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 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 2 018 06 TOP FIVE MOMENTS The pick of the shows this season
16 THE TRENDS Delve deeper into the catwalk trends for Autumn/Winter 2018
28 RE:C RE ATE How the coolest hair looks on the catwalk were created
34 CENTRAL SAINT MARTINS Discover the iconic university that forges the design stars of tomorrow
36 P A L M E R // H A R D I N G ‘The shirt boys’ on their relationship with their backstage team
INSTANT EDUC ATION Online seminars are taking over the way stylists learn
42 G R A D UAT E FAS H I O N W E E K We meet the hair squad behind the knockout looks at GFW
46 ARTIST INFLUENCE How top session stylists are involved in the evolution of professional products
48 ID ARTISTS We explore how this programme nurtures incredible talent year after year
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Cover image: Erdem, hair by Anthony Turner for L’Oréal Professionnel
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EDITOR’S LET TER DEAREST RUNWAY READERS, Well, what a right royal knees-up A/W18 turned out to be. Quite literally in fact, with Hollywood royalty on the catwalks – Elle Fanning closed the Miu Miu show – as well as the real deal in the audience (Her Majesty The Queen, may we say, makes the most fabulous FROW centerpiece). Our resplendent issue is equally majestic (if I do say so myself) and alongside our reigning regulars, we have plenty more to whet one’s appetite. We talk, for example, to Levi Palmer from palmer//harding (page 36) to get a unique insight into the workings of the designers often referred to as ‘the shirt boys’. While over on page 42 we switch our focus to up-and-coming designers at Graduate Fashion Week, when we venture backstage with the L’Oreal Professionnel Portfolio Team. Finding looks to work across numerous collections may sound a tad daunting but it’s hands down the best backstage bootcamp for young hairstylists wanting to get into session work. The crown for the best use of a hair accessory, however, has to go to King of the Crocodile Clip, Guido, who managed to wrangle the ’80s hair-loom back from the archives and make it cool again with Alexander Wang (see page 32). All in all, it’s been a blast. Now, time for you guys to read on and be inspired to start powering up those dryers and create some regal runway-inspired ’dos yourselves…
CASSIE STEER RUNWAY GUEST EDITOR Beauty editor Editor in Chief: Amanda Nottage Art: Graeme White Chief Sub Editor: Adam Wood Contributors: Beth Davie, Deborah Murtha, Anna Samson Publisher: Catherine Handcock RUNWAY, 21 THE TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND 020 7324 7540 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 T H E Y ’ R E T H E H E A D L I N E AC T S S O FA B U LO U S W E H A D TO G I V E TH EM A B I G H I G H FI V E . H E RE A RE TH E TO P S H OWS , AS C H OS E N BY C A SS I E S T E E R
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R U N WAY TO P F I V E
Image courtesy of L’Oréal Professionnel
FISHERMAN’S FRIEND EUDON CHOI
“(ST) IVES HAD the time of my life” may have been the soundtrack to Eudon Choi’s recent jaunt to Cornwall, if his A/W18 collection is anything to go by. “The unique light of St Ives was the reason modern British artists such as Christopher Wood, Barbara Hepworth and Alfred Wallis all settled there,” he divulged backstage, with Wallis’ Naïve Art style a particular influence. As befitting of the British coast, protection from the elements was also a theme, in the form of vinyl trench coats, camel-coloured trenches fashioned into skirts and trousers, together with super-sized scarves and fisherman’s knits. And let’s not forget the fabulous Sou’Wester’s created in collaboration with milliner Noel Stewart, which topped off Stephen Low for L’Oréal Professionnel’s ‘caught in the rain’ hair. He had us hook, line and sinker.
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FASHIONISTAS SHALL go to the ball, thanks to Roksanda Ilincic’s fantabulous creations, which floated down the runway like a scene in a Disney film. But like the best fairytales, there had to be a transformation somewhere along the way. In the context of the collection that meant ‘everyday’ winter wear that took the form of camel-coloured suits and coats spliced with flashes of red, checkered blanket wraps and duvet-like quilted scarves. “I’m looking to dress women for real life and once-in-a-lifetime moments,” the designer confirmed backstage. And it wasn’t long before fluid, satin dresses morphed into structured, oversized ruffles with hems taking on pumpkin-like proportions. But forget glass slippers, this modern princess prefers over-the-knee stiletto boots with laissez-faire hair by James Pecis for L’Oréal Professionnel that worked with the model’s individual texture. Pure fantasy.
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Image courtesy of L’Oréal Professionnel
MODERN CINDERELLA ROKSANDA
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MAXIMUM IMPACT MARC JACOBS
Image courtesy of James Cochrane
Image courtesy of L’Oréal Professionnel
R U N WAY TO P F I V E
NYC IS THE city of extremes until Fashion Week descends, when it tends to play things a little, erm… safe. Trust Mr Jacobs then to ruffle a few feathers with a couture-like collection that paid homage to the ’80s (well, on acid that is). Befitting of a decade that brought us mobile phones, power suits and blue eyeshadow, the larger-than-life garbs that stomped down the runways were just as OTT. We loved the burly jewel-coloured coats amped up with super-sized shoulder pads, the bodycon dresses, wide-leg leather trousers and the magnificent ruffles that grazed the avant-garde ’dos seen on 20 per cent of the girls, which had been cut by Guido and coloured by Josh Wood for Redken. The rest of the models’ faces were shrouded in Zorro-esque wide brim hats. Wearable? Not so much. Statement making? You betcha.
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IT WAS A BUG’S life over at McQueen, where Sarah Burton turned to mother nature for her inspiration following a trip to Brazil. She described the collection as being about “extreme nature and metamorphosis” with “butterflies, bugs and paradise found, rather than lost”. We loved the butterfly wing prints and birds of paradise-inspired capes and dresses. The centrepiece was, however, a sheer column dress embellished with 1,483 individually embroidered bejewelled beetles. Perhaps as a nod to the #metoo movement, the collection focused on strength and protection, or, as the designer described, ‘a soft armour for women’. It seemed only right that these fierce creatures were adorned with sexy red lips and slicked-back, super-long braids which Redken’s Guido likened to a “whip tail” – the perfect accessories to the tuxedo jackets and racy vinyl corset belts. Like a moth to a flame…
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Image courtesy of James Cochrane
BEETLE MANIA ALEXANDER MCQUEEN
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Image courtesy of L’Oréal Professionnel
BOHEMIAN RHAPSODY PETER PILOTTO
CALLING ALL hedonists, libertines and pleasure seekers; when it comes to the most decadent shindig on the runway, Peter Pilotto is always the party to be seen at. “They come to us for fun,” confirmed designer Christopher Vos, backstage at the legendary Tramp nightclub, an apt setting for the A/W18 collection. Drawing inspiration from the opulent interiors of Vienna, the collection was a banquet of oriental florals, plush velvets, louche satins and even a smoking jacket that came in a rainbow patchwork of Steiff teddy bear fur, finished off with rope tassel belts and neck pieces. The hair also adhered to the theme with natural movement described by Anthony Turner for L’Oréal Professionnel as “lived-in and bohemian”. Pilotto hinted at a move into interiors in the future. After all, a party space isn’t complete without an antique-looking Persian rug and some well-placed cushions to recline on. Join the club.
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LIQUID ASSETS M E E T C O LO R G E L S L AC Q U E R S BY R E D K E N A LOW A MMO N I A P E R M A N E N T C O L O U R T H AT O F F E R S L O C K E D I N S AT U R AT I O N A N D L A C Q U E R S H I N E . N O W Y O U ’ R E TA L K I N G
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Exciting packaging inspired by unique gel viscosity and trending Instagram slimers! Fashion PERMANENT COLOUR isn’t worth taking any chances on, which is why Redken has introduced Color Gels Lacquers. The range is one of the first permanent liquid colours to offer the saturation of a gel and the mirror-shine of a lacquer. And the gel base makes it ideal for technique work, with fast, high-precision application from a bottle or bowl with no waste. Redken Color Gels Lacquers were what Josh Wood, Redken’s global colour director, used at Marc Jacobs A/W18. Think russet reds, plum purples and bewitching blacks shining under the catwalk spotlights – and you can now get them in your salon, ideal if you already use and love the technique perfector, Shades EQ. Redken Color Gels Lacquers will drive new colour business to your salon like nothing else. Not only can you replicate affordable fashionforward shades for millennial clients, Color Gels Lacquers provide 100 per cent grey coverage and rich, saturated results, so more mature clients will love them, too. And all clients will love the finish – superb, high-gloss mirror shine that’s exactly like a polish. Fast and easy to use,
Color Gels Lacquers will even make a fan out of hard-toplease redheads, thanks to advanced red dye technology that will help their fiery shades last longer. But the real reason Color Gels Lacquers stand out is the unique pairing system. Colourists everywhere love Shades EQ Demi Permanent Hair Gloss for its ability to tone, colour-correct and add shine to all hair types. And Color Gels Lacquers shades were created to pair with Shades EQ gloss shades perfectly. This means that when you touch up roots with permanent colour, you can refresh the rest of the hair with a Shades EQ gloss shade that matches the root colour exactly. The result? All-over, gorgeous colour. The Color Gels Lacquers and Shades EQ liquid colour perfect pairing means you can create some of the most fashionable hair trends using both colour lines. Whether that’s a transitional sombré with a deep root or something from the other end of the spectrum such as dark roots melting into a vivid, lush violet – Color Gels Lacquers are all you need for rich, saturated colour with high-impact shine.
Natural
Packaging segmented according to colour family
Warm Natural
Cool
B e D i f f eren t . B e Re dken . WANT TO BE PART OF A NEW GENER ATION COLOUR HOUSE? JOIN THE REVOLUTION EMAIL REDKEN ON INFO.REDKEN@LOREAL .COM FOR A BESPOKE COLOUR DEMO
Autumn/Winter 2018 RUNWAY
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THAT WAS THE SEASON… WINNING STREAK
Central Saint Martins MA show
B R I N G I N G YO U A L L T H E AC T I O N O N A N D O F F T H E C AT WA L K . W H A T A R I G H T R O YA L K N E E S U P A / W 18 T U R N E D O U T T O B E …
E X T R E M E ’ 80S
CLIMB ABOARD
GA ME , SE T AND M ATC H MAKE-UP WENT all matchy-matchy over at Peter Pilotto where makeup artist Thomas de Kluyver set about correlating each colourful eyeshadow look with the corresponding hues of the outfits. But being game for using make-up as an accessory doesn’t mean you need to be a stickler for the rules of application. “I love the idea of doing make-up that’s about expressing yourself,” divulged Thomas backstage. “I wanted to do something really playful. It’s a very free look.” 14
House of Holland
AT RUNWAY, we know more than anyone that hair is the ultimate accessory to an outfit, so we’re always delighted when others acknowledge this very important point, too. Cue the VERY fashionable partnership (now in its 18th year) between L’Oréal Professionnel and the prestigious Central Saint Martins College of Art and Design to celebrate and nurture cutting-edge talent. And the winner is… Paolina Russo (pictured above, second from right), who scooped the L’Oréal Professionnel Designer of the Year Award. Hip-hip hair-ay!
A WORD OF WARNING; you might need a head for heights to scale this trend. From forest bathing to paddle boarding, outdoor pursuits are definitely having a moment, but we were pleasantly surprised to see mountaineering influences making their way onto the runways in the form of climbing ropes and boots at House of Holland and climbing clips as earrings at Vivienne Westwood. Take a hike. Vivienne Westwood
Paolina Russo
Images courtesy of L’Oréal Professionnel, Redken and Toni&Guy
OKAY, SO THE ‘80s were pretty extreme anyway, but this season designers such as Marc Jacobs and Vivienne Westwood have paid homage to the power suits and OTT accessories that defined the decade and quite literally pumped up the volume.
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SAY IT WITH WORDS… on brows, nails and anywhere else you care to stick a slogan really. Our favourites? The custom-made denim eyebrows at On|Off ’s Honest Man and the ‘PORN’ nails at Vivienne Westwood. Go on, make a statement.
Honest Man at On|Off
Vivienne Westwood
WRITE ON…
Longshore Ward at On|Off
Courtesy of Instagram/babbym
WA LK THE WA LK NOT CONTENT with being tipped as fashion’s bright new star, former L’Oréal Professionnel Creative Award winner Matty Bovan found himself on the other side of the runway this season, strutting his stuff for Vivienne Westwood. Dressed in a floral catsuit, the York-based designer looked equally at ease in his modelling debut. Sashay, shantay.
ACID HOUSE THE FUTURE’S bright, the future’s orange (and lemon and lime) in make-up terms at least. From the neon yellow brows at Longshaw Ward at On|Off, to the juicy citrus eyeshadow swatches at Westminster, the mantra was to boldly go where you haven’t gone before.
SUPER FURRY ANIMALS NO ANIMALS were harmed in the making of this trend, unless they happened to be Steiff teddy bears (at Peter Pilotto) or perhaps one of the Muppets, that is. We’re talking fuzzy ( fake) fur coats reminiscent of children’s TV characters in colours straight out of play school. Now, can you tell us how to get to Sesame Street?
Courtesy of Instagram/richardquinn1
ONE IS AMUSED THE FROW has seen its fair share of fabulous queens and fashion royalty over the years but when Her Majesty the Queen rocked up to Richard Quinn’s A/W18 show it sent shockwaves through the fashion world. Swapping her throne for a pew next to Anna Wintour, it was The Queen’s first foray into Fashion Week and she looked every inch the fashionista. Autumn/Winter 2018 RUNWAY
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Longshaw Ward at On|Off
THE TRENDS T H E F O R E C A S T F O R A / W 18 ? R A I N A N D W I N D M U S S E D U P ‘ D O S , B L U S T E RY B U N S A N D E A S Y B R E E Z Y C O N TO U R I N G 16
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HAIR Kathryn Dartnell for L’Oréal Professionel. THE LOOK A mermaid emerging from the sea on an exotic beach. HOW It was mythical magic from Kathryn, as hair got sleek and shiny with the effect of damp locks cascading down the back of the model’s neck. The hair was prepped with Tecni.ART Wet Domination Extreme Splash gel, taken
Eudon Choi Loewe
GET THE LOOK CENTR AL SAINT MARTINS BA SHOW
Prada
Central Saint Martins BA show
Longshaw Ward at On|Off
PREPARE TO BE UNPREPARED this season, as rainy wet-look ’dos and windswept wisps saw hair inspired by meteorological mishaps storming the runways. Luckily wind and rain is something us Brits do particularly well, as demonstrated to glorious effect at Eudon Choi where L’Oréal Professionnel’s Stephen Low created a weathered wave. “The collection draws inspiration from Cornish fishermen,” he explains. “We continued the story in the hair by creating loose waves with two textures – part dry and fluffy, part damp from the Cornish rain.” This dual-texture idea continued at Erdem, where the aristocratic finger wave at the front was off-set with a more unkempt ponytail, which Anthony Turner had treated to a touch of L’Oréal Professionnel Mythic Oil. At Prada and Christopher Kane the ’dos were an altogether more relaxed affair, with Redken’s Guido creating the effect of the girls running their fingers through damp hair. Over at the Central Saint Martins BA show and Longshaw Ward at On|Off, the trend took on a tougher, ’80s guise as the hair was raked back off the face before being seemingly left to the elements. Richard Ward Hair & Metrospa’s Cristiano Basciu’s product of choice at Longshaw Ward? L’Oréal Professionnel Tecni. ART Wet Domination Extreme Splash gel, of course, as befitting of the decade. No need to stand under our umbrella (ella, ella), we’re in for a wet and wild spell.
Christopher Kane
W H AT E V E R T H E W E AT H E R
Central Saint Martins BA show
Erdem
R U N WAY T R E N D S
section by section starting at the nape of the neck. Product was applied directly from a tint bowl with a tint brush to horizontal sections from root to tip, working with the natural fall of the models’ manes to create the effect of them having freshly emerged from the sea.The team then finished with Tecni. ART Wet Domination Shower Shine spray to give a shimmering effect. Autumn/Winter 2018 RUNWAY
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Roksanda
palmer//harding
Central Saint Martins BA show
palmer//harding
Graduate Fashion Week
palmer//harding
Central Saint Martins BA show
Graduate Fashion Week
Stick or twist? Well when Chanel sends a troop of messy buns down the catwalk you can bet the answer is twist, as up-dos have officially gone loopy for A/W18. From conceptual chignons at palmer//harding to nonchalant knots at Roksanda, the takehome is that it’s all about those little nuances. “The detail lies in the ‘snakeskin shine’ and carefree flick of hair tips,” confirmed Stephen Low from Neville Hair & Beauty, backstage at palmer//harding. The sleek, twisted loops were accessorised with carefully crafted two-inch tips which spliced through the top to lend the look a jewellery-like quality. Meanwhile, James Pecis set about creating casual chignons over at Roksanda using L’Oréal Professionnel. But the key to the look was down to the undone finish – artfully distressing each messy bun. “Roksanda cast each model, deciding on which hair look she would have, according to the vibe of the piece she was wearing from the collection,” explained James backstage. Over at the Central Saint Martins BA show, hair under the watchful eye of Haringtons’ Kathryn Dartnell took a turn (and then another, and another) with models rocking a deep side-parting and hair being sectioned and twisted into mini bobbles. Each was pinned in place with a kiss… of grips criss-crossing over above the ear for a metallic edge. There were twists mixed in among the looks at Graduate Fashion Week also, with models sporting ponies by lead stylists Jason Hall and Andrea Daley for L’Oréal Professionnel incorporating a subtle twist within.
Caption Please
T WISTED S I S T E RS
GET THE LOOK ROKSANDA HAIR James Pecis for L’Oréal Professionnel. THE LOOK The Roksanda woman is typically pretty and youthful – but always in a very natural way. HOW This was clean, pretty hair tailored to suit every model’s natural texture and individual style. To create the casual chignon, James used a pound coin-sized dollop of L’Oréal 18
Professionnel Tecni.ART Pli with L’Oréal Professionnel Tecni.ART Wild Stylers Rebel Push Up texturising mousse to prep the mid-lengths and ends of the hair. He then blow-dried the hair back and tied it in a ponytail at mid-height. The tail was tied into a single or double knot, and rolled on itself. The knot was distressed and misted with L’Oréal Professionnel Infinium hairspray.
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HAIR Guido for Redken. THE LOOK A ’60s vibe, with an extreme cut and geometric shapes for each look. HOW Following the monumental colour work by Redken global color creative director, Josh Wood, models were prepped by washing hair with Redken Color Extend Magnetics Shampoo and Conditioner to preserve
Graduate Fashion Week Marc Jacobs Marc Jacobs Coach
IT’S TIME TO SHAPE up and nape up, as the season celebrated one of the body’s most sensual areas – that sweet little spot at the back of the neck. We’ve seen the twists at Roksanda, sure, but even the uncomplicated low ponytails entered the nape zone. Yet in some cases it means flexing those fingers and honing those scissor skills, as some looks got rather architectural about hair. Melding old-school finishing techniques with modern textures, colours and silhouettes, it’s all about styles that have been carefully worked around the face shape and nape. Take Marc Jacobs, where Guido based each unique look on classic Sassoon haircuts with bevelled edges that were tailored to frame every model’s individual face shape. At Jack Irving at On|Off, The Boutique Atelier’s Richard Phillipart stepped back a decade earlier with his sci-fi meets ’50s beehives. Using a pin comb and Tecni.ART Fix Move Gel to sculpt the hairline around the models’ faces, he used a razor at the nape to remove some of the weight before setting the shorter pieces onto the neck for a touch of androgyny. In contrast, L’Oréal Professionnel Tecni.ART Wild Styles Rebel Push Up texturising mousse featured prominently in Anthony Turner’s ’20s finger waves over at Erdem, which lent an aristocratic silhouette to the models faces, while at Coach, Guido’s product of choice was some Redken Wax Blast 10, which he used to fashion ’70s sideburns. Shape shifters need apply.
Valentino
GET THE LOOK MARC JACOBS
Erdem
Jack Irving at On|Off
Marc Jacobs
THE SHAPE O F T H I N GS
their new shades and strengthen hair. Once towel-dried, a 10p-sized dollop of Redken Satinwear 04 was added to protect hair from heat and to add a glossy shine. It was then blow-dried using a boar-bristled brush, curving in at the ends to create a bevelled style for a ’60s effect. Finally, a few spritzes of Redken Shine Flash 02 for added shine and polish. Autumn/Winter 2018 RUNWAY
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THE PERFECT FIT T I M E I S M O N E Y, S O M A K E S U R E Y O U A N D Y O U R C L I E N T S A R E MAKING THE MOST OF THIS PRECIOUS COMMODIT Y WITH I N S T A N T H I G H L I G H T S B Y L’ O R É A L P R O F E S S I O N N E L FROM THE MOMENT WE WAKE up to the moment we go to sleep, finding a break in the day just for us can be hard. Time is precious, so when clients find themselves with some free time, they want to make the most of it. With Instant Highlights by L’Oréal Professionnel, not only can you save time as a hairdresser, you can also add value to your clients’ service. Clients can now enjoy highlights in half the time, thanks to this innovation from L’Oréal Professionnel. We’ve broken it down into four simple ways to help you fit Instant Highlights into what your are already doing in your salon. The less time your clients spend in the chair equals more profit for you. Result.
INSTANT BLOW-DRY UPGR ADE Why not offer your existing cut and blow-dry clients a few face-framing lights? It’s a great way to introduce new clients to colour.
INSTANT REFRESH Touch up the mid-lengths and ends during a root application on your existing regrowth clients. That way, it’s your time well spent, no extra time taken and more money in the till.
INSTANT TREATMENT For those time-poor clients who only have an hour in the chair, why not offer a few lighter pieces to contour the face and suggest a Smartbond or Série Expert Power Mix treatment so they are getting the added professional service value that they came for.
INSTANT PROFIT Build an Instant Highlights package so you offer this as a separate service from your classic highlights. Clients are more likely to pay that little bit extra for something that offers them an express, exclusive service. So why not do the same with Instant Highlights?
BEAT THE CLOCK WITH INSTANT HIGHLIGHTS BY L’ORÉAL PROFESSIONNEL. TO FIND OUT MORE, CALL 0800 0304034 OR VISIT LOREALPROFESSIONNEL .CO.UK Autumn/Winter 2018 RUNWAY
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HOW HAIR HAPPENS H E A D B AC KS TAG E W I T H T WO O F T H E WO R L D’S P R E M I E R S T Y L I S TS T O S E E T H E M C R E A T E F U T U R E T R E N D S F O R T H E A / W 18 S E A S O N
The Erdem girls were aristocrats who could change a tyre in the rain and still look fabulous – Anthony Turner got to work creating damp finger waves.
A cocktail of L’Oréal Professionnel Tecni. ART Pli and Wild Stylers Rebel Push Up texturising mousse were used to set the hair into the ’20s style.
THE SHOW ERDEM THE LEAD ANTHONY TURNER FOR L’ORÉAL PROFESSIONNEL
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The ponytails hung down models’ backs, looking imperfectly perfect with minimal styling.
The lengths were swept back and tied into a tight, low ponytail, and smoothed over with L’Oréal Professionnel Mythic Oil for gloss and shine.
Some models were given polka dot veils, which were arranged to look like they were blowing in the wind.
Bobby pins were scattered among the waves, which were squashed down, as if by rain.
The clothes combined the glamour of a flapper girl with the eccentricity of the British nobility, and were rich in fur, lace and jewel tones.
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THE SHOW PALMER//HARDING THE LEAD STEPHEN LOW FROM NEVILLE HAIR & BEAUTY FOR L’ORÉAL PROFESSIONNEL Stephen Low prepped roots and mid-lengths with L’Oréal Professionnel Tecni.ART Pli, before applying Tecni.ART Liss Control Cream to the mid-lengths and ends. Hair was blow-dried straight back using a brush.
Building a beautiful, healthy texture is imperative to this look, named ‘snakeskin shine’ due to its glossy, effortless sheen.
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Hair was tied into a ponytail, with Liss Control Cream and Liss Control+ Serum applied through the mid lengths and ends. Hair was then twisted.
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The twist was looped up and pinned, tucking the ends into the base and leaving a two-inch sprig sticking out.
The result is a simple and elegant curved shape wrapped around itself at the nape of the neck.
The collection had a similarly fresh feel, which was offset by bright eyeshadow on some of the models, by make-up artist Rebecca Wordingham.
To add shine and hold, L’OrÊal Professionnel Infinium hairspray was misted over.
Autumn/Winter 2018 RUNWAY
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@marinadnery
NEW DARK LIGHTS DARE TO HIGHLIGHT DARK HAIR WHISPER
Take highlights to the dark side with the new Dark Lights technique from Redken. Inspired by #GalaxyMakeup, Dark Lights lets you illuminate dark bases with pops of light and color. Customize a look for every client using the Edging Brush. · Whisper with sweeps of golden balayage · Talk with gradient glossing · Shout with multi-tone vivid placement Always use acidic Shades EQ on Zones 2–3 to care for previously colored strands. #RedkenColor
All rights reserved. 2018
TALK
SHOUT
RE:CREATE
Vivienne Westwood
WE PUT THE MINI TRENDS YOU NEED TO START SWOT TING UP ON UNDER THE ST YLING SPOTLIGHT
IT WAS ANARCHY in the UK (and France, too) as the stylists unleashed their inner rebels with a spot of spiky styling. Based on classic punk looks, Sam McKnight using L’Oréal Professionnel stayed true to Vivienne Westwood’s heritage with this mussed-up ode to Sid Vicious, while at Central Saint Martins BA show, the horizontal Mohawks by Kathryn Dartnell and the L’Oréal Professionnel Portfolio Session Team were enhanced with a riotous array of neon.
Central Saint Martins BA show
W H AT’S U P P U N K?
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X FAC TOR
Eudon Choi
THERE’S A NEW WAVE of textures this season, the most wearable of which being the flave (or flat wave to you and I). To achieve the look, make like Neville Hair & Beauty’s Stephen Low did at Eudon Choi and divide the hair into two loose braids, then press in a dollop of L’Oréal Professionnel’s Tecni.ART Full Volume Extra Mousse followed by a touch of Liss Control, and diffuse the braids dry before releasing.
Central Saint Martins BA show
F L AV E O F T H E MO N T H
GET A GRIP. In fact, make that several, as the innocuous little tools were used to prettify the tough girl hairdos that Harington’s Kathryn Dartnell and the L’Oréal Professionnel Portfolio Session Team created at Central Saint Martins BA show. Sectioning off the hair on one side, she made rows of gel-drenched bantu knots in a quirky nod to an undercut, squishing them in place with a criss-cross of grips.
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GO WITH THE ’FRO
‘INDIVIDUALITY’ HAS BEEN a central theme backstage for a few seasons now with stylists celebrating kinks, coils and curls in all their splendiferous guises. But this season they took it one step further by paring back even more. Take the Victoria Beckham show, where Guido cited his key products as Redken All Soft shampoo and conditioner, towel drying to enhance each model’s natural texture and a touch of No Blow Dry cream. Welcome to the ‘fro zone.
Central Saint Martins BA show
Victoria Beckham
Graduate Fashion Week
R U N WAY R E C R E AT E
B I R DS O F A F E AT H E R S I LV E R L I N I N G S IT’S ALL IN THE DETAIL, namely the pieces of fabric taken from the collection at House of Holland and wrapped deftly around the elastic at the base of the pony created by Cos Sakkas (above) of Toni&Guy for a chic finishing touch. Seamless.
GUIDO HELPED to resurrect the (once naff) crocodile clip from the fashion archives and make it chic at Alexander Wang, so perhaps we shouldn’t be surprised that he also managed to bring the feather cut back into the 21st century over at Givenchy. “It’s a little bit of a nod to the ’80s, with some side cuts and feathered layers around the face. We’ve done quite a few haircuts and some of the models have had complete transformations,” he revealed backstage. You could have knocked us down with a feather… Autumn/Winter 2018 RUNWAY
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Holly Fulton
Jack Irving at On|Off
OH, BEEHIVE
T H E N E W AV E N G E RS THE HEROES BEHIND this season’s most talked about hair look? Fashion’s dynamic duo – Guido Palau and Josh Wood – of course. The show in question was Marc Jacobs and the marvel-ous Purdey-esque dos melded Guido’s Sassoon-inspired geometric haircuts with Josh’s futuristic colour, courtesy of Redken. Josh divulged: “This is about where to place colour to emphasise the quite severe cut and make a bold statement.” 30
Eudon Choi
Raf Simons
Miu Miu
THE HIGHER THE HAIR the closer to heaven must have been the mantra this season, and The Boutique Atelier’s Richard Phillipart’s sci-fi inspired creations at On|Off were out-of-this-world sleek, with L’Oréal Professionnel Tecni.ART Volume Architect Spray doing the heavy lifting. Add a hole in the top of a wig cap stuffed with padding and plenty of Finish with Tecni.ART Fix Move Gel and a spritz of L’Oréal Professionnel Infinium hairspray for intergalactic shine. Over in Paris, Guido was the ultimate big tease, creating a texture-rich ‘bad girl’ with lashings of Redken Guts 10, while at the V&A Fashion in Motion show spotlighting designer Holly Fulton, Headmasters’ Jonathan Soons led the hair team behind a ‘post-party modern beehive’ hair look. L’Oréal Professionnel Tecni.ART Density Material was on hand to make the hair look a little sweaty. Hot stuff.
YO U S AY TOM ATO… GET RED(DY) for the hottest hue of A/W18; we’re talking about the orange-red creations that sprouted up across all four fashion capitals from Eudon Choi in London to Alexander Wang and Marc Jacobs in NYC. But forget keeping things au naturel, this was show-stopping colour straight out of a (ketchup?) bottle. Pure theatre.
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Vivienne Westwood
R U N WAY R E C R E AT E
T WO OF A KIND IT WAS A CASE OF TWO styles for the price of one over at Graduate Fashion Week, where Andrea Daley of Barbara Daley in Liverpool – heading up the L’Oréal Professionnel Portfolio Team alongside Jason Hall from Jason Hall Edinburgh – gathered the hair back into a low pony before roughly dividing it into two. Taking the right section across to the left-hand side of the nape and securing tightly with elastic, she then proceeded to do the opposite with the left side, taking it up and over the right, proving that she’s not a one-trick pony.
S M E A R C A M PA I G N
Caption Please
Images courtesy of L’Oréal Professionnel, Redken and Toni&Guy
DABS AND DAUBS were the dissident techniques behind this season’s most rebellious colour trend. No surprise then that it was showcased by fashion renegades Honest Man (thanks to Electric’s Mark Woolley for L’Oréal Professionnel) and Vivienne Westwood. “There’s not any sort of order to it, we’re making it up as we go along,” confessed Sam McKnight backstage at Westwood using new L’Oreal Professionnel #COLORFULHAIR Flash Pro Hair Make-Up.
WHIP IT WHO SAYS PLAITS HAVE to be prissy? Just take this bad gal braid over at Alexander McQueen: “It’s a long, single braid. McQueen is a kind of subversive beauty, so I wanted it to be minimal but still feel very McQueen,” Guido said backstage. His key product? “Redken’s Hardwear 16 to get a super-slicked form on the head.” Brazen. Autumn/Winter 2018 RUNWAY
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TRUE GRIP
Alexander Wang
O N LY T H E C A PA B L E H A N D S O F A L E X A N D E R WA N G A N D G U I D O C O U L D H AV E E S TA B L I S H E D T H E C R O C O D I L E C L I P, A T H R O W B A C K F R O M T H E S H O U L D E R PA D D E D ’ 8 0 S , A S A M U S T H AV E F O R A U T U M N / W I N T E R
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Guido backstage at Alexander Wang
R U N WAY A L E X A N D E R WA N G
THERE WERE TWO words on everyone’s lips as the models hit the Alexander Wang A/W18 runway – Crocodile. Clips. Once the mainstay of the ’80s hair wardrobe before being relegated to dusty bathroom cabinets for emergencies only, it has enjoyed a fashionable revival to hit new heights of cool. And the trusted hands to help bring the crocodile clip back from fashion’s Room 101? Redken global creative director Guido, of course. “My career has been based on looking at bad taste, in a way,” the Redken global creative director muses wryly when Runway catches up with him in New York. “But when we see something from a different context, it changes – so the crocodile clip, in Alex’s hand, is fashion. It looks stylish and appealing to us in the way it’s presented.” The flash of silver, stamped with Alexander Wang’s logo, stood in stark contrast to the familiar soft tortoiseshell we’re used to seeing, and helped to drive forward the notion of ’80s power dressing that ran through the collection (think an updated Melanie Griffith in Working Girl). The designer’s women were smart, fashionable and with enough attitude that could make even the most humdrum hair accessory seem ultra-cool again.
“That’s the very idea of fashion really; to look at beauty and things in a new way and not just shun them,” adds Guido. The accessory was only one aspect of the look that needed revisiting – the treatment of the hair also required an update. “You know you’re playing with this slight irony, so you have to balance that irony with simplicity and stylised, cool hair,” he explains. “If you started to have movement in the hair, or curls, then you just send it back to where it began – back to the perm with the crocodile clips. This was an interpretation of the ’80s, we didn’t want it to look completely like the ’80s. It nods to it enough but you need to work out how to bring it forward – to work out the texture of the hair, the product you’re going to use to stylise it.” Hair was dried away from the face, before using Redken Mess Around 10 from the front of the hairline, combed back through the hair section by section. Intentionally maintaining the comb marks was important, adding a masculinity to the look, before spraying Redken Forceful 23 throughout the crown for added grip and a slick shine. “When you do something like this, you have
to look at the nuances of it – what makes it look stylish,” Guido insists. “How the clip is, where it sits on the neck. If it’s too low, it looks too ponylike and not stylised enough, so it had to go up high on the back of the head – but not too high so that you didn’t see the hair from the front.” A messy chignon – with the ends pointing down, rather than protruding pineapple-like from the top of the clip – was secured by those bright silver clips, before another layer of hairspray sealed the deal. The fact that Guido struggled to find the right size and shape clips in the first place speaks to just how unexpected this look was. He also knew the look wouldn’t work without the right attitude and team behind it. “When I do the tests I go through all those phases with Alex – showing the whole head gelled, half the hair gelled, the different placements. You have to go through the whole process and not be intimidated about getting it wrong,” he says. “Simple hair has so many layers to it, and when you’re working with a great designer or photographer, they kind of know that, too. That’s why you get such a great effect – when everyone understands what’s going on and is part of the process.”
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23/08/2018 10:58
Central Saint Martins BA show
BR AVE NEW WORLD
A LIST OF GRADUATES FROM the Central Saint Martins (CSM) fashion department reads like a roll call of some of the most influential designers of the past few decades: Alexander McQueen, John Galliano, Zac Posen and Riccardo Tisci all began their careers at the London institution. Since 2001, L’Oréal Professionnel has partnered with CSM to cement the essential links between hairdressing and fashion. This relationship, now in its 18th year, sees members of the L’Oréal Professionnel Portfolio Session Team create the hair looks at the annual CSM BA degree show, a celebration of the outgoing graduates’ collections and creative futures. “Hairstyles and hair colour say as much about you as the clothes you wear, therefore it is tremendously exciting and absolutely vital for L’Oréal Professionnel to forge a relationship with one of the most pre-eminent fashion
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L’Oréal Professionnel Portfolio Session Team
HOW THE ICONIC C E NTR AL SAINT M ARTINS HELPS FORGE THE FASHION STARS OF TOMORROW WITH A HELPING HAND ALONG THE WAY
schools in the world,” explains Monica Teodoro, general manager at L’Oréal Professionnel. “This ongoing partnership merges the very latest in fashion talent with the creativity of young hairdressers – a unique and inspired collaboration.” Recurring themes in the 2018 BA show include “migration, identity, borderlines, beliefs, acceptance and community”, according to Sarah Gresty, BA Fashion course leader at the university. These collections were complemented by hair looks that included slicked back wet looks, tiny buns, plenty of natural texture and worn-in waves. Kathryn Dartnell, art director at Haringtons, who led the hair team at the BA show, believes that the partnership between CSM and L’Oréal Professionnel is an ideal match. “It’s a brand known and respected for its strong links with fashion and invests heavily in trend forecasting, education and innovation,” she explains.
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Kathryn Dartnell
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“CSM is one of the most famous art schools in the world, with impressive fashion alumni – it’s a perfect partnership.” Having the opportunity to head up the hair team at this show is a highlight of Kathryn’s career. “I love working on this show, it’s the most anticipated in the graduate calendar and the only one to be streamed live on Italian Vogue. The thought of working with such talented young designers full of raw inspiration and enthusiasm, not to mention possibly a future icon, is pretty exciting!” Due to the nature of the BA show, where several models wear not only different looks but also clothes from collections, created by different designers, Kathryn is responsible for ensuring the hair looks are both practical and adaptable. “I put together and presented several different hair looks to Sarah Gresty and together we streamlined the looks so that they would work with the graduates’ collections, represent the brief given to the students, and withstand several outfit changes!” Designing the hair looks is only part of
Kathryn’s role as head of the hair team – she also has to lead a team of young hairdressers through two shows in one day, all of whom are extremely enthusiastic but many of whom are totally new to session work. “For the members of the team who have never worked on a fashion show, it can be a real eye-opener,” says Kathryn. “When leading, I try to remain calm and explain thoroughly! Tensions can run high backstage so calmness at the top tends to filter down. When it comes to the hair, a simple look can be translated in many ways, so it’s vital the team understands it.” Along with learning how to do specific looks under significant time constraints, team members also have to adapt to working together. “Working at a fashion show, you may work with people you haven’t met before, making it important to listen, be assertive, be a team player and be nice!” says Kathryn. “Over the course of the two CSM BA shows the hair team really bonds and gets to know each other a little – making the second show run even more smoothly than the first.”
THE L’ORÉAL PROFESSIONNEL Designer of the Year Award is presented each year at the Central Saint Martins BA show, with past winners including Matty Bovan and Grace Wales Bonner. This year the judges, including designer Richard Quinn, stylist Ibrahim Kamara and course leader Sarah Gresty, chose Paolina Russo as the winner, for her suburban sportswear collection, I Forgot Home. “Fashion should be about telling a story, not only with the clothes but creating the world in which the woman who wears your clothes exists,” Paolina explains. “The hairstyles in my collection
were exaggerated versions of emo hairstyles I had or wished I had growing up. I was huge fan of Green Day, My Chemical Romance and Avril Lavigne and they were definitely my muses for the collection.” The L’Oréal Professionnel Designer of the Year Award has helped raise Paolina’s profile as one of Central Saint Martins most exciting young designers. “I was so honoured when I won – I couldn’t stop crying. The award has allowed my collection to reach so many people, and I am so grateful for that. I’m excited to continue to share my work with this new audience.”
Paolina Russo
REIGNING CHAMPION
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Levi Palmer (left) and Matthew Harding, palmer//harding AW18 36
A LITTLE HELP FROM OUR FRIENDS M A K I N G T H E J UM P FROM G R A D UAT ES TO O N E O F T H E C O O L E S T YO U N G B R A N D S AT LO N D O N FA S H I O N W E E K I S N ’ T E A S Y. B U T W I T H S T E R L I N G S U P P O R T B A C K S T A G E , P A L M E R // H A R D I N G H A S D O N E J U S T T H A T
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R U N W A Y P A L M E R // H A R D I N G
IT WAS A CHANCE meeting between designers Levi Palmer and Matthew Harding and L’Oréal Professionnel’s Catherine McMahon that started it all… “We introduced ourselves and, while we hadn’t started doing our own shows yet, we thought there was an opportunity,” remembers Levi. “The following season we just happened to be doing our first fashion show for S/S14. So I spoke to Catherine [portfolio manager of artistic, PR and events for the brand] and asked if she’d be interested in sponsoring us.” L’Oréal Professionnel quickly hooked up the pair with Neville Hair & Beauty in Knightsbridge, and they have worked with the salon ever since, under lead stylist Stephen Low’s guiding eye. “You could see they were very young designers. We’ve seen them grow from their debut shows to where they are now, which has been really nice,” Stephen smiles. Known as ‘the shirt boys’ for their deceptively simple, tailored designs, the palmer//harding duo particularly impressed Elena Lavagni, director at Neville, with their thoughtfulness and talent from the off. “They are incredible guys. They know what they want, they have very good pictures in their mind for how the design comes to life, every single part of it, everything has been visualised by them when they design. They always think of the details,” she explains. “When you go backstage, there are little sandwiches and cakes, all made by them. Everything is so cared for, which you don’t find much anymore. You don’t find people who care like that.” Neville Hair & Beauty has amassed a killer fashion hair team as a result of its increasing number of catwalk collaborations. “It had actually been one of our biggest dreams to create an artistic team that was able to do fashion shows,” Elena recalls. “Now, we’re the only salon that brings a full team – we don’t have any solos. So when we go, we go as one. When you go to L’Oréal Professionnel, you are given a step up, but you’re free to fly in whatever direction you want to, which doesn’t happen with many brands.”
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Stephen Low at palmer//harding S/S17
palmer//harding S/S17
The Neville team at palmer//harding A/W18
palmer//harding A/W18
R U N W A Y P A L M E R // H A R D I N G
As a designer, you need to ensure you’re paired with a hair team that instantly understands your vision and aesthetic. Before any collaboration begins, Elena’s team thoroughly researches each designer they work with, their style and their history, to make sure they start on an even footing. “You need to know about the DNA of the label before you can achieve what they are intending to portray,” she explains. An open mind is as important to Levi as the team’s technical ability. “The best forms of collaboration or partnership are ones where there is openness of communication, and a swiftness as well,” he admits. “We’re busy all day, all the time, and sometimes you need feedback quickly, so you need someone who can respond to an email or a text, which allows you to make that decision.” And sometimes, it’s about being up for taking a risk that can make all the difference. “It’s an openness to try things as well because sometimes you need a bit of oddness, something a bit unexpected to make things work,” Levi laughs, referring to the subtle twists that palmer//harding has become known for. “When you collaborate you have people with skills and talent… and egos fostered by that skill and talent! But people who can leave those egos at the door are vital. Stephen has always done amazing hair and he’s always been really happy to work on a complete look. They know it’s not a hair show – the hair will be fabulous, but it may be more discreet in some seasons than others.” The Neville team’s stunning glossy twist design for the A/W18 show is a classic example. A take on dancer hair without ever resembling a ballerina bun, this sleek look was modern, unassuming but with a twist – literally. “There were some twisted, ribbon-y elements to the collection, so Stephen said ‘why don’t we do something like this?’ He added that high shine to it because there were some more satiny, evening wear aspects to the collection, which he’d seen we’d added,” recalls Levi. “He saw that as an opportunity to give it an evening reference, rather than something for day. A big part of the relationship is giving him impressions of what we’re going for, and Stephen has always brought in, or been able to suggest, a mood for the hair.” Beyond hair talent and products backstage, sponsorship from L’Oréal Professionnel gives young designers a platform to really get their labels off the ground… and Levi’s seen a correlation between the label’s growth and the support it’s received. “Once we had that amazing logo associated with us, so many people wanted to jump on board and be associated with us. It’s actually such a stamp of authority for so many others – other sponsors, but also people in industry,” he says. “Because they know L’Oréal Professionnel and they recognise it, and what it must mean we’re capable of.”
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WE WANT IT ALL…
…AND WE WANT IT NOW! AS THE DIGITAL WORLD CONTINUES TO GROW AND OUR AT TENTION SPANS SHORTEN, IS THE FUTURE OF EDUC ATION ONLINE? THE PAST DECADE has seen a digital revolution take place that has changed our expectations – we now want information and education on demand, at any time. Nowhere is this seen more than in the fashion world; what once took six months to filter down to consumers is just a tweet away from millions of eyes before a model has even finished walking the runway. But how can this translate into training for hairdressers, something that has traditionally required a hands-on approach in the salon or classroom? “Education has changed more in the past few years than it has in the previous 20 years that I have been involved with it,” admits Darren Oram, education director at L’Oréal Professionnel. “While our face-to-face classroom education occupancy and demand continues to grow, we
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see that the appetite for on-the-go education from a mobile – snackable education – is huge.” Brands are taking on the digital world in the form of webinars and live demos that hairdressers can access anywhere, anytime. L’Oréal Professional Products Division launched Access earlier in the year to provide an online educational platform. “Stylists and colourists’ lives are busier, so it is not as easy/convenient to attend courses in the academy. By providing education digitally it means that it is accessible at any time, and at the pace of the learner,” explains Thea Blight, UK education manager for Redken. “The e-learning on Access can be accessed on a desktop or mobile device and can be started and stopped at any time.”
Darren attributes the change in how we learn to social media as well as the wider internet. The trend is for social learning – people keen to find the information through self-discovery rather than traditional methods of being taught. “Think about the adoption of YouTube and how far our ability to self-teach has come,” he explains. Darren believes Access will answer this need. “Access is a central hub where you will find all our course information, online learning modules, inspiration and quick techniques. This helps feed the trend for social learning,” he says. “This social aspect also links in to how you connect and share with the community via social media. While we can provide education that can be retrieved anywhere with Access, the ability to
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Adam Reed
Grace Dalgleish
R U N WAY I N S TA N T E D U C AT I O N
educate the professional community via social media has been game-changing. Stylists don’t have to wait to attend a class or for a skilled educator to come to their salon, we can bring them the information they need in real time.” A great example of this was at the end of London Fashion Week in February when Adam Reed broadcast, with L’Oréal Professionnel via Facebook Live, his interpretation of the hair trends to achieve different looks in real time. “I demonstrated the trends I’d seen while I was working backstage and I think people really liked that it was so instantaneous,” says Adam. “It was a very quick turnaround and gave an insight into the trends that some people might not have had access to previously.” He continues: “A lot of people contacted me following the Facebook Live seminar saying they’d like to come to one of my classroom seminars or workshops and that’s brilliant. It was people that hadn’t necessarily thought of doing courses with me before so there was a really good follow up.” Live education online is opening up a new avenue for stylists to share their skills and raise their profile, something Darren also notes. “We are seeing the rise of the next level of educator, where you are almost like a TV host, broadcasting live and improvising,” he says. “This kind of timely education empowers the hairdressing community to be informed on a cross section of topics and in general raise the bar of industry knowledge.”
Grace Dalgleish from Brooks & Brooks recently hosted a Facebook Live video demonstrating how to use L’Oréal Professionnel’s Botanēa herbal colour and found it to be a rewarding experience. “It’s amazing to be able to instantly share with viewers from all around the world, it keeps education so current and fresh,” enthuses Grace. “I loved talking about my personal experiences and product tips and tricks as I have worked very closely with the launch of Botanēa.” Grace believes live webinars are the future of education. “Life is so much faster now, so digital education is definitely going to be a huge part of the future. It gives us instant, up-to-date education,” she says. Both Grace and Adam’s webinars have received thousands of views on Facebook, with viewers asking questions during the video that were put live to Grace and Adam. “That was amazing and the feedback I received after from viewers was overwhelmingly positive,” says Adam, but this isn’t always the case. He adds: “You open yourself up for criticism as all the keyboard warriors come out and comment on what you’re doing. “But this isn’t to take away how much viewers get out of these webinars. They’re a great way to get snippets of information before deciding if you’d like to go on a more hands-on course with that educator and, for me, as a way of sharing what I do backstage with the wider industry,” explains Adam.
Redken also has a series of Live@5 webinars that are hosted on the Redken UK Facebook page once a month. “These provide the perfect opportunity for our Redken artists and influencers to reach a wider audience, increase the tribe following and inspire,” explains Redken’s Thea Blight. Both Larry King’s Harriet Muldoon and Josh Wood Colour’s AJ Blackadder have taken part, and found the experiences enlightening, for them and for the viewers. Harriet hosted a Facebook vote for viewers to pick the Pantone colour they wanted her to recreate on the live webinar, while AJ Blackadder created a perfect peach look. “I loved being a part of Redken’s Live@5. In particular the audience participation – you’re communicating and interacting in real time with a global audience, enabling you to answer any questions the audience may have and adapt what you’re doing to what’s needed,” explains AJ. “There are now so many different ways to educate and share information. Webinars are such an easy, viable and different way of sharing education that’s still informative and visual, too, but that reaches a wider audience at the same time.” But the best bit about digital education is that it’s constantly evolving and adapting for the client’s needs. “Taking on feedback from our clients has enabled us to constantly grow education. I think we will continue to see e-learning develop across the board,” says Darren. “Especially the rise of live education, it’s an exciting time.” Watch this space…
ONES TO WATC H L’Oréal Professionel On our Radar with Paul Dennison webinar Inspirational Colour forecasting 8 October facebook.com/ lorealprofessionneluk Redken’s Live@5 webinar Color Gels Lacquers September facebook.com/redkenuk Autumn/Winter 2018 RUNWAY
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CLASS OF 2018 THE HAIRDRESSERS BEHIND THE KNOCKOUT LOOKS AT GR ADUATE FASHION WE E K SHARE THEIR STORIES…
GILES DEACON, MATTHEW WILLIAMSON, CHRISTOPHER BAILEY… Graduate Fashion Week (GFW) has launched some exceptional careers over the years. This year, the four-day event at the Truman Brewery in Shoreditch saw more than 1,000 young designers from 40 universities present their designs for 30,000-plus guests. When showing their collections, students have the support of leading hairstylists from the L’Oréal Professionnel Portfolio Team, led by Andrea Daley of Barbara Daley in Liverpool, and Jason Hall of Jason Hall Hairdressing in Edinburgh. The 25 young hairstylists on the Portfolio Team, all from salons across the UK, were chosen for their skill and drive, and they gain invaluable experience in a session environment, shaping trends and meeting the designers of tomorrow. It’s hard work, long hours and sore feet, so how do they stay motivated, and what do the stylists take back to their salons? Let’s find out…
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R U N WAY G R A D UAT E FA S H I O N W E E K
TEAM LEADER
Jason Hall JASON HALL HAIRDRESSING “I spend half of my year travelling between New York, London, Milan and Paris assisting on the hair teams, so when I get the chance to lead a team it really is a privilege. L’Oréal Professionnel has a large pool of amazing hairdressers in the Portfolio to pull its GFW team together. For weeks before the shows, we send ideas and moodboards back and forth with the designers. Then it’s my job to come up with a look that’s achievable in the timescale and get it down to a step-by-step process. Over the four days at GFW, I had time to gauge each of the hairdresser’s strengths and weaknesses, so I could really help them progress their session styling skills. Working with the young designers is amazing; they have such a strong vision, and it’s our job to help that vision become reality. It’s a tremendous honour to be part of it.”
TEAM LEADER
Andrea Daley BARBARA DALEY “This is my fifth year at GFW – I started out as an assistant working under the brilliant Kathryn Dartnell of Haringtons. When I was asked if I’d like to take the reins, of course I said yes! The aim is to make each show unique, which is a challenge as you have 24 shows across four days. GFW is a springboard for the future stars of the fashion world. It’s inspiring to see young designers at possibly their most creative, without the restrictions of being part of a big brand – you get to see a first-hand look the direction fashion is going. GFW is also fantastic experience for stylists of all levels to grow in confidence and develop their session skills. I always start the week with a little pep talk to the team about what it was like for me as an assistant, but most importantly I want them to enjoy the experience. You have to be on the ball and have a great handle of all hair types. It’s hard work but well worth it; there is always something you can take back to your clients.”
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TEAM MEMBER
Stephen Chapman CONTEMPORARY “I was able to go to GFW thanks to L’Oréal Professionnel – I’m a part of the Portfolio Team and it provides so many opportunities. The team really bonded, helping each other when needed and working to our strengths; I learnt a lot of simple yet effective techniques. I loved the flow backstage and how jam-packed it was – being at GFW you meet so many different people who become friends for life. This experience has really got me interested in session work; it would be a dream to one day direct shows at GFW.”
TEAM MEMBER
Charlotte Cannon REDS “I’ve always wanted to learn about the session side of hairdressing. After assisting the senior members of the Reds team on shoots and shows, my manager approached me about GFW. I loved working with this team – you spend so much time together that you really get to know everyone very quickly. I learned lots of new techniques that I have started to incorporate into my salon work. It’s amazing to see your work walk down a catwalk. This shows that the industry has so many different avenues – I can’t wait to get the opportunity to do more.”
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R U N WAY G R A D UAT E FA S H I O N W E E K
TEAM MEMBER
Shelley Sumner RUSH “It’s a fantastic opportunity to work with young, talented creatives who are shaping the future of fashion. I love seeing how passionate they are when they see their garments on the runway for the first time. It’s great as a session stylist to see how the hair complements the final look, and we can see that the hard work has truly paid off. It’s a great opportunity for both parties to learn from each other and grow creatively; students are given the opportunity to have professional stylists completing their overall image, and L’Oréal Professionnel artists can explore the hair trends for the seasons ahead.”
Photography by Eeva Rinne and Ambra Vernuccio
TEAM MEMBER
Kathleen Gentles OBSESSION SALON & SPA “I came to hairdressing quite late in my working life – I began my training at 30 – but I have a background of working on shows and events as a musician, and so knew that I would be comfortable in a fast-paced environment backstage. There have been so many times that I’ve seen particular looks on the catwalk, in magazines or on social media, and thought ‘I really wish I knew how to do that’. Now I feel like even if I don’t know for certain, I have the tools to work it out!”
STAR QUALIT Y Graduate Fashion Week closed with the Gala Awards Show, attended by judges and celebrity presenters including Julien Macdonald, Hilary Alexander OBE, Richard Quinn and Jeff Banks CBE. The Debenhams Menswear Award went to Hannah Gibbins from the University of Brighton, while Aurelie Fontan of Edinburgh College of Art won the M&S Womenswear Award. The Christopher Bailey Gold Award was awarded to Rebecca Wilson from the Arts University Bournemouth. Autumn/Winter 2018 RUNWAY
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FOLLOW THE LEADERS
Adam Reed
AS FA SHION WE E K ST YLISTS INCRE ASINGLY SE T THE HAIR TRENDS CLIENTS WILL FOLLOW, THEIR INFLUENCE, E XPERIENCE AND IMPAC T ARE HELPING SHAPE THE DE VELOPMENT OF SALON PRODUC TS. IT’S THE PERFEC T PAIRING
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R U N WAY A R T I S T I N F L U E N C E
“I use Redken’s No Blow Dry most for situations where I need a beautiful natural texture,” Guido explains, having pre-empted the move away from bold and intricate styling that led to the creation of the lightweight texture creams. “It’s great as there are three types of No Blow Dry creams with different strengths suitable for everyone. I found it to be a huge success backstage.” Josh Wood worked closely with Redken on the new grey shades for Shades EQ and the new Color Gels Lacquers. “Modernising technologies is a high point of what I do,” he says. Needless to say, the scene-stealing ‘Garnet Red’ shade from the Alexander Wang A/W18 show on model EZ is evidence that he’s nailed the formula. With the sample products in hand the real hard work begins – thoroughly testing them in different environments to make sure that each one performs well and, more importantly, that they will become indispensable to other stylists. Products don’t just spring into existence; they spend a lot of their development being passed between lab and kit bag to become the do-all wonders stylists love.
Josh Wood
IMAGINE A WORLD with no Tecni.ART Pli. Where would session styling be without it to prep and style hair backstage? It’s unfathomable. But how did it come to be? To stay ahead, brands have always worked in tandem with top stylists to develop and elevate new launches to their full potential. They answer each other’s needs, honed by decades of experience in both formulations and practice. Just how vital are these collaborations to create pure product alchemy? For Guido, with his artistic vision and longstanding relationship with Redken as global creative director, it’s an essential aspect of collaboration: “After a show season, I get together with the Redken team to discuss the go-to products of the season – what the models love and what the team has responded to. We talk about new products and development of anything we may need product-wise in the near future.” Their pairing created backstage heroes such as the No Blow Dry Creams, drawing on his feedback and observations backstage. “Application is key,” he insists. “Is it easy to apply? Does the nozzle or pump release the right amount? Can I use it with other products of different strengths?” Josh Wood’s transformative colour skills are as evident in product pre-production as they are on the catwalk. As Redken’s global color creative, part of his remit is to offer his product development vision. “I have worked really closely with the technology experts and learnt how they work and what makes a really good colour. Having an insight into the changing landscape of what clients want has given me a unique perspective on hair colour.” Learning the technical jargon took a while, a back-and-forth until each team learned how the other works. “Previously I would be too expressive – ‘I hate the orange undertone of that red’ – which would result in me getting a purple. But I’ve learnt that a tiny tweak of pigment or trying to alter the viscosity of a product can provide a total breakthrough. It’s a detailed process, so I have learned to be patient,” Josh acknowledges. Over at L’Oréal Professionnel, self-professed beauty geek Adam Reed has been busy test-driving products behind the scenes for decades. “I am a product junkie and I think that they appreciate my honesty. Ultimately I am going to be the one that is using the product, so the initial collaboration is absolutely essential. L’Oréal Professionnel has the most incredible labs and insights, I’m like a child in a sweet shop when I get in there.” The recent Tecni.ART gathering of top hairdressers celebrated the upcoming relaunch of L’Oréal Professionnel’s much-loved professional styling range. With professionals front-and centre during testing and development, these products will likely hit the spot. Adam Reed’s experience will certainly be felt in some exciting new launches, arriving in early 2019. We can’t wait to see what they’ve been working on…
Guido
FROM TESTING TO TRENDING
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The 2017/18 ID Artists in Barcelona
TALENT GENERATOR AS THE L’ORÉ AL PROFESSIONNE L ID ARTISTS PROGR A MME CELEBR ATES ITS 15TH ANNIVE RSARY, WE E XPLORE HOW IT HAS E VOLVED TO BECOME A PRIM ARY SOURCE FOR DE VELOPING POTENTIAL
IT BEGAN 15 YEARS AGO at a time when the credit crunch was but a whisper and social media was only just entering the mainstream (Instawhat?). Twitter was the sound that birds made. It wasn’t as easy to have a platform to showcase your skills back then and entering the higher echelons of styling seemed impenetrable. L’Oréal Professionnel could see how difficult it was for young stylists to not only get noticed, but also discover opportunities beyond the salon, such as Fashion Week and editorial work. The brand recognised it takes more than being in a classroom to learn the key skills required to truly shine in the hairdressing industry. To bring out the best in the next rising stars they needed access to the kind of opportunities and training only a big name could offer them. And so the ID Artists programme was born. Fast forward a few years and the L’Oréal Professionnel ID Artists programme is now synonymous with success, opportunity and big names. The Social’s Ky Wilson – The It List It Guy 2017 – joined the two-year programme in 2010 and found it gave him the confidence to take his career further. “It opened my eyes to what’s out there and what’s possible” he enthuses. “I did it before social media really took off so it was amazing to have that platform and meet so many talented people, both on the programme and those that come in to teach and mentor you.”
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Sophia Hilton, Christopher Appleton, Richard Phillipart and Kathryn Dartnell are all ID Artist alumni and all credit the programme for part of their success. Why? Because despite the rise of social media, ID Artists remains one of the best ways for ambitious stylists to gain experience and a platform to showcase their skills that no amount of Instagramming can beat. “The ID Artists programme helped me understand how I was going to reach my goal. It was the starting block on how to do ‘good hair,’” explains Christopher Appleton, now famous for his work with Kim Kardashian and Ariana Grande. “It’s the perfect platform, whether you want to remain in the salon, take the education route or do session work. It helped me get to where I am today.” Not Another Salon’s Harriet Stokes, former winner of the L’Oréal Colour Trophy Star Award, joined the ID Artists programme last year and found it life-changing. “I had the most amazing opportunities,” she says. “I got to travel to Barcelona twice with the whole team to prepare for the L’Oréal Colour Trophy Backstage Tour, which we also got to work on. In the first year, I presented a model on stage at the L’Oréal Colour Trophy Regional Semi-Final in Belfast and then this year we got to work backstage helping Seung Ki Baek from Rush on the Regional Semi-Finals.”
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W H AT D O E S I T I N VO LV E ? The two-year development and networking programme features two weeks of education and hairdressing opportunities. There is the chance to learn the latest cut, session and colour techniques from some of the best in the industry, as well as preview seasonal collections and product launches. Then there are the practical parts, such as presentation and communication training, and platform education opportunities. But don’t worry about it taking you away from the salon for too long. Steve Rowbottom, director of Westrow, says: “The programme has such far-reaching benefits, not just for those attending the course but for the salon team and business as a whole. It has a positive effect on the rest of the salon.” Steve encourages all of his staff to audition for ID Artists and feels the main advantages for his team members are that it gives them the opportunity to hone their skills, gain confidence and network with some of the best in the business. “The programme is also very fashion-focused with a forward-thinking approach to technique; it’s something that grows great commercial potential,” he adds. What’s more, all of the education and hairdressing opportunities provided are funded by L’Oréal Professionnel, so there’s no extra cost to the salon owner. For those keen to get involved, you can choose from one of two paths when auditioning to become an ID Artist: Session & Cutting or Artistic Colour. Sarah Black, principal stylist and colour expert at Linton & Mac, chose Artistic Colour and is now in her second year on the programme. “I’ve already seen benefits, the programme has opened up so many
opportunities to me. I assisted on the Central Saint Martin’s BA show, and I was also involved in the L’Oréal Colour Trophy ’18 tour,” she enthuses. Sarah auditioned for ID Artists because she wanted to immerse herself deeper into the industry while surrounding herself with like-minded people, and she hopes it will continue to open doors to previously hardto-reach areas of the industry. Like Sarah, hundreds that have gone through the ID Artists programme have seen their careers propelled forward. And because of its high calibre and the respect it’s gained within the industry that competition for places is fierce – but you shouldn’t let this put you off. “You have to remember that this is a competition, so you have to bring what best represents you as an artist,” she continues. “You need to be fully committed and you must be ready to push yourself.” And even if you don’t at first succeed, try again – as Ky Wilson did when he failed the first time he auditioned. “Even the feedback from judges is vital and helps you grow,” says Ky. “And it doesn’t matter if you’re a salon owner or just getting started, because everyone comes from different experiences and skills, and everyone can become an ID Artist as it’s about fulfilling your potential.” If you’re one of the chosen few, L’Oréal Professionnel will push you to discover your full potential like nothing else – bring on the next 15 years!
Rush’s Seung Ki Baek
Session stylist Yesmin O’Brien (left) mentors an ID Artist
R U N WAY I D A R T I S T S P R O G R A M M E
M E E T T H E N E W 2 018/19 I D A R T I S T S ! Adam Lee, Alex Cook, Andrea Dorata, Andrew Pearce, Annabelle Birch, Anthony Standing, Charlotte Elsey, Chris Law, Claire Finn, Darcie Harvey, Eddie Parker, Elettra Guggeri, Emma Collins, Frank O’ Neill, Gemma Murphy, Hannah Tovey, Jade Collin, James Cowman, Jamie Brown, Jayde Bassett, Joanna Parker, Lesley Holloway, Lewis Brown, Lois Negus, Lucia Lannelli, Megan Summers, Natalie Tasker, Natasha Martin, Rebecca Emmett, Samantha Lawson, Sophie Shipperbottom, Steve Barnes, Thomas Eaves, Toni Martin Keep an eye out early next year when new dates will be revealed for the next round of auditions…
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R U N W A Y A/W 1 8 H A I R I S …
“…CELEBR ATING INDIVIDUALIT Y AND PERSONALIT Y IN HAIR TEXTURES AND LENGTHS. WE CREATED EVERY THING FROM NATUR AL TEXTURES TO GREASY, OILED AND SPR AYED HAIR”
Guido, Redken global creative director
“…INDIVIDUAL EVERY THING AND ANY THING GOES! IT’S REALLY EXCITING, IT NODS BACK TO THE ’80S, THE DECADE OF THE INDIVIDUAL AND, SOME WOULD SAY, BAD TASTE. I SAY IT’S PERFECT WHEN IT COMES TO HAIR!”
Adam Reed, Percy & Reed
“…READY TO PART Y! EXPLODED PONY TAILS, MESSY BUNS AND THROWING IT UP WITH CROCODILE CLIPS ARE A GREAT WAY TO GET HAIR OUT OF YOUR FACE AND HEAD STR AIGHT FOR THE DANCE FLOOR!“
Andrea Daley, Barbara Daley Hair & Beauty
“…LONG. AFTER MANY SEASONS OF ‘THE CUT’ WE HAVE SEEN LONG CASCADING HAIR BACK ON THE RUNWAYS OF EVERY FASHION CAPITAL”
Richard Phillipart, The Boutique Atelier
“…DIVERSE AND INDIVIDUAL . THINK RICH, NATUR AL TEXTURE JUXTAPOSED WITH STRUCTURED, SLEEK, WETLOOK ST YLES. HAIR ACCESSORIES HAVE MADE A COMEBACK, TOO”
Cristiano Basciu, Richard Ward Hair & Metrospa
A S U M M A RY O F T H E S E A S O N , I N T H E WO R D S O F T H E P R O F E S S I O N A L S
“A/W18 H A I R I S …”
“…COLOURFUL , BE IT NATUR AL TONES ALL THE WAY THROUGH TO FAIRGROUND NEONS. DIAL UP OR DIAL DOWN THE BRIGHTNESS YOU ARE LOOKING FOR, JUST ENSURE IT’S COLOURED”
Josh Wood, Redken global color creative director
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“…STRONG! WE HAVE BEEN SEEING BOLD PERIMETER SHAPES, WITH THE ADDITION OF TEXTURE, ADDED MOVEMENT AND BR AVE COLOUR BLENDS”
Mark Woolley, Electric Hairdressing
“…TEXTURE! FROM SOFT, DELICATE AND ROMANTIC TO STRONG, SWEAT Y AND EMPOWERED. THERE’S AN EXPLOSION OF TEXTURES AND AT TENTION TO DETAIL”
Kathryn Dartnell, Haringtons
“…CLEAN WITH LOTS OF VOLUME AROUND THE HAIRLINE. YOU SEE WITH THE COUTURE SHOWS BIG HAIR IS BACK AND COLOURS ARE BOLD. THERE’S GREAT CONDITION AND VOLUME LUXURIOUS HAIR IS COMING BACK!”
Larry King, Larry King salon
“…ALL ABOUT UNDONE HAIR WITH AMA ZING ACCESSORIES (LIKE THE SYDPIN) LEAVING HAIR SOFT AND TEXTURED. LOOSE WAVES WILL ALSO HAVE A PART TO PL AY AGAIN: A DONE, NOT DONE VIBE”
Jonathan Long, Lockonego
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Sarah Harris for Redken 5th Avenue
SHOW THE WORLD YOUR SHADE OF GRAY. ANTI-YELLOW, ALL SILVER.
NEW COLOR EXTEND GRAYDIANT BRIGHTENING AND SOFTENING SYSTEM FOR GRAY AND SILVER HAIR
All rights reserved. 2018
COLOR-DEPOSITING SHAMPOO AND CONDITIONER
Bring out the best in natural gray hair. New Color Extend Graydiant, with Amino Acids and custom direct dyes, nourishes and progressively brightens* all-in-one for a 2x stronger**, more radiant* gray. This dual-action system, with complementary Anti-Yellow Shampoo and Silver Conditioner, neutralizes unwanted yellow undertones and deposits custom direct dyes for a beautiful, brightening silver pay off. Ditch dullness and be #Graydiant *After system use for two weeks **Breakage score – instrumental testing – ad. System vs non-conditioning shampoo