w w w . c r e a t i v e h e a d m a g . c o m
r u n w a y s /s 2 0 1 3
r u n w a y
spring summer 2 013
c r e a t i v e
head
Y o u r
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e s s e n t i a l
g u i d e
t o
t h e
n e w
s e a s o n
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a new styler for a new era Bring order to the chaos of hard-to-tame textures with a new kind of heat technology – unique patented tri-zone™ technology. Unveiling a new ghd styler that will empower you to rule over every hair texture, from the first pass to the final flourish. All textures will obey; from the rebellious and unruly to full-on headstrong Afro hair.
The ghd eclipse is ready. Are you?
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The freedom to unleash your creativity, with a professional tool that rises to every challenge… The confidence to tackle every hair texture, knowing you’ll get a consistently perfect finish… Intelligent, instant heat from finely finished plates… A light, easy-to-use and super-efficient kit bag must-have… A styler that respects hair condition… A styler that will have your clients begging to buy!
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the ghd eclipse what you’ll love
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New and unique patented tri-zone™ technology with six quick-thinking sensors for precise thermal control
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the ghd eclipse what you’ll get
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10/1/13 15:33:07
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the ghd eclipse
what you say
Under the exacting eye of top stylists, the ghd eclipse has been challenged, put through its paces and perfected. You’re the experts, and this is what you said: “This tool will change a lot of lives... save a lot of time... and turn a lot of heads! ghd eclipse is a modern and precise tool that allows me to style all types of hair with confidence. It’s helped me transform some of the toughest hair textures into the most beautiful styles.” Kenna
ghd creative director
“You wouldn’t have thought there could be much improvement on ghd straighteners but the new eclipse looks amazing, feels great and even sounds great! It glides through the hair effortlessly and is unquestionably the most beautiful styler I’ve ever seen.” Akin Konizi
hob salons
“ghd has once again re-defined hair styling with the new eclipse. Easier to use, with its new ergonomic design and with many great new features, I found this styler gave great results on the toughest of textures, resulting in smoother more luxurious hair.” Mark Hayes
Sassoon
“The new eclipse styler from ghd is streets ahead in the technology stakes, making styling backstage and in the salon a breeze. It screams luxury and is slicker, smoother and more intelligent than ever before – especially with its revolutionary cooling down process. No kit bag will be complete without one.” Steve Rowbottom
Westrow
“The eclipse is the biggest thing to happen to heat stylers since the original ghd. Turbo-charge that by 100 and you have the ghd eclipse – an absolute must-have for professionals and consumers alike.” Ken Picton
Ken Picton Salon
“I haven’t been this excited since I got hold of my very first ghd’s more than a decade ago! This styler is AMAZING and the results are extraordinary. The cool outer-body makes it really easy to style and curl with, and it looks and sounds beautiful, too – a really professional addition to my kit bag and definitely a wow moment in hairdressing.” ZoË Irwin
ghd creative director
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stylemaker rulebreaker gamechanger
Breakthrough tri-zone™ technology, extraordinary results and a brand new ultra-professional look and feel. COMING SOON‌ Learn how you can experience ghd eclipse for yourself by contacting your local ghd account manager or phone 0845 3301133.
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The Coterie Have you joined? individual membership £160 per year Group membership £320 per year (three team members)
Next meeting
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Get connected with The Coterie
6 March, London An evening with
Sam McKnight sponsored by
020 7739 7789 • @TheCoterie • facebook.com/thecoterieclub
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editor’s
letter
Sarah Manley Editor, Runway
Sarah x
Editor Sarah Manley Art Graeme White Chief Sub Editor Adam Wood Sub Editor Robin Jarossi Contributors Gillian Brett, Beth Davie, Amy Wood EDITOR-IN-CHIEF Amanda Nottage Publisher Catherine Handcock Write to us at: runway, 21 The Timberyard, Drysdale Street, London N1 6ND T: 020 7324 7540 F: 020 7739 7789 E: sarah@headmag.co.uk Runway is published twice a year by ALFOL Ltd. Creative HEAD is a registered trademark. No part of this magazine may be reproduced without prior permission of the publisher. All information correct at time of going to press. Printing by Buxton Press
Cover image courtesy of Balmain Hair
Casting light on this season’s shows and emerging with a series of clear trends has not been easy. From the first shows in New York to the last in Paris, S/S13 illustrated the impact of globalisation on the market. In particular, this included the magnetism of Asia and the blurring divide between northern and southern hemisphere markets. Fashion now transcends seasons, continents, cultures and even sexes – as discussed in Fashion’s Gender Blender from page 111. It was a truly global, multi-cultural, even seasonless season. Designers sent out predominantly black-and-white collections, a palette usually rare in summer. We even saw fur at Prada – just one of many season-defying trends. Exploration of the East, menswear and new technology were further drivers. A look at our Top Ten Moments in Hair and Fashion from page 8 and Trends from page 32 reveal key looks, but bear in mind there’s a lot more, which makes this season one of the most exciting. There’s no longer just a handful of hair trends to master, as we reveal. In this issue we give you glimpses into the minds of the hairstyling world’s tastemakers – see How Hair Happens on page 44 and our candid profile of the master of French hairdressing, Laurent Philippon, on page 70. We’ve perused 15,000+ images and interviewed hair artists, stylists, photographers, make-up maestros and designers to bring you a comprehensive report on new-season hair and the ever-changing landscape of our wonderful industry. So here it is…
4 Runway spring/summer 2013
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c o n t e n t s the
season 8
Top
10
S/S13’s stand-out moments in hair and fashion 20
The
season
that
was
The tiffs, the gossip, the sounds and the new model faces of the season
the
hair 32
trends
Eastern influences, the ’60s re-imagined and other inspirations 44
How
hair
happens
The stories and techniques behind S/S13’s picture-perfect creations
more
hair
54
Re:create
An extra slab of hair inspiration and a deeper look into the working ways of session’s best 70
profile
Laurent Philippon – once a brash youngster, now stylist to the fashion elite 76
pause
for
thought
Creating the magic – snapshots of the season backstage
Fashion
Intelligence 104
shot
through
the
heart
How photography and styling meet to capture our dreams 108
make-up
at
work
Laura Dominique on going solo and the barefaced beauty of S/S13 111
fashion’s
gender
blender
The blurring lines between fashion for men and women 11 4
S/s13
hair
is…
“Chic”, “understated”, “strong” – the stylists define the trends for S/S13
2013 spring/summer Runway 5
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6 Runway spring/summer 2013
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S 9/1/13 12:24:58
S THE
SEASON On
Christopher Kane
Dive
that But
your
into
a dd e d
fi rs t,
in
marks,
S/S13
extra
here
hair
get
with
colour
are
the
and
se t,
the to
top
go!
stories
the
10
season.
moments
fash io n...
2013 spring/summer Runway 7
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Image: TIGI
1 The
Modern
Prometheus C h r i sto p h er K a n e Working incongruous themes into intelligent, feminine clothes with incredible street edge has become a speciality for Christopher Kane. While the root of this year’s inspiration didn’t fully unclothe itself until close to the end of the show – actor Boris Karloff in character on a T-shirt – the opening scene of surgical-white garments with gaffer-tape strips and feminine dresses held together with plastic screws and bolts gave hints. “I love Mary Shelley’s book, so it was the nuts and bolts of Frankenstein,” said Kane post show. “I’ve combined unlikely fabrics and textures in colours that make you feel a bit sick.” Ill? No. Weak with delight? Yes, particularly on witnessing the final call of models in decadently appliquéd dresses and ladieswho-lunch skirt suits – the femininity of it all instantly cancelled out with gaffer tape. Backstage, Anthony Turner on hair for TIGI summed it up: “This season we wanted to do something tougher. The girl is a rebel!”
8 Runway spring/summer 2013
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Image: Jason Lloyd-Evans
2 Super sonic D r i es Va n N ot en With a label that earned its cred in the ’90s, Dries Van Noten is an undisputed master of that time. For S/S13, the Belgian designer revisited the grunge movement of that decade, incorporating a mélange of textures and themes – day/night, masculine/feminine, sheer/heavy, and when a number of pieces were stripped down, Courtney versus Kurt. With that came sheer organza pants with shorts peeping from underneath, a menswear shirt and sweater teamed with a couture skirt, and archetypal ’90s plaid remodelled on delicate taffeta and lamé. Backstage, Paul Hanlon enhanced the glam-grunge aesthetic using oils and waxes to sully up the hair and pinched some of make-up maestro Peter Philips’ eye shadow to give the girls fauxroots. Meanwhile, the show was set to a soundtrack of reworked tunes, including Sonic Youth’s cover of Superstar, as Van Noten made one of the season’s biggest statements – come as you are.
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3 Factory girls M arc Jacobs
10 Runway spring/summer 2013
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Image: Redken
It’s black, it’s white and it’s for S/S13. Out walks first face Ruby Jean Wilson, sporting a recent peroxide dye job and side sweeping ’do by Redken creative consultant Guido Palau and heavy brows, looking every bit Edie Sedgwick. Marc Jacobs transported us back to a peak moment and place in New York fashion – the artsy, amphetamine-fuelled hangout The Factory. While the “’60s” and “mods” were key drop-words, the real story was mod-ern. Waistbands were pushed lower than they’ve been in a decade and tops rose to bare midriffs. As a further 44 looks followed, most of them monochrome and in geometric check board and hallucinogenic striped patterns, Marc Jacobs became one of the most compelling style propositions for the new season.
9/1/13 12:34:09
Image: Wella Professionals
4 Pace
age
Haider Acker m ann Part of the growing sect of modern-minimalist designers, Haider Ackermann has the ability to slow fashion down. This season that was not only apparent in the timelessness of his collection but also the pace of his show. As models stepped out on the runway at prolonged intervals, onlookers had the chance to inspect the technicality of every cut and contrasting movement of dĂŠshabillĂŠ garments that demand attention from every angle. The absence of strong colour, save for stark white, variations of black, navy, brown and a spattering of op-art prints, only added to the shape, which came with many nods to the East. Backstage, Eugene Souleiman for Wella Professionals propelled the theme further with masterful sumo hairstyles, which stood out as one of the most covetable hair looks of the season.
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5 Tumblring down Proenz a Schouler
Image: Jason Lloyd-Evans
With Proenza Schouler having recently acquired new financial backers, there was curiosity to see if their show would play out any differently this S/S13. One man with the inside track on design-duo Jack McCollough and Lazaro Hernandez’s label is hairstylist Paul Hanlon, who has worked on the show for five seasons. “The clothes, the colours, the new-age fabrics – Proenza is always on another level,” says Paul. “The only real difference this season was the casting. They had exclusivity on so many amazing models.” For their show the designers were inspired by the randomness of images on Tumblr – banal shots that became almost extraordinary. First came the precision and craftsmanship of laser-cut, hand-crocheted leather, snake skin and floating fabrics. Then colour amid a black and white season – lime green, yellow, reds and blues. And then came the prints, of nameless faces in a crowd or a public swimming pool. It was a colourful and edgy collection. PS, we loved you.
12 Runway spring/summer 2013
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Image: Max Factor
6 Final frontier Balenciaga On turning out for Balenciaga, few could guess it would be such a momentous collection. For creative director Nicolas Ghesquière – who in the last year alone has made sci-fi jumpers (A/W12) and XXXL visors (S/S12) acceptable – the benchmark is always going to be high. Out came first model Kristin Liljegren in a décolletage-baring, midriff-peeping white top that met high-waist black trousers. She sported multiple gold rings on every finger, a charm necklace, a crown of twig-like spikes that wrapped around the back of her head, and a pair of mannish shoes that were voided on steel blocks. Classic yet sublimely contemporary, Ghesquière proved through this look and the many that followed, his prowess at putting a futuristic spin on looks of the brand’s past. As he stepped out for his routine wave and bow at the end, little did anyone know it would be the last time he would do so after 15 years at the helm, the designer having left the label a month after this show.
2013 spring/summer Runway 13
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7 Money talks M a ry K at r a n t zo u
Image: Wella Professionals
Some money exchanged hands prior to attending Mary Katrantzou – in the form of an invite with a penny embedded in a large stamp. This gave a hint to the theme of the collection – featuring currency and postage stamps from the designer’s native Greece to Venezuela and everywhere in between. Through them came stories of travel, prosperity, exchange and investment. As befits a former student of architecture, Mary Katrantzou’s clothes are a triumph of logic, at times cheating the eyes – this season it was the jagged edges of stamps causing an optical illusion. Image manipulation was no world first here, but her use of print on crystal chain mail was, along with its placement on denim (a collaboration with Current/ Elliott). Backstage, Eugene Souleiman for Wella Professionals created aerodynamic styles that elegantly accentuated each model’s neck. Eyepopping and mind-blowing, money talked and walked at Mary Katrantzou, with £20,000+ garments purchased straight off the catwalk.
14 Runway spring/summer 2013
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8 Flashing lights The show ended, the lights faded and the models glowed in the dark. Countless smartphones blinked wildly and images were on Twitter before the lights came up. So much for the request to halt flashes. For S/ S13, Tron and deconstruction inspired Wang. Garments, which were predominantly black and white, were pulled apart, and rebuilt with invisible fish-line embroidery, and appeared to float on the models’ bodies. One name among them was Liberty Ross. Another was Irina Kravchenko, who was picked from obscurity by Wang (he has a habit of doing so). She walked her first ever international show and went on to become the biggest new face of the season. Wang ruled on so many levels, with sharp lines and the gladiator heels. Then there was Redken creative consultant Guido Palau’s glow-in-the-dark, electrical adhesive strips applied rigidly down the centre parting of every model’s hair, making each one look like an urban warrior, but a nocturnal one, ready to illuminate the next happening party. It was a show that made it easy to see why Wang was quickly picked to succeed Nicolas Ghesquière at Balenciaga.
Image: Redken
A l e x a n d er Wa n g
2013 spring/summer Runway 15
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Image: Pantene
9 let’s
get
digital Mugler After four seasons of working together, Mugler’s creative director Nicola Formichetti and womenswear designer Sébastien Peigné found their groove and stepped up the pace of the brand to new levels. Their democratic embrace of social media saw Mugler establish a Tumblr initiative that invited creatives – from hair, photography, videography – to attend the fittings and the show, and give their perspective on the brand. And following research on bag blogs, the duo introduced a handbag line. As for the collection, it combined two of this season’s prevalent themes – the Far East meets the ’90s. “For me, Asia isn’t a trend, it’s a way of life,” said Formichetti. However, there is a dress code and a beauty look, too, with hair by Most Wanted Session Stylist Sam McKnight. The style this S/S13 includes Mugler leather robe jackets, kimono-style tops, origami-folded leather skirts and trousers worn with skimpy shorts underneath, belted with martial arts-style sashes. Gloss and matte fabrics were combined in a lush palette that ranged from optic white and orange to jade and burgundy. All things considered, Mugler put on quite the collection, and it was all set to a live exclusive of Lady Gaga’s new track Cake, no less.
16 Runway spring/summer 2013
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10 Walking
Image: Toni&Guy
in
broken
glass Giles Catastrophe is rarely chic, but for Giles Deacon it’s outré. Last season his girl emerged from a burning mansion, with scorched holes in her couture dress and hair askew. This time there was broken glass, spotted in shard shapes in laser-cut leather, embellishments and silk photo-prints, on evening gowns right through to a loose fitting trouser suit. Hollywood actress Jayne Mansfield had been on Giles’ mind, notably her fatal car accident, which eclipsed her fame. Further influence came from mythological horse Pegasus, which was spotted on prints. “I’ve always liked that oscillation between romance and severity,” said Giles. Backstage, Paul Hanlon and the Toni&Guy Session Team created two-day-old dishevelled do’s, each given its own tweak. Peroxide blonde model Ruby Jean Wilson (of Marc Jacobs’ opening show fame) was the most sublime look and represented a raw contemporary beauty that makes Giles the global success that it is.
2013 spring/summer Runway 17 2013 spring/summer Runway 17
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A SALON DAY IN THE LIFE OF TANGLE TEEZER With the invention for Tangle Teezer dreamed up at the backwash by former hair colourist Shaun P, it’s a natural transition that this ground-breaking detangling hairbrush should find its way into the hands of top hairstylists.Whether styling on the salon floor or creating head lining dos backstage at fashion and music events, Adam Reed and Paul Percival – the dynamic duo behind Percy & Reed, find Tangle Teezer the perfect tool.
S E K O R T S H S U R B N FASHIO WITH PERCY & REED
RETAIL FABULOUS! Adam Reed Creative Director Adam takes his energy from the fast-paced, buzzing atmosphere of a fashion show or shoot. A perfectionist – no detail is too small and no style too big and ambitious, it’s little wonder he’s a favourite with the likes of Diane Kruger and Sophie Dahl. A top beauty editor’s secret, they’re often spied in the salon, he’s also the one on speed dial for when hair needs to be styled on shoots.
emoes pr Su st li y St n io ss Se D PERCY & REE PAMPERING PREP.
Making a splash at the backwash
Paul Percival Managing Director Known for his spontaneous creativity, Paul cut his teeth on the session stylist circuit. Over the last 12 years Paul has honed his skills working on music videos, catwalk shows and magazines. But when he’s not spending time twisting, twirling and taming the styles of Rita Ora or Mel C, he can be found in the salon giving fashion forward cuts.
Backwash time saver and client pleaser! Aqua Splash is the first upright, non-slip, water-loving detangling hairbrush. It just loves to dive in and save stranded hair! The hollow design makes for easy, lightweight handling, and the rounded edges allows for smooth, free-flowing detangling. Ideal for conditioners and hair treatments, they can be evenly distributed through preparing your hair for its next styling step. Any residue is rinsed clean away from the brush and its unique drying feet make for a hygienic, drip-dry finish. Clever!
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13/12/2012 14:24
TAKING PREEN TO THE EXTREME Identifying the professional stylist’s need for pace and quick styling, Salon Elite has been exclusively designed for the salon. It’s the ultimate, streamlined detangling hairbrush for brushing out tangles with no pulling and tugging. Notice the centralised concave that contours the head giving fast and even brushstrokes from roots to ends. A firm, wraparound hold it’s an essential preening tool for the salon styling station.
Salon Elite goes everywhere with Adam in his kit bag.
Salon Elite busy doing its job!
ADD POLISH FOR RUNAWAY RUNWAY HAIR!
Photography Jonny Cochrane
Compact Styler is every stylist’s speedy-style-fix. Brilliant for fashion forward styles such as backcombing at the roots for extra body and runway sass, it’s perfect for brushing out painlessly too. Gives a sleek finish to all styles for precision, gloss and shine. All in a New York minute!
THE PRO’S RUNWAY RULES: Adam says... “All stylists use Tangle Teezer, It doesn’t stress the hair and is an essential prepping hairbrush. It’s great to use for brushing out product too – a must-have backstage. I like to mist the teeth with our Dry Conditioner and then brush through to dress the hair. The perfect polish. Salon Elite comes everywhere with me in my kit bag.”
Paul says... “I can be called upon to do a lot of quick hair changes for artists – whether it’s at the MTV Awards or the Red Carpet. Tangle Teezer is great for back combing, then brushing it out really quickly. Essentially it’s great for re-styling the hair. It’s great for wigs and hair pieces too. Used with our Dry Conditioner it simply glides through with no tugging or pulling.”
Telephone: 020 7274 6128 www.tangleteezer.com/ppp
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@tangleteezer
tangle teezer
13/12/2012 14:24
The
season From
season
that
was…
digital
dealings
and
designer departures
to
gastronomic name –
it an
calling
sure
was
eventful
show
Givenchy, left, and Gianfranco Ferré
The
season
It’s black, it’s white What’s black and white and cool all over? S/S13! Off the back of an uncharacteristically colourful A/W, designers have pared back their S/S offerings with a strict monochromatic theme that featured prominently in all four fashion capitals. It was striped at Marc Jacobs and Michael Kors, squared at Marni, graphic at Gianfranco Ferré, Givenchy and Jil Sander, laser-cut at Giles and polka dotted at Chanel.
20 Runway spring/summer 2013
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The
season
So
right
now
Fast fashion? Topshop is rocket-fuelled! Hot on the heels of digi-doyen Burberry, the British high-street brand boasted a slew of social media initiatives around the live stream of its Topshop Unique collection at London Fashion Week. Shrewdly shacking up with Facebook, it pioneered “Shoot the Show” – a camera button placed on the corner of the video stream that enabled users to take and share snapshots of their favourite looks as the show unfolded. Viewers were also able to customise certain looks and order them for delivery three months ahead of industry lead times. Topshop’s dynamism enraptured the largest ever online audience for a live-streamed show, with more than two million people tuning in from 100-plus countries and 200 million more exposed to images and content from the show across multiple platforms and devices.
arrivals lounge Fashion’s ongoing game of designer musical chairs continued to play out this season. Expect a few changes to the line-up come A/W13 Instead of replacing Christopher Kane after his recent departure from Versus, Donatella Versace plans to team up with young designers, talents and creatives to develop capsule collections, co-branding projects and limited editions. First up is Irish new talent J.W. Anderson.
K a n e vs J .W.
C i ao, G h e s q u i è r e – H o l a , Wa n g
It’s the end of an era as Nicolas Ghesquière left Balenciaga after 15 years at the helm. Taking the throne is New York’s cool-boy Alexander Wang.
out
Nicolas
J.W.
in
➥
➦ ➦
The
After his high-profile exit from YSL, Stefano Pilati is now heading up design teams at menswear label Ermenegildo Zegna and its women’s line, Agnona. Double jobbing
Stefano
in
Backstage booking Hats off to Australian model Codie Young, who maximised every minute of down time backstage with some pretty heavy reading. At Simone Rocha in London we spotted the fiery redhead with The Bell Jar by Sylvia Plath, and at Kenzo in Paris, it was Slaughterhouse-5 by Kurt Vonnegut.
Sound of the season The runways were alive with the sound of music and we’re bringing it straight to you in a special compilation for your salon. Search for ‘Creativeheadmag’ on Facebook to discover these beats: La Forêt by Lescop, played at Balenciaga Oblivion by Grimes, played at Victoria Beckham Another Love by Tom Odell, played at Burberry Prorsum Chained by The xx, played at Belstaff I’m His Girl by Friends, played at Jenny Packham Clique by Kanye West, Jay-Z and Big Sean, played at Thierry Mugler Dark Star by Poliça, played at Reem Acra Running Up That Hill by Chromatics, played at Erdem
2013 spring/summer Runway 21
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Such
a
thriller
So extraordinary was Philip Treacy’s return to London Fashion Week for the first time in 13 years that the appearance of Lady Gaga to open the show seemed normal. “Ladies and gentlemen, the greatest milliner in the world, Philip Treacy, in the clothes of the late Michael Jackson,” she said, wearing a floor-length neon pink veil and towering Alexander McQueen armadillo shoes. She yelped, “Amen, fashion!” – but she didn’t sing. The soundtrack was left to Michael Jackson, to whom the show was dedicated, along with Alexander McQueen and Isabella Blow, two great friends of the Irish milliner. As for the hats, 37 of them came, worn by an all-black model cast, including Grace Jones, Naomi Campbell and Alex Wek, the latter sporting a Swarovski crystal Michael Jackson glove hat. Other headpieces included LED lights, bright yellow smiley faces, plumes of feathers and Minnie Mouse crystal-encrusted ears. Backstage, global session stylist for Fudge, Snowden Hill, got busy creating individual looks for each girl. “Our critical aim was to celebrate the beautiful silhouettes of the model’s head whilst creating sleek, fluid styles that worked as an extension of the hat,” said Snowden. Amen, fashion!
Slimane’s
the
Revise name
X
Paris K
X
K
Paris
when spoken or written
/
Seat key fashion editors two, three rows from the front, or make them stand for S/S13 show. Don’t invite others 22 Runway spring/summer 2013
p20-25_Runway_The Rest_GW10.indd 4
name
and
K
this
is
my
game
Shoot all Saint Laurent collections myself.
,
Relocate creative studio from Paris to LA
Insult fashion editors on Twitter
L
Just to clarify, find us on YSL.com, not SL.com or SLP.com
/
Hedi
9/1/13 12:39:49
The
H a mm i n g
season
it
Up
“Mr de la Renta is far more a hot dog than an éminence grise of American fashion,” said Cathy Horyn, New York Times fashion critic, with apparent praise in her review of Oscar de la Renta’s recent collection. Horyn went from hot dogs to hot water, however, when her comment was misinterpreted. De la Renta’s retaliation came as a full-page advert in WWD, saying, “If you have the right to call me a hot dog, why do I not have the right to call you a stale three-day old hamburger?” Horyn attempted to clarify: “The term was used in a professional context, as in someone showing off his tricks, like an athlete,” she told WWD. “As for the ad, it seemed a bit over-the-top.” Lady Gaga weighed in to support de la Renta, tweeting at his PR, Erika Bearman: “@OscarPRGirl Bravo Oscar. Only you would be so chic as to purchase an entire page in WWD, making statements like a good fashion citizen.” What meaty feuds will unfold next season?
Jean genie Now that we’ve all accomplished double-denim dressing, Balmain’s Olivier Roustein is proposing double-double denim.
Fashion Weeks by numbers
New York Fashion Week Thursday 6 -Thursday 13 September 2012 Number of on-schedule shows: 155 Average number of daily shows: 19 Top draws:
London Fashion Week Friday 14-Tuesday 18 September 2012 Number of on-schedule shows: 89 Average number of daily shows: 17 Top draws:
Lanvin
Prada
Peter Pilotto
Alexander Wang
F o u r c i t i e s, 2 9 days a n d m o r e t h a n 4 2 0 o n -s c h e d u l e s h o w s . S o w h i c h c i t i e s w e r e t h e m o s t p r o d u c t i v e ?
Milan Fashion Week Wednesday 19 -Tuesday 25 September 2012
Paris Fashion Week Tuesday 25 September -Wednesday 3 October 2012
H o u s e o f H o l l a n d,
Number of on-schedule shows: 70 Average number of daily shows: 10 Top draws:
M a r c Jac o bs,
B u r b e r ry, C h r i s t o p h e r
G u c c i, V e r s ac e, P r a da ,
Number of onschedule shows: 107 Average number of daily shows: 11 Top draws:
A l e x a n d e r Wa n g,
K ane, Simone Rocha,
J i l S a n d e r , F e n d i,
D i o r , B a l e n c i aga ,
Proenza Schouler,
M e a d h a m K i r c h h o f f,
Armani
G i v e n c h y, S a i n t
A lt uz a r r a , V i c t o r i a
M a ry K at r a n t zo u,
L au r e n t, S t e l l a
B e c k h a m , T h e R ow
P r e e n , M a r i o s S c h wa b,
M c C a r t n e y, C h a n e l ,
Peter Pilot to
Yo h j i Ya m a m o t o, C o mm e d e s Ga r ç o n s
2013 spring/summer Runway 23 21
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The
Specky
season
computer
eyes
We all love a peek backstage, but at Diane von Furstenberg it got intimate. The designer went sci-fi following a team-up with Google to debut the brand’s augmented reality eyewear – Glass. Diane and her models sported the specs, which had inbuilt computers to capture the creative process from atelier to runway. The frames allowed users to record videos, take and share photos, video-chat, access maps and the web. The eyewear can be yours in 2014 for £930 ($1,500).
Models
of
the
Minute
E a c h s e a s o n h e r a l d s a n e w wav e o f I t G i r l s – s u p e r s i n wa i t i n g . He r e ’ s o u r p i c k o f t h e f r e s h e s t fa c e s w h o m a d e a n i m pa c t
Name: Ag e :
Irina Kravchenko
23
N at i o n a l i t y: Ag e n c y:
Ukrainian
Ford
S h ows wa l k e d : 32 Spotted in a smartphone image by Alexander Wang, Irina opened her first international show for the New York designer, before modelling for Balenciaga, Chanel and Givenchy.
Goldin
Juliana Schurig 18 N at i o n a l i t y: American Ag e n c y: Ford S h ow s wa l k e d : 53 The New Jersey native hit the scene in 2008 but soon took a hiatus to study. This season she was back – opening Versus in Milan, closing Cacharel in Paris and clocking up 53 shows. Name: Ag e :
girl
After a two-year hiatus, Louise Goldin made her triumphant return to the catwalk, this time showing at Milk Studios in New York. During her formative years, mentoring from Fashion East and support from Topshop’s NewGen scheme helped Goldin’s luxe knits gain a firm following, and this season looked better than ever with a fresh sporty twist that was no doubt influenced by her new urban dwellings. Her stateside decampment also meant close pal Kanye West could pop down to watch from the front row with his girlfriend in tow – Kim Kardashian no less. Backstage on hair was Guido Palau for Redken.
Ji Hye Park 24 N at i o n a l i t y: South Korean Ag e n c y: Elite S h ow s wa l k e d : 28 Tipped as the new model face of South Korea, Ji Hye was a hot property from New York to Paris. She shone at Louis Vuitton, Alexander McQueen and Haider Ackermann.
Athena Wilson 18 N at i o n a l i t y: American Ag e n c y: Ford S h ow s wa l k e d : 21 With her androgynous style, Athena is easily recognisable. She not only opened for Creatures of the Wind, but also sashayed for Marc Jacobs and Mary Katrantzou.
Name:
Name:
Ag e :
Ag e :
24 Runway spring/summer 2013
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The
season
tweet Tweet n Seaso
ights l h g i h
@gr azia _live
Tennis ball chewing gums at #davidkoma like totes amazeballs #lfw
in
14 0
cters chara
@ManRepeller
The Marc by Marc Jacobs girl looks rad in a doo-rag, is seemingly heavily influenced by Japanese fashion. #nyfw
@ tm aga zine @ M a r i ly n A g e n c y NY
Look forward to a special appearance by Naomi Campbell (Alongside @ArlenisSosa and @LindseyWixson) at the @Zac_Posen show this evening! @DelevingnePoppy
Karl’s model army, surrounded by wind turbines & solar panels. Go figure... @CHANEL #PFW
A seductive @YSL stiletto with a sharp surprise: a row of metal teeth along the heel.
@DerekBlasberg
There are so many people wearing that Balenciaga sweatshirt today that I sort of feel like I’m in Star Wars.
@ Id _ m a g a z i n e
Images (from pages 20-24) courtesy of Balmain Hair, Bumble and bumble, Fudge, L’Oréal Professionnel, Max Factor, Redken, TIGI, Wella Professionals
Incredible graphics on a giant digital screen for @kenzo_paris jungle inspired collection #PFW
@ i a mm a d e m o i s e l l e
ISSA takes a trip to the garden of Eden next Spring Summer #LFW
@ s u s i e b u bb l e
Really into this flora-thon at Preen!!! So good to see them back in London!
@ Fa s h i o n _ M o n i t o r
Cara Delevingne opens the #matthewwilliamson show with the London Eye in the background #lfw
@gr azia _fr
Le total look blanc, hit de l’été 2013 #guylaroche #pfw
@ h e n ryh o ll an d
SHOW DAY SHOW DAY SHOW DAY currently my eyes won’t open and I look like death. Good start.
@fr anburnslondon
GENIUS I’m watching @balenciaga live stream on my phone whilst in a black cab cruising down The Mall. Totally into this.
@StellaMcCartney
Inside the Opéra--getting ready for the show. #PFW @ Opéra Garnier
@ f o rm i c h e t t i
Not supposed to do this but f*** it. If you want to see the show tonight, just come and we’ll figure it out @muglerlive
2013 spring/summer Runway 25
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Volare Dryer Beautiful styles, need great preparation. Featuring a super powerful Ferrari designed motor, the Volare delivers smooth, high speed drying and brilliantly glossy results.
BAB00009_DPS_300X460 AW.indd 1
07/08/2012 10:39
Conical Wand Designed with styling freedom and creativity in mind, the Conical Wand is a fashion favourite. Available in 3 sizes to create a variety of styles from tight curls to soft waves.
C R E AT E • I N N O VAT E • S T Y L E BAB00009_DPS_300X460 AW.indd 2
07/08/2012 10:40
Got
your
You’ll
have
extensions ever Ultim ate
T
need
all
you with
back the could the
Collection
American
from
Dream
here are hair extensions, and then there are American Dream hair extensions. Not only is the brand one of the leading extensions specialists in the UK, it’s also one of the top hair suppliers to Fashion Weeks across the globe. What’s more, its extensive range of colours and different grades means any and all looks can be created backstage in a matter of moments. The brand’s newest range of extensions, Ultimate Collection, is perfect for creating the latest trends; from the long, straight centre-parting at Felder Felder S/S13 to the intricate up-dos at Issa S/S13. But what makes the Ultimate Collection special is quality. American Dream has spent the past 12 months sourcing and developing the very best hair for this collection, using only top quality Remy hair and ensuring hair is root to tip-aligned, so that it tangles less easily and lasts longer than non-Remy hair. The Ultimate Collection is available in single and double-drawn hair wefts, pre-bonded and micro-ring strands, and new front and full lace wigs – perfect for using during shows, shoots and in the salon. Make sure you get a model-worthy makeover with the Ultimate Collection from American Dream – and create catwalk-worthy finishes in a flash!
28 Runway spring/summer 2013
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promotion
Claire Rothstein
ru nway
10
reasons why you should have American Dream in your contacts book 1 One of the leading experts in hair extensions.
2 A one-stop-shop for extensions, wigs, tools and maintenance. 3 Top hair supplier to every Fashion Week worldwiDe.
4 Always in stock to fulfil any orders. 5 Available 24/7 so no deadline is missed.
6 Delivers across the globe, every day. 7 A dedicated
8 A friendly and knowledgeable team is on hand to answer all your queries. 9 Makes bespoke hairpieces and wigs, for when only the unique will do.
10 Extensive range of lengths and colours means the brand can match every model look.
Images: Claire Rothstein for American Dream
account manager is always available.
For information and for American Dream’s current brochure, visit www.americandreamextensions.com or call 020 8998 9840 2013 spring/summer Runway 29
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30 Runway spring/summer 2013
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THE
Haider Ackermann
HAIR Enough –
the
of
the
trends,
to
create
garb,
the a
now
onto
trendsetters
little
cat walk
the and
hair how
cool
2013 spring/summer Runway 31
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Purity
Palmer Harding
Eastern
32 Runway spring/summer 2013
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The
Hair
Mary Katrantzou
Hair: Eugene Souleiman for Wella Professionals. The look: Graphic and conceptual, a Westernised version of an Eastern look. How: Spritz Wella Professionals Create Character into roots and blow-dry, pulling the hair off the face. Section hair from ear to ear across the centre of crown and clip front hair out of the way. Tie back section into a ponytail and backcomb small sections of the
Nicole Farhi
Chris Benz
Haus Alkire
The world is turning eastwards for financial salvation, for advances in technology and inspiration. As a result, strong Japanese trends were prevalent across the runways, from kimono silhouettes to naïf Japanese floral prints. For hair, it was all about intelligent styling and balancing inyodo, the way of yin and yang. One illustration is the traditional sumo wrestler finish seen at Haider Ackermann, given a modern twist by Wella Professionals global creative director for style Eugene Souleiman. “What I loved were all the inherent contradictions,” he said. “It was beautiful from the front and back, glamorous as well as being handsome, like some kind of gentlewoman.” Similar styling followed at Iceberg, where Most Wanted Session Stylist Sam McKnight rolled a pony tied at the nape of the neck back into itself. Meanwhile, at Ann Yee, TIGI global creative director Nick Irwin created a wet-look, graphic knot, smoothed with TIGI Session Series True Wax. “There’s admiration among stylists for Japanese hairdressing,” said Nick. “It’s the intricacy – detailed and technical looks that are still minimal.” At Fyodor Golan, ancient tribes and early civilisation provided inspiration for a slick “double-ponytailhybrid” by ghd creative director Kenna. “The power ponies suggested toughness and a penchant for perfection,” he mused. Further points of interest came at Ann Demeulemeester, where long hairpieces had Manga appeal. Eugene Souleiman for Wella Professionals created three partings forming a triangular shape on the crown and a wet shiny panel at the back of the head for added drama, while being loose and free at the front.
Fendi
Get the look
Tsumori Chisato
Haider Ackermann Haider Ackermann Fyodor Golan
Ann Demeulemeester
Ann Demeulemeester
Ann Yee
Iceberg
Trends
ponytail to create volume. Then roll into a bun and pin in place. Section the remaining hair into three: two side panels and one in the centre. Take one side section and make it sleek and tight. Add Shimmer Delight for sheen, then spray with Dynamic Fix close to roots and brush hair back at the same time. Repeat on other side. Tie both into place over the bun. Take the top section and working from crown towards the front of the head, use the same technique.
2013 spring/summer Runway 33
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Design
House of Evolution
Graphic
34 Runway spring/summer 2013
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9/1/13 12:51:57
hair Céline
The
Acne
Get the look
Diesel
Thomas Tait
Excess seems so passé these days. With conspicuous consumption and fast fashion out the window, minimalism has once again come to the fore. Unadorned it might be, but plain it is not. Minimalism delivered maximum results, with the power lying in the blow-dry, unyielding partings and the rigid positioning of hair. At super-minimalist design house Jil Sander, Redken creative consultant Guido Palau worked with these modern sensibilities by merging a super-clean centre parting into a sleek blow-dry with a helping hand from Redken satinwear 02. The hair was positioned over the ears and pulled back into a ponytail, while the elastic was released an inch or so down for a contemporary touch. At Sacai, Guido for Redken created what is becoming known as the “half-tucked look”, placing hair behind the ears with a small front section left out. A similar finish prevailed at Yifang Wan, where the monochrome utility of the collection saw this half-tucked look precisely honed. Bill Watson and the Toni&Guy Session Team pinned a top layer of hair at the nape of the neck and added label.m Protein Spray to create a super-hydrated sheen. At DSquared², designers Dean and Dan Caten perused supermodel shoots of the ’90s for inspiration, and who better to have backstage than an originator of many of those styles, Sam McKnight. “In the past there has been a lot of texture and almost dead-looking hair,” said Sam, who spun glossy, straight styles. “This season there’s a return to simpler, straighter, healthy hair.” Austere-utility continued at Thomas Tait, where locks resembled styles in a science fiction comic book strip, with real looking hair, only more intense – the gloss by way of Bumble and bumble Shine Spray. James Pecis, who was backstage for the brand, sectioned the hair into a sideparting, tied an elastic around the hair and neck to emphasise the head shape, and released a graphic piece of hair, placing it over one side of the face.
Sacai
Richard Chai
Givenchy
Felder Felder
Yifang Wan
DSquared²
Marios Schwab
Jil Sander
trends
Gianfranco Ferré
Hair: Marco Lafrate, TIGI Italian creative director. The look: Near clones, with glossy ponytails and V partings. How: Spray hair with water across the top of the head and apply Catwalk by TIGI Session Series Wet Look Gel at the hairline. Section into a V-shape from the hairline to the crown, creating a triangular panel. Spray Sleek Mystique Look-Lock Hairspray close to the roots and
keep it flat to the head, then collect the bottom section low at the nape, securing it with a clear elastic band. Comb the top panel back flat to the head, using more Wet Look Gel. Secure both top and bottom sections with elastic into same ponytail. Take a small section from the bottom of the ponytail, add Wet Look Gel and wrap around the elastic to conceal it. Blast with a hairdryer to set.
2013 spring/summer Runway 35
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Mod
Squad
Marc Jacobs
The
36 Runway spring/summer 2013
p32-41_Trends_GW8.indd 6
9/1/13 12:53:12
The
hair
Get the look Louis Vuitton
Hair: Guido Palau, Redken creative consultant. The look: Voluminous ’60s-inspired beehives with Stephen Jones headbands. Creating a silhouette that is similar to a Sassoongraduated bob. How: Apply Redken wool shake 08 texturiser to damp hair and then blow-dry using fingers. Create a side parting. Use quick tease 15 backcombing lift spray
Moschino Antonio Marras
Louise Gray
TAKE A STEP BACK IN TIME but keep an eye on the future – that’s how to master S/S13’s ’60s-inspired trend. It started in New York, when Redken creative consultant Guido Palau sent out models at Marc Jacobs with severe side partings and mussedup matte hair swept into a low-slung pony inspired by Edie Sedgwick – the undone finish thanks to lashings of Redken refresh 01. “When it comes to the season’s ’60s-inspired shapes, the difference is in the details. It’s the ’60s like you’ve never seen them before,” said Guido. Elements of ’60s-inspired hair continued at Behnaz Sarafpour, where Aveda global creative director Antoinette Beenders styled a roughed-up, voluminous ponytail with an organic matte texture, backcombing the hair and using Aveda Pure Abundance Hair Potion at the roots for expansion. At Moschino it was texture that brought a modern finesse to beehives, which mimicked the height and volume of the ’60s but were soft and touchable in a contemporary way. “The hair moves, that’s the difference between now and then,” said creator Sam McKnight, Most Wanted Session Stylist. At Ekaterina Kukhareva, the designer looked to Brigitte Bardot and her French insouciance, with hair by Emma Hodgkins and the Toni&Guy Session Team. With most models sporting headscarves, Emma created volume on top, but enhanced the silhouette by pulling some hair from the temple at either side of the head into a halo section secured under the upper layer. If you weren’t involved in creating one of these ’60s looks this season, then rest assured, you will be soon. “Almost every editorial I have done since the S/S13 shows has ’60s influences in the hair,” said stylist Anthony Turner. “It’s important not to be so literal with the trend. I like the idea of something quick, sweeping the parting over and the hair up in a bobby pin or lifting the crown.” Indeed, it’s the unconsidered, quick-fix responses, such as those seen at Rue du Mail, that make the ’60s look so cool. Don’t think too much or try too hard.
Rue du Mail
Behnaz Sarafpour
Dolce & Gabbana
Marc Jacobs
Ekaterina Kukhareva
Moschino
trends
to create a heavy fringe area. Sweep the fringe section to one side of the head, over part of the ear and just over the eyebrow. Put the headband on and push up to create a bouffant shape. Gather the hair into a low ponytail, then push the ponytail up and tuck it under a headband. Use the end of a tail comb to lift the hair up and accentuate the bouffant shape. Finally, finish with fashion works 12.
2013 spring/summer Runway 37
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in
Seattle
Burberry Prorsum
S l e e p l e ss
38 Runway spring/summer 2013
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The
hair
Get the look Topshop Unique
Hair: Anthony Turner for L’Oréal Professionnel. The look: Keeping it real. A girl who is confident enough to wake up with bed hair and leave it just like that. How: Drench the hair in L’Oréal Professionnel play ball beach fizz mixed with water and allow it to dry naturally. The key is a matte, dry
Versace Preen
Haizhen Wang
‘Keep it real, keep it desirable’ – that was one of the key mottos of the season and it couldn’t have gotten any more real than natural, undone waves, the kind that had partied all night, been slept on and walked straight out the door the following day. “It’s ’90s grunge”, “think Courtney Love, Kurt Cobain and the Seattle grunge movement”, “it’s the morning after the night before”, were constants backstage. With roots in the past, the look for today heralded a new kind of body. At Preen, Paul Hanlon for L’Oréal Professionnel decreed, “I was looking at imagery of Kate Moss in the ’90s – really effortless and easy hair,” he said. “What’s different this season is that every girl has been given individual tweaks to their style. There’s no A, B and C to the rules. It’s almost as if each model’s hair has been dressed for an editorial with such personalisation.” Natural ease followed at Burberry Prorsum, where healthy hair had a glossy, yet lived-in feel and a DIY finger parting. Neil Moodie for Bumble and bumble mussed-up the look, using the brand’s Brilliantine to break up the texture. At Kenzo, it was a cool gang of girls who had a “fumble in the jungle” that inspired Anthony Turner for the show’s safari theme. Backstage for TIGI, Anthony said, “The Kenzo girl is sexy and cool. She’s travelled from downtown New York to Paris. The hair is easy, effortless and natural.” She also brought some Catwalk by TIGI Session Series Dry Shampoo with her, hence the matte texture. Even Donatella Versace, purveyor of molto glammed-up looks, toned down the aesthetic. After the hair was blow-dried, Versace backstage constant Guido Palau for Redken twisted the hair into a bun, misted it with Redken powder refresh 01 and let it sit for a few minutes, which gave way to natural waves. Finally at Missoni, it was about disconnection in the hair, with a smooth and sleek top section contrasting with free and flowing mid lengths by Wella Professionals global creative director for style Eugene Souleiman.
DKNY
Mugler
Missoni
Kenzo
Peter Pilotto
J.JS Lee
trends
and natural wave finish, just like the texture of beach hair. No combs or brushes are necessary – use your fingers at every stage and simply create a side parting with your hands. For extra dishevelment, pull and tease individual strands.
2013 spring/summer Runway 39
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Society
Balmain
Braided
40 Runway spring/summer 2013
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The
hair
Get the look
Jean-Pierre Braganza
Hair: Indira Schauwecker and the Toni&Guy Session Team. The look: Alienated beauty, an internal plait with an external plait over it, inspired by Swiss sci-fi artist HR Giger. How: Prep hair using label.m Extra Strong Mousse, before smoothing the central surface of the hair with Wax Stick. Taking a dead-centre parting, a small section is then braided using a scalp technique from root to tip,
Huishan Zhang
David Koma
Jeremy Scott
Maria Grachvogel
French, reverse, fishtail, internal, external – the plait is a perennial. This season there was a plethora of techniques and inspirations, and the results saw some pretty fly outcomes. Backstage at Balmain, Most Wanted Session Stylist Sam McKnight was calling out ’80s singing sensation Sade’s name. As well as her hoop earrings, the singer’s hallmark pulled-back mane was noteworthy. Models wore plaits with a DIY feel, fastened off with black elastic at top and bottom. “We wanted to make a feature out of the bands,” said Sam. At David Koma, ghd’s creative director Kenna aced a style rich in dual textures for the designer’s tennis-inspired collection. “I looked at pictures from the American Open in the ’70s. The female players would pull their hair into a pony and braid the ends,” said Kenna, who added a horizontal sweatband of sleekness around the head using ghd Style Final Fix Hairspray. This multi-textured look was seen again at Kimberly Ovitz, where Aveda global creative director Antoinette Beenders created interlacing fishtail braids with contrasting shine. At Maria Grachvogel, Federico Ghezzi for L’Oréal Professionnel used Tecni Art a.head glue around the hairline, where two diagonal plaits converged into one at the nape. Plaits with added length were also seen. At Jeremy Scott, Wella Professionals creative director for style Eugene Souleiman poured over African, Arabic, Egyptian and Asian braiding styles, creating a look with a touch of ghetto-fabulousness, with wefts and a bun. At Mathieu Mirano, Rolando Beauchamp for Bumble and bumble created two rope braids, one within a top section, moving to the back of the crown, where it was twined with another and descended down the back. At Todd Lynn, Cos Sakkas and the Toni&Guy Session Team imagined a wealthy woman on safari. The resulting low braid, extended by long wefts one shade lighter than the model’s own, included backcombed ends. “I wanted it to mimic a raw, animal tail,” said Cos. Raw or sleek this season, if you want to earn your session styling stars, then perfect every braiding technique out there!
DAS Collection
Kimberly Ovitz
Images: Aveda, Bumble and bumble, ghd, L’Oréal Professionnel, Max Factor, Pantene, Redken, Sebastian Professional, TIGI, Toni&Guy, Wella Professionals
Todd Lynn
Todd Lynn
Mathieu Mirano
Dans La Vie
trends
creating a spine-like shape – apply a liberal coating of Hold & Gloss Spray after fastening. The remaining hair is then French-plaited over the top of the existing braid from the mid-lengths to ends, leaving out small sections of hair at the front for a dishevelled finish. The exterior plait is loosened with fingers. Use label.m Hairspray to finish.
2013 spring/summer Runway 41
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Fashion Give
yo u r
clients
in
fa s h i o n - f o r wa r d
a
flash
lo c k s
in
m i n u t es
w i t h T e m p Tr e s s , b y V o g e t t i
M
Anna Sui, flashes of colour are big news, and odels need to transform their look at TempTress extensions are the perfect way to offer the drop of a hat – going from a cute fashion-forward hues to your clients. Wefts can pixie cut to a long and luscious look be placed individually for a look that lasts one or in moments. But how do these two washes, or can be placed on top of each other for extreme makeovers, which should a finish that lasts up to eight weeks. take hours, happen in minutes? TempTress by Vogetti But quality is just as important as fashion, which is is how. These temporary hair extensions are a necessity why TempTress uses only 100 per cent human Remy for every backstage stylist, and are now every salon hair, available in either tape or clip application. stylist’s dream come true. Each strand is aligned in its original root to tip And that’s not all. TempTress comes in 12 fashionposition with cuticles intact, so you know the hair inspired colours – making it easier than ever for you to can withstand the bring Fashion Week busiest backstage. looks into your salon. “ T e m p T r e ss p rov i d e s t h e p e r fe c t s e rv i c e u p g r a d e t o t h e sa l o n . T h e e x t e n s i o n s TempTress seamless From muted shades of a r e g r e at fo r a d d i n g vo l u m e a n d wefts are not only easy honey and mocha to l e n g t h, a n d a r e m o r e c o m fo r ta b l e fo r and quick to apply, brighter hues of t h e g u e s t a s t h e ta p e s i t s m u c h c l os e r but are also quick to cherry red and rose, a n d fl att e r t o t h e s c a l p, a n d r e m ova l i s detach, thanks to its colour was a big part a l s o a b r e e ze!” special removing of the S/S13 shows, A m a n da H a rv e y, T h e Cu tt i n g Ro o m , P u t n e y solution – perfect for which is why the backstage stylist TempTress – available that wants to focus on creating gorgeous looks, in 15cm, 30cm and 50cm lengths – is a must-have for rather than spending ages removing extensions and your salon this season. Whether clients want Adriana damaging hair in the process. Lima’s brunette tresses or the boho blondes of Cara You’ll also receive complementary education Delevingne and Lily Donaldson, TempTress has a material with your first order, as well as TempTress shade to suit every client. regional technical consultants on hand for advice – so You can also get creative with the latest trends. there really is nothing stopping you from making the From the pinks and blues at Oscar de la Renta to looks on the runway a reality for your clients today! the pastel greens at Peter Som and candy brights at
Make clients’ catwalk dreams a reality with TempTress – call 0845 659 0011, visit www.salon-success.co.uk/vogetti or look for inspiration at the TempTress Pinterest board, www.pinterest.com/TempTressUK
42 Runway spring/summer 2013
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ru nway
promotion
m G o f r oa n d short to sharp nd l o n g au s l u s c io e n t s ! in m o m
2013 spring/summer Runway 43
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how We
get of
behind the
the
styles
This was my third season working with Daks. The revival of British heritage design houses has really seen the brand come to the fore.
hair picture-perfect from
the
happens looks
trendsetters
to of
unveil the
the
story
season
Designer Sheila McKain-Waid is amazing to work with. She operates like a designer in Paris or Milan – she’s worked with the best, Oscar de la Renta and Halston.
the show daks The lead Luke Hersheson for L’Oréal Professionnel There’s a chicness and an ease to the Daks girl. We decided upon simple, pared down ponytails that had a strictness to them. There’s an idea of a well put-together woman who is considered but not in your face.
When you arrive at the hair test, the boards are set up and what you see on the rails days before isn’t a million miles from what goes down the catwalk. Sheila always has a clear vision of who the Daks girl is. It’s important to make that character believable. We spend a lot of time discussing various nuances. Why a side parting over a centre? Why sleek hair over dry texture?
44 Runway spring/summer 2013
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Ponytails always look better when there’s more hair in them. However, a lot of work that we do is about pumping hair up without anyone knowing.
Minimal ’90s looks and old Helmut Lang imagery were prevalent influences
We cut the end of the extensions blunt with clippers. They resembled thick, glossy, horse manes. And I always label my kit as it constantly goes missing. We applied a lot of gloss – a combo of Tecni Art Air Fix Anti Frizz, Infinium Hairspray and Mythic Oil – to the sides and parting.
I have a team of 20 that has stayed much the same for four years. Most are from our Hershesons Blow Dry Bars as they are specialists in dressing hair. One team member comes in from Poland and a few guys come from Japan to do the show circuit.
The lighting backstage isn’t always what it is on the catwalk. That’s what the runthrough is for. In this case we used it to test the level of shine and extension colour matching. Four models had their extensions changed after the Daks run-through.
2013 spring/summer Runway 45
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the
hair
Kenna
the show PPQ The lead Kenna for GHD I’ve worked with PPQ designers Amy Molyneaux and Percy Parker in the past. I know Amy socially, so we have a very relaxed working relationship.
We ended up with this psychedelic ’60s hybrid bob, which was achieved with human-hair half wigs. That bevelled end was created by using the ghd styler at a 45-degree angle.
There’s no hierarchy on my team. Everyone needs to be a vital pair of hands
There was a lot of movement in the collection from flowing chiffon, organza to paisley print. It had a very ’60s feel. Amy was coming up with wonderful names like ‘Sophista-delic’.
We had to keep in touch with the casting director to find out who was walking. If he didn’t have Polaroids, Emilia Pelech, my producer, has a great relationship with the model agencies and ensured we got up-todate information to correctly match the hairpieces. However, the day before the show some model names were still unconfirmed.
46 Runway spring/summer 2013
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the
hair
kenna
We prepped at Kennaland, cutting and styling all hairpieces so they were uniform. We labelled the hairpieces by putting all of the girls’ pictures on them.
Roughly 200 people see the show live. Everyone else sees it on sites such as Style.com through images shot front on. Amy wanted spectators to see something of the hair through images, too.
I begin by running through the look with my team, particularly letting them know of any problems that they might encounter and encouraging ideas to achieve the look quicker. At this point my core team, who know the look already, gets a head start on models.
For girls with lots of hair remaining underneath, we weaved it from side to side and concealed it in an invisible net.
At the last minute, stylist Pandora Lennard found these amazing necklaces and bracelets that Amy had made. We pinned them over the seam of the pony.
2013 spring/summer Runway 47
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the
James
hair
Pecis
Edward (Meadham, right) and Benjamin (Kirchhoff, left) send me an email about two months ahead of the show. They let me run with ideas. I’ll go to their house and we’ll talk through the look.
the show Meadham Kirchhoff The lead James Pecis for Fudge & BaByliss PRO
I’ve been working with Meadham Kirchhoff since they first started out. This was our ninth season together.
We used elastic sewing thread, which was dyed in coffee or tea to get different tones. This sewing technique is faster than pins and keeps the look perfectly in shape. Usually, the girls are dancing and moving a lot in this show so whatever hair look we create, it has to be secure and triple-checked. Renaissance paintings and cherubs inspired the show. They wanted to bring a more romantic, beautiful girl to the fore. The curls helped do that.
48 Runway spring/summer 2013
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the
James
Once we decided on the look, the challenge was to achieve a similar result on every girl regardless of hair length. We plaited a circular section and used half the girl’s hair, like a wig wrap. A braid gives you something to anchor the hair to.
hair
Pecis
There’s no one who does what fashion designers Meadham Kirchhoff do. They don’t care about pleasing the critics. Ironically, the critics love them.
It’s important for a team to clean up a mess. If models had to dash off, we asked them to stay for a minute extra so we could cut the elastic out.
Meadham Kirchhoff made some of the hair accessories and the rest were bought by the designers in India Every girl had an individual twist to her hair, which is harder than it looks. It’s easier to tell a team of people to do A, B and C.
Meadham Kirchhoff was my third show of the day. I get a motorcycle to take me to the next show. I have two teams and two first assistants, so one team can go ahead and start another job while the rest stay behind to finish. My agency, D+V, becomes a strategic planner during Fashion Week! 2013 spring/summer Runway 49
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star style
Hordes of hairdressers behind the scenes at Fashion Week will be fighting against the clock to perfect a model’s ultimate accessory. See how they do it in our backstage reports.
Get your fix!
Hairdressers get to chat to such a mix of celebrities – ZoË Irwin and Little Mix, Claire Rothstein and Emeli SandÉ… who could be next?
Red Carpet Fever
PHOTO
Which A-Lister is rocking the red carpet with hair to die for? We bring you the highlights that make our hearts skip a beat!
Art attack
FINISH Feel the buzz of exclusive photographic collections from across the industry
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Savvy stylists are always hungry for inspiration – we cherry-pick the best shows and exhibitions that will get your imagination whirring.
THE CREATIVE HEAD APP IS free and READY TO DOWNLOAD – VISIT THE APPLE APP STORE AND SEARCH ‘CREATIVE HEAD’ OR VISIT CREATIVEHEADAPP.NET NOW!
Images courtesy of Juergen Teller, Rex Features, Rush Session Team, Toni&Guy
Access All Areas
10/1/13 16:15:07
Images courtesy of Toni&Guy
The excitement never ends‌ The
shows.
Never the
p50-51_House Ads_GW8.indd 3
miss time
The a at
stylists.
moment
of
The
trends.
Ru n way
The
hair.
online,
all
w w w.c r e at i v e h e a d m ag.co m
10/1/13 16:15:52
52 Runway spring/summer 2013
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Tune
into
th e
promotion
trends
Make some noise and welcome Wella Professionals’ TrendVision
01_228x300_P&G.indd 1
2 013:
The
Sound
of
Colour
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W e’ v e be e n waiti n g “What’s great about Th e S o u n d o f C o l o u r is that it recognises how different forms of creativit y i n s t i n c t i v e ly i n t e r a c t w i t h e a ch o t h e r . Fashion is a multifaceted world and the two influences are funda mental assets of that world” J os h Wo o d, Wella Professionals glo bal cre ative director, colour
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fo r yo u‌ We give you front row access to the four
hot test
Professionals
M
trends for
from
TrendVision
Wella 2013
usic is an integral part of our lives. It can boost our mood, keep us dancing into the early hours and get the adrenaline pumping at fashion shows in a way that nothing else can. Wella Professionals TrendVision 2013 is all about this power. The Sound of Colour embraces the richness of both the musical and the visual and turns them into something more, inspiring you and helping you express your creative voice. So turn it up and turn over the page to discover the four trends for 2013.
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Allegra The theme a shameless display of gilded elitism. She is an escape into decadence, living every precious moment to the full. The hair the hair itself becomes an accessory. It’s an ornament, with the colour blending rose and green golds and platinum, giving them a bespoke feel.
“you immediately sense flamboyance, a woman who has been on the best shopping trip of her life. She’s the antidote to economic woes. I felt she should be like a beautiful object: a piece of art or sculpture. The Fabergé egg became the template for this sculpture and its intricate detail” Eugene Souleiman, Wella Professionals global creative director, style
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echo The theme a tormented soul, struggling with the harshness of reality. She is sensitive and reflective of the times: austerity chic is the new order. The hair this hairstyle is all about creating turmoil – it’s about confusion and the energy it creates. Mono black is lifted with oily tones. Natural-looking colours against dense green blacks, purple blacks and grey ash with chalk white.
“When we were talking about the trends, we were looking at this woman and the kind of music she would listen to. She is obviously a tormented soul and struggles with the harshness of life, but she also has a romantic side. I wanted to get that same tension in the hairstyle” Eugene Souleiman, Wella Professionals global creative director, style
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decibel The theme glam rock with a sense of optimism. She is the provocateur of a loud and proud movement of colour junkies where standing out from the crowd is everything. The hair the cut is forceful, as if she’s cut it herself, while the colour is a wild mix of petrol, aubergine, turquoise, rich browns and sulphuric tones. These can be found next to unexpectedly washed-out colours.
“The ’70s were all about experimenting with your look, there’s something wickedly wrong with this colour. It’s a brash, clashing feeling, almost drawn with a marker pen. It’s extremely powerful” Josh Wood, Wella Professionals global creative director, colour
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F USION The theme East meets West in a modern interpretation of geisha style. She embodies harmony on a global scale: a new wave of energy is set free. The hair the look features an almost laser-cut, bi-layered fringe and an asymmetric shape, while the style is haute couture. The colour represents out-there creativity with hues of porcelain, olive, pale willow and deep Chinese plum.
“Fusion blends faded, pastel colour with bright, strong tones. It has density and weight fused with softness. As a colourist, you’re trained to always be very technical, but this is much more like the freedom of improvised jazz; random colour with intuitive, experimental placement. It’s about breaking down constraints” Josh Wood, Wella Professionals global creative director, colour
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promotion
Coming
soon!
For more than 130 years, Wella Professionals has been on a journey to cultivate care, style and colour. After more than a century of research, the brand opens a new chapter in its colour story – Color Recharge
The range includes A violet shampoo that refreshes and maintains natural or coloured blonde hair and eliminates yellow tones for a balanced colour result
l
Six conditioners to maintain colour intensity and vibrancy: warm and cool blonde, warm and cool brunette, red and warm red
l
Glamour Recharge, a new styling spray that creates the perfect finish with improved radiance and a natural-looking hold
l
T o fi n d o u t m o re a b o u t T h e S o u n d o f C o l o U r a n d C o l o r Re c h a rg e , c o n tact yo u r W e l l a P ro fe ss i o n a l s acco u n t m a n ag e r o r c a l l 01202 59570 0. K e e p u p t o dat e o n a l l t h e l at e st T re n dV i s i o n n e ws by b ec o m i n g a fa n o f ‘ W e l l a U K’ o n Fac e b o o k o r v i s i t www.w e l l at re n dv i s i o n .c o m o r www.w e l l a p ro fe ss i o n a l s .c o. u k
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1 MORE
Christopher Kane
HAIR
Why
Grab
your
into
should V IP
the
the
fun
pass
and
minds
of
stop
venture
hair’s
here?
backstage
masters
2013 spring/summer Runway 53
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re:create featuring
the
talent
l atest
both
and
styles,
young
Prada
and
Snapshots
and
snippets neatest
tips
established Simone Rocha Yohji Yamamoto
backstage
Feathered friend Following last season’s graphic bangs, as seen at Marni and Versace, the fringe got fractured for S/S13. Jagged bangs prevailed at Prada, Simone Rocha and Yohji Yamamoto, with multiple techniques applied by session’s best. At Prada, Redken creative consultant Guido Palau used Redken thickening lotion 06 and quick tease 15 to gather hair into a French twist. Instead of tucking the ends in, he feathered them over the forehead. “Miuccia [Prada] wanted to break the mould, so we incorporated the idea of the woman being a bit boyish,” says Guido. Injecting the fringe with a punky edge was the brief at Simone Rocha. Inspired by schoolgirls and Ed Templeton pictures, James Pecis for Bumble and bumble affixed faux fringes to his models’ ponytails. And at Yohji Yamamoto models donned cockatoo-style quiffs, with wispy tufts of bleached hair standing on end in faux-hawks created by Wella Professionals global creative director for style Eugene Souleiman.
“This girl is young and free-spirited. She wears sequins because she likes how they sparkle – not because they are fashionable. She’s a bit random” Ali Pirzadeh backstage at Ashish for L’Oréal Professionnel
54 Runway spring/summer 2013
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more
Trippy
hair
mane
Conceptual colourist Alex Brownsell at Bleach recently told us she was going to put space-age hair on the map. A girl of her word, the results materialised at Markus Lupfer, where she was backstage for Bumble and bumble. Complementing the designer’s collection of luminous silver, blue and green otherworldly fabrics, including gravity-defying gossamer silks and sparkling lurex, Alex got happy with glitter on the all-blonde model cast. “It looks like a moulded ‘fin’ ponytail with faux fish scales and glitter,” said Alex backstage, having packed on lots of silver glitter using Bumble and bumble Shine Spray for a mirror-like finish and Spray de Mode to hold it all in place.
Blown
away
For a season’s lesson in windswept super styling, let Kevin Ryan show you the way. Backstage for Aveda at Rebecca Taylor S/S13, a hair-dryer, Perspex visor and can of Aveda Air Control Hairspray did the trick. “Think of driving along the coast with the windows down – sexy, pretty, natural,” said Kevin of the results of his DIY approach.
Peter Som
Pastel
par ade
It may not have been the season’s biggest hair story, but pastel-punk looks continued to prevail this S/S13. At Peter Som in New York the hair worked in contrast with the clothing. “I wanted a hair look that came from an opposite place to give a little tension,” said Eugene Souleiman, Wella Professionals global creative director for style. Eugene referenced the kind of treatments that denim goes through as an example of the colouring process for each of the strands, spontaneously adding to the hair at random. At Laura Siegel, also in New York, TIGI US creative director Heath Grout created woven braids with splashes of colour, for a collection that looked to the work of artisans in Asia and Latin America. “To complement this look, I infused Siegel’s design elements – embossing, braiding and tie-dying – into a web of intertwined plaits,” said Heath.
2013 spring/summer Runway 55
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more
hair
Transcending
to
outer
space
Backstage ON Hair at Erdem for the 11th season, the Charles Worthington team were once again charged with creating looks for the digi-print designer’s S/S13 show, inspired by ’50s sci-fi writer Zenna Henderson. Erdem created a woman looking to fit in on Earth, but remaining an outsider. With that, art team director Marc Trinder opted for clean, boyish looks, which he dubbed “The Glazed Bun”. The high shine texture of the hair mirrored the futuristic, alien-like theme behind the main collection. “The whimsical, romantic Erdem girl of last season has evolved into a woman who’s tougher and more androgynous,” said Marc. With the show taking place in a large dome tent at Manchester Square, in London’s West End, the biggest challenge, aside from models turning up with gelled hair that needed to be washed out with endless bottles of Evian water, was getting a uniformity across all bun sizes. “Some girls have long, thick hair, whilst others have super short hair. We are either bulking up or slimming down,” said Marc. The rigid side parting enhanced the androgynous effect.
The Name Game
Mary Katrantzou Roksanda Ilincic Ashish Marios Schwab Bottega Veneta Comme des Garçons Dolce & Gabbana Moschino Raf Simons Maison Martin Margiela Versace
=
Junya Watanabe Yohji Yamamoto Givenchy Saint Laurent
=
= = = = = = = = = = = = =
Mary KAT-ran-ZOO Rock-SAN-da Ill-IN-chick Ash-EESH Mario shh-WAB BO-teg-a VEN-eta Comb day gar-SON DOLE-chay and gab-BAHN-a Mo-SKEEN-o out Rauph SEE-mon MAZE-on Mar-TIN mar-GEL-a Ver-SAH-chay JUNE-ya Wah-TAH-nah-bay YO-jee ya-MA-moto Zshee-VON-she Sane-LOR-aunt Fembots
Marios Schwab
Fashion is full of fancy international names and it’s easy to make a pronunciation gaffe backstage. However, you needn’t trip yourself up with our cheat sheet…
and
futurism
“How to affect robots and influence them” – now there’s a theme to get your head around. It was something that preoccupied Antipodium designer Geoffrey J Finch for S/S13. As well as a collaboration with Dr Tim Goodacre, president of the British Association of Plastic, Reconstructive and Aesthetic Surgeons (which led to pre-surgical markings on dresses and blouses), the designer also buddied up with architect Pandora to create the futuristic combs used in the models’ ponytails. Masterfully applying each one was Lyndell Mansfield, who was backstage for Bumble and bumble. Inserting the comb through the hair and securing it with a bungee, Lyndell created two contrasting textures, with sleek ponytail ends and textured hair on top. It was a true collaboration of science, art, fashion and beauty and sure gave us something graphic to keep our eyes glued to as models came down the catwalk.
56 Runway spring/summer 2013
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more
hair
recreate
Bloombastic,
tota lly
fantastic
Going backstage at the BFC tent in Somerset House courtyard, London, was a welcome surprise at Issa. On entering, a sea of orchids transformed the space. The flowers sprung to mind when designer Daniella Helayel unveiled her show theme – an independent woman living between London and Brazil. With that Malcolm Edwards created organic, couture hairstyles, which were personalised for each model and topped with the colourful and fragrant blooms. “This is old-style hairdressing – I like to challenge myself,” said Malcolm, who was backstage for L’Oréal Professionnel. To create the structure, the hair was pulled back into a high ponytail and sectioned in two. Then, section by section the hair was teased and smoothed, curled with thick barrel tongs and gathered in an invisible hairnet while using Tecni Art Fix Anti-Frizz to add shine and eliminate any strays. Malcolm then simply twisted and built the hair up organically, pinning the shape in place.
“She’s chic
a
typical
and
with
s e x y.
pieces
two
ISSA
The
hair
placed
models
girl
are
Malcolm
–
is
Glamorous,
quite
couture
organically ex actly
the
so
no
sa me”
Edwards
2013 spring/summer Runway 57
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The Jean
making Paul
of
Gaultier
Redken creative consultant Guido Pal au immersed himself in some vivid fashion decades this season, going from t h e ’6 0 s at M a r c J a c o b s to the ’80s at Jean Paul Gaultier. The l at ter was an homage to musical stars of the decade. Thanks to a masterstroke i n t h e h a i r d e pa r tm e n t, we saw mo del K arlie Kloss reimagined as Boy G e o rg e a n d Fr i d a
Madonna. We’ll let Guido do the talking from here…
Grace Jones
G us tavs so n re wo rk ed as
58 Runway spring/summer 2013
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more
hair
Jean Paul Gaultier Cast
How did the concept for the hair come about for S / S 1 3 ? Jean Paul
came to me with the concept, and it was a collaboration on how this would be interpreted in the hair for each character, all of whom were charismatic icons from the ’80s. Wh i c h i c o n i c styles were chosen?
For Madonna, it was the Holiday period with a
Did everything run to plan?
Most of the looks were prepped before show day, however one of the most hectic and amusing times backstage was when we had to change one of the characters and had less than five minutes to transform a Madonna into an Abba.
How did you decide which models would take on which character?
I was talking about the characters with Jean Paul a month before the show to choose which models would best suit Madonna, Boy George, Bowie and so on. It was amazing to
Wh i c h o t h e r Gaultier sh o w s h a v e been the most memorable?
Michael Jackson
seven years – 14 seasons!
Madonnas Grace Jones Boy Georges David Bowie Annie Lennoxes Jane Birkins Abb a m e m b e r s Sades Mylène Catherine Ringer Michael Jacksons
revisit the ’80s where those major icons were all huge references in the fashion world.
grungy, curly hair, dark roots and blonde hair pulled tight with a black scarf. Boy George’s look was when he wore locks and a hat. And then there’s the Grace Jones we love, the geometry of her face with the square afro in the Jean-Paul Goude shot of the ’80s.
Sade
How long have you worked with J e a n P a u l ? For
Grace Jones
Guido Palau transforms model Karlie Kloss into Boy George backstage
Madonna
7 5 4 1 2 6 4 8 1 1 3
Gaultier is always a very immaculate and memorable show. All of his shows are festive, but one that sticks out in my mind was when I had to transform all the models into punk rock elderly ladies from the ’60s Hitchcock era for the A/W11 season. We prepped wigs for 40 models for that show.
2013 spring/summer Runway 59
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more
Rock-a-bye
hair
baby
The rockabilly transformation, as seen at Aminaka Wilmont this season, will take all of 25 minutes to create, as demonstrated by Kenna backstage. “There’s something slightly Dita Von Teese meets Alice Dellal to it,” said ghd’s creative director of the DIY fringe and faux-shorn sides, which borrowed some ’50s spirit. “It’s a total hybrid – rockabilly meets mod whilst the razor-cut fringe lends it a modernity.”
“If you want to be a session stylist you’ve got to be out there and you can never say no. If someone asks you to assist on a Sunday morning at 4am – you’re there.” Cos Sakkas, Toni&Guy Session Team
Hat
tricks
When Stylists have to work around a hat for any collection, the results are often minimal. But for designer Henry Holland of House of Holland, and his backstage ally Adam Reed, it was inevitable that hair would not be compromised. Adam complemented the collection’s ’90s grunge aesthetic and its beanie hats with textured curls that were covetable with hats or without. Adam, backstage for BaByliss PRO, created curls with a messy “kick” and centre parting. “We wanted a dry texture – it was not about glossy this season at House of Holland,” he said, creating the curls by taking a wide section of hair and winding it around the thickest part of a BaByliss PRO Conical Wand. 60 Runway spring/summer 2013
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Eugene Souleiman 5
new
things
I’ll
be
doing
this
S/S13
1. Samurai hairstyles. 2. Buying Jan Kempenaers’ Spominek photographic book of striking monumental sculptures. 3. Working with candle wax to melt into wigs. 4. Not getting fixed into specific thoughts. 5. Collecting a bit more art. It always brings me inspiration. 2013 spring/summer Runway 61
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hair
recreate
S e ss i o n The
Rising
up-and-coming
stars
making
Ky Wilson
Leigh-Anne Regan
Ky (above left) of Electric Hairdressing recently swapped the peaceful countryside of the Lake District for the capital city. His big career move paid off – for the S/S13 season he could be found assisting at a host of shows, including Peter Pilotto, Christopher Kane and Marios Schwab.
When she’s not at the Kyle Beasley salon in Leicester, ghd art team member Leigh-Anne can be found teaching “a guide to the season” at ghd’s new academy in Soho and assisting editorial stylist Zoë Irwin with clients such as Little Mix.
My big break… L’Oréal Professionnel’s
backstage at sass & bide S/S10. I immediately knew it was what I wanted to do and have worked every season since as part of Kenna’s team.
ID artist scholarship was an important springboard, as was social media networking. My motto is to be tenacious and never turn your nose up at any job – even the small ones.
My season highlight… Working at Christopher Kane was a dream. The clothes were off the wall, but beautiful.
I admire… Sam McKnight, Eugene Souleiman and Guido Palau of course, but I also love meeting the team and observing how coming together really makes a show work.
I would love to work on… Tom Ford – his collections are constantly inspiring and I love his attention to detail.
My big break… Was through ghd working
I admire… Guido. He makes you question whether the hair he creates is good or bad taste. As he says, “If you only did what women would actually wear right now, we’d never move forward.”
I would love to work on… Alexander McQueen. The designs are feminine but otherworldly – that’s how I like to work with hair.
My session dream… Is to travel the world, work with the most influential photographers and designers and gain industry recognition for being forward thinking and fresh.
This season I learnt… To make myself known on the circuit as fast as possible by being available at any time and responsive. Always remember that you’re on a team.
62 Runway spring/summer 2013
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recreate
Pictures from pages 54-63 courtesy of Aveda, BaByliss, Bumble and bumble, Charles Worthington, ghd, L’Oréal Professionnel, Redken, TIGI, Toni&Guy, Wella Professional
a
name
for
themselves
backstage
Richard Phillipart
Joshua Goldsworthy
Over the last few seasons, Richard’s industry presence has been hard to ignore. Found backstage at the House of Holland and Moschino Cheap & Chic S/S13 shows, Richard can also be seen off-season working at the BAFTAs and art directing a L’Oréal Professionnel team at Liverpool Fashion Week for brands including Next and New Look.
FAME Team 2013 member and Balmain Hair ambassador, Joshua of Goldsworthy’s Hairdressing was assisting at shows from London to Paris, including Mark Fast, Osman and Paul & Joe.
I admire… Sam McKnight – the hair he
My big break… I was invited to assist on a show for a designer called Saro a few years ago. I caught the bug instantly and have worked every season since.
creates is always chic, effortless and high end but with a relevant street edge to it.
I admire… Nick Irwin is a huge influence –
My season highlight… Assisting
getting to work so closely with him has been an education and a huge honour.
Sam McKnight. I can’t think of another industry where you can work with people who are at the top of their game so closely and learn from them. We are lucky in hairdressing that people share ideas and help each other along.
My season highlight... Being asked by Anthony Turner, whilst working on a show with him and the TIGI Session Team, to assist him in Paris and Milan a few days later!
I would love to work on… Alexander McQueen in Paris blows me away every season. Guido’s hair perfectly completes Sarah Burton’s creative vision.
This season I learnt… The hair at
This season I learnt... At Masha Ma we created a wet/dry texture by saturating hair with oil, then dusting and patting the foot of a tight filled with talcum powder over the top. It worked amazingly well!
Felder Felder was inspired by Cher. Adam Reed used a bone-handled toothbrush to achieve the straight, sleek look and ensure no marks were left in the hair. I went out and bought one straight after the show and use it in the salon on my clients.
2013 spring/summer Runway 63
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The
TIGI
S e ssi o n
Team:
Marco Iafrate, TIGI Italy creative director, Carly Giles – Mova, Christopher Daniel – CNG, Nicola Hughes – Blades, Clare Thomson – Cuts Inc, Nick Irwin, TIGI global creative director, Jayde Bassett – Deep, Joshua Goldsworthy – Goldsworthys, Cheryl Bowes – MYKA, Frankie Inverarity – Simon Cawthorne, Michaela Devlin – Bad Apple, Maria Kovacs, TIGI session director, Shaun Wilkins – Altro Mondo
64 Runway spring/summer 2013
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ru nway
Meet
us
in
promotion
London
T h e 1 0 T I G I S e ssi o n T e a m m e m b e r s – h a n d p i c k e d b y T I G I c r e a ti v e d i r e c t o r Ni c k I r w i n – m a d e t h e i r d e b u t a t L o n d o n F a s h i o n W e e k S / S 13 . F o u r s h o w s i n t w o d a y s w a s t h e c h a ll e n g e . d i d t h e y r i s e t o i t ? D i d t h e y e v e r …
2013 spring/summer Runway 65
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London Fashion Week kicks off with Nick Irwin prepping models’ hair for the Christopher Raeburn show
Understated undercuts complemented the show’s theme of first female aviators
christopher
Raeburn
Date: Sunday 16 Sept Call time: 07.00 Venue: Portico space, Somerset House
Nick Irwin and Marco Iafrate watch the model run-through with designer Christopher Raeburn 66 Runway spring/summer 2013
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ru nway
promotion
The TIGI Session Team begin to create a wet-look low pony to complement the tough androgyny of the Christopher Kane show
Maria Kovacs preps a model’s hair
christopher
Kane
Date: Monday 17 sept call time: 11.00 Venue: Park House, Park Street
This polished pony was achieved using Catwalk by TIGI Session Series Wet Look Gel and Catwalk by TIGI Curlesque Defining Serum 2013 spring/summer Runway 67
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20 cans of Catwalk by TIGI Your Highness Firm Hold Hairspray were used for this show
Nick Irwin creates Salt ’n’ Pepa-inspired ’fros
Joshua Goldsworthy puts the finishing touches to a model’s wig
Mark
Fast
Date: monday 17 sept call time: 14.00 Venue: courtyard show space, somerset house
Designer Mark Fast with just over one hour to go until show time! 68 Runway spring/summer 2013
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promotion
The TIGI Session Team sweeps the hair off the face to give the models an androgynous look, offsetting the show’s feminine feel
Fourteen models down, just two more to go…
It’s all hands on deck at Osman
Osman
Date: Monday 17 Sept call time: 17.00 Venue: courtyard show space, somerset house
The hair was tucked into the clothes to enhance the show’s Japanese schoolgirl theme
To be part of nick irwin’s tigi session team working backstage at a/w13, email uk.pr@tigihaircare.com. for more on tigi visit www.tigiprofessional.com, facebook: tigiprofessional/catwalk by tigi or twitter: @tigicreatives
2013 spring/summer Runway 69
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More
Laurent
Hair
philippon
Trashing the rulebook F r o m t h e m o m e n t h e s t r o ll e d i n t o Al e x a n d r e d e P a r i s a s a y o u n g m a n , i t w a s c l e a r L a u r e n t P h i l i pp o n h a d t a l e n t . H a v i n g t h e n sp e n t y e a r s l e a r n i n g h i s t e c hn i q u e a l o n g s i d e t h e g r e a t s o f t h e f a sh i o n w o r l d , h i s a d v i c e t o d a y i s – ‘ B r e a k a ll t h e r u l e s ! ’
with style Words
S ARA H
MANLEY
70 Runway spring/summer 2013
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Runway été
2013 spring/summer Runway 71
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More
A
Laurent Philippon
t the beginning of the ’90s, a new democracy of taste was rising to the surface. Fashion was exhausted and the popular show aesthetic was on the verge of a radical shift. One of the chief instigators of the movement, Gianni Versace, cast a new breed of editorial models, and called upon editorial hair stylist Oribe instead of a traditional salon stylist name. Bam! Versace sent Linda Evangelista, Cindy Crawford, Naomi Campbell and Christy Turlington down the runway, lip-syncing to George Michael’s Freedom! ’90, with the singer watching from the front row. Versace’s ability to astound, exploit and amuse, all during one show, coincided perfectly with the mood of the moment: a fresh decade where designer labels would become a new religion. This was the beginning of session as we know it, a time when hair backstage became a specialised art form and a career path, and right there at that moment a 20-year-old Laurent Philippon was “catapulte” into the big league. “It was the beginning of the end,” said Laurent, when we meet in November at The Hospital Club in London; the end being the traditional, time-honoured techniques of hairdressing, with maître coiffeur Alexandre de Paris. He was the biggest name at that time, and Laurent was his last assistant. “Before 1991, Alexandre did more than 30 shows a season and did that for years,” he says. “And most of the models at the time were only show models, they were unknown faces and weren’t in magazines.” Laurent became Monsieur Alexandre’s protégé when at the age of 18 he was sent to Paris from Oyonnax, his hometown in the French Alps, to fulfil the country’s obligatory military service. At this stage, he had years of hairdressing experience acquired in
Numéro
philippon
Runway été
Laurent
Hair
his father’s barbershop, where he shampooed hair from the age of 10 and then moved to a hairdressing salon in the town, aged 15. Passion was, and continues to be, Laurent’s biggest motivation. He ventured into the competitive side of hairdressing at 16 and won awards at regional, national, European and world championships. Having been posted to Paris with the firefighting service for a year, in 1989 a very self-assured teenager walked into Alexandre de Paris on Rue du Faubourg Saint-Honoré, passed the reception and went straight up to the man himself asking for a Saturday job. “From that day on, my work centered around appointments at Yves Saint Laurent with Mr Laurent, at Givenchy with Mr Givenchy,” he says, with faint t’s and whispering g’s, as only a Frenchman could. Royalty, movie stars and the glamour world’s elite – Elizabeth Taylor, Sophia Loren, Madame de Rothschild, Princess Grace of Monaco and Queen Noor of Jordan – were all in a day’s work. “I went straight to the top with Alexandre as everyone else in the salon just wanted to make money by seeing as many clients as they possibly could. It amazed me, even from a point of respect,” he recalls. “Whatever outside jobs came into the salon, I was the one who would go. Even if it was just for a small editorial picture for Women’s Wear Daily, I did it.” He may have worked on some small pictures, but it was at Chanel HQ with Karl Lagerfeld that he was fast becoming a regular face. The acquisition of Alexandre de Paris by L’Oréal saw Laurent leave and enter a brave new era of hairdressing. His good friend, model Kristen McMenamy, who was a top Chanel model, introduced Laurent to Julien d’Ys, a master of deconstruction and also an artist and sculptor, who was one of the first editorial hair stylists to be initiated into the new backstage world, along with its other protagonists, Oribe, Orlando Pita and Christiaan. “In 1991 Gianni Versace said, ‘I’m going to use
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philippon
V Magazine
Vogue Japan
Vogue Japan
editorial models and I want Oribe to do the hair.’ The make-up agency Atlantis. Among the names on their books were Sam McKnight, Orlando Pita and same shift happened at Chanel – Karl Lagerfeld called Laurent, first as an assistant and then an independent on Julien d’Ys,” says Laurent. Julien, a French session name. “It was the greatest hair and make-up agency stylist, produced some of the most conceptual looks ever built. Today, there is no one that could come for Chanel. His redefinition of classic hairstyles was close to the list of names on its books,” he says. the perfect match for Karl Lagerfeld’s rejuvenation of Atlantis was overwhelmed by bookings and when the French look. He also became the go-to stylist for its artists weren’t on jobs, they were upstairs at the some of Paris’s most audacious houses – Comme des agency in a creative space dedicated to prepping hair Garçons, Yohji Yamamoto and Jil Sander, and for the 20-plus shows they did a season, endless Laurent was his chief assistant. shoots and generally just getting imaginative. Perhaps “When I started to work with Julien I thought, too much right-brain ‘This guy can’t do hair. thinking was its ultimate I’m going to have to teach “There’s too much undoing – after five years, him.’ Then, one day I was fixation on a clash between the owners styling Eva Herzigova’s stereotypes – set saw Atlantis fold. By this hair and tried to make it time, Laurent was look as cool as Julien looks defined by shooting regularly with would expect. He came in salon super Mario Testino, Jean and put wax in his hands brands. People Paul-Goude and Regan and went like this,” says Cameron and was working Laurent, hands motioning want to have a closely with Kate Phelan, every which way. “I had look of their own then fashion director at goose bumps. How he and the trend for British Vogue and now transformed the hair was Topshop’s creative genius.” From that point individualism is director. Regan, Kate and on, Laurent became a p ow e r f u l” Laurent in particular were sponge, absorbing all there rookies on the rise. was to learn. “Julien’s Laurent’s flourishing reputation at the time led him to looks were not about technique, they were poetic. I be recruited by Michael Gordon, founder of Bumble wanted to get inside his eyes, his mind and his world, and bumble, backstage in 1994 at Jean Paul Gaultier. which doesn’t come from a textbook or working on a “Michael’s approach was totally a precursor to dolly head,” he recalls. “It took me months to even the backstage world we know now. He knew that start to understand his vision and then years to fashion shows were going to bring the cool factor to a translate it into my own style. To get ahead I needed hair brand,” says Laurent. “He also understood to absorb as much culture as possible – cinema, something that no one else had, that session photography, fashion, art, whatever I could.” hairstylists are the best placed to understand hair With the world amid a fashion renaissance, and products and textures, much more than a salon stylist editorial hairdressers and make-up artists the new who predominantly cuts, colours and has clients who favoured talent in town, Julien d’Ys got together with want to leave a salon with fresh hair.” ➤ Yannick D’Is and Linda Cantello to form hair and
Numéro
Vogue Turkey
Vogue Paris
Vogue British
PoP Magazine
Laurent
Hair
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Hervé Léger S/S13
JM Houle S/S13
Bergdorf Goodman
JM Houle S/S12
Harper’s Bazaar America
Vogue Italia
Chado S/S09
JM Houle S/S12
Numéro
Germany
Laurent + Gwen Stefani
Virgine
Dazed & Confused
Vogue Italia
Vogue Italia
Laurent Philippon
Vogue Germany
Laurent
Azru Kaprol S/S13
Cédric Charlier S/S13
Lacoste S/S13
Thierry Colson S/S13
More Hair
philippon
“The evolution of the hairstyle is most c o m m o n ly d i c tat e d by p r o d u c t t e c h n o l o gy, ” says L au r e n t, w h o h a s d e v e l o p e d fi v e p ro d u c t s for Bumble and bumble
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More
Germany
➤
Eighteen years on and Laurent remains a firm fixture backstage at Fashion Weeks for Bumble and bumble, which he uses as a testing ground for product development. This season he headed more than 10 shows, with Hervé Léger and Karen Walker among the roster, even fitting in a 20-hour trip to Hawaii to do Daphne Guinness’s hair (one of Laurent’s clients) for a Harper’s Bazaar China shoot. “The evolution of the hairstyle is most commonly dictated by product technology,” says Laurent, who has developed five products for Bumble and bumble, including its top-selling Hair Powder with colour pigments to match all hair types. He also developed Spray de Mode hairspray and the brand’s Sumo range, first inspired after a trip to Japan and one of the most expensive products ever made by Bumble and bumble. “I was doing a job with an important client in Tokyo and they wanted to impress the team in a nice way, so they took us to a sumo match,” recalls Laurent. Ever the session stylist, his eyes were fixated on the movement of the sumo wrestlers’ hair. “It stayed together and had an amazing structure and hold achievable only from a gel, but there was something subtle about the finish.” Laurent asked if he could meet the hairdresser. A trip to Shiba followed and today, valiant fashion girls of lower Manhattan sporting slicked back, wet-look hair will more often than not be sporting the results – Sumowax. Further products from the range were born over the years, including Sumotech and recently launched Semisumo. Today, Laurent is managed by Calliste Paris and Tim Howard Management, New York, and spends his time mainly between the two cities. He shoots regularly with Patrick Demarchelier, David Lachapelle and Jean-Paul Gould. Other collaborations include Steven Klein, Greg Kadel, Ellen von Unwerth and, notably, he’s one of the select few to shoot with
philippon
French
Numéro
Vogue Japan
Numéro
Laurent
Hair
Karl Lagerfeld, whom he has known since his late teens. Recent ad campaigns include Kenzo, Chloé and Thierry Mugler and editorial with all the international Vogues and Dazed & Confuseds, Industrie and Numéro. Laurent can also quite commonly be found working with musicians. He created Gwen Stefani’s ’30s peroxide-blonde hairstyle and more recently Florence Welch’s hair for Florence and the Machine’s Spectrum video, directed by David LaChapelle. Dita Von Teese and the Moores, as he calls them, Julianne and Demi, are clients, too. It’s an impressive roll call, yet is he driven by the need to work 24/7? When asked if he might slow down, he admits to removing himself from the circuit, if only for a few months. In September Laurent is launching a book that covers hairstyling history in parallel with fashion. With most of the story written by Laurent, it’s a journey through his world of hair, too – his inspirations, masters and mentors. Further contributions will come from a teacher of philosophy and aesthetics, and Kathy Phillips, formerly US Vogue health and beauty director. “I want to showcase what goes on in a session stylist’s mind and world, and I want the book to be accessible to all.” But that hard work on the book (publisher: Thames and Hudson) will be worth it – Laurent’s sensibility for timeless looks and vision for the new have earned him a first-class reputation in the competitive world of session styling. With such experience, his advice for young stylists keen to make a difference is to walk their own path: “There’s too much fixation on stereotypes – set looks defined by salon super brands. People want to have a look of their own and the trend for individualism is powerful. Learn the techniques and then break all the rules!” he says with a grin. And that, readers, is the beauty of a true original – Laurent Philippon. n
2013 spring/summer Runway 75
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Eudon Choi
Pre-show at Christopher Kane
Pause
For
Thought
It’s time to slow things down, before we wind them of
u p,
with
beauty
some
and
rare
drama.
off- cat walk
moments
It’s
stare…
o k ay
to
76 Runway spring/summer 2013
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‌ and sprint at David Koma
Final tweaks at Burberry The eye has it at Ann Yee
2013 spring/summer Runway 77
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Bill Watson doing his thing at Yifang Wan
Dutch duty at Kinder Aggugini
78 Runway spring/summer 2013
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Multi-tasking at Todd Lynn
2013 spring/summer Runway 79
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The master’s final adjustments at Aminaka Wilmont
In the zone at Maria Grachvogel 80 Runway spring/summer 2013
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Power ponies at Palmer Harding
Copy that – Antonio Marras
2013 spring/summer Runway 81
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All white now at Temperley London
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An Antonio Marras moment
Images courtesy of Bumble and bumble, ghd, L’Oréal Professionnel, TIGI, Toni&Guy
Rolling with it at Michael van der Ham
Keeping up with Nick Irwin
2013 spring/summer Runway 83
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TONI&GUY CELEBRATES 10 SEASONS WITH SPRING/SUMMER 2013 AT LONDON FASHION WEEK SAW US NOT ONLY CELEBRATE OUR 17 TH SEASON AS ‘OFFICIAL SPONSOR’ TO THE EVENT BUT ALSO OUR 10TH SEASON WORKING WITH BRIT-DESIGN TALENT, GILES DEACON. For the past 10 seasons the TONI&GUY Session Team have created the catwalk look backstage in a number of interesting venues whether it’s an abandoned East-London school to the grandeur of the Royal Courts of Justice. Fashion city-hopping from London to Paris - and back again. No ‘GILES’ show would be complete without a star-studded runway akin to the Hollywood Walk of Fame - but with models Agyness Deyn, Daphne Guinness, Doutzen Kroes, Jessica Stam and Lindsey Wixson. The hair created for the shows has always worked in collaboration with Giles’ collections - we’ve styled everything from sleek fishtail braids, oversized beehives and disco wefts. For Giles’ SS10 show we created pastel panels for the girls, which paved the way for pastel washes and ombre trends for that summer and beyond.
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“I TRULY LOVE THE RELATIONSHIP I HAVE WITH TONI&GUY, WE’VE DONE SOME GREAT WORK OVER THE LAST 10 SEASONS AND I’M HOPING IT’S GOING TO CONTINUE FOR MANY MORE.” GILES DEACON
“WE HAVE AN AMAZING RELATIONSHIP WITH GILES AND 10 SEASONS ON, HE IS STILL MY ABSOLUTE HIGHLIGHT OF FASHION WEEK. FROM WORKING ON HIS SHOWS BACKSTAGE, TO SITTING FRONT ROW OR WORKING ON OUR COLLABORATIONS WITH LABEL.M, HE IS ALWAYS AN INSPIRATION” SACHA MASCOLO-TARBUCK, GLOBAL CREATIVE DIRECTOR
GILES’ SPRING/SUMMER 2013 – GET THE LOOK USING LABEL.M PROFESSIONAL HAIRCARE
1. Apply label.m Volume Mousse into the roots at the front of the hair and hand dry, creating a messy side-parting with the fingers. 2. Spray label.m Blow Out Spray through mid lengths and ends and twist hair into ‘bun like shapes’ to encourage texture. 3. Diffuse dry to encourage movement and free-hand tong depended on hair texture. 4. Apply a small spritz of label.m Sea Salt Spray to layer product for enhanced movement.
Dream of becoming the next rising session star? Book onto TONI&GUY’s SESSION AND EDITORIAL course. Are you excited by fashion and the world of editorial hair? If so this course is perfect for you. Who better to learn the art of editorial hair from, than the ‘Official Sponsors to London Fashion Week’ - this flexible course is designed for anyone who not only wants to further their long hair know-how but perfect their editorial and session skills. This course will take you from the absolute fundamentals through to creative freedom. For dates of courses contact the TONI&GUY Academy 020 7836 0606
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50 1963/2013
50 1963/2013
1963/2013
50
1963/2013
unilever logo
CELEBRATES 50 YEARS HAIR – FASHION – HERITAGE TONI&GUY HAS LONG BEEN RENOWNED AS AN INNOVATOR WITHIN THE HAIR INDUSTRY, BRIDGING THE GAP BETWEEN HIGH FASHION AND HAIRDRESSING AND 2013 MARKS THE FIFTIETH ANNIVERSARY OF THIS ICONIC BRITISH HAIRDRESSING COMPANY. 18 seasons strong, the TONI&GUY Session Team now create the hair for over 80 designers/shows each year, across the schedule, and share their experiences backstage through TONI&GUY’s innovative course offering. From the high fashion focus of the Creative Cut and Colour course, to the innovative Men’s Styling, or the sheer artistry of the Avant Garde – the team take their unique experience working backstage to create inspiring hairdressing techniques to both educate and excite the hairdresser. With a heritage firmly based in education and nurturing hairdressing talent, our multi-award-winning International Artistic Team will personally guide you throughout unique course offering –
CELEBRATING 50 YEARS OF EDUCATED EXCELLENCE
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CREATIVE CUTTING AND COLOURING
This course really is the ultimate example of TONI&GUY creative thinking at its best. Created to accommodate new fashion trends in hair this highly motivational course is the perfect vehicle for learning ground breaking techniques as they develop and is personally taught by the International Artistic Team.
MENS
This course is designed to strengthen your technique in Men’s Hairdressing whilst giving an insight into how the TONI&GUY International Artistic Team push boundaries with regards to men’s fashion and male cutting techniques. Incorporating growing trends in men’s hairdressing, influences from pop and rock musicians, actors and high fashion, and of course, how to translate these influences into wearable techniques.
AVANT GARDE
A course aimed at pushing the advanced hairdresser with an emphasis on creative expression and experimentation. You will be taken from the fundamentals of this art through to the complexity of creating bespoke hairpieces for session and photographic work.
For more information on TONI&GUY education or to book a course visit www.toniandguy.com or contact the TONI&GUY London Academy T : 020 7836 0606 E : courses@toniandguy.co.uk
www.toniandguy.com
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/toniandguyuk
@ toniandguyuk
08/01/2013 15:10
BE INSPIRED AS WE GO BEHIND-THE-SCENES OF THE NEW CAMPAIGN COLLECTION FROM LABEL.M PROFESSIONAL HAIRCARE. THE RECREATION OF TWO KEY LOOKS THAT STEM FROM THE BRAND’S SIGNATURE, OF BRINGING TOGETHER TREND STORIES FROM LONDON FASHION WEEK, MUSIC AND A PLAYFUL INTERSPERSION OF ST YLE EXPLORATIONS WITH WEARABILI TY.
www.labelm.com
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/labelmUK
@ labelmUK
08/01/2013 15:05
“THE NEW COLLECTION IS INSPIRED BY A SENSE OF CONTINUITY FOR WHAT HAS DEFINED LABEL.M CAMPAIGNS FOR THE LAST FEW SEASONS, THAT BEING A FUSION OF MUSIC – PAYING HOMAGE TO THE ROCK GENRE THIS TIME ROUND, YET SET AGAINST A MORE GLAMOROUS FASHION OVERTURE. WE’RE SHOWCASING A DISTINCTLY MORE COLOURFUL FEEL AND THE CAMPAIGN IS AN EXPLORATION OF AN EDGY EDITORIAL LOOK, WITH ENHANCED INJECTIONS OF COLOUR IN THE CLOTHES AND A VERY EDITORIAL-LED HAIR STORY THAT’S YOUTHFUL, VARIED IN SHAPE, LENGTH AND TEXTURE. AS EVER, THE EVOLUTION OF TREND-CREATED IDEAS, INSPIRATION TAKEN FROM LONDON FASHION WEEK AND THE DIVERSITY OF THE LABEL.M RANGE, ELOQUENTLY TRANSLATES THE FORTHCOMING SEASON.” Sacha Mascolo-Tarbuck, Global Creative Director
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URBANISTA YOUNG, MODERN AND CHIC – A SHORT, SHARP CROP INFUSED WITH DYNAMIC TEXTURE AND EDGY SEPARATION. KEY LONDON FASHION WEEK ESSENTIAL : LABEL.M BLOW OUT SPRAY
1. Prep and protect using label.m Blow Out Spray prior to blow-drying to shield against damage, whilst encouraging gentle root lift.
2. Distribute evenly throughout some label.m Thickening Cream to expand hair strand for fuller effect. Proceed to blow-dry using the new label.m Ceramic Tourmaline Dryer and smooth the style with a small Hot brush.
3. One of two ways to finish – either work through with best selling label.m Matt Paste, by first working into the palm of the hands and then lightly running over the hair to create texture with control. Alternatively – label.m Mesh Styling can be used as its fibrous formulation creates a web-like mesh within the hair for volume and texture.
www.labelm.com /labelmUK
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@ labelmUK
08/01/2013 15:06
CURL UP A CONTEMPORARY NOD TO THE SWINGING 60’S FOR A STYLE THAT’S ALL ABOUT MOVEMENT, VOLUME AND PERSONALITY KEY LONDON FASHION WEEK ESSENTIAL : LABEL.M VOLUME MOUSSE 1. Generously spritz in label.m Protein Spray to help condition, protect against heat and prevention of colour-fade.
2. Prep with label.m Volume Mousse, prior to blasting hair with a blow-dryer.
3. Section hair and shake in small amounts of label.m Resurrection Style Dust into the root area and massage in with fingers for built-in density. To create the shorter shape – tease in with fingers and push upwards towards the root.
4. To sustain shape and style longevity with a flexible feel, spray hair with label.m Hairspray and follow with label.m Shine Mist to illuminate shine.
www.labelm.com /labelmUK
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@ labelmUK
08/01/2013 15:06
New TIGI
I n s p i r a ti o n a l
hairdressers’ a rt, Irwin,
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Hair Harry Denning, Bad Apple designer Flett Bertram 92 Runway spring/summer 2013
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Hair Tori Prescott, Inkfish designer Michaela Carraro
2013 spring/summer Runway 93
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Hair Liz Owen, JSB Team designer Rexy Sung
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Hair Chelsey Fewkes, Zappas designer Yingzhi-chi-chi
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Hair Leanne Montague, Hair Ott designer Kieran Ho 96 Runway spring/summer 2013
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Hair Rory Gamble, Forresters designer Tarang Bharti
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Hair Charlotte Newsham, Yazz No 1 Hair Studio designer Neliana Fuenmayor
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Hair Lucinda Collins, Mova designer Cat Paterson 2013 spring/summer Runway 99
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Hair Sarah de Freitas, Lawrence Anthony designer Natalie Rae
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Art direction Nick Irwin, TIGI global creative director, Maria Kovacs, TIGI European session director, and Akos Bodi, TIGI European creative director Make-up Amy Barrington, assisted by make-up students from the London College of Fashion Styling Jiv D Photography Roberto Aguilar Hair styled using Catwalk by TIGI
Hair John Harte, TIGI Academy designer lulu lui 2013 spring/summer Runway 101
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102 Runway spring/summer 2013
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FASHION INTELL-
Nicholas Kirkwood
IGENCE The
h o tt e s t
coll aborators
topics
and
bringing
the
coolest
fashion
to
life
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intelligence
Shot through the heart A P h oto g r a p h e r ’ s w o r k c a n a r o u s e o u r i m a g i n at i o n a n d l e av e u s aw e s t r u c k – a l l w i t h a s i n g l e i m a g e . B u t w i t h a h a i r s t y l i s t a n d m a k e - u p t e a m o n s e t a n d d i g i ta l m a n i p u l at i o n t h e n o r m , i s t h e p h oto g r a p h e r ’ s s i n g u l a r v i s i o n b e i n g c h a l l e n g e d ?
I
n a 2009 shoot for British Vogue, a life-size Spitfire came to rest in the drawing room of a country house. The model Lily Donaldson perched on its wing in one image, while in another she held open the room’s door to allow the plane to exit. The visionary behind this fantastical scenario was photographer Tim Walker. Fashion editorial has long been accused of functioning only to promote the sale of expensive commodities, yet Walker’s beautiful images demonstrate how in visual culture photography can transcend materialism to appear almost cinematic. In another fashion spread by Walker, inspired by Through the Looking-Glass, model Karlie Kloss, clad in black fur-trimmed Jean Paul Gaultier, stumbles over a gigantic, broken Humpty Dumpty lying in a field. Walker has said he wants the fashion model to be akin to a “silent film actress”. And it does seem that fashion photographers today are closer to film directors. Without their vision, an editorial shoot would not have that same evocative magic. “Photographers demand a certain respect because they have the power to change the course of fashion,” says session stylist Anthony Turner. Indeed, iconic campaigns such as Helmut Newton’s 1966 “Le Smoking” for YSL sees photographers leaving their mark on fashion history. “Take photographer David Sims’ Yohji Yamamoto and Jil Sander campaigns. He started a major trend in fashion,” adds Anthony. “With the big photographers, you know they’re going to deliver an amazing image and that’s the exciting part about working with them,” admits make-up artist Ruth Funnell. “Working with Tim Walker has been one of my most inspiring experiences.
He plans so rigorously that his vision is very easy to interpret because he is so sure of what he wants. If a photographer is less involved it can be difficult to see their vision and so harder to fulfil it.” Regardless of how involved they are, photographers have precise guidelines on hair and make-up to support their vision, which they communicate through visuals, such as mood boards and sketches. “It depends on whom I’m working with,” says session stylist Paul Hanlon of the briefs he is sent. “If it’s David Sims, he’s a lot more of the moment. The girl will come into the studio, she will get into the clothes and then we start to see who the character is and work on the hair from there. If it’s Mert & Marcus or Steven Klein, they will send me references and a brief. I like to be prepared and never like to go into a shoot too blind, but half the time what I prepare is not what we end up with. Spontaneity leads to creativity.” Additionally, in line with how fast fashion has become, briefs are tight and time is money. “Briefs, in particular for ad campaigns, can become so calculated that it kills the creative process. The job is almost done before you get there,” admits Paul. “I remember Bruce Weber telling me about how he used to go off on location with Gianni Versace for a week or two and they would return with incredible shots. Now you’re lucky to get two days to do a shoot or a campaign.” Anthony Turner agrees: “Being on a shoot can be more high-octane than working on a show. In the past, you would get three to four days to do an editorial. Now you might get two at a push.” Photographers tend to work with the same people time and time again as they share their aesthetic and
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Tim Walker, British Vogue
Words
Gillian
Brett 2013 spring/summer Runway 105
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Linda Brownlee portrait of Leigh Lezark, Fashion Telegraph
Boo George, Numéro Homme Boo George
can fulfil it almost instinctively. “A shoot is born from an accumulation of everyone’s ideas, but it is the photographer’s final point of view,” says photographer Boo George. From assisting Bruce Weber and shooting for i-D, LOVE and American Vogue, George has achieved a distinctive style that is almost anthropological. “Hair and make-up can guide you with their input, but it’s the photographer who presses the button and has the final say,” he adds. The photographer also controls the subject. How a model or celebrity is perceived in their photograph depends on the photographer’s direction and editing. “The image the photographer chooses can come to define the subject,” explains photographer Linda Brownlee. “How much of a truth is in a picture is hard to define, however. You might capture a moment that will parallel people’s preconceptions of someone, but you’re not necessarily representing them. You’re just supporting that presumption.” Richard Avedon agreed, having once said, “All photographs are accurate, none of them is the truth.” “I suppose when you take someone’s photograph they are lending themselves to you, so you’ve got an artistic right to do whatever you want with them,” says Boo George. “That’s why Richard Avedon, Bruce Weber and Steven Meisel’s fashion pictures are so believable. When Avedon worked on his American West project he probably took hundreds of photos but selected only a few for the edit. I’m sure there were pictures of some people looking smiley, but every picture in that book was completely downtrodden. The photographs and crop are so considered. When you do the edit and you chose between the happy or sad looking picture, whichever you choose is basically going to personify that subject, whether they’re really like that or not. You control the viewer’s thoughts.” Other developments in the editing process have meant almost nothing is as it seems anymore. One of the quiet revolutions in fashion is the way that images in magazines have been transformed, so that the consumer is seeing hyper-reality as post-production becomes an intrinsic part of fashion photography. Over the past decade, photographers have turned art into a science, using the computer to change the subject and scenery. No one has been more devoted to the possibilities of augmented reality in image-making than Nick Knight, the British photographer whose SHOWstudio first animated fashion by creating films at the same time as stills from fashion shoots and now uses digital enhancement as an everyday process. Perhaps the one downfall to this development is that the audience has become desensitised to the magic of a set crafted by hand – like the aforementioned work of Tim Walker. “People always ask me, ‘Did they really dye the cats?’” reveals Ruth Funnell of a shoot that she did with Walker, “and they can’t believe someone spent days doing that. If you digitally enhance something, it’s less of a thrill. There’s a mystery and a magic to it when it’s all been done by hand.” The other downside to digital is the degree of creativity that is lost by the team. When photographers shot on film, the image was contained, travelling stealthily from the photographer’s eye to the darkroom, and no one else knew precisely how it would look until the final selection had been developed. Nowadays, that element of mystery has disappeared as each shot flashes up on a screen and everyone on set is primed to give their opinion. “It can be disempowering for the photographer,” says Funnell. In some instances the shot can become overly considered, perhaps contrived. “Too many voices on set can be distracting, which is why I don’t let anyone except my assistant, Sean, see the images until I’ve made my final selection,” says Boo. On the flip side
intelligence
Stylist Paul Hanlon, Interview magazine, photography Mert & Marcus
fashion
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Stylist Sarah Clark, Red magazine, photography Bruno Barbazan
of this is the personal imprint that is lost by the session stylist and make-up artists. “It can be so frustrating when you leave a girl with freckles because they add character, but then they’re wiped away in post-production. Or they change the colour of a lipstick you’ve chosen,” says Funnell. “It can leave you feeling a bit redundant.” Hair stylist Adam Reed agrees: “I’m adamant about no retouching. If there happens to be an imperfection then it adds to the character.” The relationship between the stylist and photographer has gained importance in recent years. Where in the past people were thrilled by the relationship between a photographer and their model-muse – such as David Bailey and Jean Shrimpton, or Kate Moss and Corinne Day – in recent years it is that of stylist and photographer that captures imaginations. Formidable collaborators such as Nick Knight and Nicola Formichetti and Mario Testino and Carine Roitfeld have created a new kind of power couple. “There’s an axis of power between the stylist and photographer and it seems like the stylist’s role has evolved,” says photographer John Akehurst, who works with renowned stylists such as Katie Grand and Charlotte Stockdale. “Powerful creatives like Grace Coddington and Carine Roitfeld have conjured up an intrigue around the work of the stylist. I suppose it now comes down to individuals. There are key individuals who accumulate more power because they’re good at what they do – cream rises to the top, doesn’t it?” Akehurst goes on to suggest that there is a trend in the industry that suggests fashion photography has become less of a singular vision with the increase in impressive
Ruth Funnell make-up, Vogue Italia, photography Tim Walker
“The role of hair in the image-making process is important, but you have to listen to the photographer – they see the culmination of the team’s work through that lens”
Tim Walker, W magazine
John Akehurst, Pop magazine
Ruth Funnell make-up, Glamour, photography David Oldham
Paul Hanlon, W magazine, photography Steven Klein
fashion
photography duos. “Mert & Marcus, Markus & Indrani and Inez & Vinoodh have all come to the fore in recent years,” says Akehurst. Likewise, there are groundbreaking photography and hair twosomes, like Guido Palau and David Sims and Garren and Steven Meisel. Whether four eyes are better than two is debatable, but what we can be sure of is that when it comes to fashion editorials, the strength of imagination that comes from the person behind the camera is an explosive ingredient. Though the clothing, hair and make-up are all essential factors, and the journey is a united process, the end result is the photographer’s unique vision. “The role of hair in the image-making process is an important part, but you have to be willing to listen and admire what the photographer has to say, as they have a unique identity to their images that they have to protect. Only they really see the culmination of the team’s work through that lens,” says Paul Hanlon. From Tim Walker’s visual imaginariums to Richard Avedon’s anthropologies, fashion photographers have the power to transport us to otherworldly situations. And whether digitally enhanced or crafted by hand, the vision of the fashion photographer will forever thrill, shock, absorb and inspire everyone around them. According to Paul Hanlon, “On set, the photographer is 100 per cent king.” n
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fashion
Make
Dominique
or
interview
break
SA R A H
Photography by Maurizio Bavutti
Laura
intelligence
MANLEY
S ta r t i n g o u t a s Va l G a r l a n d ’ s f i r s t a s s i s ta n t, L a u r a D o m i n i q u e w e n t s o lo l a s t y e a r a s a n i n d e p e n d e n t m a k e - u p a r t i s t. H e r s u c c e s s i s w r i t t e n i n s h o ot s f o r N i c k K n i g h t to a d c a m pa i g n s f o r C é l i n e . H e r e, L a u r a o f f e r s u s a g l i m p s e i n to h e r w o r l d
Why make-up?
Laura Dominique
It’s like painting a living, walking, talking canvas. W h e r e d i d yo u s ta r t o u t ?
I worked for Christian Dior while studying architecture and law, later changing to multimedia. After that I freelanced as a make-up artist before I moved to London. I made assisting Val Garland my number one priority.
and an extra pair of eyes, ears and hands. Prepping for shoots and shows, organising, cleaning and minimising the ever-expanding kit. Researching, referencing, archiving, PA stuff, travelling, et cetera. W h at wa s i t l i k e wo r k i n g a l l t h e s h o w s w i t h Va l a n d t h e t e a m ?
Fashion month on no sleep was like being on the most amazing drug in the world. It keeps you flying high because there is no option to stop. Why the move to freel ance?
As an assistant there comes a time when you just have to force yourself to jump without a safety net. It was decided a year before I left. If I hadn’t left at that point I might have stayed with Val forever. It was a very addictive work lifestyle.
H o w l o n g w e r e y o u o n Va l Ga r l a n d ’s t e a m a n d w h at d i d t h at e n ta i l?
W h at wa s yo u r f i r s t s t e p i n e s ta b l i s h i n g yo u r s e l f ?
About six years in total, four and half as Val’s first assistant. As a first assistant your goal is to help make your boss’s life as stress-free as possible. You should be an invisible shadow
Joining Streeters. Having an agent is a very important work relationship because they are essentially your business partner. They guide you in your career.
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SHOWstudio shoot by Nick Knight
Dominique
SHOWstudio shoot by Nick Knight
Laura
intelligence
Yo u ’ v e s h o t w i t h s o m e i n c r e d i b l e na mes since going it alone (Nick K n i g h t, J u e r g e n T e l l e r ) . W h a t h av e y o u l e a r n t ?
We discuss this theme of fa s h i o n ’s g e n d e r b l e n d o n p a g e 111. F o r w o m e n , w h a t are the effects on make-up?
Working with established artists who continue to define the fashion industry is like watching your favourite film on repeat, repeat, repeat. You start seeing things you never knew existed.
Androgynous make-up is strength through subtlety, a sensual balance of the features. Use a lightweight foundation and then reinforce one element. What is your “thing”? Dark brows or contoured cheekbones? Whatever it is, single it out and give it a simple step-up.
Yo u w e r e pa r t o f t h e f i r s t L o n d o n C o l l e c t i o n s : M e n . D o yo u s e e t h i s ta k i n g o f f i n a b i g g e r w ay o v e r t h e n e x t f e w y e a r s ?
There are so many incredible menswear designers that fall just under the radar of mass culture. The increased menswear collections will hopefully allow them a higher profile. Is there a pl ace for m ake-up in menswear?
Yes, absolutely. At the moment the beauty industry is more associated with the womenswear collections. If men’s grooming and products had more media attention during the shows, it could be very positive promotion.
Words
H o w w o u l d yo u l i k e to pus h th e i n d ustry f o r wa r d ? Force everyone in the industry to do somebody else’s job for a week. Through all the mistakes, unexpected genius might happen – perfection in imperfection.
Gillian
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Dominique
Is there a lot of pressure to make beaut y looks new all the time?
Yes, but everything “new” is “old” in some way. Regenerating an idea is a group effort. It takes make-up, hair, lighting, styling… If science could deliver w h at e v e r yo u n e e d e d, w h at m a k e - u p p r o d u c t s wo u l d yo u request first?
Foundation that physically turns back time, a skin cream that gives you a real and safe tan, mascara that makes your eyelashes grow and nail polish that doesn’t chip. I could go on with the list forever.
I f yo u g o t b o o k e d f o r a j o b t o m o r r o w, whose na me would yo u b e m o s t e x c i t e d to see on the call sheet? Serge Lutens. He has retained an underlying uniqueness. In the beauty industry this is not easy.
Wonderland Beauty
Marios Schwab Resort 2013
Photography by Maurizio Bavutti
Laura
intelligence
Wi l l y o u d o m a k e - u p f o r e v e r ?
Never say forever. I have a very long to-do list – product development and packaging design, interior design, lighting design. I’m very interested in the spatial/optical balance of placed objects and graphics. I love black and white, monochrome and extreme colours. Creating items with intense visual impact that are also environmentally conscious would be particularly fulfilling. W h at’s g o i n g t o b e t h e b i g g e s t m a k e - u p t r e n d f o r S / S13 ?
Rejuvenated, barefaced beauty. Evocative washes of colour on the eyes or largerthan-life lips. W h at’s t h e b e s t p i e c e o f c a r e e r a dv i c e yo u ’ v e b e e n g i v e n ?
Stop thinking about it and just get on with it. W h at i n s p i r e s yo u ?
Other people’s old family photos. Shadows on the wall at night. Watching horror films on my own in the dark. People who tell it to you like it is. Perfume. Casa Vogue.
W h at o n e m a k e - u p j o b wo u l d yo u like to bag and why?
W h at i s t h e b i g g e s t c h a n g e i n the world of a make-up a r t i s t t o d ay ?
I would like to be the person who decides the names of lipstick colours. I know sometimes I’ve been tempted by a lipstick just because I love the name. The more dramatic the better.
The internet. If people can’t find you online, it’s as if you don’t really exist. If they can’t track you down instantaneously, the moment of communication is lost.
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Fashion’s gender blender As m o re m enswe a r d esi g n ers m a k e t h e l e a p i n to w o m e n s w e a r , t h e c r o s s o v e r h e r a l d s a c l e a n , u lt r a - m o d e r n a e s t h e t i c . I t ’ s t i m e t o b e n d s o m e fa s h i o n r u l e s
T
Words
Gillian
Brett
J.W. Anderson S/S13 womenswear and menswear collection
“
he Saint Laurent Boy is a girl” the press release announced boldly. For his second Saint Laurent Men’s Collection campaign, Hedi Slimane cast the gamine-looking Saskia de Brauw to model his slim-cut suits and tight leathers. All boyish bowler haircut and angular facial features, de Brauw is shot in Slimane’s signature moody chiaroscuro style. The accompanying credit line reads, “Hair: model’s own, no make-up. All clothes and shoes are available for men and women.” This is just one in a stream of indicators that women’s and men’s sartorial segregators are dissolving. This month, coinciding with the second London Collections: Men event, a name that was overshadowed last season has been the subject of much pre-show chatter. Stefano Pilati – Slimane’s YSL predecessor, who was rather unceremoniously dumped before his A/W12 show – has taken up residency as the head of design at Ermenegildo Zegna. The Italian designer has been enlisted to help refresh the brand’s menswear line. Thus, as Pilati makes the switch to menswear and Slimane crosses into womenswear, it seems a seismic shift is taking place in the fashion world. Womenswear and menswear are no longer just taking gentle cues from one another. Fashion houses are seeking out designers from the opposite discipline
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Christopher Raeburn S/S13
intelligence
Meadham Kirchhoff S/S13
Eudon Choi S/S13
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both men’s and women’s collections – think Giorgio to breathe life in terms of form and fabric into Armani, Riccardo Tisci at Givenchy, Miuccia Prada collections. Meanwhile, luxury conglomerates such as – what’s interesting is the effect this new mood is PPR and LVMH are moving into menswear via Italian having on established designers. For his men’s S/S13 men’s labels Brioni and Berluti, respectively. By using collection, Tisci revisited his trademark male skirt, their womenswear brand-building know-how, they can but approached it in a more conceptual way. Layered create noise around these lesser-known names. The under long vest coats or beneath a double-breasted effects suggest exciting changes for both sectors by suit, the skirts had a straighter cut and at times pushing the boundaries of gender traditions. consisted solely of another layer of panelled fabric that And it doesn’t end there, as independent designers could almost avoid the term “skirt” altogether. This are also tempted to the other side of the fashion fence. silhouette is easier than ever for the modern man to Menswear is often more restrictive than womenswear incorporate into his working wardrobe. in terms of fabric, structure and form. Thus, an “There’s a cleanliness that comes with increasing number of designers are forging a creative outlet in womenswear. In many cases, they’re using menswear designers doing womenswear,” says session new fabrics such as silk, stylist Adam Reed. “This soft prints and tulle, and season it’s a clean “Masculinity is effects such as layering approach,” agrees J.W. have had an effect on Anderson. “There are creeping into their men’s line, “softening elements in my main line women’s styling up” male silhouettes. from the women’s as it gives more “There’s a running pre-collection that were dialogue between both ruffled. That’s a very kind freedom to collections,” says J.W. of architectural aesthetic.” experiment with Anderson, a prominent Similarly, Damir Doma contrasts in menswear-turned(an ex-protégé of Raf womenswear designer, Simons) drew upon his shape and fabrics” who has just been expertise in menswear to named as a collaborator launch his womenswear for a capsule collection with Versus. Anderson line in 2010. “When I started menswear, I often launched his eponymous men’s line in 2008, then looked to womenswear references for inspiration,” branched into womenswear two years later. “I’ve been reveals Doma. “And now that I’m working on fascinated by gender blending so it was a natural womenswear, I find myself channelling traditional transition for me. I get inspiration from womenswear menswear influences, which then feed back into my for my men’s collection, so to now apply this back into menswear collection. It’s a twisted loop!” Eudon the women’s line offers a unique approach into how Choi, who trained in menswear in Korea before masculinity can be interpreted in womenswear.” His studying the womenswear MA at Central Saint S/S13 women’s collection had masculine foundations Martins, agrees: “I like to re-interpret menswear for (strict tailoring, boyish rubber boots), softened with the female silhouette. I enjoy designing for women as ultra-feminine details (flirty crop tops, ruffles). it enables me to be more creative and experimental.” Meanwhile, his men’s line was an overtly feminine Other designers to ride this loop include James Long, display, each male model emerging in a dainty headscarf. Christopher Raeburn, Tim Soar, Christopher While it isn’t unusual for designers today to direct Shannon and, most recently, Agi & Sam.
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intelligence
Peter Jensen S/S13
too. Guido Palau, Redken creative consultant, created the ultimate masculine-feminine mash-up at rag & bone with a sporty, ’90s theme. The tomboyish look exuded easy sophistication. Guido kept the style wet and dramatic in front, but the back was a cascade of feminine waves. Proenza Schouler, meanwhile, was a masterclass in unkempt boyish cool, as Paul Hanlon for Frédéric Fekkai styled the models’ hair with Kurt Cobain’s iconic, languid locks as his guide. A smudge of black eyeliner under the eyes by Diane Kendal for MAC added to the nonchalant look. On the more extreme end of the androgynous beauty scale is the half-shaved head. While it looks killer, it requires a lot of commitment and upkeep, so Odile Gilbert created a clean, modern version for the Rodarte sisters by faking it with an extreme, slicked-over side parting. At Haider Ackermann, Eugene Souleiman reinterpreted traditional male sumo wrestlers with a slicked-back ponytail. “Handsome women are coming back,” says Souleiman, Wella Professionals global creative director for style. “Masculinity is increasingly creeping into women’s styling as it gives more freedom to experiment with contrasts in shape and fabrics.” Indeed, experimentation is essential to survival in fashion and the mark of a great designer or a great house is the ability to translate the spirit of a collection or a season across all product lines from menswear to accessories and everything in between. Thus, as menswear designers continue to infuse womenswear with a new lucidity and simplicity, womenswear designers in turn are entering the menswear realm with a fresh outlook. While this trend may seem radical in some instances, it offers a complete vision and that’s what fashion’s all about. For the coming A/W13 season, keep your eyes firmly fixed on stage two of “The Clash”.
Images courtesy of Fudge, TIGI, Redken J.W. Anderson images by Rory van Millingen
Perhaps, by making a successful switch, designers such as Slimane, Simons and Anderson have opened the playing field for designers to experiment and avoid feeling pigeon-holed in either category. “A designer should be able to have a visual point of view on different areas,” says Christian Blanken, this time a womenswear designer who’s recently turned his hand to menswear. “My womenswear has a linear and somewhat masculine identity, so I see the boundaries on the two as blurred. Menswear and womenswear go hand in hand.” This concept of sartorial sharing has become an increasingly popular preference and some of London Fashion Week’s biggest womenswear stars showcased their menswear side-projects at Collections. Jonathan Saunders, Christopher Kane, Richard Nicoll and Meadham Kirchhoff all showed off their male counter-parts, alongside bigger names such as Tom Ford and Alexander McQueen. Some designers have gone so far as to classify themselves as unisex. Katie Eary prefers her designs to be seen as genderless. “I consider a lot of my designs to be metrosexual, so my move into womenswear is well overdue,” says Eary. “Having said that, I don’t think of men’s and women’s as two different disciplines. I would happily preview both together in one show.” The boy-girl look is leaving an imprint elsewhere, infiltrating even the explicitly feminine beauty world. Where last spring was all about bold, colour-pop make-up and dip-dyed hair, this season focused on a fresh-faced, minimal finish. “The look for S/S13 isn’t so much about looking like a man, it’s about taking typically male attributes and injecting them with a feminine feel,” says celebrity make-up artist Kate Synnott. “The catwalk saw a lot of contrast, such as the feminised tuxedo at Dior or the mannish shirts with girlie embroidery at Stella McCartney. The beauty trends were a reflection of that. The focus is on the brows – they must be strong and defined. Skin is matte instead of dewy. We’re already seeing it on the street as a lot of women opt for an understated look.” Androgyny has taken a firm hold of hair trends,
rag & bone S/S13
Christopher Raeburn S/S13
J.W. Anderson S/S13
fashion
2013 spring/summer Runway 113
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s/s 13 Hair is…
Erdem
Sam McKnight Most Wanted SESSION STYLIST
“Simple and uncomplicated with an emphasis on health and condition”
Topshop Unique
Marc Trinder
Christopher Raeburn
“Vibrant, healthy and textured, whatever the look – ’90s, masculine/feminine, braids”
“Abo ut haircuts – D o n ’t be afr aid to lo b it off as m any mo d els have d o ne this se aso n ”
James Pecis
“Clean, gorgeous and natural”
Aminaka Wilmont
Indira Schauwecker
“Co n fi d e n t, c h i c, s t r o n g. Lots of designers were referring to the return of the supermodel – individual girls who are eclectic and happy in their skin”
“360 degrees – there’s a huge strength coming t h r o u g h a n d h e ad s h a p e s a re re a lly i m p o rta n t. People want to see a beautiful profile”
Kenna
“Beautiful, healthy, strong and powerful. Straight hair is coming back and delivers all of those qualities” A da m r e e d
Maria Kovacs
Haider Ackermann
Anthony Turner
Giles
“Understated and modern with an edge”
“Sharp, defined and strong” Eugene Souleiman
“60s-influenced in the most modern way” Snowden Hill
114 Runway spring/summer 2013
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W h e n fa s h i o n m e e t s h a i r …
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10 years and counting…
A n a f fa i r o f t h e h e a r t Our love affair with Balmain Hair began 10 years ago and, as the visionary brand continues to roll out its fashionforward, stylish and beautiful collections, we’re sure it’ll continue for decades to come…
Extensions: everyone seems to be doing it – from the higher echelons of A-listers and models to your everyday client – but quantity doesn’t always mean quality. Popularity means everyone will try to get in on the act. This is why Balmain Hair’s mission – to source, select and process the best hair in the world – remains as vital today as it did 10 years ago. To this day, Balmain Hair is one of the few companies in the world that gives a six-month quality guarantee on its hair extensions. This is because Balmain Hair believes in its products and because the brand holds itself accountable for what it delivers. Its dedicated team – well-trained and educated hair specialists active in consultation and training in more than 50 countries – will not rest until the hair is perfect. First there was colouring, cutting, curling and styling. now Balmain Hair has introduced Balmain Hair+ – professional solutions for everyday clients with everyday hair problems. Balmain Hair specialises in high-quality hair extensions, while Balmain Hair+ focuses on making clients’ dreams come true; from the woman who wishes for longer, fuller locks to those who want to make the latest celebrity and fashion hair trends a reality. Balmain Hair+ services include: Risk Free Color, Full Hair, Lasting Volume, Top Volume, Glamour and 5 Minute.
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“I have been using Balmain Hair in my salons for almost five years and in that time we have built a successful extensions business” Steven Goldsworthy, Goldsworthy’s Hairdressing, Balmain Hair global ambassador
“When I think of Balmain Hair, I think of quality, luxury and style” Yesmin O’Brian, seanhanna, session stylist
“It is a privilege to be a global ambassador for Balmain Hair. The brand is perfect for my avant-garde and bridal shoots and shows” Anne Veck, Anne Veck, Balmain Hair global ambassador
“I have always found Balmain Hair to be a soulful brand that loves coming up with innovative products” Skyler McDonald, seanhanna, Balmain Hair global ambassador
B a l m a i n H a i r ’ s g r e at e s t h i t s …
Balmain Hair Elegance These ponytails allow you to create gorgeous and voluminous ponies in moments!
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Fill-In Extensions A Balmain Hair bestseller that adds volume, colour, structure and length.
DoubleHair One of Balmain Hair’s first ever launches – it dramatically improved application time of a full head of extensions to only 35 minutes.
B-loved A recent Balmain Hair launch and proving popular among session stylists!
10/1/13 11:45:49
Da r e t o ba r e Balmain Hair unveils its Styling range for hair couture, designed specifically for you, the session stylist – stripped-back styling has never looked so good Go backstage at any fashion week show and you’ll find a whirlwind of activity – designers rushing back and forth, models glued to their smartphones and stylists fluttering around models’ hair amid a haze of styling products. They can transform a look in seconds, which is why session stylists need access to the right products instantly. They don’t have time to squint at the packaging, and Balmain Hair understands. This is why its new Styling range comes in clear and clean, no-nonsense packaging. You won’t find a hardto-read label anywhere – just products that do exactly what they say they do. Need to give hair an instant boost? Balmain Hair’s Argan Moisturizing Elixir is a rejuvenating, pure organic serum that creates a smooth and healthy look instantly. Or maybe you need to add a bit of texture? The Texturizing Salt Spray adds definition, texture and body, while its range of Session Sprays, from Medium to Strong, allow you to shape the hair exactly how you want it. Silk protein and argan oil are the key ingredients and all the products provide lightweight, versatile styling – for when you need it most.
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P s s s t‌ b a c k s ta g e s e c r e t ! Want to give a look a last-minute spritz? Balmain Hair has bottled its signature fragrance into Silk Perfume for hair. Especially formulated to provide a lightweight, silky finish, the summery scent unfolds onto hair, boosting the senses and leaving the wearer (and everyone around them) with a pure, happy feeling
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D e s t i n at i o n fa b u l o u s ! Need creative inspiration with a fashionable edge, sharpish? Balmain Hair’s rising stars reveal how they achieved three different, but very fashion-forward, looks on the Balmain Hair S/S13 photo shoot using key pieces from the Balmain Hair ready-to-wear collection – it’s time to extend your hair wardrobe…
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Stylists: Josh Goldsworthy, Goldsworthy’s Hairdressing; Anna Storer, George’s Hairdressing; Danielle Branton, seanhanna. Photographer: Barry Jeffery Photography. Fashion stylist: Kate Jeffery. Make-up: Elizabeth Rita
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Look 1: Sixties beehive Created using: Balmain Hair Hair Dress Created by: Josh Goldsworthy, Goldsworthy’s Hairdressing
Look 2: Choppy, full fringe Created using: Balmain Hair Clip-in Fringe Created by: Danielle Branton, seanhanna
Look 3: Romantic waves Created using: Balmain Hair B-loved extensions Created by: Anna Storer, George’s Hairdressing
“The Hair Dress is so easy to apply, with a transparent strand that holds the hair in place. The natural hair is then pulled through with a tail comb to create length and volume instantly. With my model, I used two Hair Dresses to create this glam look.” Josh Goldsworthy, Goldsworthy’s Hairdressing
“The Balmain Fringe means clients can have a fringe one day and not the next, or they can trial a fringe before they have one cut in – it’s so versatile! With my model, I added the fringe then styled and blended it into her natural hair.” Danielle Branton, seanhanna
“I can’t get over how flat, limp hair can be transformed into high crown volume with B-loved. After adding B-loved to my model’s hair, I created volume and wave using heated rollers, secured back with a classic Alice band and finished using Balmain Hair Session Spray.” Anna Storer, George’s Hairdressing
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Fo r t h e s t y l i s h , no t t he ov er - s t y l ed If you want to create catwalk-inspired looks for your clients now, call 0800 781 0936 or visit www.balmainhair.com
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(page 4) W 228mm x H300mm
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(page 2) W 218mm x H300mm ru nway
promotion
W IN! A Session St yling K i t w o r t h £1, 4 0 0
Can’t wait to get your hands on Balmain Hair’s new Styling range? Of course you can’t, which is why the Parisian brand is offering one lucky reader the chance to win the entire session styling range, a selection of hair pieces from its ready-to-wear collection including B-Loved, Hair Dress and Fringe AND the Kent Salon brush collection – 17 brushes only available in salons – phew! The total retail value of the Kent Salon collection alone is £400, making the entire kit worth £1,400! To be in with a chance of winning, simply answer the following question: In which city is Balmain Hair based? A: Paris B: London C: Rome To enter, and for full terms and conditions, simply visit www.creativeheadmag.com/competitions before 28 February 2013
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Made by designers, for designers Call 0800 781 0936 or visit www.balmainhair.com
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