Runway S/S20

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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C O N T E N T S S P R I N G/S UM M E R 2 02 0 06 TOP FIVE MOMENTS Our pick of the best of the catwalk this S/S20

16 THE TRENDS The searing-hot styles your fashion-forward clients will crave this season

22 HOW HAIR HAPPENS Go behind the scenes at Bora Aksu, Preen by Thornton Bregazzi and Rose Danford-Phillips

30 RE:C RE ATE The mini trends with the maximum gains

36 ANTHONY TURNER

38 MARC JACOBS Dream team Guido Palau and Josh Wood backstage in New York

40 TEXTURE We take an in-depth look at the need for textured hair skills backstage

44 JOHANNA CREE BROWN The hair auteur on the way she approaches the avant-garde

46 WHITE SHOW The proving ground for Central Saint Martins’ freshers and the L’Oréal Professionnel ID Artists

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Cover image: Erdem S/S20, image courtesy of L’Oréal Professionnel

The 2019 Most Wanted Session Stylist on hard work and grasping opportunities

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EDITOR’S LET TER Hello dear Runway readers, Welcome to a brand new issue and a brand new decade. So, what do the ’20s have in store for us? Much to roar about judging by the fierce ’dos on the catwalks as hairstylists looked to both the past and present for their inspiration, a kind of follicular Back to the Future. Take the ’40s tissue set curls (yes, that’s tissue of the Kleenex variety) at Miu Miu over on Re:Create (from page 32) or the ’80s-esque wet-look coiffs on Trends (p16). We saw J.Lo break the internet (again) as she paid homage to her Millennial self, while our inner child was rewarded with a huge dollop of nostalgia thanks to the presence of Trolls and Hello Kitty dolls – a couple of highlights in That Was The Season (p14).

In keeping with the theme of what’s to come, we celebrate the visionaries of the hair world, including Guido and Josh Wood for their spectacular work on the Marc Jacobs show (p38), as well as interviews with the fantastical and Most Wanted award-winning Anthony Turner (p36). We also catch up with the audaciously avant-garde Johanna Cree Brown of Trevor Sorbie fame, who works on art projects and films, as well as shows such as Fyodor Golan (p44).

And we honour the mothership that is the Central Saint Martins White Show; an elite training camp for future talent (p46). To finish, we dive into the need for hairdressers working backstage to have the skills to work on absolutely ANY hair texture (p40). And to that we say, here’s looking at you, S/S20.

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

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TOP FIVE MOMENTS IN HAIR & FASHION Give it up for the designers that put the ‘show’ into Fashion Week

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V I VA L A R E VO LU C I Ó N

Image courtesy of Redken

ERDEM

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GREETINGS COMRADES! This season Erdem gave us a political figure – and wardrobe – to get behind. Designer Erdem Moralioglu is a fan of kick-ass women and, for S/S20 he chose to plunder the life of Tina Modotti, “a romantic and revolutionary woman of principle”, he claimed backstage. Modotti was an Italian-born silent movie star, who went from Hollywood to Mexico and radical communism. Her eventful life (she met an untimely death aged 45) was played out across a tree-lined gravel catwalk like a sartorial This Is Your Life. A riot of exaggerated puff sleeves and opulent prints met yoke blouses and embroidered dresses, all topped with a Cordovan hat. The hair manifesto? Romance and revolution as Anthony Turner for L’Oréal Professionnel turned to Modotti for a clean boyish braid. “It feels quite tough because of the strict centre-parting and tight braid but the big bow makes it feel romantic,” he said.

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JUNGLE FEVER OVER AT CASA DI VERSACE, the designer transformed the former velodrome Palazzo Delle Scintille into a futuristic amphitheatre with digital art projections made using Google’s Tilt Brush. A huge bronze palm tree structure sat in the middle as models sashayed down the catwalks in racy black-belted blazer dresses, leather coat dresses and miniskirts reminiscent of Versace circa 1992.

These then made way for a plume of green and red jungle prints, before Donatella interrupted to say “Okay Google, now show me the real jungle dress’ and the internet broke… Rapturous applause heralded the arrival of J.Lo herself, wearing an impossibly skimpy, cut to the navel incarnation of the jungle print dress she wore to the Grammy Awards back in 2000. Hair was equally sexy from Redken global creative director, Guido Palau, who described the finish as “wet-look hair that’s very messy, very sexy and very Donatella”.

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Image courtesy of James Cochrane

VERSACE

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GENDER BLENDER

Image courtesy of L’Oréal Professionnel

SHARON WAUCHOB

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IF YOU WORSHIP at the altar of fashion, Sharon Wauchob is sure to rank high in your estimations.

Earning her (pin)stripes as an in-house designer at Louis Vuitton, the Irish designer is best known for her contemporary take on femininity, admitting that she has “always liked the androgynous style”.

Rather fittingly, her S/S20 show at the resplendent St Cyprian’s Church in Marylebone was an equally opulent ode to non-binary dressing. Her fabrics were as diverse as the casting, which comprised a trans-generational mix of actors and dancers of all sexes. Flirty fringed flapper dresses cavorted with insouciant drapes of fabric that adorned the more masculine trench coats and blazers, while wispy feathered dresses were paired with satin drainpipe trousers. And for hair? Neil Moodie for L’Oréal Professionnel stuck with androgyny and a strong side-parting. “It’s contained and shiny. There’s a hardness to it,” he divulged. Amen to that.

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KOOK Y CUT TE R IT’S OFFICIAL: le geek, c’est chic. Haute nerds aren’t joiners – they’re delightfully idiosyncratic outliers – but if they were, Prada is the cult they’d join. Eternally kooky, brimming with nostalgia and always addled with irreverence, it’s the brand that celebrates the individual. And this season more than ever, Miuccia Prada’s directive was about honing your personal style to reduce throwaway fashion. The result was a joyfully eclectic mélange of textures (think cheesecloth, macramé and velvet) and colours (there were strong nods to the ’70s in the retro palette of browns, blues and tangerines). Over on hair, Guido for Redken was also celebrating the individual. “There’s a hint of strangeness to the look which is classic Prada. I added sideburns to each model to add a little boyishness,” he said.

“There’s a touch of uniformity while still allowing each model’s personality to shine.”

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Image courtesy of James Cochrane

PRADA

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ALL RISE

Image courtesy of L’Oréal Professionnel

MOLLY GODDARD

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LIKE THE PÂTISSERIE CHEF of the fashion world, Molly Goddard inspires a crowd hungry for her specialist creations, and this season the queen of tulle didn’t disappoint. Silhouettes were effortlessly inflated with the finesse of a thrice-baked soufflé and frothy lemon yellow skirts billowed from voluminous satin tops. But it was Goddard’s first ever foray into the world of denim that really whet the appetite. Indigo-hued, ankle-grazing tiered gowns felt as light and airy as her signature tulle, while the big, blousy 3D denim flowers that adorned the top half were the icing on the cake. To finish, the deliciously moreish two-piece confection in raspberry cream and a bright red trim sated the exacting FROW. Meanwhile, over on hair, Luke Hersheson for L’Oréal Professionnel whipped up an effortlessly elegant ’do inspired by the elusive off-duty model.

We say: tulle throttle ahead!

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20/01/2020 16:41

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THAT WAS THE SEASON…

Victoria Beckham

Ports 1961

Marc Jacobs

From childhood toys to vintage J.Lo, nostalgia helped turn up the heat for S/S20

THROWING SHADES

Daniel Pascal Tanner at On|Off

HIGH BROW

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PRIM BRIMS Molly Goddard

BROWS ARE literally inching their way up the make-up charts this season. At Molly Goddard black slivers skimmed the tops of the brows for a touch of ’20s starlet.

Meanwhile at Daniel Pascal Tanner at On|Off, Lans Nguyen-Grealis went for pencil-thin daubs a good few millimetres above the models’ natural brows.

Dior

THE ’70S MAY get rather a bad rap in the taste stakes (shag carpets, polyester suits and avocado bathroom suites spring to mind) but when it came to eyewear they had it going on. As did the fabulous sunnies at Ports 1961, Marc Jacobs, Victoria Beckham, Chloé and Givenchy. Throw no shade…

FORGET FOOTLOOSE floppy hats, brazen berets or flirty fedoras, this season’s headgear was a nod to simpler times. Many of the puritanical hats on show tended to be of the straw variety, with cloche-like incarnations at Dior, flat sun hats at Erdem and boaters at Daniel Pascal Tanner at On|Off. At Prada, the soft, leather upturned hats had a hint of sou’wester perfect for British summertime. Serf’s up.

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Fyodor Golan

Joshua Kane at the Royal Exchange

THAT WAS THE SEASON

LOC ATION,

Courtesy of Instagram @jlo

S O F T P L AY PREPARE TO INDULGE in a little childhood nostalgia. At Fyodor Golan, bags were accessorised with Trolls – those cute cult dolls from a time when ‘troll’ had nothing to do with the internet (come to think of it, the internet didn’t even exist!).

Meanwhile, at On|Off’s Jimmy Paul, Hello Kitty had everyone feline joyous with his playful homage to the Japanese furball.

IN PLUME

J U S T S L AY I N G… ALL HAIL QUEEN J.Lo, the woman who single-handedly took the crown for ruling the runways in THAT dress. Not content with breaking the internet back in 2000 (quite literally – her Versace dress at the Grammy Awards spawned the birth of Google Images), Jenny From The Block went and did it again at the Versace show with 2020’s scantier and sexier navel-grazing rendition. Another day, another slay!

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Sharon Wauchob

Images courtesy of Simon Armstrong, L’Oréal Professionnel and Redken

ONE OF THE JOYS of session styling is that you gain exclusive access to incredible venues – a hirsute Through the Keyhole if you will – and this season there was everything from tunnels (Fyodor Golan) and churches (Sharon Wauchob) to luxe shopping centres (Joshua Kane). Institutional buildings were clearly de rigueur and while whiffs of chlorine emanated from Molly Goddard’s venue of choice (Seymour Leisure Centre in Marylebone), Rejina Pyo opted for the bookish ’60s charm of Holborn Library. But it was Canada Design’s showcase in Blighty that posed an actual security risk. Set in Canada House, hair stylist for L’Oréal Professionnel, Daniel Fiorio, based his team in Canadian prime minister Justin Trudeau’s private office and had to be accompanied up and down the stairs by security guards. Don’t forget your AAA pass, guys…

Jimmy Paul at On|Off

LOC ATION

IF BIRDS of a feather flock together, the designers were all roosting in the same tree of inspiration this season as feathers were everywhere.

While designers like Rose Danford-Phillips at On|Off and Guo Pei for the V&A’s Fashion In Motion event used them as chic embellishments, Jimmy Paul made them the focal point of his Hello Kitty jumpers and Sharon Wauchob got the FROW in a flap with her pastel pink gown. Shake your tail feathers…

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Erdem

THE TRENDS From swashbuckling plaits to exploring undiscovered textures, S/S20 is a treasure trove of inspiration

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Alexander McQueen

V& A Fashion in Motion: Preen by Thornton Bregazzi

TRENDS

BRAID HEART

H A I R Anthony Turner for L’Oréal Professionnel T H E L O O K A clean, boyish braid topped off with a big black bow – quintessentially Erdem H O W Hair was prepped with L’Oréal Professionnel TECNI.ART Pli and Mythic Oil then blow-dried RUNWAY

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GET THE LOOK  ERDEM

Bora Aksu

Dior

Alexander McQueen

Bora Aksu

Dior

Bora Aksu

WHEN THE GOING GETS tough, the tough get… braiding.

Or so it seems if this season’s power plaits are anything to go by.

From pirate-inspired pigtails to rebellious rope braids there was an underlying air of cavalier mutiny. Take the wet-look pirate braids at Alexander McQueen by Redken global creative director Guido, with a small braid at the front that was pure Adam and the Ants.

Over at the V&A’s Fashion In Motion: Preen by Thornton Bregazzi show, Jonny Engstrom at Guy Kremer for L’Oréal Professionnel wove raw material haphazardly through the distressed braids for a Celtic warrior vibe. Weathered was also the order of the day at Bora Aksu where Tina Outen for L’Oréal Professionnel was channelling some Frida Kahlo chutzpah with her braids, spritzing L’Oréal Professionnel TECNI.ART 6-Fix throughout the hair to define the texture. In keeping with the empowered woman theme, Anthony Turner for L’Oréal Professionnel found inspiration in silent movie star-turned communist Tina Modotti for his boyish braid. He explained: “It feels quite tough because of the strict centre-parting and tight braid but the big bow softens the look and makes it feel romantic.”

Speaking of which, rebellion and romance are natural bedfellows and the swoonsome braid by Guido at Dior gave us all the feels.

using a Dyson Professional Styling Nozzle for a sleek finish. A strict centre-parting was brushed to cover the ears. A low, tight braid was made at the back using Infinium Extreme and the Dyson to smooth, perfected with more Infinium Extreme before finishing with a ribbon.

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Jimmy Paul at On|Off 18

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Givenchy

Chloé

TRENDS

H A I R Guido for Redken T H E L O O K Tomboyish fl air with

a well placed Coach barrette H O W A 10p-sized amount of Redken Extreme Play Safe was applied to lengths and ends, the front was dried with a round brush, leaving it smooth, then blow-dried RUNWAY

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GET THE LOOK  COACH

Sacai

Rejina Pyo

Valentino

Ralph Lauren

Valentino

Coach

B L O W N AWAY

THERE WAS SOMETHING of a return to altogether more high maintenance #juststeppedoutofasalon ’dos this season.

Central to the trend was of course the classic blow-out. Forget ‘carefree’, this is a woman who cares. A lot. And she’s got time on her hands to hone her unequivocal aesthetic, that aesthetic being one of unashamed luxury. “The hair is rich, glamorous and dream-like, which perfectly compliments the Valentino woman,” explained Redken’s Guido. Over at Coach there was the hint of a well-heeled Sloane as Guido added in a big, bouncy quiff to his blow-dry. Meanwhile, pushing the sumptuous texture

by Guido that was seen at shows like Ralph Lauren and Chloé a little further, Tina Outen for L’Oréal Professionnel decided to open up the face and reveal the models’ features by sweeping the hair back at Rejina Pyo. “She’s quirky, intellectual, expensive and put together so I’m focusing on the hairline to give her a distinct personality,” she revealed. But it was Jack Merrick-Thirlway’s take on the trend that we really put our money behind. Stepping out from the Neville Hair & Beauty salon to take the backstage helm at Jimmy Paul for L’Oréal Professionnel he set about creating Hello Kitty meets Brigitte Bardot beehives.

from right to left for lift. Hair was side-parted in the opposite direction to create added volume. The front two-inch section was twisted back towards the ear, separating during styling for volume and secured above the ear with a barrette, before being finished with Redken Triple Dry 15.

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Ports 1961

Givenchy

TRENDS

G E T T H E L O O K  M O L LY G O D DA R D H A I R Luke Hersheson for L’Oréal Professionnel T H E L O O K The ultimate model off-duty #iwokeuplikethis look H O W Hair was misted with L’Oréal Professionnel TECNI.ART Pli to prep then dried with a diffuser.

TECNI.ART Full Volume Extra 20

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Joshua Kane

Sacai

Ports 1961

Ports 1961

Burberry

Molly Goddard

EASY RIDER

THE AGE OF IDENTIKIT models stomping down the runway like genetically blessed clones is officially over. After a few years of championing the individual backstage it no longer appears to be a trend so much as the norm. “We’re celebrating individuality at Burberry this season,” confirmed Redken’s Guido Palau.

“The overall feeling is one of richness, a controlled naturalness; it’s a modern, new texture.” This texture happened to be the starting point at many other shows which each added in their own nuances. At Ports 1961, French girls were the inspiration for the tousled, cool-girl texture which Guido side-parted and tucked behind the ears. The French also stormed the hair stations at Givenchy, where Guido gave some a chop for a “tomboyish, easy vibe”. At Joshua Kane, the theme of Mythical Creatures lent every model their own character, and Darren Fowler from Fowler35 used lashings of L’Oréal Professionnel TECNI.ART to create myriad techniques and textures.

Over at Molly Goddard, Luke Hersheson for L’Oréal Professionnel took effortless to the extreme with his straight-from-the-shower half pony. “She’s carefree and fun and wants her hair off her face but didn’t bother to pull the ponytail through completely,” he explained.

Mousse was used for separation, then hair was pulled back and secured in a pony halfway between the crown and the nape. On the final tie-through, hair was pulled halfway through to leave ends free, an undone feel exaggerated by breaking hair apart and pulling out random pieces.

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Sharon Wauchob

Daniel Pascal Tanner at On|Off

TRENDS

H A I R Guido for Redken T H E L O O K Just out of the shower –

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Carolina Herrara

Proenza Schouler

GET THE LOOK  VERSACE

‘messy, very sexy, very Donatella’ H O W A 10p-sized amount of Redken Hardwear 16 Gel was raked back through the hair with fingers, combing through lengths for a wet appearance, adding more of the gel as they styled.

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Kingston University MA show

Kingston University MA show

Kingston Universtiy MA show

Images courtesy of Simon Armstrong, L’Oréal Professionnel and Redken

Christopher Kane

WET WET WET

RELUCTANT TO DIVE into a wet-look trend? Come on in, the water’s fine! Better than fine if this season’s hydrophilic looks are anything to go by. From damp (see the Kingston University MA show by Electric’s Mark Woolley for L’Oréal Professionnel), to drenched, there wasn’t a dry follicle in the house. Take global Redken creative director Guido’s sexily saturated look at Versace. “It’s meant to feel like you just got out of the shower,” he revealed backstage. Gel was certainly the product du jour, reflecting the ’80s influence that seemed to seep into every fashion capital. Case in point the strict, almost S&M ponytails at Proenza Schouler, which Guido bound in leather.

Over at Daniel Pascal Tanner at On|Off, the look was a little more relaxed as Richard Phillipart from The Boutique Atelier for L’Oréal Professionnel sought to reflect the ’80s echo of the clothes. It was a look not dissimilar to the one sported at Carolina Herrera, which Guido explained was also a nod to the decade of power suits and power hair. Many of the other wet-look ’dos were a more masculine affair with sideburns at Prada for a ‘boyish’ nuance, a strong side-parting at Sharon Wauchob for an ‘androgynous femininity’ and ‘shellacked’ ponytails at Christopher Kane for a ‘futuristic boyishness’.

A few pieces of hair were then taken from the hairline and brushed across the forehead for a messy, fresh-fromthe-shower appearance. Triple Pure 32 hairspray was spritzed all over for high hold without crunch, then a little Shine Flash 02 was spritzed over the whole look to get a high-gloss finish.

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20/01/2020 11:52

FULL STEAM AHEAD The revamped Steampod 3.0 from L’Oréal Professionnel is here to change how you look at heat styling… forever

Let off some styling steam with the new Steampod 3.0 from L’Oréal Professionnel.

To find out more, call 0800 030 4034 or visit lorealprofessionnel.co.uk/steampod-3 22

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ADVERTORIAL

DO YOU REMEMBER when you first heard about L’Oréal Professionnel’s Steampod? Its use of steam to straighten hair shook up the hot tools market, offering a gentler effect on strands and an ultra-luxurious finish.

Like any great fashion fixture, the heart and soul of the original can be found in the upgraded Steampod 3.0. The newest iteration has been revamped with fresh technology to meet every styling need. Forget frantically styling before the models hit the runway – the Steampod 3.0 delivers results twice as fast as regular straighteners, leaving hair twice as smooth.* It transforms hair with steam technology, whether you’re going for glossy curls or a sleek and straight finish.

We know models’ hair becomes more difficult to manage as fashion weeks progress, due to repeated styling at multiple shows – however the Steampod 3.0 offers 78 per cent less damage,** ideal for S/S20’s trends of healthy, expensive-looking hair.

L’Oréal Professionnel is constantly evolving and adapting its products based on the feedback of experts and artists. The result?

An improved ergonomic design so that you can style seamlessly with minimal effort. The Steampod 3.0 is 14 per cent thinner and 37 per cent lighter than its predecessor, offering improved

Neil Moodie backstage at Sharon Wauchob

NEIL MOODIE’S ST YLING SECRETS

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“THE UPDATED, STREAMLINED design, integrated water feature and rotating cord makes the Steampod 3.0 super-practical to use backstage and has become a new favourite in my kitbag – I am so amazed by the results!

“I used it recently on a photoshoot for a major fashion magazine and the hair

felt so much smoother and looked shinier, it’s now virtually impossible for me to go back to a traditional straightener.

“People are very aware of the damage heat styling can do to the hair and I constantly have models and consumers ask me about this, so being able to offer them an alternative means you can really build trust with them.”

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*Instrumental test versus regular straightener **Instrumental test versus regular straightener after 15 uses

comfort as you work. And ‘Cool Girl’ waves really are effortless, thanks to the new 360-degree rotating cord, so you’re never left in a tangle. The integrated comb keeps things running smoothly while the floating plates and high tech steam delivery make styling both speedy and uniform across the whole head. Enjoy intelligent heat controls that allow you to switch easily across hair types, as well as constant and automatic heat monitoring.

L’Oréal Professionnel has developed exclusive product formulas to work in tandem with the Steampod 3.0’s unique design, to further reinforce the caring benefits of using steam.

The care routine helps to control frizz and ensure a smooth finish for a soft and natural-looking glossy result. Choose from the Steam-Activated Cream for thick or sensitised hair, or reach for the Steam-Activated Milk when dealing with fine-to-normal hair types. The Concentrated Serum is designed to give that beautiful finish and works brilliantly for all clients.

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HOW HAIR HAPPENS

HOW HAIR HAPPENS Head backstage with three visionary stylists and see them create the looks that count for S/S20

THE SHOW  BORA AKSU THE LEAD  TINA OUTEN FOR L’ORÉAL PROFESSIONNEL

Tina Outen layered TECNI.ART Pli, Transformer Texture and Super Dust from L’Oréal Professionnel to add definition to the models’ hair before loose, random curls were created with a medium hair tong

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Tina misted TECNI.ART 6-Fix to build a weathered texture, and TECNI.ART Ring Light to add luminosity through the ends

Tina then sectioned the hair and began to plait two skinny, tight braids that were shaped behind the ear and secured with a clear band about one inch from the ends

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HOW HAIR HAPPENS

Some models had flowers added to top of their heads, to add a delicate touch to their worn-in braids

Strong red lips and bold eyebrows contributed to the fierce yet feminine beauty look, yet models retained their individual styles

For the models without flowers, Tina paid extra attention to the front of their hair. She built detail with a wispy, flyaway texture that pulled back from the forehead and framed the face

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As models hit the runway, the flyaway hairs created a halo effect that melded perfectly with the collection of coloured lace and ruffled details

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HOW HAIR HAPPENS

THE SHOW  V&A FASHION IN MOTION: PREEN BY THORNTON BREGAZZI THE LEAD  JONNY ENGSTROM AT GUY KREMER FOR L’ORÉAL PROFESSIONNEL

Jonny Engstrom’s plaited hairstyles were inspired by a dark take on romance. Hair was sectioned and TECNI.ART Pli from L’Oréal Professionnel was applied as a styling primer to provide hold and shape

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Jonny and the team built braids of all different sizes – some were thick and chunky, others slim and sleek, creating depth and a variety of textures

Floral ribbons were added to the plaits and cut to size, with soft tendrils pulled out to make the look perfectly imperfect

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HOW HAIR HAPPENS

Make-up was left simple and fresh, with glowing dewy skin, sheer pink lips and brushed up eyebrows, letting the hair and clothes do the talking

Before the show began, Jonny tweaked the styles so they were personal to each model and added a spray of TECNI.ART Ring Light for gloss and shine

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The intricate yet organic hairstyles were an ideal accompaniment to the opulent clothing, covered in details such as frills, covered buttons and lace trims

Shown on the catwalk in the iconic V&A Museum, the pieces were a mixture of Preen

by Thornton Bregazzi collections past and present themed around natural prints and pagan celebrations

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HOW HAIR HAPPENS

THE SHOW  ROSE DANFORDPHILLIPS AT ON|OFF THE LEAD  CRISTIANO BASCIU AT RICHARD WARD HAIR & METRO SPA FOR L’ORÉAL PROFESSIONNEL

At the Rose Danford-Phillips show for On|Off, the hair was prepped with TECNI.ART Pli from L’Oréal Professionnel, roughly dried and brushed through

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Hair was pinned in at the sides and tendrils were pulled out at the front. These pieces were then moulded into finger waves, clipped and left to set

The lengths of the hair were tonged into soft waves. Cristiano worked TECNI.ART Extreme Splash Gel throughout to provide shape and definition

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HOW HAIR HAPPENS

Designer Rose Danford-Phillips created a variety of hair accessories from materials such as seashells. These were secured as the finishing touch

Images courtesy of L’Oréal Professionnel

To provide hold and shine, Cristiano misted TECNI.ART Fix Design over the mermaid-like hair before removing the clips

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With their tendrils curling over their shoulders, models walked in flowing gowns accentuated with bright, abstract prints – a look that was both modern and classic

Bright pink blusher was used to accentuate models’ cheekbones along with shimmering pale blue eyeshadow and pale, glossy lips

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Fyodor Golan

RE:CREATE Introducing the mini trends with maximum gains

FAKE NE WS NEWSFLASH – wigs don’t need to be seamlessly matched to your natural hair colour or expertly blended. Sometimes, it’s about showing off the wig itself. Case in point, the motley medley of ’dos we were wigging out over at Fyodor Golan by Trevor Sorbie’s Johanna Cree Brown for L’Oréal Professionnel.

From pastel crimps to XXL neon spikes, the idea was to make it a feature in its own right. Mission accomplished.

HARD WEAR MOHAWKS HAVE always been associated with a tough, ‘don’t mess with me’ attitude, but the metallic iterations by Cristian Pignatta at Neville Hair & Beauty for L’Oréal Professionnel at the V&A’s Fashion In Motion: Guo Pei show took things to the next level. Forget hair pins, these were skewers and were designed to reflect the designer’s ‘angels and demons’ theme of the collection. Spooky, ooky but magical all the same, they’re sure to go down in S/S20 hair folklore.

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RE:CREATE

GEL AT THE READY, baby (hairs) we are coming for you! Jamie Stevens for L’Oréal Professionnel at Atelier Zuhra upped the ante with his cyclical squiggles, Cristiano Basciu got wet and wavy at Rose Danford-Phillips, but it was the diamante swirls at Marc Jacobs by Guido for Redken that really stole our hearts.

Chloé

Chloé

Canada Fashion

Atelier Zuhra

Marc Jacobs

Rose Danford-Phillips at On|Off

LOV E M E T E N D R I L

SH E’S A L ADY IF ONE IS NOT amused by the more undignified ’dos on display this season, these genteel coiffs might be more to your impeccable taste. Regally refined and ever-so-proper, it’s all about the chic chignon. Over at Chloé, Redken global creative director Guido looked to the ’40s for his ‘boyish up-dos’, while Daniel Fiorio for L’Oréal Professionnel gave his elongated chignons at Canada Fashion a twist with a Bride Of Frankenstein flash of waves.

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LOOP DE LOOP

YO U O K , B U N?

THE HALF UP/HALF DOWN ’do by Electric Hairdressing’s Mark Woolley for L’Oréal Professionnel at the Kingston MA show was made a whole lot more exciting by wrapping a length of hair around the elastic. It might not sound like rocket science, but this trick has the ability to elevate a simple style into something that has an almost Samurai-esque feel.

Prada

WHAT LIES

HOW LOW CAN YOU GO? Pretty low, judging by the controlled chignons at Victoria Beckham. “The hair is chic, beautiful and slightly masculine,” said Guido for Redken backstage. “I’ve blow-dried and flat-ironed the hair to get it very straight before raking it back with my fingers. The overall feeling is very groomed, pulled together, adult and rich.”

BENE ATH SOMETHING SUPERNATURAL was afoot over at Yan Dengyu for On|Off. Seeming to draw on classic Disney villainesses (there was one outfit that was pure Maleficent) he favoured sheer veils draped over the models’ faces, which meant that Jonny Engstrom at Guy Kremer for L’Oréal Professionnel (pictured, inset) had his work cut out to ensure that the hair underneath had sufficient structure to it. The result was a squared off beehive with a whiff of Marie Antoinette.

Don’t lose your head…

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FE ATHERED FRIENDS FOR THOSE OF you who have mentally confined feathering to the annals of retro cuts never to be revisited, a peek at Prada and Givenchy may be enough to change your minds. Guido for Redken was the scissor-happy brains behind both and, as seems to have become a S/S20 signature, each model was treated as a unique entity. “We cut some of the models’ hair at Givenchy to give them a tomboyish, easy vibe which like Prada is a little bit off-kilter,” he said.

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RE:CREATE

PA SS TH E TISSU ES NO, WE’RE NOT talking about the dreaded Fashion Week Flu; it was Guido going all retro on us at Miu Miu: “It’s a tissue-set, ’40s-inspired look that’s an old-school way of achieving airy curls,” he revealed backstage. “You wrap individual sections of hair with a tissue, heat them up with an iron, then allow them to cool. Once you take out the tissues, the result is a soft curl.”

Images courtesy of Simon Armstrong, L’Oréal Professionnel and Redken

URBAN MY TH AT THE JOSHUA KANE Mythical Creatures show, the Fowler35 team’s job was to create 42 individual hair looks.

“It was all about character creation,” explained Darren Fowler backstage (pictured, inset), who used oodles of TECNI.ART from L’Oréal Professionnel backstage. “We worked closely with Joshua to understand the personality each of the creatures cast would be playing, and designed looks to complement the clothes and the make-up by Lan Nguyen-Grealis.” Utterly wild.

GIVE IT A WHORL

R AGS TO RICHES HOW TO IMPROVE on perfection? Add a dollop of imperfection, like the delightfully distressed braids at the V&A’s Fashion in Motion: Preen By Thornton Bregazzi show. Firmly dispelling school connotations, these were plaits with rags of attitude by Jonny Engstrom at Guy Kremer for L’Oréal Professionnel.

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AT APUJAN IT was ‘business as usual’ at the front and party at the back (if that party happens to involve a whirlpool.) The result was a natural, ‘caught in the rain’ ’do with a “time loop” of hair at the back that Taku Morimoto at Daniel Galvin for L’Oréal Professionnel called a ‘tornado effect’. We were blown away…

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DARK ROMANCE

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Mortal Remains @mo.bw

2019

Mortal Remains @parma.ham

Mortal Remains @patriciaareina_

FROM THE INTENT STARE of his clear blue eyes to the passion with which he discusses his muses and inspirations, you know very early on when meeting Anthony Turner that he’s an artist with a serious passion. A passion for hair, yes – that’s evident in the incredible work seen on runways, editorials and advertising campaigns – but also a passion for words, for stories. So it comes as no surprise to learn that the Most Wanted Session Stylist winner first wanted to be a journalist.

“From an early age, when I picked up The Face magazine, I became obsessed with fashion,” he recalls. “Through iD and Dazed and those younger, cooler magazines, I educated myself because I came from a small town in the middle of the country and there wasn’t really a lot.

Quite a predictable scenario because there wasn’t really any other outlet, right?

“So I used to read these magazines like they were my Bible and learn about designers and fashion. I wanted to be a journalist. I wanted to be a writer.

Hairdressing never came into it at all.”

That all changed when, as a media studies student at the turn of the century needing to find a job to pay his way through his education, he became an assistant at Toni&Guy in Stafford

Anthony Turner at Erdem

A young boy in a Midlands bedroom dreamed of a different world; Anthony Turner, the Most Wanted Session Stylist winner, took a leap of faith and made it happen. He tells Runway how he’s delivering his brand of different

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Mortal Remains photography by Sarah Piantadosi (@sarahpiantadosi). Erdem photography courtesy of L’Oréal Professionnel

Erdem

ANTHONY TURNER

(alongside working the night shift at a garage and stacking shelves at Kwiksave).

“I had this preconceived idea of what hairdressing was in my town. Old ladies would go and get a set and blow-dry.

Toni&Guy was the first time that I’d ever seen hair done differently; it was edgy, it pushed boundaries. It opened my eyes…”

He learned that this part-time job could be combined with his love of fashion; his salon manager told him about a previous Toni&Guy employee who was doing pretty well styling hair for fashion shows, a guy called Guido. “Funnily enough, I was obsessed with Alexander McQueen and I found out that Guido did the hair for his shows – it was a perfect union! That made me decide to become a hairdresser full time.”

Fast forward, and Anthony and a bin bag full of his clothes moved to London, setting up as an independent stylist in an East London salon to allow him to work on any shoots and shows he managed to book, while obsessively following Guido’s work.

On a night out in Shoreditch with friends, Anthony saw a guy walk into a bar… and that guy was Guido. “I’d had a few shots, and I just went over and started talking to him. He was my rock star!” He left his number in case any opportunities should arise, and went back to his friends.

Three weeks later, his phone rang, and he was on his way to New York to assist Guido at Fashion Week.

An incredible learning curve followed, one where Anthony admits hair played a smaller part. “When working session, it’s actually learning how to be on set, how to present yourself,” he explains. “The way that Guido conducts himself and the professionalism, the way he talks to clients and photographers about the hair and sells it. Watching him do that, my jaw was on the floor. He has such a way

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of explaining things, such intelligence.”

He also learned that his own way of doing hair – a bit differently, something that might get a funny look in a busy high street salon – was something to embrace.

“When I was working with Guido, it made me understand that I was never really wrong. He’s got a very kind of punk attitude towards hair and I love that.”

Having risen to the position of Guido’s first assistant, he then took a risk: going it alone as a session stylist gun for hire in New York. “I was absolutely terrified,” he remembers. “It’s a tough industry with loads of competition. I didn’t know whether I was going to do well or not, and basically, I worked my butt off.” A piece for Interview magazine made the cover, which helped get the ball rolling.

But he admits that it’s only now, some seven years later, that he’s really found his feet. “I’m really coming into my own now.

I’m more calm; the experience is there, my

“I’m really coming into my own now. I’m more calm; the experience is there, my confidence is there” ANTHONY TURNER

confidence is there. And I’m lucky enough to have the most amazing assistants.”

“At the beginning of your session career you kind of hope the designer just wants natural hair,” he continues, laughing. “But it’s all about owning it and making people believe that what you’re saying is right and true. And then to follow it through you need to deliver.

Now I’m in control, I’m in charge. Let’s push it, let’s do something different.”

One collaborator who embraces that desire to push, to do something different is

Erdem, with whom Anthony has been working for many seasons, alongside L’Oréal Professionnel. “I adore Erdem and we’re both Scorpios, so we have this deep understanding of each other,” he says.

“He’s strong and challenging, and always has a narrative to tell, every season. I look forward to the test because we’ve always got a story. It’s always completely bonkers and there’s always a bit of darkness in there somewhere.”

That love of narrative, of difference, is evident also in Anthony’s own ’zine Mortal Remains, a celebration of young culture he published last year, with kids identifying as non-binary and alternative drag artists among the mix of subjects.

“I was a young goth in a mining town and I never felt like I belonged anywhere. I was a loner, got bullied, so I have a lot of empathy for young people now who are confident enough to be true to themselves. I wanted to celebrate them, put them on a platform and say ‘you lot are amazing’.

“Also my hope was for that magazine to find its way to a young kid somewhere in their bedroom, to connect to somebody out there looking at it, inspiring them to go out and do the same and just live. Just be free and have fun.”

That moment of connection, to be told you’re amazing, was exactly what Anthony experienced for himself at the Most Wanted Grand Final, when he heard his name called out as a winner. “That was a highlight of my career, I’d never won anything before,” he smiles. “But what really got me that night was all the other hairdressers in the room that came up to my table, saying ‘hi, you don’t know who I am but I really respect your work’. That really hit me and I’ve never had that in such a big way. It meant the world to me.

It’s really nice to hear that you’re somebody else’s inspiration.”

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22/01/2020 10:32

A CHAR ACTER STUDY Redken dream team Guido Palau and Josh Wood once again created the magic at Marc Jacobs in New York. The challenge this time? To celebrate individuality across nearly 60 highly-personalised looks…

“IT’S MARC’S IDEA of street life,” muses Redken global creative director, Guido Palau to reporters at the Marc Jacobs S/S20 show. “It’s not reality, it’s his reality.”

Taking place at Park Avenue Armory, the beauty team had its work cut out to create nearly 60 highly individual hair and make-up looks to complement the designer’s joyous runway of printed suits paired with top hats and bowlers, explosions of flowers and feathers, ruffled sleeves and floaty organza gowns.

The collection – a tribute to the past, a celebration of the present and a look to the future – spanned the decades with many of Jacobs’s signatures and favourite references from over the years.

The only common denominator was individuality, with each look as special as

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the next. “Marc celebrated individuality in his exuberant, very ’70s, but it was about creating those individual people in a playful, theatrical way,” says Guido, reflecting back. “It was a lot of hard work, very long fittings. Marc didn’t want to turn up at the show to see what it looked like, it was more like an editorial.”

One of the most-discussed looks from the event was model Scarlett Costello’s feathery shag, inspired by Jane Fonda’s iconic crop in the 1971 film Klute.

According to Scarlett, when her agent told her she was being considered for the show and Guido wanted to cut her hair, she replied: “Of course. Guido can do whatever the hell he wants to my hair!”

Dotted throughout a show that saw model Fei Fei Sun rocking a glossy page

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MARC JACOBS

boy bowl cut wig and Tessa Bruinsma with side-sweeping ’80s tight spirals, many of Jacobs’s characters were recognisable.

Model Joel Wolfe was transformed into an homage to Marilyn Monroe, with Guido setting platinum waves with clouds of Redken Triple Pure 32 Hairspray.

The attention to detail is mesmerising – model Kiki Willems even had intricate swirls of gelled baby-hair peeping out

from under a wide-brimmed hat. The preparation process to come up with every individual look was hard work, admits Redken global color creative director, Josh Wood. “Marc and stylist Katie Grand were there pretty much 24 hours a day before the show,” he says.

“Each look was carefully curated to deliver a unique persona. It meant every model stood out in their own right to

“The real work was in the consultations and discussing every look, to create a character for each model – it was like doing a play”

Fei Fei Sun

Images courtesy of Redken

Scarlett Costello

Joel Wolfe

JOSH WOOD

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celebrate the beauty of each individual.”

Using Redken Flash Lift Bonder Inside, Redken Shades EQ and Redken Color Gels Lacquers, Josh and his team created an array of looks, from Fei Fei’s onyx bowl cut to split dyes, skater blondes and normcore naturals via light brown and mid-blonde shades. “I worked with Guido and Marc to create individual colours that portray different personas on the models,” he adds. Under pressure to deliver so many unique looks on so many models, Josh stresses how his symbiotic working relationship with Guido made it all so much easier.

“I have a great working pattern with Guido. I know what he likes and doesn’t like, so we work well together to get the right end result,” he smiles. “There’s a lot of fun along the way, although maybe not the few hours immediately before the show as things change and the pressure is on to deliver, but it’s always a privilege to work with him.”

Josh and his team were there on the day of the fitting and the three days up to the show in case they were needed to consult on a look. “We worked in shifts to ensure someone was always there,” he adds. “We coloured several models and wigs for Marc, but the real work was in the consultations and discussing every look, to create a character for each model – it was like doing a play.”

He admits that one of his favourite finishes was the Harajuku metallic copper blonde created for model Issa Lish. “I loved her outfit and the whole look – it really felt culturally very different,” he says. “Creating blondes in the West is all about lightness and clean tones. In the East it’s something very different, and although this colour is a soft orange it’s thought of as a light colour in Asia.”

Every detail was thought out and meticulously executed – adding chipped nail polish or tiny splashes of colour.

It was the perfect reflection of real-life imperfections. “The ultimate message of the show was individuality and expression of who you are,” says Josh. “We used everything in our kit bag as some of the changes were very subtle. We dealt with every look as an individual, unlike the previous season, where we were looking for uniformity.” Gentlemen, take a bow…

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Marc Jacobs

ALL INCLUSIVE

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Fashion is finally embracing diversity in earnest as more models from black and minority ethnic (BAME) backgrounds are cast in major shows and campaigns. With a range of hair textures to prep under pressure backstage, the need for specific skills is greater than ever

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TEXTURE

Marc Jacobs

THE SPRING/SUMMER 2020 season was the most diverse one yet, with more BAME, plus-size and over-50 models seen on the catwalks. Yet reports of black models being asked to style or help with their own hair have continued to crop up year after year.

How is this disconnect still happening in 2020?

The Fashion Spot, which tracks model casting each season, reported that of 7,390 models at 215 major shows, 41.5 per cent were from BAME backgrounds. The steady increase of racial diversity has been reflected in all four fashion capitals, with London second to New York in non-white model castings for S/S20 – featuring a 5.3 per cent increase since A/W19.

“There has always been a little diversity within the fashion industry, but recently it has increased greatly,” says session stylist Neil Moodie. “Most shows and shoots now have a variety of models from different countries and races as many fashion companies wish to show that they are diverse and that their clothes can be worn by anybody.”

This upward trend is bolstered by recent breakout stars of the fashion world. Supermodel Adut Akech scooped Model of the Year at the 2019 Fashion Awards and gave a rousing speech on diversity in the fashion industry.

But numbers can only tell us so much. Charlotte Mensah, founder of The Hair Lounge salon and advocate of natural hair, points out that hiring more BAME models is only one part of the diversity equation. “It’s refreshing to see models and celebrities embracing their natural hair,” she says. “Brands are receiving praise for being diverse and casting more black models. However they’re not hiring stylists who are skilled enough to style it.”

“Being able to cater for all types of hair is the only way forward at fashion shows and in the salon” CRISTIAN PIGNATTA

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Atelier Zurha

“In a world where we are all united as one human race, the hairdresser has to be able to cope with anything that comes their way,” agrees Cristian Pignatta, who leads teams backstage for Neville Hair & Beauty. “Being a one-trick pony was acceptable in the ’90s when hairdressers could define themselves as haircutters only. Today, being able to cater for all types of hair is the only way forward at fashion shows and in the salon. This is why we always have a specialist for every type of hair in our team.”

So often leading the way, Redken global creative director Guido has been quoted backstage season after season at a host of shows talking about embracing and celebrating models’ individualities and hair textures. This season it was evident particularly at Marc Jacobs and Burberry.

In fact, at the most recent Burberry shows under chief creative officer Ricardo Tisci’s direction, Marc Maciver and his Slidercuts

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Natasha Zinko Atelier Zurha

crew have been on hand backstage for their barbering and textured hair skills, and his team could also be found at Louis Vuitton.

The very nature of working backstage means you have to be flexible – you might not know what the look will be until the day, or which models you’ll be working on. The types of hair that you will encounter backstage can vary so wildly that experience of working with different hair textures has become essential.

Abigail Butler, founder of Strictly Xtended in Essex, honed her skills working as a L’Oréal Professionnel ID Artist across a multitude of shows. “You will face many challenges, so your skill set has to be at a certain level,” she asserts. “Making sure you are educated on the basics when styling textured hair means you won’t let the team down. Being prepared by having the right tools and products, having an understanding of how textured hair works and being able to braid textured hair, will provide you with the skills for any job.”

Neil Moodie agrees: “The skills that you’re required to master are exactly the same – understanding the texture, how it reacts to certain products, and also how it will react to certain types of heat tools is essential. Like any hairdressing training, more knowledge is key.”

Nicole Iroh, creative ambassador at Headmasters and lead stylist for the Central Saint Martins White Show at the Fashion Awards 2019 with the Headmasters Artistic Team for L’Oréal Professionnel, set out to understand as many different hair types and textures as possible when her initial formal training failed to teach her. “During my training, textured hair wasn’t covered but I wanted to learn it, so I did! I found that assisting a specialist is key to really understanding textured hair.”

Every season we see plenty of ‘natural’ hair looks, but textured hair needs the same amount of attention as white models’ hair – which is one of Nicole’s main bugbears. “One of the biggest misconceptions at Fashion Week is that because hair is short or the brief is to leave it natural, then we shouldn’t do anything to the hair. It still needs to be shaped, styled and moisturised to look good,” she insists.

The other damning misconception? That you can only know how to treat texture if you have it in your own hair. “While that is definitely an advantage, it doesn’t mean that you can’t learn it,” asserts Nicole. “There are so many different types of curl textures and patterns, each with individual characteristics.”

Reading about all types of textured hair and gaining practical experience is essential. Having friends or models to practise on is a good way to learn. Feeling the hair and really understanding its structure is key. There’s no shame in admitting that you don’t know everything about textured hair – instead you can use the opportunity to learn, especially from those who have a personal understanding. “I learned by working closely with my African-American assistants,” explains session stylist Tina Outen, who is based in New York and is a regular Fashion Week lead.

“They have a very high standard for how they want their hair finished and are super-knowledgeable. I talk to them a lot and try to find what works and what doesn’t.”

Tina suggests relinquishing control and listening to advice.

“If you didn’t grow up with textured hair on your own head, you need to be open to the expertise of those who did. Let them

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Marc Jacobs

Central Saint Martins White Show

TEXTURE

take the lead. Learning that textured hair has its own processes is something that was achieved by spending time watching, talking and asking questions – and being open to suggestions. Some of the most important things I learnt were to be gentle, not to overload the hair with products, to work with treatments, oils and creams, and enjoy the beautiful form and proportions textured hair gives.”

Formal training is also a great way to learn from some of the best texture experts and build up your self-assurance before you get on set. L’Oréal Professionnel runs courses that provide both the theory and practical experience necessary to understand textured hair, partnering with Charlotte Mensah on Curl Power, which covers all curly hair types. “The course is designed to help you build not only your skills and knowledge but also your confidence,” Charlotte explains. “We incorporate techniques such

“The more quality education you receive, the more confident you will feel and the better the results will be” Images courtesy of L’Oréal Professionnel and Redken

CHARLOTTE MENSAH

as twists, twist outs, Bantu knots, rod sets, straw sets and product education. We also use a live model for demonstrations which enhances the hands-on experience of this workshop. The more quality education you receive, the more confident you will feel and the better the results will be for your client.”

And the benefits of understanding and celebrating textured hair go much further than just creating beautiful looks. Sabrina Chappell, premier stylist at Richard Ward Hair & Metrospa, believes that as more hairdressers educate themselves, models will feel more comfortable. “Stylists need to be able to confidently manage textured hair in a limited time, as well as maintain the high standard of styling required for the runway,” she says.

“On a human level, it also allows models who have textured hair to feel properly accepted and included – as they should – and not to feel like their hair type is difficult or a challenge, which is an attitude that can occasionally be found backstage as a result of inexperience,” adds Nicole.

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T H E E D U C AT I O N YO U N E E D TO K N OW C U R L P OW E R W I T H C H A R LOT T E M E N S A H T H I S L’O R É A L P R O F E S S I O N N E L C O U R S E I S A H A N D S  O N E X P E R I E N C E T H AT W I L L G I V E YO U T H E K N O W L E D G E YO U N E E D T O S T Y L E T E X T U R E D H A I R .

London Academy lorealaccess.com/uk

THE ST YLE SESSION A N T H O N Y R AW L I N G S , C R E AT I V E D I R E C T O R O F C H E L S E A’ S L O C KO N E G O S A L O N , S H A R E S H I S T I P S A N D T R I C K S O N H O W T O E L E VAT E YO U R S T Y L I N G SKILLS  ON ALL HAIR T YPES.

4 May, Manchester Academy lorealaccess.com/uk

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Johanna Cree Brown at Fyodor Golan

WHEN ART MEETS FASHION JOHANNA CREE BROWN has always embraced her creative side. When she was a teenager, an artistic future seemed inevitable. In fact the hairdressing world nearly lost her to art school, but after starting out in a salon it wasn’t long before she caught the hairdressing bug.

Never without a camera, she snaps the world around her, always looking for inspiration.

It’s this eye for detail and ability to envisage work through a lens that enables her to transcend the fashion and art worlds.

“When I first started out I wanted to do everything all at

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once,” remembers Johanna.

“I badgered my then boss to let me train and in five months I was qualified and on the salon floor cutting and styling.”

On becoming creative

and encouragement that led me to start working with several fashion designers. In fact, it was [L’Oréal Professionnel legend] Catherine McMahon who gave me my first opportunity

“I find it very grounding seeing my regular clients and being part of that environment” JOHANNA CREE BROWN

director of special projects at Trevor Sorbie, Johanna threw herself into working with fashion designers and artists.

“I’m hugely grateful to L’Oréal Professionnel for its support throughout my career.

It was the brand’s belief in me

to work with a fashion designer – P4SH.” Since her first foray into the world fashion and art, Johanna has worked with an array of designers, including Stéphane Rolland and Corrie Neilsen.

She’s also enjoyed an

ongoing collaboration with design duo Fyodor Golan, recently creating a series of 21 individual hair looks for its S/S20 collection at Somerset House. Best known for its bright and playful work, the label’s collection was divided into three categories: Teddy Boys/Girls, Historical and Punk. “I’ve known Fyodor and Golan for several years and we’ve worked together on their look books,” she explains.

“They’ve been really supportive of my work and any time I do my own hair shows they kindly give me clothes for the models, so I’ve got a really good relationship with them.”

Fyodor Golan S/S20 images courtesy of L’Oréal Professionnel

Trevor Sorbie’s Johanna Cree Brown is a trusted stylist to her salon clientele and an avant-garde visionary with an unyielding attention to detail. She tells Runway how she blends art and session in her own unique way

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Fyodor Golan

L’Oréal Colour Trophy

Exotica with Roger Spy

L’Oréal Colour Trophy

Golan Frydman and Fyodor Podgorny

JOHANNA CREE BROWN

For Johanna, backstage work is about understanding the brand and knowing where the boundaries can be pushed with her creations: “There was something for everyone, from beautiful renaissance pink wigs to loud and colourful spikes for the punks. Some of the styles took weeks of construction by the team at the Trevor Sorbie Covent Garden salon, others were created live – including blue gel delicately being poured onto a model’s head to create a marbled look, and neon powder being thrown onto a model’s blonde wig seconds before she went onto the catwalk.”

For each of the 21 looks, Johanna had to take a unique approach as the designers wanted to bring the clothes back a step and to shout the theme through the hair.

“We wanted to mix different cultures within the three categories, and getting the beauty aesthetic right was really important,” she explains.

“So, if we had a really pretty Marie Antoinette look, we

wanted to mess it up, destroy it, melt it, pull it apart a bit. And then if we had something really strong, like some of the punks, then we would relax a little bit, and have something more wearable.

This was Fyodor and Golan’s mission for the collection.”

Her creative work allows her to skip between fashion, art and film, often with collaborator Roger Spy. “It pushes me totally out of my comfort zone and can produce the best results,” she admits.

“There’s a lot to consider when working with film – how the hair looks from all angles, how it moves.”

And while all this allows Johanna to bring her more avant-garde and visionary ideas to life, looking after her salon clients in the salon is still what she enjoys most about the job.

“The amount of time I spend behind the chair varies from week to week,” she says. “I find it very grounding seeing my regular clients and being part of that environment.”

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The White Show at the 2019 Fashion Awards. Hair by Nicole Iroh and the Headmasters Artistic Team for L’Oréal Professionnel

SHOW AND TELL The White Show at Central Saint Martins is one of the most anticipated events of the first term for first-year fashion design students and provides backstage education for up-and-coming hairdressers THE WHITE SHOW shines the spotlight on emerging talent, offering a collective message that champions new design and innovation. The brief is simple: first-year fashion design students at the iconic Central Saint Martins must create a single look, all in white. The concept this year was to highlight messages of change and protest through opera.

As part of its long-standing collaboration with the college, the show also serves as an opportunity for L’Oréal Professionnel ID Artists to get their first taste of backstage fashion styling.

“For ID Artists this show is a dream come true. They’re working backstage on a major runway show, in the world’s leading fashion college and with an amazing lead stylist – RUSH Hair’s Tina Farey,” explains Stuart Chapman, education project

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development manager at L’Oréal Professionnel. “Tina is not only an exceptional session stylist, she’s also a first-rate educator who genuinely cares about this show as an education opportunity.

That’s what makes this event so good.”

Stuart continues: “ID Artists get to experience the pressures, the buzz, the discipline and above all the tips and techniques of the session stylist. Many hairdressers working on the White Show would never have had the chance to access opportunities as unique as this without the ID Artist programme.”

ID Artists are selected from across the country – the 65-strong team features stylists from large national franchise groups all the way down to small regional salons – but they all share one passion: to take their hairdressing careers to another level.

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TINA FARE Y RUSH HAIR Lead hairstylist “The ID Artists were very receptive and easy to work with. They were extremely professional, and we were a great team on the day. Collectively we all pulled together – the show models were split into three groups, with the team working on the first group together before moving to the next one. Each ID Artist ran everything past me before moving on, and I assigned one to tick off the models so we knew how many we’d worked on!”

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ASHLE Y WALL AC E COPPE RFIE LDS

C HARLI E L SE Y CUT TING ROOM C RE ATIVE

ID Artist

ID Artist

“I absolutely loved being part of such a creative team and working in the hustle and bustle of backstage madness! It was great to see all the models lined up at the end, showcasing beautiful white outfits combined with different textures of hair – from slicked-back wet looks to gorgeous fuzzy textures – it’s L’Oréal Professionnel at its very best.”

“It was amazing! I wasn’t expecting to enjoy it as much as I did, as I knew how much work it would be, but the energy and atmosphere was incredible. I learnt to have a little bit more faith in myself, I was surrounded by a team of such talented and supportive people who are all happy to help. Tina Farey was so chilled and made it such a pleasant learning experience.”

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THE WHITE SHOW

Images courtesy of L’Oréal Professionnel

AT THE FASHION AWARDS 2019

BUNT Y WIC KE NS L AUR A LE IGH HAIR & BE AUT Y

JA MES HOLROYD YOKE THE SALON

ID Artist

ID Artist

“Working on the White Show felt like a free flow of creativity that brought out an amazing, expressive flair within the team and in our work. What I learnt the most was quick ways of prepping and styling hair to create instant volume and texture, which worked as a canvas for a versatile range of looks and controlling the fast-paced environment of the day.”

“To be involved in the White Show was an incredible experience. Around every corner you can find someone in love with their craft, producing really beautiful work. Together with the designers, make-up and the whole ID Artist team, there was a real energy backstage. Biggest lesson – timekeeping. Seventy models in one hour? No worries!”

This year Central Saint Martins was invited to open the star-studded Fashion Awards at the Royal Albert Hall to coincide with the White Show.

In association with L’Oréal Professionnel, hair lead Nicole Iroh worked with the Headmasters Artistic Team to style a phenomenal 180 models in a showcase for the White Show collection. Nicole explains: “We have had new members join the Headmasters Artistic Team and are very proud of ensuring they are able to share experiences such as these alongside senior members.

“On the day we had a massive increase in the number of models, so I paired experienced team members with those new to session styling. Everyone was focused on getting the task done to the best of their abilities and ensuring each design student’s creation was coming to life as they had originally envisaged. There were 180 models so it was an extremely quick turnaround, but the team adapted quickly to time restraints along with last minute changes to wigs, wefts and headpieces. I am so proud of them.

“Teamwork is imperative in all aspects of hairdressing, from working on an award show to running a busy column in the salon. Always do your best, show your passion and never stop improving your skills.”

For key dates and more information on the L’Oréal Professionnel ID Artist programme, follow @lorealeducationuki RUNWAY

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S/S20 HAIR IS…

“PL AYING WITH A BOYISHNESS, AN AT TITUDE. EVEN IF HAIR’S LONG IT’S UNDONE, CENTREPARTED, IT FEELS REALLY COOL EVEN IF IT’S BLOWN OUT”

Guido, Redken global creative director

“ROCKING A SIMPLE VIBE, WITH AN ELEMENT OF SOMETHING UNEXPECTED OR VISUALLY A BIT UNCOMFORTABLE”

Takuya Morimoto, Daniel Galvin

“REFLECTIVE OF THE SPIRIT OF OUR TIME. NOMAD  INSPIRED HAIR AND CAREFREE TEXTURES WITH PRONOUNCED BABY HAIRS ARE SYMBOLIC OF OUR URGE FOR FREEDOM AND A CLOSENESS TO NATURE”

“POWERFUL , WITH ECHOES OF ‘80S GL AMOUR BOTH IN MEN’S AND WOMEN’S HAIR”

Richard Phillipart, The Boutique Atelier

“VINTAGE AND ROMANTIC WITH AN EDGY, UNDONE FEEL .

THINK CL ASSIC HOLLY WOOD STARLETS AND ‘80S ICONS WITH A MODERN T WIST”

Cristiano Basciu, Richard Ward Hair & Beauty Metrospa

Nicole Iroh, Headmasters

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

S/S 2 0 H A I R I S …

“SIMPLE YET BEAUTIFULLY SOFT TEXTURE USING CREATIVE ST YLING FOR A UNIQUE STATEMENT LOOK. SPRING IS A CHANCE TO REVITALISE  THINK BEACH BAL AYAGE, BR AIDED WAVES AND CURLY TEXTURED BOBS”

Seung Ki Baek, RUSH Hair

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“ALL INCLUSIVE. COLOURS R ANGED FROM SUBTLE, DUTCH BLONDE HIGHLIGHTS ALL THE WAY THROUGH TO METALLIC COPPER HAR A JUKU BLONDES”

Josh Wood, Redken global color creative director

“ABOUT SHINE AND ROOT LIFT WITH STR AIGHT HAIR THAT HAS A SOFT FEEL”

Cristian Pignatta, Neville Hair & Beauty

“HEAV Y ON ACCESSORIES, ESPECIALLY PEARLS, BEADING AND FEATHERS. RIBBONS AND BOWS IN THE HAIR ARE POPUL AR, AS IS BR AIDING AND LIVED IN PASTEL HAIR TONES”

Jamie Stevens, Jamie Stevens Hair

“ALL ABOUT THE GORGEOUS, EFFORTLESS ‘SHAKE’ ST YLE FOR LONG HAIR, WHICH SHOWCASES A FREEMOVING TEXTURE AND SHAPE WITH A CLEARLY DEFINED PERIMETER”

Mark Woolley, Electric Hairdressing

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Want to join the tribe? Contact info.redken@loreal.com

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