RunwayAW19

YOUR ESSENTIAL GUIDE TO THE NEW SEASON 

UNWAY 

AUTUMN 

W I N T E R 

CREATIVEHEADMAG.COM 

2019

L’ORÉAL PROFESSIONNEL’S TRANSLUCENT 

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For a neutralised finish 

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4X MORE TRANSLUCENCY * 

Made with specifically designed 

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BETWEEN NEUTRALISATION & LUMINOSITY

CONTENTS 

AUTUMN/WINTER 2019 

06 

TOP FIVE MOMENTS 

The highlights of the A/W19 catwalks 

16 

THE TRENDS 

Billionaire barnets and sci-fi chic 

24 

HOW HAIR HAPPENS 

How the styles from a trio of shows were created 

32 

RE:CREATE 

Micro trends with mega clout 

36 

GUIDO PALAU 

The one and only discusses working with Riccardo Tisci at Burberry 

38 

DIOR 

V&A curator Oriole Cullen takes us round a landmark exhibition 

42 

JOSH WOOD 

The Redken colour hero on how he painted the look at Mary Katrantzou 

44 

HIGHER EDUCATION 

Come backstage at the college shows and meet some of the styling talent from salons 

48 

COUTURE 

Neville Hair & Beauty takes couture to the next level 

Cover image: Erdem, hair by Anthony Turner for L’Oréal Professionnel 

04 AUTUMN/WINTER 2019 

RUNWAY

EDITOR’S LETTER 

EDITOR’S LETTER 

A/W19, you are really spoiling us… Dear Runway readers, you are in for a 

treat! And we don’t mean of the Ferrero Rocher variety. If you like your 

fashion shows with a huge side-helping of fun, this was the season for you. 

Raucous, righteous (Vivienne Westwood’s show was utterly inspirational – 

check it out in Top Five Moments in Hair and Fashion from page 6) and just a 

bit bonkers (if you don’t believe us head to That Was The Season from page 

14), it was ‘Fashion’ with a capital ‘F’. When it came to inspirational hair looks 

on the runways, A/W19 had it all going on. If the ’dos in Re:Create (from page 

32), don’t get the creative juices flowing, check out The Trends from page 16. 

But it’s our inspirational interviews with the hair greats that we’re most excited 

about. Head over to page 42 for our exclusive interview with King of Colour 

Josh Wood, backstage at Mary Katrantzou, where he talks about matching 

hues to the prints in the collection. Or find out how Guido created what went 

on to become one of the seminal styles of the season at Burberry on page 36. 

And if that hasn’t given you fabulousness fatigue, we also talk to the Neville 

Hair & Beauty team (page 48) about its growing reputation at Couture shows, 

while we also interview the curator of the breathtaking Dior exhibition at the 

V&A from page 38. Finally, we meet some of the young talent backstage at all 

the college shows (see page 44). The take home of A/W19? Do beautiful hair; 

but make it fashion. 

Cassie Steer 

Runway guest editor 

Beauty editor 

Editor in chief: Amanda Nottage Art: Graeme White Chief sub editor: Adam Wood 

Contributors: Deborah Murtha, Alison Rowley, Anna Samson Publisher: Catherine Handcock 

RUNWAY 21 THE TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND 

020 7324 7540 enquiries@alfol.co.uk creativeheadmag.com 

Runway is published twice a year by Alfol Ltd. CreativeHEAD is a registered trademark. No part of this magazine may be reproduced without prior permission of the publisher. All information correct at the time of going to press 

RUNWAY 


05

TOP FIVE 

MOMENTS 

IN HAIR & 

FASHION 

The shows so monumental they deserve their own page (we are #shooketh) 


RUNWAY

Image courtesy of L’Oréal Professionnel 

HARDY PERENNIAL 

MOLLY GODDARD 

THE RUGGED TERRAIN of rural England 

provides the perfect backdrop to fated heroines 

and fitting fodder for Molly Goddard to plunder 

for her moodboard. Tess of the d’Urbervilles was 

this season’s protagonist and the atrium of Durbar 

Court within the Foreign & Commonwealth 

Office was the perfect setting for dishing up a little 

drama, complete with wind machines. “Dressed 

for the storm” was how Goddard described her 

collection, which saw mint green and rose pink 

smock dresses and lemon tulle gowns layered over 

utilitarian trousers and all-terrain boots. Luke 

Hersheson for L’Oréal Professionnel was clearly 

also prepared for any eventuality with wet texture 

hair bound with a length of jersey, brought into the 

21st century with some modern grooming. “The 

quiff at the front adds a boyish, chic detail,” he 

explained. But it was the fuschia finale dress (made 

from 100m of tulle) that really went down a storm. 

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07

THE PRINCESS DIARIES 

ERDEM 

ORIETTA POGSON DORIA PAMPHILJ; now 

there’s a name fit for royalty if ever we heard one, 

and this late Italian princess was the somewhat 

unlikely muse for Erdem’s A/W19 collection. 

Taking up residence at what has become his 

preferred haunt – the National Portrait Gallery – 

Erdem took a leisurely amble through her 

eventful life, delving into the notion of “how we 

deal with what happened in the past”, and 

settling on Orietta’s visit to our capital in 1963 as 

his main inspiration for the clothes. The result 

was a perfect marriage of opulence and a touch 

of swinging ’60s. It was brocades, ostrich 

feathers and jacquard fabrics galore, with full 

Jackie O-style skirts and opera coats harking 

back to a more glamorous age. On hair, Anthony 

Turner for L’Oréal Professionnel kept to the ’60s 

theme with his ode to Tippi Hedren and other 

Hitchcock heroines. 



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THIS IS ENGLAND 

BURBERRY 

Image courtesy of James Cochrane 

TEMPEST WAS THE TITLE of Riccardo Tisci’s 

second collection for Burberry; and another jolly 

good ode to dear old Blighty it was too. “It’s 

inspired by the contrasts in British culture, from 

the structured to the rebellious, as well as the 

weather,” he divulged. Riccardo carved up his 

show into four separate groups – the Girl, the Boy, 

the Lady and the Gentleman. The first two translated 

as an homage to youth culture – think track-style 

tops and joggers, slip dresses, Del Boy coats and 

faux fur. Then, as if prompted by a Cliff Richard 

song at a rave, the youths swiftly exited to make 

way for a procession of adult properness. Backstage, 

Guido for Redken echoed these four tribes with 

sleek chignons and genteel grooming for the elders, 

while the yoof were treated to one of the most 

stand-out hair looks of the season. “It’s an intricate 

gelled look for the girls, while the boys have 

buzzcuts with a bit of an extreme bang,” he said. 

RUNWAY 


09

ACTIVE(ISM) WEAR 

VIVIENNE WESTWOOD 

DAME VIVIENNE WESTWOOD knows a thing 

or two about creating a ruckus both on and off the 

runways and this season was no different. 

Combining her two main passions – fashion and 

activism – our favourite environmental zealot 

treated her captive audience to some sobering 

monologues about climate change with a little help 

from actor-turned-activist Rose McGowan, 

members of Intellectuals Unite and the UK director 

of Greenpeace. With her political stage set, she 

proceeded to send models down the catwalks with 

thought-provoking messaging like “all profit 

belongs to me so long as you keep buying crap” 

under an image of ‘Louis the banker’ and 

imploring people to “buy less crap”. Hair was 

equally dramatic, described by Gary Gill for 

L’Oréal Professionnel as “messy and full-on but 

with a beauty to it”, a lot like Viv herself. Our new 

mantra? Save the planet – be more Vivienne. 



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Image courtesy of James Cochrane 

ANGEL OF THE NORTH 

ALEXANDER MCQUEEN 

SARAH BURTON TOOK us on a whistle-stop 

tour of her home town of Macclesfield and the 

surrounding countryside with a little more panache 

than a trip on the National Express. We saw chicly 

sombre, exquisitely tailored trouser suits amid a 

smattering of duffle coats, tuxedos and leather 

trench coats that could have come straight out of 

The Matrix, before some softer ruffle was 

introduced (but only layered under tough-girl 

leather coats or with knee-high boots). The pièce 

de résistance however, was the magnificent red 

ballgown made from swathes of taffeta to represent 

the Red Rose of Lancaster. Perhaps to juxtapose 

this symbol of femininity, the hair was a touch 

more androgynous. “The look is very boyish,” 

confirmed Guido for Redken backstage. “We 

created a lacquered, controlled ponytail which we 

then bound in leather to give it a great fetish feel, 

very McQueen.” Dark romance at its best. 

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11

THE NEW 

TONE ZONE 

Blonde toning techniques are on the rise and client demand for A-List blondes 

is higher than ever before. Own the trend and up your blonding game with 

new Shades EQ Level 10 toners and Flash Lift Bonder Inside from Redken 


RUNWAY

ADVERTORIAL 

SCROLL THROUGH YOUR social media feeds right now and 

you’ll find endless techniques to create healthy, shiny blonde 

hair. With more than a third of Brits going blonde,* and 

platinum one of the most popular blonde colour choices, this 

trend will just keep on skyrocketing. We’re talking rich, 

liquid-looking lighter lengths from some of the biggest 

influencers and stylists across the globe. 

To create these dreamy, on-trend blondes you need to make 

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Wood, Redken’s global color creative director. “Redken’s Flash 

Lift Bonder Inside gives amazing results with the added benefits 

that a bonder can provide. It means I can deliver results without 

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CELEBRITY COLOURIST 

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RUNWAY 


13

THAT WAS THE 

SEASON… 

Think big for A/W19; big stars, bigger coats and Big Bird as the latest fashion muse 

Vivienne Westwood 

SAY IT WITH FASHION 

WHEN IS A CATWALK not a catwalk? When it doubles as a 

political stage complete with chanting, monologues and 

poetry. There were no mutes here at Vivienne Westwood, 

these models were extremely vocal in their call to arms to 

address climate change. The manifesto was loud and clear: 

‘Buy Less, Choose Well, Make It Last.’ 

STAY PUFT 

WARNING: 

EXTREME 

outerwear up ahead. 

We’re talking OTT 

Puffa jackets with 

the volume turned 

UP. From maximal 

quilting at Reshake 

at On|Off where 

Puffers came in 

prints as well as 

high-shine black and 

pastel incarnations 

to the capacious 

padded ballgowns at 

Moncler Genius, it’s 

a look we’re (eider) 

down with. 

Reshake at On|Off 

LE FREAK, C’EST CHIC 

THERE WAS A decidedly naughty undertone to the 

season, which saw lashings of latex with a bit of 

bondage thrown in for good measure. At Pam Hogg, 

the Miss Whiplash characters in the show made way 

for a deliciously deviant full-length latex trench which 

was covered in silver studs. 


RUNWAY

THAT WAS THE SEASON 

KING (HONG) KONG 

IT WAS A LIGHTNING-SPEED trip to the East by way of 

London W1 as Fashion Hong Kong showcased four of its 

hottest designers as part of a collaboration with the Hong Kong 

Trade Development Council. With labels such as HOUSE of V 

and Loom Loop, the presentation was as diverse and dynamic 

as the country itself. 

Images courtesy of L’Oreal Professionnel and Toni&Guy 

Loom Loop 

GROVER’S IN THE HEART 

TO SAY DESIGNER Jimmy Paul at On|Off was inspired by 

Sesame Street is like saying the Cookie Monster is partial to a 

particular baked good. Big kids and fashionistas alike will love 

the Bert & Ernie jumpers, the Elmo-smattered jacket and the 

magnificent yellow feathered homage to Big Bird. 

TOP OF THE POPS 

SOME PEOPLE ACCUSE fashion of being full of hot 

air, but in the case of Central Saint Martin’s BA show, 

this was quite literally justified as models swathed in 

rubber dresses with blimp-like sleeves bounced down 

the runway. The pièce de résistance? A huge red 

balloon dress that engulfed the model inside like 

strawberry bubble gum. Steer clear of sharp objects 

(and small children). 

PEARL JAM 

PEARLS HAVE SHAKEN 

off their fusty image to 

become the unexpected 

treasures of Fashion Week. 

The earrings at Erdem were 

about as traditional as it 

got, while at the London 

College Of Fashion MA 

show, pearls were used as 

facial piercings as well as 

abstract adornments. 

One creation graced 

the model’s ears like 

headphones and morphed 

into something that 

resembled a horse’s bit. 

Granny would not approve. 

Joan Collins, courtesy of 

Instagram, @joancollinsdbe 

#FROWGOALS 

Erdem 

London College of Fashion MA show 

ERDEM CAN be relied upon for 

some star pulling-power and this 

season was no different, so excuse 

us while we proceed to 

shamelessly name drop. There 

was Laura Carmichael, Michelle 

Dockery, Damian Lewis and 

Helen McCrory, even Alexa 

Chung managed to tear herself 

away from her own collection to 

take her place on the front row. 

But our favourite this season 

had to be the grande dame of 

fashion herself – Joan Collins, 

we salute you. 

RUNWAY 


15

Rejina Pyo 

THE TRENDS 

Billionaire barnets, equestrian chic and a bit of sci-fi thrown in. 

You’re so A/W19 darling… 


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TRENDS 

Kalissi 

RICH PICKINGS 

LET’S FACE IT, beautiful, expensive-looking hair is never going 

to go out of fashion, but when hair guru Guido specifically tells 

you it’s a trend for A/W19, you’re going to bank his advice. 

“We’re definitely seeing a trend for more ‘done’ hair but it’s the 

modern take on ‘done’, which means that it has a certain quality 

and finish to it,” he explained backstage at Alberta Ferretti. 

Translated into hair terms it relies on an old-fashioned blow-dry 

(Guido’s preferred product was Redken Frizz Dismiss Rebel 

Tame) with some texture re-introduced. Luxe locks were also 

spied at Rejina Pyo, where Tina Outen for L’Oréal Professionnel 

gave her “super-luxe, polished woman” waves that were finished 

with a spritz of L’Oreal Professionnel TECNI.ART Ring Light. 

The key to adding your client’s locks to the rich list? Ensure they 

exude a certain well-heeled quality at all times. And for the 

time-poor? Redken’s Blow Dry with Benefits menu, with an 

opulent Shades EQ glossing service for a colour boost, should do 

the trick. Plump up destitute-looking locks with a bonding 

additive such as Redken’s phBonder or Smartbond from L’Oréal 

Professionnel. And keep your eyes peeled for new Majirel GLOW 

from L’Oréal Professionnel – shimmering semi-permanent shades 

that will add a luminous gleam. 

Coach 

Markus Lupfer 

Dior 

Rejina Pyo 

i-am-chen 

University of Westminster MA show 

THE SHOW: Alberta Ferretti 

HAIR: Guido for Redken 

THE LOOK: Polished natural 

HOW: Wash hair with Redken 

Frizz Dismiss, towel dry until 

slightly damp, then apply a little 

Frizz Dismiss Rebel Tame to 

tame and protect hair. Create a 

GET THE LOOK 

natural centre-parting then 

lightly blow-dry the top layer 

with a boar-bristled brush to 

remove frizz. Allow to air-dry. 

Once fully dry, add in a few 

bends into lengths with a curling 

iron. Spray Triple Dry 15 Dry 

Texture Spray for a little texture. 

David Koma 

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17

Natasha Zinko 


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TRENDS 

Molly Goddard 

Cassey Gan 

David Koma 

SUBLIME EQUINE 

SADDLE UP, it’s time to show off your pony skills. The preferred 

placement may have been low but it was the nuances in texture 

and finish that took the looks to totally different places, from 

well-bred to wilder incarnations. Take the strict, whiplash tails at 

Alexander McQueen that Guido plied with Redken Hardwear 16 

gel and Forceful 23 hairspray for a lacquered finish. Restraint was 

also the theme at Akris, where tails were bound dressage-style for 

an equestrian edge. At Molly Goddard, Luke Hersheson for 

L’Oréal Professionnel looped up the ponytails before wrapping 

them in lengths of black jersey. Meanwhile, at the other end of the 

texture spectrum, dry texture spray made an appearance at 

Givenchy, where Guido dispensed Redken Triple Dry 15 

throughout lengths and ends for texture while pulling out wisps 

for a slightly disheveled feel. He also employed this at Victoria 

Beckham, for her signature effortless vibe. Elsewhere, it was the 

finishing touches that elevated the looks to show pony status. 

Shows such as Ralph Lauren and Markus Lupfer used pieces of 

hair wrapped around the base of the ponytail to give a chic, 

sophisticated edge while also serving to disguise the hair elastics. 

Tina Outen’s opulent criss-cross ponytails at David Koma, created 

a “beautiful, super-clean butterfly shape”. Giddy up! 

Ralph Lauren 

Victoria Beckham 

THE SHOW: Markus Lupfer 

HAIR: Tina Outen for L’Oréal 

Professionnel 

THE LOOK: A cool girl who wants 

her hair to work with accessories 

HOW: Spray L’Oréal Professionnel 

TECNI.ART Volume Lift onto 

damp hair, apply Liss Control 

Givenchy 

GET THE LOOK 

Plus to the ends and blow-dry. 

Break using Depolish on lengths 

and ends for matte texture. Secure 

the pony loosely at the nape. Take 

a piece of hair from one side, wrap 

around the pony and tuck into the 

elastic for a subtle detail. Use Fix 

Anti-Frizz to hold. 

Alexander McQueen 

Prada 

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19

TRENDS 

ALL INCLUSIVE 

Humanity and all its glorious incarnations was splashed across 

the catwalks like a raucous rainbow. Characterising every shape, 

colour, gender and age bracket, the myriad models that were spied 

everywhere from Vivienne Westwood to IA London kept the 

backstage stylists busy. Of course, diversity has been a valuable 

message both on and off the runways for a few seasons now, but 

this ‘anything goes’ attitude seems to have ramped up a notch for 

A/W19 thanks to designers such as IA London helping to push 

the boundaries. As well as proving that even octogenarians can 

rock a Tim Burton-esque beehive, this trend also ensures that 

every conceivable hair type is represented so the stylists need to be 

fully versed in the idiosyncrasies of kinky, coily and curly hair. 

“We’re treating models like clients and accentuating what they 

love most about their hair. We want them to own it,” said Tina 

Outen for L’Oréal Professionnel at Natasha Zinko, a sentiment 

shared by Yesmin O’Brien for L’Oréal Professionnel at the 

London College of Fashion MA show and Adam Reed for L’Oréal 

Professionnel at the Central Saint Martins MA show. “It’s a 

modern, effortless, undone look styled individually for each 

model,” he explained backstage of his “curls in a hurry” hairdo, 

which enjoyed an African/Latin American vibe to it. 

Reshake at On|Off 

London College of Fashion 

MA show 

Tata Naka 

David Koma 

Natasha Zinko 

Central Saint Martins MA show 

Longshaw Ward 

IA London 

GET THE LOOK 

THE SHOW: Vivienne Westwood 

HAIR: Gary Gill for L’Oréal 

Professionnel 

THE LOOK: The Vivienne 

Westwood Woman 

HOW: Spritz L’Oréal Professionnel 

TECNI.ART Pli to boost volume 

and massage at the roots. Spray Full 

Volume Extra mousse through 

lengths and ends to prep for blowdrying. 

Using a dryer on a hot/fast 

setting, twist hair at the roots with a 

vent brush. Blast roots with cold air 

to set. Sprinkle Morning After Dust 

and Super Dust as you Backcomb 

the roots. Set with Air Fix. 


RUNWAY

TRENDS 

Erdem 

Prada 

ALEXACHUNG 

FUTURE TENSE 

THE FUTURE IS looking bright for avant-garde ’dos. With 

references to The Matrix, The Fifth Element and Gattaca 

punctuating the backstage dialogue, teleport yourself to A/W19 

and expect ‘alien’ headshapes and otherworldly colour, as 

demonstrated to cosmic effect at Prada by Guido Palau and 

Redken global color creative director Josh Wood. At Bora Aksu, 

Tina Outen for L’Oréal Professionnel cited a beautiful girl with a 

sci-fi edge as the inspiration for her irridescent hair. “We’re 

hinting at the sci-fi character with a hazy texture and the models 

have an exaggerated crown that’s almost alien-shaped,” she 

divulged backstage. Pushing the alien shape a step further were 

the ‘sci-fi Hitchcock heroines’ over at Erdem, who relied on 

L’Oréal Professionnel TECNI.ART Full Volume Extra Mousse as 

a base for the aerodynamic up-dos. “It’s a futuristic version of 

’60s hair that’s sculpted and slightly alien-shaped. We want it to 

feel very ‘done’ but modern,” explained Anthony Turner 

backstage. Meanwhile it was ethereal baby hairs over at Valentino 

and ALEXACHUNG that lent the looks a futuristic feel. “We’re 

adding a bit of post-apocalyptic static energy to the hair with a 

balloon,” said Alex Brownsell for L’Oréal Professionnel of her 

“futuristic cult member breakaway” hair at ALEXACHUNG. 

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

THE SHOW: Bora Aksu 

HAIR: Tina Outen for L’Oréal 

Professionnel 

THE LOOK: Beautiful with a 

sci-fi edge 

HOW: Spray L’Oréal 

Professionnel TECNI.ART 

Constructor through the roots 

ALEXACHUNG 

MiuMiu 

Pam Hogg 

GET THE LOOK 

and dry in. Apply Siren Waves 

through the lengths and ends. 

Enhance the hazy texture with a 

light layer of Super Dust and 

Morning After Dust. Smooth Liss 

Control Plus through the ends to 

create a contrast and TECNI. 

ART Ring Light for detail. 

Prada 

RUNWAY 


21

REALISM, REVIVED 

Adam Reed has always loved hair – real, touchable, wearable and imperfect as it is – which is why 

he’s so passionate about the revamped L’Oréal Professionnel TECNI.ART range 


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ADVERTORIAL 

WHEN EVERYTHING COMES DOWN 

to the handful of minutes before the first 

model hits the catwalk, you need to know 

that the products you’ve put your trust 

into can deliver. When you need to nail a 

look in one go, you need products that you 

know inside-out. 

This is how Adam Reed, one of the UK 

editorial ambassadors for L’Oréal 

Professionnel, feels about the refreshed 

TECNI.ART range. Having been involved 

from the early development stages of the 

relaunch in Paris to the launch event in 

London, Adam describes TECNI.ART as 

his ultimate backstage styling collection. 

“I’m thrilled to have been able to be a part 

of the relaunch,” he says. “The campaign 

is all about zero retouching, something I 

am fanatical about. The collection 

celebrates diversity, and is designed for all 

hair textures and all genders. This just 

cemented my passion for the collection 

even further.” 

Adam works with hair in a way that 

recognises it for what it is – a variable, 

living canvas from which he can create. 

“I have always been super-passionate 

about hair looking natural, anti-retouched 

and actually looking like hair,” he agrees. 

“Hair itself is really beautiful and I think 

that beauty continues when hair is allowed 

some movement and texture. Sometimes 

when you retouch hair it removes that 

innate beauty – it’s thousands of individual 

strands of fibres and it should look so.” 

His hero product needs no 

introduction. “Without a doubt, my 

absolute go-to is always L’Oréal 

Professionnel TECNI.ART Pli,” he insists. 

“I know I can get pretty much everything 

I need from it.” From layering it to 

spraying it on pins and grips, the 

combination of flexibility and hold that Pli 

offers is unbeatable. “It’s also great at 

breaking product back down if you use 

too much of something else. Pli is the 

fundamental prepping product – without 

Pli it’s like having a house with no floor, 

it’s just not going to work,” he adds. 

If not Pli, Adam’s reaching for the 

L’Oréal Professionnel 

TECNI.ART Transformer 

Lotion for its incredible, 

variable texture and L’Oréal 

Professionnel Infinium 

hairspray for good hold. 

His love for the products 

isn’t limited simply to the 

hustle and bustle of 

backstage either. 

“Being involved with 

the TECNI.ART 

co-development was a 

unique experience and it 

was great to look at what 

we can bring to products 

for artists both in-salon 

and backstage,” he admits. 

When asked what his salon clients are 

reaching for given the rise in selfie culture, 

it just had to be new TECNI.ART Ring 

Light. “It’s perfect for adding an even 

more luminous finish with the 

micro-dispersion of the ring light 

applicator, my clients love it!” 

With an expansive and highly varied 

career behind him, we’re sure Adam is 

constantly fielding questions about how to 

break into the session and fashion sector. 

So we decided to ask on your behalf – 

what’s the biggest lesson he’s learnt to pass 

along to fresh-faced assistants? “My top 

tip is honesty – be honest about everything 

you talk about, what is possible and the 

image you create. You will build 

unparalleled trust between your clients, 

peers and industry. It’s also important to 

have a little ego and to be kind.” 

Wise words indeed. 

Adam Reed 

For more information, call 0800 0304034 or visit lorealprofessionnel.co.uk 

Follow @lorealpro #TECNIARTIST 

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23



Find out how this season’s styles were created as we go backstage at the A/W19 shows in London 

THE SHOW – DAVID KOMA 

THE LEAD – TINA OUTEN FOR L’ORÉAL PROFESSIONNEL 

Tina Outen 

blow-dried L’Oréal 

Professionnel 

TECNI.ART Pli 

into hair, which 

was then 

straightened for a 

smooth foundation 

Polished ponytails 

are always a 

catwalk favourite, 

and at the David 

Koma show they 

were seriously 

on point 

The ends were 

spritzed with 


TECNI.ART Ring 

Light for some 

extra sparkle 


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The ponytail 

was created using 

three sections 

criss-crossed over 

each other and 

secured at the nape 

A smoky eye 

complemented 

this grown-up 

ensemble, with 

just a hint of pink 

applied to the lips 

The result was simple 

yet effective, a clean 

look with a classic 

elegance that allowed 

the earrings to really 

make a statement 

Structured clothing in 

an array of luxurious 

fabrics were worn down 

the catwalk, perfect 

ponytails in formation 

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25


THE SHOW – ALEXACHUNG 

THE LEAD – ALEX BROWNSELL FOR L’ORÉAL PROFESSIONNEL 

Backstage hero 

TECNI.ART Pli was 

also spritzed 

throughout, and the 

hair was mushed into 

position then set with 


Infinium Soft Hold 

Hairspray 

Alex Brownsell began 

the transformation to 

“breakaway cult 

members from the 

future” by wetting the 

hair and smoothing it 

back with L’Oréal 

Professionnel TECNI. 

ART Liss Control and 

Liss Control Plus 

The hair was tucked 

behind the ears and nets 

and headscarves were 

positioned to give 

models the impression 

of having just run 

away from home 


RUNWAY


Balloons and 

blusher brushes 

were rubbed over 

the hair to create 

flyaways and 

static energy 

Practical coats were 

layered with silky shirts 

and pretty patterns for a 

thrown-together 

aesthetic that worked 

perfectly for these 

tearaway characters 

Models had dewy, 

fresh skin and just a 

hint of shadow around 

the eyes, with subtly 

glossy lips 

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27


THE SHOW – NATASHA ZINKO 

THE LEAD – TINA OUTEN FOR L’ORÉAL PROFESSIONNEL 

Tina Outen used 


TECNI.ART 

Hollywood Waves Siren 

Waves sparingly to twist 

and define curls 

Individuality was the 

order of the day at 

Natasha Zinko’s show, 

with a range of girls and 

guys embracing what 

makes them unique 

Tina’s approach was to 

create a tailor-made 

look for each model. 

“We’re treating them 

like clients and 

accentuating what they 

love most about their 

hair. We want them to 

own it,” she said 


RUNWAY


The collection was a 

riot of colour, 

pattern and texture, 

taking inspiration 

from street style 

Make-up was kept 

simple, with just a 

flick of neon at the 

eyes to make the 

look pop 

Wayward hair was 

tamed using TECNI. 

ART Liss Control Plus 

and for an extra boost 

of shine, Tina misted the 

hair with TECNI.ART 

Ring Light 

RUNWAY 


29

#GLOSSITUP 

@REDKEN 

#SHADESEQ

Paul Costelloe 

RE:CREATE 

The micro trends with mega clout you’ll want to start channeling, stat! 

KNOT AMUSED 

PARTING GIFTS 

UPPER CRUST UP-DOS were the order of the day in 

contrast to some of the more unrefined styles on show. 

There were lady-like buns at Burberry, Toni&Guy topknots 

at Paul Costelloe and well-to-do twists at Longshaw Ward, 

which Cristiano Basciu at Richard Ward Hair & Metrospa 

for L’Oréal Professionnel described as ’30s glamour “with 

the edge of a Helmut Newton muse”. 

Longshaw Ward 

HOW TO TURN ordinary into extraordinary? Think outside the 

lines, as seen at HOUSE of V, part of the Fashion Hong Kong 

presentation. “We created a fine braid along the centre parting 

and hairline for a modern look with a twist,” said Jack 

Merrick-Thirlway at Neville Hair & Beauty for L’Oréal 

Professionnel. Tail combs at the ready! 


RUNWAY

RE:CREATE 

Jolin Wu 

Valentino 

Givenchy 

OOH, BABY BABY… 

FLYAWAYS ARE officially fly this season. No one puts baby hairs in the corner as hairline wisps 

were thrust into the spotlight everywhere from Givenchy to Valentino, where Guido was on hand 

for Redken. At ALEXACHUNG, Alex Brownsell for L’Oréal Professionnel even deployed 

blusher brushes and balloons (see page 26) to encourage ‘cool-girl static’. At Jolin Wu, Philip 

Haug for Toni&Guy teased out soft strands for a windswept effect. 

Jolin Wu 

ROLL UP, ROLL UP 

Mark Maciver, pictured inset (centre) 

WELL GROOMED 

AT LOOM LOOP, part of Fashion Hong Kong presentation, 

Luke Pluckrose at SAKS for L’Oréal Professionnel created a 

pared-down Victory Roll look for a modern jungle warrior 

princess. The key ingredient? “I rolled up a piece of stiff paper to 

form long, slim cones, which I used to wrap the hair around to 

create the rolls,” he divulged. Victory is his. 

IT’S NOT EVERY DAY you get to hang out backstage at 

Burberry, let alone get in on the mane event. But that’s exactly 

where Mark Maciver, founder of East London barber shop 

Slidercuts, and his team found themselves. Enlisted to cut the 

afro-haired models, “doing the show reminded me of how much 

detail goes into producing them. The finished product looks 

simple but the process never is”, he said. 

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33

REFERENCE REBEL 

SOME THINGS are better left unsaid. At least that was the 

case for Luke Hersheson’s ‘anti-reference hair’ at Molly 

Goddard, which eschewed time-honored beauty icons and 

traditional inspiration narratives for a ’do that defied 

classification. The result was wet-look hair (thanks L’Oréal 

Professionnel Mythic Oil) accessorised with a length of jersey. 

Luke Hersheson 

Larry King backstage 

NINE TEASE 

WHEN TWO ERAS COLLIDE, good hair happens. 

At least that was the result at 16 Arlington, London 

Fashion Week’s latest darling. Backstage, Larry King 

used Redken products to fashion his ‘grunge x 

Marlene Dietrich’ look. And what exactly does this 

mash-up look like you ask? Think Hollywood waves. 

On Kate Moss. After two days at Glastonbury. 

Larry King 

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

I CAN FEEL 

YOUR HALO 

AWARD FOR THE 

most prolific product 

of the season surely 

goes to L’Oréal 

Professionnel’s TECNI. 

ART Ring Light, 

which was spied all 

over. No wonder really 

as this nifty hair hero 

offers unparalleled 

shine without any 

greasiness thanks to 

the unique applicator. 

They liked it, so they 

put a ring on it… 

Natasha Zinko 


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RE:CREATE 

PIN INTEREST 

THE SHARPEST TREND on the block? Pins as embellishment. At Yeung Chin’s Fashion Hong Kong presentation, Luke Pluckrose at 

SAKS for L’Oréal Professionnel created lightweight voluminous up-dos on which to anchor the hair accessories. Meanwhile, over at Erdem, 

Anthony Turner’s ’60s sci-fi French pleats were finished off with brooches more in keeping with raiding your granny’s jewellery box. 

Yeun Chin at Fashion Hong Kong 

Erdem 

Yeung Chin at Fashion Hong Kong 

F A U X 

ROWS 

CORNROWS WERE 

flourishing across every 

fashion capital but if the 

real thing feels a little too 

time-consuming, make 

like Fowler35’s Darren 

Fowler for L’Oréal 

Professionnel and fake it. 

“We created ‘warrior 

rolls’ with an individual 

finish,” he explained 

backstage at Reshake at 

On|Off, where he applied 

plenty of TECNI.ART 

Full Volume Mousse 

throughout to give the 

hair grip. 

E ASY LIKE 

SUNDAY MORNING 

MARC JACOBS has been a brilliant hair showcase over the past 

few seasons, but for A/W19 it was all about simplistic beauty. 

“Marc decided he wanted to go lighter this season with a soft, 

clean look to the hair,” explained Guido, who reached for 

Redken Triple Dry 15 to get this soft, modern texture. 

RUNWAY 


35

t 

THE GIRL 

“Riccardo talked 

about the idea of 

baby hairs and gelling 

them, and I don’t 

really know how all 

that happened. It was 

almost like Art 

Nouveau in the end. 

It just started as a 

test, I don’t really 

know how I got 

there! I guess that’s 

creativity – it was 

intricate, interesting.” 

t 

THE BOY 

“The look for the 

boys was buzzcuts 

with a bit of an 

extreme bang. 

Having the fringe left 

out in this way gives 

a kind of nod to 

youth culture, to the 

street, but still high 

end. With Burberry, 

there’s the street 

client who is wearing 

it in a cool way, 

remixing it.” 


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GUIDO & BURBERRY 

STREET MEETS CHIC 

With possibly the most talked-about look from the A/W19 shows, Redken global creative 

director Guido Palau shows why he’s the master of subverting expectations… 

Images courtesy of Redken 

THE BURBERRY A/W19 COLLECTION was a 

clash of contradictions – in the best possible way – 

that led session legend Guido Palau to represent the 

brand’s disparate customer base visually 

through four distinct hair looks. Titled 

The Girl, The Boy, The Lady and The 

Gentleman, the theme of Riccardo 

Tisci’s second Burberry show was 

Tempest, drawing on the ideas of 

contrast and perspective, which only 

heightened this idea of individualism. 

“Riccardo was 

looking at the 

English class system 

in a sort of 

traditional sense, 

which maybe isn’t 

really there as much 

now,” muses the Redken global creative director. 

“I think it’s become more blurred. We’re probably 

known for this kind of heritage, this Englishness, 

and obviously well-known for our street culture and 

“Riccardo Tisci is very tough – 

he challenges me and he pushes me 

to do anything” 

GUIDO PALAU 

individuality. That, to me, is what Riccardo was 

saying with the collection.” 

From streetwear-savvy, younger clients who like 

to remix the classics, to the chic and ladylike 

appeal of the heritage of the brand, having 

such a broad spectrum of clientele was a 

catalyst to creating such disparate looks. 

“I realised how it appeals to so many 

different kinds of people,” he explained. 

Riccardo’s sharp eye for detail meant 

that each look went under a magnifying 

glass to make sure it 

had the perfect vibe. 

“For the beauty side 

of it he’s very tough 

– he challenges me 

and he pushes me to 

do anything,” 

Guido explains about working with the designer. 

“Even the chignon, the placement of it, what size it 

is, the knot, if it’s messy or if it’s clean – he needs to 

see every version. He’s got the eye.” 

t 

THE LADY 

“We blow-dried 

away from the face, 

smoothing the hair 

out for a luxury feel 

with Redken 

Satinwear 04. Then I 

used Triple Dry 15 

once I pulled it back 

into the ponytail and 

to create the knot. It 

just adds that bit of 

texture. We finished 

the look with Forceful 

23 hairspray.” 

t 

THE GENTLEMAN 

“It was about an 

almost banker-type 

person, a classic 

Englishman. Hair 

was trimmed, I put 

on Satinwear 04 and 

let it dry naturally, 

and then ran my 

fingers through with 

Redken Brews 

hairspray. That way 

it had a bit of hold 

but it kept some of the 

elegant naturalness.” 

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37

40 SPRING/WINTER 2019 

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DIOR AT THE V&A 

D R E A M A 

LITTLE DREAM 

Christian Dior – Designer of Dreams has dominated the V&A this year, with sell-out crowds and an extended 

run due to overwhelming popular demand. As it folds away the tulle, curator Oriole Cullen discusses the impact 

of both the exhibition and the heritage of creative talent that has passed through the House of Dior 

RUNWAY 

SPRING/WINTER 2019 

41


LONDON’S VICTORIA & ALBERT MUSEUM (V&A) knows a 

thing of two about staging a fashion exhibition that excites the 

general public, as the clamour for tickets for the Alexander 

McQueen Savage Beauty exhibition in 2015 illustrated. 

And now the curtain is falling on another extraordinarily 

successful show, one that sold out its run in three weeks and was 

extended to try and fit in thousands more people desperate to see a 

mesmerising mix of original pieces from one of the most successful 

and defining fashion houses – Dior. 

Behind the V&A’s Christian Dior – Designer of Dreams 

exhibition is fashion and textiles curator Oriole Cullen and her 

team. Usually it would take two years to bring this kind of show to 

life (indeed, at the V&A they’re often programming content up to 

five years in advance), but this exhibition went from green light to 

open doors in just 10 months. 

However, she did have a strong starting point: “There was a big 

Dior show in Paris in July to celebrate 70 years of the House of 

Dior,” she explains. “It was a fantastic exhibition, and we also 

have a Christian Dior collection in our own V&A archives. So we 

thought it would be fabulous to bring it all to the V&A and use it 

as a vehicle to show our own collection as well.” 

She is quite right – and with the addition of the V&A’s own 

archive it was an even more fabulous experience, occupying the 

museum’s new Amanda Levete-designed galleries and divided into 

11 sections. Visitors travelled through a recreation of the Avenue 

Montaigne Dior boutique façade and a focus on The New Look, 

before seeing The Dior Line, the 

10 definitive looks from his tenure 

at the house. A new installation 

explored Dior’s fascination with 

the UK and the Royal Family, who 

were enamoured with his work 

following his first show at The 

Savoy in 1950. The journey 

Oriole Cullen 

“You have to think about the message 

you’re telling visitors, although it might 

not be explicit – how they walk through, 

the pace of the journey” 

ORIOLE CULLEN 

continued to take in the Temple de l’Amour in Versailles before a 

jaw-dropping climax in the magnificent ballroom – a true 

embarrassment of couture riches. 

But there was a challenge: “Our space was smaller than in Paris 

so we had to cut some content, but 

we also added about 60 per cent 

new content,” she explains. “We 

sat back and asked ourselves: ‘how 

do we want our visitors to 

experience it?’ You have to think 

about the message that you’re 

telling visitors, although it might 

not be explicit – how they walk 

through, the pace of the journey.” 

Once they had decided on the narrative, Oriole and her team 

collaborated closely with Nathalie Crinière, the exhibition designer 

from the Paris show. They reworked the plan, looking at the V&A’s 

space and lighting, and how it would all translate. Following that, 

much of the set was constructed off-site and brought in, with the 

physical installation taking about six weeks. Another four weeks 

on top of that saw all the garments installed. And while all this was 

going on, for about five months the textile restoration team was 

working on all the mannequins and the underpinning. 

“Each mannequin is created as a soft sculpture underneath 

each dress,” says Oriole. “All of the pieces on show were couture, 

which means they’ve been made to fit the body shape of a particular 

client. It’s a very intricate process and it’s important to try and get 

a uniform look. You’re dealing with lots of different body shapes 

from different periods and different styles of design.” 

Photography from the V&A archive; Fashion in Motion photography by Jon Bradley for L’Oréal Professionnel 


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FASHION IN MOTION 

Indeed, those different styles of design are an integral part of 

the House of Dior story. “Christian Dior, sadly, was only at the 

helm for 10 years before he died,” recalls Oriole, “but it’s such a 

positive moment when he comes to the fore, because the world had 

been through such a tumultuous time [he led the company just 

after the second world war], and he brought a fresh start, literally 

a New Look. A lot of hope was symbolised by that New Look.” 

A fascinating part of the show’s journey was to travel through 

the 70-year history of the fashion house and see how all of the 

designers who followed Dior worked, and how some of them are 

known much more than others. “It’s been really nice to revisit the 

Yves Saint Laurent years as he was only there for quite a short 

time,” smiles Oriole. “It’s also lovely to look at the work of Marc 

Bohan. He was there for 29 years but is often overlooked. He 

designed some really beautiful, very wearable pieces.” 

But that’s the wonderful element about the House of Dior, the 

legacy. It’s not just about Christian Dior, it’s about an incredible 

roster of names who have worked there. Across the decades, heads 

of the house have also included John Galliano and Raf Simons, 

while the current incumbent is Maria Grazia Chiuri. 

It was, quite simply, a breathtaking display to share – from 

Princess Margaret’s 21st birthday dress to red-carpet couture 

sported by Dior ambassadors such as Jennifer Lawrence and 

Natalie Portman, the mix of pieces encapsulated the breadth of 

creativity and personality of the house’s lead designers across the 

decades. You saw the swashbuckling vibe of the Galliano era 

against the cooler restraint of the Raf Simons years, and yet it all 

had a common thread uniting their individual takes. 

“I don’t think any other house really compares with such a 

roster of talented names,” says Oriole. “It’s very interesting that 

following Gianfranco Ferré joining in 1989, all of the designers’ 

first collections for Dior reference the New Look and the Bar Suit. 

It’s almost a statement of intent, how they’re going to honour the 

legacy and also shape Dior for their time.” 

To coincide with the V&A’s exhibition, Fashion in Motion 

presented Inspired by Christian Dior, a showcase 

displaying a unique selection of outfits created by 

students of Central Saint Martins BA Fashion Design 

Womenswear course, in honour of one of the 20th 

century’s most influential designers. 

The V&A’s Fashion in Motion series brings catwalk shows 

by some of the greatest designers to the museum and makes 

catwalk couture accessible to a wider audience, modelling 

it against the V&A’s stunning backdrop. For this event, 

Central Saint Martins students took inspiration from both 

original Christian Dior garments and the six artistic directors 

who succeeded him, with a selection of 20 displayed as 

part of the V&A Fashion in Motion programme. 

Since its inception, L’Oréal Professionnel has worked 

closely with Fashion in Motion to deliver talent to style hair 

for the shows. For Inspired by Dior, John Gillespie and a 

L’Oréal Professionnel hair team worked with the shapes 

and elegance of Dior’s work, creating a modern look with 

height and movement. The hair was prepped with TECNI. 

ART Pli and blow-dried, with TECNI.ART Full Volume 

Mousse applied to roots and sides, then brushed back 

with TECNI.ART Extreme Splash for a smooth sheen tying 

in a low ponytail. The top was curled with large tongs and 

pinned to set, then pulled back with fingers, using TECNI. 

ART Transformer Gel and brushed over the ponytail. 

“L’Oréal Professionnel’s support is fantastically important 

because without it, we just wouldn’t be able to do it all,” 

says Oriole of the Fashion in Motion programme. “And it’s 

great working with the hair team – they’re very open to 

working with the designers and finding solutions to getting 

the perfect looks for those shows.” 

John Gillespie 

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41

MARY KATRANTZOU & JOSH WOOD 

EVENT HORIZON 

Mary Katrantzou’s A/W19 show explored multi-coloured and multi-textural elements, 

and Runway was there to watch star colourist Josh Wood apply her vision to hair 

BRITISH-BASED DESIGNER Mary Katrantzou is renowned for 

her innovative and extraordinary use of prints. Season after season 

she produces intricate, kaleidoscopic designs that are flooded with 

colour, and her A/W19 collection was no exception. So who better 

to translate her vision than Redken global color creative director, 

Josh Wood? 

“Mary wanted to work with me to create a pattern – but with 

hair colour,” Josh explains backstage to Runway at the show space, 

where session stylist Anthony Turner was leading the hair styling 

team. “She gave me three different samples of fabric from the 

collection to try to create a kind of ‘print’ on hair. It actually turned 

into the two core looks that we created.” 

The first, named Colour Clouds, saw puffs of colour painted on 

the wefts. The coloured areas sported an intense centre and then 

faded out towards the edge. “We tried to do it with sponges but 


RUNWAY

MARY KATRANTZOU & JOSH WOOD 

Photography by Simon Martin; backstage photography by Clement Leon Mogensen 

that didn’t really work, so we ended up applying the colour with 

rollers,” admits Josh. “We created little spheres using the rollers, 

then pushed the edges out with our fingers. Mary was keen that the 

effect was painterly and not ‘festival’, with muted and blended 

tones rather than defined shapes.” 

The other technique Josh created, Horizon Colour, had a more 

ombre approach, but with a focal point in the middle rather than at 

the root or at the end of the hair. “We kind of had to make it up as 

we went along, but we eventually coloured all the hair and then 

went back in and bleached a horizon line into it,” explains Josh. 

For that, the team reached for Redken Flashlift and “every 

single shade” in the City Beats range. Josh’s first assistant – 2018 It 

List Fashionista winner Mads-Sune Lund Christensen – broke 

down some of the formulas created. “We used 25 packs of 

extensions – enough to do 50 models’ hair,” he laughs. “For the 

greens we played a bit with the Time Square Teal, a little High Line 

Green and added some Yellow Cab for a more customised shade. 

The beauty of City Beats, according to Mads, is that the shades 

are so intense the team is able to control the fade across certain 

wefts by using Redken Clean Maniac Hair Cleansing Cream and a 

little hot water to dilute them. “This has been useful on the Horizon 

Colour wefts, making sure the fade is smooth top to bottom,” he 

Josh Wood with hairstylist Anthony Turner 

says. It’s the epitome of backstage make-do as Josh leads us to the 

makeshift colour lab (a sink in the men’s toilets – the glamour!) to 

mute the ends of a green weft. For the Cloud wefts, more Clear is 

added to the mix to take tones more pastel. “For the pinks, for 

example, we mixed it with City Ballet Pink, a drop of Big Apple 

Red and the tiniest bit of Midtown Magenta,” explains Mads. 

“Mary wanted to work with me to create 

a pattern – but with hair colour” 

JOSH WOOD 

“The idea is that the models’ own hair colour diffuses the 

effect,” says Josh. “It makes it more ethereal. Then, when they 

walk the runway and you see it alongside the clothes, you get little 

hints of the colours as the strands move. It makes you take a second 

look as the shades really mirror the tones and blends in the fabric 

and it all slots together without your eye really registering why.” 

RUNWAY 


43

YOUNG GUNS 

GO FOR IT 

British universities and colleges are renowned across the globe for their fashion courses, with international 

students travelling to attend these prestigious institutions – and with graduates such as Stella McCartney, 

Christopher Bailey and Grace Wales Bonner, is it any wonder? 

WHEN THE FASHION DEPARTMENTS open their doors and 

new graduates send their collections down the runway, buyers 

elbow each other to get to the front row in the hope of discovering 

the next McQueen, Galliano or Gareth Pugh. 

L’Oréal Professionnel has a long history of supporting emerging 

design talent, with the best graduate at the Central Saint Martins 

Fashion BA show taking home the L’Oréal Professionnel Designer 

of the Year Award. 

And as part of its dedication to fuelling this creative spirit, the 

brand opens up the world of session work to salon stylists from 

across the UK and Ireland, so they can taste a little of that fashion 

world for themselves. 

Runway flashes its backstage pass to quiz leads and the 

assistants on why this is so vital to their careers and life on the 

salon floor… 

Tina Farey 

ISTITUTO 

MARANGONI 

FASHION BA 

LED BY Tina Farey at Rush 

“I felt honoured to be working 

at the first Istituto Marangoni 

show in the UK. The show 

went smoothly and I had a 

strong team. I started session 

work with L’Oréal Professionnel 

– it opened so many doors. It’s 

also important to use social 

media if you want to get into 

session work, as you can offer 

to be an assistant for stylists.”

YOUNG TALENT 

UNIVERSITY OF 

WESTMINSTER 

FASHION MA 

LED BY Frankie Pullen 

at Daniel Galvin 

UNIVERSITY OF 

WESTMINSTER 

MEN’S FASHION MA 

LED BY Luke Gregory 

at Fowler35 

LONDON COLLEGE 

OF FASHION 

FASHION BA 

LED BY Andrea Daley 

at Barbara Daley 

LONDON COLLEGE 

OF FASHION 

FASHION MA 

LED BY Yesmin O’Brien at 

seanhanna 

“I’m lucky enough to have 

been asked to lead the 

Westminster MA show for the 

past few years and it’s always 

great to work with new 

designers! Each model will 

walk for two or three different 

designers, so I work with the 

course lecturers to design a 

hairstyle that will go with all 

of the looks they need. Positive 

thinking and not panicking is 

key. Session work is so fun 

and varied – ask around as 

people are always in need 

of assistants!” 

“I had to be really focused for 

this show as I had only a week 

of preparation. You have to get 

to know the designers, what 

their collections are trying to 

say to the audience and how to 

translate each of their visions 

into hair. It’s given me 

confidence in my ability to 

convert the often revered but 

unobtainable designs on the 

catwalk for use with my 

commercial clients in the 

salon. Using relatable 

references is key for clients so 

they can enter this world.” 

“To be asked to lead such a 

prestigious show was amazing. 

The highlight has to be seeing 

your work walking down the 

runway – that feeling when it 

all comes together with models 

in full hair and make-up, 

wearing some incredible 

designs – it can’t help but make 

you feel proud of everyone 

involved. Getting 60 models 

ready in such a tight timeframe 

is always going to be difficult, 

but we had a great team from 

the L’Oréal Professionnel 

ID Artists programme.” 

ASSISTED BY Olivia Collison at 

MACK Hairdressing 

“There were so many inspiring 

people like Yesmin working at 

this show and I gained a lot of 

insight into how other stylists 

work and the techniques they 

use. We had to use a wide 

range of skills and I was 

nervous at first. But it has 

really boosted my confidence 

and I have overcome my 

worries about working under 

pressure. I would love to do 

session work again, as it’s so 

different to salon work.” 

Frankie Pullen 

Luke Gregory 

Andrea Daley 

Yesmin O’Brien and Olivia Collison 

RUNWAY 


45

YOUNG TALENT 

CENTRAL SAINT 

MARTINS 

FASHION MA 

LED BY Adam Reed, 

Percy & Reed 

ASSISTED BY Clare Hansford, 

Headmasters 

“There’s such a huge amount of 

talent at Graduate Fashion 

Week, from the design students 

to the other hairstylists and 

make-up teams, too. It’s hard 

not to be inspired by all the 

creativity. It’s such a privilege to 

be part of something this big. I 

always learn a lot at as you have 

to manage the expectations of 

the designers – some hair 

lengths and textures mean you 

have to tweak the look.” 

CENTRAL SAINT 

MARTINS 

FASHION BA 

LED BY Jack 

Merrick-Thirlway, 

Neville Hair & Beauty 

ASSISTED BY Ilker Nalkiran, 

seanhanna 

“It was an amazing experience 

to be part of this team and an 

absolute privilege to work with 

them. Up-styling is the skill I 

find the most challenging but 

working backstage taught me 

specific techniques and has 

really inspired me. I’ve used the 

tricks I learnt in to create 

hairstyles for festivals and 

nights out for my salon clients.” 

ASSISTED BY Meg Summers, 

Stuart Holmes 

“To be part of this was a really 

big deal to me because I had 

always dreamt about being part 

of a big fashion show. The 

biggest backstage challenge I 

had to overcome was with 

plaiting. But after I had help 

from other hairdressers in the 

team I was able to turn it into a 

strength. I improved my skills 

and am more confident.” 

KINGSTON 

UNIVERSITY 

FASHION BA 

LED BY Cristiano Basciu, 

Richard Ward Hair & 

Metrospa 

ASSISTED BY Sabrina Chappell, 

Richard Ward Hair & 

Metrospa 

“This is a big show with a huge 

number and variety of models. 

The main challenge was 

working with these different 

hair types in a short space of 

time to achieve the same or very 

similar look! Working at a show 

like this always gets your 

creative juices flowing – which 

is great for salon clients who 

want to be more adventurous.” 

Clare Hansford 

Jack Merrick-Thirlway with the 

L’Oréal Professionnel Portfolio Team 

Cristiano Basciu and 

Sabrina Chappell 


RUNWAY

YOUNG TALENT 

UPSKILL FOR 

SESSION 

GR A DUATE 

FASHION WEEK 

CO-LED BY Paul Davey, 

Davey Davey 

“It is such an honour to get 

involved with such a prestigious 

event. Working with the future 

of fashion with progressive 

ideas was what really sold it to 

me. L’Oréal Professionnel is 

always at the forefront of 

fashion and it was an honour to 

represent it.” 

CO-LED BY Nicole Iroh, 

Headmasters 

“There were 23 shows spanning 

four days – you can imagine 

what a fast-paced but also 

inspiring environment the 

backstage area was! We led a 

team of 26 hairdressers from 

L’Oréal Professionnel Portfolio 

Salons across the country. It 

was great to see the team grow 

so much in such little time.” 

ASSISTED BY James Parr, 

Nashwhite 

“I learnt that we all have 

strengths and weaknesses but as 

a team we can achieve 

exceptional standards. I got a 

complete overview of how the 

whole production comes 

together, from preparation to 

the moments on the runway.” 

ASSISTED BY Frankie McGowan, 

Andrew Hill 

“This was the most amazing 

experience of my career so far. I 

learnt new hair techniques and 

new ways to style quickly. Back 

in the salon I have used new 

curling techniques and am also 

more conscious of my timings.” 

ASSISTED BY Vishali Visavadia, 

George’s Hairdressing 

“I had never done much session 

work so it was amazing to be 

part of something so big. It is 

on a huge scale and it was a 

really different world to step 

into. Time management was the 

Nicole Iroh and Paul Davey (centre) with 

the L’Oréal Professionnel Portfolio Team 

biggest challenge, you have to 

be efficient and make it work. 

It was a fantastic opportunity 

for networking, too. Back in the 

salon I’ve been able to share 

how to create different looks 

with my colleagues.” 

ASSISTED BY Rhys Jones, 

Blushes 

“It was by far one of the best 

experiences of my hairdressing 

career. Back in the salon it has 

given me a completely different 

way of looking at things and 

approaching situations, trying 

out different products and being 

more confident in myself.” 

ASSISTED BY Hugo Santos, 

Andrew Mulvenna 

“It felt incredible to part of the 

team and to work with so many 

models, right in the heart of 

such a big operation. Focusing 

on the finer details was hard at 

times – it’s a serious challenge 

but when you get through it you 

learn so much about yourself.” 

ASSISTED BY Jessica Hau, 

Rush Hair 

“I love the pace of a fashion 

show, the whole atmosphere 

was buzzing. It’s so important 

to have a keen eye and always 

ensure your work is perfect. 

You learn so many new things.” 

REDKEN STYLING 

MASTERCLASS 

23 SEPTEMBER, 

REDKEN EXCHANGE 

HAMMERSMITH, 

LO N D O N 

Fresh from London Fashion 

Week, the Lockonego team 

will be sharing the latest 

trends, techniques and tricks. 

At this one-day course you’ll 

find out how to translate hot 

runway looks for clients back 

in the salon – it’s the perfect 

opportunity to get inspired, 

learn something new and 

kick-start your session career. 

lorealaccess.com/uk 

L’ORÉAL 

PROFESSIONNEL 

CREATIVE SESSIONS 

9 SEPTEMBER 

EDINBURGH, 

23 SEPTEMBER LEEDS, 

2 OCTOBER BELFAST. 

LONDON AND 

MANCHESTER DATES 

IN OCTOBER – 

TO BE RELEASED ON 

LOREALACCESS.COM/UK 

Do you know what’s hot this 

season? Experts from the 


Education Team and ID 

Artist programme will be 

sharing new sectioning 

patterns, creative formulas 

and inspirational colour 

techniques at these three-hour 

sessions. With interactive 

demos and chances to share 

your ideas, it’s your chance 

to ignite your session skills. 

RUNWAY 


47

Ziad Nakad, images by Anna Stockland, courtesy of Neville Hair & Beauty 

THROUGH THE 

LOOKING GLASS 

The Neville Hair & Beauty session team has spent the past seven years working at couture fashion 

shows all over the world. Here they explain what it’s like to work behind the scenes at the most 

glamorous presentations imaginable, and how it impacts life back in the salon…

COUTURE 

GOING BACKSTAGE AT a haute couture show is like entering 

another world. Through the mists of hairspray come dresses heavy 

with beads, regal silhouettes made from ornate fabrics. And for 

seven years, Neville Hair & Beauty has been there, creating the 

intricate hairstyles that accompany some of the most exquisite – 

not to mention expensive – gowns in the world. 

It all started when Elena Lavagni, owner of the Mayfair salon, 

found out about Singapore Fashion Week and decided her team 

was ready for a challenge. “I flew to Paris to meet the president of 

the Asian Couture Federation and to convince him that Neville 

Hair & Beauty should be a part of the show.” 

The salon took six hairdressers from London and, with kitbags 

bulging with L’Oréal Professionnel TECNI.ART products, worked 

alongside a team from Singapore. It was stressful, Elena notes, but 

the hard work paid off and it opened the door to the couture capital 

of the world: Paris. 

“At our first couture season in Paris we did six shows, including 

three in one day,” she says. “It was amazing, and I learnt quickly 

how to manage and divide the work. I really believe in preparation 

– by the time we get to a show everyone knows what they’re doing.” 

For Jack Merrick-Thirlway, senior stylist and member of the 

Neville Hair & Beauty session team, the opportunity to work 

backstage was enticing. “Session work was always something I 

wanted to be a part of – I love the creativity and how you can 

express yourself,” he explains. Having joined Neville Hair & 

Beauty 14 years ago, he earned a place on the session team through 

hard work and enthusiasm. “I was dedicated to getting better at my 

craft, and everyone else could see how much I wanted it. In the 

beginning it was about being in the mindset of wanting to work 

hard – even more than the skills.” 

The Neville team regularly creates the hair looks for couture 

shows such as Antonio Grimaldi, Rami Kadi and Celia Kritharioti, 

with team leads including Jack, Cristian Pignatta and Fernando 

Spano. But the Guo Pei presentations are the highlight for Jack. “I 

love the big ballgowns,” he says. “The intricacies of each look make 

these shows very challenging but at the same time it’s so rewarding 

to be a part of. Each model’s look takes about two hours and 

everything has to be perfect – so much effort goes into these shows.” 

Elena believes that the time spent out of the salon working 

backstage at couture shows is immensely valuable, benefitting both 

the business and the members of the team. “When the staff return 

to the salon they are so enthusiastic and they always reflect back on 

Guo Pei 

“Session work was always something I 

wanted to be a part of – I love the creativity 

and how you can express yourself” 

JACK MERRICK-THIRLWAY 

Jack Merrick-Thirlway at Guo Pei 

the shows when talking with their clients,” she explains. “The 

clients know that their stylist is the best person for the job as they 

have worked on couture fashion shows – and that brings credibility. 

Also the stylists learn to be independent, as they have dealt with 

any number of problems backstage.” 

Jack agrees that the session work has a huge impact on his life 

in the salon, training him to seek perfection. “I’ve really learnt the 

art of dressing hair,” he says. “Couture work has to be so perfect 

– your eye changes and you look at little details and become more 

aware. Our clients are always interested in the shows and they feel 

more confident in you and your ability.” 

And his advice for stylists who want to experience 

the world of couture? “The most important things are putting in 

time, working hard and having a lot of patience. You have to know 

how everyone else in the team works. It’s like playing football – you 

have to pass at the right time. When I started I thought it was 

impossible but it starts to click – and getting that knowledge comes 

from practice.” 

RUNWAY 


49

A/W19 HAIR IS… 

“GLOSSY. THERE 

IS A RETURN TO 

COLOURS 

LOOKING MORE 

PRIMARY AND 

INTENSE. AN 

EXTREME CAN BE 

AS SIMPLE AS 

BLACK OR WHITE, 

LIKE THE COLOURS 

WE CREATED 

AT PRADA” 

Josh Wood, 

Redken global color 

creative director 

“VERSATILE AND 

HAS SOMETHING 

FOR EVERYONE. IT 

RANGES FROM 

‘50S AMERICANA 

SILHOUETTES TO 

THE EFFORTLESS 

FRENCH GIRL 

TEXTURE, WITH 

CLEVER WAYS OF 

ACCESSORISING 

PONYTAILS” 

Nicole Iroh, 

Headmasters 

“ABOUT VOLUME, 

DIANA VREELAND, 

‘60S-INSPIRED, 

HARPER’S 

BAZAAR, THE 

COLOUR VIOLET 

AND THE 

GROWN-OUT 

BUZZ CUT!” 

Tina Farey, 

Rush Hair 

“ABOUT MAKING 

A STATEMENT! 

THINK ELABORATE, 

POWERFUL LOOKS 

AND MODERN, 

UNDONE VIBES. 

BOLD UP-DOS AND 

SLICK, HIGH- 

SHINE STYLES 

ARE DOMINATING 

THIS SEASON” 

Cristiano Basciu, 

Richard Ward 

Hair & Metrospa 

“ABOUT BIG HAIR, 

LOTS OF VOLUME, 

MAKING A 

STATEMENT. BIG 

HAIR IS NOT FOR 

FAINT-HEARTED 

STYLISTS; IT 

REQUIRES TIME, 

SKILLS AND 

EFFORT SO IT 

DOESN’T LOOK 

LIKE PROM HAIR” 

Jack Merrick- 

Thirlway, Neville 

Hair & Beauty 

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

A/W19 HAIR IS… 

“REALLY GOOD 

FUN, ANYTHING 

GOES! BE CREATIVE 

WITH TEXTURE, 

SHAPE, COLOUR. 

HELP CLIENTS TO 

ENJOY THEIR HAIR!” 

Adam Reed, 

Percy&Reed 

“EXPENSIVE, 

INDIVIDUAL AND 

GLOSSY. SHORTER 

CUTS WILL COME 

THROUGH AND 

TEXTURE, WAVES, 

FRINGES AND 

ACCESSORIES ARE 

ALSO ALL PART OF 

THE STORY” 

Darren Fowler, 

Fowler35 

“EXTREME IN ITS 

SIMPLICITY“ 

Guido, Redken 

global creative 

director 

“UNIQUE! FORGET 

IDENTIKIT HAIR 

LOOKS, THIS 

SEASON IS ABOUT 

EMBRACING WHAT 

MAKES YOU 

DIFFERENT AND 

CELEBRATING 

THAT!” 

Richard Phillipart, 

The Boutique 

Atelier 

“INDIVIDUALLY 

SUBJECTIVE! 

IT’S WHATEVER 

YOU WANT IT TO 

BE – WE’RE 

EMBRACING 

CHOICE!” 

Luke Pluckrose, 

Saks 


RUNWAY

RunwayAW19

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