Runway A/W19

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YOUR ESSENTIAL GUIDE TO THE NEW SEASON

UNWAY

AUTUMN

W I N T E R

CREATIVEHEADMAG.COM

2019


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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

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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

AUTUMN/WINTER 2019

05


TOP FIVE

MOMENTS

IN HAIR &

FASHION

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

06 AUTUMN/WINTER 2019

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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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AUTUMN/WINTER 2019

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.

Image courtesy of L’Oréal Professionnel

08 AUTUMN/WINTER 2019

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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.

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AUTUMN/WINTER 2019

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.

Image courtesy of L’Oréal Professionnel

10 AUTUMN/WINTER 2019

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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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AUTUMN/WINTER 2019

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

12 AUTUMN/WINTER 2019

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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

sure you have the right tools at your disposal. Blondes need the

utmost care and protection to avoid damage to the structure,

but with the right lighteners and toners you can nail a healthy,

ultra-glossy blonde every time. Own the latest blonding

techniques and create the perfect base with Redken’s Flash Lift

Bonder Inside. Ideal for both busy clients and colourists, the

fast-acting formula gives up to eight levels of lift AND contains

a built-in bonder. So you can have stronger, brighter blondes

and even save time doing it. It’s the secret weapon of Josh

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

compromise,” he says. Lifting hair quickly without

compromising on quality, what’s not to love?

Not all hair colour is created equal, especially when toning to

create A-list blondes. Nail the perfect shade and tone every time

with Redken’s iconic Shades EQ. The liquid demi-permanent

formula is loved by It-list colourists worldwide for its intense

conditioning properties that deliver flawless shine and vibrancy.

Master the tone zones for unbeatable blondes with two brand

new Shades EQ Level 10 toners – 010VV Lavender Ice and 010N

Delicate Natural. Picture true-to-tone results for customised

toning perfection and your brightest blondes yet.

Amy Fish, colourist at Larry King Salon, is already a fan:

“The new Level 10s are the perfect toners for the ultimate

blonde – with their high shine finish no blonde will ever look

dull. That’s why my clients love Shades EQ.”

“Now I can give my clients the lightest,

brightest blonde while still delivering the

health and shine they’ve come to expect

using Shades EQ – it’s a win-win!”

TRACEY CUNNINGHAM

CELEBRITY COLOURIST

London salon owner Samantha Cusick is also feeling the love

for the new Shades EQ toners: “I LOVE the new Level 10s, the

results are so luminous and glossy! Shades EQ gives me an

unlimited palette for blondes and it’s even better with the new

Level 10s. Obsessed!”

Are you ready to enter a new tone zone? Step up your blonde

services from start to finish with Redken’s power blonding duo

for a long list of happy clients.

*Mintel Colorants Report 2018

Join the colour tribe today. For a bespoke colour demonstration or more information, email info.redken@loreal.com or visit redken.co.uk

@Redken #ShadesEQ #FlashLiftBonderInside

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AUTUMN/WINTER 2019

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.

14 AUTUMN/WINTER 2019

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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.

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AUTUMN/WINTER 2019

15


Rejina Pyo

THE TRENDS

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

You’re so A/W19 darling…

16 AUTUMN/WINTER 2019

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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

18 AUTUMN/WINTER 2019

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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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AUTUMN/WINTER 2019

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.

20 AUTUMN/WINTER 2019

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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

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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

22 AUTUMN/WINTER 2019

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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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HOW HAIR HAPPENS

HOW HAIR HAPPENS

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

L’Oréal Professionnel

TECNI.ART Ring

Light for some

extra sparkle

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HOW HAIR HAPPENS

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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HOW HAIR HAPPENS

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

L’Oréal Professionnel

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

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HOW HAIR HAPPENS

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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HOW HAIR HAPPENS

THE SHOW – NATASHA ZINKO

THE LEAD – TINA OUTEN FOR L’ORÉAL PROFESSIONNEL

Tina Outen used

L’Oréal Professionnel

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

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HOW HAIR HAPPENS

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

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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!

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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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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.

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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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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

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DIOR AT THE V&A

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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DIOR AT THE V&A

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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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

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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.”

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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

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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

46 AUTUMN/WINTER 2019

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

L’Oréal Professionnel

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

AUTUMN/WINTER 2019

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

AUTUMN/WINTER 2019

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

50 AUTUMN/WINTER 2019

RUNWAY

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