Runway Spring/Summer 2017 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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SPRING SUMMER 2 017 C RE ATIVEHE ADM AG.COM

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TOP FIVE MOMENTS The very best of this season’s shows

14 T H AT WAS T H E S E ASO N The clothes, make-up and more that caught our eye

16 TRENDS Everything you need to know from the catwalk

22 HOW HAIR HAPPENS We go backstage at Roksanda, Anya Hindmarch, Topshop Unique and JW Anderson

36 THE TRANSFORMED Iconic stylist Guido Palau talks about his work with Alexander Wang

42 MASTERS OF THE UNIVERSE We talk to the head of the Central Saint Martins MA Fashion course, Fabio Piras

TALENT SCOUTS How salons provide the essential backstage assistants

46 RIOT OF COLOUR How colour is making an impact on the catwalk

48 WATC H A N D L E A R N Get the skills to make your clients runway ravishing

Cover image: Topshop Unique, hair by Duffy for L’Oréal Professionnel

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Photography by Rasha Kahil

E D I T O R ’S L E T T E R E Dearest D I TRunway O Rreaders, ’S L E T T E R

Dearest Runwayers, Welcome to Spring/Summer 2017: the Runway debrief – and have we got a packed issue Yes.for It’syou. thatWe’ve time again. The (page time to look at all hair-related at the world’ got trends 16), we’ve gotthings insider details in That Was ThesSeason Fashion put them under microscope. the topinshows onFive theshows (pageWeeks 14) andand Re:Create (page 32).the We’ve got stellarFrom show notes our Top catwalk trends know-how thatnone you need know to bePalau, in theRedken (pageto6)the andtutorials, we also have anand exclusive chat with othertothan Guido know, herecreative at Runway, we’ve got itwhy all covered. global director, about cuts are having a revival on the circuit (page 36). Then we take a journey back to the salon to see how all of these trends are translated Andtofor this Spring/Summer 2016 issue we have prepared a little bit menu clients. Hear how Percy & Reed is launching the Braids,something Buns and Blowdries special we may say so). We have an interview hairfrom supremo Guido(page Palau40). – from(ifL’Oréal Professionnel, all based on looks with distilled the catwalk Most Wanted less!at–the talking about his favourite moments and Adam ReedSession pops upStylist again2015 in ournolook importance of fashion-forward education essential kit for the season. Webackstage have cornered myriadsuch stylists to askChapman what the new (page 48), alongside regular sessionistas as Anna and season means to them; and we have also gotten to grips with all the intricate details Electric’ s Patrick Wilson. of howWe to celebrate reconstruct thealongside pros. In other have all joined forces to thelooks salonslike that, greatwords, hair, arewe developing great session bring you the the at season has toseen offer,on inspired by theand teams that are the front talents, too.best Swoon the shades the runway, discover howatcolour is linebecoming creating them. Because, while the fullwe and finalan looks that are sent down the a bigger seasonal story. And enjoy intimate audience with Fabio runway course, beauty geeks know the real action goes the Piras,are, whoofruns the important, MA Fashionwe course at Central Saintthat Martins (page 42), perhaps down backstage. That’sbreeding really where theofmagic world’ s most iconic ground younghappens! design talent. We are so thrilled to share this issue with you. A lot of blood, sweat and tears go into So join us for your access the scenes… making this theexclusive decisive edit forbehind all you need to know about hair for the new season. We hope you will immerse yourselves and enjoy. Yours in faithful backstage service, Happy reading!

JESSICA DINER JESSICA DINER RUNWAY GUEST EDITOR GUEST EDITOR OF RUNWAY; CONTENT AND CREATIVE DIRECTOR BIRCHBOX CONTENT AND CREATIVE DIRECTOR AT AT BIRCHBOX UKUK Editor in Chief: Amanda Nottage Art: Graeme White Chief Sub Editor: Adam Wood Editor in Chief: Amanda Nottage Art: Graeme White Chief Sub Editor: Adam Wood Contributors: Beth Davie, Anna Samson Publisher: Catherine Handcock Contributor: Beth Davie Publisher: Catherine Handcock RUNWAY, 21 THE TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND WRITE TO US AT RUNWAY, 21 THE TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND 020 7324 7540 enquiries@alfol.co.uk T: 020 7324 7540 E: enquiries@alfol.co.uk Runway is published twice a year by ALFOL Ltd. Creative HEAD is a registered trademark. No part of this magazine may be reproduced without prior permission of the publisher. All information correct at the time of going to press Runway is a supplement of Creative HEAD, which is a registered trademark. All rights reserved. No part of this magazine may be reproduced without prior permission of the publisher. All information correct at the time of going to press

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TOP FIVE MOMENTS IN HAIR & FASHION L E T ’S TA L K A B O U T T H E B I G G E S T A N D B E S T AT FA S H I O N W E E K . J E S S I C A D I N E R C A R E F U L LY S E L E C T S T H E F I V E ‘ I T ’ S H O W S O F T H E S/S17 S E A S O N . R E A D O N …

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YOU SPIN ME RIGHT ROUND ANYA HINDMARCH

“THIS SEASON I’ve been preoccupied by the relationship between geometry and art,” mused British designer Anya Hindmarch in her show notes for S/S17. “I’ve mixed naïve craft techniques and cutting edge technology to create complex shapes.” But this statement didn’t just refer to the details of the collection. It quite literally took shape in the form of the spiralled catwalk that her models strutted around for the new season. It was a spectacle to behold: watercolour neoprene coats and swimwear the backdrop to bold bags with geometric adornment; shoes with graphic accessories; larger-than-life circular sunglasses and all that with hair fashioned in a modern version of the turban, wrapped, secured and styled by none other than Sam McKnight for L’Oréal Professionnel. Spring/Summer 2017 RUNWAY

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EIGHTIES CHILD TOPSHOP UNIQUE

AH, THE 1980s. An era that continues to inspire fashion and beauty to this day. And inspiration it was for Topshop Unique’s collection, which celebrated the East London fashion markets of the ’80s and the rave scene, a particular soft spot for creative director and designer, Kate Phelan. Following in the footsteps of a few innovative brands, Topshop presented its first “see now, buy now” collection where you were able to purchase key pieces straight from the runway. Looks included zebra print tops and skirts, leather trousers and oversized leather aviator jackets. The beauty look was equally shoppable, with models (including Taylor Hill) sporting a make-up look complete with bold brows and a halo of pink eyeshadow by make-up artist Hannah Murray, and a gloriously chic take on the perm by hairstylist Duffy working with L’Oréal Professionnel. Long live the ’80s! 08

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A WOMAN’S WORLD CHRISTIAN DIOR

S/S17 SAW NOT only the debut collection of Maria Grazia Chiuri ( formerly of Valentino) for Christian Dior, but also the debut of the first female designer for the historic design house. The industry waited with bated breath to see what she would send down the runway, and while there were the overtly feminine styles you might expect, she also broadened the scope to include sporty cropped trousers, fencing jackets, peacoats and sun visor hats. “The message is that there is not one kind of woman,” she explained at the end of the show. Her kind of woman is also on point with hair, wearing it high in a bun with braids at the back to look like an undercut (as styled by Guido Palau, Redken global creative director). Chiuri also re-introduced the slogan T-shirt to the house stating ‘DIOR (R)EVOLUTION’ and ‘WE SHOULD ALL BE FEMINISTS’. Girl power. Spring/Summer 2017 RUNWAY

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PERIOD DRAMA ERDEM

There was a complex story woven into designer Erdem’s latest collection. He was inspired by the discovery of a 17th century dress in a shipwreck off the coast of the Netherlands belonging to Jean Kerr, Countess of Roxburghe and lady-in-waiting to the wife Charles I, Henrietta Maria of France. The countess was part of a fleet of 12 ships sent to The Hague with a secret mission to sell crown jewels to fund an army should civil war break out, but several ships were lost. The collection is Erdem’s fantasy that her wardrobe had been found and reimagined for women in 1930s Deauville, a haunt of high society France. Confused? Well, you won’t be when you see the clothes. ‘Shipwrecked braids’, accessorised with a band of grosgrain ribbon by Anthony Turner for L’Oréal Professionnel, completed the ethereal look. Erdem has brought this long-lost wardrobe back to life. 10

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Images courtesy of L’Oréal Professionnel and Redken

SHOW PONIES ALEXANDER MCQUEEN

We went to the coastal landscapes of the Shetland Islands for Sarah Burton’s latest collection at Alexander McQueen. Shetland lace was the starting point for the collection, which came in both cream and black in many a floor-skimming maxi dress length. Toughened up with accessories such as studded biker jackets and boots, leather bralets (worn on top of said maxi dresses), big buckled belts, and jangling chokers and earrings this collection was classic McQueen. In an homage to the heart of the brand, tartan trousers suits and kilts also featured, as did patchwork knits. It was ethereal, it was feminine, but it had an edge. And so did the hair, which was styled by Redken global creative director, Guido, who slicked down models’ hair. Mark my words, this will be the go-to brand for A-Listers come awards season – it’s ready to go straight to the red carpet. Spring/Summer 2017 RUNWAY

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Soo Joo Park & Baja East for Redken 5th Ave

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THAT WAS THE SEASON… W H I L E H A I R I S T H E MO S T E XC I T I N G PA R T O F T H E B AC KS TAG E A R E N A ( W E K N O W W E ’ R E B I A S E D ! ) , I T I S O N L Y P A R T O F T H E S T O R Y. H E R E , W E LO O K AT T H E OT H E R E L E M E N T S G E T T I N G U S E XC I T E D T H I S S E A S O N …

Peter Pilotto

C ATC H MY MIDRIFF AS IF THE IDEA of wearing a bikini come summer wasn’t daunting enough, it seems that having your stomach (and shoulders) on show away from the beach, as seen at Peter Pilotto and House of Holland, is becoming a strong trend as well. Better get onto those crunches, pronto.

House of Holland

FASHION T V

THIS IS CCTV of the most glorious kind, with designer Anya Hindmarch watching all the editors take their seats around her spiralling circular runway ahead of her show. Big Brother is watching you.

DOLCE 18 0˚ AND SO HERE we have it... Dolce & Gabbana’s wondrous crown headpiece as styled by Redken global creative director, Gudio Palau, from every single angle. Bask in its glory. 14

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R U N WAY T H AT WA S T H E S E A S O N

Topshop Unique

J JS Lee

Daks

Erdem Marques’Almeida

IN KEEPING with the romantic mood that designers and hairstylists were in this season, make-up artists got the same memo. Cue varying tones of pretty pink eyeshadow wrapped around the eyes at shows such as J JS Lee, Marques’Almeida and Topshop Unique. Take the look to the next level with a sprinkling of pink glitter on top of the cheekbones, as at Asli Polat.

Asli Polat

Daks

Mariana Jungmann

BRING FASHION up in the (h)air with beautiful printed turban wraps, as seen at Clio Peppiatt, Daks and Mariana Jungmann. A word to the wise when working the look: keep make-up to a minimum and bring some strands of hair forward onto the face for a more relaxed feel. Summer chic at its best.

PINK IS THE COLOUR

Clio Peppiatt

I T ’S A WRAP

House of Holland

RUNNING THE risk of eclipsing the clothes themselves, these larger-than-life earrings demanded attention, too. Seen everywhere from Erdem to Daks and House of Holland, we spy a major trend hitting a high street near you in no time.

Clio Peppiatt

Daks

EAR, EAR

Images courtesy of L’Oréal Professionnel and Redken

THE RETURN OF THE C ATC HPHR ASE TE E

TAY L O R MADE “I’D PAY MILLIONS FOR A NIGHT WITH ASHLEY WILLIAMS!”, “SUCK ON MY TOE PHOEBE PHILO!” Designer Henry Holland doing what he does best and revisiting his slogan T-shirts for the new season. All the cool kids are wearing them don’t you know?

SPOTTED AT TOPSHOP UNIQUE, flipping her Duffy-for-L’Oreal Professionnel locks? Taylor Hill! We adored this oh-so posed pic on Instagram – now, to perfect our nude lip to get that pout…

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Elle B Zhou

THE TRENDS H O W I S H A I R G O I N G T O P L AY O U T F O R S P R I N G/ S U M M E R 2 017 ? L E T U S T A K E Y O U TH ROU G H T H E T RE N DS T H AT W I LL B E D E F I N I N G H A I R I N TH E MO NTHS TO COME â&#x20AC;¦ 16

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HAIR Cristiano Basciu of Richard Ward Hair & Metrospa for L’Oréal Professionnel THE LOOK Thelma & Louise rocker HOW To achieve spiral curls, Cristiano prepped the hair in

Kanye West PA5H

Tory Burch

Loewe

GET THE LOOK ONG OA J PAIR AM

Token Paris

Marques’Almeida

THERE WAS A SERIOUS splash being made backstage as mermaid-worthy waves emerged as one of the strongest trends on the catwalk. Seen in varying stages of waviness, styles started out soft and flowing at Clio Peppiatt by Rush Hair’s Tina Farey at L’Oréal Professionnel, as well as at Roksanda where James Pecis was treating hair to L’Oréal Professionnel Tecni. ART Pli before loosely tonging the lengths. At Tory Burch and Loewe, Redken global creative director Guido also took to his tongs to create soft movement in models’ hair, while at Kanye West he reached for Redken’s new Curvaceous line, where an astonishing 250 models rocked enhanced natural texture. For Token Paris, things started to get a bit wavier with Richard Phillipart and the Boutique Atelier team creating corkscrew curls and at Marques’Almeida, Duffy for L’Oréal Professionnel fashioned waves that were combined with a punky topknot. He then ramped things up for Topshop Unique by bringing the ’80s crimp back with “a spiral perm made modern”, a look that he coined as “new wave glamour”. Crimps then continued to pick up pace at On/Off ’s PA5H where Trevor Sorbie’s Johanna Cree Brown used a crimper to add dents of detail. But the pièce de résistance arrived at Elle B Zhou, where Toni&Guy stylist Efi Davis helped models achieve mermaid status with dreamy, brushed out corkscrew curls.

Clio Peppiatt

M A K I N G WAV E S

Tecni.ART Full Volume Mousse before rough-drying and adding Infinium Hairspray to roots. Tonging hair all over, he finished with a misting of Wild Stylers Next Day Hair to create an undone, messy texture.

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HAIR Guido for Redken THE LOOK The idea of luxurious natural beauty HOW Guido shampooed and conditioned the hair with All Soft and let it dry naturally for the natural

JW Anderson

Mary Katrantzou Akris

Peter Pilotto

GET THE LOOK R ALPH L AUREN

IF EVER THERE was a hashtag that so perfectly encapsulates this trend it’s #wokeuplikethis – effortless, easy breezy hair that might look totally untouched, but actually it’s had quite a bit of a helping hand, not just with styling but with its very foundations: “With any effortless look, the best foundation is up-to-date cut and color,” explains Redken’s Guido, who tended to models’ natural-looking tresses at Celine, Ralph Lauren, Akris and Bottega Veneta, relying on his trusty Wind Blow 05 dry finishing spray and Glow Dry style enhancing blow-dry oil to achieve luxe softness and texture. Anthony Turner was also into the beauty of nonchalantly styled hair at both Peter Pilotto and JW Anderson where he worked with L’Oréal Professionnel creating “light, gorgeous, healthy hair”. So too at Eudon Choi, with models’ natural lengths enhanced by Stephen Low at Neville Hair & Beauty for L’Oréal Professionnel and Mary Katrantzou, who worked with Toni&Guy’s international artistic director, Indira Schauwecker, to achieve pared-down perfection. At J JS Lee, stylist Adam Reed worked Tecni.ART Density Material into the ends of hair. This is the hair equivalent of that Instagram image that might appear all casual and nonchalant, but actually much effort has gone into it to make it look, in fact, effortless. Sure, it might be cheating a little, but sometimes in life, you’ve got to fake it to make it, right?

Bottega Veneta

Peter Pilotto

Mary Katrantzou

Eudon Choi

AU NATURE L

texture, using fingers to continuously comb through damp hair until fully air dried. Then using Diamond Oil, he removed the “little frizzies” to really accentuate the girls’ natural beauty, and add a little luxury to the look.

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HAIR Stephen Low of Neville Hair & Beauty for L’Oréal Professionnel THE LOOK A half-up style with beautifully understated movement HOW Inspired by the floaty layers of the collection, Stephen blow-dried Tecni.ART Volume Architect into the

On|Off Presents Kingston MA

Typical Freaks

GET THE LOOK PALMER HARDING

Valentino

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

Erdem

WHAT WOULD a Spring/Summer season be without beautiful and whimsical up-dos to muse over? For S/S17 we were spoilt for choice with chignons, twists, wraps and braids all floating down the catwalks for our viewing pleasure. As ever, Redken’s Guido took the lead with pulled-out loose chignons at both Alberta Ferretti and Dolce & Gabbana, while at Asli Polat, Richard Phillipart of the Boutique Atelier worked with L’Oréal Professionnel on tousled up-dos that were “soft, effortless and romantic”. You see, the key to making these styles look so feminine is to not make them too pulled-in and tight: “the softer style adds to the hair’s character”, notes Guido. And at Valentino he accented loose braids by pulling out wisps of hair that then floated around the models as they walked. Indeed, pretty braids came into play further with Anthony Turner weaving heartbreakingly beautiful woven buns at Erdem, and Darren Fowler at On|Off Presents mixing up pretty plaits with edgy braids that flowed loosely at the bottom (both for L’Oréal Professionnel). Meanwhile, at Typical Freaks, Mark Woolley of Electric Hairdressing for L’Oréal Professionnel had some fun with rope-style twists in random sections tied off with bits of ribbon and old curtains. Is your heart beating faster yet?

Asli Polat

TRUE ROMANCE

hair, parting it in the centre. Having separated the top section of hair from ear-to-ear, he added a baggy knot, leaving the lengths to hang loose and free. A smidgen of Tecni.ART Liss Control and a misting of Infinium Hairspray finished this style.

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MORE THAN 600 BOTTLES OF TECNI.ART PLI WERE USED BACKSTAGE THIS SEASON

THE PROS’ EDIT S H O W Y O U R C L I E N T S H O W T O R O C K R U N WAY R E A D Y S T Y L E W I T H T H E L’O R É A L P R O F E S S I O N N E L P R O D U C T S T H AT S A L O N A N D S E S S I O N ST YLISTS CAN’T LIVE WITHOUT THIS SEASON

Hard-working stylists need hard-working products; and the L’Oréal Professionnel Tecni.ART range is what they turn to. It is the perfect hair styling palette that is loved by salons and session hairdressers alike. With more than 1,500 formulas that have been tested by more than 100 session stylists – and the L’Oréal research team – the range is incredibly refined for every styling need.

FOR SHAPE MEMORY TECNI.ART PLI

USED AT: ERDEM S/S17 USED BY: ANTHONY TURNER @ANTHONYTURNERHAIR

“I prepped the hair with Tecni.ART Pli. It’s a great prep product that provides effortless control and is brilliantly versatile.”

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R U N WAY A D V E R TO R I A L

FOR HOLD TECNI.ART FIX DESIGN

FOR ROOT LIFT TECNI.ART VOLUME LIFT

USED AT: DAKS S/S17 USED BY: STEPHEN LOW @NEVILLESALON

USED AT: TOPSHOP UNIQUE S/S17 USED BY: DUFFY @DUFFY_DUFFY

“Apply Tecni.ART Fix Design section by section, drying into the hair using a comb. Apply the product from a distance to ensure even distribution.”

“We saturated the hair before blasting it dry. This gave volume and lift at the root – the perfect foundation for a spiral perm made modern.”

FOR AMPLIFYING TECNI.ART VOLUME ARCHITECT

FOR SMOOTHING TECNI.ART LISS CONTROL

USED AT: J JS LEE S/S17 USED BY: ADAM REED @ADAMREEDHAIR

USED AT: ROKSANDA S/S17 USED BY: JAMES PECIS @JAMESPECIS

“The product is great for adding volume and subtle lift, leaving hair looking effortless. Work it into the lengths just as a make-up artist would do when applying foundation to the skin.”

“Tecni.ART Liss Control is perfect for sleek styles and gentle waves. A hazelnut-size brushed into the hair will help tame unruly and unmanageable hair.”

GET #HAIRPALET TE IN YOUR SALON TODAY. CALL 0845 600 0122 OR VISIT LOREALPROFESSIONNEL .CO.UK AND FOLLOW @LOREALPROUK #LOREALPRO ON INSTAGR AM AND T WIT TER Spring/Summer 2017 RUNWAY

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HOW HAIR HAPPENS W E G O B AC KS TAG E W I T H F O U R O F T H E WO R L D ’S TO P S T Y L I S T S TO WATC H T H E M C R E A T E T H E T R E N D S F O R S/S17. S E E T H E F U T U R E T A K E S H A P E … Bit by bit Duffy works through the hair with chopstick tongs to make tight ringlets for a touch of the 1980s.

Duffy applies mousse through the hair then dries it in with a hairdryer – this creates a strong foundation and builds up volume.

THE SHOW TOPSHOP UNIQUE THE LEAD DUFFY FOR L’ORÉAL PROFESSIONNEL

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R U N WAY H O W H A I R H A P P E N S

Duffy smooths the front of some models’ hair into a sweeping mini quiff – it’s a little bit rock and is inspired by party girls of days gone by.

The models line up ready to take to the runway – vinyl and zebra print collide with pastels and sheer textures.

The finished result isn’t too polished – instead it’s big, beautiful and full of bounce.

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THE SHOW ANYA HINDMARCH THE LEAD SAM MCKNIGHT FOR L’ORÉAL PROFESSIONNEL

Sam McKnight creates the basis for the look by scraping hair into a tight, low ponytail with a centre parting.

He sprays each ponytail with L’Oréal Professionnel Infinium hairspray to add shine and keep every hair in place as models walk.

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R U N WAY H O W H A I R H A P P E N S

The seriousness of the hair is offset by the fun accessories Anya Hindmarch is known for – red shoes pop and geometric shapes are a quirky detail.

Each model’s head and neck is bandaged to look as if she had just come out of surgery – and the ‘Facelift Ponytail’ is born.

Hair is ironed straight as a finishing touch. Despite its surrealism, this look is perfectly precise.

Looking subtly spooky and without a hair out of place, the models take a turn on the circular runway at the Royal Horticultural Halls.

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THE SHOW ROKSANDA THE LEAD JAMES PECIS FOR L’ORÉAL PROFESSIONNEL

Hair is wrapped into a low loose ponytail using a thick black ribbon.

James Pecis gets to work tonging sections to create loose waves that will float down the catwalk.

Hair is scrunched to enhance the worn-in texture.

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R U N WAY H O W H A I R H A P P E N S

The simple style is perfectly imperfect and is polished without being overly rigid â&#x20AC;&#x201C; a feeling which is reflected in the collection.

Some models wear their hair in loose waves tucked behind the ear with a simple side parting.

Make-up is kept fuss-free with just a slight hint of colour in the lips to bring out the tones in the clothes.

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THE SHOW JW ANDERSON THE LEAD ANTHONY TURNER FOR L’ORÉAL PROFESSIONNEL

Using a large barrel tong, hair is twisted into loose waves with minimal volume at the root and straight ends.

Anthony Turner’s kitbag is bursting with L’Oréal Professionnel products to create the luxe look for the JW Anderson show.

A dash of Mythic Oil adds shine and tames flyaways, while adding hydration to tired, fashion week hair.

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R U N WAY H O W H A I R H A P P E N S

Some models had short fringes, which were left to sit neatly on their foreheads.

The front section of hair is flipped over as if the models had run their hand through it, showing off the mismatched earrings.

The collection and hair are both understated with an emphasis on careful craftsmanship and incredible attention to detail.

The only thing needed to complete the look is a fine mist of Infinium hairspray, which seals the style while still allowing the hair to move.

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UPDO… W H E T H E R YO U R C L I E N T S LOV E P R E T T Y U P  D O S O R R O M A N T I C D OW N  D O S ,

UP, UP AND AWAY Plaits and braids and knots and buns and brooches… we were in hair heaven with the up finishes across the S/S17 catwalks. Redken global creative director, Guido, gives us the insider tips on how to style them.

STRONG ROMANCE

PLAITED PLEAT “Using Wind Blown 05 really emphasises that lived-in, personal texture, and we added headpieces and flowers for a bit of glamour”

BOYISH PONYTAIL

ATHLETIC BEAUTY

FEMININE TOMBOY “Use Braid Aid for a bit of setting power and grip. Blow-dry hair away from the face with Guts 10 to give it smooth volume for the knot on top”

SLICKED HELMET HAIR “Use lots of Hardwear gel directly onto the hair to make an almost cat-like, mannish shape. Wrap the length of a ponytail up into a chignon, and finish with a heavy spritz of Diamond Oil High Shine Airy Mist”

THE CLASSIC

TEXTURED BRAID

“There are so many versions of up-dos, some simple, some complicated. We are less worried about sleek perfect hair; it’s much more about texture. We’ve much better products and tools now, so we can experiment much more. Up-dos are a great way to accentuate the face and neck. They allow your client to have a great style that’s low maintenance and will last. An up-do can be relaxed or formal, depending how you wear it. A relaxed up-do with a glamorous evening gown keeps the look fresh and modern.” Jonathan Long, Lockonego 30

JONATHAN LONG’S UPDO KITBAG

Quick Tease 15 for volume and texture; Control Addict 28 for extra strong hold; Braid Aid 03 and Powder Grip 03 for texture and to keep do’s in place; Rootful 06 for root lift.

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R U N WAY A D V E R TO R I A L

…DOWNDO W E ’ V E G OT T H E H OT T E S T S T Y L E S F R O M T H E R U N WAY BY G U I D O F O R R E D K E N

DEEPER DOWN, DOWN From sleek and chic to achingly sexy lengths, down-dos made a lasting impression at a number of S/S17 shows! Guido shares his tricks of the trade for perfecting longer loose hair.

SEXY, BEACHY HAIR “Get that dry, salty look with Fashion Waves, and a bit of Rough Paste gives it a chunky, matte feel”

MODERN ELEGANCE

SLEEK, REFINED STYLE “Use Pillow Proof Blow Dry Express Treatment Primer Cream and Satin Wear 02 to add shine and protect the hair from heat damage”

“Most clients prefer a relaxed down do at the moment, it’s all about looking a lot more natural. It’s cool to look like you haven’t made the effort even if you’ve taken ages getting your hair done. They’re sultry and feminine, but also natural and not overdone. Sometimes it’s just as much work to get a down-do to look ‘undone’ as it is to do a fancy up-do but I think it’s a more relaxed, modern way to approach a look.” Larry King, Larry King Salon

RICH TEXTURE “Use Guts 10 at the crown, then Forceful 23 to achieve a half-wet/ half-dry effect. For added texture use Wind Blown 05”

PINNEDBACK ELEGANCE

FUTURISTIC, SCULPTED HAIR

LARRY KING’S DOWNDO KITBAG

Wind Blown 05 for texture, while for volume it’s Guts 10 and Quick Tease 15. Need heat protection? Grab Satinwear 04 and Hot Sets 22

TIED UP OR WORN DOWN, REDKEN HAS EVERY THING YOUR SALON NEEDS FOR THE HOT TEST S/S17 ST YLES. CALL 020 8762 4121 OR VISIT REDKEN.CO.UK Spring/Summer 2017 RUNWAY

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RE:CREATE

Eudon Choi

BOBBING ALONG

REDKEN CREATIVE director Guido’s scissor-happy antics for Alexander Wang (see page 36) have paved the way for haircuts to make a statement on the catwalks for S/S17. The most popular cut of the season? Most definitely The Bob, which was seen in many different guises. From the sharp and the blunt at Prada and Ralph Lauren, by the trend’s advocate, Guido, to the new age pudding bowl at Eudon Choi by Stephen Low at Neville, to the longer, prettier length at J JS Lee and Versace, styled by Adam Reed and Guido respectively, or the ’70s rock and roll vibe coiffed by Anthony Turner at JW Anderson, it’s time to get cutting. Chop, chop.

Prada

J JS Lee

Versace

JW Anderson

BACKSTAGE HAIRDRESSING IS A LIVING AND BRE ATHING INSPIR ATION BOARD FOR NE W ST YLES AND TECHNIQUES. LE T’S GE T AN INSIGHT INTO S/S17…

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R U N WAY R E : C R E AT E

ALL HANDS ON DECK

WE LOVE A GOOD ponytail. And we particularly love a ponytail with attention to detail. For S/S17, the runway’s ponies had a decidedly equestrian feel: from the ribbon bound length at Roksanda wound by James Pecis and his team; to the demi-braided style by Bianca Tuovi at Teatum Jones; to the fabric wrapped version by Sam McKnight backstage at Anya Hindmarch (all working with L’Oréal Professionnel). Want to keep it simple? Look to Prada and Hugo Boss, as styled low in the nape of the neck by Redken’s Guido Palau, or sling it high and proud, like Nicole Iroh and the Headmasters Pro Artistic Team for L’Oréal Professionnel backstage at John Smedley.

Hugo Boss

G I D DY U P

Prada

Anya Hindmarch John Smedley

Teatum Jones

Roksanda

John Smedley

Q: How many L’Oréal Professionnel hair stylists does it take backstage to get hair prepped for a ponytail? A: A mere four – there is no such thing as too many cooks when you’re working against the clock. Here’s Nicole Iroh and the Headmasters Pro Artistic Team keeping busy.

Spring/Summer 2017 RUNWAY

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C A S T YO U R N E T

Victoria Beckham

Dior

Edda

Han Wen Loewe

Alexander McQueen

‘THEY’RE CREEPY and they’re kooky, mysterious and spooky. They’re all together ooky, The Fashion Family.’ Now that we have that song firmly stuck in your head, please take inspiration from the following shows that were beautifully weird yet wonderful. Han Wen by Hayley Bishop and Edda by Sophie Springett, both for Toni&Guy; Tomorrow’s Talent by Luke Pluckrose at Saks for L’Oréal Professionnel and Redken’s creative director, Guido Palau, getting his freak on at Victoria Beckham, Alexander McQueen, Loewe, Christopher Kane, Givenchy and Christian Dior.

Givenchy

OUT OF THIS WORLD

Tomorrow’s Talent

ALL HAIL THE backstage prop, which at Milo Maria was a humble piece of netting used by Richard Phillipart and The Boutique Atelier team to get hair super sleek, smooth and shiny, when placed over the hair, blasted with the diffuser and set with L’Oréal Professionnel Infinium hairspray. Neat.

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23/01/2017 15:27

R U N WAY R E : C R E AT E

NIGHT AT THE MUSEUM THE HOUSE OF HOLLAND retrospective at the V&A Museum to celebrate designer Henry Holland’s most seminal looks from the past 10 years was always going to be a riot. Remember his slogan tees (“GET YOUR FREAK ON GILES DEACON”) or his tartan granny chic collection? Put on as a ticketed event for the public, four shows were run as part of their Fashion in Motion programme. So what to do when you have 10 years’ worth of fashion sent down the runway? Super hair stylist Adam Reed (wearing a T-shirt emblazoned with “I’D GIVE UP BEING A BENDER FOR KYLIE JENNER”) worked with his team and L’Oréal Professionnel on “cool, London girl hair” that worked perfectly with every look – and every hair accessory – that Henry could throw at them. Bravo boys, bravo!

T H AT ’70 S S H OW

Valentino Valentino

Baja East Tory Burch

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

Tory Burch

Redken global creative director, Guido, has us feeling all groovy as he embraced the ’70s for inspiration for some of the most wearable looks that we can’t help but love. The plait at Valentino was “slightly Victorian-inspired, but in a very 1970s way”, while the half up/half down at Tory Burch was a “early ’70s Ali MacGraw east coast meets west coast kind of girl”. Both looks required lashings of Redken Wind Blown 05 for texture, and a splendid serving of nostalgia. And props to the bandana at Baja East, too!

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R U N WAY G U I D O

THE TRANSFORMED HAIRCUTS BY HAIRDRESSING ROYALT Y  THAT’S REDKEN GLOBAL CRE ATIVE DIREC TOR, GUIDO PAL AU, BACKSTAGE AT ALEX ANDE R WANG  ARE C AUSING A COMMOTION ON THE FASHION WEEK C IRCUIT. HERE, JESSIC A DINE R TALKS TO THE M AN WHO M AKES MODELS’ C AREERS IN A SINGLE SNIP

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IF THERE IS one show that can be counted on to have all eyes on the hair, it’s Alexander Wang in New York. But it’s not for the reasons that you might imagine. In beauty terms, this isn’t the show known for its theatrical styles or elaborate hair accessories, but rather as the show with haircuts that will catapult both new and emerging models into greatness. Haircuts that have been fashioned by none other than hairdressing supremo, Redken global creative director Guido Palau (pictured inset with the designer), in a movement that has been building momentum season upon season. “I’m not really sure how it started off,” Guido admits, “but Alex has a great relationship with the models who walk in his show and they really trust him and I have a good relationship with a lot of the models too. So they are brave enough to try the cuts. We started to do it a while back and now it’s become a bit of a thing. It’s such an experience and it doesn’t happen at any other show.” Whereas before, Guido was turning his hand

to maybe two or three hair transformations at the shows per season, for S/S17 he did about 20 (“we really revved it up because we wanted individual personality for each girl”), knowing the importance that those cuts hold not just for that one show, but for the girls’ ongoing careers. Indeed, something as simple as a haircut and colour makeover has now evolved into a mechanism that can catapult a lesser-known model into the spotlight, immediately securing her model-of-the-moment status. “The cuts launch new girls,” explains Guido. “You get them at the beginning of the season and we do makeovers and reinventions. They then go off into the season and their careers are helped by them being brave and them taking a risk.” Case in point: model Katherine Moore who for Wang last season was a virtual unknown until Guido cut and dyed her hair into a choppy red bob for her to open the show. She went on to star in countless editorials, shows and campaigns, including multiple international Vogues, V Magazine and W Magazine, as well as Wang’s A/W16 ad campaign video. But what is it that has shifted in the mood of fashion that has meant backstage looks now incorporate cut and colour as much as styling? Far

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Images courtesy of Redken

R U N WAY G U I D O

from it just being the vision of the stylist and designer, it’s also the models’ willingness to undergo such a transformation that allows it all to happen. “There’s now a group of models that don’t hang onto their hair or they realise if they get a cut it sets them apart from others,” Guido explains. “To have an individual look it makes you stand out. It might not be right for every designer, but once they leave Wang they go out on castings and designers are inspired by girls with their own style.” For this season blonde surfer boys were the reference for the hair, and while Guido was seen wielding a razor backstage and doing final touchups on the day, most of the legwork behind the transformations happened in the week leading up the show. “There were lots of models and colour involved, so we did the cuts at the hair test, which was three days before, and then they went off to have their hair coloured blonde. I generally don’t like to do it backstage because of all the other things going on. Then they might need just a bit of modifying on the day of the show either to trim the outline or adjust the layers,” he explains. And who is Guido’s partner in crime in the colouring department? Victoria Hunter from Whittemore House Salon in New York. “She’s my

go-to for colour,” he says, “and we work closely together on the direction of the hair. She knows the beat of how it works. When you work with a designer, you have to get each look approved by them, so I give a direction on the colour and then she comes to me with the finished look before the final tick-off from Alex.” Having worked together for so many seasons it’s as though Guido and Wang symbiotically know what the other wants; Guido is the vessel to help Wang’s vision come alive and the designer himself is very involved in the hair process. “At the end of the day I want to help create the vision he has for his models,” says Guido. “Alex always loves what I do and I value his input. Sometimes he might want to tweak it slightly; he might want some bangs shorter, or a few more layers, or whatever. We work so well together”. Reminiscing over collaborative cuts, Guido believes it has helped elevate some young, fresh models with a sense of maturity to their look: “What I find so rewarding is the models feel empowered from their look and it’s satisfying when you get your hair cut and it can change you for the better. They haven’t regretted it, they have embraced it, and they like to look different from the pack. This is why I do it.”

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Braids, Buns and Blow-dries menu from L’Oréal Professionnel

BRINGING IT ALL BACK HOME WHAT’S THE POWER OF FASHION WEEK LOOKS FOR YOUR SALON? CRE ATE A FASHIONINSPIRED ST YLING MENU, AND TAKE THE C AT WALK TO THE CHAIR

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R U N WAY S T Y L I N G S E R V I C E S

get them back into the chair. An on-trend up-do or blow-dry has many benefits for clients who want to save time and money: they are cheaper than cut or colour services, they offer a quick fix and an injection of style, and they offer value for money as clients can keep them in for a few days (many of these styles will only look better with a bit of wear). “We discuss the importance of ‘second day hair’ idea and show clients what they can do the next day so they’ll realise they’re getting more bang for their buck,” says Adam Reed. “This is what makes this menu different – using the right techniques and products allows this look to last for days.” This is also a fantastic time to talk about perfect products to take home, with the Braids, Buns and Blowdries menu helping to hero Tecni. ART stylers, too. Your styling menu doesn’t just have to be for one-off sessions – consider the business possibilities of offering it as an add on, and the retail you can suggest too. “By creating a menu it gives the styles a set value, and this can raise average bills considerably, as opposed to just giving away these services along with treatments,” explains Lorenzo Colangelo of The Gallery in Tunbridge Wells. “You can build customer loyalty because, by offering something different, you show a desire to make their experience better. The opportunity for recommending products is also there, because customers are always interested in what you are doing and using.” And if you do it right, then the service will promote itself. “Social media has become an incredibly valuable tool in promoting our business – our braid bar usually goes hand in hand with clients going on a night out, so they will be taking pictures and looking their best. Client selfies are always well received!” adds Andrea Daley at Barbara Daley in Liverpool.

Sally Montague

Barbara Daley

The Gallery

WHAT HAPPENS ON the runway is a special kind of magic. The looks paraded on the catwalk are works of art, watched all over the world as shows unfold over social media and live streams. The catwalk dictates what is hot for the next few months – but how can hair professionals translate this from the catwalk to the salon? The answer is to create a styling menu that bridges the gap between the runway and the chair. L’Oréal Professionnel has created Braids, Buns and Blow-dries, which launched in Percy & Reed East before it rolls out into salons across the UK. Salon co-founder Adam Reed designed the styles, drawing from his many years of session styling and salon work to fuse the two together and leave clients bang-on trend without feeling overdone. “All of the looks are trend-related, but softened to suit the consumer. This is a great way to share key styles and then personalise it to the individual,” Adam explains. Although simple enough to wear everyday, this kind of menu should feature techniques that clients would struggle to master themselves – all the more reason for them to come into the salon to take advantage of your expertise! “Before finalising a menu, we will analyse a catwalk image and choose the best bits to adapt for our clients,” explains Sally Montague from Sally Montague Hair Group in Derbyshire, who has implemented styling menus across her salon group. “We always try to make sure there is a variety of looks for difference hair types and lengths. Our Art Team will translate the look to make it more commercial but we still want the image to be fresh and exciting. We then have a mini photoshoot to produce our own images before launching to the whole team.” And there’s never been a better time to do this; clients are leaving longer and longer between salon appointments, so use your creativity to

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Central Saint Martins MA Fashion show A/W16

MASTERS OF THE UNIVERSE

Fabio Piras

ACROSS THE PAST T WO DEC ADES, ARGUABLY NO OTHER FASHION DESIGN COURSE HAS HELPED DE VELOP AS M ANY INCREDIBLE TALENTS AS THE M A FASHION PROGR A MME AT C E NTR AL SAINT M ARTINS. COURSE DIREC TOR FABIO PIR AS SHARES HIS INCREDIBLE UNDERSTANDING OF THE INDUSTRY L ANDSC APE

Runway: What made it clear to a young Fabio that fashion was the future? Fabio Piras: My parents were not into fashion, and it wasn’t from an artistic standpoint. I guess it came from TV and the stage – TV programmes that showed French fashion shows were on in the late ’70s in the afternoon. That introduced me to the likes of Yves Saint Laurent. It was really glamorous. I was into the image of fashion – I was never interested in making clothes, that wasn’t my first inclination – it was actually the beauty surrounding it, the

hairstyles and the make-up. In my late teens, London was a light out there, a world of style with magazines such as i-D and The Face. You wanted to be a part of that – and Central Saint Martins was where fashion was, the time of John Galliano. It was my dream to be a part of that, to come to Saint Martins. R: Central Saint Martins has an incredible reputation. What does a student applying have to go through and how do they succeed? FP: They need to understand that it doesn’t

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L’Oréal Professionnel award winner Harry Evans

L’Oréal Professionnel award winner John Alexander Skelton

can you? They hate my endless questions, which I ask in different forms but which simply is: how do you fit in the market? For them it’s such a gross question because they have this illusion that commercial is boring, but that ‘creative’ is extraordinary. What they need to understand is that if you’re not extraordinary then you’re not commercial – you have to be creative to be commercial, there is no division. You have to be at the highest of your creativity to appeal to a commercial world, and you’re a fool not to understand that.

Fabio Piras image by Gary Wallis, other images courtesy of L’Oréal Professionnel

come for free. Just because you’ve been accepted, that doesn’t make you ‘it’. Talent is not enough. You have to have a method, a rigour to your work and be able to criticise it. You shouldn’t be happy with your work, you should be able to see what’s wrong and move forward. You also need to be agile – designers today need to be able to understand fashion on social and cultural levels rather than just as ‘art’. What we’re here to do on the MA course, on a one-to-one level, is make students understand what they need to focus on. It’s about a clarity of your vision. When you see that happen after the 18 months, it’s incredible! This is an extraordinary job to have. R: What are the biggest challenges facing fashion design students now and how do you help them navigate through them? FP: Well there is the sheer number of graduates, and that question: ‘what am I going to do now college has ended?’ College is a comfortable cloud. What we need to make students understand is you need to be aware you can work at a very specific level. You can be a fantastic designer for the high street, or you could be a fantastic designer for Dior. It depends who you are. We need that clarity with the students, otherwise they leave in a fantasy. When they work on their own projects, you have to be very honest – they are naked in front of you. You want to start your own label – but

R: Since taking on the role, you have been behind two incredible MA shows, with another one just weeks away. How do you put that show together – what are the biggest challenges and pressures? FP: It’s a schizophrenic show because you have so many designers and not all the students are in the show so you start an editing process. The show is an opportunity, an extra, and it needs to have a point of view because we show during London Fashion Week, it’s part of the official schedule. The audience comes with different expectations. They come in with a mind about the trends and what’s happening right now and they want to see it from the point of view of the MA course for this year and who are the designers to watch. That creates a very stressful path. Some students fly because they have their clarity, others struggle with their visions. You can’t have 15 designers all with their own vision in the show – that would be a complete mess, so I need to be a curator. You need to preserve the integrity of each collection while keeping a look at the beauty, casting, the music, the lighting… everything that goes around it. There has to be a unity of style for the show to have an impact and to give the audience the chance to focus on the clothes. It’s a collaboration between me – as the show’s creative director – and the students. It’s a matter of trust. R: Central Saint Martins works with L’Oréal Professionnel on those shows – how vital is the collaboration with hair and make-up? FP: Working with L’Oréal Professionnel, we could do the most incredible hairstyles if we wanted to, but much of the time we need to have rigour. We have to be creative and have a hairstyle that will not overcome the collection. We can’t go so far that we have too many hairstyles either. We have to create one look, and that needs to be directional. I’m always

Johanna Cree Brown at MA Fashion show A/W16

R U N WAY C E N T R A L S A I N T M A R T I N S

very keen to have a strong silhouette… but it can’t take over. It must be something that fits everyone without having to compromise – it must enhance the vision. I must say, it’s incredible to work with L’Oréal Professionnel stylists because you always have people who understand what you want and they can do their best when working under pressure. R: What advice would you share with any hair stylist working backstage on the show? FP: We present the lead stylist [last year it was Johanna Cree Brown from Trevor Sorbie] with some research in terms of what we think the hair could be, the images of the collection because they need to understand the looks and the message. Last year was very hard. It was dishevelled and poetic so the images were almost the most impossible to translate into hair! That’s when you reach the most incredible solutions because they can come up with ideas, they are creative people not your employees, and you can benefit from that creativity too. R: How vital is the support and investment L’Oréal Professionnel brings? FP: Vital is not the word – it’s more than vital. We’ve had the support of L’Oréal Professionnel for 15 years, that’s enormous! L’Oréal Professionnel also supplies scholarships and at crucial moments, when students struggle financially, we have that money to help support that student. There’s also the L’Oréal Professionnel award at the end of the show – it’s an enormous contribution.

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Graduate Fashion Week show at Houses of Palriament

THE TALENT SCOUTS THE LE AD ST YLISTS BACKSTAGE AT THE SHOWS ARE SUPPORTED BY AN ARMY OF ASSISTANTS FROM SALONS ACROSS THE UK . WE FIND OUT THE SECRE TS BEHIND THEIR SESSION SUCCESS AND THE BUSINESS BE NE FITS THE Y BRING

The Haringtons team

This creative hair hub has been the home of Kathryn Dartnell for 12 years, one of the most recognisable faces backstage at London Fashion Week. “I got my first taste of session hairdressing after I became a L’Oréal Professionnel ID Artist in 2005 and I was fascinated,” she admits. Through the ID Artist programme, Kathryn received training and mentoring from some of the industry’s finest, learning session skills, new cutting and colouring techniques, and saw her confidence soar. She made her LFW debut in 2008. “I had a baptism of fire working with Malcolm Edwards,” she laughs. “Being on Malcolm’s team was a fantastic boot camp-style education, which has set me in great stead ever since! Malcolm directed the hair team for Vivienne Westwood’s first show in London after a 10-year absence, so you can imagine the

Kathryn Dartnell

The salon: Haringtons, London and the Southeast

hype; wacky hair, off the wall make-up, insane clothes and a celebrity-packed audience that spilled out onto the street due to lack of space. It was incredible!” Recently, Kathryn directed the Haringtons Art Team at an event for Graduate Fashion Week sponsored by L’Oréal Professionnel at the Houses of Parliament. She explains: “It’s always a little nervewracking being the lead but the best adrenaline rush… and a scary insight into the world of people like my favourite boss, James Pecis!” Kathryn admits it’s all a careful balancing act, and Haringtons has been supportive throughout. It has also had an impact on her personal life. “In more recent years I’ve approached a tough crossroads – marry fashion or marry a man… and I chose the man. Though I like to think I’ve managed to keep fashion as my ever-so-slightly demanding mistress.”

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Katie Katon

Backstage and catwalk images courtesy of L’Oréal Professionnel

This London favourite has seen more team members win It List Awards than any other salon, so it must be doing something right. But Sally and Jamie Brooks understand that a successful salon needs a balance. “As bosses the most important thing to recognise is what people really want,” explains Jamie. “Some want to be busy and earn well, while others want to see their work appear in a magazine or be backstage at Fashion Week. Neither is more important than the other.” The duo promotes learning by working with

The salon: George’s Hairdressing, Leicester A thriving and energetic East Midlands salon group, this is the place where former It List It Guy – and now Instagram sensation – Chris Appleton got his start, working through the L’Oréal Professionnel ID Artist programme and assisting at London Fashion Week before taking a risk in LA and winning clients such as Kim Kardashian, Ariana Grande and Rita Ora. And there’s even more talent coming through the ranks, such as George Waterfield, who this

season assisted backstage at Peter Pilotto and JW Anderson. Salon group head Katie Katon believes identifying the special ones is simple: “It’s someone who’s prepared to go that extra mile, who’s not rushing out the door at 5pm, who wants to get involved with the team, takes an interest in the salon and is proud to work for us.” The fundamentals are in place – such as training and mentoring – to nurture talent, making sure that Katie is available to give them advice, discuss opportunities, talk through next steps and help them balance the salon with session life. “The ID Artist programme, from an employer and employee point of view, is priceless,” she says. “Nothing gets me more excited than the phone call to say the audition was a success! I know from that point we are creating someone special. It’s a lightbulb moment for the stylist. They grow in every way, confidence and passion being a huge factor. This is where the business benefits. They bring back knowledge to the salon, and their clients are excited to try new things and listen to their ‘high life’ stories.”

A STAR FOR TOMORROW

Catherine Hindle, Haringtons Catherine Hindle is following in mentor Kathryn Dartnell’s footsteps in the session world. Runway: What do you like about working backstage at LFW? Catherine Hindle: I like the teamwork and getting to make new connections with people from other salons with different strengths. Rosie Potter and Duffy

The salon: Brooks & Brooks, London

other talented people and sharing skills and ideas. “Not everyone is good at everything. As a group they can help each other by filling in gaps,” says Jamie. He also recognises that the ID Artist programme as a great platform for those team members who want to excel. “Not only does it offer great opportunities to present at different events and great training, it also offers the chance for the ID Artist to mix with like-minded hairdressers from all over the country.” Rising through the ranks at Brooks & Brooks are L’Oréal Colour Trophy Star Award Judges’ Favourite winner Grace Dalgleish; former It List It Guy Taku Morimoto, and Rosie Potter, who was busy backstage at London Fashion Week at Topshop Unique with Duffy and at Manuel Facchini with Bianca Tuovi, both for L’Oréal Professionnel. But as a salon owner, how do you balance growing your team and sharing great opportunities with running a business, getting clients seen to and ensuring other staff don’t feel left out? “It’s a balance – the creative team is not the most important thing, the salon team is not the most important thing – the client and the salon are.”

George Waterfield

Jamie and (right) Sally Brooks

R U N WAY TA L E N T

R: What have been the key things you’ve learned? CH: I’ve learned that sometimes it’s the smallest actions that help most. On the Marques’Almedia show I spent most of it passing up products and holding down a wig cap. There’s no room for ego backstage.You have to be prepared and stay calm. R: How have Haringtons and L’Oréal Professionnel helped you to work backstage? CH: It was through Haringtons that I started assisting Kathryn Dartnell, which was my first experience backstage and gave me the desire to do more. When I moved to Haringtons in London I began working more with L’Oréal Professionnel. Now I’ve done a few things the brand regularly contacts me to see if I’m interested in assisting, so I get to do a few shows each season. My boss is also really supportive. R: What’s next – what would you love to work on? CH: This year I’m going to apply for the L’Oréal Professionnel ID Artist programme and it would be fantastic if I got in! I’d like to continue working with the brand through the fashion seasons and I’d like to get myself in a session team that goes all over the world.

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Marques’Almeida

RIOT OF COLOUR

THERE’S A TIME and a place for colour – and backstage before a show wasn’t considered one of them. Until now. It started with the pastel craze, dip dyes and wash-in, wash-out shades of bubble gum pink, sky blue and vivid violets before morphing into something altogether more daring and permanent. As always, whenever a fashion movement happens, Redken’s global creative director Guido was front and centre. For A/W16 he cut the hair of model Katherine Moore backstage and, aided by colourist Victoria Hunter from New York’s Whittemore House Salon, created a flame red, fringed bob for Alexander Wang that everyone was talking about. This duo was at it again this season at

Alexander Wang, bleaching the hair of about 20 models and giving them beachy waves – totally transforming them in the process. It seems that it is this ‘transformation’, this need to create dramatic, daring and, dare we say it, fun, that has session stylists turning to colour. “What we are seeing at the moment is that people are not scared to experiment compared to that of a few years ago,” explains Tina Farey, editorial director at Rush. “Designers are opting for bolder colours in order to make a statement. Designers push further with their creations and I think this is generally when we see the biggest push of colour across both industries.” Tina worked backstage this season on Clio Peppiatt, which featured a model with

Clio Peppiatt

Alexander Wang

LIFE IS BE T TER IN COLOUR… AND THE SA ME GOES FOR THE SHOWS! WE CHART HOW COLOUR IS M AKING AN IMPAC T ON THE RUNWAY

RUNWAY Spring/Summer 2017

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Images courtesy of L’Oréal Professionnel and Redken

mermaid green hair. “What was great about having just one model with a bold colour was that it really drew attention to her and highlighted the features of both her and the clothes. The designer was looking for someone with hair colour that really stood out so it felt like fate when she walked in,” she says. For Marc Jacobs, Guido took the need to be bold and daring one step further by creating colourful, anime dreadlocks, inspired by transgender director and producer Lana Wachowski’s hair. “She’s got these beautiful coloured, wool hair extensions. We knew we wanted to find wool hair so we literally searched on Google and found Jena Counts’ Etsy shop and reached out to her,” explains Guido. “She’s been making all the wool extensions by hand in custom colours and lengths. For this show she utilised 12,500 yards of fabric, which was dyed in more than 200 different shades.” Jack Howard, based at London’s Paul Edmonds, is one colourist who has always sought inspiration from the catwalk. This season at Marques’Almeida, where Duffy headed up the hair for L’Oréal Professionnel, Jack was on hand to answer a very specific colour brief. “Duffy and the designer had a clear idea of the concept and creative direction, and looked to me to translate this colour for the show,” explains Jack. They wanted ’70s rock chick with hints of early ’90s. It had to be cool, punky and rebellious. Jack continues: “Throughout the day, a member of the Marques’Almeida team was with me while I worked so we could confer over each girl’s look. Duffy was working on another show

that day, but we constantly sent him images of each look so he could make sure the colour matched the concept he had worked on with the designer.” Jack used colour on four of the models in standout shades – green, bubble gum pink, fiery orange and lavender, with the pink shade opening the show. “Each look had a skater-girl vibe so the bright colours we used really contributed to the overall feel of the show,” he adds. Jenny Pelter, technical director of the Westrow Artistic Team, has been teaching a Creative Colour course for L’Oréal Professionnel since 2014 in response to the growing trend for catwalk colour requests in the salon. It has a firm focus on seasonal colour trends and new, innovative techniques –“perfect for colourists looking to gain confidence in recreating trendinspired colour”, says Jenny. The course doesn’t just look at the standout shades of the season, recognising that ‘outthere’ shades aren’t for everyone, but instead looks at the overall colours that were used both for the clothes and the hair of the models chosen to walk for particular shows. “The key is to teach students how to put their individual signature on a trend, how to translate certain colour catwalk trends and distil them for commercial gain,” she adds. Jenny believes that colour is taking centre-stage at the Fashion Weeks because it’s becoming more about the total look, rather than just the clothes. “As a result, consumers are more savvy and are well informed when it comes to what’s hot seasonally,” says Jenny. “With this in mind, we translate the seasonal colours seen at the shows into more consumer-

On|Off Typical Freaks

Marc Jacobs

R U N WAY C O LO U R

friendly trends, which means our clients can buy into a look they may have seen on the runway, without having to fully commit to something drastic.” Since S/S16, we’ve seen colour progress on the catwalk to become an ever-more persistent force, evolving from earthy, natural tones to cool-toned pastels and bleaches. This is in no small part thanks to the development of better technologies, such as colour additives Smartbond from L’Oréal Professionnel and Redken’s pH Bonder, enabling colourists to pre-lighten the hair without the worry of irreparable damage and keeping the condition strong. Hair colour can suddenly be changed quickly and easily, without the worry of lasting damage, making way for contouring and bronding in A/W16. So what’s next for colour? “For S/S17, I’m championing green – think Pantone’s colour of the year, Greenery – as one of the strongest colours,” says Jack. “A fiery orange shade will definitely be a hot trend as well [as seen at On|Off ’s Typical Freaks by Mark Woolley for L’Oréal Professionnel] and is just starting to come to the surface. Clients are really becoming aware that they can achieve so many fashion colours in the salon, from commercially viable hidden underlights and flashes of colour to softer diffused tones all the way through.” The trend towards freedom of expression, individuality and the need to be ‘transformative’ is only getting bigger, and while this takes place, designers and session stylists will be looking at ways to up the stakes and keep going forward – something no amount of hairspray or wax can do. But colour can.

Spring/Summer 2017 RUNWAY

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RUNWAY Spring/Summer 2017

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Johann Cree Brown

Corrado Tevere

Adam Reed

Patrick Wilson

Tina Farey

Anna Chapman

Yesmin Oâ&#x20AC;&#x2122;Brien

Richard Phillipart

R U N WAY E D U C AT I O N

WATCH AND LEARN

Backstage and catwalk images courtesy of L’Oréal Professionnel

C AT WALKS ARE FULL OF BE AUTIFUL HAIR BUT YOU NEED SERIOUS SKILLS TO ACHIE VE THAT LE VEL OF RUNWAY R AVISHING. SO LE T’S GO BAC K TO SC HOOL NEW LOOKS AND trends from the world’s runways get shared with followers instantly these days – it means clients are becoming more clued up on catwalk or celebrity-inspired styles, and more quickly. But it can be hard as a stylist to find your fashion focus without some training to point you in the right direction. “Social networking and live streaming mean people want change quickly,” explains Seanhanna’s Yesmin O’Brien, a regular backstage working for Sam McKnight. “Trends are transient today so if you don’t offer change, clients will look elsewhere.” Yesmin is one of the guest artists – along with The Boutique Atelier’s Richard Phillipart, Trevor Sorbie’s Johanna Cree Brown, Rush’s Tina Farey and Percy & Reed’s Adam Reed – whom stylists can learn with on the Creative Hairdressing Inspiration course with L’Oréal Professionnel. “The class is designed to take the individual through the journey when it comes to creating work with an editorial or fashion focus,” says Tina Farey. “I take them through the process that inspires me, creating the mood board to implementing all aspects of creating the finished look.” “We look at a mixture of catwalk and celebrities – most of the looks celebrities wear have been seen on the runway,” adds Richard Phillipart. “This season, there was a lot of enhancing natural beauty backstage, which is a skill that works beautifully in the salon.” A veteran of London Fashion Week and the co-founder of Percy & Reed salons, Adam Reed is the perfect stylist to tell you how to master trend translation – it’s even the name of his course for L’Oréal Professionnel. “It’s about recognising themes and putting them together. Every season I analyse the shows and ad campaigns, I use trend resource agencies and have the luck of working backstage, which allows me to see trends forming.”

He feels it’s essential in this day and age, where the consumer is trend savvy and trend hungry, that hairdressers are at the forefront of fashion and have the ability to instantly influence the consumer. One of the tricks that will stand your salon in good stead is the skill of spotting trends before they really become big… and even before your clients ask about them. James Atkinson and Rory McCrae of Rory James salon in Leeds run the HD Design Course with Redken, a programme that teaches how to create fashionforward looks. “We tackle creativity slightly differently, by breaking trends down to their form and showing that quite often the most inspiring looks can come from simple formulas,” explains Rory. Electric Hairdressing’s Patrick Wilson is a backstage regular and runs one of the L’Oréal Professionnel EDit List Editorial Inspiration classes to help find and translate trends. “Students learn the difference between salon and editorial styling, as well as the secrets of amazing session hair. When someone learns something really useful on a course, it’s not just that person who benefits,” explains Patrick. “When they pick up something new they like to share it with their salon. If you don’t educate your staff, your team will end up stuck in a rut.” When all this trend experience feeds into the salon can be used to entice clients as well as energise staff, especially if converted into photographic work. A course such as Redken’s Exposure with Radio London can help make the most of any time with a photographer. “Creating a good picture is all about balance. It’s important to think about the whole image not just the hair,” says Radio London’s Corrado Tevere. So get the complete picture by educating and invigorating your staff with backstage and fashion courses, and clients will see you’re at the forefront of your craft.

THIS IS HOW YO U D O IT… Anna Chapman, the founder of Session Kit and member of Guido’s backstage team, shares her advice Punctuality: It’s not just about being on time, but being at the ready at all times – so you know when to ask questions and when not to. Respect: You are there to help a team achieve the look for a show. Every lead stylist will have their own rules with social media, so find out – paying attention will get you much further than being on your phone. Competence: Learn your skills and always be ready – you never know when your chance to shine will come along and you don’t want to miss it by not knowing how to do something. Efficiency: Be on the ball. Anything can happen backstage and the assistants that stand out are the ones that save the day by having that one thing you need at a crucial point. Reliability: Don’t let your team down – don’t double book yourself. That doesn’t mean you can’t work on other teams but just be mindful that shows can run late, so be careful. You can learn more from Session Kit’s Anna Chapman and L’Oréal Professionnel Education – for details on their new course, contact coursesuk@loreal.com or 0800 028 3448

TRENDS WITH TEACHER

COURSES THAT BRING THE C AT WALK TO THE CL ASSROOM L’Oréal Professionnel CREATIVE HAIRDRESSING INSPIRATION Manchester 20 February London 20 March, 15 May, 12 June, 18 September Bristol 22 May Maidstone 31 July Southend 23 October Leeds 6 November

TREND TRANSLATION Leeds 20 March Manchester 22 May London 26 June EDITORIAL INSPIRATION Leeds 7 March, 22 May, 7 August Belfast 20 March, 11 September Glasgow 22 May, 9 October Welwyn 9 October London 29 November

FASHION INSPIRATION HAIR-UP Jersey 21 March Maidstone 27 March London 21 August, 26 September, 23 October, 20 November Cambridge 11 September

Redken HD DESIGN London 18 April, 26 June EXPOSURE London 3 April, 10 October To book, call L’Oréal Professionnel and Redken on 0800 028 3448

Spring/Summer 2017 RUNWAY

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R U N WAY S/S H A I R I S …

“ABOUT BEING WHO YOU WANT TO BE, THERE SO MANY DIVERSE LOOKS THIS SEASON SO HELP CLIENTS FIND WHAT SUITS THEM”

Guido, Redken global creative director

“IS BOTH INDIVIDUAL AND BEAUTIFULLY BOLD. THE 2017 WOMAN WILL BE EMBR ACING THE INNER TRIBE SHE CONNECTS WITH. A RETURN TO POWERFUL FEMININIT Y IS AHEAD”

“ALL ABOUT ENHANCING NATUR AL BEAUT Y”

Richard Phillipart, The Boutique Atelier

Darren Fowler, Fowler35

“ALL ABOUT INDIVIDUALIT Y WITH A FINISH. FORGET BED HAIR, EVEN IF YOUR HAIR HAS NATUR AL TEXTURE OR MOVEMENT, WE ARE ADDING A SOPHISTICATED SATIN FINISH TO IT”

Stephen Low, Neville Hair & Beauty

“ECLECTIC. LOOK OUT FOR DREADLOCKS, THE SPIRIT OF PUNK AND ’90S POP STAR, FRINGE DETAILING, THE RETURN OF THE MINI CRIMP, AND COLOURED SLICES ADDED TO THE HAIR”

Johanna Cree Brown, Trevor Sorbie

A S U M M A RY O F T H E S E A S O N , I N T H E WO R D S O F T H E P R O F E S S I O N A L S

“S/S17 H A I R I S …”

“VERSATILE  THINK STRUCTURED, SLEEK PONY TAILS JUXTAPOSED WITH UNDONE WAVES AND ‘WASH AND GO’ HAIR. ACCESSORIES ARE BACK, WITH THE CLASSIC ALICE BAND LEADING THE WAY”

Cristiano Basciu, Richard Ward Hair & Metrospa

“ABOUT CELEBR ATING INDIVIDUALIT Y. THERE’S A STRONG MOVE AWAY FROM UNIFORM LOOKS AND A CLEAR TREND TO A MORE FREESPIRITED APPROACH TO HAIR, WITH NO BOUNDARIES”

Nicole Iroh, Headmasters

“ABOUT FRESH, UNDONE HAIR. NOTHING TOO OVER ST YLED  IT’S NONCHAL ANT! KEEP COLOUR REFRESHED FOR AN EXPENSIVE FEEL”

Luke Pluckrose, Saks

“ALL ABOUT BLENDED TEXTURES. IT’S SOPHISTICATED WITH SHAPE COMING THROUGH STRONGER AND MORE DEFINED AND, AS ALWAYS, A HINT OF BRITISH CREATIVIT Y!”

“ABOUT BEING YOURSELF AND OWNING IT!”

Lee Stafford

Mark Woolley, Electric Hairdressing

RUNWAY Spring/Summer 2017

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ZONE 1: ALKALINE COLOR HDResolution

ZONES 2 & 3: ACIDIC COLOR Shades EQ Gloss

UP TO 1 LEVEL OF LIFT

NOW IN HIGH RESOLUTION Upgrade to pHenomenal Haircolor. New HDResolution is the perfect low lift alkaline color for Zone 1 when you want exceptional saturation and reflectivity. Always use acidic Shades EQ color on Zones 2 & 3 for amazing condition and shine while maintaining maximum respect for previously-colored hair. Always use with pH-Bonder to protect hair integrity. #pHenomenalcolor