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Runway S/S19

The best hair and fashion trends from backstage and the catwalk in Spring/Summer 2019

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YOUR ESSENTIAL GUIDE TO THE NEW SEASON<br />

UNWAY<br />

SPRING<br />

S U M M E R<br />

CREATIVEHEADMAG.COM<br />

2019


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HAIR: LUISA ALDRIDGE, HARI’S<br />

FASHION: FEBEN VEMMENBY<br />

HAIR: MARIO FAILLA, THE GALLERY<br />

FASHION: MARTIN HANLY<br />

HAIR: BEN HARDS, THE SQUARE<br />

FASHION: PAOLO CARZANA<br />

HAIR: ELETTRA GUGGERI, RICHARD WARD HAIR & METRO SPA<br />

FASHION: EKATERINA ZELENTSOVA<br />

HAIR: DARREN FOWLER, FOWLER35<br />

FASHION: MATTHEW NEEDHAM<br />

HAIR: SHELLEY SUMNER, RUSH<br />

FASHION: PAOLINA RUSSO<br />

HAIR: MARK WOOLLEY, ELECTRIC HAIRDRESSING<br />

FASHION: SARAH KAUFFMAN<br />

HAIR: ADAM REED, PERCY & REED<br />

FASHION: GUI ROSA<br />

HAIR: SAM ASHCROFT, BROOKS & BROOKS<br />

FASHION: DINGYUN ZHANG<br />

HAIR: JORDAN GARRETT, HERSHESONS<br />

FASHION: ALEKSANDAR MITROVIC<br />

11<br />

12<br />

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0% RETOUCHED<br />

100% TECNI.ART<br />

@LOREALPRO<br />

#TECNIARTIST<br />

21<br />

22<br />

23<br />

24<br />

25<br />

HAIR: PAUL HESSION, HESSION HAIRDRESSING<br />

FASHION: JIE WU.<br />

HAIR: BEN GARRY<br />

FASHION: GUI ROSA<br />

HAIR: RICHARD PHILLIPART, THE BOUTIQUE ATELIER<br />

FASHION: CAMERON WILLIAMS<br />

HAIR: LEE NASH-JONES, NASHWHITE<br />

FASHION: ALEKSANDAR MITROVIC<br />

HAIR: FERGAL O’CONNOR, ORIGIN<br />

FASHION: MASHA POPOVA<br />

HAIR: JONATHAN SOONS, HEADMASTERS<br />

FASHION: JORDAN CHARLES<br />

HAIR: DALE HOLLINSHEAD, HAZEL & HAYDN<br />

FASHION: JIE WU<br />

HAIR: DARREN FOWLER, FOWLER 35<br />

FASHION: CECILE TULKENS<br />

HAIR: MATTHEW CURTIS<br />

FASHION: EKATERINA ZELENTSOVA<br />

HAIR: JASON HALL, JASON HALL HAIRDRESSING<br />

FASHION: DINGYUN ZHANG<br />

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HAIR: KY WILSON, THE SOCIAL<br />

FASHION: JIE WU<br />

HAIR: JOHN GILLESPIE, JOHN GILLESPIE HAIRDRESSING<br />

FASHION: JOHANNA PARV<br />

HAIR: JACK MERRICK THIRLWAY, NEVILLE HAIR & BEAUTY<br />

FASHION: TALIA LIPKIN-CONNOR<br />

HAIR: CHERYL MUNOZ, DANIEL GALVIN<br />

FASHION: SARAH MCCORMACK<br />

HAIR: MARC TRINDER, TRINDER HAIR STUDIOS<br />

FASHION: CECILE TULKENS<br />

HAIR: PAUL DAVEY, DAVEY DAVEY<br />

FASHION: JOSHUA CRABTREE<br />

HAIR: JASON HALL, JASON HALL HAIRDRESSING<br />

FASHION: PAOLINA RUSSO<br />

HAIR: ANGEL MONTAGUE SAYERS, SALLY MONTAGUE<br />

FASHION: MATTHEW NEEDHAM<br />

HAIR: KATHRYN DARTNELL, HARINGTONS<br />

FASHION: MASHA POPOVA<br />

HAIR: PAUL DAVEY, DAVEY DAVEY<br />

FASHION: ALEKSANDAR MITROVIC<br />

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DISCOVER INSIDE THE STORY BEHIND THE RE-LAUNCH * OF TECNI.ART<br />

AND THE 2019 COLLECTION<br />

IMAGES CO-DEVELOPED BY<br />

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

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HAIR: JOSH WOODMAN, ANDREW HILL<br />

FASHION: JAWARA ALLEYNE<br />

HAIR: EILEEN MCGRATH, THE EDGE<br />

FASHION: GUI ROSA<br />

HAIR: FERGUS DALY, ZEBA<br />

FASHION: JOSHUA CRABTREE<br />

HAIR: ANDREW MULVENNA<br />

FASHION: SARAH MCCORMACK<br />

HAIR: JAMES COLEMAN, BROWN SUGAR<br />

FASHION: GUI ROSA<br />

HAIR: LUKE PLUCKROSE, SAKS<br />

FASHION: JAWARA ALLEYNE<br />

HAIR: DANIELLE DIGNAM, DYLAN BRADSHAW<br />

FASHION: PAOLINA RUSSO<br />

HAIR: STEPHEN CHAPMAN, CONTEMPORARY<br />

FASHION: TALIA LIPKIN-CONNOR<br />

HAIR: MARCELLO MOCCIA, ROOM 97<br />

FASHION: JOHANNA PARV<br />

HAIR: ANDREA DALEY, BARBARA DALEY<br />

FASHION: JORDAN CHARLES<br />

36<br />

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39<br />

40


CONTENTS<br />

SPRING/SUMMER 2019<br />

06<br />

TOP FIVE MOMENTS<br />

The best that the S/<strong>S19</strong> runways had to offer<br />

16<br />

THE TRENDS<br />

The season’s most sought-after hair looks<br />

22<br />

HOW HAIR HAPPENS<br />

We break down the looks from three key shows<br />

30<br />

RE:CREATE<br />

Bite-sized trends to whet your fashion appetite<br />

34<br />

JOSH WOOD<br />

The iconic colourist talks about the incredible feats involved at Marc Jacobs<br />

36<br />

TINA OUTEN<br />

How to enjoy backstage and make great hair happen<br />

38<br />

GUIDO PALAU<br />

Why the styling legend came back to London this season<br />

44<br />

FASHION IN MOTION<br />

Johanna Cree Brown braids big with Carla Fernández<br />

46<br />

BRUSH UP<br />

We talk to the big-hitters about a styling skills shortage<br />

Cover image: Roksanda, hair by James Pecis for L’Oréal Professionnel<br />

04 SPRING/SUMMER 2019<br />

RUNWAY


EDITOR’S LETTER<br />

EDITOR’S LETTER<br />

…And S/<strong>S19</strong> is officially a wrap, dear <strong>Runway</strong> readers!<br />

Quite literally in fact, from Korean rappers storming the catwalk at Chocolab<br />

(turn to That Was The Season on page 14 to find out more) to the beautiful silk<br />

scarf wraps at Dolce & Gabbana (see The Trends from page 16). So now to<br />

reflect on what a season it’s been – when it comes to seriously chic fashion<br />

credentials, London is often dismissed as the kooky little sister to fashion<br />

week’s heavyweights (Paris, we’re looking at you). So it was rather satisfying to<br />

see it take centre stage. Showcasing debut collections from Alexa Chung as well<br />

as welcoming Riccardo Tisci to the Burberry fold (see Top Five Moments from<br />

page 6) our capital city did us proud – no coincidence then that Guido Palau<br />

decided to make a lengthy return to London (see page 38). We’ve also caught<br />

up with the King of Colour, Josh Wood (page 34) and runway ray of light,<br />

Tina Outen (page 36) for more backstage action from the leads. But <strong>Runway</strong><br />

is as much about you guys as it is our Fashion Week favourites, so we also<br />

explore the way that lead hair stylists and designers are coupled up for<br />

collaborations at On|Off (page 40), as well as looking at how session styling<br />

and working backstage can help boost skills back in the salon (see page 46).<br />

Feeling inspired? We’ve only just begun…<br />

Cassie Steer<br />

<strong>Runway</strong> guest editor<br />

Beauty editor<br />

Editor in chief: Amanda Nottage Art: Graeme White Chief sub editor: Adam Wood<br />

Contributors: Deborah Murtha, Anna Samson Publisher: Catherine Handcock<br />

RUNWAY, 21 THE TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND<br />

T: 020 7324 7540 E: enquiries@alfol.co.uk<br />

<strong>Runway</strong> 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<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

05


TOP FIVE<br />

MOMENTS<br />

IN HAIR &<br />

FASHION<br />

We work (the Frows) hard, so you don’t have to…<br />

06 SPRING/SUMMER 2019<br />

RUNWAY


COOL RUNNINGS<br />

ALEXACHUNG<br />

Image courtesy of L’Oréal Professionnel<br />

THEY SAY you can’t buy class, but thanks to<br />

Alexa Chung’s eponymous debut LFW collection,<br />

you can now buy a little piece of cool. Because,<br />

let’s face it, Chung is irksomely cool. “I’m here to<br />

show that I’m taking this seriously,” she said<br />

backstage. “I wanted to prove that this brand has<br />

longevity.” So, what awaited us? Why, the Alexa<br />

uniform of course; all-cream dungarees, boiler<br />

suits and utility denims. The collection also took a<br />

trip back to the ’70s via her fictitious travel agent<br />

‘AC World Travel Inc’ – a logo which was<br />

emblazoned on slogan T-shirts and sweaters. The<br />

results were floaty boho dresses, tan suede trench<br />

coats and pinafore dresses. “It’s Alexa Chung<br />

meets ’70s Jane Birkin,” said lead stylist for<br />

L’Oréal Professionnel, Bleach London’s Alex<br />

Brownsell, of the air travel-inspired hairdo. “It’s as<br />

if her hair has gone a little bit static on the flight.”<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

07


SHE WORE LEMON<br />

ROKSANDA<br />

Orange is not the only fruit (colour) but it was one<br />

of the more popular (alongside lemon yellows and<br />

pink grapefruits) judging by the procession of<br />

citrus brights at Roksanda. But these zesty<br />

offerings weren’t the only pieces to get us<br />

salivating. Citing her inspiration as “beautiful,<br />

round female bodies”, as well as a series of<br />

tapestries by architect Le Corbusier, the result was<br />

a refreshingly female take on power dressing and<br />

all without a macho shoulder pad in sight. Much<br />

like the artfully effortless hair. “She’s the<br />

sophisticated Roksanda woman who’s into arts<br />

and culture,” explained James Pecis, lead stylist for<br />

L’Oréal Professionnel backstage. But like anything<br />

described as ‘effortless’, there’s a fair bit of work<br />

involved. “We’re accentuating the natural waves,<br />

but if they don’t have waves, then we cheat.”<br />

When life gives you lemons...<br />

Image courtesy of L’Oréal Professionnel<br />

08 RUNWAY<br />

SPRING/SUMMER 2019


CHECK MATE<br />

BURBERRY<br />

Image courtesy of James Cochrane<br />

‘Hotly anticipated’ is a term that’s levied around<br />

rather freely during Fashion Week, but in the case<br />

of Riccardo Tisci’s debut collection for Burberry,<br />

‘hot’ didn’t even come close. Tisci declared he<br />

wanted to “own beige” and so he did, opening<br />

with a procession of models swathed in every<br />

imaginable incarnation of the colour. Then this<br />

chic, sophisticated Mary Jane-shod section made<br />

way for its sneaker-clad younger, punkier sister<br />

(and brother – there was menswear, too). “It’s a<br />

celebration of cultures, the traditions and codes of<br />

this historic fashion house and of the eclecticism<br />

that makes up the beautifully diverse UK,”<br />

explained Tisci, and his bid to make the brand<br />

work for everyone certainly paid off. It was also<br />

reflected in the hair, as Guido for Redken devised<br />

two separate looks for the girls and boys; one<br />

messy and punky and the other ‘clean and chic’.<br />

RUNWAY SPRING/SUMMER 2019<br />

09


HEIR EXTENSIONS<br />

NATASHA ZINKO<br />

We’d rather like Natasha Zinko to adopt us. There,<br />

we’ve said it. Sure, it’s partly because we’d have<br />

access to her amazing wardrobe, but also because<br />

we’d probably be on our way to being a fashion<br />

mogul ourselves. This is all judging by her son<br />

Ivan, who collaborated with his designer mother<br />

on a capsule of men’s looks for her S/<strong>S19</strong> line. Oh,<br />

and did we mention that he is 11 years old? The<br />

playfully proportioned collection showcased acid<br />

yellows, bubblegum pinks and holographic mauves<br />

stomping down the catwalk to a soundtrack Ivan<br />

had recorded with producer Scott Storch. But the<br />

main inspiration behind the reworked denim and<br />

paint-splashed dresses was sustainability and<br />

working with pre-used materials, something that<br />

carried through to the hair. “The look is very<br />

lived-in, slept-in and worn-in,” said lead hairstylist<br />

for L’Oréal Professionnel, Tina Outen.<br />

Image courtesy of L’Oréal Professionnel<br />

10 RUNWAY<br />

SPRING/SUMMER 2019


DANCING QUEEN<br />

DIOR<br />

Image courtesy of James Cochrane<br />

Dior can always be counted on to provide a visual<br />

feast, but Maria Grazia Chiuri’s S/<strong>S19</strong> ode to tulle<br />

was a sensorial extravaganza as showgoers were<br />

treated to a mesmerising performance by a troupe<br />

of dancers led by choreographer Sharon Eyal. The<br />

collection featured dance-inspired garbs, from fluid<br />

black column dresses, fishnet body stockings and<br />

the pièce de résistance – a dress made from 90<br />

metres of nude tulle. There was even – gasp – jersey<br />

in the show. “It’s the first time in my life I’ve used<br />

silk jersey! It’s very good for the modern woman to<br />

put in her luggage,” joked Chiuri. Even Guido for<br />

Redken was tripping the light fantastic backstage:<br />

“The look is dancer-like in a more contemporary<br />

or experimental way while still being feminine,”<br />

he explained, wrapping the hair around the head<br />

to create an almost folded design for a beautifully<br />

simple silhouette, accesorised with a headband.<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

11


HIGH AND DRY<br />

With interest in the natural look riding high, the new Redken Dry Texture collection<br />

contains the perfect products for next-level natural…<br />

12 SPRING/SUMMER 2019<br />

RUNWAY


ADVERTORIAL<br />

THE DONE/UNDONE aesthetic is still ruling the<br />

runway, with naturally glamorous looks being seen<br />

show after show. Filtering down to the salon floor,<br />

clients are seeking easy, effortless styles created with<br />

multi-use styling products that let them switch up<br />

their look seamlessly. Step forward Redken’s new Dry<br />

Texture collection, perfect for embracing your client’s<br />

individuality and natural texture.<br />

Like no-make-up make-up, the right products are<br />

essential to celebrate and elevate a client’s hair type,<br />

movement and character. This is not the messy<br />

bedheads we’ve seen in the past, nor is it a prim and<br />

proper ‘set’ look. Never before have we seen such<br />

interest in embracing unique features, a trend seen all<br />

over the runways for S/<strong>S19</strong>. Redken’s clever new<br />

styling products, Dry Shampoo Powder 02 and Dry<br />

Shampoo Paste 05, have been created specifically to<br />

help create these artfully undone styles without<br />

weight. The pair offer modern texture, volume and<br />

grip without crunch or residue. Redken’s global<br />

creative director, Guido Palau, premiered these new<br />

season stylers during NYFW at the Coach S/<strong>S19</strong><br />

show, creating a natural look with an edge for guys<br />

and girls at ease with their beauty.<br />

THE STYLERS THAT THINK THEY’RE DRY SHAMPOOS<br />

DRY SHAMPOO POWDER 02 DRY SHAMPOO PASTE 05<br />

Love the lift and texture of dry shampoos but hate the<br />

residue and lack of control? This loose powder uses<br />

trending beauty ingredient charcoal to absorb excess oil,<br />

creating relaxed matte styling without dullness. A<br />

sprinkle of this fairy dust and hair is effortlessly fresh.<br />

Shake gently at the roots and massage into hair and scalp.<br />

Need a touch more hold? This innovative paste combines<br />

the freshness of a dry shampoo with a mild, workable<br />

hold shape paste that’s great for shorter styles. Style until<br />

satisfied, with the bonus of root lift and absorbed<br />

impurities. Work a small amount onto the roots and<br />

through the mid-lengths. Can be used on dry or damp hair.<br />

“The Redken Dry Texture collection was my go-to this season. We are seeing beautifully luxe<br />

and healthy hair again – inspired by people adopting a healthier lifestyle – and the Dry Texture<br />

collection helped give hair a good base and fresh structure”<br />

GUIDO PALAU, REDKEN GLOBAL CREATIVE DIRECTOR<br />

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

RUNWAY<br />

SPRING/SUMMER 2019<br />

13


THAT WAS<br />

THE SEASON…<br />

S/<strong>S19</strong> will be remembered for rappers on runways, major logos and blinged-up kicks<br />

SNEAKER PIMPS<br />

WE DON’T THINK we’ve ever been quite as<br />

grateful for a trend that allows us to wear<br />

comfortable footwear in the name of fashion.<br />

No, it’s not Crocs, but it is the next best thing –<br />

trainers – and they were spotted across every<br />

fashion capital from Tory Burch in NYC to<br />

Burberry in London. But it was Longshaw<br />

Ward’s deliciously embellished pumps that<br />

had us hotfooting it down to VV Rouleaux.<br />

PORTRAIT OF A LADY<br />

Colin Horgan at On|Off<br />

AMID THE STEELY gazes of Victorian nobility<br />

and under the nose of Queen Victoria herself,<br />

Erdem flaunted his collection of floaty floral dresses<br />

inspired by Fanny and Stella (AKA Frederick Park<br />

and Thomas Boulton), Victorian cross-dressers and<br />

gay lovers. It was the label’s second time showing at<br />

the National Portrait Gallery and it couldn’t have<br />

been more fitting.<br />

L O G O S<br />

A GO-GO<br />

FUELLED BY ’90s nostalgia and<br />

brandished at shows such as<br />

ALEXACHUNG, logos are a<br />

not-so-subtle statement in<br />

authenticity. But it was at Colin<br />

Horgan at On|Off where the<br />

trend really went to town, as<br />

logos were tied around the<br />

models’ necks, ankles and wrists<br />

and even made up part of the<br />

outfits themselves, as was the<br />

case with this stunning black<br />

leather ‘Nightwalker’ dress.<br />

Longshaw Ward at On|Off<br />

TRUMP CARD<br />

COUTURE MILLINERY<br />

it was not – but the ‘Make<br />

Hair Great Again’ caps<br />

donned by the production<br />

crew at Bora Aksu were a<br />

bit of light relief among<br />

the backstage bustle.<br />

And great hair it was too,<br />

thanks to Tina Outen’s<br />

braiding skills.<br />

14 SPRING/SUMMER 2019<br />

RUNWAY


THAT WAS THE SEASON<br />

ART EXHIBITION(IST)<br />

ONE COULD ARGUE that many of the garbs shown at<br />

fashion week are works of art in their own right, but then<br />

designers such as Roksanda and IA London at On|Off ramp<br />

things up by putting actual art on the clothes. At IA London<br />

hand-drawn, digital images of classic Roman statues made way<br />

for resplendent floral prints which looked as though they had<br />

been left out in the rain. Poetry in motion.<br />

Carla Fernández<br />

palmer//harding<br />

Roberta Einer<br />

THIGH’S THE LIMIT<br />

FORGET THE cold shoulder, the thigh has taken over<br />

as fashion’s latest body part du jour. Flashing the flesh<br />

everywhere from ALEXACHUNG to Natasha Zinko,<br />

it’s time to up your hair removal game.<br />

FLICKS AND CHILL<br />

THE AWARD for the most chilled-out show had to<br />

go to Markus Lupfer. The whimsical presentation<br />

had recreated a balmy beachscape complete with<br />

alabaster white sand and tufts of scenic marram<br />

grass; the kind of place you could pitch up a<br />

windbreaker and happily settle down for the week.<br />

Maybe it was the wispy dresses that had a calming<br />

effect backstage, or maybe it was the fact that the<br />

Dyson hairdryers were as quiet as a sea breeze –<br />

either way we didn’t want to leave.<br />

IA London at On|Off<br />

IT’S A RAP<br />

“LET’S MAKE some noise for fashion, aiiight?” Not exactly<br />

what showgoers at Chocolab at On|Off experienced but they<br />

were treated to a group of Korean rappers (you’ve heard of<br />

K-Rap, right?) opening the show which was a masterful<br />

homage to street culture. Keep it 100…<br />

Image courtesy of L’Oréal Professionnel<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

15


THE TRENDS<br />

From S&M Alice bands to static strands, this season’s unlikely hair heroes<br />

gave us the trends you’ll want to rock all season long…<br />

ALEXACHUNG<br />

16 SPRING/SUMMER 2019<br />

RUNWAY


TRENDS<br />

ALEXACHUNG<br />

THE SHOW Roksanda<br />

HAIR: James Pecis for L’Oréal<br />

Professionnel<br />

THE LOOK: Natural, textured waves<br />

with density<br />

HOW: After saturating the hair with<br />

TECNI.ART Pli, it was dried into<br />

the hair as a base before TECNI.<br />

ART Liss Control was layered on<br />

from mid-lengths to ends to add<br />

separation and weight. Three low<br />

Colin Horgan at On|Off<br />

Natasha Zinko<br />

Roksanda<br />

BRUSH WITH FATE<br />

CARELESS COIFFS and inadvertent ’dos informed this season’s<br />

take on ‘natural’ and there was a distinctly accidental feel to the<br />

looks as stylists recreated hair left to its own devices. At Natasha<br />

Zinko and Colin Horgan at On|Off the theme was ‘slept-in’ hair,<br />

with Horgan’s backstage brief specifically referring to girls who<br />

had been out clubbing all night. The result was sweaty hair with<br />

one side left as it would have looked at the start of the evening,<br />

while the other was dishevelled with a slept-in feel, thanks to<br />

Tina Farey at Rush Hair’s genius technique using with mesh<br />

and a diffuser for L’Oréal Professionnel. But alongside these<br />

#wokeuplikethis textures was hair that had been shaped by the<br />

elements. At Calvin Klein, Guido for Redken’s half wet-look was<br />

inspired by a girl walking into water so that only the bottom gets<br />

wet; “I don’t want it to look drenched, more spritzed,” he<br />

explained. Meanwhile at ALEXACHUNG, the pressurised air of<br />

plane travel was Alex Brownsell for L’Oréal Professionnel’s<br />

rationale behind the slightly static-looking texture (due to a nylon<br />

bristle brush) which even sported a faux cow’s lick. The key is<br />

careful product layering using a diffuser, not to mention a ban on<br />

tools: “We’re doing everything with hands to maximise textures,”<br />

added Adam Reed at Roberta Einer for L’Oréal Professionnel.<br />

GET THE LOOK<br />

braids – one at the back, one each<br />

side – were made into a soft,<br />

rounded shape to avoid obvious<br />

zig-zag effects. To finish, irons were<br />

gently clamped down each braid,<br />

which were left to cool and set<br />

before being released. Subtle<br />

S-bends were added for a natural<br />

look, then lightly spritzed with<br />

Infinium soft hold hairspray.<br />

Daniel Pascal Turner at On|Off<br />

Calvin Klein<br />

Escada Natasha Zinko<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

17


TRENDS<br />

I’M WITH THE BAND<br />

WARNING: S/<strong>S19</strong> is strictly a headgear-only zone; headbands<br />

must be worn on site to gain access(ories) all areas. Luckily there<br />

were plenty to choose from as every fashion capital had their own<br />

take on the trend. At Dior, the utilitarian nude bands were<br />

reminiscent of dancers’ accessories – those taut bands that give<br />

you a mini facelift – and which informed the hairstyle. “Every<br />

model at the show this season has some kind of headband, so the<br />

hair is designed to support this, but it’s actually very beautiful in<br />

itself, it creates an elegantly simple silhouette,” explained Redken<br />

global creative director Guido, backstage. Over at Prada the Alice<br />

band was being given a Miuccia-style makeover with leather and<br />

studs – also serving as the perfect device to disguise a cheeky<br />

winge. “It’s funny how a short fringe immediately offers a more<br />

boyish, rebellious feel which, coupled with the headband, gives a<br />

really strong silhouette,” Guido added. Leather and studs aside,<br />

the rest of the looks were a little more in-keeping with the season,<br />

thanks to floral bouquets at Dolce & Gabbana and Bora Aksu.<br />

The key to avoiding twee when wearing a flowery crown? “Make<br />

everything else messy,” said Tina Outen for L’Oréal Professionnel<br />

of the looped twin braids she fashioned over at Bora Aksu.<br />

Dolce & Gabbana<br />

Prada<br />

Guido backstage at Prada<br />

Versace<br />

Bora Aksu<br />

THE SHOW Dior<br />

HAIR: Guido for Redken<br />

THE LOOK: A little dancer-like,<br />

in a more contemporary way<br />

HOW: Hair was washed with<br />

Redken Color Extend Magnetics<br />

Shampoo and Conditioner and left<br />

to air-dry. A 3” triangle was<br />

sectioned off at the crown using a<br />

comb, then twisted into a knot with<br />

elastic. Starting from the left side of<br />

GET THE LOOK<br />

the head, the rest of the hair was<br />

roughly sectioned into four and<br />

wrapped in a swirl, kept in place<br />

with Redken Forceful 23. Redken<br />

Fashion Work 12 was sprayed<br />

before being clipped into place to<br />

hold its shape as they worked<br />

around. The final section was<br />

smoothed down with Redken<br />

Forceful 23 to hold it in place.<br />

18 SPRING/SUMMER 2019<br />

RUNWAY


TRENDS<br />

Colin Horgan<br />

Images courtesy of L’Oréal<br />

Professionnel and Redken<br />

Longshaw Ward at On|Off<br />

THE SHOW Markus Lupfer<br />

HAIR: Tina Outen for<br />

L’Oréal Professionnel<br />

THE LOOK: A strict head shape<br />

with hair that has dried after a<br />

swim in the ocean<br />

HOW: Starting with a strict<br />

centre-parting hair was saturated<br />

with TECNI.ART Siren Waves,<br />

clapped through the mid-lengths<br />

and ends with the crown<br />

David Koma<br />

palmer//harding<br />

WET SPELL<br />

Ah, wet look hair – friend to the time-poor and canny<br />

camouflage to the shampoo shirker – and this season’s<br />

drenched ’dos didn’t disappoint. At Markus Lupfer, Tina Outen<br />

for L’Oréal Professionnel created gentle movement on the ends<br />

for a beachy texture that looks like it’s wet but is dry. In Tina’s<br />

inspired words: “It’s business on top and party at the ends.”<br />

Dual texture was also evident at David Koma, again with<br />

Tina Outen for L’Oréal Professionnel and Christopher Kane,<br />

where the tops of Guido’s boyish ponytails were drenched with<br />

Redken Glow Dry Style Enhancing Blow-Dry Hair Oil and<br />

combed back using a wide-toothed comb to leave clear grooves<br />

in the hair. Over at Longshaw Ward at On|Off, Cristiano<br />

Basciu of Richard Ward Hair & Metrospa went a little more<br />

formal for L’Oréal Professionnel, with slick ’20s-inspired Marcel<br />

waves, while Cristian Pignatta from Neville Hair & Beauty for<br />

L’Oréal Professionnel also cracked open the gel at palmer//<br />

harding. “She’s strong and fearless, so it’s a wet-to-dry fade as if<br />

she’s embracing taking a walk in the rain,” he said of the<br />

slicked-back look. Brace yourselves, this season is about to get<br />

wet ‘n’ wild.<br />

GET THE LOOK<br />

moulded through the top of<br />

the ears for a clean, tight<br />

head shape. TECNI.ART<br />

Pli was layered over the<br />

top to mattify, before<br />

creating a beachy texture<br />

through the lengths with<br />

TECNI.ART Bouncy<br />

and Tender squashed<br />

in and diffused dry.<br />

Markus Lupfer<br />

Christopher Kane<br />

Tory Burch palmer//harding<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

19


@LOREALPRO<br />

#TECNIARTIST<br />

20 SPRING/SUMMER 2019<br />

RUNWAY


ADVERTORIAL<br />

THE WORLD IS CHANGING.<br />

STYLE IS CHANGING.<br />

T E C N I . A R T<br />

IS CHANGING<br />

At Central Saint Martins 38 stylists gathered at the L’Oréal Professionnel<br />

Design Lab to celebrate the relaunch* of the TECNI.ART range<br />

*The TECNI.ART range is being relaunched with new packaging,<br />

some products being discontinued and three new products<br />

IT’S A CHILLY SUNDAY in London’s Kings<br />

Cross and UK and Irish hairstylists are at<br />

Central Saint Martins, the talent hothouse<br />

responsible for some of the biggest careers in<br />

fashion. The goal is to celebrate the legendary<br />

backstage styling range TECNI.ART in its new<br />

form – streamlined, simpler, but more effective<br />

under pressure than ever…<br />

The new TECNI.ART range has been<br />

co-developed with hair stylists to ensure that the<br />

end result is what stylists really need. Busy<br />

backstage or in the salon, you can tell at a glance<br />

what you need thanks to the new streamlined<br />

packaging. Your core essentials are in classic<br />

white. Need a texturiser? Reach for silver. Want a<br />

total transformer? Then bet on black. In fact the<br />

Transformers are among a host of innovative new<br />

stylers that will give you the perfect tools for a<br />

brilliant final look every time. New shine top<br />

coat Ring Light is an instant classic that gives you<br />

a high-shine, non-greasy finish.<br />

Adam Reed of Percy & Reed spoke about his<br />

experience of the International Design Lab he<br />

attended in Paris. Fabio Piras, director of MA<br />

Fashion at Central Saint Martins discussed the<br />

rise of ‘no trend’ in the fashion industry and<br />

how his students create and challenge trends.<br />

Inspired and ready to go – and wearing<br />

customised TECNI.ART styling belts by Reid<br />

Galbraith of Backyard Denim – the stylists<br />

worked with a moodboard and enjoyed total<br />

creative freedom to produce a finished<br />

look on their model. Models were styled in<br />

clothing created by Central Saint Martins MA<br />

students and curated by course tutor and<br />

fashion designer Louise Gray. The looks were<br />

shot by Jack Eames and the models were then<br />

also captured in high street, everyday wear.<br />

The contrast between the high-fashion shoot<br />

and the street style shoot highlights just how<br />

versatile TECNI.ART can be. The new-look<br />

range will be arriving in salons in February and<br />

already serious excitement is building. Go big,<br />

go sleek, go wavy… go all TECNI.ART.<br />

To discover the new-look TECNI.ART, call L’Oréal Professionnel on 0800 0304034 or<br />

visit lorealprofessionnel.co.uk.Follow backstage @lorealpro #lorealprouk #tecniartist<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

21


HOW HAIR HAPPENS<br />

HOW HAIR HAPPENS<br />

Head backstage with three of the globe’s premier stylists to see them fashion the future trends for the S/<strong>S19</strong> season<br />

THE SHOW – ROBERTA EINER<br />

THE LEAD – ADAM REED FOR L’ORÉAL PROFESSIONNEL<br />

TECNI.ART<br />

Beach Waves was dried<br />

into the hair, before it<br />

was twisted into a loose<br />

bun and secured<br />

discreetly with pins<br />

behind the ears.<br />

For a worn in, dry<br />

texture, Adam Reed<br />

used his fingers to layer<br />

L’Oréal Professionnel<br />

TECNI.ART Beach<br />

Waves and TECNI.<br />

ART Savage Panache.<br />

Hair was pulled<br />

back into a midheight<br />

ponytail and<br />

secured tightly with<br />

a 3mm elastic.<br />

22 SPRING/SUMMER 2019<br />

RUNWAY


HOW HAIR HAPPENS<br />

For an undone,<br />

understated vibe, baby<br />

hairs were pulled out<br />

and a final spray of<br />

TECNI.ART Pli was<br />

applied. Adam used a<br />

boar bristle brush to<br />

break up the hair and<br />

add some detail.<br />

Rather than forcing hair<br />

into unnatural shapes,<br />

those with afro textures<br />

were left with bouncy<br />

curls, showing off each<br />

model’s individual look.<br />

Make-up was also<br />

minimal, giving models<br />

a subtle glow.<br />

Hair nets were worn to<br />

allow the hair to set<br />

while make-up was<br />

perfected and models<br />

rehearsed the walk.<br />

The bright colours and<br />

abstract shapes of<br />

Roberta Einer’s<br />

collection were perfectly<br />

complemented by this<br />

anti-statement hair,<br />

with its lived-in texture<br />

and simple knot.<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

23


HOW HAIR HAPPENS<br />

THE SHOW – ERDEM<br />

THE LEAD – ANTHONY TURNER FOR L’ORÉAL PROFESSIONNEL<br />

Hair was braided from<br />

behind the ears to the<br />

nape of the neck, then<br />

linked into one central<br />

plait and secured using<br />

elastic to give a<br />

‘pinched’ look.<br />

The Dyson Supersonic<br />

hair dryer Professional<br />

edition was used to<br />

smooth the hair and a<br />

mist of L’Oréal<br />

Professionnel Infinium<br />

Pure hairspray gave a<br />

luxurious texture to the<br />

‘modern Victorian’ hair.<br />

The look started with<br />

cocktails – L’Oréal<br />

Professionnel TECNI.<br />

ART Full Volume Extra<br />

Mousse was mixed with<br />

TECNI.ART Pli and<br />

applied throughout<br />

the hair to build a<br />

strong foundation.<br />

24 RUNWAY<br />

SPRING/SUMMER 2019


HOW HAIR HAPPENS<br />

The look was set using<br />

more Infinium Pure<br />

strong hold hairspray,<br />

so as to remain perfectly<br />

neat when models took<br />

to the runway.<br />

Accessories played an<br />

important part in this<br />

show – glittering<br />

earrings hung like<br />

chandeliers and<br />

wide-brimmed hats<br />

added an air of mystery.<br />

For some extra shine,<br />

L’Oréal Professionnel<br />

Mythic Oil was<br />

smoothed onto the<br />

hair, especially over<br />

the crown where the<br />

lights hit the head.<br />

Erdem’s collection was<br />

inspired by the true<br />

story of famed Victorian<br />

cross-dressers and gay<br />

lovers, Fanny and Stella.<br />

Romantic silhouettes<br />

with billowing sleeves<br />

were wrapped in<br />

floral prints.<br />

RUNWAY SPRING/SUMMER 2019<br />

25


HOW HAIR HAPPENS<br />

THE SHOW – PALMER//HARDING<br />

THE LEAD – CHRISTIAN PIGNATTA FOR L’ORÉAL PROFESSIONNEL<br />

The shape was then<br />

created by pulling the<br />

top of the hair back<br />

and tucking it behind<br />

the ears.<br />

To prep this<br />

dual-texture look,<br />

Christian Pignatta<br />

spritzed the hair with<br />

L’Oréal Professionnel<br />

TECNI.ART Pli and<br />

smoothed the hair down<br />

with a brush.<br />

L’Oréal Professionnel<br />

TECNI.ART Liss<br />

Control and TECNI.<br />

ART Extreme Splash<br />

were applied to the head<br />

using a tint brush, to<br />

create a slicked-back<br />

wet look that left the<br />

ends dry.<br />

26 SPRING/SUMMER 2019<br />

RUNWAY


HOW HAIR HAPPENS<br />

To exaggerate the<br />

contrasting wet and dry<br />

textures, TECNI.ART<br />

Super Dust was rubbed<br />

into the ends to dull<br />

the hair.<br />

A diffuser was used to<br />

enhance natural<br />

movement in the lengths<br />

of the hair, and extra<br />

bends were added with<br />

a curling tong.<br />

The look was set with a<br />

final spray of TECNI.<br />

ART Ring Light over<br />

the head, and a bold red<br />

lip was added as a<br />

final touch.<br />

Texture was also<br />

important in the clothes,<br />

with models wearing<br />

different fabrics in<br />

similar jewel tones<br />

for a luxurious,<br />

decadent collection.<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

27


Teddy Quinlivan (right),<br />

Leomie Anderson Teddy Quinlivan and Leigh (right), Lezark<br />

Leomie Anderson (left) and for Leigh Redken Lezark 5th Avenue (left)<br />

for Redken 5th Avenue<br />

All rights reserved. 2018<br />

LACQUER YOUR HAIR WITH LIQUID COLOR<br />

NEW COLOR GELS LACQUERS<br />

LOW AMMONIA. LOCKED-IN SATURATION. LACQUER SHINE.<br />

Permanent liquid color reinvented. Get rich, saturated results with<br />

high impact shine. Now with Color Gels Lacquers and Shades EQ<br />

you have the perfect liquid color pair for up to 100% coverage<br />

and an easy refresh on Zones 2-3. #ColorGelsLacquers


RE:CREATE<br />

The bite-sized trends to whet your Fashion Week appetite<br />

TWO OF A KIND<br />

IT WAS A 2-FOR-1 kind of deal over at Paul Costelloe,<br />

where Toni&Guy international artistic director Indira<br />

Schauwecker created “power hair with a romantic touch”.<br />

This translated into a wispy, messy roll on top and a<br />

half-down ’do at the back, with mousse diffused into<br />

the ends to give the waves a youthful, effortless feel.<br />

RATE OF KNOTS<br />

WAS IT THE ADVENT of athleisure or just a general<br />

laissez-faire morning attitude that saw the growth of the<br />

top knot in fashion circles? Well, the challenge is now on to<br />

deliver it to clients a little differently, and you could take a<br />

leaf out of Guy Kremer’s book of chic buns and knots.<br />

Styling for L’Oréal Professionnel, he presented a couple of<br />

stunning examples at a celebration of Graduate Fashion<br />

Week talent at the Houses of Parliament – eternal loops<br />

with no beginning or end. Now it’s your turn…<br />

30 SPRING/SUMMER 2019<br />

RUNWAY


RE:CREATE<br />

Christopher Kane<br />

Calvin Klein<br />

Victoria Beckham<br />

OH BOY!<br />

S/<strong>S19</strong> WAS A GAMINE dream with damp ’dos that had a distinctly masculine edge. Leading this troop of tomboys was Redken’s<br />

Guido, whose wet-look waves at Calvin Klein had more than a whiff of surfer dude about them, while at Victoria Beckham<br />

and Christopher Kane it was the comb marks in the front, and the slightly square head-shape that gave an androgynous feel.<br />

“There’s a boyishness to this look which is becoming a bit of a trend,” Guido mused backstage at Christopher Kane.<br />

KEEP CALM<br />

AND CARRY ON…<br />

…SHOULD BE THE battle<br />

cry when entering backstage,<br />

but ‘calm’ is not a word often<br />

associated with Fashion Week.<br />

Hurrah then for Adam Reed<br />

and his #calmdownknot at<br />

Roberta Einer, which he<br />

created in a bid to bring a little<br />

of his signature serenity to the<br />

game. The textured knot kept<br />

a windswept, ethereal feel,<br />

thanks to revamped L’Oréal<br />

Professionnel TECNI.ART.<br />

SCULPTURE CLUB<br />

HAIL CAESAR HAIR! Roman emperor-inspired style is set to<br />

take over. International artistic director for Toni&Guy Cos<br />

Sakkas set about recreating the curls seen on those marble busts.<br />

He separated the front from ear to ear, gathering the rest into a<br />

ponytail which was twisted and looped up into a knot. Then he<br />

lightly diffused the hair with a wand before using fingers and a<br />

spritz of hairspray to define the curls and keep them in place.<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

31


RE:CREATE<br />

Erdem<br />

PURE JOY<br />

WHO WAS THE UNSUNG HERO of London Fashion Week? That would be L’Oréal Professionnel’s Infinium Pure hairspray,<br />

which went to work backstage with super-stylists such as James Pecis and Anthony Turner (pictured above). Its hypoallergenic,<br />

unscented qualities may be unassuming, but it’s influence on the catwalks is undeniable. High fixation+low stiffness = pure love.<br />

Images courtesy of L’Oréal Professionnel, Redken and Toni&Guy<br />

EGG HEADS<br />

MARC JACOBS proved to be<br />

a masterclass in old-school<br />

hairdressing techniques, with<br />

Redken global creative<br />

director Guido’s exaggerated<br />

‘egg shape’ chignons. “It’s<br />

loosely based on the ’60s with<br />

a nod to iconic women like<br />

Barbra Streisand and Lee<br />

Radziwill, who were always<br />

‘done’,” explained Guido<br />

backstage. “It’s the kind of<br />

hair you have to go to a salon<br />

for as it’s an example of<br />

dressing hair up to the<br />

extreme.” Well if it’s good<br />

enough for Barbra...<br />

32 SPRING/SUMMER 2019<br />

RUNWAY


RE:CREATE<br />

PEEK-A-BOO<br />

RUNWAY READERS, lend us your<br />

ears… mainly because they can add<br />

a quirky detail to an otherwise<br />

classic hairstyle. Take the slick,<br />

Josephine Baker-inspired marcel<br />

waves at Longshaw Ward at On|Off,<br />

where Cristiano Basciu of Richard<br />

Ward Hair & Metrospa sculpted the<br />

hair around one ear before securing<br />

it into a low chignon at the back.<br />

Cristiano, we hear you.<br />

C O M E<br />

UNDONE<br />

DISHEVELLED ’DOS<br />

are<br />

one thing, half-decimated ones<br />

are an entirely different<br />

undertaking. It might sound<br />

counterintuitive to the rules of<br />

hairdressing, but the hair by<br />

Tina Farey from Rush Hair at<br />

Colin Horgan for On|Off was<br />

carefully designed to resemble<br />

morning-after manes, where one<br />

side bore the remnants of the<br />

start of the evening while the<br />

other had a decidedly sweaty,<br />

slept-in vibe. The hero product?<br />

L’Oréal Professionnel’s Mythic<br />

Oil. #WokeUpLikeThis<br />

STICK AND TWIST<br />

“IT’S A PRETTY, young, fresh style inspired by street fashion,”<br />

Darren Fowler of Fowler35 said of the twisted chignons at<br />

Chocolab for On|Off. Fowler blow-dried hair straight using<br />

L’Oréal Professionnel TECNI.ART Full Volume Extra mixed<br />

with water, before brushing back into two low ponytails that<br />

were twisted in opposite directions to form two coils. These coils<br />

were then wrapped around each other to form a rope, while the<br />

spiky ends were fixed in place with strong-hold hairspray.<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

33


TOP FIVE JOSH WOOD<br />

Images courtesy of Redken<br />

34 SPRING/SUMMER 2019<br />

RUNWAY


JOSH WOOD<br />

ANTIQUES ROADSHOW<br />

The sheer scale of Josh Wood’s colour work for the Marc Jacobs S/<strong>S19</strong> show was unprecedented.<br />

Here, he shines a light on this stunning shade operation and getting the vintage hues the designer craves…<br />

IN THE RUN-UP to the Marc Jacobs S/<strong>S19</strong> show, every second<br />

counted for Redken’s global color creative director, Josh Wood.<br />

“When designers see something they really like, which really<br />

connects with their vision of the collection, they want more and<br />

more of it,” says Josh. That goes some way to explaining just how<br />

Josh and his five-strong team found themselves colouring the hair<br />

of 37 models.<br />

Yes, that’s 37. And many of them arrived with waist length,<br />

virgin hair that needed bleaching, toning with an ‘undercoat’ of<br />

grey or violet, roots added back in, then coloured again – all over<br />

four days... it’s exhausting just to contemplate such an operation.<br />

Back at the A/W18 show, it was big news when nine models walked<br />

with strong hair colours inspired by ’80s nightclubs. Now, Josh and<br />

the team were looking at more than four-times that number…<br />

“We were doing shift work,” Josh explains. “We’re in Marc’s<br />

studio with no backwash – it was<br />

literally over the office sink. We<br />

simply couldn’t afford the time for<br />

the model to leave the fitting to get<br />

in a cab and find us in a salon. We<br />

didn’t stop.” The process was so<br />

time-consuming that every model<br />

needed to be tracked and accounted<br />

for – a job entrusted to Josh’s super-organised first assistant.<br />

“Mads was the one dealing with multiple teams, figuring out<br />

who was who. Thank God for Mads,” he says.<br />

Looking back, even It List Fashionista winner Mads-Sune<br />

Lund Christensen can’t quite articulate how they made it through<br />

in one piece – although the rapturous response made it all<br />

worthwhile. “I have absolutely no idea how we did it,” he laughs,<br />

but admits that he has developed an almost sixth sense when<br />

working with Mr Wood.<br />

“I’ve spent a lot of time trying to get into Josh’s mindset, to<br />

prepare myself for what’s to come. I had a lot of spreadsheets and<br />

notebooks. It’s just about keeping calm and organised,” he adds.<br />

“My approach is slowly-slowly,<br />

gently-gently, take your time<br />

and preserve the hair”<br />

JOSH WOOD<br />

It was the shades, as much as the sheer scale, which caught<br />

everyone’s imagination. The “anti-unicorn tones”, as Josh<br />

describes them, evoked an unusual sense of history and depth for<br />

pastels. To get this different transparency, Josh layered Redken<br />

Color Gels Lacquers, Shades EQ Pastels, City Beats and new<br />

Shades EQ Reds to get the variety of hues.<br />

“It was that combination of a different undercoat that gave us<br />

this idea of an antique pastel, a heritage pastel. Much softer, it<br />

was almost ageless; they weren’t garish. They had an element of<br />

sophistication about them, which is exactly what Marc wanted.”<br />

It hasn’t always been the case that designers’ models have been<br />

so welcoming to colour: “Five years ago nobody wanted it;<br />

everybody fought it, cried, and then we’d colour it back again<br />

after,” Josh recalls. “Now it’s ‘make it as bright as you can, we’re<br />

going to relaunch this model with this colour’. It’s really been an<br />

overnight change in attitude.”<br />

To have such a drastic attitude<br />

adjustment from both model<br />

management and the models<br />

themselves is challenging, Josh<br />

admits, “because if there’s going to<br />

be that demand then my business is<br />

going to have to change”. In this<br />

new dawn of catwalk colouring, what is the biggest challenge?<br />

“The stamina,” he says. “It’s six weeks of non-stop work. I do like<br />

to celebrate with the designers but my priorities are A) making sure<br />

my team’s okay and B) delivering on what I’m there to do.”<br />

Josh’s measured approach to colour is exactly what sets him<br />

apart from others and puts him in such high demand. He manages<br />

to coax and tease out hues which are as-yet unseen, while also<br />

managing to keep hair looking healthy. “My approach is<br />

slowly-slowly, gently-gently, take your time and preserve the hair.<br />

I’ve worked on catwalk hair for a long time, and for my own<br />

reputation I want positive feedback – it resonates back to salon<br />

clients. The tone of voice is equally as important to me as creativity.”<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

35


TINA TELLS IT<br />

Natasha Zinko<br />

You can spot session stylist Tina Outen backstage in a heartbeat, thanks to the unicorn-friendly candy pink hair,<br />

and she’s here to have a good time and do great hair, as she tells <strong>Runway</strong>...<br />

“I’VE GOT A TURQUOISE scarf on today, that’s me pushing the<br />

boat out!” says Tina Outen, her voice crackling across the line<br />

from New York, where she’s in transit to a shoot. Known for her<br />

sunny, funny personality and wearing a lot of pink, Tina has been<br />

doing the rounds backstage since she started on Luke Hersheson’s<br />

team after meeting at the Harvey Nichols Hershesons salon in<br />

London near the turn of the century. “I found that having a<br />

strong identity helped me. As a hairdresser, it starts with my hair<br />

– and now look, everything is getting colourful,” she giggles.<br />

Back then, in 2002, Tina was a recently crowned<br />

L’Oréal Colour Trophy winner happily working with salon<br />

clients, until she was bitten by the backstage bug when she started<br />

working for the Hershesons brand. Even after moving to the US<br />

for a pop-up salon opportunity (called Tina Did It – now her<br />

Instagram handle and printed on all her backstage capes) she<br />

continued to keep one foot in the fashion world, being steadily<br />

drawn in by the creativity of other artists. “Doing those cuts and<br />

colours enabled me to move from the salon and into fashion. I just<br />

like to listen, look at the clothes, look at the models, look at the<br />

Natasha Zinko<br />

36 SPRING/SUMMER 2019<br />

RUNWAY


TINA OUTEN<br />

Bora Aksu<br />

Bora Aksu<br />

Bora Aksu<br />

Markus Lupfer<br />

Rejina Pyo<br />

David Koma<br />

hair, and then see what you can make that ties everything<br />

together,” she explains.<br />

That collaborative spirit and bright personality is as<br />

indomitable as ever, even as Tina raced between several different<br />

shows in London during the S/<strong>S19</strong> season. From the nomadic<br />

braids at Bora Aksu (“He’s always about his muse. He’s always<br />

about women who are fighting, struggling, achieving<br />

something”), to Natasha Zinko’s repurposed collection with<br />

Wrangler (“We were repurposing and layering our products too,<br />

which was the texture, the lived-in feel”), Tina’s all about telling a<br />

story with her work. Even Markus Lupfer’s pseudo-simple wet<br />

look hair had a story. “Markus loves Spring/Summer. The look is<br />

a summer girl at the beach – but in the dunes, not the tropics.<br />

She’s young, modern, cool.” Rather than relying on salt sprays<br />

to mimic the sea-wet texture, Tina loaded the hair with the<br />

unusual gel-cream texture L’Oréal Professionnel TECNI.ART<br />

Siren Waves.<br />

With Fashion Week’s tight time pressures and notoriously<br />

high stress levels, Tina’s approach to shows is markedly different.<br />

“It’s important to me to keep the energy and fun levels up<br />

backstage. I’m an energy person, a vibe person,” Tina asserts.<br />

Natasha Zinko<br />

“Seeing your hair on 20 models<br />

all lined up is incredible – you don’t<br />

get that on shoots”<br />

TINA OUTEN<br />

Bora Aksu<br />

David Koma<br />

She likes to finish all of the hair looks, especially when she’s<br />

zipping across the world and working with different teams. How<br />

to catch her eye? Turns out it’s easier than you think. “I’ll work<br />

with anyone! I’ve met people off Instagram, people DM me and I<br />

get them to come and meet me,” she says. “It’s just about feeling,<br />

energy-wise, like we get on, having that good vibe next to you.”<br />

Even after all this time, the rush that Fashion Week gives her<br />

is incomparable: “Seeing your hair on 20 models all lined up is<br />

incredible – you don’t get that on shoots,” she says. Tina’s<br />

positivity shines all the brighter. Wouldn’t the world be an<br />

altogether nicer place if we were all just a little bit more Tina?<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

37


GUIDO<br />

LONDON<br />

CALLING<br />

<strong>Runway</strong> sits down with British session legend Guido Palau to talk trends, team dynamics<br />

and the unmistakeable London vibe, as he returns for a season in the capital<br />

38 SPRING/WINTER 2019<br />

RUNWAY


GUIDO<br />

Victoria Beckham, image courtesy of James Cochrane<br />

IT’S BEEN YEARS since Guido led so many shows in London,<br />

but with occasions such as Riccardo Tisci’s first show for<br />

Burberry and Victoria Beckham’s 10-year anniversary and LFW<br />

debut, Guido and his team set up camp in the capital for a very<br />

special London Fashion Week.<br />

“It’s funny because I always feel like I belong here,” says the<br />

Redken global creative director, making himself comfortable on<br />

the plush Covent Garden Hotel sofa. “For a while I really severed<br />

ties with London, but something’s shifted a little bit. Just being<br />

here feels… it’s what I know, it’s where I grew up.”<br />

The hotel is opposite one of the first salons Guido worked in,<br />

more than 30 years ago. “It’s funny how life is. It was nice<br />

coming back, nice to do Victoria Beckham’s show here again after<br />

New York,” he smiles. “I went to the party for a bit afterwards,<br />

and you couldn’t have been anywhere else but London in that<br />

space – London people have a distinctness about them. People<br />

here really know how to enjoy themselves, they let go.”<br />

Guido has known Victoria since her Spice Girls days, and has<br />

been with her over the past decade when she weathered initial<br />

scepticism as she moved into fashion. “You’ve gone on this<br />

journey with a designer, someone who was up against the odds in<br />

a way, and she’s proved herself,” he explains. “Going from being<br />

in a successful girl group to running a successful business, having<br />

a family and children… it’s pretty powerful. It’s not easy.”<br />

Victoria’s signature understated glamour took on a boyish,<br />

minimalist edge for S/<strong>S19</strong>, standing apart from many of the shows<br />

that saw a real return to more noticeable styling, after years of<br />

undone looks. “There’s still the natural hair around, but there<br />

seems to be an interest in more glamorous looks. For a good three<br />

years we’ve talked about natural textures, but now there’s an<br />

interest. People want to see a<br />

fashion moment, a look,” he says,<br />

referencing the responses to the<br />

oversized silhouettes at Marc<br />

Jacobs and extravagant Valentino<br />

Couture blowouts. For Guido, the<br />

‘reboot’ of focusing on natural<br />

textures and diversity was much needed, a new type of beauty<br />

statement for the world: “We’re going to keep that positive<br />

message, but for a while we let that fashion edge go.”<br />

For Riccardo Tisci’s first Burberry show he utilised a chignon<br />

to keep the look simple and clean. Being able to help to establish a<br />

brand’s voice is something that Guido takes great responsibility<br />

in: “Even though Riccardo’s an established designer, you’re at the<br />

beginning, you’re creating a new voice for the brand.<br />

“There was a lot of pressure on that show but at the same<br />

time it was exciting to be around that kind of expectation,” he<br />

adds. “I’d worked with Riccardo at Givenchy so I know him, but<br />

the Burberry woman is completely different to the Givenchy<br />

woman. That’s the exciting thing about working with a new<br />

designer, or one who is new to a house; you get to develop a style.”<br />

“London people have a distinctness about<br />

them. People here really know how to<br />

enjoy themselves, they let go”<br />

GUIDO<br />

With such a history in Fashion Week styling, the changes to<br />

the shows over the years are all too clear. “When I first started<br />

we would do 18 models, a big show was 22 models. Not<br />

anymore!” he laughs. “You still only get four hours and now can<br />

have 120 at Burberry, 175 at Dolce & Gabbana… the numbers<br />

are huge, the team you need is huge.”<br />

And what’s hard with having a big team is that you don’t<br />

know each individual’s skillsets. “You walk in and there are all<br />

these new faces you don’t know,” he admits.<br />

The dynamic backstage –<br />

coupled with a language barrier<br />

in some cases – of eager young<br />

stylists, frayed nerves and huge<br />

time pressures means that it can<br />

be a baptism of fire.<br />

“It’s one thing I always say<br />

– you have to remember the speed,” he says. “170 people, three<br />

hours, you have to work it out. It’s not 45 minutes per person,<br />

like you would in the salon. It’s a different language. I try to get<br />

it as perfect as possible, but I just need it done.”<br />

He likes to keep an eye out for fresh talent backstage,<br />

knowing that the atmosphere certainly isn’t for everyone. “But if<br />

you want to work backstage… as long as you’re helpful, you’re<br />

good,” he smiles. “It’s all about thinking and using your time<br />

wisely for the lead person: ‘how can I be helpful? What can I do,<br />

if I’m not technically putting the hair up?’<br />

“It might not be your skillset for that show. We all have<br />

strengths but when it’s not yours, what can you do to relieve the<br />

team of the stress and help the situation? You would be a shining<br />

star to me if you have that attitude.”<br />

Guido backstage at S/<strong>S19</strong><br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

39


Daniel Pascal Turner at On|Off<br />

40 SPRING/WINTER 2019<br />

RUNWAY


ON|OFF<br />

MATCHY-MATCHY<br />

Pairing creatives together can be a tricky business. Here’s how it’s done<br />

at the On|Off showcase at London Fashion Week…<br />

ON|OFF HAS BEEN instrumental in launching the careers of international<br />

fashion designers for years. For 26 seasons across 15 years, the showcase at<br />

London Fashion Week has given labels such as Gareth Pugh, Peter Pilotto and<br />

JW Anderson a platform to promote their visions on a global stage. Looking to<br />

highlight new visionaries and bright-minded businesses, the On|Off initiative is<br />

as nurturing as it is creative.<br />

Part of this support involves connecting designers with experienced hair<br />

and make-up teams to help complete their vision. L’Oréal Professionnel steps<br />

up to the plate for hair, hitting home runs season after season with its carefully<br />

considered partnerships. Each designer has their own story and appeal, and the<br />

L’Oréal Professionnel team works with its associated artists to find the perfect<br />

pairing, every time. How? Let’s find out…<br />

RUNWAY<br />

SPRING/WINTER 2019<br />

41


ON|OFF<br />

IA LONDON LONGSHAW WARD DANIEL PASCAL TANNER<br />

THE DESIGNER: Ira Avezov<br />

THE STYLIST: Mark Woolley,<br />

Electric Hairdressing<br />

THE LOOK: Textured, lengths tucked into<br />

collars and hoods to create a pear shape<br />

THE DESIGNERS: David Longshaw<br />

and Kirsty Ward<br />

THE STYLIST: Cristiano Basciu,<br />

Richard Ward Hair & Metrospa<br />

THE LOOK: Clean and sculpted<br />

THE DESIGNER: Daniel Pascal Tanner<br />

THE STYLIST: Richard Phillipart,<br />

The Boutique Atelier<br />

THE LOOK: Low ponytail with<br />

Pre-Raphaelite texture<br />

RUNWAY: How did you find On|Off?<br />

IRA AVEZOV: It was our debut show and<br />

having an opportunity to work with<br />

top-end professionals from L’Oréal<br />

Professionnel felt like a precious gift.<br />

When the people you work with are very<br />

talented – as Mark Woolley and his team<br />

are – it makes the results extraordinary,<br />

and the process inspiring and enjoyable.<br />

RUNWAY: What makes the On|Off<br />

showcase different to other shows?<br />

MARK WOOLLEY: On|Off has an<br />

international reputation for launching new<br />

visions and collections from emerging<br />

designers. How it supports new talent is<br />

amazing; it offers what new designers need<br />

to start their career in fashion and grow.<br />

Electric is an independent, British brand<br />

born from pure passion, with the goal to<br />

make a difference in our industry – and<br />

young designers have the same intent – so<br />

working together to create something<br />

different and inspirational is ideal.<br />

RUNWAY: How did the show’s low<br />

side-parting with a hint of Marcel wave<br />

and chignon look come into being?<br />

DAVID LONGSHAW: Cristiano<br />

instantly connected with our research<br />

images and collection fittings photos we<br />

showed him, and suggested ways to adapt<br />

the hair styling to create the sculpted look.<br />

It felt like a more polished progression<br />

from our previous season’s catwalk<br />

hair (which was a messy wet look).<br />

It really suited our S/<strong>S19</strong> garments,<br />

which have more of an emphasis on<br />

tailoring, they’re a bit more grown up.<br />

RUNWAY: How has the pairing evolved?<br />

CRISTIANO BASCIU: This is the second<br />

time we have worked with the Longshaw<br />

Ward designers and we absolutely love<br />

creating hair for them! We have developed<br />

a brilliant relationship which is really<br />

important – they trust our team to create<br />

something special for them that really<br />

works for their vision.<br />

RUNWAY: How did you find the<br />

experience of an On|Off collaboration?<br />

DANIEL PASCAL TANNER: It was a real<br />

pleasure to work with a hair stylist as<br />

creative as Richard, he interpreted the<br />

aesthetic and feeling of the collection<br />

beautifully. The textured fringe added<br />

intrigue and romance, but the hair was<br />

still clean and off the sides of the face,<br />

so we could see the models features.<br />

RUNWAY: What was the process like?<br />

RICHARD PHILLIPART: Daniel and I<br />

chatted over the phone a couple of times,<br />

we exchanged moodboards and emails<br />

back and forth long before we did the<br />

fitting and test day. Because of the big<br />

black velvet hats worn by half of the<br />

models, we needed something to tie all<br />

the looks together. So on the test day<br />

I suggested black ribbons in ponytails and<br />

it became a key part of the style. We’ve<br />

worked together since, collaborating on<br />

a hair show that he styled.<br />

42 SPRING/SUMMER 2019<br />

RUNWAY


ON|OFF<br />

COLIN HORGAN<br />

CHOCOLAB<br />

THE DESIGNER: Colin Horgan<br />

THE STYLIST: Tina Farey, Rush Hair<br />

THE LOOK: Sweaty, post-clubbing, with<br />

one side left as it would have been at the<br />

start of the night<br />

RUNWAY: How did you find On|Off?<br />

COLIN HORGAN: It was an incredible<br />

experience. It was experimental, but the<br />

level of professionalism was so strong I<br />

couldn’t have asked for more.<br />

TINA FAREY: I really loved working with<br />

Colin and we’ve already collaborated<br />

again as he kindly lent us two of his outfits<br />

for the Rush Live charity hair show!<br />

RUNWAY: How did you settle on the<br />

‘post-clubbing’ look?<br />

COLIN HORGAN: My concept for the<br />

hair was supposed to be a ‘out all night,<br />

just come home’ look where the hair is<br />

coming undone but still has a sleek,<br />

sophisticated element to it. When Tina<br />

was doing a few different tests there was a<br />

point where the hair was half complete,<br />

and I loved how effortless it looked. It gave<br />

this sense the woman had done it herself<br />

but was at a stage in the morning where<br />

she felt great enough to know it didn’t<br />

need adjustment.<br />

ON|OFF<br />

THE DESIGNER: Qing<br />

THE STYLIST: Darren Fowler,<br />

Fowler35<br />

THE LOOK: Clean and simple with a<br />

low, twisted chignon<br />

RUNWAY: How did you find On|Off?<br />

QING: It was a great working with<br />

On|Off and L’Oréal Professionnel, Darren<br />

and his team were excellent. All of us were<br />

extremely happy with the result and<br />

experience Darren provided. I can’t thank<br />

L’Oréal Professionnel enough for<br />

providing such an exquisite team for us!<br />

DARREN FOWLER: On|Off is always<br />

exciting. Creating characters is very much<br />

my ethos and something I carry through<br />

to the catwalk. I always work with the<br />

designers to consider the story of the<br />

models, presenting an image that will<br />

convey that story to the viewer.<br />

RUNWAY: How did you devise the look?<br />

DARREN FOWLER: It was decided that<br />

the model was chic but street. Almost East<br />

London meets Couture. I used a double<br />

ponytail tied in at the nape to keep the<br />

parting through the top, then flipped this<br />

up and tied it again so that we had this<br />

sculptured shape working back up the head.<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

43


“It was a mix of editorial hair but<br />

with a surreal quality. The show<br />

was performance art”<br />

JOHANNA CREE BROWN<br />

REVOLUTIONARY SPIRIT<br />

Love the looks created by Johanna Cree Brown<br />

and the Trevor Sorbie Art Team<br />

t<br />

PROTEST BRAIDS<br />

Three low braids<br />

using figure of eight<br />

weaving are finished<br />

with L’Oréal<br />

Professionnel<br />

TECNI.ART<br />

Ring Light<br />

t<br />

SURREALIST<br />

BRAIDS<br />

An extended braided<br />

tail wrapped and<br />

draped around neck<br />

and clothes, with<br />

TECNI.ART Web<br />

used for braiding.<br />

44 SPRING/SUMMER 2019<br />

RUNWAY


CARLA FERNÁNDEZ<br />

JOIN THE<br />

RESISTANCE<br />

Designer Carla Fernández fights the good fight at the latest V&A Fashion in Motion,<br />

with extra muscle from Johanna Cree Brown and the Trevor Sorbie Art Team<br />

Images courtesy of L’Oréal Professionnel<br />

THE SPOTLIGHT SHONE on designer<br />

Carla Fernández at the latest Fashion in Motion<br />

event at the V&A, which showcased her<br />

Manifesto of Fashion as Resistance and featured<br />

a live chorus and a catwalk presentation with<br />

work from five collections. Centred around the<br />

designer’s commitment to decolonisation,<br />

intersectionality and social justice, Carla’s<br />

designs also reflect the rich history of textiles<br />

and design of her native Mexico.<br />

After studying art history, fashion design and<br />

Mexican apparel, in 2000 she launched her<br />

ready-to-wear brand inspired by traditional<br />

Mexican textiles. By 2008, she had been named<br />

Fashion Entrepreneur of the Year by the British<br />

Fashion Council, and in December 2018 she was<br />

honoured with the Design Miami/Visionary<br />

Award alongside her husband, artist Pedro Reyes.<br />

L’Oréal Professionnel, which has provided<br />

hair teams for the Fashion in Motion event since<br />

its inception, tasked leading stylist Johanna Cree<br />

Brown and the Trevor Sorbie team to create<br />

editorial looks with an out of this world element<br />

that befitted the work. Johanna explains that<br />

each look “was a mix of editorial hair but with a<br />

surreal quality. The show was performance<br />

art”. For Carla, she says working with Johanna<br />

to create the looks “demonstrated the hair was<br />

also an art piece, a crafted hairstyle”.<br />

The Trevor Sorbie artistic director worked<br />

closely with style consultant and designer Sam<br />

Lambert to create the initial concept for the hair,<br />

which featured centre-partings and a mix of<br />

long and woven braids. Using references from<br />

the textiles of Mexico’s indigenous communities<br />

that influence Carla’s work, Sam explained that<br />

they “wanted to pick inspiration from the<br />

culture and make it contemporary”. From this,<br />

Sam and Johanna developed the idea of making<br />

the hair part of the clothing, to make it an<br />

accessory coming out from the cloth or using<br />

long single braids as necklaces.<br />

t<br />

FEMINIST<br />

A luxe shape with<br />

disconnected<br />

lengths, using<br />

TECNI.ART<br />

Web to slick down<br />

the sides.<br />

t<br />

ANDROGYNOUS<br />

Hair as nature<br />

intended, with a<br />

little TECNI.ART<br />

Web to slick hair<br />

back from face.<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

45


BRUSH UP<br />

Are your staff up-to-scratch on styling? We spoke to some of the backstage big-hitters<br />

about the skillset they claim is missing from the next generation of hairdressers…<br />

Holly Fulton


SKILLS<br />

Richard Phillipart<br />

TRADING IN THE SALON floor for an<br />

adrenaline-filled season backstage at<br />

fashion week is a dream come true for<br />

many. With lucky stylists cherry-picked for<br />

the best teams led by some of the biggest<br />

names in the business, expectations are<br />

high – both for the hairdresser and for the<br />

salons that are losing staff for days at a<br />

time. But what happens when the new cog<br />

doesn’t fit in the finely-oiled machine?<br />

“One of the issues we’re<br />

finding is a shortage of ‘classic’<br />

skills,” says Adam Reed,<br />

co-founder of Percy & Reed<br />

and L’Oréal Professionnel UK<br />

editorial ambassador. He feels<br />

that the need for speed in<br />

under-pressure salons has<br />

resulted in a chasm between expectations<br />

and experience, with artists hoping to pick<br />

up key techniques on the job. “We don’t<br />

want rushed work, we need an incredible<br />

level of skill,” he continues. “Even the<br />

most basic skills they seem to have no<br />

idea how to do, or how to make it<br />

look beautiful.”<br />

When your work is under this much<br />

scrutiny – forming the basis of trends to<br />

come for the season ahead – there’s no<br />

room for winging it. “People want to assist<br />

and come backstage, as I did,” Adam<br />

explains. “But I learnt those classic skills<br />

before I even went to assist. They should<br />

be practising on block heads. Even now, if<br />

I’m going to do a show and I’ve been sent<br />

a reference, I still practise and make sure<br />

that I’ve got the right tools.”<br />

“Even the most basic skills they seem<br />

to have no idea how to do, or how to<br />

make it look beautiful”<br />

ADAM REED<br />

So what can be done? To start, Adam<br />

has filmed a series of video tutorials for<br />

L’Oréal Professionnel’s Access platform to<br />

offer insight and education to all salon<br />

stylists that’s completely accessible – no<br />

“access all areas” pass needed.<br />

Richard Phillipart, owner of The<br />

Boutique Atelier in Cheshire, leads his<br />

own team at London Fashion Week and he<br />

Adam Reed<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

47


SKILLS<br />

Jonathan Soons<br />

“When I started assisting, my ponytail<br />

work was weak. I picked up on it<br />

immediately and practised for a long time”<br />

JONATHAN SOONS<br />

suggests doubling down on the core skills<br />

that are so essential when working<br />

backstage. “Often we will be working a<br />

classic technique into<br />

a modern texture, so<br />

a wide skillset and<br />

understanding of<br />

how things work<br />

will help you be<br />

ready for anything,”<br />

he explains.<br />

Even simple up-dos can be the<br />

downfall of a Fashion Week newbie.<br />

“Ponytail work is sometimes the skill that<br />

needs to be improved,” agrees Jonathan<br />

Soons, artistic ambassador for<br />

Headmasters. “When I started assisting,<br />

my ponytail work was weak. I picked up<br />

on it immediately and practised for a long<br />

time to have the confidence to do a high<br />

show pony.”<br />

Technique isn’t the only element these<br />

fashion week seniors find lacking in their<br />

assistants – having a broad product<br />

knowledge is essential, especially as<br />

extreme looks sent down the catwalk are<br />

rarely created with the usual instructions.<br />

It’s a lesson that Kathryn Dartnell, art<br />

director at Harringtons, learnt very<br />

quickly. “When I first started working<br />

backstage, I remember noticing the<br />

amount of product used,” she recalls.<br />

“Seeing someone use a whole bottle of<br />

TECNI.ART Full Volume Extra mousse<br />

on one head of hair… I’d never seen<br />

anyone do that in the salon before! I found<br />

I had to learn to use and understand<br />

products in a whole new way backstage.”<br />

That understanding of products and<br />

building a base of expertise around what’s<br />

in your kitbag is an key element of the<br />

revamped TECNI.ART range from<br />

L’Oréal Professionnel. Reformulated after<br />

intense workshopping with stylists from<br />

around the globe including Adam Reed,<br />

TECNI.ART’s raison d’etre to is to<br />

provide the tools that will allow a stylist to<br />

achieve what they’ve been briefed to do as<br />

brilliantly as possible.<br />

But for Kathryn, her time backstage<br />

has greatly helped to shape her work back<br />

in the salon. “There are lots of skills that<br />

cross over, but session artists have such<br />

an in-depth knowledge and skill set when<br />

it comes to styling hair. There is so much<br />

to learn in simply styling; there isn’t a<br />

salon hairdresser alive who won’t benefit<br />

from being exposed to the skill set<br />

48 SPRING/SUMMER 2019<br />

RUNWAY


SKILLS<br />

“There isn’t a salon hairdresser alive who<br />

won’t benefit from being exposed to the<br />

skill set required to work backstage”<br />

KATHRYN DARTNELL<br />

Kathryn Dartnell<br />

required to work backstage at a show.”<br />

Gaining an awareness of your own<br />

strengths and weaknesses is no easy feat<br />

but can quickly help to set you apart in the<br />

best way possible. As concerned as Adam<br />

is about a “cheat mentality, of winging it”,<br />

he knows that this is by no means a<br />

universal problem. He adds: “Some people<br />

are so on the ball. What’s interesting is<br />

how they then really stand out.”<br />

It’s something that Jonathan agrees<br />

with, advocating fast thinking and being<br />

aware of other teams in cramped quarters.<br />

“Backstage is not a salon environment,<br />

and being chatty or slow is not good,”<br />

Jonathan warns. “You need to be alert<br />

and ready to help more than one stylist<br />

at a time.”<br />

So how best to make a (positive)<br />

impression? “Ask to come<br />

and assist at the prep,”<br />

Adam suggests. “It’s a<br />

small thing, but you’ll see<br />

all of the process of the<br />

prep and be able to go<br />

home and practise it –<br />

and knock it out of the<br />

park. You’re getting a free education.”<br />

Filming the test or guide means that<br />

you can be in the moment, paying<br />

attention to what’s being shown – but it<br />

also gives you concrete material to return<br />

back to the salon with and learn from.<br />

“Make sure you bring a good kit and ask<br />

lots of questions,” Adam concludes.<br />

“I never mind if people ask me questions,<br />

I’d rather someone ask than try and wing<br />

it. I’ll always make sure my assistant can<br />

be a point of contact if you’re a little<br />

nervous about talking to me. It’s a job<br />

where you have to be able to communicate<br />

or you’re never going to learn – and you’ll<br />

be annoyed at yourself for not asking.”<br />

SESSION<br />

SKILLS FOR<br />

THE SALON<br />

TIPS & TRICKS<br />

Update your backstage skills with the<br />

Tips & Tricks styling course from<br />

L’Oréal Professionnel. Taught by<br />

Kayleigh Twigg from Brooks &<br />

Brooks, it gives you the ammunition<br />

you need to keep styling from<br />

becoming your Achilles heel. Improve<br />

your confidence with braiding and<br />

hair-up styling through step-by-step,<br />

interactive demonstrations and<br />

hands-on training.<br />

27 March, London Academy<br />

lorealaccess.com/uk<br />

MASTERCLASS<br />

Redken’s next-level Masterclass<br />

sessions are perfect for making sure<br />

your skills are freshly sharpened<br />

for backstage work. Learn some of<br />

S/<strong>S19</strong>’s hottest trends with Jonathan<br />

Long’s S/S Cut/Color/Style<br />

masterclass, or learn from the king<br />

of cool himself, Mr Larry King, in<br />

his expert Styling class. Under his<br />

expert guidance you’ll be ready to<br />

create his signature styles and<br />

polished looks with an undone twist.<br />

18 March and 29 April,<br />

Redken Exchange, London<br />

lorealaccess.com/uk<br />

RUNWAY<br />

SPRING/SUMMER 2019<br />

49


S/<strong>S19</strong> HAIR IS…<br />

“ABOUT FRINGES,<br />

BANGS AND MINI<br />

FRINGES. WE SAW<br />

THEM AT PRADA,<br />

MIU MIU, ALL<br />

OVER THE PLACE.<br />

THERE’S A<br />

BOYISHNESS<br />

THIS SEASON<br />

THAT’S<br />

EMPOWERING,<br />

TOO”<br />

Guido, Redken<br />

global creative<br />

director<br />

“LOW<br />

MAINTENANCE.<br />

SMOOCHED-<br />

DOWN, WEARABLE<br />

WET LOOKS ARE A<br />

MUST THIS<br />

SEASON. IT’S<br />

EVERYTHING THAT<br />

IS NATURAL, EASY<br />

TO WEAR BUT STILL<br />

POLISHED WITH<br />

SHINE”<br />

Mark Woolley,<br />

Electric<br />

Hairdressing<br />

“FREE-FLOWING.<br />

THERE’S LOTS OF<br />

MOVEMENT, LOTS<br />

OF TEXTURE – BE IT<br />

STRAIGHT, WAVY<br />

OR CURLY – BUT<br />

THERE’S ALSO<br />

LOTS OF HAIR<br />

DOWN LOOKS<br />

WITH AIR<br />

CATCHING IT AS<br />

MODELS WALK”<br />

Richard Phillipart,<br />

The Boutique<br />

Atelier<br />

“COLOURFUL!<br />

EXPRESSIVE,<br />

EXPERIMENTAL<br />

AND FUN HAIR<br />

THAT LOOKS LESS<br />

FLOWY AND<br />

EDITORIAL – MORE<br />

LIKE THE WAY HAIR<br />

WAS WORN AS<br />

AN ACCESSORY IN<br />

THE ’80S”<br />

Josh Wood,<br />

Redken global<br />

color creative<br />

director<br />

“TOO COOL FOR<br />

SCHOOL.<br />

EFFORTLESS<br />

SHAPE, COLOUR<br />

AND FINISH ARE<br />

KEY TO KEEPING IT<br />

REAL. THINK<br />

DEBBIE HARRY,<br />

SOFIA COPPOLA<br />

AND CAROLINE DE<br />

MAIGRET AND<br />

YOU’RE ON THE<br />

RIGHT TRACK!”<br />

Adam Reed,<br />

Percy & Reed<br />

A summary of the season, in the words of the professionals<br />

S/<strong>S19</strong> HAIR IS…<br />

“BRINGING<br />

TEXTURE BACK!<br />

THINK<br />

SLICKED-BACK<br />

POWER BRAIDS,<br />

FROM ELABORATE<br />

UP-DOS AND<br />

FLUFFY, FLYAWAY<br />

WAVES TO<br />

WET-LOOK<br />

PONYTAILS<br />

– TEXTURE IS KEY”<br />

Cristiano Basciu,<br />

Richard Ward Hair<br />

& Metrospa<br />

“ACCESSORIES!<br />

THINK BACK TO<br />

‘80S SCHOOL<br />

STYLE. I LOVED<br />

THE LEATHER<br />

HEADBAND<br />

AT PRADA,<br />

THE ENCRUSTED<br />

DIAMOND CLIPS<br />

AT MAXMARA…<br />

CHANEL BOWS<br />

MADE A<br />

STATEMENT, TOO!<br />

Tina Farey,<br />

Rush Hair<br />

“ALL ABOUT<br />

DUALITY. WE’RE<br />

MODERNISING<br />

AUTHENTIC,<br />

NATURAL HAIR BY<br />

CREATING DUAL<br />

TEXTURE . BE IT<br />

SHINY WET<br />

PRODUCTS USED<br />

FOR HOLD AND<br />

CLEAN ENDS THAT<br />

FLY, OR CLEAN<br />

ROOTS AND DRY<br />

TEXTURED ENDS”<br />

Tina Outen<br />

“IS STILL ABOUT<br />

INDIVIDUALITY.<br />

GONE ARE<br />

COOKIE-CUTTER<br />

HAIRCUTS, THERE’S<br />

NEVER BEEN A<br />

BETTER TIME TO BE<br />

BOLD AND USE<br />

YOUR HAIR TO<br />

EXPRESS WHO YOU<br />

REALLY ARE. IT CAN<br />

BE TAILORED WITH<br />

A UNIQUE TWIST”<br />

Darren Fowler,<br />

Fowler35<br />

“ABOUT THE<br />

RETURN OF THE<br />

STATEMENT<br />

HAIRCUT. THE<br />

NEED FOR<br />

STRUCTURED<br />

SHAPES IS AT THE<br />

FOREFRONT. WE<br />

ARE SEEING THE<br />

REBIRTH OF THE<br />

EMPOWERING<br />

HAIRCUT”<br />

Cristian Pignatta,<br />

Neville Hair &<br />

Beauty<br />

50 SPRING/SUMMER 2019<br />

RUNWAY

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