Runway S/S20

YOUR ESSENTIAL GUIDE TO THE NEW SEASON
UNWAY
AUTUMN
SPRING
SUMMER
W I N T E R
CREATIVEHEADMAG.COM
2020 2019

NEW
SAME ICONIC FORMULA
Highly concentrated in caring agents and Ionène G
Hair is 45% more conditioned after colour**
Perfect coverage
True to tone, long lasting colours
Creamy non-dripping texture
NEW COOL INFORCED SHADES *
Large colour palette with 8 new cool shades
Up to 6 weeks of neutralisation**
Boosted in cool reflects
NEW DESIGN
HAIRCOLOR
WE HAVE CHANGED EVERYTHING
BUT THE ICONIC FORMULA
Colour coded pack by colour family
Shade number on the facing
New 100% recycled plastic cap,
Saving 7 tons of plastic each year***
**Instrumental testing. ***Saving 7T of virgin plastic, based on full 2018 quantities.
*Launching February 2020.
JOIN THE L'ORÉAL PROFESSIONNEL HAIR ARTISTS COMMUNITY
www.lorealprofessionnel.com/newmajirel

MAJIREL. NEW PACK DESIGN. PLAY WITH IT.
Only by

CONTENTS
SPRING/SUMMER 2020
06
TOP FIVE MOMENTS
Our pick of the best of the catwalk this S/S20
16
THE TRENDS
The searing-hot styles your fashion-forward clients will crave this season
22
HOW HAIR HAPPENS
Go behind the scenes at Bora Aksu, Preen by Thornton Bregazzi and Rose Danford-Phillips
30
RE:CREATE
The mini trends with the maximum gains
36
ANTHONY TURNER
The 2019 Most Wanted Session Stylist on hard work and grasping opportunities
38
MARC JACOBS
Dream team Guido Palau and Josh Wood backstage in New York
40
TEXTURE
We take an in-depth look at the need for textured hair skills backstage
44
JOHANNA CREE BROWN
The hair auteur on the way she approaches the avant-garde
46
WHITE SHOW
The proving ground for Central Saint Martins’ freshers and the L’Oréal Professionnel ID Artists
Cover image: Erdem S/S20, image courtesy of L’Oréal Professionnel
04 SPRING/SUMMER 2020
RUNWAY

EDITOR’S LETTER
Hello dear Runway readers,
Welcome to a brand new issue and a brand new decade. So, what do the ’20s
have in store for us? Much to roar about judging by the fierce ’dos on the
catwalks as hairstylists looked to both the past and present for their inspiration,
a kind of follicular Back to the Future. Take the ’40s tissue set curls (yes, that’s
tissue of the Kleenex variety) at Miu Miu over on Re:Create (from page 32) or
the ’80s-esque wet-look coiffs on Trends (p16). We saw J.Lo break the internet
(again) as she paid homage to her Millennial self, while our inner child was
rewarded with a huge dollop of nostalgia thanks to the presence of Trolls and
Hello Kitty dolls – a couple of highlights in That Was The Season (p14).
In keeping with the theme of what’s to come, we celebrate the visionaries of
the hair world, including Guido and Josh Wood for their spectacular work on
the Marc Jacobs show (p38), as well as interviews with the fantastical and
Most Wanted award-winning Anthony Turner (p36). We also catch up with
the audaciously avant-garde Johanna Cree Brown of Trevor Sorbie fame, who
works on art projects and films, as well as shows such as Fyodor Golan (p44).
And we honour the mothership that is the Central Saint Martins White Show;
an elite training camp for future talent (p46). To finish, we dive into the need
for hairdressers working backstage to have the skills to work on absolutely ANY
hair texture (p40). And to that we say, here’s looking at you, S/S20.
Cassie Steer
Runway guest editor
Beauty editor
Editor in chief: Amanda Nottage Art: Graeme White Chief sub editor: Adam Wood Contributors:
Kelsey Dring, Deborah Murtha, Anna Samson, Eve Wagstaff Publisher: Catherine Handcock
RUNWAY, 21 THE TIMBERYARD, DRYSDALE STREET, LONDON N1 6ND
020 7324 7540 enquiries@alfol.co.uk
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
SPRING/SUMMER 2020
05

TOP FIVE
MOMENTS
IN HAIR &
FASHION
Give it up for the designers that put the ‘show’ into Fashion Week
06 SPRING/SUMMER 2020
RUNWAY

VIVA LA RE VOLUCIÓN
ERDEM
Image courtesy of Redken
GREETINGS COMRADES! This season Erdem
gave us a political figure – and wardrobe – to get
behind. Designer Erdem Moralioglu is a fan of
kick-ass women and, for S/S20 he chose to plunder
the life of Tina Modotti, “a romantic and
revolutionary woman of principle”, he claimed
backstage. Modotti was an Italian-born silent
movie star, who went from Hollywood to Mexico
and radical communism. Her eventful life (she met
an untimely death aged 45) was played out across a
tree-lined gravel catwalk like a sartorial This Is
Your Life. A riot of exaggerated puff sleeves and
opulent prints met yoke blouses and embroidered
dresses, all topped with a Cordovan hat. The hair
manifesto? Romance and revolution as Anthony
Turner for L’Oréal Professionnel turned to Modotti
for a clean boyish braid. “It feels quite tough
because of the strict centre-parting and tight braid
but the big bow makes it feel romantic,” he said.
RUNWAY
SPRING/SUMMER 2020
07

JUNGLE FEVER
VERSACE
OVER AT CASA DI VERSACE, the designer
transformed the former velodrome Palazzo Delle
Scintille into a futuristic amphitheatre with digital
art projections made using Google’s Tilt Brush. A
huge bronze palm tree structure sat in the middle
as models sashayed down the catwalks in racy
black-belted blazer dresses, leather coat dresses
and miniskirts reminiscent of Versace circa 1992.
These then made way for a plume of green and red
jungle prints, before Donatella interrupted to say
“Okay Google, now show me the real jungle dress’
and the internet broke… Rapturous applause
heralded the arrival of J.Lo herself, wearing an
impossibly skimpy, cut to the navel incarnation of
the jungle print dress she wore to the Grammy
Awards back in 2000. Hair was equally sexy from
Redken global creative director, Guido Palau, who
described the finish as “wet-look hair that’s very
messy, very sexy and very Donatella”.
Image courtesy of James Cochrane
08 SPRING/SUMMER 2020
RUNWAY

GENDER BLENDER
SHARON WAUCHOB
Image courtesy of L’Oréal Professionnel
IF YOU WORSHIP at the altar of fashion, Sharon
Wauchob is sure to rank high in your estimations.
Earning her (pin)stripes as an in-house designer at
Louis Vuitton, the Irish designer is best known for
her contemporary take on femininity, admitting
that she has “always liked the androgynous style”.
Rather fittingly, her S/S20 show at the resplendent
St Cyprian’s Church in Marylebone was an equally
opulent ode to non-binary dressing. Her fabrics
were as diverse as the casting, which comprised a
trans-generational mix of actors and dancers of all
sexes. Flirty fringed flapper dresses cavorted with
insouciant drapes of fabric that adorned the more
masculine trench coats and blazers, while wispy
feathered dresses were paired with satin drainpipe
trousers. And for hair? Neil Moodie for L’Oréal
Professionnel stuck with androgyny and a strong
side-parting. “It’s contained and shiny. There’s a
hardness to it,” he divulged. Amen to that.
RUNWAY
SPRING/SUMMER 2020
09

KOOKY CUTTER
PRADA
IT’S OFFICIAL: le geek, c’est chic. Haute nerds
aren’t joiners – they’re delightfully idiosyncratic
outliers – but if they were, Prada is the cult they’d
join. Eternally kooky, brimming with nostalgia
and always addled with irreverence, it’s the brand
that celebrates the individual. And this season
more than ever, Miuccia Prada’s directive was
about honing your personal style to reduce
throwaway fashion. The result was a joyfully
eclectic mélange of textures (think cheesecloth,
macramé and velvet) and colours (there were
strong nods to the ’70s in the retro palette of
browns, blues and tangerines). Over on hair,
Guido for Redken was also celebrating the
individual. “There’s a hint of strangeness to the
look which is classic Prada. I added sideburns to
each model to add a little boyishness,” he said.
“There’s a touch of uniformity while still allowing
each model’s personality to shine.”
Image courtesy of James Cochrane
10 SPRING/SUMMER 2020
RUNWAY

ALL RISE
MOLLY GODDARD
Image courtesy of L’Oréal Professionnel
LIKE THE PÂTISSERIE CHEF of the fashion
world, Molly Goddard inspires a crowd hungry
for her specialist creations, and this season the
queen of tulle didn’t disappoint. Silhouettes
were effortlessly inflated with the finesse of a
thrice-baked soufflé and frothy lemon yellow skirts
billowed from voluminous satin tops. But it was
Goddard’s first ever foray into the world of denim
that really whet the appetite. Indigo-hued,
ankle-grazing tiered gowns felt as light and airy as
her signature tulle, while the big, blousy 3D denim
flowers that adorned the top half were the icing on
the cake. To finish, the deliciously moreish
two-piece confection in raspberry cream and a
bright red trim sated the exacting FROW.
Meanwhile, over on hair, Luke Hersheson for
L’Oréal Professionnel whipped up an effortlessly
elegant ’do inspired by the elusive off-duty model.
We say: tulle throttle ahead!
RUNWAY
SPRING/SUMMER 2020
11

@charlihoward

8 LEVELS OF LIFT.
NO BONDING ADDITIVE NEEDED.
BREAKUP WITH BREAKAGE
Now you can finally say yes and lift your clients to their dream blonde—
even those with sensitized hair! New Flash Lift Bonder Inside is a lightening
powder that also has bonder built-in, helping you protect bonds to keep
fibers strong while lifting up to 8 levels. Get all of the bonding power you
need during a lightening service, with none of the extra steps.
#FlashLiftBonderInside

THAT WAS THE
From childhood toys to vintage J.Lo, nostalgia helped turn up the heat for S/S20
S E A S O N …
Ports 1961
Marc Jacobs
Victoria Beckham
THROWING SHADES
THE ’70S MAY get rather a bad rap in the taste stakes (shag
carpets, polyester suits and avocado bathroom suites spring to
mind) but when it came to eyewear they had it going on. As did
the fabulous sunnies at Ports 1961, Marc Jacobs, Victoria
Beckham, Chloé and Givenchy. Throw no shade…
H I G H
BROW
BROWS ARE literally
inching their way up
the make-up charts
this season. At Molly
Goddard black slivers
skimmed the tops of
the brows for a touch
of ’20s starlet.
Meanwhile at Daniel
Pascal Tanner at
On|Off, Lans
Nguyen-Grealis went
for pencil-thin daubs a
good few millimetres
above the models’
natural brows.
Molly Goddard
PRIM BRIMS
FORGET FOOTLOOSE floppy hats, brazen berets or flirty
fedoras, this season’s headgear was a nod to simpler times. Many
of the puritanical hats on show tended to be of the straw variety,
with cloche-like incarnations at Dior, flat sun hats at Erdem and
boaters at Daniel Pascal Tanner at On|Off. At Prada, the soft,
leather upturned hats had a hint of sou’wester perfect for British
summertime. Serf’s up.
Daniel Pascal Tanner at On|Off
Dior
14 SPRING/SUMMER 2020
RUNWAY

THAT WAS THE SEASON
Joshua Kane at the Royal Exchange
LOCATION,
LOCATION
Fyodor Golan
ONE OF THE JOYS of session styling is that you gain exclusive
access to incredible venues – a hirsute Through the Keyhole if you
will – and this season there was everything from tunnels (Fyodor
Golan) and churches (Sharon Wauchob) to luxe shopping centres
(Joshua Kane). Institutional buildings were clearly de rigueur and
while whiffs of chlorine emanated from Molly Goddard’s venue of
choice (Seymour Leisure Centre in Marylebone), Rejina Pyo opted
for the bookish ’60s charm of Holborn Library. But it was Canada
Design’s showcase in Blighty that posed an actual security risk. Set
in Canada House, hair stylist for L’Oréal Professionnel, Daniel
Fiorio, based his team in Canadian prime minister Justin Trudeau’s
private office and had to be accompanied up and down the stairs by
security guards. Don’t forget your AAA pass, guys…
Jimmy Paul at On|Off
Images courtesy of Simon Armstrong, L’Oréal Professionnel and Redken
JUST SLAYING…
ALL HAIL QUEEN J.Lo, the woman who
single-handedly took the crown for ruling the runways in
THAT dress. Not content with breaking the internet back
in 2000 (quite literally – her Versace dress at the Grammy
Awards spawned the birth of Google Images), Jenny
From The Block went and did it again at the Versace
show with 2020’s scantier and sexier navel-grazing
rendition. Another day, another slay!
Courtesy of Instagram @jlo
Sharon Wauchob
SOFT PLAY
PREPARE TO INDULGE in a little childhood nostalgia. At
Fyodor Golan, bags were accessorised with Trolls – those cute
cult dolls from a time when ‘troll’ had nothing to do with the
internet (come to think of it, the internet didn’t even exist!).
Meanwhile, at On|Off’s Jimmy Paul, Hello Kitty had everyone
feline joyous with his playful homage to the Japanese furball.
IN PLUME
IF BIRDS of a feather flock
together, the designers were
all roosting in the same tree
of inspiration this season as
feathers were everywhere.
While designers like Rose
Danford-Phillips at On|Off
and Guo Pei for the V&A’s
Fashion In Motion event
used them as chic
embellishments, Jimmy Paul
made them the focal point of
his Hello Kitty jumpers and
Sharon Wauchob got the
FROW in a flap with her
pastel pink gown. Shake
your tail feathers…
RUNWAY
SPRING/SUMMER 2020
15

Erdem
THE TRENDS
From swashbuckling plaits to exploring undiscovered textures, S/S20 is a treasure trove of inspiration
16 SPRING/SUMMER 2020
RUNWAY

TRENDS
Bora Aksu
V& A Fashion in Motion:
Preen by Thornton Bregazzi
Alexander McQueen
BRAID HEART
WHEN THE GOING GETS tough, the tough get… braiding.
Or so it seems if this season’s power plaits are anything to go by.
From pirate-inspired pigtails to rebellious rope braids there was an
underlying air of cavalier mutiny. Take the wet-look pirate braids
at Alexander McQueen by Redken global creative director Guido,
with a small braid at the front that was pure Adam and the Ants.
Over at the V&A’s Fashion In Motion: Preen by Thornton
Bregazzi show, Jonny Engstrom at Guy Kremer for L’Oréal
Professionnel wove raw material haphazardly through the
distressed braids for a Celtic warrior vibe. Weathered was also the
order of the day at Bora Aksu where Tina Outen for L’Oréal
Professionnel was channelling some Frida Kahlo chutzpah with
her braids, spritzing L’Oréal Professionnel TECNI.ART 6-Fix
throughout the hair to define the texture. In keeping with the
empowered woman theme, Anthony Turner for L’Oréal
Professionnel found inspiration in silent movie star-turned
communist Tina Modotti for his boyish braid. He explained:
“It feels quite tough because of the strict centre-parting and tight
braid but the big bow softens the look and makes it feel romantic.”
Speaking of which, rebellion and romance are natural bedfellows
and the swoonsome braid by Guido at Dior gave us all the feels.
Bora Aksu
Dior
HAIRAnthony Turner for
L’Oréal Professionnel
THE LOOK A clean, boyish braid
topped off with a big black bow –
quintessentially Erdem
HOW Hair was prepped with
L’Oréal Professionnel TECNI.ART
Pli and Mythic Oil then blow-dried
Alexander McQueen
Dior
GET THE LOOK – ERDEM
using a Dyson Professional Styling
Nozzle for a sleek finish. A strict
centre-parting was brushed to cover
the ears. A low, tight braid was made
at the back using Infinium Extreme
and the Dyson to smooth, perfected
with more Infinium Extreme before
finishing with a ribbon.
Bora Aksu
RUNWAY
SPRING/SUMMER 2020
17

Jimmy Paul at On|Off
18 SPRING/SUMMER 2020
RUNWAY

TRENDS
Coach
Chloé
Givenchy
BLOWN AWAY
THERE WAS SOMETHING of a return to altogether more
high maintenance #juststeppedoutofasalon ’dos this season.
Central to the trend was of course the classic blow-out. Forget
‘carefree’, this is a woman who cares. A lot. And she’s got time
on her hands to hone her unequivocal aesthetic, that aesthetic
being one of unashamed luxury. “The hair is rich, glamorous
and dream-like, which perfectly compliments the Valentino
woman,” explained Redken’s Guido. Over at Coach there was
the hint of a well-heeled Sloane as Guido added in a big, bouncy
quiff to his blow-dry. Meanwhile, pushing the sumptuous texture
by Guido that was seen at shows like Ralph Lauren and Chloé a
little further, Tina Outen for L’Oréal Professionnel decided to
open up the face and reveal the models’ features by sweeping
the hair back at Rejina Pyo. “She’s quirky, intellectual,
expensive and put together so I’m focusing on the hairline to
give her a distinct personality,” she revealed. But it was
Jack Merrick-Thirlway’s take on the trend that we really put
our money behind. Stepping out from the Neville Hair & Beauty
salon to take the backstage helm at Jimmy Paul for L’Oréal
Professionnel he set about creating Hello Kitty meets Brigitte
Bardot beehives.
Valentino
Ralph Lauren
HAIR Guido for Redken
THE LOOK Tomboyish flair with
a well placed Coach barrette
HOW A 10p-sized amount of
Redken Extreme Play Safe was
applied to lengths and ends, the front
was dried with a round brush,
leaving it smooth, then blow-dried
Valentino
GET THE LOOK – COACH
Rejina Pyo
from right to left for lift. Hair was
side-parted in the opposite direction
to create added volume. The front
two-inch section was twisted back
towards the ear, separating during
styling for volume and secured above
the ear with a barrette, before being
finished with Redken Triple Dry 15.
Sacai
RUNWAY
SPRING/SUMMER 2020
19

TRENDS
Ports 1961
Givenchy
EASY RIDER
THE AGE OF IDENTIKIT models stomping down the runway
like genetically blessed clones is officially over. After a few years
of championing the individual backstage it no longer appears to
be a trend so much as the norm. “We’re celebrating individuality
at Burberry this season,” confirmed Redken’s Guido Palau.
“The overall feeling is one of richness, a controlled naturalness;
it’s a modern, new texture.” This texture happened to be the
starting point at many other shows which each added in their
own nuances. At Ports 1961, French girls were the inspiration
for the tousled, cool-girl texture which Guido side-parted and
tucked behind the ears. The French also stormed the hair
stations at Givenchy, where Guido gave some a chop for a
“tomboyish, easy vibe”. At Joshua Kane, the theme of Mythical
Creatures lent every model their own character, and Darren
Fowler from Fowler35 used lashings of L’Oréal Professionnel
TECNI.ART to create myriad techniques and textures.
Over at Molly Goddard, Luke Hersheson for L’Oréal
Professionnel took effortless to the extreme with his
straight-from-the-shower half pony. “She’s carefree and fun
and wants her hair off her face but didn’t bother to pull the
ponytail through completely,” he explained.
Molly Goddard
Burberry
HAIR Luke Hersheson for
L’Oréal Professionnel
THE LOOK The ultimate model
off-duty #iwokeuplikethis look
HOW Hair was misted with L’Oréal
Professionnel TECNI.ART Pli to
prep then dried with a diffuser.
TECNI.ART Full Volume Extra
Ports 1961
Ports 1961
GET THE LOOK – MOLLY GODDARD
Mousse was used for separation, then
hair was pulled back and secured in a
pony halfway between the crown and
the nape. On the final tie-through,
hair was pulled halfway through to
leave ends free, an undone feel
exaggerated by breaking hair apart
and pulling out random pieces.
Sacai
Joshua Kane
20 SPRING/SUMMER 2020
RUNWAY

TRENDS
Sharon Wauchob
Christopher Kane
Daniel Pascal Tanner at On|Off
WET WET WET
RELUCTANT TO DIVE into a wet-look trend? Come on in,
the water’s fine! Better than fine if this season’s hydrophilic
looks are anything to go by. From damp (see the Kingston
University MA show by Electric’s Mark Woolley for L’Oréal
Professionnel), to drenched, there wasn’t a dry follicle in the
house. Take global Redken creative director Guido’s sexily
saturated look at Versace. “It’s meant to feel like you just got out
of the shower,” he revealed backstage. Gel was certainly the
product du jour, reflecting the ’80s influence that seemed to seep
into every fashion capital. Case in point the strict, almost S&M
ponytails at Proenza Schouler, which Guido bound in leather.
Over at Daniel Pascal Tanner at On|Off, the look was a little
more relaxed as Richard Phillipart from The Boutique Atelier for
L’Oréal Professionnel sought to reflect the ’80s echo of the
clothes. It was a look not dissimilar to the one sported at Carolina
Herrera, which Guido explained was also a nod to the decade of
power suits and power hair. Many of the other wet-look ’dos were
a more masculine affair with sideburns at Prada for a ‘boyish’
nuance, a strong side-parting at Sharon Wauchob for an
‘androgynous femininity’ and ‘shellacked’ ponytails at
Christopher Kane for a ‘futuristic boyishness’.
Images courtesy of Simon Armstrong,
L’Oréal Professionnel and Redken
Kingston Universtiy MA show
HAIR Guido for Redken
THE LOOK Just out of the shower –
‘messy, very sexy, very Donatella’
HOW A 10p-sized amount of Redken
Hardwear 16 Gel was raked back
through the hair with fingers, combing
through lengths for a wet appearance,
adding more of the gel as they styled.
Kingston University MA show
GET THE LOOK – VERSACE
Kingston University MA show
A few pieces of hair were then taken
from the hairline and brushed across
the forehead for a messy, fresh-fromthe-shower
appearance. Triple Pure
32 hairspray was spritzed all over for
high hold without crunch, then a little
Shine Flash 02 was spritzed over the
whole look to get a high-gloss finish.
Carolina Herrara
Proenza Schouler
RUNWAY
SPRING/SUMMER 2020
21

F U L L
S T E A M
AHEAD
The revamped Steampod 3.0 from L’Oréal Professionnel is here to change how you look at heat styling… forever
Let off some styling steam with the new Steampod 3.0 from L’Oréal Professionnel.
To find out more, call 0800 030 4034 or visit lorealprofessionnel.co.uk/steampod-3
22 SPRING/SUMMER 2020
RUNWAY

ADVERTORIAL
comfort as you work. And ‘Cool Girl’ waves really are effortless,
thanks to the new 360-degree rotating cord, so you’re never left in
a tangle. The integrated comb keeps things running smoothly
while the floating plates and high tech steam delivery make
styling both speedy and uniform across the whole head. Enjoy
intelligent heat controls that allow you to switch easily across hair
types, as well as constant and automatic heat monitoring.
L’Oréal Professionnel has developed exclusive product
formulas to work in tandem with the Steampod 3.0’s unique
design, to further reinforce the caring benefits of using steam.
The care routine helps to control frizz and ensure a smooth finish
for a soft and natural-looking glossy result. Choose from the
Steam-Activated Cream for thick or sensitised hair, or reach for
the Steam-Activated Milk when dealing with fine-to-normal hair
types. The Concentrated Serum is designed to give that beautiful
finish and works brilliantly for all clients.
DO YOU REMEMBER when you first heard about L’Oréal
Professionnel’s Steampod? Its use of steam to straighten hair
shook up the hot tools market, offering a gentler effect on strands
and an ultra-luxurious finish.
Like any great fashion fixture, the heart and soul of the
original can be found in the upgraded Steampod 3.0. The newest
iteration has been revamped with fresh technology to meet every
styling need. Forget frantically styling before the models hit the
runway – the Steampod 3.0 delivers results twice as fast as regular
straighteners, leaving hair twice as smooth.*
It transforms hair with steam technology, whether you’re
going for glossy curls or a sleek and straight finish.
We know models’ hair becomes more difficult to manage as
fashion weeks progress, due to repeated styling at multiple shows
– however the Steampod 3.0 offers 78 per cent less damage,**
ideal for S/S20’s trends of healthy, expensive-looking hair.
L’Oréal Professionnel is constantly evolving and adapting its
products based on the feedback of experts and artists. The result?
An improved ergonomic design so that you can style seamlessly
with minimal effort. The Steampod 3.0 is 14 per cent thinner and
37 per cent lighter than its predecessor, offering improved
Neil Moodie backstage
at Sharon Wauchob
NEIL MOODIE’S STYLING SECRETS
“THE UPDATED, STREAMLINED design,
integrated water feature and rotating cord
makes the Steampod 3.0 super-practical to
use backstage and has become a new
favourite in my kitbag – I am so amazed
by the results!
“I used it recently on a photoshoot
for a major fashion magazine and the hair
felt so much smoother and looked shinier, it’s
now virtually impossible for me to go back to
a traditional straightener.
“People are very aware of the damage heat
styling can do to the hair and I constantly have
models and consumers ask me about this, so
being able to offer them an alternative means
you can really build trust with them.”
*Instrumental test versus regular straightener **Instrumental test versus regular straightener after 15 uses
RUNWAY
SPRING/SUMMER 2020
23

HOW HAIR HAPPENS
HOW HAIR HAPPENS
Head backstage with three visionary stylists and see them create the looks that count for S/S20
THE SHOW – BORA AKSU
THE LEAD – TINA OUTEN FOR L’ORÉAL PROFESSIONNEL
Tina misted
TECNI.ART
6-Fix to build a
weathered texture,
and TECNI.ART
Ring Light to add
luminosity through
the ends
Tina Outen layered
TECNI.ART Pli,
Transformer
Texture and Super
Dust from L’Oréal
Professionnel to add
definition to the
models’ hair before
loose, random curls
were created with a
medium hair tong
Tina then sectioned the
hair and began to plait
two skinny, tight braids
that were shaped behind
the ear and secured with
a clear band about one
inch from the ends
24 SPRING/SUMMER 2020
RUNWAY

HOW HAIR HAPPENS
Some models had
flowers added to
top of their heads,
to add a delicate
touch to their
worn-in braids
Strong red lips
and bold
eyebrows
contributed to
the fierce yet
feminine beauty
look, yet models
retained their
individual styles
For the models without
flowers, Tina paid extra
attention to the front of
their hair. She built
detail with a wispy,
flyaway texture that
pulled back from the
forehead and framed
the face
As models hit the
runway, the flyaway
hairs created a halo
effect that melded
perfectly with the
collection of coloured
lace and ruffled details
RUNWAY
SPRING/SUMMER 2020
25

HOW HAIR HAPPENS
THE SHOW – V&A FASHION IN MOTION: PREEN BY THORNTON BREGAZZI
THE LEAD – JONNY ENGSTROM AT GUY KREMER
FOR L’ORÉAL PROFESSIONNEL
Jonny and the team built braids of all
different sizes – some were thick and
chunky, others slim and sleek, creating
depth and a variety of textures
Jonny Engstrom’s
plaited hairstyles
were inspired by
a dark take on
romance. Hair was
sectioned and
TECNI.ART Pli
from L’Oréal
Professionnel was
applied as a styling
primer to provide
hold and shape
Floral ribbons were
added to the plaits and
cut to size, with soft
tendrils pulled out to
make the look
perfectly imperfect
26 SPRING/SUMMER 2020
RUNWAY

HOW HAIR HAPPENS
Make-up was left
simple and fresh,
with glowing dewy
skin, sheer pink lips
and brushed up
eyebrows, letting
the hair and clothes
do the talking
The intricate yet organic
hairstyles were an ideal
accompaniment to the
opulent clothing,
covered in details such
as frills, covered buttons
and lace trims
Before the show began,
Jonny tweaked the styles
so they were personal to
each model and added a
spray of TECNI.ART
Ring Light for gloss
and shine
Shown on the catwalk
in the iconic V&A
Museum, the pieces
were a mixture of Preen
by Thornton Bregazzi
collections past and
present themed around
natural prints and
pagan celebrations
RUNWAY
SPRING/SUMMER 2020
27

HOW HAIR HAPPENS
THE SHOW – ROSE DANFORD-PHILLIPS AT ON|OFF
THE LEAD – CRISTIANO BASCIU AT RICHARD WARD
HAIR & METRO SPA FOR L’ORÉAL PROFESSIONNEL
Hair was pinned in at
the sides and tendrils
were pulled out at the
front. These pieces were
then moulded into finger
waves, clipped and
left to set
At the Rose
Danford-Phillips
show for On|Off,
the hair was
prepped with
TECNI.ART Pli
from L’Oréal
Professionnel,
roughly dried and
brushed through
The lengths of the hair
were tonged into soft
waves. Cristiano
worked TECNI.ART
Extreme Splash Gel
throughout to provide
shape and definition
28 SPRING/SUMMER 2020
RUNWAY

HOW HAIR HAPPENS
Designer Rose
Danford-Phillips
created a variety of
hair accessories from
materials such as
seashells. These were
secured as the
finishing touch
With their tendrils
curling over their
shoulders, models
walked in flowing
gowns accentuated with
bright, abstract prints –
a look that was both
modern and classic
Images courtesy of L’Oréal Professionnel
To provide hold and
shine, Cristiano misted
TECNI.ART Fix
Design over the
mermaid-like hair
before removing
the clips
Bright pink blusher was
used to accentuate
models’ cheekbones
along with shimmering
pale blue eyeshadow
and pale, glossy lips
RUNWAY
SPRING/SUMMER 2020
29

Fyodor Golan
RE:CREATE
Introducing the mini trends with maximum gains
FAKE NEWS
NEWSFLASH – wigs don’t need to be seamlessly matched to
your natural hair colour or expertly blended. Sometimes, it’s
about showing off the wig itself. Case in point, the motley
medley of ’dos we were wigging out over at Fyodor Golan by
Trevor Sorbie’s Johanna Cree Brown for L’Oréal Professionnel.
From pastel crimps to XXL neon spikes, the idea was to make
it a feature in its own right. Mission accomplished.
HARD WEAR
MOHAWKS HAVE always been
associated with a tough, ‘don’t mess
with me’ attitude, but the metallic
iterations by Cristian Pignatta at
Neville Hair & Beauty for L’Oréal
Professionnel at the V&A’s Fashion
In Motion: Guo Pei show took
things to the next level. Forget hair
pins, these were skewers and were
designed to reflect the designer’s
‘angels and demons’ theme of the
collection. Spooky, ooky but
magical all the same, they’re sure to
go down in S/S20 hair folklore.
32 SPRING/SUMMER 2020
RUNWAY

RE:CREATE
LOVE ME TENDRIL
Atelier Zuhra Rose Danford-Phillips at On|Off
Marc Jacobs
GEL AT THE READY, baby (hairs) we are coming for you! Jamie
Stevens for L’Oréal Professionnel at Atelier Zuhra upped the ante
with his cyclical squiggles, Cristiano Basciu got wet and wavy at
Rose Danford-Phillips, but it was the diamante swirls at Marc
Jacobs by Guido for Redken that really stole our hearts.
Chloé
Canada Fashion
Chloé
SHE’S A LADY
IF ONE IS NOT amused by the more undignified ’dos on display this season, these genteel coiffs might be more to your
impeccable taste. Regally refined and ever-so-proper, it’s all about the chic chignon. Over at Chloé, Redken global creative
director Guido looked to the ’40s for his ‘boyish up-dos’, while Daniel Fiorio for L’Oréal Professionnel gave his elongated
chignons at Canada Fashion a twist with a Bride Of Frankenstein flash of waves.
RUNWAY
SPRING/SUMMER 2020
33

LOOP DE LOOP
THE HALF UP/HALF DOWN ’do by Electric
Hairdressing’s Mark Woolley for L’Oréal
Professionnel at the Kingston MA show was made a
whole lot more exciting by wrapping a length of hair
around the elastic. It might not sound like rocket
science, but this trick has the ability to elevate a
simple style into something that has an almost
Samurai-esque feel.
YOU OK, BUN?
HOW LOW CAN YOU GO? Pretty low,
judging by the controlled chignons at Victoria
Beckham. “The hair is chic, beautiful and
slightly masculine,” said Guido for Redken
backstage. “I’ve blow-dried and flat-ironed the
hair to get it very straight before raking it back
with my fingers. The overall feeling is very
groomed, pulled together, adult and rich.”
WHAT LIES
BENEATH
SOMETHING
SUPERNATURAL was
afoot over at Yan Dengyu
for On|Off. Seeming to
draw on classic Disney
villainesses (there was
one outfit that was pure
Maleficent) he favoured
sheer veils draped over
the models’ faces, which
meant that Jonny
Engstrom at Guy Kremer
for L’Oréal Professionnel
(pictured, inset) had his
work cut out to ensure
that the hair underneath
had sufficient structure
to it. The result was a
squared off beehive
with a whiff of
Marie Antoinette.
Don’t lose your head…
Prada
FEATHERED FRIENDS
FOR THOSE OF you who have mentally confined feathering to
the annals of retro cuts never to be revisited, a peek at Prada
and Givenchy may be enough to change your minds. Guido for
Redken was the scissor-happy brains behind both and, as seems
to have become a S/S20 signature, each model was treated as a
unique entity. “We cut some of the models’ hair at Givenchy to
give them a tomboyish, easy vibe which like Prada is a little bit
off-kilter,” he said.
34 SPRING/SUMMER 2020
RUNWAY

RE:CREATE
PASS THE TISSUES
NO, WE’RE NOT talking about the dreaded Fashion Week Flu;
it was Guido going all retro on us at Miu Miu: “It’s a tissue-set,
’40s-inspired look that’s an old-school way of achieving airy
curls,” he revealed backstage. “You wrap individual sections of
hair with a tissue, heat them up with an iron, then allow them
to cool. Once you take out the tissues, the result is a soft curl.”
Images courtesy of Simon Armstrong, L’Oréal Professionnel and Redken
RAGS TO RICHES
HOW TO IMPROVE on perfection? Add a dollop of
imperfection, like the delightfully distressed braids at
the V&A’s Fashion in Motion: Preen By Thornton
Bregazzi show. Firmly dispelling school connotations,
these were plaits with rags of attitude by Jonny
Engstrom at Guy Kremer for L’Oréal Professionnel.
AT THE JOSHUA KANE Mythical Creatures show, the
Fowler35 team’s job was to create 42 individual hair looks.
“It was all about character creation,” explained Darren Fowler
backstage (pictured, inset), who used oodles of TECNI.ART
from L’Oréal Professionnel backstage. “We worked closely with
Joshua to understand the personality each of the creatures cast
would be playing, and designed looks to complement the clothes
and the make-up by Lan Nguyen-Grealis.” Utterly wild.
GIVE IT A WHORL
AT APUJAN IT was
‘business as usual’ at
the front and party at
the back (if that party
happens to involve a
whirlpool.) The result
was a natural, ‘caught
in the rain’ ’do with a
“time loop” of hair at
the back that Taku
Morimoto at Daniel
Galvin for L’Oréal
Professionnel called a
‘tornado effect’. We
were blown away…
URBAN MYTH
RUNWAY
SPRING/SUMMER 2020
35

DARK ROMANCE
A young boy in a Midlands
bedroom dreamed of a different
world; Anthony Turner, the Most
Wanted Session Stylist winner,
took a leap of faith and made it
happen. He tells Runway how he’s
delivering his brand of different
FROM THE INTENT STARE of his clear
blue eyes to the passion with which he
discusses his muses and inspirations, you
know very early on when meeting
Anthony Turner that he’s an artist with a
serious passion. A passion for hair, yes –
that’s evident in the incredible work seen
on runways, editorials and advertising
campaigns – but also a passion for words,
for stories. So it comes as no surprise to
learn that the Most Wanted Session Stylist
winner first wanted to be a journalist.
“From an early age, when I picked up
The Face magazine, I became obsessed
with fashion,” he recalls. “Through iD
and Dazed and those younger, cooler
magazines, I educated myself because I
came from a small town in the middle of
the country and there wasn’t really a lot.
Quite a predictable scenario because there
wasn’t really any other outlet, right?
“So I used to read these magazines like
they were my Bible and learn about
designers and fashion. I wanted to be a
journalist. I wanted to be a writer.
Hairdressing never came into it at all.”
That all changed when, as a media
studies student at the turn of the century
needing to find a job to pay his way
through his education, he became an
assistant at Toni&Guy in Stafford
Anthony Turner at Erdem
Mortal Remains @patriciaareina_
Mortal Remains @parma.ham
2019
Mortal Remains @mo.bw
36 SPRING/SUMMER 2020
RUNWAY

ANTHONY TURNER
Mortal Remains photography by Sarah Piantadosi (@sarahpiantadosi). Erdem photography courtesy of L’Oréal Professionnel
Erdem
(alongside working the night shift at a
garage and stacking shelves at Kwiksave).
“I had this preconceived idea of what
hairdressing was in my town. Old ladies
would go and get a set and blow-dry.
Toni&Guy was the first time that I’d ever
seen hair done differently; it was edgy, it
pushed boundaries. It opened my eyes…”
He learned that this part-time job
could be combined with his love of
fashion; his salon manager told him about
a previous Toni&Guy employee who was
doing pretty well styling hair for fashion
shows, a guy called Guido. “Funnily
enough, I was obsessed with Alexander
McQueen and I found out that Guido did
the hair for his shows – it was a perfect
union! That made me decide to become a
hairdresser full time.”
Fast forward, and Anthony and a
bin bag full of his clothes moved to
London, setting up as an independent
stylist in an East London salon to allow
him to work on any shoots and shows he
managed to book, while obsessively
following Guido’s work.
On a night out in Shoreditch with
friends, Anthony saw a guy walk into a
bar… and that guy was Guido. “I’d had a
few shots, and I just went over and started
talking to him. He was my rock star!” He
left his number in case any opportunities
should arise, and went back to his friends.
Three weeks later, his phone rang, and he
was on his way to New York to assist
Guido at Fashion Week.
An incredible learning curve followed,
one where Anthony admits hair played a
smaller part. “When working session, it’s
actually learning how to be on set, how to
present yourself,” he explains. “The way
that Guido conducts himself and the
professionalism, the way he talks to
clients and photographers about the hair
and sells it. Watching him do that, my
jaw was on the floor. He has such a way
of explaining things, such intelligence.”
He also learned that his own way of
doing hair – a bit differently, something
that might get a funny look in a busy high
street salon – was something to embrace.
“When I was working with Guido, it made
me understand that I was never really
wrong. He’s got a very kind of punk
attitude towards hair and I love that.”
Having risen to the position of Guido’s
first assistant, he then took a risk: going it
alone as a session stylist gun for hire in
New York. “I was absolutely terrified,” he
remembers. “It’s a tough industry with
loads of competition. I didn’t know
whether I was going to do well or not, and
basically, I worked my butt off.” A piece
for Interview magazine made the cover,
which helped get the ball rolling.
But he admits that it’s only now, some
seven years later, that he’s really found his
feet. “I’m really coming into my own now.
I’m more calm; the experience is there, my
“I’m really coming into my own
now. I’m more calm; the experience
is there, my confidence is there”
ANTHONY TURNER
confidence is there. And I’m lucky enough
to have the most amazing assistants.”
“At the beginning of your session
career you kind of hope the designer just
wants natural hair,” he continues,
laughing. “But it’s all about owning it and
making people believe that what you’re
saying is right and true. And then to
follow it through you need to deliver.
Now I’m in control, I’m in charge. Let’s
push it, let’s do something different.”
One collaborator who embraces that
desire to push, to do something different is
Erdem, with whom Anthony has been
working for many seasons, alongside
L’Oréal Professionnel. “I adore Erdem and
we’re both Scorpios, so we have this deep
understanding of each other,” he says.
“He’s strong and challenging, and always
has a narrative to tell, every season. I look
forward to the test because we’ve always
got a story. It’s always completely bonkers
and there’s always a bit of darkness in
there somewhere.”
That love of narrative, of difference,
is evident also in Anthony’s own ’zine
Mortal Remains, a celebration of young
culture he published last year, with kids
identifying as non-binary and alternative
drag artists among the mix of subjects.
“I was a young goth in a mining town and
I never felt like I belonged anywhere. I
was a loner, got bullied, so I have a lot
of empathy for young people now who
are confident enough to be true to
themselves. I wanted to celebrate them,
put them on a platform and say ‘you
lot are amazing’.
“Also my hope was for that magazine
to find its way to a young kid somewhere
in their bedroom, to connect to somebody
out there looking at it, inspiring them to
go out and do the same and just live. Just
be free and have fun.”
That moment of connection, to be
told you’re amazing, was exactly what
Anthony experienced for himself at the
Most Wanted Grand Final, when he heard
his name called out as a winner. “That
was a highlight of my career, I’d never won
anything before,” he smiles. “But what
really got me that night was all the other
hairdressers in the room that came up to
my table, saying ‘hi, you don’t know who I
am but I really respect your work’. That
really hit me and I’ve never had that in
such a big way. It meant the world to me.
It’s really nice to hear that you’re
somebody else’s inspiration.”
RUNWAY
SPRING/SUMMER 2020
37

A CHARACTER STUDY
Redken dream team Guido Palau and Josh Wood once again created the magic at Marc Jacobs in
New York. The challenge this time? To celebrate individuality across nearly 60 highly-personalised looks…
“IT’S MARC’S IDEA of street life,” muses
Redken global creative director, Guido
Palau to reporters at the Marc Jacobs S/S20
show. “It’s not reality, it’s his reality.”
Taking place at Park Avenue Armory,
the beauty team had its work cut out to
create nearly 60 highly individual hair
and make-up looks to complement the
designer’s joyous runway of printed suits
paired with top hats and bowlers,
explosions of flowers and feathers, ruffled
sleeves and floaty organza gowns.
The collection – a tribute to the past,
a celebration of the present and a look to
the future – spanned the decades with
many of Jacobs’s signatures and favourite
references from over the years.
The only common denominator was
individuality, with each look as special as
the next. “Marc celebrated individuality in
his exuberant, very ’70s, but it was about
creating those individual people in a
playful, theatrical way,” says Guido,
reflecting back. “It was a lot of hard work,
very long fittings. Marc didn’t want to
turn up at the show to see what it looked
like, it was more like an editorial.”
One of the most-discussed looks from
the event was model Scarlett Costello’s
feathery shag, inspired by Jane Fonda’s
iconic crop in the 1971 film Klute.
According to Scarlett, when her agent told
her she was being considered for the show
and Guido wanted to cut her hair, she
replied: “Of course. Guido can do
whatever the hell he wants to my hair!”
Dotted throughout a show that saw
model Fei Fei Sun rocking a glossy page
38 SPRING/SUMMER 2020
RUNWAY

MARC JACOBS
Images courtesy of Redken
boy bowl cut wig and Tessa Bruinsma with
side-sweeping ’80s tight spirals, many of
Jacobs’s characters were recognisable.
Model Joel Wolfe was transformed into an
homage to Marilyn Monroe, with Guido
setting platinum waves with clouds of
Redken Triple Pure 32 Hairspray.
The attention to detail is mesmerising
– model Kiki Willems even had intricate
swirls of gelled baby-hair peeping out
Fei Fei Sun
“The real work was in the consultations and
discussing every look, to create a character
for each model – it was like doing a play”
JOSH WOOD
from under a wide-brimmed hat. The
preparation process to come up with
every individual look was hard work,
admits Redken global color creative
director, Josh Wood. “Marc and stylist
Katie Grand were there pretty much 24
hours a day before the show,” he says.
“Each look was carefully curated to
deliver a unique persona. It meant every
model stood out in their own right to
Joel Wolfe
Scarlett Costello
celebrate the beauty of each individual.”
Using Redken Flash Lift Bonder Inside,
Redken Shades EQ and Redken Color
Gels Lacquers, Josh and his team created
an array of looks, from Fei Fei’s onyx bowl
cut to split dyes, skater blondes and
normcore naturals via light brown and
mid-blonde shades. “I worked with Guido
and Marc to create individual colours that
portray different personas on the models,”
he adds. Under pressure to deliver so many
unique looks on so many models, Josh
stresses how his symbiotic working
relationship with Guido made it all so
much easier.
“I have a great working pattern with
Guido. I know what he likes and doesn’t
like, so we work well together to get the
right end result,” he smiles. “There’s a lot
of fun along the way, although maybe not
the few hours immediately before the
show as things change and the pressure is
on to deliver, but it’s always a privilege to
work with him.”
Josh and his team were there on the
day of the fitting and the three days up to
the show in case they were needed to
consult on a look. “We worked in shifts to
ensure someone was always there,” he
adds. “We coloured several models and
wigs for Marc, but the real work was in
the consultations and discussing every
look, to create a character for each model
– it was like doing a play.”
He admits that one of his favourite
finishes was the Harajuku metallic copper
blonde created for model Issa Lish. “I
loved her outfit and the whole look – it
really felt culturally very different,” he
says. “Creating blondes in the West is all
about lightness and clean tones. In the
East it’s something very different, and
although this colour is a soft orange it’s
thought of as a light colour in Asia.”
Every detail was thought out and
meticulously executed – adding chipped
nail polish or tiny splashes of colour.
It was the perfect reflection of real-life
imperfections. “The ultimate message of
the show was individuality and expression
of who you are,” says Josh. “We used
everything in our kit bag as some of the
changes were very subtle. We dealt with
every look as an individual, unlike the
previous season, where we were looking
for uniformity.” Gentlemen, take a bow…
RUNWAY
SPRING/SUMMER 2020
39

ALL INCLUSIVE
Marc Jacobs
Fashion is finally embracing diversity in earnest as more models from black and minority ethnic (BAME)
backgrounds are cast in major shows and campaigns. With a range of hair textures to prep
under pressure backstage, the need for specific skills is greater than ever
40 SPRING/SUMMER 2020
RUNWAY

TEXTURE
THE SPRING/SUMMER 2020 season was the most diverse one
yet, with more BAME, plus-size and over-50 models seen on the
catwalks. Yet reports of black models being asked to style or help
with their own hair have continued to crop up year after year.
How is this disconnect still happening in 2020?
The Fashion Spot, which tracks model casting each season,
reported that of 7,390 models at 215 major shows, 41.5 per cent
were from BAME backgrounds. The steady increase of racial
diversity has been reflected in all four fashion capitals, with
London second to New York in non-white model castings for
S/S20 – featuring a 5.3 per cent increase since A/W19.
“There has always been a little diversity within the fashion
industry, but recently it has increased greatly,” says session stylist
Neil Moodie. “Most shows and shoots now have a variety of
models from different countries and races as many fashion
companies wish to show that they are diverse and that their
clothes can be worn by anybody.”
This upward trend is bolstered by recent breakout stars of the
fashion world. Supermodel Adut Akech scooped Model of the
Year at the 2019 Fashion Awards and gave a rousing speech on
diversity in the fashion industry.
But numbers can only tell us so much. Charlotte Mensah,
founder of The Hair Lounge salon and advocate of natural hair,
points out that hiring more BAME models is only one part of the
diversity equation. “It’s refreshing to see models and celebrities
embracing their natural hair,” she says. “Brands are receiving
praise for being diverse and casting more black models. However
they’re not hiring stylists who are skilled enough to style it.”
“Being able to cater for all types of hair
is the only way forward at fashion shows
and in the salon”
CRISTIAN PIGNATTA
Marc Jacobs
“In a world where we are all united as one human race, the
hairdresser has to be able to cope with anything that comes their
way,” agrees Cristian Pignatta, who leads teams backstage for
Neville Hair & Beauty. “Being a one-trick pony was acceptable in
the ’90s when hairdressers could define themselves as haircutters
only. Today, being able to cater for all types of hair is the only
way forward at fashion shows and in the salon. This is why we
always have a specialist for every type of hair in our team.”
So often leading the way, Redken global creative director
Guido has been quoted backstage season after season at a host
of shows talking about embracing and celebrating models’
individualities and hair textures. This season it was evident
particularly at Marc Jacobs and Burberry.
In fact, at the most recent Burberry shows under chief creative
officer Ricardo Tisci’s direction, Marc Maciver and his Slidercuts
Atelier Zurha
RUNWAY
SPRING/SUMMER 2020
41

crew have been on hand backstage for their barbering and
textured hair skills, and his team could also be found at
Louis Vuitton.
The very nature of working backstage means you have to be
flexible – you might not know what the look will be until the day,
or which models you’ll be working on. The types of hair that you
will encounter backstage can vary so wildly that experience of
working with different hair textures has become essential.
Abigail Butler, founder of Strictly Xtended in Essex, honed her
skills working as a L’Oréal Professionnel ID Artist across a
multitude of shows. “You will face many challenges, so your skill
set has to be at a certain level,” she asserts. “Making sure you are
educated on the basics when styling textured hair means you
won’t let the team down. Being prepared by having the right tools
and products, having an understanding of how textured hair
works and being able to braid textured hair, will provide you with
the skills for any job.”
Neil Moodie agrees: “The skills that you’re required to master
are exactly the same – understanding the texture, how it reacts to
certain products, and also how it will react to certain types of
heat tools is essential. Like any hairdressing training, more
knowledge is key.”
Nicole Iroh, creative ambassador at Headmasters and lead
stylist for the Central Saint Martins White Show at the Fashion
Awards 2019 with the Headmasters Artistic Team for L’Oréal
Professionnel, set out to understand as many different hair types
and textures as possible when her initial formal training failed to
teach her. “During my training, textured hair wasn’t covered but I
wanted to learn it, so I did! I found that assisting a specialist is
key to really understanding textured hair.”
Every season we see plenty of ‘natural’ hair looks, but
textured hair needs the same amount of attention as white
models’ hair – which is one of Nicole’s main bugbears. “One of
the biggest misconceptions at Fashion Week is that because hair
is short or the brief is to leave it natural, then we shouldn’t do
anything to the hair. It still needs to be shaped, styled and
moisturised to look good,” she insists.
The other damning misconception? That you can only know
how to treat texture if you have it in your own hair. “While that
is definitely an advantage, it doesn’t mean that you can’t learn it,”
asserts Nicole. “There are so many different types of curl textures
and patterns, each with individual characteristics.”
Reading about all types of textured hair and gaining practical
experience is essential. Having friends or models to practise on is
a good way to learn. Feeling the hair and really understanding
its structure is key. There’s no shame in admitting that you don’t
know everything about textured hair – instead you can use the
opportunity to learn, especially from those who have a personal
understanding. “I learned by working closely with my
African-American assistants,” explains session stylist Tina Outen,
who is based in New York and is a regular Fashion Week lead.
“They have a very high standard for how they want their hair
finished and are super-knowledgeable. I talk to them a lot and try
to find what works and what doesn’t.”
Tina suggests relinquishing control and listening to advice.
“If you didn’t grow up with textured hair on your own head,
you need to be open to the expertise of those who did. Let them
Natasha Zinko
Atelier Zurha
42 SPRING/SUMMER 2020
RUNWAY

TEXTURE
Marc Jacobs
Central Saint Martins White Show
take the lead. Learning that textured hair has its own processes is
something that was achieved by spending time watching, talking
and asking questions – and being open to suggestions. Some of
the most important things I learnt were to be gentle, not to
overload the hair with products, to work with treatments, oils
and creams, and enjoy the beautiful form and proportions
textured hair gives.”
Formal training is also a great way to learn from some of the
best texture experts and build up your self-assurance before you
get on set. L’Oréal Professionnel runs courses that provide both
the theory and practical experience necessary to understand
textured hair, partnering with Charlotte Mensah on Curl Power,
which covers all curly hair types. “The course is designed to help
you build not only your skills and knowledge but also your
confidence,” Charlotte explains. “We incorporate techniques such
Images courtesy of L’Oréal Professionnel and Redken
“The more quality education you receive,
the more confident you will feel and the
better the results will be”
CHARLOTTE MENSAH
as twists, twist outs, Bantu knots, rod sets, straw sets and product
education. We also use a live model for demonstrations which
enhances the hands-on experience of this workshop. The more
quality education you receive, the more confident you will feel
and the better the results will be for your client.”
And the benefits of understanding and celebrating textured
hair go much further than just creating beautiful looks. Sabrina
Chappell, premier stylist at Richard Ward Hair & Metrospa,
believes that as more hairdressers educate themselves, models will
feel more comfortable. “Stylists need to be able to confidently
manage textured hair in a limited time, as well as maintain the
high standard of styling required for the runway,” she says.
“On a human level, it also allows models who have textured
hair to feel properly accepted and included – as they should – and
not to feel like their hair type is difficult or a challenge, which is
an attitude that can occasionally be found backstage as a result of
inexperience,” adds Nicole.
THE EDUCATION
YOU NEED TO KNOW
CURL POWER WITH
CHARLOTTE MENSAH
THIS L’ORÉAL PROFESSIONNEL COURSE IS A
HANDS-ON EXPERIENCE THAT WILL GIVE YOU THE
KNOWLEDGE YOU NEED TO STYLE TEXTURED HAIR.
London Academy
lorealaccess.com/uk
THE STYLE SESSION
ANTHONY RAWLINGS, CREATIVE DIRECTOR OF
CHELSEA’S LOCKONEGO SALON, SHARES HIS TIPS
AND TRICKS ON HOW TO ELEVATE YOUR STYLING
SKILLS – ON ALL HAIR TYPES.
4 May, Manchester Academy
lorealaccess.com/uk
RUNWAY
SPRING/SUMMER 2020
43

Johanna Cree Brown at Fyodor Golan
WHEN
ART MEETS
FASHION
Trevor Sorbie’s Johanna Cree Brown is a trusted stylist to her salon clientele and an avant-garde visionary with
an unyielding attention to detail. She tells Runway how she blends art and session in her own unique way
JOHANNA CREE BROWN
has always embraced her
creative side. When she was a
teenager, an artistic future
seemed inevitable. In fact the
hairdressing world nearly lost
her to art school, but after
starting out in a salon it wasn’t
long before she caught the
hairdressing bug.
Never without a camera,
she snaps the world around her,
always looking for inspiration.
It’s this eye for detail and
ability to envisage work
through a lens that enables her
to transcend the fashion and
art worlds.
“When I first started out I
wanted to do everything all at
once,” remembers Johanna.
“I badgered my then boss to let
me train and in five months I
was qualified and on the salon
floor cutting and styling.”
On becoming creative
director of special projects at
Trevor Sorbie, Johanna threw
herself into working with
fashion designers and artists.
“I’m hugely grateful to
L’Oréal Professionnel for its
support throughout my career.
It was the brand’s belief in me
and encouragement that led me
to start working with several
fashion designers. In fact, it was
[L’Oréal Professionnel legend]
Catherine McMahon who
gave me my first opportunity
“I find it very grounding seeing my
regular clients and being part of
that environment”
JOHANNA CREE BROWN
to work with a fashion
designer – P4SH.”
Since her first foray into the
world fashion and art, Johanna
has worked with an array of
designers, including Stéphane
Rolland and Corrie Neilsen.
She’s also enjoyed an
ongoing collaboration with
design duo Fyodor Golan,
recently creating a series of
21 individual hair looks for its
S/S20 collection at Somerset
House. Best known for its
bright and playful work, the
label’s collection was divided
into three categories: Teddy
Boys/Girls, Historical and
Punk. “I’ve known Fyodor and
Golan for several years and
we’ve worked together on their
look books,” she explains.
“They’ve been really supportive
of my work and any time I do
my own hair shows they kindly
give me clothes for the models,
so I’ve got a really good
relationship with them.”
Fyodor Golan S/S20 images courtesy of L’Oréal Professionnel
44 SPRING/SUMMER 2020
RUNWAY

JOHANNA CREE BROWN
Golan Frydman
and Fyodor Podgorny
Exotica with
Roger Spy
L’Oréal Colour Trophy
Fyodor Golan
L’Oréal Colour
Trophy
For Johanna, backstage
work is about understanding
the brand and knowing where
the boundaries can be pushed
with her creations: “There was
something for everyone, from
beautiful renaissance pink wigs
to loud and colourful spikes for
the punks. Some of the styles
took weeks of construction by
the team at the Trevor Sorbie
Covent Garden salon, others
were created live – including
blue gel delicately being poured
onto a model’s head to create a
marbled look, and neon powder
being thrown onto a model’s
blonde wig seconds before she
went onto the catwalk.”
For each of the 21 looks,
Johanna had to take a unique
approach as the designers
wanted to bring the clothes
back a step and to shout the
theme through the hair.
“We wanted to mix
different cultures within the
three categories, and getting the
beauty aesthetic right was
really important,” she explains.
“So, if we had a really pretty
Marie Antoinette look, we
wanted to mess it up, destroy it,
melt it, pull it apart
a bit. And then if we had
something really strong, like
some of the punks, then
we would relax a little bit, and
have something more wearable.
This was Fyodor and Golan’s
mission for the collection.”
Her creative work allows
her to skip between fashion, art
and film, often with
collaborator Roger Spy. “It
pushes me totally out of my
comfort zone and can produce
the best results,” she admits.
“There’s a lot to consider when
working with film – how the
hair looks from all angles,
how it moves.”
And while all this allows
Johanna to bring her more
avant-garde and visionary ideas
to life, looking after her salon
clients in the salon is still what
she enjoys most about the job.
“The amount of time I spend
behind the chair varies from
week to week,” she says. “I find
it very grounding seeing my
regular clients and being part of
that environment.”
RUNWAY
SPRING/SUMMER 2020
45

The White Show at the 2019 Fashion Awards. Hair by Nicole Iroh
and the Headmasters Artistic Team for L’Oréal Professionnel
46 SPRING/SUMMER 2020
RUNWAY

SHOW AND TELL
The White Show at Central Saint Martins is one of the most anticipated events of the fi rst term for fi rst-year
fashion design students and provides backstage education for up-and-coming hairdressers
THE WHITE SHOW shines the spotlight on emerging talent,
offering a collective message that champions new design and
innovation. The brief is simple: first-year fashion design students
at the iconic Central Saint Martins must create a single look, all
in white. The concept this year was to highlight messages of
change and protest through opera.
As part of its long-standing collaboration with the college, the
show also serves as an opportunity for L’Oréal Professionnel ID
Artists to get their first taste of backstage fashion styling.
“For ID Artists this show is a dream come true. They’re
working backstage on a major runway show, in the world’s
leading fashion college and with an amazing lead stylist – RUSH
Hair’s Tina Farey,” explains Stuart Chapman, education project
development manager at L’Oréal Professionnel. “Tina is not only
an exceptional session stylist, she’s also a first-rate educator who
genuinely cares about this show as an education opportunity.
That’s what makes this event so good.”
Stuart continues: “ID Artists get to experience the pressures,
the buzz, the discipline and above all the tips and techniques of
the session stylist. Many hairdressers working on the White Show
would never have had the chance to access opportunities as
unique as this without the ID Artist programme.”
ID Artists are selected from across the country – the 65-strong
team features stylists from large national franchise groups all the
way down to small regional salons – but they all share one
passion: to take their hairdressing careers to another level.
RUNWAY
SPRING/SUMMER 2020
47

TINA FAREY
RUSH HAIR
Lead hairstylist
“The ID Artists were very receptive and
easy to work with. They were extremely
professional, and we were a great team on
the day. Collectively we all pulled together
– the show models were split into three
groups, with the team working on the first
group together before moving to the next
one. Each ID Artist ran everything past
me before moving on, and I assigned one
to tick off the models so we knew how
many we’d worked on!”
ASHLEY WALLACE
COPPERFIELDS
ID Artist
CHARLI ELSEY
CUTTING ROOM CREATIVE
ID Artist
“I absolutely loved being part of such a
creative team and working in the hustle
and bustle of backstage madness! It was
great to see all the models lined up at the
end, showcasing beautiful white outfits
combined with different textures of hair
– from slicked-back wet looks to gorgeous
fuzzy textures – it’s L’Oréal Professionnel
at its very best.”
“It was amazing! I wasn’t expecting to
enjoy it as much as I did, as I knew how
much work it would be, but the energy
and atmosphere was incredible. I learnt to
have a little bit more faith in myself, I was
surrounded by a team of such talented and
supportive people who are all happy to
help. Tina Farey was so chilled and made
it such a pleasant learning experience.”
48 SPRING/SUMMER 2020
RUNWAY

THE WHITE SHOW
AT THE FASHION
AWARDS 2019
Images courtesy of L’Oréal Professionnel
BUNTY WICKENS
LAURA LEIGH HAIR & BEAUTY
ID Artist
“Working on the White Show felt like a
free flow of creativity that brought out an
amazing, expressive flair within the team
and in our work. What I learnt the most
was quick ways of prepping and styling
hair to create instant volume and texture,
which worked as a canvas for a versatile
range of looks and controlling the
fast-paced environment of the day.”
JAMES HOLROYD
YOKE THE SALON
ID Artist
“To be involved in the White Show was an
incredible experience. Around every
corner you can find someone in love with
their craft, producing really beautiful
work. Together with the designers,
make-up and the whole ID Artist team,
there was a real energy backstage. Biggest
lesson – timekeeping. Seventy models in
one hour? No worries!”
This year Central Saint Martins was
invited to open the star-studded
Fashion Awards at the Royal Albert
Hall to coincide with the White Show.
In association with L’Oréal
Professionnel, hair lead Nicole Iroh
worked with the Headmasters Artistic
Team to style a phenomenal 180
models in a showcase for the White
Show collection. Nicole explains:
“We have had new members join the
Headmasters Artistic Team and are
very proud of ensuring they are able
to share experiences such as these
alongside senior members.
“On the day we had a massive
increase in the number of models, so I
paired experienced team members with
those new to session styling. Everyone
was focused on getting the task done
to the best of their abilities and
ensuring each design student’s creation
was coming to life as they had
originally envisaged. There were 180
models so it was an extremely quick
turnaround, but the team adapted
quickly to time restraints along with
last minute changes to wigs, wefts and
headpieces. I am so proud of them.
“Teamwork is imperative in all
aspects of hairdressing, from working
on an award show to running a busy
column in the salon. Always do your
best, show your passion and never stop
improving your skills.”
For key dates and more information on the L’Oréal Professionnel ID Artist programme, follow @lorealeducationuki
RUNWAY
SPRING/SUMMER 2020
49

S/S20 HAIR IS…
“PLAYING WITH
A BOYISHNESS, AN
ATTITUDE. EVEN
IF HAIR’S LONG
IT’S UNDONE,
CENTRE-PARTED,
IT FEELS REALLY
COOL EVEN IF
IT’S BLOWN OUT”
Guido,
Redken global
creative director
“ROCKING A
SIMPLE VIBE, WITH
AN ELEMENT OF
SOMETHING
UNEXPECTED OR
VISUALLY A BIT
UNCOMFORTABLE”
Takuya Morimoto,
Daniel Galvin
“REFLECTIVE OF
THE SPIRIT OF OUR
TIME. NOMAD-
INSPIRED HAIR
AND CAREFREE
TEXTURES WITH
PRONOUNCED
BABY HAIRS ARE
SYMBOLIC OF
OUR URGE FOR
FREEDOM AND
A CLOSENESS
TO NATURE”
Nicole Iroh,
Headmasters
“POWERFUL,
WITH ECHOES OF
‘80S GLAMOUR
BOTH IN MEN’S
AND WOMEN’S
HAIR”
Richard Phillipart,
The Boutique
Atelier
“VINTAGE AND
ROMANTIC WITH
AN EDGY,
UNDONE FEEL.
THINK CLASSIC
HOLLYWOOD
STARLETS AND
‘80S ICONS WITH
A MODERN TWIST”
Cristiano Basciu,
Richard Ward Hair
& Beauty Metrospa
A summary of the season, in the words of the professionals
S/S20 HAIR IS…
“SIMPLE YET
BEAUTIFULLY SOFT
TEXTURE USING
CREATIVE STYLING
FOR A UNIQUE
STATEMENT LOOK.
SPRING IS A
CHANCE TO
REVITALISE – THINK
BEACH BALAYAGE,
BRAIDED WAVES
AND CURLY
TEXTURED BOBS”
Seung Ki Baek,
RUSH Hair
“ALL INCLUSIVE.
COLOURS RANGED
FROM SUBTLE,
DUTCH BLONDE
HIGHLIGHTS
ALL THE WAY
THROUGH TO
METALLIC COPPER
HARAJUKU
BLONDES”
Josh Wood,
Redken global color
creative director
“ABOUT
SHINE AND ROOT
LIFT WITH
STRAIGHT HAIR
THAT HAS A
SOFT FEEL”
Cristian Pignatta,
Neville Hair &
Beauty
“HEAVY ON
ACCESSORIES,
ESPECIALLY
PEARLS, BEADING
AND FEATHERS.
RIBBONS AND
BOWS IN THE HAIR
ARE POPULAR, AS
IS BRAIDING AND
LIVED-IN PASTEL
HAIR TONES”
Jamie Stevens,
Jamie Stevens Hair
“ALL ABOUT THE
GORGEOUS,
EFFORTLESS
‘SHAKE’ STYLE FOR
LONG HAIR,
WHICH
SHOWCASES A
FREE-MOVING
TEXTURE AND
SHAPE WITH A
CLEARLY DEFINED
PERIMETER”
Mark Woolley,
Electric
Hairdressing
50 SPRING/SUMMER 2020
RUNWAY

@biancabernat, @djeduarte, @chihartley,
@brizzy_chen, @vargaloredanam,
@emmadelury, @ajol_llama
30 YEARS OF A REDKEN ICON.
USED BY IT LIST COLORISTS FOR A-LIST RESULTS
Shades EQ Gloss offers demi-permanent color without lifting
natural hair. Perfect to gloss, refresh, blend grays, tone, correct and
color - all with a sheer result. Our unique acidic gel formula respects
the integrity of the hair adding intense shine and condition.
Want to join the tribe? Contact info.redken@loreal.com