RunwayAW19

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
AUTUMN/WINTER 2019
43