Runway S/S19 by Alfol Publishing

YO U R E SS E N TI A L GU I D E TO T H E N E W S E A SO N

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HAIR: DARREN FOWLER, FOWLER35 FASHION: MATTHEW NEEDHAM

HAIR: JASON HALL, JASON HALL HAIRDRESSING FASHION: DINGYUN ZHANG

22 HAIR: ELETTRA GUGGERI, RICHARD WARD HAIR & METRO SPA FASHION: EKATERINA ZELENTSOVA

HAIR: MATTHEW CURTIS FASHION: EKATERINA ZELENTSOVA

HAIR: JORDAN GARRETT, HERSHESONS FASHION: ALEKSANDAR MITROVIC

HAIR: SAM ASHCROFT, BROOKS & BROOKS FASHION: DINGYUN ZHANG

HAIR: ADAM REED, PERCY & REED FASHION: GUI ROSA

HAIR: MARK WOOLLEY, ELECTRIC HAIRDRESSING FASHION: SARAH KAUFFMAN

HAIR: SHELLEY SUMNER, RUSH FASHION: PAOLINA RUSSO

HAIR: FERGAL O’CONNOR, ORIGIN FASHION: MASHA POPOVA

31 HAIR: BEN HARDS, THE SQUARE FASHION: PAOLO CARZANA

HAIR: MARIO FAILLA, THE GALLERY FASHION: MARTIN HANLY

HAIR: LUISA ALDRIDGE, HARI’S FASHION: FEBEN VEMMENBY

HAIR: LEE NASH-JONES, NASHWHITE FASHION: ALEKSANDAR MITROVIC

HAIR: DARREN FOWLER, FOWLER 35 FASHION: CECILE TULKENS

HAIR: DALE HOLLINSHEAD, HAZEL & HAYDN FASHION: JIE WU

HAIR: JONATHAN SOONS, HEADMASTERS FASHION: JORDAN CHARLES

HAIR: RICHARD PHILLIPART, THE BOUTIQUE ATELIER FASHION: CAMERON WILLIAMS

HAIR: BEN GARRY FASHION: GUI ROSA

HAIR: PAUL HESSION, HESSION HAIRDRESSING FASHION: JIE WU.

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0% RETOUCHED 100% TECNI.ART

@LOREALPRO #TECNIARTIST

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HAIR: MARC TRINDER, TRINDER HAIR STUDIOS FASHION: CECILE TULKENS

HAIR: ANDREA DALEY, BARBARA DALEY FASHION: JORDAN CHARLES

HAIR: CHERYL MUNOZ, DANIEL GALVIN FASHION: SARAH MCCORMACK

HAIR: MARCELLO MOCCIA, ROOM 97 FASHION: JOHANNA PARV

HAIR: PAUL DAVEY, DAVEY DAVEY FASHION: ALEKSANDAR MITROVIC

HAIR: KATHRYN DARTNELL, HARINGTONS FASHION: MASHA POPOVA

HAIR: ANGEL MONTAGUE SAYERS, SALLY MONTAGUE FASHION: MATTHEW NEEDHAM

HAIR: JASON HALL, JASON HALL HAIRDRESSING FASHION: PAOLINA RUSSO

HAIR: PAUL DAVEY, DAVEY DAVEY FASHION: JOSHUA CRABTREE

HAIR: JAMES COLEMAN, BROWN SUGAR FASHION: GUI ROSA

36 HAIR: JACK MERRICK THIRLWAY, NEVILLE HAIR & BEAUTY FASHION: TALIA LIPKIN-CONNOR

HAIR: JOHN GILLESPIE, JOHN GILLESPIE HAIRDRESSING FASHION: JOHANNA PARV

HAIR: KY WILSON, THE SOCIAL FASHION: JIE WU

HAIR: ANDREW MULVENNA FASHION: SARAH MCCORMACK

HAIR: STEPHEN CHAPMAN, CONTEMPORARY FASHION: TALIA LIPKIN-CONNOR

HAIR: DANIELLE DIGNAM, DYLAN BRADSHAW FASHION: PAOLINA RUSSO

HAIR: LUKE PLUCKROSE, SAKS FASHION: JAWARA ALLEYNE

HAIR: FERGUS DALY, ZEBA FASHION: JOSHUA CRABTREE

HAIR: EILEEN MCGRATH, THE EDGE FASHION: GUI ROSA

HAIR: JOSH WOODMAN, ANDREW HILL FASHION: JAWARA ALLEYNE

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DISCOVER INSIDE THE STORY BEHIND THE RE-LAUNCH* OF TECNI.ART AND THE 2019 COLLECTION IMAGES CO-DEVELOPED BY

*The Tecni.Art range is being relaunched with new packaging, some products being discontinued and 3 new products.

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C O N T E N T S S P R I N G/S UM M E R 2 019 06 TOP FIVE MOMENTS The best that the S/S19 runways had to offer

16 THE TRENDS The season’s most sought-after hair looks

22 HOW HAIR HAPPENS We break down the looks from three key shows

30 RE:C RE ATE Bite-sized trends to whet your fashion appetite

34 JOSH WOOD

36 TINA OUTEN How to enjoy backstage and make great hair happen

38 GU I DO PA L AU Why the styling legend came back to London this season

44 FAS H I O N I N MOT I O N Johanna Cree Brown braids big with Carla Fernández

46 BRUSH UP We talk to the big-hitters about a styling skills shortage

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Cover image: Roksanda, hair by James Pecis for L’Oréal Professionnel

The iconic colourist talks about the incredible feats involved at Marc Jacobs

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EDITOR’S LETTER

EDITOR’S LET TER …And S/S19 is officially a wrap, dear Runway readers! Quite literally in fact, from Korean rappers storming the catwalk at Chocolab (turn to That Was The Season on page 14 to find out more) to the beautiful silk scarf wraps at Dolce & Gabbana (see The Trends from page 16). So now to reflect on what a season it’s been – when it comes to seriously chic fashion credentials, London is often dismissed as the kooky little sister to fashion week’s heavyweights (Paris, we’re looking at you). So it was rather satisfying to see it take centre stage. Showcasing debut collections from Alexa Chung as well as welcoming Riccardo Tisci to the Burberry fold (see Top Five Moments from page 6) our capital city did us proud – no coincidence then that Guido Palau decided to make a lengthy return to London (see page 38). We’ve also caught up with the King of Colour, Josh Wood (page 34) and runway ray of light, Tina Outen (page 36) for more backstage action from the leads. But Runway is as much about you guys as it is our Fashion Week favourites, so we also explore the way that lead hair stylists and designers are coupled up for collaborations at On|Off (page 40), as well as looking at how session styling and working backstage can help boost skills back in the salon (see page 46). Feeling inspired? We’ve only just begun…

Cassie Steer Runway guest editor Beauty editor Editor in chief: Amanda Nottage Art: Graeme White Chief sub editor: Adam Wood Contributors: Deborah Murtha, Anna Samson Publisher: Catherine Handcock R U N W A Y , 21 THE TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND T: 020 7324 7540 E: enquiries@alfol.co.uk Runway is published twice a year by Alfol Ltd. CreativeHEAD is a registered trademark. No part of this magazine may be reproduced without prior permission of the publisher. All information correct at the time of going to press

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TOP FIVE MOMENTS IN HAIR & FASHION We work (the Frows) hard, so you don’t have to…

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COOL RUNNINGS

Image courtesy of L’Oréal Professionnel

ALEXACHUNG

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THEY SAY you can’t buy class, but thanks to Alexa Chung’s eponymous debut LFW collection, you can now buy a little piece of cool. Because, let’s face it, Chung is irksomely cool. “I’m here to show that I’m taking this seriously,” she said backstage. “I wanted to prove that this brand has longevity.” So, what awaited us? Why, the Alexa uniform of course; all-cream dungarees, boiler suits and utility denims. The collection also took a trip back to the ’70s via her fictitious travel agent ‘AC World Travel Inc’ – a logo which was emblazoned on slogan T-shirts and sweaters. The results were floaty boho dresses, tan suede trench coats and pinafore dresses. “It’s Alexa Chung meets ’70s Jane Birkin,” said lead stylist for L’Oréal Professionnel, Bleach London’s Alex Brownsell, of the air travel-inspired hairdo. “It’s as if her hair has gone a little bit static on the flight.”

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SHE WORE LEMON Orange is not the only fruit (colour) but it was one of the more popular (alongside lemon yellows and pink grapefruits) judging by the procession of citrus brights at Roksanda. But these zesty offerings weren’t the only pieces to get us salivating. Citing her inspiration as “beautiful, round female bodies”, as well as a series of tapestries by architect Le Corbusier, the result was a refreshingly female take on power dressing and all without a macho shoulder pad in sight. Much like the artfully effortless hair. “She’s the sophisticated Roksanda woman who’s into arts and culture,” explained James Pecis, lead stylist for L’Oréal Professionnel backstage. But like anything described as ‘effortless’, there’s a fair bit of work involved. “We’re accentuating the natural waves, but if they don’t have waves, then we cheat.” When life gives you lemons...

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Image courtesy of L’Oréal Professionnel

ROKSANDA

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CHECK M ATE

Image courtesy of James Cochrane

BURBERRY

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‘Hotly anticipated’ is a term that’s levied around rather freely during Fashion Week, but in the case of Riccardo Tisci’s debut collection for Burberry, ‘hot’ didn’t even come close. Tisci declared he wanted to “own beige” and so he did, opening with a procession of models swathed in every imaginable incarnation of the colour. Then this chic, sophisticated Mary Jane-shod section made way for its sneaker-clad younger, punkier sister (and brother – there was menswear, too). “It’s a celebration of cultures, the traditions and codes of this historic fashion house and of the eclecticism that makes up the beautifully diverse UK,” explained Tisci, and his bid to make the brand work for everyone certainly paid off. It was also reflected in the hair, as Guido for Redken devised two separate looks for the girls and boys; one messy and punky and the other ‘clean and chic’.

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HEIR EXTENSIONS We’d rather like Natasha Zinko to adopt us. There, we’ve said it. Sure, it’s partly because we’d have access to her amazing wardrobe, but also because we’d probably be on our way to being a fashion mogul ourselves. This is all judging by her son Ivan, who collaborated with his designer mother on a capsule of men’s looks for her S/S19 line. Oh, and did we mention that he is 11 years old? The playfully proportioned collection showcased acid yellows, bubblegum pinks and holographic mauves stomping down the catwalk to a soundtrack Ivan had recorded with producer Scott Storch. But the main inspiration behind the reworked denim and paint-splashed dresses was sustainability and working with pre-used materials, something that carried through to the hair. “The look is very lived-in, slept-in and worn-in,” said lead hairstylist for L’Oréal Professionnel, Tina Outen.

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Image courtesy of L’Oréal Professionnel

NATASHA ZINKO

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DANCING QUEEN

Image courtesy of James Cochrane

DIOR

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Dior can always be counted on to provide a visual feast, but Maria Grazia Chiuri’s S/S19 ode to tulle was a sensorial extravaganza as showgoers were treated to a mesmerising performance by a troupe of dancers led by choreographer Sharon Eyal. The collection featured dance-inspired garbs, from fluid black column dresses, fishnet body stockings and the pièce de résistance – a dress made from 90 metres of nude tulle. There was even – gasp – jersey in the show. “It’s the first time in my life I’ve used silk jersey! It’s very good for the modern woman to put in her luggage,” joked Chiuri. Even Guido for Redken was tripping the light fantastic backstage: “The look is dancer-like in a more contemporary or experimental way while still being feminine,” he explained, wrapping the hair around the head to create an almost folded design for a beautifully simple silhouette, accesorised with a headband.

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HIGH AND DRY With interest in the natural look riding high, the new Redken Dry Texture collection contains the perfect products for next-level naturalâ&#x20AC;¦

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05/12/2018 10:53

ADVERTORIAL

THE DONE/UNDONE aesthetic is still ruling the runway, with naturally glamorous looks being seen show after show. Filtering down to the salon floor, clients are seeking easy, effortless styles created with multi-use styling products that let them switch up their look seamlessly. Step forward Redken’s new Dry Texture collection, perfect for embracing your client’s individuality and natural texture. Like no-make-up make-up, the right products are essential to celebrate and elevate a client’s hair type, movement and character. This is not the messy bedheads we’ve seen in the past, nor is it a prim and

proper ‘set’ look. Never before have we seen such interest in embracing unique features, a trend seen all over the runways for S/S19. Redken’s clever new styling products, Dry Shampoo Powder 02 and Dry Shampoo Paste 05, have been created specifically to help create these artfully undone styles without weight. The pair offer modern texture, volume and grip without crunch or residue. Redken’s global creative director, Guido Palau, premiered these new season stylers during NYFW at the Coach S/S19 show, creating a natural look with an edge for guys and girls at ease with their beauty.

THE ST YLERS THAT THINK THE Y’RE DRY SHA MPOOS

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D RY S H A M P O O PA S T E 0 5

Love the lift and texture of dry shampoos but hate the residue and lack of control? This loose powder uses trending beauty ingredient charcoal to absorb excess oil, creating relaxed matte styling without dullness. A sprinkle of this fairy dust and hair is effortlessly fresh. Shake gently at the roots and massage into hair and scalp.

Need a touch more hold? This innovative paste combines the freshness of a dry shampoo with a mild, workable hold shape paste that’s great for shorter styles. Style until satisfied, with the bonus of root lift and absorbed impurities. Work a small amount onto the roots and through the mid-lengths. Can be used on dry or damp hair.

“The Redken Dry Texture collection was my go-to this season. We are seeing beautifully luxe and healthy hair again – inspired by people adopting a healthier lifestyle – and the Dry Texture collection helped give hair a good base and fresh structure” GUIDO PALAU, REDKEN GLOBAL CREATIVE DIRECTOR

For more information about the Redken Dry Texture collection and to become a stockist, email redken@loreal.com or visit redken.co.uk RUNWAY

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THAT WAS THE SEASON… S/S19 will be remembered for rappers on runways, major logos and blinged-up kicks

SNEAKER PIMPS WE DON’T THINK we’ve ever been quite as grateful for a trend that allows us to wear comfortable footwear in the name of fashion. No, it’s not Crocs, but it is the next best thing – trainers – and they were spotted across every fashion capital from Tory Burch in NYC to Burberry in London. But it was Longshaw Ward’s deliciously embellished pumps that had us hotfooting it down to VV Rouleaux.

AMID THE STEELY gazes of Victorian nobility and under the nose of Queen Victoria herself, Erdem flaunted his collection of floaty floral dresses inspired by Fanny and Stella (AKA Frederick Park and Thomas Boulton), Victorian cross-dressers and gay lovers. It was the label’s second time showing at the National Portrait Gallery and it couldn’t have been more fitting.

Colin Horgan at On|Off

LOGOS

A GOGO FUELLED BY ’90s nostalgia and brandished at shows such as ALEXACHUNG, logos are a not-so-subtle statement in authenticity. But it was at Colin Horgan at On|Off where the trend really went to town, as logos were tied around the models’ necks, ankles and wrists and even made up part of the outfits themselves, as was the case with this stunning black leather ‘Nightwalker’ dress.

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Longshaw Ward at On|Off

P ORTR AIT OF A L ADY

TRUMP CARD COUTURE MILLINERY it was not – but the ‘Make Hair Great Again’ caps donned by the production crew at Bora Aksu were a bit of light relief among the backstage bustle. And great hair it was too, thanks to Tina Outen’s braiding skills.

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THAT WAS THE SEASON

ART EXHIBITION(IST)

THIGH’S THE LIMIT FORGET THE cold shoulder, the thigh has taken over as fashion’s latest body part du jour. Flashing the flesh everywhere from ALEXACHUNG to Natasha Zinko, it’s time to up your hair removal game.

FLICKS AND CHILL

IT’S A R AP “LET’S MAKE some noise for fashion, aiiight?” Not exactly what showgoers at Chocolab at On|Off experienced but they were treated to a group of Korean rappers (you’ve heard of K-Rap, right?) opening the show which was a masterful homage to street culture. Keep it 100…

Image courtesy of L’Oréal Professionnel

THE AWARD for the most chilled-out show had to go to Markus Lupfer. The whimsical presentation had recreated a balmy beachscape complete with alabaster white sand and tufts of scenic marram grass; the kind of place you could pitch up a windbreaker and happily settle down for the week. Maybe it was the wispy dresses that had a calming effect backstage, or maybe it was the fact that the Dyson hairdryers were as quiet as a sea breeze – either way we didn’t want to leave.

IA London at On|Off

Roberta Einer

palmer//harding

Carla Fernández

ONE COULD ARGUE that many of the garbs shown at fashion week are works of art in their own right, but then designers such as Roksanda and IA London at On|Off ramp things up by putting actual art on the clothes. At IA London hand-drawn, digital images of classic Roman statues made way for resplendent floral prints which looked as though they had been left out in the rain. Poetry in motion.

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THE TRENDS

ALEXACHUNG

From S&M Alice bands to static strands, this season’s unlikely hair heroes gave us the trends you’ll want to rock all season long…

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Natasha Zinko

Daniel Pascal Turner at On|Off

TRENDS

T H E S H O W Roksanda H A I R : James Pecis for L’Oréal

Professionnel T H E L O O K : Natural, textured waves with density H O W: After saturating the hair with TECNI.ART Pli, it was dried into the hair as a base before TECNI. ART Liss Control was layered on from mid-lengths to ends to add separation and weight. Three low RUNWAY

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Escada

Calvin Klein

Roksanda

Colin Horgan at On|Off

ALEXACHUNG

Natasha Zinko

BRUSH WITH FATE

CARELESS COIFFS and inadvertent ’dos informed this season’s take on ‘natural’ and there was a distinctly accidental feel to the looks as stylists recreated hair left to its own devices. At Natasha Zinko and Colin Horgan at On|Off the theme was ‘slept-in’ hair, with Horgan’s backstage brief specifically referring to girls who had been out clubbing all night. The result was sweaty hair with one side left as it would have looked at the start of the evening, while the other was dishevelled with a slept-in feel, thanks to Tina Farey at Rush Hair’s genius technique using with mesh and a diffuser for L’Oréal Professionnel. But alongside these #wokeuplikethis textures was hair that had been shaped by the elements. At Calvin Klein, Guido for Redken’s half wet-look was inspired by a girl walking into water so that only the bottom gets wet; “I don’t want it to look drenched, more spritzed,” he explained. Meanwhile at ALEXACHUNG, the pressurised air of plane travel was Alex Brownsell for L’Oréal Professionnel’s rationale behind the slightly static-looking texture (due to a nylon bristle brush) which even sported a faux cow’s lick. The key is careful product layering using a diffuser, not to mention a ban on tools: “We’re doing everything with hands to maximise textures,” added Adam Reed at Roberta Einer for L’Oréal Professionnel.

GET THE LOOK braids – one at the back, one each side – were made into a soft, rounded shape to avoid obvious zig-zag effects. To finish, irons were gently clamped down each braid, which were left to cool and set before being released. Subtle S-bends were added for a natural look, then lightly spritzed with Infinium soft hold hairspray. SPRING/SUMMER 2019

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Versace

TRENDS

I ’M W I T H T H E BA N D

T H E S H O W Dior H A I R : Guido for Redken T H E L O O K : A little dancer-like,

in a more contemporary way H O W: Hair was washed with Redken Color Extend Magnetics Shampoo and Conditioner and left to air-dry. A 3” triangle was sectioned off at the crown using a comb, then twisted into a knot with elastic. Starting from the left side of 18

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Guido backstage at Prada

Bora Aksu Prada

Dolce & Gabbana

WARNING: S/S19 is strictly a headgear-only zone; headbands must be worn on site to gain access(ories) all areas. Luckily there were plenty to choose from as every fashion capital had their own take on the trend. At Dior, the utilitarian nude bands were reminiscent of dancers’ accessories – those taut bands that give you a mini facelift – and which informed the hairstyle. “Every model at the show this season has some kind of headband, so the hair is designed to support this, but it’s actually very beautiful in itself, it creates an elegantly simple silhouette,” explained Redken global creative director Guido, backstage. Over at Prada the Alice band was being given a Miuccia-style makeover with leather and studs – also serving as the perfect device to disguise a cheeky winge. “It’s funny how a short fringe immediately offers a more boyish, rebellious feel which, coupled with the headband, gives a really strong silhouette,” Guido added. Leather and studs aside, the rest of the looks were a little more in-keeping with the season, thanks to floral bouquets at Dolce & Gabbana and Bora Aksu. The key to avoiding twee when wearing a flowery crown? “Make everything else messy,” said Tina Outen for L’Oréal Professionnel of the looped twin braids she fashioned over at Bora Aksu.

GET THE LOOK the head, the rest of the hair was roughly sectioned into four and wrapped in a swirl, kept in place with Redken Forceful 23. Redken Fashion Work 12 was sprayed before being clipped into place to hold its shape as they worked around. The final section was smoothed down with Redken Forceful 23 to hold it in place. RUNWAY

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Markus Lupfer

palmer//harding

TRENDS

Images courtesy of L’Oréal Professionnel and Redken

T H E S H O W Markus Lupfer H A I R : Tina Outen for

L’Oréal Professionnel T H E L O O K : A strict head shape with hair that has dried after a swim in the ocean H O W: Starting with a strict centre-parting hair was saturated with TECNI.ART Siren Waves, clapped through the mid-lengths and ends with the crown

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Tory Burch

Christopher Kane

David Koma

Colin Horgan

Longshaw Ward at On|Off

palmer//harding

WET SPELL

Ah, wet look hair – friend to the time-poor and canny camouflage to the shampoo shirker – and this season’s drenched ’dos didn’t disappoint. At Markus Lupfer, Tina Outen for L’Oréal Professionnel created gentle movement on the ends for a beachy texture that looks like it’s wet but is dry. In Tina’s inspired words: “It’s business on top and party at the ends.” Dual texture was also evident at David Koma, again with Tina Outen for L’Oréal Professionnel and Christopher Kane, where the tops of Guido’s boyish ponytails were drenched with Redken Glow Dry Style Enhancing Blow-Dry Hair Oil and combed back using a wide-toothed comb to leave clear grooves in the hair. Over at Longshaw Ward at On|Off, Cristiano Basciu of Richard Ward Hair & Metrospa went a little more formal for L’Oréal Professionnel, with slick ’20s-inspired Marcel waves, while Cristian Pignatta from Neville Hair & Beauty for L’Oréal Professionnel also cracked open the gel at palmer// harding. “She’s strong and fearless, so it’s a wet-to-dry fade as if she’s embracing taking a walk in the rain,” he said of the slicked-back look. Brace yourselves, this season is about to get wet ‘n’ wild.

GET THE LOOK moulded through the top of the ears for a clean, tight head shape. TECNI.ART Pli was layered over the top to mattify, before creating a beachy texture through the lengths with TECNI.ART Bouncy and Tender squashed in and diffused dry. SPRING/SUMMER 2019

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R LO

# TE

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L A E

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IAR

TIS

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ADVERTORIAL

THE WORLD IS CHANGING. STYLE IS CHANGING.

TECNI.ART IS CHANGING

*The TECNI.ART range is being relaunched with new packaging, some products being discontinued and three new products

At Central Saint Martins 38 stylists gathered at the L’Oréal Professionnel Design Lab to celebrate the relaunch* of the TECNI.ART range IT’S A CHILLY SUNDAY in London’s Kings Cross and UK and Irish hairstylists are at Central Saint Martins, the talent hothouse responsible for some of the biggest careers in fashion. The goal is to celebrate the legendary backstage styling range TECNI.ART in its new form – streamlined, simpler, but more effective under pressure than ever… The new TECNI.ART range has been co-developed with hair stylists to ensure that the end result is what stylists really need. Busy backstage or in the salon, you can tell at a glance what you need thanks to the new streamlined packaging. Your core essentials are in classic white. Need a texturiser? Reach for silver. Want a total transformer? Then bet on black. In fact the Transformers are among a host of innovative new stylers that will give you the perfect tools for a brilliant final look every time. New shine top coat Ring Light is an instant classic that gives you a high-shine, non-greasy finish. Adam Reed of Percy & Reed spoke about his

experience of the International Design Lab he attended in Paris. Fabio Piras, director of MA Fashion at Central Saint Martins discussed the rise of ‘no trend’ in the fashion industry and how his students create and challenge trends. Inspired and ready to go – and wearing customised TECNI.ART styling belts by Reid Galbraith of Backyard Denim – the stylists worked with a moodboard and enjoyed total creative freedom to produce a finished look on their model. Models were styled in clothing created by Central Saint Martins MA students and curated by course tutor and fashion designer Louise Gray. The looks were shot by Jack Eames and the models were then also captured in high street, everyday wear. The contrast between the high-fashion shoot and the street style shoot highlights just how versatile TECNI.ART can be. The new-look range will be arriving in salons in February and already serious excitement is building. Go big, go sleek, go wavy… go all TECNI.ART.

To discover the new-look TECNI.ART, call L’Oréal Professionnel on 0800 0304034 or visit lorealprofessionnel.co.uk.Follow backstage @lorealpro #lorealprouk #tecniartist

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HOW HAIR HAPPENS

HOW HAIR HAPPENS Head backstage with three of the globe’s premier stylists to see them fashion the future trends for the S/S19 season

THE SHOW  ROBERTA EINER THE LEAD  ADAM REED FOR L’ORÉAL PROFESSIONNEL

For a worn in, dry texture, Adam Reed used his fingers to layer L’Oréal Professionnel TECNI.ART Beach Waves and TECNI. ART Savage Panache.

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TECNI.ART Beach Waves was dried into the hair, before it was twisted into a loose bun and secured discreetly with pins behind the ears.

Hair was pulled back into a midheight ponytail and secured tightly with a 3mm elastic.

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HOW HAIR HAPPENS

For an undone, understated vibe, baby hairs were pulled out and a final spray of TECNI.ART Pli was applied. Adam used a boar bristle brush to break up the hair and add some detail.

Hair nets were worn to allow the hair to set while make-up was perfected and models rehearsed the walk.

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Rather than forcing hair into unnatural shapes, those with afro textures were left with bouncy curls, showing off each modelâ&#x20AC;&#x2122;s individual look. Make-up was also minimal, giving models a subtle glow.

The bright colours and abstract shapes of Roberta Einerâ&#x20AC;&#x2122;s collection were perfectly complemented by this anti-statement hair, with its lived-in texture and simple knot.

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HOW HAIR HAPPENS

THE SHOW  ERDEM THE LEAD  ANTHONY TURNER FOR L’ORÉAL PROFESSIONNEL

The Dyson Supersonic hair dryer Professional edition was used to smooth the hair and a mist of L’Oréal Professionnel Infinium Pure hairspray gave a luxurious texture to the ‘modern Victorian’ hair.

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Hair was braided from behind the ears to the nape of the neck, then linked into one central plait and secured using elastic to give a ‘pinched’ look.

The look started with cocktails – L’Oréal Professionnel TECNI. ART Full Volume Extra Mousse was mixed with TECNI.ART Pli and applied throughout the hair to build a strong foundation.

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12/12/2018 16:22

HOW HAIR HAPPENS

The look was set using more Infinium Pure strong hold hairspray, so as to remain perfectly neat when models took to the runway.

For some extra shine, L’Oréal Professionnel Mythic Oil was smoothed onto the hair, especially over the crown where the lights hit the head.

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Accessories played an important part in this show – glittering earrings hung like chandeliers and wide-brimmed hats added an air of mystery.

Erdem’s collection was inspired by the true story of famed Victorian cross-dressers and gay lovers, Fanny and Stella. Romantic silhouettes with billowing sleeves were wrapped in floral prints.

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12/12/2018 16:23

HOW HAIR HAPPENS

THE SHOW  PALMER//HARDING THE LEAD  CHRISTIAN PIGNATTA FOR L’ORÉAL PROFESSIONNEL

To prep this dual-texture look, Christian Pignatta spritzed the hair with L’Oréal Professionnel TECNI.ART Pli and smoothed the hair down with a brush.

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The shape was then created by pulling the top of the hair back and tucking it behind the ears.

L’Oréal Professionnel TECNI.ART Liss Control and TECNI. ART Extreme Splash were applied to the head using a tint brush, to create a slicked-back wet look that left the ends dry.

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HOW HAIR HAPPENS

To exaggerate the contrasting wet and dry textures, TECNI.ART Super Dust was rubbed into the ends to dull the hair.

A diffuser was used to enhance natural movement in the lengths of the hair, and extra bends were added with a curling tong.

The look was set with a final spray of TECNI. ART Ring Light over the head, and a bold red lip was added as a final touch.

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Texture was also important in the clothes, with models wearing different fabrics in similar jewel tones for a luxurious, decadent collection.

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11/12/2018 14:38

Teddy Quinlivan (right), Teddy Quinlivan (right), Leomie Anderson and Leigh Lezark Leomie Anderson and Leigh Lezark (left) (left) for Redken 5th Avenue for Redken 5th Avenue

LACQUER YOUR HAIR WITH LIQUID COLOR

NEW COLOR GELS LACQUERS

LOW AMMONIA. LOCKED-IN SATURATION. LACQUER SHINE.

Permanent liquid color reinvented. Get rich, saturated results with high impact shine. Now with Color Gels Lacquers and Shades EQ you have the perfect liquid color pair for up to 100% coverage and an easy refresh on Zones 2-3. #ColorGelsLacquers

RE:CREATE

The bite-sized trends to whet your Fashion Week appetite

T WO OF A KIND IT WAS A 2-FOR-1 kind of deal over at Paul Costelloe, where Toni&Guy international artistic director Indira Schauwecker created “power hair with a romantic touch”. This translated into a wispy, messy roll on top and a half-down ’do at the back, with mousse diffused into the ends to give the waves a youthful, effortless feel.

R ATE OF KNOTS WAS IT THE ADVENT of athleisure or just a general laissez-faire morning attitude that saw the growth of the top knot in fashion circles? Well, the challenge is now on to deliver it to clients a little differently, and you could take a leaf out of Guy Kremer’s book of chic buns and knots. Styling for L’Oréal Professionnel, he presented a couple of stunning examples at a celebration of Graduate Fashion Week talent at the Houses of Parliament – eternal loops with no beginning or end. Now it’s your turn…

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Victoria Beckham

Calvin Klein

Christopher Kane

RE:CREATE

OH BOY ! S/S19 WAS A GAMINE dream with damp ’dos that had a distinctly masculine edge. Leading this troop of tomboys was Redken’s Guido, whose wet-look waves at Calvin Klein had more than a whiff of surfer dude about them, while at Victoria Beckham and Christopher Kane it was the comb marks in the front, and the slightly square head-shape that gave an androgynous feel. “There’s a boyishness to this look which is becoming a bit of a trend,” Guido mused backstage at Christopher Kane.

KEEP CALM AND CARRY ON…

…SHOULD BE THE battle cry when entering backstage, but ‘calm’ is not a word often associated with Fashion Week. Hurrah then for Adam Reed and his #calmdownknot at Roberta Einer, which he created in a bid to bring a little of his signature serenity to the game. The textured knot kept a windswept, ethereal feel, thanks to revamped L’Oréal Professionnel TECNI.ART.

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SCULPTURE CLUB HAIL CAESAR HAIR! Roman emperor-inspired style is set to take over. International artistic director for Toni&Guy Cos Sakkas set about recreating the curls seen on those marble busts. He separated the front from ear to ear, gathering the rest into a ponytail which was twisted and looped up into a knot. Then he lightly diffused the hair with a wand before using fingers and a spritz of hairspray to define the curls and keep them in place.

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05/12/2018 11:04

PURE JOY

WHO WAS THE UNSUNG HERO of London Fashion Week? That would be L’Oréal Professionnel’s Infinium Pure hairspray, which went to work backstage with super-stylists such as James Pecis and Anthony Turner (pictured above). Its hypoallergenic, unscented qualities may be unassuming, but it’s influence on the catwalks is undeniable. High fixation+low stiffness = pure love.

Images courtesy of L’Oréal Professionnel, Redken and Toni&Guy

Erdem

RE:CREATE

EGG HEADS MARC JACOBS proved to be a masterclass in old-school hairdressing techniques, with Redken global creative director Guido’s exaggerated ‘egg shape’ chignons. “It’s loosely based on the ’60s with a nod to iconic women like Barbra Streisand and Lee Radziwill, who were always ‘done’,” explained Guido backstage. “It’s the kind of hair you have to go to a salon for as it’s an example of dressing hair up to the extreme.” Well if it’s good enough for Barbra...

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05/12/2018 11:04

RE:CREATE

P E E K A  B O O RUNWAY READERS, lend us your ears… mainly because they can add a quirky detail to an otherwise classic hairstyle. Take the slick, Josephine Baker-inspired marcel waves at Longshaw Ward at On|Off, where Cristiano Basciu of Richard Ward Hair & Metrospa sculpted the hair around one ear before securing it into a low chignon at the back. Cristiano, we hear you.

COME UNDONE DISHEVELLED ’DOS are one thing, half-decimated ones are an entirely different undertaking. It might sound counterintuitive to the rules of hairdressing, but the hair by Tina Farey from Rush Hair at Colin Horgan for On|Off was carefully designed to resemble morning-after manes, where one side bore the remnants of the start of the evening while the other had a decidedly sweaty, slept-in vibe. The hero product? L’Oréal Professionnel’s Mythic Oil. #WokeUpLikeThis

STICK AND TWIST “IT’S A PRETTY, young, fresh style inspired by street fashion,” Darren Fowler of Fowler35 said of the twisted chignons at Chocolab for On|Off. Fowler blow-dried hair straight using L’Oréal Professionnel TECNI.ART Full Volume Extra mixed with water, before brushing back into two low ponytails that were twisted in opposite directions to form two coils. These coils were then wrapped around each other to form a rope, while the spiky ends were fixed in place with strong-hold hairspray.

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Images courtesy of Redken

TOP FIVE JOSH WOOD

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05/12/2018 11:08

JOSH WOOD

ANTIQUES ROADSHOW The sheer scale of Josh Wood’s colour work for the Marc Jacobs S/S19 show was unprecedented. Here, he shines a light on this stunning shade operation and getting the vintage hues the designer craves…

IN THE RUN-UP to the Marc Jacobs S/S19 show, every second It was the shades, as much as the sheer scale, which caught counted for Redken’s global color creative director, Josh Wood. everyone’s imagination. The “anti-unicorn tones”, as Josh “When designers see something they really like, which really describes them, evoked an unusual sense of history and depth for connects with their vision of the collection, they want more and pastels. To get this different transparency, Josh layered Redken more of it,” says Josh. That goes some way to explaining just how Color Gels Lacquers, Shades EQ Pastels, City Beats and new Josh and his five-strong team found themselves colouring the hair Shades EQ Reds to get the variety of hues. of 37 models. “It was that combination of a different undercoat that gave us Yes, that’s 37. And many of them arrived with waist length, this idea of an antique pastel, a heritage pastel. Much softer, it virgin hair that needed bleaching, toning with an ‘undercoat’ of was almost ageless; they weren’t garish. They had an element of grey or violet, roots added back in, then coloured again – all over sophistication about them, which is exactly what Marc wanted.” four days... it’s exhausting just to contemplate such an operation. It hasn’t always been the case that designers’ models have been Back at the A/W18 show, it was big news when nine models walked so welcoming to colour: “Five years ago nobody wanted it; with strong hair colours inspired by ’80s nightclubs. Now, Josh and everybody fought it, cried, and then we’d colour it back again the team were looking at more than four-times that number… after,” Josh recalls. “Now it’s ‘make it as bright as you can, we’re “We were doing shift work,” Josh explains. “We’re in Marc’s going to relaunch this model with this colour’. It’s really been an studio with no backwash – it was overnight change in attitude.” literally over the office sink. We To have such a drastic attitude simply couldn’t afford the time for adjustment from both model “My approach is slowly-slowly, the model to leave the fitting to get management and the models gently-gently, take your time in a cab and find us in a salon. We themselves is challenging, Josh and preserve the hair” didn’t stop.” The process was so admits, “because if there’s going to JOSH WOOD time-consuming that every model be that demand then my business is needed to be tracked and accounted going to have to change”. In this for – a job entrusted to Josh’s super-organised first assistant. new dawn of catwalk colouring, what is the biggest challenge? “Mads was the one dealing with multiple teams, figuring out “The stamina,” he says. “It’s six weeks of non-stop work. I do like who was who. Thank God for Mads,” he says. to celebrate with the designers but my priorities are A) making sure Looking back, even It List Fashionista winner Mads-Sune my team’s okay and B) delivering on what I’m there to do.” Lund Christensen can’t quite articulate how they made it through Josh’s measured approach to colour is exactly what sets him in one piece – although the rapturous response made it all apart from others and puts him in such high demand. He manages worthwhile. “I have absolutely no idea how we did it,” he laughs, to coax and tease out hues which are as-yet unseen, while also but admits that he has developed an almost sixth sense when managing to keep hair looking healthy. “My approach is working with Mr Wood. slowly-slowly, gently-gently, take your time and preserve the hair. “I’ve spent a lot of time trying to get into Josh’s mindset, to I’ve worked on catwalk hair for a long time, and for my own prepare myself for what’s to come. I had a lot of spreadsheets and reputation I want positive feedback – it resonates back to salon notebooks. It’s just about keeping calm and organised,” he adds. clients. The tone of voice is equally as important to me as creativity.”

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11/12/2018 17:12

Natasha Zinko

TINA TELLS IT

“I’VE GOT A TURQUOISE scarf on today, that’s me pushing the boat out!” says Tina Outen, her voice crackling across the line from New York, where she’s in transit to a shoot. Known for her sunny, funny personality and wearing a lot of pink, Tina has been doing the rounds backstage since she started on Luke Hersheson’s team after meeting at the Harvey Nichols Hershesons salon in London near the turn of the century. “I found that having a strong identity helped me. As a hairdresser, it starts with my hair – and now look, everything is getting colourful,” she giggles. Back then, in 2002, Tina was a recently crowned L’Oréal Colour Trophy winner happily working with salon clients, until she was bitten by the backstage bug when she started working for the Hershesons brand. Even after moving to the US for a pop-up salon opportunity (called Tina Did It – now her Instagram handle and printed on all her backstage capes) she continued to keep one foot in the fashion world, being steadily drawn in by the creativity of other artists. “Doing those cuts and colours enabled me to move from the salon and into fashion. I just like to listen, look at the clothes, look at the models, look at the 36

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Natasha Zinko

You can spot session stylist Tina Outen backstage in a heartbeat, thanks to the unicorn-friendly candy pink hair, and she’s here to have a good time and do great hair, as she tells Runway...

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11/12/2018 14:51

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David Koma

Bora Aksu RUNWAY

Bora Aksu

hair, and then see what you can make that ties everything together,” she explains. That collaborative spirit and bright personality is as indomitable as ever, even as Tina raced between several different shows in London during the S/S19 season. From the nomadic braids at Bora Aksu (“He’s always about his muse. He’s always about women who are fighting, struggling, achieving something”), to Natasha Zinko’s repurposed collection with Wrangler (“We were repurposing and layering our products too, which was the texture, the lived-in feel”), Tina’s all about telling a story with her work. Even Markus Lupfer’s pseudo-simple wet look hair had a story. “Markus loves Spring/Summer. The look is a summer girl at the beach – but in the dunes, not the tropics. She’s young, modern, cool.” Rather than relying on salt sprays to mimic the sea-wet texture, Tina loaded the hair with the unusual gel-cream texture L’Oréal Professionnel TECNI.ART Siren Waves. With Fashion Week’s tight time pressures and notoriously high stress levels, Tina’s approach to shows is markedly different. “It’s important to me to keep the energy and fun levels up backstage. I’m an energy person, a vibe person,” Tina asserts.

Markus Lupfer

Bora Aksu

David Koma

Rejina Pyo

TINA OUTEN

“Seeing your hair on 20 models all lined up is incredible – you don’t get that on shoots” TINA OUTEN

She likes to finish all of the hair looks, especially when she’s zipping across the world and working with different teams. How to catch her eye? Turns out it’s easier than you think. “I’ll work with anyone! I’ve met people off Instagram, people DM me and I get them to come and meet me,” she says. “It’s just about feeling, energy-wise, like we get on, having that good vibe next to you.” Even after all this time, the rush that Fashion Week gives her is incomparable: “Seeing your hair on 20 models all lined up is incredible – you don’t get that on shoots,” she says. Tina’s positivity shines all the brighter. Wouldn’t the world be an altogether nicer place if we were all just a little bit more Tina? SPRING/SUMMER 2019

11/12/2018 17:13

GUIDO

LONDON CALLING

Runway sits down with British session legend Guido Palau to talk trends, team dynamics and the unmistakeable London vibe, as he returns for a season in the capital

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06/12/2018 15:41

GUIDO

Victoria Beckham, image courtesy of James Cochrane

Guido backstage at S/S19

IT’S BEEN YEARS since Guido led so many shows in London, but with occasions such as Riccardo Tisci’s first show for Burberry and Victoria Beckham’s 10-year anniversary and LFW debut, Guido and his team set up camp in the capital for a very special London Fashion Week. “It’s funny because I always feel like I belong here,” says the Redken global creative director, making himself comfortable on the plush Covent Garden Hotel sofa. “For a while I really severed ties with London, but something’s shifted a little bit. Just being here feels… it’s what I know, it’s where I grew up.” The hotel is opposite one of the first salons Guido worked in, more than 30 years ago. “It’s funny how life is. It was nice coming back, nice to do Victoria Beckham’s show here again after New York,” he smiles. “I went to the party for a bit afterwards, and you couldn’t have been anywhere else but London in that space – London people have a distinctness about them. People here really know how to enjoy themselves, they let go.” Guido has known Victoria since her Spice Girls days, and has been with her over the past decade when she weathered initial scepticism as she moved into fashion. “You’ve gone on this journey with a designer, someone who was up against the odds in With such a history in Fashion Week styling, the changes to a way, and she’s proved herself,” he explains. “Going from being the shows over the years are all too clear. “When I first started in a successful girl group to running a successful business, having we would do 18 models, a big show was 22 models. Not a family and children… it’s pretty powerful. It’s not easy.” anymore!” he laughs. “You still only get four hours and now can Victoria’s signature understated glamour took on a boyish, have 120 at Burberry, 175 at Dolce & Gabbana… the numbers minimalist edge for S/S19, standing apart from many of the shows are huge, the team you need is huge.” that saw a real return to more noticeable styling, after years of And what’s hard with having a big team is that you don’t undone looks. “There’s still the natural hair around, but there know each individual’s skillsets. “You walk in and there are all seems to be an interest in more glamorous looks. For a good three these new faces you don’t know,” he admits. years we’ve talked about natural textures, but now there’s an The dynamic backstage – interest. People want to see a coupled with a language barrier fashion moment, a look,” he says, “London people have a distinctness about in some cases – of eager young referencing the responses to the them. People here really know how to stylists, frayed nerves and huge oversized silhouettes at Marc time pressures means that it can Jacobs and extravagant Valentino enjoy themselves, they let go” be a baptism of fire. Couture blowouts. For Guido, the GUIDO “It’s one thing I always say ‘reboot’ of focusing on natural – you have to remember the speed,” he says. “170 people, three textures and diversity was much needed, a new type of beauty hours, you have to work it out. It’s not 45 minutes per person, statement for the world: “We’re going to keep that positive like you would in the salon. It’s a different language. I try to get message, but for a while we let that fashion edge go.” it as perfect as possible, but I just need it done.” For Riccardo Tisci’s first Burberry show he utilised a chignon He likes to keep an eye out for fresh talent backstage, to keep the look simple and clean. Being able to help to establish a knowing that the atmosphere certainly isn’t for everyone. “But if brand’s voice is something that Guido takes great responsibility you want to work backstage… as long as you’re helpful, you’re in: “Even though Riccardo’s an established designer, you’re at the good,” he smiles. “It’s all about thinking and using your time beginning, you’re creating a new voice for the brand. wisely for the lead person: ‘how can I be helpful? What can I do, “There was a lot of pressure on that show but at the same if I’m not technically putting the hair up?’ time it was exciting to be around that kind of expectation,” he “It might not be your skillset for that show. We all have adds. “I’d worked with Riccardo at Givenchy so I know him, but strengths but when it’s not yours, what can you do to relieve the the Burberry woman is completely different to the Givenchy team of the stress and help the situation? You would be a shining woman. That’s the exciting thing about working with a new star to me if you have that attitude.” designer, or one who is new to a house; you get to develop a style.”

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12/12/2018 10:50

Daniel Pascal Turner at On|Off 40

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07/12/2018 11:54

ON|OFF

MATCHYMATCHY Pairing creatives together can be a tricky business. Here’s how it’s done at the On|Off showcase at London Fashion Week…

ON|OFF HAS BEEN instrumental in launching the careers of international fashion designers for years. For 26 seasons across 15 years, the showcase at London Fashion Week has given labels such as Gareth Pugh, Peter Pilotto and JW Anderson a platform to promote their visions on a global stage. Looking to highlight new visionaries and bright-minded businesses, the On|Off initiative is as nurturing as it is creative. Part of this support involves connecting designers with experienced hair and make-up teams to help complete their vision. L’Oréal Professionnel steps up to the plate for hair, hitting home runs season after season with its carefully considered partnerships. Each designer has their own story and appeal, and the L’Oréal Professionnel team works with its associated artists to find the perfect pairing, every time. How? Let’s find out…

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07/12/2018 11:54

ON|OFF

I A LO N D O N

T H E D E S I G N E R : Ira Avezov T H E S T Y L I S T: Mark Woolley,

Electric Hairdressing T H E L O O K : Textured, lengths tucked into collars and hoods to create a pear shape

R U N WAY: How did you find On|Off? I R A AV E Z OV: It was our debut show and

having an opportunity to work with top-end professionals from L’Oréal Professionnel felt like a precious gift. When the people you work with are very talented – as Mark Woolley and his team are – it makes the results extraordinary, and the process inspiring and enjoyable. R U N WAY: What makes the On|Off showcase different to other shows? M A R K W O O L L E Y: On|Off has an international reputation for launching new visions and collections from emerging designers. How it supports new talent is amazing; it offers what new designers need to start their career in fashion and grow. Electric is an independent, British brand born from pure passion, with the goal to make a difference in our industry – and young designers have the same intent – so working together to create something different and inspirational is ideal.

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LO N GS H AW WA R D

DA N I E L PA S C A L TA N N E R

T H E D E S I G N E R S : David Longshaw and Kirsty Ward T H E S T Y L I S T: Cristiano Basciu, Richard Ward Hair & Metrospa T H E L O O K : Clean and sculpted

T H E D E S I G N E R : Daniel Pascal Tanner T H E S T Y L I S T: Richard Phillipart,

The Boutique Atelier T H E L O O K : Low ponytail with Pre-Raphaelite texture

R U N WAY: How did the show’s low side-parting with a hint of Marcel wave and chignon look come into being? DAV I D L O N G S H AW: Cristiano instantly connected with our research images and collection fittings photos we showed him, and suggested ways to adapt the hair styling to create the sculpted look. It felt like a more polished progression from our previous season’s catwalk hair (which was a messy wet look). It really suited our S/S19 garments, which have more of an emphasis on tailoring, they’re a bit more grown up. R U N WAY: How has the pairing evolved? C R I S T I A N O B A S C I U : This is the second time we have worked with the Longshaw Ward designers and we absolutely love creating hair for them! We have developed a brilliant relationship which is really important – they trust our team to create something special for them that really works for their vision.

R U N WAY: How did you find the experience of an On|Off collaboration? DA N I E L PA S C A L TA N N E R : It was a real pleasure to work with a hair stylist as creative as Richard, he interpreted the aesthetic and feeling of the collection beautifully. The textured fringe added intrigue and romance, but the hair was still clean and off the sides of the face, so we could see the models features. R U N WAY: What was the process like? R I C H A R D P H I L L I PA R T: Daniel and I chatted over the phone a couple of times, we exchanged moodboards and emails back and forth long before we did the fitting and test day. Because of the big black velvet hats worn by half of the models, we needed something to tie all the looks together. So on the test day I suggested black ribbons in ponytails and it became a key part of the style. We’ve worked together since, collaborating on a hair show that he styled.

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12/12/2018 09:37

ON|OFF

T H E D E S I G N E R : Colin Horgan T H E S T Y L I S T: Tina Farey, Rush Hair T H E L O O K : Sweaty, post-clubbing, with

one side left as it would have been at the start of the night

R U N WAY: How did you find On|Off? C O L I N H O R GA N : It was an incredible

CHOCOL AB

| ON OFF

C O L I N H O RGA N

experience. It was experimental, but the level of professionalism was so strong I couldn’t have asked for more. T I N A FA R E Y: I really loved working with Colin and we’ve already collaborated again as he kindly lent us two of his outfits for the Rush Live charity hair show! R U N WAY: How did you settle on the ‘post-clubbing’ look? C O L I N H O R GA N : My concept for the hair was supposed to be a ‘out all night, just come home’ look where the hair is coming undone but still has a sleek, sophisticated element to it. When Tina was doing a few different tests there was a point where the hair was half complete, and I loved how effortless it looked. It gave this sense the woman had done it herself but was at a stage in the morning where she felt great enough to know it didn’t need adjustment.

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T H E D E S I G N E R : Qing T H E S T Y L I S T: Darren Fowler,

Fowler35 T H E L O O K : Clean and simple with a low, twisted chignon

R U N WAY: How did you find On|Off? Q I N G : It was a great working with

On|Off and L’Oréal Professionnel, Darren and his team were excellent. All of us were extremely happy with the result and experience Darren provided. I can’t thank L’Oréal Professionnel enough for providing such an exquisite team for us! DA R R E N F O W L E R : On|Off is always exciting. Creating characters is very much my ethos and something I carry through to the catwalk. I always work with the designers to consider the story of the models, presenting an image that will convey that story to the viewer. R U N WAY: How did you devise the look? DA R R E N F O W L E R : It was decided that the model was chic but street. Almost East London meets Couture. I used a double ponytail tied in at the nape to keep the parting through the top, then flipped this up and tied it again so that we had this sculptured shape working back up the head.

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05/12/2018 11:15

“It was a mix of editorial hair but with a surreal quality. The show was performance art” JOHANNA CREE BROWN

REVOLUTIONARY SPIRIT t

Love the looks created by Johanna Cree Brown and the Trevor Sorbie Art Team

PROTEST BRAIDS

SURREALIST BRAIDS

Three low braids using figure of eight weaving are finished with L’Oréal Professionnel TECNI.ART Ring Light

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An extended braided tail wrapped and draped around neck and clothes, with TECNI.ART Web used for braiding.

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11/12/2018 14:53

CARLA FERNÁNDEZ

JOIN THE RESISTANCE

FEMINIST

A luxe shape with disconnected lengths, using TECNI.ART Web to slick down the sides.

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Brown and the Trevor Sorbie team to create editorial looks with an out of this world element that befitted the work. Johanna explains that each look “was a mix of editorial hair but with a surreal quality. The show was performance art”. For Carla, she says working with Johanna to create the looks “demonstrated the hair was also an art piece, a crafted hairstyle”. The Trevor Sorbie artistic director worked closely with style consultant and designer Sam Lambert to create the initial concept for the hair, which featured centre-partings and a mix of long and woven braids. Using references from the textiles of Mexico’s indigenous communities that influence Carla’s work, Sam explained that they “wanted to pick inspiration from the culture and make it contemporary”. From this, Sam and Johanna developed the idea of making the hair part of the clothing, to make it an accessory coming out from the cloth or using long single braids as necklaces.

THE SPOTLIGHT SHONE on designer Carla Fernández at the latest Fashion in Motion event at the V&A, which showcased her Manifesto of Fashion as Resistance and featured a live chorus and a catwalk presentation with work from five collections. Centred around the designer’s commitment to decolonisation, intersectionality and social justice, Carla’s designs also reflect the rich history of textiles and design of her native Mexico. After studying art history, fashion design and Mexican apparel, in 2000 she launched her ready-to-wear brand inspired by traditional Mexican textiles. By 2008, she had been named Fashion Entrepreneur of the Year by the British Fashion Council, and in December 2018 she was honoured with the Design Miami/Visionary Award alongside her husband, artist Pedro Reyes. L’Oréal Professionnel, which has provided hair teams for the Fashion in Motion event since its inception, tasked leading stylist Johanna Cree

Images courtesy of L’Oréal Professionnel

Designer Carla Fernández fights the good fight at the latest V&A Fashion in Motion, with extra muscle from Johanna Cree Brown and the Trevor Sorbie Art Team

ANDROGYNOUS

Hair as nature intended, with a little TECNI.ART Web to slick hair back from face.

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BRUSH UP

Holly Fulton

Are your staff up-to-scratch on styling? We spoke to some of the backstage big-hitters about the skillset they claim is missing from the next generation of hairdressersâ&#x20AC;Ś

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TRADING IN THE SALON floor for an scrutiny – forming the basis of trends to adrenaline-filled season backstage at come for the season ahead – there’s no fashion week is a dream come true for room for winging it. “People want to assist many. With lucky stylists cherry-picked for and come backstage, as I did,” Adam the best teams led by some of the biggest explains. “But I learnt those classic skills names in the business, expectations are before I even went to assist. They should high – both for the hairdresser and for the be practising on block heads. Even now, if salons that are losing staff for days at a I’m going to do a show and I’ve been sent time. But what happens when the new cog a reference, I still practise and make sure doesn’t fit in the finely-oiled machine? that I’ve got the right tools.” “One of the issues we’re finding is a shortage of ‘classic’ skills,” says Adam Reed, “Even the most basic skills they seem co-founder of Percy & Reed to have no idea how to do, or how to and L’Oréal Professionnel UK make it look beautiful” editorial ambassador. He feels ADAM REED that the need for speed in under-pressure salons has resulted in a chasm between expectations So what can be done? To start, Adam and experience, with artists hoping to pick has filmed a series of video tutorials for up key techniques on the job. “We don’t L’Oréal Professionnel’s Access platform to want rushed work, we need an incredible offer insight and education to all salon level of skill,” he continues. “Even the stylists that’s completely accessible – no most basic skills they seem to have no “access all areas” pass needed. idea how to do, or how to make it Richard Phillipart, owner of The look beautiful.” Boutique Atelier in Cheshire, leads his When your work is under this much own team at London Fashion Week and he

Adam Reed

Richard Phillipart

SKILLS

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Jonathan Soons

SKILLS

suggests doubling down on the core skills that are so essential when working backstage. “Often we will be working a classic technique into a modern texture, so a wide skillset and “When I started assisting, my ponytail understanding of work was weak. I picked up on it how things work immediately and practised for a long time” will help you be JONATHAN SOONS ready for anything,” he explains. Even simple up-dos can be the downfall of a Fashion Week newbie. “Ponytail work is sometimes the skill that needs to be improved,” agrees Jonathan Soons, artistic ambassador for Headmasters. “When I started assisting, my ponytail work was weak. I picked up on it immediately and practised for a long time to have the confidence to do a high show pony.” Technique isn’t the only element these fashion week seniors find lacking in their assistants – having a broad product knowledge is essential, especially as extreme looks sent down the catwalk are rarely created with the usual instructions. It’s a lesson that Kathryn Dartnell, art director at Harringtons, learnt very

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quickly. “When I first started working backstage, I remember noticing the amount of product used,” she recalls. “Seeing someone use a whole bottle of TECNI.ART Full Volume Extra mousse on one head of hair… I’d never seen anyone do that in the salon before! I found I had to learn to use and understand products in a whole new way backstage.” That understanding of products and building a base of expertise around what’s in your kitbag is an key element of the revamped TECNI.ART range from L’Oréal Professionnel. Reformulated after intense workshopping with stylists from around the globe including Adam Reed, TECNI.ART’s raison d’etre to is to provide the tools that will allow a stylist to achieve what they’ve been briefed to do as brilliantly as possible. But for Kathryn, her time backstage has greatly helped to shape her work back in the salon. “There are lots of skills that cross over, but session artists have such an in-depth knowledge and skill set when it comes to styling hair. There is so much to learn in simply styling; there isn’t a salon hairdresser alive who won’t benefit from being exposed to the skill set

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SKILLS

Kathryn Dartnell

required to work backstage at a show.” Gaining an awareness of your own strengths and weaknesses is no easy feat but can quickly help to set you apart in the best way possible. As concerned as Adam is about a “cheat mentality, of winging it”, he knows that this is by no means a universal problem. He adds: “Some people are so on the ball. What’s interesting is how they then really stand out.” It’s something that Jonathan agrees with, advocating fast thinking and being aware of other teams in cramped quarters. “Backstage is not a salon environment, and being chatty or slow is not good,” Jonathan warns. “You need to be alert and ready to help more than one stylist at a time.” So how best to make a (positive) impression? “Ask to come and assist at the prep,” Adam suggests. “It’s a “There isn’t a salon hairdresser alive who small thing, but you’ll see won’t benefit from being exposed to the all of the process of the skill set required to work backstage” prep and be able to go home and practise it – KATHRYN DARTNELL and knock it out of the park. You’re getting a free education.” Filming the test or guide means that you can be in the moment, paying attention to what’s being shown – but it also gives you concrete material to return back to the salon with and learn from. “Make sure you bring a good kit and ask

lots of questions,” Adam concludes. “I never mind if people ask me questions, I’d rather someone ask than try and wing it. I’ll always make sure my assistant can be a point of contact if you’re a little nervous about talking to me. It’s a job where you have to be able to communicate or you’re never going to learn – and you’ll be annoyed at yourself for not asking.”

SESSION SKILLS FOR T H E S A LO N T I P S & T R I C KS Update your backstage skills with the Tips & Tricks styling course from L’Oréal Professionnel. Taught by Kayleigh Twigg from Brooks & Brooks, it gives you the ammunition you need to keep styling from becoming your Achilles heel. Improve your confidence with braiding and hair-up styling through step-by-step, interactive demonstrations and hands-on training.

27 March, London Academy lorealaccess.com/uk

M A S T E RC L A S S Redken’s next-level Masterclass sessions are perfect for making sure your skills are freshly sharpened for backstage work. Learn some of S/S19’s hottest trends with Jonathan Long’s S/S Cut/Color/Style masterclass, or learn from the king of cool himself, Mr Larry King, in his expert Styling class. Under his expert guidance you’ll be ready to create his signature styles and polished looks with an undone twist.

18 March and 29 April, Redken Exchange, London lorealaccess.com/uk

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S / S 19 H A I R I S …

“ABOUT FRINGES, BANGS AND MINI FRINGES. WE SAW THEM AT PR ADA , MIU MIU, ALL OVER THE PL ACE. THERE’S A BOYISHNESS THIS SEASON THAT’S EMPOWERING, TOO”

Guido, Redken global creative director

“LOW MAINTENANCE. SMOOCHED  DOWN, WEAR ABLE WET LOOKS ARE A MUST THIS SEASON. IT’S EVERY THING THAT IS NATUR AL , EASY TO WEAR BUT STILL POLISHED WITH SHINE”

Mark Woolley, Electric Hairdressing

“FREEFLOWING. THERE’S LOTS OF MOVEMENT, LOTS OF TEXTURE  BE IT STR AIGHT, WAV Y OR CURLY  BUT THERE’S ALSO LOTS OF HAIR DOWN LOOKS WITH AIR CATCHING IT AS MODELS WALK”

Richard Phillipart, The Boutique Atelier

“COLOURFUL! EXPRESSIVE, EXPERIMENTAL AND FUN HAIR THAT LOOKS LESS FLOW Y AND EDITORIAL  MORE LIKE THE WAY HAIR WAS WORN AS AN ACCESSORY IN THE ’80S”

Josh Wood, Redken global color creative director

“TOO COOL FOR SCHOOL . EFFORTLESS SHAPE, COLOUR AND FINISH ARE KEY TO KEEPING IT REAL . THINK DEBBIE HARRY, SOFIA COPPOL A AND CAROLINE DE MAIGRET AND YOU’RE ON THE RIGHT TR ACK!”

Adam Reed, Percy & Reed

A summary of the season, in the words of the professionals

S/S19 H A I R I S …

“BRINGING TEXTURE BACK! THINK SLICKED BACK POWER BR AIDS, FROM EL ABOR ATE UPDOS AND FLUFFY, FLYAWAY WAVES TO WETLOOK PONY TAILS  TEXTURE IS KEY”

Cristiano Basciu, Richard Ward Hair & Metrospa

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“ACCESSORIES! THINK BACK TO ‘80S SCHOOL ST YLE. I LOVED THE LEATHER HEADBAND AT PR ADA , THE ENCRUSTED DIAMOND CLIPS AT MA XMAR A… CHANEL BOWS MADE A STATEMENT, TOO!

Tina Farey, Rush Hair

“ALL ABOUT DUALIT Y. WE’RE MODERNISING AUTHENTIC, NATUR AL HAIR BY CREATING DUAL TEXTURE . BE IT SHINY WET PRODUCTS USED FOR HOLD AND CLEAN ENDS THAT FLY, OR CLEAN ROOTS AND DRY TEXTURED ENDS”

Tina Outen

“IS STILL ABOUT INDIVIDUALIT Y. GONE ARE COOKIE CUT TER HAIRCUTS, THERE’S NEVER BEEN A BET TER TIME TO BE BOLD AND USE YOUR HAIR TO EXPRESS WHO YOU REALLY ARE. IT CAN BE TAILORED WITH A UNIQUE T WIST”

Darren Fowler, Fowler35

“ABOUT THE RETURN OF THE STATEMENT HAIRCUT. THE NEED FOR STRUCTURED SHAPES IS AT THE FOREFRONT. WE ARE SEEING THE REBIRTH OF THE EMPOWERING HAIRCUT”

Cristian Pignatta, Neville Hair & Beauty

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