luxurious finish giving the client an edge without compromising on style.” @PAULWATTSHAIR
“Redken’s Shades EQ Gloss works really well for me when creating a done colour. It’s glossy, extremely conditioning and leaves clients with a beautiful finish.” @LOCKONEGO
“I like my clients to leave the salon feeling groomed and glamorous with a fresh new look. A good hairspray is a staple in my kit. I finish with Redken Control Addict 28 for ultimate hold.” @CRAIGHAIR
DONE TIP: USING A CAPSIZED AMOUNT OF REDKEN FRIZZ DISMISS REBEL TAME AND 12 PUMPS OF REDKEN’S ONE UNITED, WORK THROUGH DAMP HAIR AND BLOWDRY FROM ROOT TO TIP.
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DONE TIP: USE REDKEN DIAMOND OIL GLOW DRY TO GIVE YOUR CLIENT THE ULTIMATE GLOSS FINISH. THIS WONDER PRODUCT HELPS TO REDUCE BLOWDRY TIME AND ADDS EVEN MORE SHINE.
DONE TIP: PREP PRODUCTS ARE CRUCIAL. USE REDKEN PILLOW PROOF BLOW DRY EXPRESS PRIMER TO PROTECT HAIR UP TO 232˚C AND DECREASE THE BLOWDRY TIME.
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R U N WAY A D V E R TO R I A L
#REDKENUNDONE TEAM LEADER: LEE STAFFORD “Undone hair is cool and contemporary; it’s effortless and it’s the number one look for the ‘it’ gang. We saw relaxed, lived-in waves at the Lanvin show and low, loose pony-loops at Hugo Boss. It’s all about easy, undone hair this season. I always have Redken Wind Blown 05 Dry Texture Spray and Redken Pillow Proof Two Day Extender Dry Shampoo close to hand for extra body and the perfect undone texture.” @LEESTAFFORDHAIR
LEE’S UNDONE TIP: “DO THE HAIR FIRST, THEN UNDO IT. THIS WAY HAIR LOOKS HEALTHY, WEALTHY, YET UNDONE. FINISH WITH A SPRITZ OF REDKEN WIND BLOWN 05”
TOBY MEYER
STACEY CHALKLEY
RORY MCPHEE
“Undone hair is a great way to explain to your clients that they can style their hair any way they like. Undone rocks, because stylists can offer different looks to clients for work, during exercise and at a party.” @MINISTRYOFHAIR
“My favourite products to create undone looks are Redken Iron Shape 11 for prep and Redken Wax Blast 10 for a dishevelled finish. #Redkenundone is all about relaxed, beautiful hair that appears effortless.” @BEAUXAMIS
“Undone hair is edgy, cool and out of the box. It can still be structured, but pulled apart. Rub a small amount of Redken Rough Paste 12 into your hands and work through the lengths and ends to break up any style” @RORYJAMESSALON
UNDONE TIP: USE REDKEN POWDER GRIP 03 TO GIVE INSTANT GRIP AND MATTE TEXTURE AND REDKEN BEACH ENVY WAVE AID FOR MOVEMENT AND SHAPE IN ANY DESIGN.
UNDONE TIP: KEEP EVERYTHING LOOSE AND SOFT. USE FINGERS FOR SECTIONING INSTEAD OF A COMB.
UNDONE TIP: FINISH WITH REDKEN QUICK TEASE 15 BACKCOMBING SPRAY TO HELP YOU MOULD YOUR STYLE.
WHETHER YOU’RE #REDKENDONE OR #REDKENUNDONE, REDKEN HAS WHAT YOU NEED FOR ALL ST YLES THIS SEASON. TO FIND OUT MORE, CALL 020 8762 4121 OR VISIT REDKEN.CO.UK Autumn/Winter 2016 RUNWAY
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RE:CREATE
Bottega Veneta 30
Daks
John Smedley
T H E D E V I L I S I N T H E D E TA I L S , R I G H T ? H E R E , A FE W O F T H E B AC KS TAG E N UA N C ES T H AT D ES E RV E TO B E P U T O N A P E D ES TA L T H I S S E A S O N
BIG UP THE BUNS MINI-TREND ALERT! There were buns in the backstage oven this season with the trusty fail-safe cropping up all across fashion weeks: From backstage at Daks, where Adam Reed worked with L’Oréal Professionnel to create pretty and neat side buns (we loved the return of the hairnet to keep things in place); to the beautiful, ballet-esque twirls at On|Off ’s Yana Chervinska by Darren Fowler at Fowler 35; to the tight and low variety at John Smedley by the Headmasters Pro Artistic Team, which worked well to accentuate and accommodate the high necks in the collection, both with L’Oréal Professionnel. The pièce de résistance being the knotted lengths at Bottega Veneta by Redken global creative director, Guido Palau, which graced the head of none other than Kendall Jenner. That’s a wrap!
RUNWAY Autumn/Winter 2016
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R U N WAY R E C R E AT E
PRIMED TO PERFECTION
Eudon Choi
KINKED CRUSADERS
Central Saint Martins MA
KINKED PONYTAILS had a rebellious spirit at Central St Martin’s MA show, where Johanna Cree Brown from Trevor Sorbie worked with L’Oréal Professionnel to fashion the hair of fashion students’ choice for the new season. At Jessie Western, Mark Woolley for L’Oréal Professionnel used kinks to bring a nomadic feel to the hair by making it look weathered. So the next time you’re tempted to smooth out those pesky bends that have been left in your hair by tying it up – think again. This season it’s officially cool.
Central Saint Martins MA
Jessie Western
Eudon Choi
PRISTINE AND PERFECT was the name of the game backstage at Eudon Choi, where Stephen Low worked in L’Oréal Professionnel’s Infinium hairspray onto models’ hair to create a sleek, sexy look. But how to keep hair just so until it was time to walk out on the catwalk? Stephen had his team wrap the finished style in tissue, which was whipped off in the line up.
Autumn/Winter 2016 RUNWAY
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PONYTAIL ENVY COULD THIS be the perfect pony – at On|Off ’s Little Shilpa from super-stylist Jonny Ergstrom? An insider’s secret: L’Oréal Professionnel’s Tecni.ART Air Fix is your BFF to achieve this glassy, smooth finish.
FIT FOR A PRINCESS IT WAS A CASE of red-carpetmeets-regal hair being the order of the day backstage at Ong-Oaj Pairam for A/W16. But why go with just one type of up-do when you can have variations on a theme? Working with L’Oréal Professionnel, hair stylist Cristiano Basciu at Richard Ward Hair & Metrospa put his and the team’s craftsmanship skills to work with these exquisite braided, twisted, woven, sweeping up-dos – each model different from the next. All, however, perfect examples of how elegant hairdressing can be. Red-carpet-worthy dress to accompany said up-do is, of course, a requirement.
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RUNWAY Autumn/Winter 2016
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R U N WAY R E C R E AT E
BEACH VIBES UNDONE, DISHEVELLED, beachy… the holy grail of effortlessly cool hair styling was in effect at Alexander Wang in New York. To get the look seen here on girl crush Anna Ewers, make like Redken global creative director, Guido Palau, who washed each model’s hair backstage with Beach Envy Volume Shampoo and Conditioner, and then layered up with a generous misting of Wax Blast 10 for extra texture. Wash and wax – that’s the way.
All images courtesy of L’Oréal Professionnel, Redken and Toni&Guy
TYING UP LOOSE ENDS
BACKSTAGE AT Roberta Einer, Vanessa Essack from Paul Edmonds salon conjured up a beautiful way to disguise the hair ties she was using to secure models’ low slung ponies. With a Las Vegas rodeo being the inspiration for the show, she used her very own braided lasso. Yee-hah!
Autumn/Winter 2016 RUNWAY
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Your Hair, Your Heat, Your Style.
9 out of 10 people who switched to Cloud Nine preferred our Irons*.
For information about availability or to become a stockist, please call: 01943 811 310.
For more information about availability to become a stockist, please call 01943 811314 *Taken from a recent independent survey of 500 people
MARC JACOBS: THE MAKING OF THE MAGIC R E D K E N G LO B A L C R E AT I V E D I R E C TO R , G U I D O PA L AU, H A S B E E N L E A D I N G T H E H A I R B AC KS TAG E AT M A RC JAC O B S I N N E W YO R K F O R T H E P A S T 15 Y E A R S . S O H O W D O E S I T A L L C O M E T O G E T H E R ? HERE, HE TELLS US IN HIS OWN WORDS
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RUNWAY Autumn/Winter 2016
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R U N WAY G U I D O
Autumn/Winter 2016 RUNWAY
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Guido with Lady Gaga
THE LONG TIME COLL ABOR ATORS “Marc Jacobs shows at the end of NYFW and it’s always exciting because he’s an amazing designer and a visionary. From the set design to the venue and the music, there is a complete stylistic vision that he brings to fashion and it’s unique. It’s contemporary, it always changes and it pushes buttons all the time. I have worked with him for 15 years and every season is totally different.”
THE TEST
THE TEAM
“At the test, Marc said he had been looking at my book, Heads: Hair by Guido, and there was a picture of Stella Tennant he was inspired by. So the look evolved to be a very Victorian finger-wave – decidedly not ’20s.”
“After the test, the big challenge was to find a team that could help me carry out the style, as it’s not a technique people are really taught anymore. We were using Redken’s Hardwear Gel 16 as the main product to secure the look, so if you got the style wrong on the day, you would have to wash it out again. I spent four days finding people, we then held workshops in the lead-up to the show. To be honest, that was one of the most difficult parts of doing that show – finding the team!”
THE LOOK “It was actually a very technical, precise idea of hairdressing with the finger-waves at the top, then with the rock and roll, 38
straight ends left out. It felt punk because it was so ‘in your face’ and that’s not something that we are used to seeing in hair anymore. I found it almost anarchic in its classic-ness – and that was definitely something we wanted to achieve. For the models with buzz cuts and short hair, we drew on the finger-wave using liquid eyeliner and then put glitter over it. I wanted the girls to look like ’20s mannequins. Natural and easy hair is great, but it’s even better when you get to do a full-on fashion look.”
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R U N WAY G U I D O
THE BACKSTAGE PREP
THE SUPERSTAR
“We had a four-hour call-time to get everyone ready, which sounds like a long time, but there were about 55 models and each girl’s hair took an hour and a half to do. That’s why we had to be very precise – we didn’t have the time to spare to do it wrong. In the end my team was about 30 people.”
“Lady Gaga was lovely, she’s very cool and easy. She just sat down and said to all the girls ‘just call me Stefani’. She didn’t have a whole entourage, just one person with her. She loved the way the hair was looking – she put a little film of it being done on her up on her Instagram. She just wanted to be one of the models and it wasn’t really a big deal. She is very into the creative process and she loved that it was a real look, so she could play the character out.”
Images courtesy of Redken
THE MAKEUP ARTIST “Marc Jacobs is the only show that make-up artist François Nars does now. We worked together with photographer Richard Avedon on Versace campaigns in the ‘90s, it’s always fun to see him. He has a great sense of humour and it’s always great collaborating with a creative like him.”
THE CASTING “The casting is so great at Marc’s show. Lady Gaga walked in the show, then you had Kendall Jenner and a host of other models – you get a real mixed bag of characters. That’s what makes it so good.”
THE REACTION “I had such a great response to the hair. I think people were interested in the idea of seeing something we’re not used to seeing. This look was so alien, in a way that it confronted you with a certain kind of image. When you do haircuts, for example, it doesn’t matter anymore how extreme you cut them but a style like this is more of an affront. I got a lot of response from hairdressers saying that they hadn’t seen this kind of thing for a while, which was really nice.” Autumn/Winter 2016 RUNWAY
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TALK THE WALK
Curated Cuts
W H AT W E S E E F R O M T H E G LO B E ’S C AT WA L K S H OW S C A N SOME TIMES SEEM A LIT TLE ‘OUT THERE’ FOR A SALON’S C LIENTELE . HE AR HOW THESE SALON OWNERS ENSURE ANY R U N W AY I N S P I R A T I O N I S R E L E V A N T F O R T H E I R G U E S T S
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RUNWAY Autumn/Winter 2016
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GEORGE NORTHWOOD G E O RG E N O RT H WO O D, LONDON “THERE WERE a lot of cuts at the shows these past two seasons, such as Redken’s Guido Palau cutting models’ hair at Alexander Wang. As a salon owner it’s hard sometimes to draw a link between what happens at the shows and what happens in the salon, because it’s seen as so ‘way out’. Also, the shows are often about texture – I feel styling trends come from the shows, while the trends for cuts come from celebrities, like my Alexa Chung cut and Rosie Huntington-Whiteley’s bob. For ages I’d been trying to bring what was happening at the shows into the salon, and when I saw what Guido was doing, I thought: ‘this is brilliant’. We felt that with Guido there was a lot of variation – it wasn’t about a specific bob or anything, it was about having a cut and making your statement. That’s why we developed Curated Cuts at our salon – it’s a menu that helps a woman find the best cut for her without it being specific as to what it should be. It’s almost ‘how will you wear yours?’ and every one is individual. It gives the client real control over her cut, and encourages a really
good consultation process. It was very difficult to condense everything into Curated Cuts so we made it simple – four lengths, four fringes, four textures, four baselines. It’s about what the client wants, and that’s often straightforward – it’s the stylist that can complicate it with technical ability! You need to stop thinking like a hairdresser and start thinking like a client. The most common reaction is: ‘I can’t believe no one has done this before’. Since its introduction, its definitely encouraged more clients to do more – if you don’t have inspiration that you like, then your default is always to say: ‘give me a trim’. Having our Curated Cuts visuals has definitely encouraged more cuts. We find still a lot of bobs are coming from it – they’re such a minefield, so many different types, that people have used this more to tailor-make bobs and fringes. And people find it difficult to articulate what they want doing to their ends – having the visuals of the tips of the hair people can point to and say: ‘I want my ends to look like that’ has helped.”
STEVE ROWBOTTOM W E S T R O W, YO RKS H I RE “OUR STYLISTS are frequently backstage at Fashion Week, so we need to tell the press. For example, Westrow Artistic Team member, Kate Harrison, was at Topshop Unique’s A/W16 show, as part of the L’Oréal Professionnel team led by Anthony Turner. We promoted this by sending a press release to local, national, consumer and trade press. The coverage of our work translates to an immediate boost in clientele and increased revenue, while the brand exposure has an additional ‘trickle’ effect of increasing business over time. We publish a bi-annual Westrow magazine, in which we run a feature on the Fashion Week shows we have been involved in. It’s good for our clients see the link between Westrow and London Fashion Week, as it serves to confirm our reputation for being at the forefront of the hair industry. Every season members of the Westrow Artistic Team share a full trend report with the media. It’s important we take recent trends in to account when refreshing our service menu. When braids became huge, Westrow Street Lane launched a braid menu. Inspired by Hervé Leger, Louis Vuitton and Céline shows, we created a menu of six braids from just £10 for a 10-minute appointment, it’s been a huge success.”
Westrow
Curated Cuts
Alexander Wang S/S16, hair by Guido Palau for Redken
R U N WAY TO S A LO N
Autumn/Winter 2016 RUNWAY
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Hairberdashery by Adam Reed at Salon Smart 2016
J JS Lee
Barbara Casasola
“LFW is a melting pot of ideas and creativity – some of those translate straight back into the salon and to our clients, while some are great to create a buzz on social media and in industry circles. I always look at the bigger picture and the end game. Our clients love LFW, they get involved and we get our biggest engagement on social media through the fashion season. I then look at how we can translate this into colour and style service offerings – Hairberdashery and Denim for Hair being favourites. Denim for Hair is the totally on-trend colour palette. We designed a fully comprehensive service offering for all of our clients, whatever their age and style choice. We delivered the key denim runway message then communicated our vision of this trend through hair colour, creating Midnight Ink, Indigo and Stonewash, all colours that our clients could relate to. We then showed through social media how to achieve this on all clients. With Hairberdashery, we hooked into the trend of DIY, adornment and general embellishment. I’ve always loved a bit of a DIY accessory and this season saw the return of beautiful embellishment along with really simple additions, like the tassel tail we did with L’Oréal Professionnel at J JS Lee and the handmade bands at Barbara Casasola, where we created the Double Up Pony. This translated straight into the salon for our Ponytailor Menu, where we use LFW images to inspire clients and offer bespoke styling.”
Percy & Reed’s Denim for Hair
ADAM REED PE RC Y & R E E D, LONDON
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* R U N WAY TO S A LO N
JONATHAN SOONS HEADMASTERS “Twice a year members of our Senior and Junior Art Team work at London Fashion Week with L’Oréal Professionnel, either heading shows or assisting and soaking up as much inspiration and ideas as possible. The team feedbacks everything they have learnt to the PR and marketing team, and the collection brainstorming begins. We launched our first blow-dry collection about 12 years ago; they take inspiration from the catwalk and transform it into wearable, on trend looks for our clients. These are then taught to every stylist, allowing them to bring the looks straight from the catwalk to the salon floor and learn session skills along the way. The excitement and buzz the Art Team creates rubs off on the teams and once the collection is in salon, the teams have enough knowledge to reference key shows and trends where particular looks have been taken from. Using our in salon iPads and Pinterest boards, they can share this information with the clients, giving them up-to-date news on trends, which definitely adds value to their appointment that they might not get at home… resulting in happy clients that want to rebook!”
FROM C AT WALK TO CLASSROOM
Get educated on the trends and tips with these runway courses
‘Undone’ from the Headmasters Blow Dry Collection 2016
K ATIE K ATON G E O RG E ’S HAI RDRESS I N G, LEICESTER
“Session styling for your team is essential. Releasing the creative juices is a perfect way to keep them loyal. Session teaches them tips and tricks to bring back to the salon, so we arrange a meet-up with the rest of the team so they can share the experience and new tips. The discipline of call times and working in a team are also great skills to learn. Stylists going out to shows will come back with a new confidence. You’ll notice their skills are stronger and clients are walking out with new styles. This increases average bills and all of a sudden the penny drops on retail, too! They know exactly what products a client needs to recreate the styles at home. We make sure all our stylists are taking pictures for our social media: from the train journey and their kit-bag to the products they are using and the looks. We’re reporting on them throughout the day and often use the images as part of seasonal promotions or client evenings in salon. I have never had anyone return from LFW in a negative way. It’s nothing but positivity and this flows through the salon.”
Fashion Inspiration Hair-Up with L’Oréal Professionnel Learn advanced techniques and styles that are oh-so fashion forward. When: 20 September in London with Nick Williams from John Jenkins. 14 November in Manchester with the Trevor Sorbie Art Team Runway Trends with Redken Straight from Fashion Week, Redken Artists will introduce you to Guido’s signature looks… and how to recreate them! When: 26 October in London
Catwalk to Client with L’Oréal Professionnel Salon owner and Fashion Week regular Richard Phillipart shows you how to translate the trends. When: 9 November in Manchester 16 November in London Book! Call Redken and L’Oréal Professionnel on 0800 028 3448
Autumn/Winter 2016 RUNWAY
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Peter Pilotto images courtesy of L’Oréal Professionnel Peter Pilotto
THE RIGHT HAND GANG
Anthony Turner at Peter Pilotto
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T H E Y ’ V E C O M E A L O N G W AY S I N C E N E R V O U S L Y W A I T I N G B AC KS TAG E F O R T H E I R O R D E RS . A N N A C H A PM A N, Y E S M I N O ’B R I E N A N D R I C H A R D P H I L L I PA R T H AV E RIS E N TH ROU G H TH E R A N KS TO B ECOME KE Y MEMB E RS O F SOME O F T H E B ES T S ES S I O N T E A MS I N T H E WO RL D. MANY HANDS MAKE LIGHT WORK…
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RUNWAY Autumn/Winter 2016
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R U N WAY R I G H T H A N D GA N G
Y E SM I N O’B R I E N, ARTISTIC DIRECTOR AT SEANHANNA
R I C H A R D P H I L L I PA R T, OWNER OF THE BOUTIQUE ATELIER
ANNA CHAPMAN, FOUNDER OF SESSION KIT
“WHEN I FIRST started out, there wasn’t a L’Oréal Professionnel ID Artist programme, but I used to do consumer shows for L’Oréal Professionnel such as PURE for fashion buyers, and as many Graduate Fashion Week shows as possible, as well as the On|Off shows. Assisting on these types of shows helped me gain some great experience in the session world and I was then able to head up my own show for London Fashion Week for designers Falguni and Shane Peacock and Rocky S. Both are big Indian designers who dress Hollywood and Bollywood stars for the red carpet. I carried on working with Rocky S afterwards, which led me to work with Longines’ ambassador and actress Aishwarya Rai, as the brand knew I’d been working with the other designers. I now work with Aishwarya whenever she is in Britain and I assist Sam McKnight backstage on his shows. My session world experience helps me to make constructive decisions fast and style quickly. It also teaches you how to transfer runway trends to the high street and just being able to talk about the latest trends in an informed way helps you gain a client’s trust quicker. Working backstage also teaches you the importance of teamwork. The camaraderie that comes from working in a team under such high pressure is one of the things I enjoy the most about the session world. You all look out for each other.”
“I DIDN’T SET out to work in the session world, but while I was on the ID Artist programme in 2010 I assisted backstage at Graduate Fashion Week and fell in love with it. Back then you didn’t get those kinds of opportunities up North, so it opened my eyes to a whole different world. I loved the pressure, the noise and how fast-paced it was. It was while I was at Graduate Fashion Week that I was spotted by a lady that books for London Fashion Week and she booked me to do the next season. From there I began to hang around at Somerset House to see who was working on each team. I managed to get my way onto a couple of teams just by talking to people outside the shows, and my session career grew from there. My session work has really helped my salon business as you get to see the trends six months in advance and my clients love to know what’s going to be big. My confidence and skills have also vastly improved by working backstage. I make a point of encouraging my salon team to take advantage of these opportunities, too. Some have tried working backstage and decided it’s not for them and that’s fine, but others have really enjoyed it. I’d love to one day lead my own team at Fashion Week, but for now I’m busy enough. It’s definitely a career choice rather than a hobby, and I wouldn’t have it any other way.”
“MY CAREER REALLY took off after I won the L’Oréal Colour Trophy Men’s Image Award in 2008. After that I got an opportunity to work backstage at Central Saint Martins’ BA shows with L’Oréal Professionnel. This was an amazing starting point for me as, after proving myself on the team, the next season I was asked to head up a team myself. It made me realise how much I loved session styling. I then had the opportunity to assist Anthony Turner with L’Oréal Professionnel and I was so excited. It was my chance to get to work with one of the best hairdressers in the session world and to build my skills. From that moment onwards, I worked on many shows and shoots with Anthony and I’m very grateful to say that I am now a part of Guido Palau’s core team. None of these opportunities would have been possible without L’Oréal Professionnel providing me with stepping-stones into the session world. I now teach the ID Artist programme, which gives me an opportunity to pass on what I’ve learnt in the session world. When working backstage, one of the most important lessons is to listen – pay attention at all times. I’ve also learned that being prepared is a good way to stand out; it gets noticed when an assistant has thought of every situation and it can be as simple as having an extra piece of elastic. And always be respectful of your lead session stylist.”
THE NEXT RIGHT HAND GANG STAR
C H RIS LON G, S T Y LIS T AT BLUS H ES I N GLOUC ES TE R “I WORK IN A L’Oréal Professionnel portfolio salon and had the chance to assist Anthony Turner on the Peter Pilotto A/W16 show. I was nervous as I’d only worked in the salon so I was definitely leaving my comfort zone. Fortunately I had attended a few courses at the L’Oréal Academy with Charles Worthington’s Marc Trinder and Adam Reed from Percy & Reed, so I knew what to pack in my session kit and had a few tips to help me. I tried to get as much from working backstage as I could; I watched
Anthony and his team create these amazing styles and then I was given the opportunity to recreate them myself. After the show I was waiting for a train when I received a phone call from Anthony’s agency asking if I was free two days later to assist on some shows in Milan and then Paris. I couldn’t make Milan but I did do the Paris shows. I’ve since worked on shows such as Kenzo, Thom Browne, Yang Li, Dior Homme, JW Anderson and Ann Demeulemeester in Anthony’s team, and I can’t wait to work for him on more.”
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WITH HONOURS
FOR BUYERS AND FASHION EDITORS, the graduate shows of the UK’s top universities and colleges are some of the best places to scout the talent of tomorrow. But for the L’Oréal Professionnel Portfolio hair stylists given the opportunity to work backstage, this is a beauty bootcamp of epic proportions. Graduate Fashion Week (GFW) alone is 24 consecutive shows across four days, with about 500 models and even more designers involved – it’s a “sink or swim” experience for all involved! We quiz the key stylists from across the shows to get the lowdown on the backstage buzz – and the value to your business.
THE SHOW: GR ADUATE FASHION WEEK THE CO LEAD ST YLISTS: LISA RHEAD AND ANDREA DALEY FROM BARBAR A DALEY HAIR AND LUKE PLUCKROSE FROM SAKS
Lisa Rhead and Andrea Daley
Luke Pluckrose
Runway: How long have you been leading backstage teams for L’Oréal Professionnel? Andrea Daley and Lisa Rhead: This was our fourth year as lead stylists at GFW but before that we have lead teams on behalf of L’Oréal Professionnel at events including the Clothes Show Live. Luke Pluckrose: For me, the first time was 2012 for J JS Lee. We’ve worked together on shows since.
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R: What are the main skills stylists backstage take back to the salon? LP: Watch and learn. There’s so much hairdressing talent in one place you can pick up valuable tips and tricks. Also, learning how to manage pressure – it’s backstage at its most extreme!
R: Describe the GFW craziness – why is it such a good experience for young stylists? AD&LR: The main thing you learn backstage is how to adapt quickly and stay consistent. Whatever the look may be, it has to be the same on every model whether they have Afro hair, ultra-fine flyaway hair or mega-thick locks. Each hair type works great for certain looks but it is the ability to change quickly and make an unruly hair type just how you want it. That’s the real skill. LP: There’s so much going on, taking it in can take some getting used to! There’s no time for hair trials at GFW – it’s a mash-up of trialling and demoing the looks to your team. Models often run late as they are working shows back-to-back and you can have as little as 10 minutes for hair and make-up!
Rehearsals take place backstage at the same time, and having four hair looks in one show adds to the frenzy. It’s great to work with others from UK salons – it’s a truly priceless experience. R: What fuelled you backstage and what was on your playlist? AD&LR: Our fuel is a mixture of Red Bull and raspberries and the thought of an amazing cocktail at the end of every night. And music-wise it’s a mixture of Coldplay, Galantis and Roxy Music. LP: I would love to say carrots, a tub of hummus and a smoothie, but no-one would believe me. Can’t beat a pack of Cadbury Giant Buttons or Twirl Bites with a can of Coke Zero! My playlist starts with Beenie Man, finishes with Johnny Cash and has a little bit of Oasis in between.
RUNWAY Autumn/Winter 2016
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R U N WAY G R A D UAT E FA S H I O N W E E K
Runway: What did you love about this team and show? Sophie Harris: It’s exciting to be around designers at the beginning of their career and to see how they develop. They were very passionate about what they are doing. Elettra Guggeri: The atmosphere was fun, fast-paced and creative, and as a team we worked really well together to produce distinctive looks. R: Any standout moments? SH: Working with models arriving late, having no electricity for most of the time we were backstage, and dealing with a fire drill halfway through the show! A lot can happen in just one show but it’s all about how you and your team deal with any setbacks or dramas. EG: Seeing the looks come together
with the clothes and make-up was amazing, and the show finale after two long days was very rewarding! R: What did you take back to the salon? SH: When prepping for the show I asked the Trevor Sorbie team for some wisdom; it was good to get advice on how to work the looks in a short space of time. Working on the show helped me understand working under pressure and in a tight timeframe. EG: I took so much that I can use in my day-to-day salon life. Leading a team of 10 was an incredible opportunity and really helped develop my directing and leadership skills. You have to be time-conscious, react quickly and keep calm under pressure, and working here helped me develop all of these skills.
Elettra Guggeri
Sophie Harris
THE SHOW: CENTR AL SAINT MARTINS BA THE ST YLISTS: SOPHIE HARRIS, TREVOR SORBIE AND E LE T TR A GUGGE RI, RIC HARD WARD HAIR & ME TROSPA
Runway: How does a graduate show differ from LFW? Frankie Pullen: You have to have a single look for the models that works with each of the designers as the model will do six or seven different designer shows back to back.
Frankie Pullen
All images courtesy of L’Oréal Professionnel
THE SHOW: UNIVERSIT Y OF WESTMINSTER BA T H E L E A D S T Y L I S T: F R A N K I E P U L L E N , DA N I E L GA LV I N
R: Why is it a good experience for young stylists? FP: It makes sure they are up-to-date with current trends and gives them a chance to do more avant-garde hair that they may not get to do in the salon. They’ll bring back to the salon a backstage buzz, and will want to achieve and aspire to more! Autumn/Winter 2016 RUNWAY
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RUNWAY Autumn/Winter 2016
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Gareth Pugh
Gareth Pugh
Philip Ellis
Molly Grad, the first winner of the L’Oréal Professionnel Award in 2001
The Bob Nouvelle look from the BA show, 2005
Edwin Mohney
Grace Wales Bonner
R U N WAY W I L L I E WA LT E R S
BOWING OUT Once a student at Central Saint Martins herself, Willie Walters – the outgoing programme director of fashion and the BA Fashion course – knows what it takes to make it. In the ’70s she was one of the founders of iconic mack purveyors, Swanky Modes, and since returning to the university in the ’90s, has helped nurture and support thousands of fashion talents. Think Craig Green, Gareth Pugh, Zac Posen, Christopher Kane, Phoebe Philo, Hussein Chalayan, Riccardo Tisci and Stella McCartney. But as the new batch of hopefuls starts this September, Willie will be enjoying retirement – and, we suspect, continuing the cataloguing of her impressive archive. We caught her before she left to discuss that incredible career…
Images courtesy of L’Oréal Professionnel and the Central Saint Martins archive
Runway: What made you think ‘maybe fashion is for me’? Willie Walters: As a schoolgirl in Worcestershire I used to come to London at half term to stay with my sister. I would look round all the boutiques, and I would go to the original Biba on Abingdon Road. It used to be a chemist’s shop, and I remember the wonder of going there, into the dark interiors, all the feather boas and the coat stands and seeing people wearing absolutely beautiful clothes that were so right for young people and actually really cheap. Before that, clothes for young women were quite staid. That’s why I made my own clothes – I would go to fabric shops with my mother and make them with paper patterns. R: Having been a student at Central Saint Martins, what was it like to return as a lecturer in the ’90s? WW: I hadn’t really visited it as a college, I’d been to the shows – it was extraordinary to walk back into that building on Charing Cross Road, it was like a strange homecoming. I was so impressed by the level of talent of the students, the diversity of the ideas, incredibly imaginative, amazing drawing skills. I thought ‘this is like no other place’: it was such a great ambience of fun – students were used to getting dressed up and partying all night but the work always gets done. It’s what’s important to them. It was very stimulating, and quite intimidating because I was a designer used to working with partners. I thought: “Good heavens, look at all these amazing people looking at me for advice!” R: L’Oréal Professionnel has partnered with Central Saint Martins on the BA show for 15 years now. How has that collaboration evolved? WW: It was two years after I started as course director, and I cannot emphasise enough how important that relationship has been for our success. There was a point in the mid ’90s where the number of students increased, yet our funding from government went down, and we were told that we needed to find a sponsor for
the final press show. In 2001, I met with L’Oréal Professionnel and explained that what I would really like was a three-year relationship, where we could develop something. In return we did sponsor projects, helped to promote new hair ranges and colours, and that fitted in really well with students – we did clothes and photoshoots. Also, L’Oréal Professionnel would take care of the hair for the shows, it was a win-win situation! That first year we started in a new venue where we could have control over the whole show. We found York Hall in Bethnal Green, a wonderful old municipal hall that hosted everything from tea dances to boxing! We later moved to King’s Cross in 2011. If you think of every student who has graduated from Central Saint Martins since 2001 – about 100 a year – whether they are a big name now like Gareth Pugh or Christopher Kane, or not, they have all been supported by L’Oréal Professionnel, and they have helped launch them into the world of fashion. R: Looking back, are there any names and shows that really stand out? WW: Yes of course, there are some incredible names that have done well, such as Hussein Chalayan, Riccardo Tisci and Gareth Pugh, and then there are people who have gone on to be very successful in the business side. From the new crop, people like Grace Wales Bonner, Soyoung Park and Richard Malone are very creative and incredibly brave. R: What does it take for a hairdresser to be a good fit for a designer? WW: They work in a symbiotic relationship, so you need to be on the same wavelength. It’s slightly more complicated when you work across many designers, such as with the BA show. So we need to have discussions – “we love these looks but we just can’t do them” – after a model’s 21st outfit, the hair is going to be squashed! We would have good fun, too, the young stylists would bring in ideas, and we would identify looks for the first show, and then after that it would depend on which students were chosen to make it to
the press show, we would use three for the final show – one of my favourites was from 2005 called Bob Nouvelle – it was based on a 16th century Florentine duke! I will remember it all with great pleasure, there was always such warmth and they’ve always been a dream to work with. R: How do you feel about the current crop of young design talent? WW: 2016 has been a terribly interesting year. The previous year, there was a real apex in the work using craft, a lot of emphasis on stitch and beadwork and almost sculptural construction. I thought at the beginning of this recent academic year, looking at the students, the atmosphere was not sculptural; it was quite gritty and serious, almost urban despair, almost morose. That came into extreme focus as the year went by, and really showed at the end of the year, everything had a seriousness to it. I tend to see things in colours, and I see this year as grey – but that didn’t mean it was dull! In the final shows, so many of the students were concentrating on ethical issues and political questions. For example you had Philip Ellis, whose collection was almost entirely antiBrexit; Derek Chen from Hong Kong, who based his collection on the Umbrella Revolution of 2014; there was a collection based on the Calais Jungle – so much based on the problems in the world, making strong statements and I was really proud of them. Our finale this year was Edwin Mohney, whose collection was based on aspects of fear and was quite demanding. All together, that was so Central Saint Martins, and such a great final show for my final year! R: What would we find in your wardrobe? WW: There’s a wide variety, and I like to mix high street with designer. I like Lanvin and Dries van Noten, but also Jigsaw and Uniqlo, and I keep things well so I’m still wearing pieces from 20 years ago. But I don’t go out and indulge myself every week – I’m a real investment dresser. Autumn/Winter 2016 RUNWAY
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R U N W AY A / W 16 H A I R I S …
“BEAUTIFUL! THERE IS A RETURN TO HAIR LOOKING THE ABSOLUTE BEST THAT IT CAN HEALTHY, GLOSSY AND LUXE!”
Adam Reed, Percy & Reed
“WILL CONTINUE TO BE TEXTURED. WORN EITHER IN AN UPDO WITH JEWEL SLIDES OR ACCESSORIES, OR DOWN WITH SLIGHTLY TEXTURED WAVES AND A HEADBAND”
James Galvin, Daniel Galvin
“RULED BY THE CENTREPARTING, WITH A FOCUS ON SIMPLICIT Y AND A SOFT NATUR AL WAVE PULLED THROUGH INTO THE LENGTH”
Vanessa Essack, Paul Edmonds London
“ALL ABOUT NATUR AL TEXTURE, WHETHER HAIR IS CURLY, FRIZZ Y OR WAV Y. AND LOTS OF HAIR ACCESSORIES!”
“INDIVIDUALIT Y AND SOPHISTICATION WITH SIMPLICIT Y”
Stephen Low, Neville Hair & Beauty
Jonathon Soons, Headmasters Pro Artistic Team
A S U M M A RY O F T H E S E A S O N , I N T H E WO R D S O F T H E P R O F E S S I O N A L S
“A/W16 H A I R IS…”
“ABOUT EXTREME INDIVIDUALISM. YOU CAN BE EXTREMELY NATUR AL, EXTREMELY DARK, EXTREMELY GOTHIC, EXTREMELY ROMANTIC JUST EXTREME!”
Guido Palau, global creative director, Redken
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“BEAUTIFUL WITH A MODERN T WIST THINK GL AMOROUS BUT SLIGHTLY DISHEVELLED AND UNDONE. IT HAS AN ELEMENT OF GRUNGINESS MIXED WITH ROMANCE”
Cristiano Basciu, Richard Ward Hair & Metrospa
“GLOSSY, SCULPTED, OFF THE FACE BUT SLEEK, ELEGANT AND FRESH”
Jonny Engstrom, Guy Kremer
“ABOUT LOOKING LUXURIOUS WITH MINIMAL EFFORT THE CONTINUING USE OF HAIR ACCESSORIES ACROSS THIS SEASON CAN BE USED TO INSTANTLY ADD FUN OR SERIOUS COUTURE”
“INSPIRED BY THE ‘80S WITH CASUAL WAVES AND UNDONE TEXTURE”
Toby Meyer, Ministry of Hair
Darren Fowler, Fowler 35
RUNWAY Autumn/Winter 2016
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