GUIDO LONDON CALLING <strong>Runway</strong> sits down with British session legend Guido Palau to talk trends, team dynamics and the unmistakeable London vibe, as he returns for a season in the capital 38 SPRING/WINTER 2019 RUNWAY
GUIDO Victoria Beckham, image courtesy of James Cochrane IT’S BEEN YEARS since Guido led so many shows in London, but with occasions such as Riccardo Tisci’s first show for Burberry and Victoria Beckham’s 10-year anniversary and LFW debut, Guido and his team set up camp in the capital for a very special London Fashion Week. “It’s funny because I always feel like I belong here,” says the Redken global creative director, making himself comfortable on the plush Covent Garden Hotel sofa. “For a while I really severed ties with London, but something’s shifted a little bit. Just being here feels… it’s what I know, it’s where I grew up.” The hotel is opposite one of the first salons Guido worked in, more than 30 years ago. “It’s funny how life is. It was nice coming back, nice to do Victoria Beckham’s show here again after New York,” he smiles. “I went to the party for a bit afterwards, and you couldn’t have been anywhere else but London in that space – London people have a distinctness about them. People here really know how to enjoy themselves, they let go.” Guido has known Victoria since her Spice Girls days, and has been with her over the past decade when she weathered initial scepticism as she moved into fashion. “You’ve gone on this journey with a designer, someone who was up against the odds in a way, and she’s proved herself,” he explains. “Going from being in a successful girl group to running a successful business, having a family and children… it’s pretty powerful. It’s not easy.” Victoria’s signature understated glamour took on a boyish, minimalist edge for S/<strong>S19</strong>, standing apart from many of the shows that saw a real return to more noticeable styling, after years of undone looks. “There’s still the natural hair around, but there seems to be an interest in more glamorous looks. For a good three years we’ve talked about natural textures, but now there’s an interest. People want to see a fashion moment, a look,” he says, referencing the responses to the oversized silhouettes at Marc Jacobs and extravagant Valentino Couture blowouts. For Guido, the ‘reboot’ of focusing on natural textures and diversity was much needed, a new type of beauty statement for the world: “We’re going to keep that positive message, but for a while we let that fashion edge go.” For Riccardo Tisci’s first Burberry show he utilised a chignon to keep the look simple and clean. Being able to help to establish a brand’s voice is something that Guido takes great responsibility in: “Even though Riccardo’s an established designer, you’re at the beginning, you’re creating a new voice for the brand. “There was a lot of pressure on that show but at the same time it was exciting to be around that kind of expectation,” he adds. “I’d worked with Riccardo at Givenchy so I know him, but the Burberry woman is completely different to the Givenchy woman. That’s the exciting thing about working with a new designer, or one who is new to a house; you get to develop a style.” “London people have a distinctness about them. People here really know how to enjoy themselves, they let go” GUIDO With such a history in Fashion Week styling, the changes to the shows over the years are all too clear. “When I first started we would do 18 models, a big show was 22 models. Not anymore!” he laughs. “You still only get four hours and now can have 120 at Burberry, 175 at Dolce & Gabbana… the numbers are huge, the team you need is huge.” And what’s hard with having a big team is that you don’t know each individual’s skillsets. “You walk in and there are all these new faces you don’t know,” he admits. The dynamic backstage – coupled with a language barrier in some cases – of eager young stylists, frayed nerves and huge time pressures means that it can be a baptism of fire. “It’s one thing I always say – you have to remember the speed,” he says. “170 people, three hours, you have to work it out. It’s not 45 minutes per person, like you would in the salon. It’s a different language. I try to get it as perfect as possible, but I just need it done.” He likes to keep an eye out for fresh talent backstage, knowing that the atmosphere certainly isn’t for everyone. “But if you want to work backstage… as long as you’re helpful, you’re good,” he smiles. “It’s all about thinking and using your time wisely for the lead person: ‘how can I be helpful? What can I do, if I’m not technically putting the hair up?’ “It might not be your skillset for that show. We all have strengths but when it’s not yours, what can you do to relieve the team of the stress and help the situation? You would be a shining star to me if you have that attitude.” Guido backstage at S/<strong>S19</strong> RUNWAY SPRING/SUMMER 2019 39
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