RunwayAW20

YOUR ESSENTIAL GUIDE TO THE NEW SEASON
UNWAY
AUTUMN
WINTER
CREATIVEHEADMAG.COM
2020

CONTENTS
AUTUMN/WINTER 2020
06
TOP FIVE MOMENTS
The finest selection from the A/W20 runways
14
THE TRENDS
What clients will be demanding this season
22
HOW HAIR HAPPENS
Take a closer look at five key hair stories from Fashion Week
34
RE:CREATE
Satisfy your fashion cravings with a deep dive on the hair backstage
38
I PUT A SPELL ON YOU
Chinese couture label Mithridate makes its London debut at the V&A
42
IN COLLABORATION WITH
How the hair leads pair up with designers at On|Off to make magic happen
44
CENTRAL SAINT MARTINS
We explore how the iconic fashion college celebrates and innovates in 2020
48
A MAN FOR ALL SEASONS
The University of Westminster’s Andrew Groves on menswear and the future of fashion
Cover image: Erdem, courtesy of L’Oréal Professionnel
04 AUTUMN/WINTER 2020
RUNWAY

EDITOR’S LETTER
EDITOR’S LETTER
Welcome dear Runway readers!
2020 may have been officially filed under the most challenging year in recent
times but it all started out so well, thanks to some hair magic at the A/W20 shows.
Looking to the future was a common theme for the hairstylists and designers alike,
from the futuristic silver bobs at Erdem and Star Wars-inspired ’dos at Angus
Tsui (from page 34) to the Central Saint Martins MA show, which showcased
the bright young stars of tomorrow (see Top Five Moments from page 6).
And if that wasn’t enough to whet your appetites, we also have a feature on
the amazing Mithridate show at the V&A over on page 38, before we take a
look at how designers at On|Off collaborate with the L’Oréal Professionnel hair
leads on page 42 – a must-read for budding session stylists. Then there’s an
interview with University of Westminster’s Andrew Groves (page 48) and, on
the subject of young brilliance, this year L’Oréal Professionnel celebrates its
20th anniversary of working with Central Saint Martins (see page 44), where
the iconic school was also figuring out how to turn around the graduating class
of its BA Fashion course during lockdown.
Global pandemics aside, A/W20 is still set to be an inspirational one for
hair with looks we’re sure will weather any storm (quite literally judging by the
‘windswept’ textures on display in Trends, from page 14).
This year may have been an unprecedented one but it’s also forced us all to
think a little more laterally and be a bit more inventive when it comes to
showcasing our craft. I for one can’t wait to see what you all do next!
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 Publisher: Catherine Handcock
RUNWAY ALFOL LTD, PO BOX 289, HEXHAM, NE46 9HJ
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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 2020
05

TOP FIVE
MOMENTS
IN HAIR &
FASHION
The part where we get to big up our favourite quintet…
06 AUTUMN/WINTER 2020
RUNWAY

GILTY PLEASURES
ERDEM
‘ROLL OUT THE BACOFOIL and crank up the
fabulosity factor to gas mark 10’ was the
(probable) call to arms at the National Portrait
Gallery, where floors were slicked in silver to
transform them into a resplendent runway.
The occasion? Why, Erdem’s A/W20 show of
course, where the designer had sought inspiration
from his favourite venue’s upcoming retrospective
of Cecil Beaton’s ‘Bright Young Things’ portraits.
As scandalous as they were glamorous, this motley
crew of boho aristos and smart-set socialites were
the glitterati of the roaring 1920s, and the designer
took a deep dive into their gilded universe by way
of Beaton’s theatrical silver foil backdrops. Even
the sprinkling of seven silver bob haircuts among
the modern-day finger waves were gutsy rather
than bonkers, which Anthony Turner for L’Oréal
Professionnel attributed to the high-shine finish
keeping things from going too “costume drama”.
RUNWAY
AUTUMN/WINTER 2020
07

BRIGHT YOUNG
THINGS
CENTRAL SAINT MARTINS MA
CECIL BEATON’S in-crowd had nothing on this
multifarious and multi-talented bunch. The
Central Saint Martins MA show saw the atrium of
the college transformed into an immersive space
complete with projections and soundscapes, and
the ensuing 100 looks from 21 students was an
assault on the senses – in the best possible way.
From cyber knitwear to classic workwear and
everything in-between, the succession of styles was
at times trippy and thrilling, while the hair, led by
Richard Phillipart of The Boutique Atelier, was as
idiosyncratic as the garbs (often an amped up
version of the model’s natural texture). One of the
winners of L’Oréal Professionnel’s coveted Creative
Award was Sarah McCormack, who summarised
her collection (think feral fairies and worldly wood
nymphs) as “joyriding on a wave of pleasurable
transgression”. It’s a sentiment that couldn’t be
more appropriate for the annus horribilis of 2020.
08 AUTUMN/WINTER 2020
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CULTURE VULTURE
MITHRIDATE
WITH OUR RECENT enforced hiatus on cultural
excursions, Mithridate’s homage to one of our
most treasured institutions is like a retrospective
balm. Named after a semi-mythical remedy to cure
all poisons and ward off potential threats of plague
(note to selves: start stockpiling now), Mithridate
founder and chief designer, Demon Zhang, paid
tribute to the V&A. “The prints are all inspired by
the V&A’s marble architectural surfaces and
medieval murals and artefacts,” she divulged.
Though there was nothing fusty about her timeless
garbs in rich, autumnal hues of russet, wine,
chestnut and fawn. The show saw models swathed
in ruched retro-esque leather dresses, cashmere
rollnecks and kimono-like coats. For the hair, Jack
Merrick-Thirlway at Neville Hair & Beauty for
L’Oréal Professionnel kept things classically chic
with a slick, low side-parted ponytail finished off
with a section wrapped around the base.
RUNWAY
AUTUMN/WINTER 2020
09

CHILD’S PLAY
MOLLY GODDARD
SOMETIMES YOU SEE a snapshot of someone as
a kid and it all falls into place. In this instance the
kid was designer Molly Goddard, and the photo
was one of her with her father published in
Japanese magazine Fruits in 1992, which she sent
out as a press release. Seeing Goddard as a toddler,
complete with red woolly jumper and trousers
with a teeny grey ruffled skirt over the top, was an
enlightening insight into the irreverent styling that
has become her trademark. The resulting collection
was a lesson in self-expression, with mismatched
silhouettes and textural and tonal clashes. And for
the first time ever she introduced a menswear
faction with a decidedly nerdy ’90s bias. Over on
hair, Luke Hersheson for L’Oréal Professionnel
echoed the ’90s sensibilities with his ‘Kirsten
Owen meets Kate Moss’ texture. “We’re using
a hint of oil, to give hair that grungy feel,”
he explained.
10 AUTUMN/WINTER 2020
RUNWAY

BUILT TO LAST
REJINA PYO
Images courtesy of L’Oréal Professionnel
A DANK RAILWAY arch with a crude concrete
floor and questionable drips from the ceiling is
not, on first reflection, the most fitting of venues
for an unforgiving fash pack. But Rejina Pyo is
no ordinary designer. Her ‘found’ space reflects
the environmental awareness that saw her eschew
the allure of a physical invitation for an email
and which keeps her committed to sustainable
production. Pyo’s inspiration for the collection
itself was photographer Harry Gruyaert’s ’80s
photographs of LA and Las Vegas and the
post-minimalist work of sculptor Eva Hesse.
Pyo plundered a muted palette of khaki, rust,
terracotta and retro brown, and the result was
anything but mundane. So what about the hair?
It was equally unpretentious with a ‘just got out
of the bath’ texture that Shiori Takahashi for
L’Oréal Professionnel described as “carefree but
expensive-looking”.
RUNWAY
AUTUMN/WINTER 2020
11

THAT WAS THE
SEASON…
From face masks to fabulous FROWs, it was a funny old Fashion Week but one we’re more than happy to relive…
VIVE LA REVOLUTION
FORGET WEARING your heart on your sleeve; it’s all about
wearing your manifesto on your boiler suit. Following in the
hallowed footsteps of fashion rebels like Dame Vivienne
Westwood and Katherine Hamnett, On|Off kicked off A/W20
with white overalls emblazoned with ‘All Power to the
Imagination’. Borrowing from the slogans of Parisian avant-garde
revolutionaries during the uprisings of 1968, it’s a rally cry to get
behind self-expression and to champion individuality.
Bora Aksu
#AWKS
BRIEFCASES at the ready,
it’s time to get studious
about style. No longer
content with being the
hapless sidekick, nerds are
now fashion protagonists in
their own right. Yes, you
heard it here first; geek is
officially chic. From
thick-rimmed Where’s
Wally? glasses to retro
suiting in all manner of
condiment colours (mustard
and BBQ sauce were
favourites), it’s all about
embracing some terribly
British eccentricity.
TOGA
NEW HORIZONS
ROMANCE WAS being played out somewhere between the
lashline and browbone, as sunset eyes heralded a new dawn
in beauty. These multi-tonal wonders ranged from pretty
ombre washes of pink, orange and gold at Bora Aksu, to more
intense daubs at Charlotte Knowles, while the fluoro hues at
Central Saint Martins MA show were more like a holiday
postcard on acid.
Charlotte Knowles
Central Saint Martins MA
12 AUTUMN/WINTER 2020
RUNWAY

THAT WAS THE SEASON
SPACE INVADERS
Molly Goddard
Mithridate
FROM HIGHBROW to low-key, godly to gritty, this
season’s venues didn’t disappoint in the intrigue stakes
and often it’s the only means of gaining access to
buildings that are otherwise off-limits to the public. Our
first ‘though the keyhole’ moment started at the BFC
Showspace for On|Off; a Brutalist building on the Strand.
Then it was on to Molly Goddard, who chose the lecture
hall and library of Central Hall Westminster as a stately
show setting, while Mithridate opted for the grandeur of
the Medieval and Renaissance galleries at the V&A.
GLAD HANDING
FASHIONISTAS aren’t exactly known for their warm
welcomes but University of Westminster graduate Brandon
Choi took it to the next level. Inspired by the beauty of raw,
unfinished works-in-progress, his calico creations were
elegantly poetic, but it was the plaster of Paris moulds cradled
by some of the models that got our thumbs up as they added an
extra layer of eccentricity. Also rather handy for avoiding
germ-ridden touchpoints we think.
QUILTY FEELINGS
MAKE EVERY day a duvet day in the form of some
fashion comfort food. From quilted jackets to padded
puffas, insulated outerwear is the trend that we’re totally
down with. House of Sheldon Hall’s gargantuan gold
creation at On|Off was pure fashion fantasy. Or, if a tad
more skin on show is more your cup of tea, opt for
Central Saint Martins’ cut-away alien-esque puffas.
House of Sheldon Hall at On|Off
Mithridate
SPOT ON
FORGET SMOKY eyes
and red lips, A/W20 is
all about specks appeal.
Bringing a 3D aspect to
making up faces,
make-up artist Lan
Nguyen-Grealis went
for black and red ‘alien
beauty’ dots in different
configurations at Yan
Dengyu while at
Mithridate, Jorge
Balzaretti used
teeny-tiny pearls to
accessorise the models’
faces. Our verdict?
Make-up on point.
RUNWAY
AUTUMN/WINTER 2020
13

THE
TRENDS
Unexpected accessories and clandestine accents make
for a suspenseful season of creative potential
GLOW-UP
ONCE UPON A TIME, ordinary hair was transformed into
something exceptional. No, not the stuff of hair fairy tales,
we’re talking about the accessories trend that saw pedestrian
plaits transmuted into bewitching braids while everyday objects
metamorphosed into enchanting accoutrements. At House of
Sheldon for On|Off, extreme plait/pony hybrids were
accessorised with a chin chain sewn into the crown for added
authenticity, while at 404 Studio for On|Off covetable charms
were woven into the hippie braids at intervals. Everywhere you
looked, it was all about giving hair a glow-up. But creating
impact doesn’t have to be ostentatious, and while the diamante
headbands at Erdem were fabulously flamboyant; the plain,
silver bobby pins that were used on some of the other models
were equally arresting when set against the dark finger waves.
Context, it seems, is everything, whether it’s pinning a plaited
weft across the back of the head as Daniel Galvin’s Frankie
Pullen did at the University of Westminster BA show or using
stationery to elevate a look to dazzling effect. Cue Mark Woolley
at Electric Hairdressing for L’Oréal Professionnel’s beautifully
eccentric ode to paperclips at D’IYANU at On|Off. Creating
individual looks, including a fringe made entirely from the office
supplies, the inspiration was the designer’s Nigerian roots and
cultural identity.
Erdem
D’IYANU at On|Off
Erdem
House of Sheldon Hall
at On|Off
GET THE LOOK
271 at On|Off
University of Westminster
THE SHOW: D’IYANU at On|Off
HAIR: Mark Woolley at Electric
Hairdressing for L’Oréal Professionnel
THE LOOK: Eclectic colour and strong
visual impact to celebrate the collection
HOW: Individual looks were created
dependent on each model, with bands
and paperclips woven into hair to
complement the colourful prints. Prep
hair with L’Oréal Professionnel
TECNI.ART Fix Max gel and, on
longer hair for shine opt for L’Oréal
Professionnel Mythic Oil. Tie coloured
elastics around lengths and dreads and
wind short hair into little bunches with
the bands. Pin paperclips at the parting.
14 AUTUMN/WINTER 2020
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TRENDS
House of Sheldon Hall at On|Off
PINT-SIZED PLAITS
SOMETIMES IT’S THE little things… Case in point, the small
but mighty plaits packing a big ol’ power punch on the runways.
These itty-bitty braids may be diminutive in stature, but what they
lack in size they certainly make up for in impact. At the University
of Westminster BA show, Frankie Pullen at Daniel Galvin for
L’Oréal Professionnel got to grips with her ‘renaissance waves’;
baroque ’n’ roll braids coiled around the head with extra
decorative plaited wefts added in to up the drama. Each take on
the trend began with a smooth blow-dry but for Tina Farey of
Rush Hair for L’Oréal Professionnel at 404 Studio at On|Off, the
base texture of her ‘modern hippie’ look was a touch more relaxed.
While curly hair was smoothed, straight hair was given a little
extra movement before delicate boho braids were added to the
front section of the head with a couple more peppered throughout.
Cristiano Basciu at Richard Ward Hair & Metrospa for L’Oréal
Professionnel went for quantity with a ‘student life’ quality over at
Hong Kong’s Blind by JW, while Neville Hair & Beauty’s Jack
Merrick-Thirlway for L’Oréal Professionnel rallied the troops at
House of Sheldon Hall at On|Off, with Royal Horse Guards
braids that commanded attention. Vertical braids close to the scalp
were plaited from the hairline to the crown where they were
gathered into a vertiginous ponytail and wrapped in black latex
to resemble the stately plumes of a cavalry helmet.
University of Westminster
House of Sheldon Hall
at On|Off
Blind by JW
GET THE LOOK
Blind by JW
House of Sheldon Hall
at On|Off
THE SHOW: Blind by JW
HAIR: Cristiano Basciu
at Richard Ward
Hair & Metrospa for
L’Oréal Professionnel
THE LOOK: Student life
HOW: Prep hair with L’Oréal
Professionnel TECNI.ART Pli
and blow-dry smooth, using
some TECNI.ART Liss Control
for an ultra-smooth finish.
Divide the hair into one-inch
sections and plait the lengths
in fine plaits. Finish with
TECNI.ART Ring Light
Shine Spray.
RUNWAY
AUTUMN/WINTER 2020
15

TRENDS
#IWOKEUPLIKETHIS
LIKE THE MUCH-MALIGNED hashtag, the reality of the
born-this-way barnets we all covet requires a little more effort
than might be implied. While the premise of the incidental ’dos
backstage was working with the models’ best hair, product was
still very much a feature; whether it was recreating Richard
Phillipart at The Boutique Atelier for L’Oréal Professionnel’s
undone, ‘slept in’ hair at the Central Saint Martins MA show or
the piecey, cool-girl texture over at Molly Goddard. For the latter,
the glint of grunge was encouraged with a touch of oil by Luke
Hersheson for L’Oréal Professionnel. Speaking of grunge,
‘Come As You Are’ must surely have been on the subliminal
soundtrack to shows such as TOGA where Shiori Takahashi for
L’Oréal Professionnel cited the muse as the models themselves.
“It’s as if she’s just walked into the casting from waking up; fresh,
natural and completely unforced.” Similarly, at Yeung Ching at
On|Off, Luke Pluckrose at Saks referenced natural street looks,
working with the model’s own choppy cuts and colour, adding in
L’Oréal Professionnel’s TECNI.ART Beach Waves to enhance
texture, or straightening with Steampod 3.0 to emphasise more
graphic shapes. Meanwhile, at APUJAN, Taku Morimoto at
Daniel Galvin for L’Oréal Professionnel took the trend to the
next level with his ‘astro travel’ texture that had an undone,
windswept feel.
Central Saint Martins MA
TOGA
Molly Goddard
APUJAN
GET THE LOOK
Yeung Ching
Yeung Ching
THE SHOW: Molly Goddard
HAIR: Luke Hersheson for
L’Oréal Professionnel
THE LOOK: Piecey texture with a
hint of movement. It’s slightly
grungy and undone.
HOW: Spritz L’Oréal Professionnel
TECNI.ART Ring Light Shine
Spray onto dry hair. Run your
fingers through the hair to
distribute the product evenly so it
feels sheeny and separated. If hair is
curly, blow-dry it straighter first
and saturate it using TECNI.ART
Ring Light Shine Spray and
TECNI.ART Liss Control+ Serum.
16 AUTUMN/WINTER 2020
RUNWAY

TRENDS
Charlotte Knowles
DOUBLE TAKE
THERE’S NOTHING MORE satisfying than scoring a twofer
and, in the case of the dual-texture ’dos on display for A/W20
there may have been twice as much graft involved, but the result
was double the fun. While some take on the trend were more
overt, playing on hair that was at opposite ends of the texture
spectrum, others showed a more subtle shift in character. Take
the wet/dry contrasts at the University of Westminster BA show,
where Frankie Pullen of Daniel Galvin for L’Oréal Professionnel
sculpted wet-look Marcel waves in opposition to the more natural
texture of the ends, while at Rejina Pyo, the ‘just got out of the
bath’ look by Shiori Takahashi for L’Oréal Professionnel was only
a shade drier on the mid-lengths than it was at the crown.
Similarly, for ZAFUL at On|Off, Fowler35’s Darren Fowler for
L’Oréal Professionnel created big, fluffy, ’70s curls in stark
contrast to the smooth, shiny roots, while at Bora Aksu the
differentiation was made less distinct by Daniel Martin for
L’Oréal Professionnel. But it was the split personality of Shiori
Takahashi’s slicked-back hair at Charlotte Knowles that really
had us on the edge of our seats. The sleek look was broken up by
‘secret spikes’ that Takahashi explained hinted at the strength of
the model. Depending on the hair texture of each model, these
anarchistic accents either took the form of punky liberty spikes or
tough twists.
Bora Aksu
Charlotte Knowles
Charlotte Knowles
GET THE LOOK
ZAFUL at On|Off
University of Westminster
THE SHOW: Rejina Pyo
HAIR: Shiori Takahashi for
L’Oréal Professionnel
THE LOOK: Fresh and pushed back off
the face, more ‘damp’ than wet.
HOW: Section hair and spray L’Oréal
Professionnel TECNI.ART Pli on
hands and pull through the roots,
pulling hair back completely off the
face. Dry on a low heat with a diffuser
to set, then rub a small amount of
TECNI.ART Web Paste to create
hold and texture around the roots and
the front, as if it’s been pushed back
when wet. Mist the lengths and ends
lightly with water to finish.
RUNWAY
AUTUMN/WINTER 2020
17

BACK TO COOL
As summer fades away, cool things down with L’Oréal Professionnel’s
palette of tailor-made tones and finishes
18 AUTUMN/WINTER 2020
RUNWAY

ADVERTORIAL
1) Google trends FY2019. 2) Consumer Markets Insight Salon Tracker 2020 (conducted 26 March to 2 April 2020, 1,017 Women 16 to 75 years old). 3) Versus Majirel core range. 4) Instrumental wet sliding test.
EVERYONE LOVES A BIT OF SUN – even if we’ve had
to stay closer to home this year than usual. What we don’t
love is the effect it has on hair; unwanted warmth and
brassiness is a key concern for women after summer. 1
L’Oréal Professionnel’s broad palette of cool colours and
finishes means that you can easily reset or refresh tones
which have tipped too far into warmth. With a simple
diagnosis you can offer clients a bespoke finish which
leaves them feeling fabulous and more like themselves.
FEEL GOOD FACTOR
Almost one-third of women use hair colour to feel good
about themselves. 2 Banishing the brassiness can offer
women a huge boost of confidence. All you need is the
right colour product along with the professional technique
to customise the result for each client. From subtle colour
finishes to next-level natural, L’Oréal Professionnel has the
perfect palette.
A REFRESHING RESULT
Tone and refresh older colour work with DIA Light from
L’Oréal Professionnel. This gentle colour option gives intense
shine and 30 per cent more conditioned hair, 4 with a cool-gloss
tone to previous colour and balayage work. The fast development
time is ideal for topping up between permanent colour services
to keep clients looking cool. And with the new shades there’s a
finish for everyone.
ENHANCED NATURAL
Not everyone wants their colour to be eye-catching. Majirel Glow
from L’Oréal Professionnel offers translucent, delicate cool
finishes in 18 shades. Expect more reflect and less base colour for
a neutralised finish with a luminous shine.
A TRUE NEUTRAL
With nine shades to choose from, the Majirel Cool Inforced range
from L’Oréal Professionnel is boosted in cool reflects. 3 These
true-to-tone combination shades, particularly the .13 shades, are
perfect for clients who want a cool, natural beige blonde.
DIVE DEEPER
The Majirel Cool Cover line-up in 19 shades is perfect for a deep,
neutralised result. The cool coverage gives optimal neutralisation,
even on dark bases, with the highest concentration of extra cool
blue reflect to fight brassiness.
Take clients back to cool with L’Oréal Professionnel’s cool colour palette.
To find out more, visit lorealprofessionnel.co.uk or call 0800 030 4034.
@lorealprofessionnel #lorealprouk #backtocool
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AUTUMN/WINTER 2020
19

ADVERTORIAL
“Pro Longer is going to be
amazing for so many of my
clients! Thin, unhealthylooking
ends is one of the
biggest concerns for my guests
in the salon. Pro Longer
plumps and thickens ends to
look full as well as healthy”
ADAM REED, L’ORÉAL PROFESSIONNEL
UK EDITORIAL AMBASSADOR
A TOUCH OF
BRILLIANCE
Many clients are embracing longer locks for the first time, so keep them
coming back with the Microtrim service and Serie Expert Pro Longer
range from L’Oréal Professionnel
LONGER LOCKS ARE IN. Whether it’s
enjoying the extra length gained in lockdown,
embracing the ’70s summer style or looking at
the longer finishes sported by celebrities,
many clients might be tempted to keep their
hair that bit longer now that the tricky
growing out phase has passed. But long hair
with no style or shape is rarely flattering – and
this is where you can keep clients engaged and
returning to the salon.
How many clients beg you to “just take
off the ends?” Well, offering a Microtrim
service keeps the structure of the cut
without taking too much off the ends, a
quick and efficient pop-in service between
longer appointments.
As Microtrims are done on dry hair, you
can emphasise the speedy side of the service,
and pair it with an equally fast-acting
treatment: L’Oréal Professionnel Serie Expert
Pro Longer Ends Filler Concentrate. This
lightweight treatment works on thin ends, or
areas where help is most needed, in just 15
minutes. It works by penetrating the hair fibre
core to plump and thicken the hair from the
inside. Amino acids in the formula work to
strengthen the hair from the outside, leaving
hair looking and feeling thicker at the ends,
where it’s often most fine and weak.
Finish off that Microtrim service with a
take-home prescription from the Serie Expert
Pro Longer range to help clients keep that
length as healthy as possible. From shampoo
to styling, the line-up helps to reduce the
appearance of split ends and keeps hair strong
and looking plumper.
You can fi nd a full tutorial on how to pull off the perfect Microtrim service on L’Oréal Professionnel’s Access education platform at
uk.lorealaccess.com. Discover how the Serie Expert Pro Longer range can restore clients’ lacklustre lengths at lorealprofessionnel.co.uk
or call 0800 030 4034 to stock it in your salon.
@lorealprofessionnel #lorealprouk #serieexpert #prolonger #keepitlonger
20 AUTUMN/WINTER 2020
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ADVERTORIAL
GO BIG
AT HOME
Achieve great volume from root to tip with the winning combination of Steampod 3.0 and
TECNI.ART from L’Oréal Professionnel
IT’S WHAT EVERY client desperately wants – to be able to
style salon-worthy looks at home. Boost their confidence and
self-esteem in one fell swoop by sending them home with the tools
to do exactly that.
Re-establishing your trust and expert opinion with your
clients – extending beyond their time in the salon – is the best way
to remind clients why they come to you in the first place. So share
the insider secrets you know deliver the goods. The TECNI.ART
range isn’t just a lifesaver for stylists; its iconic black and white
bottles and tubs have earned a spot on many a dressing table. Pair
this do-all product edit with the upgraded Steampod 3.0 for sleek,
healthy-looking hair in hardly any time at all.
TO SHAPE TO LIFT TO FIX
TECNI.ART
Pli
This spray does
it all. Add shape,
grip and hold
to any style, or
create volume at
the roots with
this prepping
multi-tasker.
TECNI.ART
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A pillowytextured
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ends down.
TECNI.ART
6-Fix
Don’t worry
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dropping with
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TO SHINE
TECNI.ART
Ring Light
Shine on with
this ultra-fine
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A micro-dispersed
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it gives hair
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*Instrumental test versus regular straightener.
**Instrumental test versus regular straightener after 15 uses
Discover how at-home styling options from Steampod 3.0 and TECNI.ART from L’Oréal Professionnel can create lasting relationships
with your clients. Visit lorealprofessionnel.co.uk or call 0800 030 4034
@lorealprofessionnel #lorealprouk #steamforward
TO STYLE
Steampod 3.0
Lighter and thinner than previous versions
of the professional styler, Steampod 3.0 uses
steam technology to deliver two-times faster
and two-times smoother styling* than a regular
straightener, with 78 per cent less damage.**
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21

HOW HAIR HAPPENS
Head backstage with five of the most visionary stylists to see them create the looks that count for A/W20
THE SHOW – HOUSE OF SHELDON HALL AT ON|OFF
THE LEAD – JACK MERRICK-THIRLWAY AT NEVILLE
HAIR & BEAUTY FOR L’ORÉAL PROFESSIONNEL
Hair was divided into
sections vertically around
the head, and then plaited
upwards, close to the
scalp. Models were asked
to tip forward in their
seats, so gravity could help
keep the plaits in place
To create a strong
foundation for this
regal look, hair was
prepped with
TECNI.ART Pli
from L’Oréal
Professionnel and
blow-dried smooth
to reduce frizz
Towering ponytails were
created by scooping the
hair up to the crown
and securing tightly
with an elastic
22 AUTUMN/WINTER 2020
RUNWAY

HOW HAIR HAPPENS
The lengths of hair were
smoothed using Steampod
3.0 from L’Oréal
Professionnel, and wire and
tape were wrapped around
the base of the ponytail
The collection had a
Cool Britannia edge,
with models stomping
down the runway in
red, white and blue
Lips were bejewelled
with red glitter, with
sparking accents added
to the inside corners of
the eyes. Brows were
sketched in to be strong,
dark and straight
The Royal Horse
Guards served as the
inspiration behind this
look, and chin straps
were added to
exaggerate this vibe
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23

HOW HAIR HAPPENS
THE SHOW – ZAFUL AT ON|OFF
THE LEAD – DARREN FOWLER AT FOWLER35
FOR L’ORÉAL PROFESSIONNEL
To set the hair,
TECNI.ART
Constructor from
L’Oréal Professionnel
was sprayed over
and heat applied
with a Steampod 3.0
To begin, hair was
blow-dried straight
at the roots, with
very curly hair being
smoothed out by
Darren with
Steampod 3.0
from L’Oréal
Professionnel
One-inch sections were
created around the
head. The lengths were
then wrapped in a figure
of eight around the
prongs of large U pins
24 AUTUMN/WINTER 2020
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HOW HAIR HAPPENS
The pins were then
removed, and the
crinkled hair was
brushed out to
create extreme,
’70s-style body
Extra sparkle was added
with metallic accents
painted above the
eyelids. The rest of the
face was left soft, dewy
and natural
The result was an
explosion of volume
throughout the lengths,
and slick roots
defined by TECNI.ART
Liss Control
A menagerie of
high-shine fabrics
were employed for
a multi-textured
collection that was
equal parts modern
and classic
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25

HOW HAIR HAPPENS
THE SHOW – 404 STUDIO AT ON|OFF
THE LEAD – TINA FAREY AT RUSH HAIR
FOR L’ORÉAL PROFESSIONNEL
Sections were
then plaited
right down
the lengths
and tied
at the ends
Modern hippie hair
was the order of the
day, so hair was
blow-dried to keep
a natural wave and
a Steampod 3.0
from L’Oréal
Professionnel used
to iron out flyaways
One-inch sections
were created at the
front of the head by
Tina, and other pieces
of hair were clipped
out of the way
26 AUTUMN/WINTER 2020
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HOW HAIR HAPPENS
Looking at the
hair even closer,
tiny charms secured
by small metal
loops pierced some
of the plaits
Models wore party
dresses with cutouts
revealing peeps of skin,
perfectly complemented
by their free-spirited
hair and striking
make-up
Coloured bands and
glittery thread were
woven around the
braids to provide a
bohemian edge
Arching, cartoonish
eyebrows in unnatural
colours were the
focus of the make-up,
with a vinyl finish
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27

HOW HAIR HAPPENS
THE SHOW – YAN DENGYU AT ON|OFF
THE LEAD – JONNY ENGSTROM AT GUY KREMER
FOR L’ORÉAL PROFESSIONNEL
The sides were
brushed back with
TECNI.ART
Fix Design to
make them
super-sleek and
then pinned at the
back of the head
Hair was prepped
with TECNI.ART
Pli from L’Oréal
Professionnel, to
provide root lift
and a smooth
canvas to work on
The front section
of hair was
blow-dried back
off the face by
Jonny and
pulled back
28 AUTUMN/WINTER 2020
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HOW HAIR HAPPENS
The hair was
then smoothed
over to create
a strong, solid
silhouette with
a futuristic,
sleek feel
Models took to the
runway in ‘future
couture’, a dramatic
collection in a palette of
fiery reds and black.
Tulle ruffles collided
with silky capes and
hands sported
dark talons
The hair at the
top of the head was
backcombed gently
from the roots
to create volume
and height
As a finishing touch,
TECNI.ART Fix Max
was misted over the hair
to provide hold, and
small gems in red and
black were applied to
models’ faces
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29

HOW HAIR HAPPENS
THE SHOW – ERDEM
THE LEAD – ANTHONY TURNER
FOR L’ORÉAL PROFESSIONNEL
Using a tail comb,
a single finger
wave was shaped
into the front so
that it resembled
a brush stroke
Anthony wanted
a high-shine
wet-look featuring
modern-day finger
waves. “It’s a ‘20s
style with a futuristic
twist,” he said
Hair was combed in
a low side-parting
from left to right
and about half a
tube of L’Oréal
Professionnel
TECNI.ART Fix
Max was applied
30 AUTUMN/WINTER 2020
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HOW HAIR HAPPENS
The top of the head
was gently diffused
for about 15 to 20
minutes to ‘bake in’
the TECNI.ART
Fix Max gel and
set the style
A silver bobby pin was
added before the first
loop to secure the
finger wave. The vibe
was the 1920s world
of society photographer
Cecil Beaton
A strict, low pony
was secured at the
nape for those with
longer length before
heat was applied
with a dryer and a
precision nozzle for a
sleek finish. L’Oréal
Professionnel Mythic
Oil was smoothed on
the ends for shine
In addition, there were
seven silver cropped
bobs pre-styled with
S-shaped bends
celebrating the silver
tone of Beaton’s famous
photography. The
eyelids sported silver
foil, too
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31

AU REVOIR UNWANTED
BACK TO
COOL COLOUR TAILOR-MAD

RED, ORANGE AND YELLOW TONES
COOL
E TO YOUR HAIR STORY
The rights to use this visual are acquired from July 15 th , 2020 to January 15 th , 2022. Beyond that date the use of this visual shall be considered as a breach and you will have to pay any compensation that would be seek by the model or the photographer.

RE:CREATE
Shining a spotlight on hair that deserves to take centre stage
TOGA
TEAM PLAYER
A/W20 WELCOMED Shiori Takahashi to the L’Oréal
Professionnel fold where she led three shows. The Japaneseborn
hair whizz has always had a fascination for subcultures,
something that stood her in good stead at Charlotte Knowles,
where subversive spikes had a distinctly punky edge. Having
being part of the teams of Eugene Souleiman, Duffy and Tina
Outen, it’s no surprise she has perfected the effortlessly sexy
looks seen at TOGA and Rejina Pyo where the emphasis was
on individuality. A star in the making…
Frankie Pullen (left) at University
of Westminster
WHO RUNS THE WORLD?
Shiori Takashi at Rejina Pyo
SPOILER ALERT: the answer is
Frankie Pullen. This super-stylist
not only proved that she is the
mother of reinvention by creating
not one but THREE different looks
at the University of Westminster BA
show, but her incredible work ethic
meant she was doing shows just
two weeks back from maternity
leave. Perhaps it’s her day job at
Daniel Galvin that prepped her to
create Marcel waves, Hellenic plaits
and twisted ponies under pressure,
but one thing is sure: she’s on fire!
34 AUTUMN/WINTER 2020
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RE:CREATE
ROLL WITH IT
CRISTIANO BASCIU of Richard Ward Hair & Metrospa for
L’Oréal Professionnel was clearly on a roll at Hong Kong’s
Bettie show, where his androgynous quiffs were reminiscent of
rebellious Teddy boys. Combining a vintage roll with a low
ponytail, the look was teamed with graphic eyeliner and a bold
red lip in a nod to classic femininity with a modern twist.
I’M WITH THE BAND
THERE’S SOMETHING about a headband that instantly
elevates a look; they just seem to ooze a certain well-bred vibe.
Whether they’re erring on the side of lady of the manor aristo,
Italian nobility or even a bit ’80s Sloane Ranger, they help you to
look like you’ve made an effort – even when you haven’t. At Bora
Aksu, Daniel Martin for L’Oréal Professionnel added a single
hairband into the mix which instantly gave his ethereal,
pre-Raphaelite waves a touch of refined formality.
Central Saint Martins MA
WELL GEL
PREVIOUSLY SYNONYMOUS with dodgy ’80s dos, gel proved just
what an amazing all-rounder it can be backstage. It was slicked,
combed, twisted and painted onto hair giving form to finger waves and
structure to spikes, while imparting some mega-watt shine. Get the
TECNI.ART Fix Max ready, then set…
Erdem
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35

FULL STEAM AHEAD
THERE WERE SOME steamy scenes backstage and it was
all down to the work of one mane libertine. Say hello to the
L’Oréal Professionnel Steampod 3.0 – the next generation
steam styler that got everyone hot under the collar, including
Darren Fowler and Daniel Martin. Harnessing the power of
steam for smooth, long-lasting shine, the upgraded iron now
boasts a 360-degree swivel cord as well as a more streamlined
design. Cue heart eyes.
ZAFUL at On|Off
RIDE THE WAVES
THE ’20S WERE clearly having a moment this season (the 1920s
that is; 2020 should just be relegated to Room 101). At the
University of Westminster BA show, this was translated as
high-shine Marcel waves that were contrasted with dry-textured
lengths. Daniel Galvin’s Frankie Pullen for L’Oréal Professional
etched a strong centre-parting to add a contemporary nuance.
FELINE FINE
STRONGHOLD
FOR HAIRSPRAY with a little more clout, L’Oréal
Professionnel’s TECNI.ART 6-Fix was the can for the job,
judging by the number of stylists spritzing backstage. Made up of
just six ingredients for a purer formula, it’s the ideal fashion show
heavyweight as its lack of fragrance means that the ultra-fine
mist is more backstage (and salon) friendly.
Central Saint Martins MA
WHO CAN resist the raw, animal magnetism of leopard print?
Channelling some big cat energy, Daniel Fiorio for L’Oréal
Professionnel set to work creating individual looks for the
models at ARNIERI at the Celebration of Canada Design
showcase, the most intricate being the leopard print manes.
Pre-coloured wefts were applied to the hair before the lengths
were smoothed with Steampod 3.0 to enhance the pattern.
36 AUTUMN/WINTER 2020
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RE:CREATE
Central Saint Martins MA
APUJAN
HOW LOW CAN YOU GO
Central Saint Martins MA
ALL RISE FOR STYLES that have sunk to new levels. At the
Central Saint Martins MA show, the low-slung ponytails and
buns had a slept in (before going for a skydive and sleeping in
them again) feel thanks to The Boutique Atelier’s Richard
Phillipart. At APUJAN, Taku Morimoto at Daniel Galvin for
L’Oréal Professionnel took windswept to the next level and his
‘undone astro travel’ ponies were so low that the hairbands
almost grazed the ends of the hair.
SILVER LININGS
Images courtesy of L’Oréal Professionnel
MAY THE FORCE BE WITH YOU
IN A BACKSTAGE far, far away (well, Somerset House) hair
Jedi Luke (Pluckrose of Saks) set to work transforming models’
hair into otherworldly creations. The inspiration behind these
extraterrestrial looks at Angus Tsui? Star Wars movie The
Force Awakens and robots, and the result was simply masterful.
Prepping the hair with L’Oréal Professionnel’s TECNI.ART
Pli, he blow-dried it straight before applying Fix Max gel to the
front section, which was shaped into angular protrusions,
while the remaining hair was brushed back into a low cyborg
chignon and pinned into place. Light sabre optional.
THE MOST exquisite catwalk
creations often require a little
creative thinking. Case in point –
how to turn seven bobs into hair
that resembles a precious metal? The
answer, according to Anthony
Turner for L’Oréal Professionnel at
Erdem, was some industrial chrome
spray paint. After a LOT of trial and
error, Turner’s solution meant that
the pre-prepped wigs (complete with
S-shape bend) could be fitted to the
models on the day. Sterling work.
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37

38 AUTUMN/WINTER 2020
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I PUT A SPELL
ON YOU
The London debut of Chinese couture label Mithridate was a mesmerising spectacle that graced the incredible
location of the Victoria & Albert Museum’s Medieval and Renaissance galleries.
Runway takes a peek at the magic at work behind the scenes…
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39

EVERY ONCE IN A WHILE, a fashion
show comes along that is truly special, and
the London debut of Mithridate was just
that. The Chinese couture label arrived in
the UK in a blaze of artistic glory, and the
location was none other than the iconic
V&A Museum in Kensington.
Mithridate’s founder, Demon Zhang,
honed her talent for design at Central
Saint Martins before returning to China
to launch her label. However, the
inspiration of the British capital was never
far away. “As a city that combines the
modern and the ancient, London never
fails to inspire me,” she wrote in the show
notes. The collection melded couture high
glamour with Chinese craftsmanship and
even featured beads shaped like raindrops,
in a nod to typical London weather.
The show was the perfect reflection of
the Mithridate brand, a sublime
experience tied together by exquisite
detail, lighting and artworks. Models
weaved among sculptures, scored by
classical music, while guests sipped
champagne just inches from the models.
“We wanted to recreate a scene of
visitors hanging out in the gallery space –
being inspired and discovering the beauty
of all the artworks,” explains Zhang.
“The show was focused around the
appreciation of art as part of the brand
DNA and to celebrate this we delivered
immersive performance. It was a
choreographed story with all the models
mimicking groups of friends gathering,
talking about art and coming together in a
creative, inspiring environment.”
The A/W20 collection is Mithridate’s
third, and with Zhang regularly drawing
inspiration from visiting the V&A while
studying in the city, the collection pays
homage to the art and architecture of the
iconic museum, featuring art-historical
reference reinterpreted as modern, wearable
designs. The prints are inspired by the
V&A’s marble surfaces and the medieval
murals and artefacts in the collection.
The label name itself derives from King
Mithridates VI of Pontus, who legend has
it created a potion, mithridate, that was an
antidote for poison. In a similar vein,
Mithridate wants to “provide a cure for
women who are continually exploring
their identity through clothing”.
Couture veteran Jack Merrick-Thirlway,
who works regularly on the Paris shows
with the Neville Hair & Beauty team, was
tasked with creating the hair for this
unique show for L’Oréal Professionnel.
“The show was like an exhibition, more
like Paris Couture Week rather than
London Fashion Week,” he says. “The
V&A gives you so much inspiration for
your work – the building and pieces of art
in it are incredible.”
However, despite his years of
experience, the day was a true test of his
hairdressing skills. “We were preparing
the models in a hotel opposite, as you
aren’t allowed to spray products in the
museum,” he explains. “We only had two
hours to prepare 25 models and, two
minutes in, the electricity blew because we
had too many hairdryers on. It got fixed,
but then the same thing happened again –
so an hour and a half into our prep, we
had no models ready and no electricity!”
Luckily, Jack and his team are ready
to step-up in a crisis. “We had to totally
change products and tactics, styling all
the models then taking them to the
museum and quickly running a L’Oréal
Professionnel Steampod 3.0 through their
40 AUTUMN/WINTER 2020
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MITHRIDATE
ponytails to finish the looks. You just can’t
panic, you have to crack on with it. That’s
what you prepare for – we know our
products and we put in so much hard work
behind the scenes in case things don’t go
smoothly. Anything could happen.”
The hero product that came to save the
hair was TECNI.ART Fix Design from
L’Oréal Professionnel. “It’s a very wet
hairspray with a lot of alcohol in it so it
dries itself – so you don’t need heat!”
explains Jack. “We used that all over the
top, and really soaked the hair down. We
also used a tiny bit of TECNI.ART Liss
Control on the lengths.”
He continues: “We still wanted to have
a little bit of movement, so there was the
dual texture between the head and the
ponytail. As simple as it looks, it’s actually
quite hard to make sure that every single
ponytail is at the right height on the head
and the parting is in the right place.”
With minutes to go, the team pulled it
off, and guests never knew that the
effortless looks had enjoyed their own
drama. The result was a smooth ponytail
that shone under the spotlights, perfect in
its simplicity, reflecting the beautiful
surroundings. “The hair was glossy,
simple but really well executed,” adds
Jack. “We wanted it to be so slick because
we knew the lights in the V&A were so
powerful that they would hit the top and it
would look even more shiny.”
It was a bold presentation, an event
that incorporated performance cleverly to
best depict the mythical otherworldliness
of the Mithridate collection. Proof positive
that London can deliver couture just as
well as its Parisian cousins.
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41

W H E N T W O
BECOME ONE
The On|Off show at London Fashion Week is a hotbed for fresh new design talent, who work with
L’Oréal Professionnel hairstylists to create a complete look. When creatives collaborate, great things happen…
ZAFUL AND
DARREN FOWLER
AT FOWLER35
HOUSE OF SHELDON HALL AND
JACK MERRICK-THIRLWAY
AT NEVILLE HAIR & BEAUTY
YAN DENGYU AND
JONNY ENGSTROM
AT GUY KREMER
ZAFUL AND Darren Fowler have
partnered on shows before and the teams’
work highlights the importance of
long-lasting relationships. “The creative
process was great – we have a synergy and
always connect well when building the
moodboards and the creation of models’
personas for the collection,” says Darren.
Renowned for creating characters for
editorial shoots and runways shows, Darren
is an expert on the importance of showing
and telling the story behind a collection.
“More designers are starting to appreciate
what designing the hair properly will do for
both the collection and the show,” he adds.
“Collaboration is paramount and
reputation is everything. The end result
being spot-on is key.”
JACK AND the Neville Hair & Beauty
team have a history of couture work where
they mastered the up-do – so they were a
great match for UK couture brand Sheldon
Hall. “The designers had a clear direction
of what they wanted from the show with a
strong eye for detail. It makes my job much
easier when everyone is on the same creative
path,” explains Jack. Though based in
different areas of England, Jack and Sheldon
Hall kept in touch regularly. “As it’s not
always possible to sit down with the
designers face-to-face and have a hair test,
trust is always a massive factor from both
sides,” he says. “We decided to make the
hair quite regal but with a modern twist.
We knew the accentuated high ponies
would work well with the patriotic dresses.”
A GREAT working relationship between
Yan Dengyu and Jonny Engstrom began at
On|Off S/S20 and has continued this season.
“Yan Dengyu is an amazing designer; he is
a very creative, forward-thinking and gentle
person. Before the show we discuss ideas
and it takes the stress out of hair trials,”
says Jonny. With a theme of ‘future couture’
for the hair, together they decided on a
slicked-back hair look with height at the
crown. “When you are a hairstylist working
on runway shows, you have to realise the
designer already has a concept, and you
have to build on that to make the complete
image,” he adds. “You have to listen and
have new ideas to deliver each time. The
hair is one main part of the collection and
it can make or break the show.”
42 AUTUMN/WINTER 2020
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IN COLLABORATION WITH
ELSEWHERE
AT LFW
ERDEM AND
ANTHONY TURNER
Images courtesy of L’Oréal Professionnel
IYANU AND
MARK WOOLLEY
AT ELECTRIC HAIRDRESSING
AS AN expert in men’s hair, Mark’s
parntership with menswear designer
IYANU for On|Off made perfect sense.
He worked with the designer to create looks
that complemented her clear vision for the
show, which celebrated her Nigerian roots.
“It’s fantastic to work with a designer who
has great vision and understanding of hair,”
says Mark. Though busy schedules can
make it hard to meet in person, prior to the
show Mark and the designer had several
calls and Zoom meetings to discuss ideas
using visual prompts from the brief. “I
always find that building a partnership with
the designer is very important. It is vital to
discuss the desired outcome fully, and spend
time listening to the development of their
ideas,” he adds.
404 STUDIO
AND TINA FAREY
AT RUSH HAIR
TINA FAREY is no stranger to working
with emerging designers for the On|Off
shows. For A/W20, she worked with 404
Studio – a Spanish fashion brand with a
passion for reinventing tradition. Tina
credits much of the show’s success to their
meeting at the RUSH Hair Academy
beforehand. “It’s important to look at the
clothes and the brief so you can visualise the
story. It’s vital to make sure the designer is
happy with the hair,” she says. Inspired by
Jodorowsky’s The Holy Mountain, Tina
and the designer decided on a loose wave
and braids featuring charms and sections of
yarn. “Sometimes it’s about not just
focusing on the one look,” she adds. “You
may have to do more and really work
through options to achieve what you want.”
TOGETHER THEY are a
creative duo that has stood the
test of time. Maybe it’s because
Erdem and Anthony Turner are
both Scorpios, the session stylist
has wondered. “Erdem is a
perfectionist – he knows what
he wants. He likes my input
though and that’s where we
work really well together;
because I can tap into his ideas
really easily,” Anthony explains.
“I also really like it when he
plants something in my mind
– he’ll send me an image or a
quote by email and say: ‘Run
with it! This is what I’m
thinking – now you’ve got a few
weeks until the show to show
me what you’ve got!’”
For A/W20, the pair met at
Erdem’s studio two weeks
before the show to discuss ideas
and align their visions. “We sat
talking for hours. He’s like a
mad scientist,” Anthony smiles.
“In the collection there was a
lot of references from Cecil
Beaton’s photographs, which is
where the idea came from for
the silver hair,” he adds. “From
season to season, I never know
what he’s going to concoct, or
what he’s seen somewhere or
which historical person he’ll
reference next. He’s brilliant.”
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43

Richard Phillipart
PASSION PROJECT
A dedication to excellence. A passion for creativity. A nurturing of minds. The partnership between
Central Saint Martins College of Art and Design and L’Oréal Professionnel has been an extraordinary
success, and the 20th anniversary show saw yet another incredible collaborative vision come to life
LIFE WAS VERY DIFFERENT back at the
turn of the century. Long before influencers,
leaks and fast drops, fashion shows were the
blueprint for what trends the world would
see in the following six months. Central
Saint Martins was – and remains to this day
– the school that produces some of the key
designers leading the fashion landscape.
This training ground for tomorrow’s
taste-makers was exactly the sort of
environment that L’Oréal Professionnel
wanted to collaborate with.
“Hairstyles and hair colour say as much
about you as the clothes you wear,” says
Monica Teodoro, general manager of
L’Oréal Professionnel UK and Ireland. “It is
not only tremendously exciting, but also
absolutely vital for L’Oréal Professionnel to
forge a relationship with one of the most
important fashion schools in the world.
This ongoing partnership merges the very
latest in fashion talent with the creativity of
young hairdressers – it’s a unique and
inspired collaboration.”
The likes of Christopher Kane, Mary
Katrantzou, Rejina Pyo, Molly Goddard,
Matty Bovan, Grace Wales-Bonner and
Richard Quinn – whose first solo show
was even witnessed by Her Majesty the
Queen – often continue this relationship
even after graduating.
It all starts at the Central Saint Martins
BA and MA showcases. With big buyers
and recruiters in the audience alongside
peers and family members, this is the first
test for future design stars – and having the
support of an experienced L’Oréal
Professionnel hair team behind the scenes is
indispensable when executing a bold vision.
“The flow of ideas and creative energy is
central to both industries,” insists Sarah
Gresty, director of BA Fashion at Central
Saint Martins, backstage with Fabio Pires,
director of MA Fashion.
44 AUTUMN/WINTER 2020
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CENTRAL SAINT MARTINS ANNIVERSARY SHOW
Sarah McCormack
Runway was invited to the front row of
the star-studded MA show, to witness the
emergence of fashion’s next big stars and to
celebrate this ground-breaking partnership
which extends beyond backstage.
Tying together 21 collections with
disparate aesthetics is no mean feat, but it
was beautifully pulled off by The Boutique
Atelier’s Richard Phillipart and the L’Oréal
Professionnel Portfolio Team. To further
complicate matters, 106 models also made it
one of the longest Central Saint Martins
shows to date. The over-arching theme was
one of texture, a nomadic desert-wanderer
which looked almost slept-in and mussed.
“The looks were all personalised for each
model – we had to really get in there with
our hands,” Richard told us backstage.
L’Oréal Professionnel TECNI.ART
Savage Panache was the key product for the
look, massaged into the hair to open the
roots out. A little TECNI.ART Super Dust
took the style further, helping to pull out
and emphasise flyaways to give a
dehydrated effect. Each look was tweaked
slightly to accommodate the styling or
headwear, and the team’s Herculean efforts
made for a striking, multi-sensory catwalk
show, which also featured projections
throughout. This support and collaboration
with Central Saint Martins doesn’t stop at
the runway either; L’Oréal Professionnel
created bursaries that are awarded to three
MA Fashion students each year to offer
financial support to complete their studies.
The L’Oréal Professionnel Young Talent and
Creative Awards, worth £5,000 with an
opportunity to showcase the winning
collections, are also presented at the BA
and MA graduate shows.
To add a little extra drama to
proceedings, there was an unexpected
tie-break for the winner of the L’Oréal
Professionnel Creative Award 2020.
Selected by Monica Teodoro and Andrew
Davis of The Face magazine, Leeann
Huang and Sarah McCormack were
revealed as the joint winners.
Leeann’s over-sized, bright hats
contrasted brilliantly with Richard’s dry
hair texture, while the styling fit perfectly
with Sarah’s ‘feral fairy’ creations. Both
designers looked to the future with
collections that combine re-used materials
with the high level of craftsmanship Central
Saint Martins graduates are known for.
Leeann said: “I’m really grateful there
were so many experts backstage to keep
things together and help produce such
wonderful looks. I never thought I would be
able to win an accolade like the L’Oréal
Professionnel Creative Award, and to do so
“This ongoing partnership merges the very
latest in fashion talent with the creativity
of young hairdressers – it’s a unique and
inspired collaboration”
MONICA TEODORO
Leeann Huang
with my family there was very gratifying.”
The question now, post-lockdown, is
how the world of fashion will evolve,
particularly when it comes to showing work
and large scale events. The Central Saint
Martins BA course might just give us a
glimpse into the future. Turn the page to
discover how…
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AUTUMN/WINTER 2020
45

Jisoo Jang
Rebekah Guo
A NEW FRONTIER
2020 is a year nobody will forget. This year’s BA Fashion graduates at Central Saint Martins
are set to go down in history – and for all the right reasons
THE MARRIAGE OF FASHION and
technology has long been an unpredictable
love affair, with the likes of Hussein
Chalayan and Alexander McQueen having
presented futuristic fashion and electronics
on the catwalk even before the turn of the
century. As we journey through a new
decade, the fashion industry is turning to
technology more than ever before to stay
relevant and able to continue operating. The
effects of a global pandemic continue,
meaning a growing need to adapt in a new
digital landscape.
It was on 18 March, when Glastonbury
Festival was officially cancelled, that Sarah
Gresty, BA Fashion course director at
Central Saint Martins, realised that the 109
graduating students would face a year like
no other – with their final months as
students spent in family homes across the
world. “When lockdown happened, we
knew we wouldn’t be able to host a physical
fashion show, so we quickly had to adjust
what we were doing,” recalls Sarah. “We
felt it was important to celebrate students’
creativity despite the huge challenges of the
crisis, so decided on making a film and
creating a digital showcase of their work.”
With minimal access to materials and
equipment, and without hair and make-up
teams on hand, the students were “pushed
creatively in completely different ways”,
explains Sarah. Ahead of the showcase, they
were asked to make two looks of their final
collection and produce an accompanying
film to illustrate their narrative. Each film
would then be used as a part of a digital
‘lockdown show’, streamed online across
YouTube and a new bafcsm.com platform.
Collaborating with industry partners,
such as L’Oréal Professionnel, was key to
Sarah’s vision for the new online platform.
For the collection films, students were
offered the opportunity to partner with the
brand’s network of creative young
hairstylists through a virtual collaboration.
“We are proud to continue to work with the
students, help to nurture them and see their
talent flourish. It is precisely this talent that
is shining even more brightly as we all
navigate these times together,” says Monica
Teodoro, general manager of L’Oréal
Professionnel UK and Ireland. In total,
17 of the students worked with hairdressers
virtually to discuss styling options for
each of the looks. “We really value our
relationship with L’Oréal Professionnel and
working with the hairstylists on the looks,
as well as discussing the physicality of what
is possible,” adds Sarah.
As well as building virtual connections,
the digital brainstorms between students
and stylists has paved the way for
blossoming friendships and future
collaborations, in what L’Oréal
Professionnel’s Catherine McMahon has
described as an “explosion of creativity”.
Since the film made its debut in June, it
has been viewed more than 21,000 times (in
comparison to the 1,200 guests who usually
attend the physical show) and has received
masses of support from industry figures
with a huge reaction from the media.
“Students at Central Saint Martins lead the
way in so many areas, and I think people
have been so interested to see what we
would do. We had our showcase a couple of
days after London Fashion Week Digital,
and I think what our students did in
comparison was really exciting,” says Sarah.
“During the period, the articles published
about our show were the most viewed
during the entire show season,” she adds.
As Central Saint Martins continues to
46 AUTUMN/WINTER 2020
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CENTRAL SAINT MARTINS BA SHOW
Alexandra Sipa
Louis Shengtao Chen
Sabah Iqbal
champion rising stars of the industry, it is
clear that this year’s graduates are perfectly
poised to reinvent the fashion show as a
digital-first event. The class of 2020 are
young trailblazers who understand how to
create work that is fun and engaging for a
digital platform. While there is still a desire
for physical interactions and the need for
togetherness, the pandemic has forced the
fashion industry to re-evaluate its practices
– with current approaches to sustainability,
seasonal fashion trends and Fashion Week
as we know it, all pulled apart.
“We didn’t plan this and had to react
day by day, but we achieved something that
was absolutely amazing. The students have
“It was important to celebrate students’
creativity despite the huge challenges
of the crisis”
SARAH GRESTY
Zoe Sujin Lee
Taya Louisa Badgley
created work that was really reactive and
current. They were already looking at issues
such as sustainability, the impact of social
media and race – isolation had just made the
results that much more significant and
exciting,” Sarah enthuses.
This could be the start of a movement
towards a new digital frontier for London
Fashion Week, but it’s also an opportunity
for the next generation of designers to make
sustainability a core value and change the
future of fashion. Despite the hurdles
they’ve had to overcome, the class of 2020 is
already making history and for all the right
reasons, Sarah believes: “This is such a
special year. It’s one that everyone will
remember forever.”
Johannes Warnke
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University of Westminster BA Fashion Design show
48 AUTUMN/WINTER 2020
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ANDREW GROVES
A MAN FOR
ALL SEASONS
Andrew Groves has taken University of Westminster students’ final show onto the Fashion Week schedule while
also championing the importance of menswear within the industry. Runway caught up with the course director for
BA Fashion Design during lockdown to talk about his career, his love of Mr Benn and the future of fashion
Runway: Do you remember the moment
you realised ‘It’s got to be fashion for me’?
Andrew Groves: No! I wonder when that
moment was? I think I was far more
interested in what other people were
wearing, what that meant, who looked cool
and who didn’t. Now I think about that, it
makes more sense that I went into designing
for others and then working with students
and their vision. I remember watching the
cartoon series Mr Benn and I loved the fact
that he had this amazing wardrobe with all
these different outfits that led to adventures
when he wore them. The idea that what you
wear can help you become something else,
I love that.
R: What did you learn from your time with
the Alexander McQueen label, where you
designed with Lee McQueen?
AG: You don’t really need anything in terms
of money or resources to make something
really powerful. On some days you had to
sew by hand because you had no money for
the electricity to run the sewing machines.
And I always think that lack of resources is
actually good because it forces you to think:
‘Well what can I do with the things I have?’.
That’s why everyone now, because of the
pandemic, is thinking about what they’re
able to do – it gets you thinking creatively.
R: What do you think the long-term effect
is going to be of the pandemic, both on
design and fashion students, and in terms of
the kind of trends we’re going to see?
AG: There’s a need for intimacy that
we’re missing; it’s an experiential thing
that we don’t necessarily get from
something digital. But then we’ve had
five or 10 years of people digitally creating
themselves on Instagram. There’s a lot
students can already do that can push
the boundaries.
Invisible Men exhibition
R: What it’s all going to look like – shows,
events, courses – in September?
AG: I’m thinking about it because we
moved our show from June to February
three years ago to be on the Fashion Week
schedule but of course now, what does it
actually mean now to have a runway show?
I think it’s going to be a hybrid of physical
and digital. And I don’t think it’s going to
be at one point in time [i.e. seasons]; it’s
going to be a number of points in time.
R: L’Oréal Professionnel works closely with
the students on their final show each year.
How integral is the hair to the overall look?
AG: It’s really important because students
are so busy on the production of the
garments they don’t step back and think
about the image. My favourite moment of
the whole year is when we do run-throughs
with individual students and they’re
suddenly confronted with the models in
their outfits with the hair and make-up. It
transforms the collection and I can see them
almost in tears. I love all those technical
things and the students learn lots from that
and the expertise that the people and stylists
from L’Oréal Professionnel bring. They’re a
passionate, professional team.
R: At Westminster you’ve helped create a
menswear archive – why did you feel that
was necessary, was there a particular gap?
AG: We’d always be saying to students: “Go
and look at that trench coat in Burberry, or
see what Commes des Garçons has done
with this coat in Dover Street Market, see
how it’s finished”. And of course they would
never go because they were too busy. I
thought it would be much easier if we had
some garments at the university to show
them. We’ve got just under 2,000 garments
now. It’s a lot of eBay discoveries and
donations as well, we’ve actually got quite a
few garments that belonged to hairdressers!
For example from Michael Rasser
of michaeljohn we’ve got a ’60s Tommy
Nutter suit. It comes back to that idea
that if you wear a certain outfit, you
become something.
R: You helped pull together an impressive
menswear exhibition, Invisible Men, last
year. Why did you feel it was important?
AG: The more I researched the archive, the
more I realised there had been nothing out
there. The famous McQueen exhibition, for
example, none of that was menswear, even
though he began working in Savile Row. We
wanted to show a much bigger picture of
menswear that took you from designer and
practical garments to uniforms, and show
they’re all connected.
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AUTUMN/WINTER 2020
49

A/W20 HAIR IS…
“IRREGULAR
LAYERED CUTS,
HEALTHY AND
SHINY BOHO HAIR
WITH A MODERN
BIBA WAVE, SEXY
UNDONE FRENCH
TWISTS AND
MESSY PONYTAILS
FOR THE EVENING,
UNDONE BUT
ORGANIC”
Cristiano Basciu,
Richard Ward
Hair & Metrospa
“A RETURN TO
CLASSICS WITH A
ZERO-WASTE
UNDERSTANDING.
STYLING IS MORE
MINDFUL,
POSSESSING
A PUNK ATTITUDE
OF BEING A
RESPONSIBLE
REBEL”
Daniel Martin,
session stylist
“CHARACTER-
DRIVEN.
IT’S ABOUT
INDIVIDUALITY
AND USING YOUR
HAIR AS AN
EXPRESSION OF
WHO YOU ARE, OR
WHO YOU
WANT TO BE”
Darren Fowler,
Fowler35 and
Fowler Hair
Academy
“STRUCTURED
COLLARBONE-
LENGTH CUTS
WITH NATURAL
WAVES AND
CHOPPY FRINGES
– THINK PATTI
SMITH AND NEW
YORK IN THE ’70S.
SLEEK, WET LOOK
LOW PONYTAILS
WITH LONG
PARTINGS, TOO”
Frankie Pullen,
Daniel Galvin
“ALL DOWN TO
THE CUT! IT
SHOULD FRAME
THE FACE
PERFECTLY, WITH A
COLOUR THAT
COMPLEMENTS
THE SKIN TONE.
NO MORE THAN
TWO SHADES
EITHER SIDE OF A
NATURAL BASE”
Jack Merrick-
Thirlway, Neville
Hair & Beauty
A summary of the season, in the words of the professionals
A/W20 HAIR IS…
“ABOUT MORE
RADICAL
CHANGES. CLIENTS
WILL ASK FOR
MORE FRINGES,
SHORTER HAIR BUT
STILL WITH A SOFT
ROMANTIC WAVE
OR TEXTURE”
Jonny Engstrom,
Guy Kremer
“HEADING IN TWO
DIRECTIONS.
SUPER-GLAM,
EXPENSIVE, OTT
LOOKS THAT MAKE
UP FOR THE
NIGHTS OUT THAT
HAVE BEEN LOST,
OR MORE
LOCKDOWN-STYLE
TOPKNOTS WITH
ROOTS IF WE FACE
A SECOND WAVE”
Luke Pluckrose,
Saks
“A NOD TO THE
‘70S, WITH A
MODERN TWIST.
THE SHAG CUT OF
SOFT LAYERS,
LONG FRINGE AND
LOTS OF BODY,
WHILE A DEEP
SIDE-PARTING
WILL GIVE SIMPLE
STYLES A CLASSIC,
POLISHED FINISH”
Mark Woolley,
Electric
Hairdressing
“WATER-LIKE
MOVEMENT,
STRUCTURED,
WITH NATURAL
FLOW. COLLISIONS
OF TEXTURE
BETWEEN THE
SMOOTH AND THE
ASYMMETRIC”
Takuya Morimoto,
Daniel Galvin
“ABOUT FLAT,
MINIMAL STYLING.
SLICKED-DOWN
MIDDLE
PARTINGS WITH A
GRUNGY SHINE,
AND PONYTAILS
FLATTENED WITH
EITHER SIDE
PARTINGS OR
BRUSHED BACK
WITH A DIY
FINISH”
Tina Farey,
RUSH Hair
50 AUTUMN/WINTER 2020
RUNWAY