L’Oréal Professionnel & Central Saint Martins 2020 special edition Celebrating 20 years of & Hair A FASHIONABLE PARTNERSHIP

In 2001 L’Oréal Professionnel and the world famous Central Saint Martins forged an exciting partnership to nurture cutting edge talent. The aim was to recognise and promote contents the way hair and fashion have been historically linked and to combine up-and-coming fashion talent with creative hairstylists. Designers who graduated from CSM include Christopher Kane, Mary Katrantzou, Mark Fast, David Koma, Simone Rocha, Jackie J S Lee, Rejina Pyo, Phoebe English, Matty Bovan, Richard Quinn, Molly Goddard, Grace Wales Bonner, Goom Heo, Paolina Russo and Fredrik Tjaerandsen. Due to the overwhelming success of the project, this unique relationship is now celebrating 20 years. 2 12 68 Cutting, 20 years fashion dressing, celebration communication styling: 2020 Fashion and 34 hair collide on fabio 72 the catwalk piras HYWEL DAVIES 4 42 20 Years SARAH 74 of Hair GRESTY white show Moments 56 78 8 FROW: L’Oréal MONICA 20 Years of Professionnel teodoro fashion shows hair teams supported by 10 fashion press 20 years and celebrities of L’Oréal Professionnel 58 and Central class Saint Martins of 2020

COVER IMAGE

RUBBER TIME JOURNAL by PIE SUTITHON and DEBORAH WANGSAPUTRI

CSM MA 2018 Cutting, dressing, styling: Fashion and hair collide on the catwalk Text DR GERALDINE BIDDLE-PERRY

Jim Morrison swore that some Linda Evangelista took on Marilyn smell of sea salt and scraped-back found objects, while the hair of his worst mistakes were Monroe’s platinum blonde curls ponies point to the sophisticated was reminiscent of a childhood haircuts. Hillary Clinton could and worked a fastidiousness of cut, where hair DIY scissor job. Both designers claim a newspaper’s front page kittenish up-do in homage to mimics cloth. Careless simplicity used hair to push the limits of the by switching up her hairstyles. Brigitte Bardot. With looks ranging is self-aware, serving to accent fashioned body and openly wrestle Madam C.J. Walker became from vamp to camp, the catwalk the meticulously crafted sculptural with wider cultural anxieties around America’s first female self-made claimed hair as its partner in crime. elements of the clothes and the self. millionaire by selling hair products. CSM alumnus Lee Alexander focus attention on the finer details. The collaboration between Hair has the power to transform, McQueen graduated from the When L’Oréal Professionnel fashion and hair packs a punch captivate and elevate. Like fashion, MA Fashion course in 1992, his Award-winner Christopher Kane because we can visibly tease hair informs our identity: how collection – Jack the Ripper Stalks presented his MA collection in out its potential. In the 20 years we see ourselves and others. his Victims – blurred the magical 2006, the hair was long and side- that L’Oréal Professionnel has The cutting, dressing and styling and the macabre, placing hair parted. Hanging incongruously low partnered with Central Saint of hair has always played a key front and centre. A pink frock over the ears, it drew the eye down Martins, their hairstylists and part in our pursuit of newness. coat was lined with silk, over a to the minidresses below, where students have created some When the L’Oréal Professionnel layer of human hair, while a lock neon lace ruffles bubbled out of iconic catwalk moments. The true partnership with Central Saint of McQueen’s own hair was sewn bondage ropes. beauty of this partnership lies in Martins was formed in 2001, into the signature label of each Menswear mirrored these its commitment to collaboration. it highlighted the common ground outfit. This dark mix of sleaze and themes, replacing old binaries with It’s the understanding that fashion between hair and fashion, their superstardom came to define the bricolage: clashing style influences, and hair are not really two separate joint commitment to fostering decade, as the power of artifice disruptive colour combinations industries, but two means to a creative talent. was manipulated to expose the and distortions of form and fabric. mutual end: hair heightens fashion Trends (in both fashion and fragility of identity. Messed-up bed There was the buzzcut, the and fashion flaunts its hair. hair) key into the cultural zeitgeist, hair and visibly undressed styles heartthrob hair, the short back only to fade into cultural memory, transgressed existing ideals of and sides; the undercut, the but iconic looks mark out the beauty and perfection. Fashion curtains and the slick centre times and preoccupations of had a new look, and hair held the part. The paradoxes of undoing each generation. As Mexico City key to getting it right. somehow bridged 1920s glamour teetered on the verge of revolution Both on and off the catwalk, and 1990s grunge, dandy-esque in 1924, ‘Las Pelonas’ (short- ‘undoing’ has been the overriding brocades and leather biker gear, haired women, whose sharp bobs trend of the last 20 years. meshes of lace and steel, sharp were inspired by the flapper style The undone ‘do’ could be seen as tailoring and satin slips. Freed of their European and American a millennial take on ‘sprezzatura’, from the anchorage of social counterparts) became a symbol a term originally coined by the certainty, new styles offered a fluid of the burgeoning conflict. At the 16th-century Italian courtier masculinity for collections that turn of the 21st century, the natural Baldassare Castiglione to describe defied gender norms. hair movement started to unfurl the art of concealing the effort The contemporary culture of in America, encouraging Black behind seemingly effortless ‘undoing’ is fuelled by a gradual women to shun harsh relaxers elegance. For Millennials, the disassembling of the old certainties and embrace their natural curls. art of being fashionably undone that informed our identities. In the rise and backlash of these lies in the ability to pull together In Gareth Pugh’s award-winning moments, hair captured complex contradicting looks, demonstrating graduate collection in 2003, bodies social tensions as succinctly as your disregard for aesthetic and limbs emerged from huge red any history book could. authorities and your individuality and white balloon-like structures, When Vidal Sassoon rose to in one fell swoop. It’s the chintzy while hair was theatrically masked fame in the 1960s, it was under vintage mixed with ripped jeans; in bandanas, faux bearskins and the premise that hair should be the tracksuit bottoms worn with monk-like cowls. Over a decade treated like “material in motion” kitten heels and clutch bags; the later, Matty Bovan adopted a – he cut hair like Mary Quant cut tailored blazer over a slogan tee. similarly stylised ambiguity for fabric. Since then, the catwalk If your clothes look too polished, his own graduate collection. has presented a unique space for top them off with hair that says, Long, loose hair was arranged hair and fashion to come and play. “I just rolled out of bed.” in haphazard strands, so that it Cut to the 1980s and Versace On contemporary catwalks, melded and merged with the prefaced the arrival of hair is often minimalist, left loose multi-coloured, multi-layered, with a spectacular reinvention or pushed back. Straggling layers intricately constructed knitwear of the catwalk show. Celebrity escape from barrettes and bobby below. The clothes were glamour saw a riotous revival as pins, fringes are choppy, curls embellished with all manner of

2 3 CSM MA 2017 20 Years of Hair Moments

this spread, clockwise from top left: CSM MA 2020; CSM BA 2016; CSM MA 2020; CSM BA 2011; CSM MA 2019; CSM BA 2018; CSM BA 2018; CSM BA 2014; CSM MA 2016; WHITE SHOW 2016; CSM MA 2016; CSM MA 2011; CSM BA 2005; CSM BA 2016 4 5 this spread, clockwise from top left: CSM MA 2012; CSM BA 2009; CSM BA 2007; CSM MA 2018; CSM BA 2003–04; CSM BA 2015; WHITE SHOW 2017; CSM MA 2008; CSM BA 2013; CSM BA 2019; CSM BA 2013; CSM MA 2020; CSM MA 2017; CSM BA 2015; CSM BA 2012 6 7 Text BELLA WEBB MONICA teodoro GENERAL MANAGER L’ORÉAL PROFESSIONNEL UKI

When the L’Oréal Professionnel hair and fashion, and to cultivate extremely challenging. It is are incubators of talent and it is on partnership with Central Saint and nurture a new generation of this pressurised environment the CSM catwalk that we see true Martins was forged two decades cutting edge talent. which drives the importance of creativity come to life. ago, it not only put a spotlight on teamwork, not only together as a And of course things can go the special synergy between hair What does the partnership hair team but also with the student wrong from time to time, that is and fashion, but also highlighted with CSM offer the L’Oréal designers. the nature of a live show, but in their common commitment to Professionnel stylists? that lies the beauty. The ability nurturing creative talent. Through We believe it gives them the How has the partnership of creative people to adapt and this twenty year journey together, opportunity to experience more evolved? be agile, to face the challenge the exploration of hair in the diverse approaches to creativity. Since 2001 the partnership backstage and to still put on fashion industry continues to It drives influence, it raises that started with a few creative a seamless show. The outside reaffirm the inescapable tenet that standards, it promotes skills and minds has really flourished into world does not see if something both have equal roles to play, not education. For young hair and this symbiotic relationship, was missing, or if there was a last only today but for the future of the fashion talent to come together including bursaries, fashion shows minute tweak – the show must creative industries. and immerse themselves in and student projects. Fashion and always go on. From first entering the halls on each other’s worlds can create hair trends evolve to reflect the Most recently, I am so proud Charing Cross Road fifteen years phenomenal results. So many cultural and socio-political context that we were able to support the ago and absorbing the creativity illustrious hair careers have of any given moment. Over the virtual show the BA graduating that emanated from every corner, flourished over the years. past decade we have become class of 2020 staged. The creative to now walking through the iconic We believe that this partnership much more diverse, more creative agility that the students and team King’s Cross building, Monica offers an invaluable start to this and we are constantly evolving showed during these challenging Teodoro continues to be blown journey. For example, many the way we work. We never say times and the phenomenal work away by the spirit of the arts that talented session, salon and artistic how things should go or limit the they created whilst in lockdown is so uniquely fostered by Central stylists have emerged from these students’ creativity. It’s important was simply incredible – a real Saint Martins. In both of these teams, who continue to work with for the individuals in the show to moment in fashion history and a moments, creativity met education, numerous designers on editorial express themselves, and the hair real step change for how we work the sweet spot Monica is always shoots and shows at is a complement to their vision. with fashion in the future. striving for. . I have a soft spot for the BA, Here, the General Manager of because you can see how free L’Oréal Professionnel shares her How are the hairstylists that the designs are. highlights from two decades of work on the CSM Shows collaboration. chosen? What are your favourite We are very fortunate to work in memories from twenty years? Why did you choose to partner a diverse environment with many When we extended our partnership with CSM? talented salons and hairdressers to the MA course, under the How do you find creative spaces that are renowned for their legendary Louise Wilson, that was where hairstylists can learn from excellence and artistry in the a seminal moment. other industries and vice versa? hair industry. It is these partners To work alongside Lee We believe hair and fashion are who are driving innovation in the Widdows, Willie Walters, Louise intrinsically linked. Hair, like fashion industry. Each year, we invite them Wilson and now Fabio Piras and is an art form. to put forward their young talented Sarah Gresty has been a sheer joy, Hair adds to an attitude, it brings stylists to work on the shows. a never ending learning process character and makes the total look For us it is business critical to where you get to learn from – fashion would not be the same continuously cultivate talent, at amazing people. without it. different stages of their profession, Sitting front row and witnessing As the most renowned fashion enabling them to have different the talent of the likes of David school in the world, CSM seemed paths of development. We want Koma, seeing the explosive genius like the most natural synergy. to champion and raise their of Fredrik Tjærandsen’s balloon Lee Widdows and Willie Walters at voice, with a view to realising like creations deflate on the 2019 CSM were looking for a supportive their potential and giving them BA catwalk to experiencing Keith partner with links to the fashion a platform to accelerate their Tovey’s collection which he paired and education worlds. L’Oréal careers. with a specially created scent are Professionnel was looking to The backstage environment, just a few of the many stand out cement the connection between whilst exhilarating, can be moments. Central Saint Martins image from personal archive taken at 8 9 CSM MA 2019 20 years of L’Oréal Professionnel and Central Saint Martins

Fashion magazines hold a special the interviews in this magazine, place in hair salons. We leaf written by current students on the through them as we wait for our Fashion Communication courses. treatments, daring ourselves to Throughout this magazine, be inspired by the progressive hairstylists and designers alike styles within. We cut out their share their hair heroes and glossy images and show them the looks they vowed never to to our hairstylists enthusiastically repeat. Years later, someone (or sheepishly, depending on the complimented their new look style). So a magazine seemed in the studio, transforming an like a fitting way to celebrate accidental micro-fringe into an the partnership between L’Oréal Audrey Hepburn moment. Professionnel and Central Saint As they matured, they might Martins, one which has come to have developed a signature, represent the fusion of fashion and like ’s bob or Grace hair at its finest. When it launched Coddington’s ginger mane. 20 years ago, this groundbreaking We hope their stories ignite collaboration highlighted the memories of hairstyles, backstage creative energy and innovation moments and catwalk shows. that underpins both industries. But, while this magazine is a Over the two decades since, the reflection and celebration of the partnership has launched the last two decades, it is also not the careers of hundreds of designers, end. After all, L’Oréal Professionnel helping them to realise their total and Central Saint Martins remain look on the catwalk and behind the future-focused. Enjoy! studio doors. MA students vie for the Creative Award, while BA graduates yearn for the Young Talent title. When it started, the prize was simply called the Total Look Award. “If you’re any sort of designer, you’re not just thinking about the body and the clothes,” says Willie Walters, the former BA Fashion Course Director who initiated the partnership. “You’re thinking about a look from the shoes to the top of the head, hair and make-up included. Even if your nature is not to think about it, you still think about it.” The name changed when the show grew, and it was no longer possible for each designer to choose their own looks. Instead, the Course Directors curated the looks into cohesive themes, so the hair and make-up became the common thread between graduates’ final fantasies. Or, as MA Course Director Fabio Piras puts it, “the binding element that creates a genre for the show.” Whatever stage of life you’re at, hair is as much a part of your identity as the clothes on your back. That much is made clear by Text BELLA WEBB

CSM MA 2020 10 11 lly grad m

“I was on the first L’Oréal o Professionnel hair team for the CSM BA show in 2001 at York Hall in Bethnal Green and since then I’ve worked on both the BA & MA Shows over the years with so many talented students and hairstylists” YESMIN O’BRIEN Sean Hanna

Picture the scene: it’s 2001 and the fashion crowd is jostling for front-row seats at Central Saint Martins’ first stand-alone BA outside of Graduate Fashion Week. A single white catwalk cuts through the cavernous arch of York Hall in Bethnal Green, setting the stage for the inaugural L’Oréal Professionnel Award. Prize-winner Molly Grad, an Israeli designer fresh from two years of national service, closes the show with her ‘Little Wide Awake’ collection. Inspired by Victorian dolls and childhood baddies, there are layers upon layers of lace and topsy- turvy, prim pleated collars. In the final look, six-year-old Chloe Duss pokes her head above the frothing folds of a full crinoline, an adult model concealed beneath. The following Monday, Molly is snapped up by Stella McCartney’s fledgling fashion house. Fast forward five years, and Molly is opening the 2006 MA show. Once again, fabrics were arranged in fluid formations, with ruffles and ruching around the neck accented by sleek, yet soft middle-parted hair. “The L’Oréal Professionnel teams are phenomenal, they really allow your vision to break through with the best execution which is super important,” says Molly. “The CSM shows are always the peak of creativity, so designers can really experiment with their vision without any limits. Hair is always key and the L’Oréal Professionnel teams really get that. They always really believed in me and supported me.” Molly’s collaborations with L’Oréal Professionnel continued when she graduated, after which she took up a position as Senior Design Consultant at Saint Laurent. Molly still sees hair as an essential asset nineteen years after her BA collection. As Design Director or ready-to-wear at Ralph and Russo, she often uses hairstyling to provide a steadying symmetry. “Fashion and hair is almost like a yin and yang scenario,” she says. “You cannot have one without the other.” 2001 Text JESS WORTH Portrait photography RAMINTA CEPONYTE

12 13 Richard Nicoll 2002 Text CHIARADIBERNARDINI A dearfriend.” and presence willalwaysbefresh inmymind. He wasabeautifulmanofallseasons,whosework resulting illustrations great collaborations. for meoccasionally, andIconsidered the Richard waskind,generous andfun.Hesat returning to Australia. As a friend and colleague, working on his own label in London and in ParisforLouisVuitton andCerruti,later recognition from theindustry. Heworked his professional career, gainingawards and sensibility; hisworkwasaboutlife. apparent chaos.’IthinkRichard hadasimilar real lifethrowing outof upimagesandpatterns ‘Watching aCunninghamdanceislikewatching and excited.DancecriticJudithMackrell wrote: entire show on the edge of his seat, enchanted performance onceandRichard satthrough the and thebusinessoffashion. artist, but understood the difference between art intuitively. Hehadthesensitivityandattitudeofan loved thatinspired himtocreate beautifulclothes, his friends.Itwasresponse tothethingshe photography – orsimply going tothebeach with absorbing thethingsheloved–dance,art, gimmicks. His inspiration came from his life, enhanced thebody, plentyofintelligence,no colours andminimaldetails:designsthat designer. Hisaestheticswere ofclear, pure remembers him: friend andcollaborator, theartistHoward Tangye, away unexpectedlyin2016.Thisishowhisclose starting anillustriouscareer. Richard passed bought his entire graduate collection, kick- Italian designers Dolce & Gabbana famously two shortyearsaftercompletingtheBAcourse. completed the MA Fashion course in 2002, just English-Australian designerRichard Nicoll Richard achievedgreat successthroughout We wenttoseeaMerce Cunningham “Richard Nicollwasaninspired contemporary 14

2 15 Text LÉANAESCH Designer oftheYear for2019. a nodfrom theFashionAwards, scoopingBritish topped hisimpressive achievementstodatewith when intricatedetailsare atplay. Kimrecently of his designs, creating a false sense of simplicity roamed, the hair has functioned as an extension softened toframetheface.Wherever Kimhas the lookisoftenslickbutsmooth;straighthair look wavesfixedtighttotheforehead. AtDior, classic, fromto wet- perfectlypruned pilotcuts Vuitton, thehairbriefwasoftencropped and dipped locksofvaryinglengths.ForLouis models traipsingdownthecatwalkwithsilver- perhaps most experimental; Fall 2005 saw before movingtoParisthe followingyear. own brandatLondonFashionWeek shortlyafter, Professionnel Creative Award. Heshowcasedhis recognition, thecollection wonKimtheL’Oréal to his housemate, Phoebe Philo. Beyond industry piece (abright pink batwing top), whichhegifted the time.ThestylistJerryStafford alsoboughta Galliano, whowasCreative Director ofDiorat was snappedupalmostinitsentirety byJohn of his current aesthetic. His 2002 MA collection Saint Martins,Kimalready showedthehallmarks refined and innovative. As astudent atCentral masculine and feminine,casual and couture, his signature style,sitting somewhere between 2018, hehasimbuedtheFrench housewith Director atDiorMen.Since takingthehelmin Kim JoneswastappedtobethenextCreative into thestreetwear-centric future, Britishdesigner After bringingLouisVuitton’s menswearoffering The hairinhiseponymousshowswas we w all afterno CS the hairin show in the original in theoriginal the 2nd C R w M building on out, thepre- haring Cross oad andthe atm as a “ I studios on o re s rked f p wenton os repping m Trinder HairStudios m AC TRINDER MARC e azing, f phere

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nes o j m ki 2002 Meadham kirchhoff 2002 Text CHIARADIBERNARDINI Meadham Kirchhoff wasallaboutthetotallook. dramatic doll lashes and rainbow-dipped hair, From pastelcurlstocherry-red eyebrows, to sentiment wasreflected inthehairandmake-up. expressions ofpure, unadulteratedcreativity, this As their shows morphed into theatrical world, their own ideas and their own voices.” encouragement for them to create their own that surrounded them.Itwasaninvitationor who didn’t fitintotheexpectationsofworld “for anyonewhoeverfeltuglyandweird, or adds Willie. inventive inclusivityandriotouscolours,” Meadham Kirchhoff explored off-limits creativity, cute andkitschtogrannygrunge.“Asaduo, the fashioncrowd fortenyears,rangingfrom collections won them a cult following among these earlydesigns.Theiropulentandeclectic founded togetherin2006wasafarcryfrom on GermanExpressionism. Thebrandthey offering was“angular, sharpandprecise,” based and moody.” Meanwhile,Benjamin’s menswear Edward’s womenswearcollectionwas“elegant instigator oftheL’Oréal Professionnel Award, Director oftheFashionProgramme atCSMand Walters,friendship. According toWillie former it markedthebeginningofalongandfruitful graduated from theBAFashioncoursein2002, When Edward MeadhamandBenjaminKirchhoff Edward oncedescribedthebrandasbeing

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the first time t l striking upa a tota tea o trust ea ove W Richard Ward Hair&Metrospa mm together” e al m ediately m RSIN BASCIU CRISTIANO ef o eeting l l bring look fo ha rt. c v h e 16 2 17 and pattern andprintfrompattern somethingyoulive translating hislifelongcommitmenttocolour, new homeware linedebuted atFriezeLA2020, in 2016,before segueingintofurniture design.His menswear, hemovedtoDianevonFurstenberg Paul Smith and extending his own line to include with afrissonofflirtiness.Afterconsultingfor his oeuvre, producing a series of sombre prints Italian heritage label Pollini, Jonathan solidified craftsmanship. Later, ascreative director at deco lines,boldcolour-blocking andcareful eponymous line. for Chloé and , all while launching his early success,Jonathanwentontodesignprints Text M-CHILL something youlive Yellow Submarine Yellow of chiffon-heavy kaftans.Inspired bytheBeatles’ designer JonathanSaunderspresented acocktail For hisMAgraduatecollectionin2002,Scottish dresses that formed thebasisofbrand’s were Technicolor featherprintsandsilkscreen alumnus AlexanderMcQueen.Whatresulted been commissionedtodesignprintsforfellow daysoftheshow,degree. Within Jonathanhad Professionnel Award, butadistinctioninhis collection notonlywonJonathantheL’Oréal His namesakelabelbecameknownfor Deliverance

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aunders S nathan o j 2002 G areth Pugh 2003 Text ZOELHERNÁNDEZ essence ofGareth’s ready-to-wear label. with CarsonMcColl,astudiothatfeedsfrom the LVMH. In2018,heco-foundedHard +Shiny Award (2008)andfinancialbackingfrom looks has won Gareth the ANDAM Fashion video. Hiscommitmenttohigh-octane in goldforher‘RuntheWorld (Girls)’music he evendressed abeehive-bearing Beyoncé Lady GagaandMarilynManson.In2011, measure, Gareth hasdressed KylieMinogue, hair, mimickinghorsetails. checkerboard lookstoppedwithhighly-strung Spring 2007showsawgraphicharlequin-style Rick Owens’wife)MichèleLamy. Hisseminal was sponsored byParisian consultant(and His firstsoloshow, 2006, forAutumn/Winter for anoeuvre ofsinister, sex-clubaesthetics. Week debut with Fashion East, setting the stage Two yearslater, Gareth madehisLondonFashion boy RickOwens,whobecamehismentor. with post-apocalyptic poster-designer interned technical aspects.” who came to the course already highly skilled in concept, Gareth wasanimmaculate practitioner original inalldirections. Singular inresearch and Walters,According toWillie hewas“atotal designs were paradedon thecoverof Gareth anunprecedented feat:hisgraduate erupting allaround him. The latterlooklanded bloodshot red, withbulbous candy-caneballoons up behindher. Anotherwore afullbodysuitin bullseye feathers screaming ‘LOVE ME’ flaring a fantastical green and yellow peacock, with suite ofpunchycreations. Onemodelmounted CSM’s BAFashionShowin2003withariotous London. Theformercostumedesignerstormed him asoneofthemostexperimentaldesignersin Gareth Pugh’s graduatecollectionearmarked Bursting the bubble of commercial fashion, Adored by the camp and the vamp in equal After graduating,theSunderland-born Dazed .

18 2 19 Text LISAZIRNGAST up tofinalisetheoveralllook,”hesays. about buildingacharacter, usinghairandmake- sure theircollectionstellcoherent stories.“It’s all designers havetobeevenmore creative, making at an ever-faster rate, Christopher feels that Astheworldischanging always feelsmodern.” sense of reality, keeping it clean with a small twist not abigfanofcrazy, over-the-top hair. Ilikea of showingmodelswholooklikethemselves. “I’m He hasupheldthisadviceeversince,inthehope simple, whichwasdefinitelytherightchoice.” the team.Shetoldmetokeepmyhaircleanand says Christopher. “Shewasveryhands-onwith I canrecall thehairteambeingbriefedbyLouise,” “Backstage was very busy,Louise Wilson. and for thatisnoneotherthanthelateCSMProfessor distraction, butalwaysastatement.Responsible often with a middle parting, the hair is never a with hairemblematicofattitude.Sleekandsimple, else’s, Christopherhasalwaysstyledhisclothes so itwassuchaproud momentforme.” “I hadworkedsohard onmygraduatecollection, overwhelmed winningtheaward,” herecalls. L’Oréal Professionnel Creative Award. “Iwasso nature, thecollectionalsowonChristopher by themessuchasprovocation, sensualityand created arebelliously femininesignature. Fuelled embellishments anddashesofneon,thepairhave name. Contrasting bold cuts, eye-catching the Scottishdesignerhasbecomeahousehold label alongside his sister Tammy since 2006, Versus diffusion line.Runninghiseponymous promptly hired thefledglingdesignerforher caught theattentionofDonatellaVersace, who withRussellSageandGilesDeacon, internships streak. Hisfinalcollection,produced alongside Since then,Christopherhasbeenonawinning the knickersformedfrillyhemlinesandsleeves. reworked intostretch-lace bandagedresses, with gold rings and the CSM catwalk. Adorned Christopher Kanesentoldlaceknickersdown 2006 wasaparticularlymemorableyear, as Whether working for his own brand or someone

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o t s hri C pher pher ane K 2006 da vid koma 2007 Text LÉANAESCH ideas andallowothercreatives intomyworld.” howtocommunicatemy experience. Ilearnt the hairteamsoearlyinmycareer wasagreat out ofthefinallook,”hesays.“Collaborating with having reliable partnersreally takesthestress are always stressful, especially your first few, so Professionnel taughthimthemost.“Theshows maintains thathisearlyexperiences with L’Oréal countless fashionshowsinhiscareer, hestill Artistic Director ofMugler. Despitehavingstaged styles lookgreat oftenrequires themostskill.” I likesimplehairlooks,butmakingthesimplest is themostbeautiful,”hesays.“Somemightthink complement theirnaturalhair-that’s whatIthink serve ashismaininspiration.“Ialwayswantto sharply tailored .Themodelsheworkswith his body-contouring,sculpturaldresses and this meansminimalistbeautylookstomirror heaven!” Whenitcomestohiseponymouslabel, come together is magic. It’s a match made in inspire eachotherandthesynergywhenthey and fashionisfundamental.“Bothindustries Professionnel prize-giver. come fullcircle, withDavidreturning asaL’Oréal imagination into reality.” By 2010, things had generated afertileground my forturning allow mycreativity torunfree. TheScholarship wider rangeofmaterialsformycollectionsand more opportunities.Iwasabletopurchase more student, thefinancialsupport gavemeplenty experience,” headds.“Asacash-strapped L’Oréal Professionnel wasahighlynourishing L’Oréal Professionnel Scholarship. “Working with and MA Fashion in 2009, whenhewon a designer graduatedfrom BAFashionin2007 collection,” saysDavidKoma.TheGeorgian finally foundthemissingpuzzlepieceforyour and afantasticmake-upartist,itfeelslikeyou “When youcometogetherwithagreat hairstylist From 2013 For David,therelationship betweenhair

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21 s o rewarding confidence” Text SOPHIAMOZZALI of theBFC/Vogue DesignerFashionFund. Womenswear. Andin2015,Marywasarecipient the British Fashion Award for Emerging Talent in received theSwissTextiles Award, followedby attracted anumberofaccolades.In2010,she L’Oréal andtheNewYork CityBallet.Ithasalso Mary significant collaborations, including Moncler, into walkingworksofart.Thatessencehaswon not onlyfor pleasure, but to maketheunwearable spiralled, herspiritremains thesame:usingprint astronomy, and more. While her themes have of Greek excellencein philosophy, theology, tenth anniversaryshowtoexplore theodyssey she hadsteppedupevenfurther, usingher By2020, buckles andtheshoestheyadorn. foot forward withacollectioninspired bystraps, jump forward to2014and Maryputherbest across sophisticatedsilhouettes. Hop,skipand she splashedaseasonedjetsetter’s scrapbook the playfulpotentialofprint.ForSpring2013, Queen ofPrint’. Prize), aswellthewell-deservedmoniker‘the Harrods Award and the L’Oréal Professionnel won heradoublehelpingofaward nods(the wearable jersey-bondeddresses. Thecollection oversized jewels–anopulentstatementseton collection featured trompe l’oeildigitalprintsof from Browns andJoycetoColette.Hergraduate of wonderland, she quicklysecured stockists leaning towards demi-couture andprintsworthy technicalskills fashion fansandpress alike. With designer Mary Katrantzou won the hearts of Opening theMAFashionShowin2008,Greek and helped on thehair Beyond CSM,Maryhascontinuedtoexplore the Sh tea build my o C ANNA CHAPMAN ing “ w S Session Stylist B m M e was for

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atrantzou K Mary 2008 Mark Fast 2008 Text ZOELHERNÁNDEZ in Beyoncé,NickiMinajandRihanna. since graduationhaswonhimcelebrityfans The opulentaesthetichehaspromoted Christian LouboutinandSwarovski followed. week calendar, andcollaborationswithPinko, Council, Marktookhissolospotonthefashion sponsored byTopshop andtheBritishFashion with mattedmopsofcurls.Afterfourseasons upbringing, whiletheyearbefore wastopped hair inspired by the idols of his rural Canadian made-to-shock knits.Spring2014sawJoanJett show, Markhasrampedupthehairtomatchhis knitwear today. his designscontinuetopushtheboundariesof Stretchy, sexy and sophisticated all at once, puff-sleeves, halter-necks andfishnetdresses. of plum,blackandelectricblue,there were of sensuality running throughout. Amid the sea stilettoes, the collection had an undercurrent All styled withsheer black tights and pointed undulating weavesofblackandbluestrutbehind. key-hole cut-outshugsthebodytightly, while collection, anavyknitteddress withkaleidoscope of hissignature aesthetic.OpeninghisMA (2008) collectionsandyouwillfindtheseedlings Look back at MarkFast’s BA(2006)and MA From thesubtlebeautylooksathisMA

amazing show!” ta “My high w l o com surrounded ent andthe f ith so o to creatives f working t with are being bination o m AHRN SCOBIE CATHERINE co gether ake an l John Gillespie ights m m CS u ing c M h 22 23 sealing hissignature. Christopher focused on honing his craft and a fewseasonslater. Asaccoladesaccumulated, Fashion Council’s prestigious NEWGENscheme sponsored show, movingontotheBritish London FashionWeek debutinaTopshop- over 200Eastpakstores. spanned sevencollectionsandwasavailablein in collaborationwithEastpak–apartnershipthat jet black.To accessorise,there were bagsmade and baggytrousers incharcoal grey, iceblueor side-swept fringessportedcinchedsweatshirts sponsored byCalvinKlein.Modelswithsleek, the graduatecatwalk,articulatedinfabrics sent asportswear-inspired collectiondown roots,In homagetohisnorthern Christopher from thelateProfessor LouiseWilson. Martins in2008,winningacovetedscholarship from theMAFashioncourseatCentralSaint Liverpool nativeChristopherShannongraduated Text CHIARADIBERNARDINI stalwart oftheLondonfashionscene. of buffbackintomenswearisnow a tenderness recent years,thedesignerwhobrought astroke eschewing theofficial fashionweekschedulein acid green fadestoelectricorangecurls.Despite punctuated bycasualmopsofneonhair, from show in2018,Christopherpresented alookbook skating rampsontopoftheirheads.Inlieu of a of hairandslickflicked-upfringes,likeminiature Two years later, models walked with twisted horns like awighadgonethrough apapershredder. appeared alongsidefabrichatsthatlooked looks. ForSpring2013,floralfacedecorations and expanded,sotoohashisrepertoire ofhair shorts, anoraks,andlayersofoversizetees.” take onthesportiest of : sweats, speciality was“abrash,exaggerated,evensexy once remarked thattheyoungdesigner’s After graduating,Christophermadehis Just as hissartorial vocabulary has matured Vogue

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o t s hri C pher pher hannon S 2008 Huishan Zhang 2010 Text HYWELDAVIES silhouettes. global lens to produce typically feminine, refined these initialinspirationsthrough hisownvery craftsmanship anddesign,buthehastaken particularly aspectsofhisnativecountry’s is mostinfluencedbyhisChineseheritage, couture atelier. Zhang eventuallybeganworkingattheDiorhaute to workonleathergoodswhilsthewasatCSM, Award. initially Handpickedby Delphine Arnault Fashion in 2010 winning the L’Oréal Professionnel designer HuishanZhanggraduatedfrom BA and -trainedChinese-born andraisedinQingdao,China,Zhang Born m and d m ulti w l u “C - s u stair o c u p ever showsever I o gging huge S rking with h

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2 25 Text M-CHILL something tothetable.” the creative freedom foryourpartnerstobring collaboration,yougiveguidelinesbutalso “With fantasy andtheeveryday,” explainsMatthew. up, it’s aboutfindingthatharmonybetween design. “Whenweworkwithhairandmake- Harding’s expansiveyetsensibleapproach to collaborative energy complements Palmer through L’Oréal Professionnel.” Low’s calming, Low, which is a relationship we established “We stillregularly workwiththehairstylistStephen label, thatsupportwasreally fantastic,”saysLevi. six seasons.“From theperspective ofayoung education todate,sponsoringthebrand’s first partner inthePalmerHarding storyfrom not,” saysLevi. designers, whethertheyreceive theaward or with CSMcreate fantastic opportunities foryoung the relationships thatL’Oréal Professionnel has Palmer. ““ThebursarythatMatthewreceived and brand withhispartnerand2009BAgraduateLevi support, pushedhimtocreate thePalmerHarding This, intandemwiththelateProfessor Wilson’s win MatthewaL’Oréal Professionnel Scholarship. MA collectiondidn’t landhim thetopprize,itdid special,” recalls Matthew Harding. While his 2010 To haveatendermomentwithLouisewasreally was herhuggingmebackstageafterwards. unfortunately –butoneofmyfondestmemories L’Oréal Professionnel Award –whichIdidn’t wasgunningformetowinthe “Louise Wilson L’Oréal Professionnel has been an avowed

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Having studied on the knitwear pathway, Having studied on the knitwear pathway, her Phoebe is focused on making Today, When Phoebe English won the L’Oréal When Phoebe English won the L’Oréal Prize for her 2011 MA collection, Professionnel it was only the second time it had been awarded “Having people you’ve never met before jointly. tell you your work is good enough to receive recalls. she thing,” special really a is prize a know what to do with the attention really “I didn’t has launched the careers The award it brought. of so many people. Not just designers who have under their own name, but gone on to produce also people hidden within the industry that are in the press.” high up and aren’t Phoebe used her graduate collection to explore the idea of a weightless fabric. After experimenting with synthetic hair as a toiling fabric, she realised hair is like it was the perfect canvas. “In a way, she says. “I was clothes above our body,” exploring it as a technique to make an almost thrust The all-black collection fabric.” weightless the London-based designer into the limelight, which she used to start her own brand. brand as sustainable as possible, delivering beautifully crafted clothes with a conscience. stop at clothes. But her ethical innovations don’t the and transform a vision project want to “You whole model, not just put clothes on them,” she says. “Sustainability within the industry cotton. organic using just to travel beyond needs That might be a good way to start, but it needs to infiltrate your hair team and your make-up team reducing working towards currently too. We’re the waste backstage.” ZAMINDAR SHRIYA Text 27 26 ” y y m m Fowler35 y, and and y, rk with DARREN FOWLER n tea tr o s t spurred t spurred w n to work work n to I w o “ o talent and and talent develop develop e in the fashion in the fashion to to w indu m ’ve continued I ne Harper’s

Designer of the Year Award. Since 2018, Since Award. Designer of the Year

A decade after graduating, Simone Rocha’s Rocha’s A decade after graduating, Simone Bazaar Monochromatic and masculine, Simone Rocha’s Simone Rocha’s and masculine, Monochromatic her signature far cry from seems a MA collection designer’s but the of tulle, and puffs ruffles Her current even in 2010. was evident, essence tulle, of mountains with brimming are collections graduate collection as in her but it appeared jackets. The Irish designer’s single-layer black strong, white looks remains love of black and has take on femininity just and her subversive in the Aran by women Inspired a new sheen. as petticoats on their heads Islands who wear a sign of mourning, the models showing her like sheer headpieces wore collection graduate For and cream. smudges of strawberry pink folkloric, similarly were hairstyles the 2020, Fall curls and crimps. with asymmetric scrunches, a spine for With creating ropes liquorice leather models as if the buns, it was knotted drooping, a hedge backwards had been dragged through Such is the and somehow made it desirable. sweet and sinister charm. magic of Simone’s of the London show has become a staple string a won has she and calendar Week Fashion received accolades. In 2016, she of impressive the at Award Designer Womenswear British the as the as well British Fashion Awards, Simone has been creative director for Moncler as for Moncler as director Simone has been creative part of the Genius Group. CHIARA DI BERNARDINI Text

ne r ne s m i o cha o 2010 Marques’AlmeiDA 2011

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After an MA collection awash with indigo After an MA collection awash design duo presented The London-based Self-described subscribers to the Helmut Lang to the Helmut subscribers Self-described is about “fashion where of thought – school and – Marta Marques not hemlines” attitude as luxury and punk mix grunge, Almeida Paulo They dip, dye, bedfellows. natural were if they something edges to create denim’s rip and ruffle classic the of out quintessentially of denim It is this reinvention workwear weave. best known. couple are for which the Portuguese and their brand in 2011, Marta Since launching so their way to a signature Paulo have frayed seems almost it that culture youth to tied closely now have a child. odd to think they their expanded they frays, ombré straggling and Resort For core. horizons, keeping denim at their of Portuguese flair 2017, they showed a touch skirts worthy for the first time, with flouncing begging for sun. of a fiesta and bright colours more an even was 2020 offering Fall Their painterly collaborations featuring exuberant affair, Gray. Louise and Morrow Anderson Paul with MA their of spirit stomping the all, it Throughout collection remains. 2011, in collection MA joint ever first CSM’s two an intense but transformative emerging from the late Professor years under the tutelage of Wilson.Louise course MA the starting Despite were they that realised quickly they separately, two seasons were Their first better together. East fold, after as part of the Fashion presented bursary NEWGEN a awarded were they which the British Fashion Council and propelled from The brand was into stand-alone stardom. Designer at the Emerging Womenswear awarded followed they a feat Awards, Fashion British 2014 and up by beating out Jacquemus, Off-White Prize. to the 2015 LVMH Vetements BELLA WEBB Text 29

28

Since her highly-praised debut as part of the debut as part of the Since her highly-praised the L’Oréal Professionnel Prize in 2011 with a Prize in 2011 Professionnel the L’Oréal clerical dresses. collection of MA ceremonial by scorched obscured were models Bare-faced cloaks as raw-edged headpieces, charcoal blue, black green, of palette primitive a touted the Balanced by beige canvas, and yellow. as if sun-dried but stately, collection was solemn celebrations. after midsummer become she’s show, degree Central Saint Martins hottest names. Fashion Week’s one of London collection offers namesake wildly popular Her tasteful and modernlooks that balance subtle her in found the same artfulness with femininity available through MA collection. Her brand is now Selfridges, including retailers, major of variety a was Rejina 2016, In Net-a-Porter. and Browns alongside award a British Fashion Trust awarded years Three Pugh and Marques’Almeida. Gareth Award the British Emerging Talent she won later, Awards. at the British Fashion for Womenswear DORA BORAS Text Seoul-born design Rejina Pyo secured Seoul-bornsecured Pyo design Rejina

R ejina ejina P o y 2011 rottingdean bazaar 2012

Luke The Joy of Sex. Hair has continued to resonate with the with Hair has continued to resonate and James fit the bill, marking the first time they the bill, marking the first time and James fit capacity. in a ‘professional’ worked together Professionnel the L’Oréal In 2012, Luke received kept me for his MA collection. “It Award Creative me doing things, while I figured alive and kept like for in fashion could look out what a career studied under the me,” he says. Both designers Louise Wilson,legendary gaze of Professor who for make-up and the hair over control exercised vibe, working in a chaotic MA shows. “If you are decided already having your hair and make-up says James. is like being given a blank canvas,” work, often in fantastical forms. couple’s creative in plastic badges, They have encased pubic hair ‘Good’ and ‘Evil’ used singular hairs to spell out fashioned and even in a collection of brooches, of rubber strands sunshine yellow wigs from James says: spaghetti. As for their own locks, I have got none!” “I am always having a hair crisis, JESS WORTH Text TREVALE Portrait Photography SILVANA Hair played an unorthodox role in the meet-cute in the meet-cute role an unorthodox Hair played story a fitting but it’s Rottingdean Bazaar, behind Designers mania. by zany defined a brand for James 2012) and Knitwear, (MA Luke Brooks crossed 2015) first Buck (MA Print, Theseus casting was Verhoeven Julie tutor when paths based documentary her for backs hairy with boys manual, on the 1970s sex 31 30 M h. s CS réal Guy Kremer ake- ivers role” O o raw o raw m l ’ M show s L ortant ortant ay such such ay JONNY ENGSTROM JONNY ENGSTROM S ent, and and ent, p he shows he shows l pl T fessionnel and fre “ he C up were were did with with did T an im Pro hair and hair and new ta always de always

Six years into running her own brand, Molly Six years into running her own According to Willie Walters, Molly Goddard Goddard Molly to WillieAccording Walters, of the final year look in her signature developed no stood who girls tough about was “It BA. her tulle,” of a beautiful froth enveloped in nonsense, Williethis 2012, in Molly graduated When says. aesthetic saccharine) never (but sugar-spun Award. Professionnel earned her the L’Oréal the award present to CSM to She returned With ballooning sleeves later. just four years bodices that bind the waist, balanced by ruched and feminine be both to manage designs Molly’s work takes its cues from all at once. Her fierce coming of age. With and Sunday best dressing herdresses at play, handpleating and crochet physically to take up space, embolden the wearer and metaphorically. on a regular Professionnel still works with L’Oréal she showed for quiffs basis; the lacquered Autumn/Winter achieved using the 2019 were Pli spray. Mythic Oil Colour Glow and Tecni.ART ‘girly’, as never identified has designer British The is most she whatever the pink tulle creations and hair is one famous for might have you believe, bubble From way she keeps the look balanced. and scrappy, ponytails to side-slanting topknots an edge. plaited Mohawks, the hair brings SOPHIA MOZZALI Text

Molly Molly G oddard 2012 C harles Jeffrey 2013 In a bid to fund his fashion degree, Charles his fashion degree, In a bid to fund John hairdresser with works Charles Today, Glasgow-born,Charles designer London-based Martins in Central Saint from graduated Jeffrey his BA he completed many alumni, 2015. Like featuring collections both with at CSM, MA and shows. “As a press Professionnel in the L’Oréal big company to see a really great student, it was at such an extreme talent supporting creative really support continued “Their says. he level,” L’Oréal in my own work. gave me confidence boundaries of do push the really Professionnel what hair can be.” Fabrics in Dalston, at Vogue set up a club night on by its success, Spurred called LOVERBOY. under the same he established his club kid label The brand has name shortly after graduating. earned following, including fashion Charles a cult Just as in his week darlings and students alike. is couture kid of club the totality CSM, at time collection, with imbued into every LOVERBOY in the integral role hair and make-up playing an ever send think I could looks he serves. “I don’t without thinking something down the catwalk would be like not about the hair and makeup. It it,” he just ignore wearing any shoes – you can’t intrinsically linked.” says. “Hair and fashion are his Vial Bridge to create and make-up artist Lucy Glaedyhoots from memorable beauty moments, He cites their close wigs to John Byrnequiffs. work. in their creative friendship as a driving force helps us between comfort level of that “Having to develop,” he explains. “When our creativity and talented people really work with you get to looks, it’s dream have the opportunity to create so exciting.” ELLIE JUNE GOODMAN Text GLAZZARD Portrait photography HEATHER 33

32 e o M st v o CS m ha been Session Stylist ental ental born” ANNA COFONE s s he y m reshest T a f “ w eri p show talent and and talent a fantastic a fantastic al fashion being being fashion portunity t portunity wildest, wildest, ex p o see the

The MA collection that earned Craig a place Professionnel Since winning the L’Oréal A discussion about contemporary menswear contemporary about A discussion Craig Green. mentioning without remiss would be enthusiasm Craig’s to WillieAccording Walters, and traditional shapes architectural for bold, in Fashion to his BA be traced back crafts can initially wanting to be an artist, Print. Despite carved out his niche that Craig it was there by his father). Today, inspired (using woodwork collections still retain utilitarian his signature fashion with art and sculpture. this spirit, fusing have to that fashion doesn’t “CSM taught me be limited to working with It’s just one discipline. he everything,” question to constantly important about what you’re says. “Feeling uncomfortable means you thing, because it making is a good like it seen or experienced anything haven’t before.” geometric severe of consisted history fashion in otherwise minimal (and over an sculptures garments. wearable) collection of relatively it was as if the pilgrimages, by religious Inspired luggage carrying multiple pieces of models were strapped to their all at once: oblong suitcases shoulders their across bags strewn backs, duffel their sides. and rucksacks weighing down look was awash in one colour; a the whole Yet palette only occasionally clean, monochromatic tie-dye. of earth-toned patches by interrupted to Craig continues In keeping with his creations, to hair and make-up, take a utilitarian approach letting the collection carry the conversation. for his MA collection in 2012, Award Creative accolades than can be Craig has collected more counted on one hand, but he considers the award Professionnel a crucial launchpad. “The L’Oréal Prize came at an important time and enabled me to continue pursuing my ambition of setting up my own brand,” he explains. “Support of the industries and young creatives creative is so great that this initiative existsimportant. It’s and continues to support new talent.” With roaringly successful Moncler Genius collaborations and a debut under his belt, Craig Paris Fashion Week still carries the CSM spirit with him. “The sense was really of community and dedication there powerful,” he says. ZAMINDAR SHRIYA Text

c raig green raig 2012 Text DORA BORAS F Photography KIRI LEIGH ZULLO ABIO PIRAS MA FASHION COURSE DIRECTOR CENTRAL SAINT MARTINS

Fabio Piras is the Course element that creates a genre for a really clear view of how he judge was Stavros Karelis from Director of the MA Fashion the whole show that year. produces fashion and the MACHINE-A and it was about course at Central Saint Martins. consequences of producing commerciality. This year, it was Successor to the late Professor How do you decide on the hair his fashion. All of that was about the process. Louise Wilson, Fabio acts as looks for the MA show? evident when he was on the gatekeeper and mentor to We normally have about 100 course. The year he won the What is your favourite memory fashion’s future visionaries. models. To do the hair for all award, sustainability was very from the MA Fashion Shows? Known for pushing his students those people is an unreasonable important to the judge (Tamsin My favourite memory is the with expert critiques for the task, but the L’Oréal Professionnel Blanchard), but John committed moment I hate most in the show. maximum result, he plays team are amazing, because to sustainability almost to the I hate all the business, madness an instrumental role in the they commit to that moment of point of stubbornness. It’s a and hysteria. So my favourite development of graduates’ final absolute folly and make it work. huge commitment he has made, moment is when I am backstage, collections, as well as the London I do a little survey on the students’ developing his label in that way, the show’s about to start and Fashion Week show that marks work and ask them if they have and it’s super impressive. I see the video screen, and their debut. From the last-minute an idea for the overall look of the Matty Bovan is another great the first collection coming out. flurry of backstage panic to the show. It can’t make too much of success and that feels like a At that moment, I know whether months of preparation beforehand, a statement, because it affects fantastic association with L’Oréal it will be a great show or not. Fabio provides insight into CSM’s the look of their work and they are Professionnel. When a student like Then I get completely hysterical long-standing relationship with all different. We have to find the Matty wins the Award, they are and act like a ridiculous person L’Oréal Professionnel. right balance between something launched at London Fashion Week (I am a reasonable person). I love that is significant and not generic, two seconds later. He became a the backstage and the show itself, What is the relationship and something that fits everyone’s name that, to me, is the name of but I watch it on the video screen between fashion and hair, looks. The hair this year was all London Fashion Week. and then I never watch it again. and why is it so important to about speed, dishevelment and It remains a nice memory. present a full look? mess, because the whole mood How does the selection “the hair Fashion is all about the full look; of the show was about transience process work? without that, it would be product and people moving, people who We award three Scholarships of becomes design. Fashion as a term implies don’t have time to do their hair. £5,000 each just before Christmas. that you are creating a vision or a When you want it to look messy, It’s a delicate moment in the this sort statement. You are creating a way it actually takes a lot of time. making of the collections. At of being, behaving, moving and that point, in their second year, of binding looking. Hair is a very important Of the L’Oréal Professionnel the students face an enormous part of the body, whether you have winners, who stands out to you amount of expenses. It resolves element a lot of hair or none at all, because and why? a lot of issues. The Scholarships it is part of how we see ourselves. There have been some very are based on merit, how much that creates Hair not only enables a designer to strange winners, such as commitment the students have complete their look, but it relates John Alexander Skelton (2016). shown to their work and the a genre for to the attitude and identity of the He has a lot of hair personally, evidence we have about their wearer. The MA show has fifteen to but you wouldn’t associate financial situation. the whole twenty different collections, which him with L’Oréal Professionnel. For the award, we give the task means there are a lot of completely But he is an extraordinary winner to a judge, who works without a show that different personalities at play. and he is extraordinary in the brief. They set the criteria. It could It’s not about looking uniform, but way he runs his business. be an editor or a buyer, someone year” the hair becomes a sort of binding John is a young designer with from the industry. In 2019, the

34 35 Sadie WIlliams 2013 Text BRITTANY NEWMAN hiking clips,mirroring thegarmentdetails. shards. Itwasheldinplace withmetalcarabiner graphic ‘frozen’ hairthat stuck outofbunslike She collaborated with Syd Hayes to create sporty looksinspired byherparents’ skitrips. presentation, ‘Off Piste’, a slewofold-school the hairlookforherfirstLondonFashion Week into the hairstyles. Sadie’s personal favourite was collection worked biker chains and hardware with fishingnets.Meanwhile,amotocross was heightened by windswept plaits, interlaced look, oftenquiteplayfully.” Anauticalcollection up withthethemetocreate astrong, directional a theme,soherteamwill“tryandmarrythehair the clearest, mostdirect way.” convey whoyourgirlis,topresent yourvisionin a fulllook,sheadded:“You havetobeable When askedwhyit’s soimportanttopresent fashion willremain deeply and intrinsicallylinked.” fashion is still showcased on humans, hair and people are looking at,” saysSadie.“As long as the designerresponsible. “It’s thewholepackage long, flowinghair, reflecting thetomboyishspiritof colours. Thedramaticgownswere paired with flying theflagforCSMfashioninboldBritannic metallic dresses glidingdown theMAcatwalk, sentarow offloor-lengthIn 2013,SadieWilliams Sadie oftenformshercollectionsaround

“ i T m w ke resu achieve the ea p e created” the tea sup skil y, without os w m l work is sible t o ts tha p l uld be IJ VINCENT SILJE ort it s and Toni&Guy m ’s t o 36

37 Sh an influential Lo o and for thehair, s w to hervision m he w uise Text DORABORAS understanding ofstyle.” His subsequentworkshowshisinnate out ofwaste,shredding andgeneraldisorder! original design handwriting, using textiles created “His BAcollectionwasaconvincingandseductive ’s Walters FENTYlabel.Willie said: also formedthebasisofacollaborationwith torso. Just last year, his day-glo grunge looks tie-dye withpatchworkseamsthatparsethe Wok” top,whichexpertly combines psychedelic history. MostnotablewashisSS19mesh“Hot created someofthetrendiest cultitemsinrecent and MattyBovan.Sincegraduating,ASaihas premiered alongsidefellowalumniMimiWade of FashionEastinFall2017,ASai’s collection faces. pulled backintobuns,clearingsubtlymade-up ragged-knit corset of pink and brown. Hair was with asimplewhiteT-shirt, cinchedwitha Shredded denim-coloured culotteswere paired puffy, patentsleevesaddedforgoodmeasure. with a shredded jacket in greys and black, with movement. A sheer, nude bodysuit contrasted which boundedandbounceddownwithevery ;loosely sutured tocreate voluminoussilhouettes, dusting thecatwalk.Fringeandfabricwere new heights,withfrayededgesandlongdrapes incoming trend, partlypopularisedbyYeezy –to collection tookdistressed knits–thenamajor fledgling designerforhisteam.ASai’s graduate collection, it’s easy toseewhyKanye tapped the launching his own label, ASAI. Looking at his BA rapper-turned-designer forfivemonths,before designerworkedforthe MA. TheLondon-born join theYeezy design team whilehe finished his young ASaiTa wasscoutedbyKanyeWest to Professionnel Young Talent Award in 2014, a After beingnamedfirstrunner-up forthe L’Oréal the 2014 m when Making his London debut with the support o the fashion Nicholas James/Haringtons e indu ment l l st “My m eader in istening AHRN HINDLE CATHERINE W a o s rable ilson, s I su m tr

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ai s a 2014 G race Wales Bonner 2014 Text M-CHILL Vogue DesignerFashionFund. announced asthewinnerofprestigious BFC/ and the Serpentine Gallery. In 2019, she was &AlbertMuseum Contemporary Arts,theVictoria Grace has since shown in the Institute of undercurrents present in her graduate collection, British Fashion Awards. Extending the artistic as EmergingDesigneroftheYear atthe Fashion East,afterwhichshewasselected Her secondcollection,EBONICS,debutedwith success withherownbrand,Wales Bonner. The collectionwasgoodandreally succinct.” loved Grace,sowewere allrooting forher. Director ofFashionatCSM, said:“Everybody on myownterms.”HywelDavies,Programme “It gavemetheconfidencetokeeppushing the attentionofwiderindustry,” sheexplains. Professionnel prize brought my graduate work to to abroader fashionaudience. “TheL’Oréal of protection), shebrought acomplexdiscourse cowrie shellappliqués(alludingtothegoddess trousersuits, almosteffeminate stylingand of models.Through high-waisted bouclé collection, AFRIQUE, on an all-Black cast tailoring andsophisticatedreferences. tactful understandingisexpressed through soulful Langston HughesandAmiriBaraka.Herdelicate, finds its roots inthepoetry ofIshmaelReed, heroism. Grace’s unapologeticallyBlackbravura caricatures, herworkexplores amore sensual to Blackmasculinity. Challengingmacho further European andAfro-Atlantic approaches heritage, Grace Wales Bonner uses fashion to Informed by her mixed Jamaican and English Since graduating, Grace has achieved great In 2014,Gracepresented herBAgraduate

the diversity in “ T w the student he highlight w ere so ere f o different o rk, there r style m JOHN GILLESPIE m e was any s s ” 38 ’ 39 Text ZOELHERNÁNDEZ renowned DeutscheBank Award. win theLVMH GrandPrixScholarshipandthe press, andbecamethe first Irishdesignerto Richard equalpraisefrom earned thefashion A glowingreview foroneof London’s risingstars. way in sustainability with integrity and passion.” by staff. Asayoungdesigner, hehasledthe inspirational tohispeersandwidelyappreciated Walters.day hearrived,”saysWillie “Hewas outstanding CSMfashionstudentfrom the natural-looking hairandmake-up. Richard’s signature isoftencomplemented by that celebratethebodiesandlivesofwomen, cutting techniques to sculpt wearable garments farms andplant-baseddyes.Usinginnovative Richard nowworkswith regenerative cotton withleprechaun-likeadorned buffalo hats. shirts. Asamemorablefinaltouch,thelookswere slipping-off over scrunched-up shoulders worn grey feltskirts,satingowns andtopswith middle ofarecession, his collectionshowcased Inspired byIrishworking-classyouthsinthe usual LondonlifeofaCSMstudentwasoff-limits. Richard wasn’t eligibleforastudentloan,sothe made garden shedinhishometown ofWexford. completing hisgraduatecollectioninaself- BA FashionWomenswear coursein2014, .Hegraduatedfrom the unrepresented socialgroups, aswell Malone isanadvocateformarginalisedand Deeply rooted inreality, IrishdesignerRichard “Richard Malonewastheconsummate Furthering his commitmenttosustainability,

ichard Malone ichard R 2014 Mie mi Wad 2015

Mimi’s ultra-feminine bravura is epitomised bravura is epitomised ultra-feminine Mimi’s her graduate collection to four seasons From Ever since her 2015 BA collection, Mimi Wade Wade Mimi collection, BA her 2015 since Ever Her constant glamour. Hollywood has screamed Pamela 1950s actress her grandmother, muse is In recent woman. Wade the ultimate Mimi Curran – been articulated spirit has Pamela’s collections, housewife on the the lens of a beehived through on her unfaithful, while havoc brink of wreaking and dresses babydoll signature Mimi’s in dressed story. quite the lacy slips. It’s illustrations pin-up posters, movie old of riot a by hand-painted in lace trims, intricately and pretty collection graduate Her colour palettes. acidic “half-eaten” bias-cut slip dresses, featured a thing or an it” when a group by “a creature, into a lagoon. of drunken debutantes fell Mimi accessorised Her imagination running wild, and feather boas with extravagant opera gloves One stand-out in white, pink and canary yellow. hovering above addition was the alien antennas stars and rocks, made up of silver low ponytails, attached to headbands with caterpillar- mirrors like wire. Mimi has with Fashion East and beyond, empowerment managed to balance female debut on the Her AW16 with fun and glamour. leather schedule saw London Fashion Week dangly earrings with striking paired party dresses it was all about and bristling beehives. For SS17, wet-look hair and cartoonish clothes, messy, high-impact making the ultimate low-effort, made models were Mimi’s statement. By AW18, in front rainbow streaks in her own image, rocking the of part been always has Hair manes. brown of package. Mimi Wade NEWMAN BRITTANY Text 41 40 e y ly ly m m rk” l o ed in aying aying y the ea int of w w o e in Peter Mark Ireland er pl o and the and n m MICHAEL CORCORAN MICHAEL CORCORAN v lections lections h to do the to eeing the designers designers dis w s S sa iew r “ o inspired inspired v col bra their p

On many of his graduate designs, fringes On many of his graduate designs, After graduating from CSM in 2015, York-born 2015, York-born CSM in from After graduating into the dived head-first Matty Bovan designer namesake his for designing fashion, of world with Björk, and collaborating label, dressing designs MAC. His and Coach, with the experimental, playing unite the traditional an and print to create havoc with proportion help but delight can’t tension you otherwordly extravaganza Matty presented in. The 12-look Knitwear graduate collection for his MA Fashion Creative Professionnel L’Oréal won him the a Forging energy. same electric this with Award he by tactility and texture, new glamour defined silhouettes collaged between the lines of abstract and fishnets lurex with acid-bleached X-rays, gold googly-eye embellishments. so models’ hair, blended seamlessly into the one. became wearer the and garment the now. in his work Hair still plays a crucial role a consideration as “The hair is just as important elements of all the design and unique character is vital look my shows,” he says. “The resulting collection.” each of storytelling overall the to presented he has years, the Throughout buzzcuts and slicked-back buns, colourful wigs, that hair can be headpieces, all demonstrating Maintaining the just as multifaceted as fashion. of his graduate collection, experimental nature unconventional Matty has never shied away from looks. Having shown with Fashion East for three seasons and won the BFC NEWGEN bursary mad-hatter shows have become a twice, Matty’s schedule. highlight of the London Fashion Week LISA ZIRNGAST Text

M atty atty Bo an v 2015 Text ELLIE JUNE GOODMAN SARAH GRESTY Photography OTTILIE LANDMARK BA FASHION COURSE DIRECTOR CENTRAL SAINT MARTINS

Sarah Gresty is a mainstay of How has the partnership with a few other people from L’Oréal really fantastic. A lot of the staff the Central Saint Martins fashion L’Oréal Professionnel grown Professionnel. experienced being a student here, studios, having succeeded in recent years? What impact so they were already part of the Willie Walters as BA Fashion has this had on the show and The College has seen a lot family. Once you’re in, you really Course Leader in 2016, but her students? of changes over the last two don’t want to leave. CV extends far beyond Granary Without L’Oréal Professionnel, we decades and you’ve been here Square. After graduating from wouldn’t have a show. When I took for a lot of it. Looking back, What was your best or worst Brighton with a degree in Fashion over as Course Leader, we started what or who has defined the personal hair moment? Textile Design, Sarah went on introducing more diverse models, different eras? When I was 10 years old, I had to work for Jean-Charles de which meant a lot of the students Politics and culture play a part. a fight with a girl at school and Castelbajac in Paris before joining were street casting. Over time, I’ve noticed that each yeargroup she pulled my hair out. I had a Azzedine Alaïa as a knitwear L’Oréal Professionnel started doing has a general message they are bald patch on top of my head, design consultant. In 1993, she their hair too, which has been sending, subconsciously. My first so I wore my hair combed over took up a position at Kenzo, going a wonderful evolution. We have year, 2016, was very politicised. and didn’t look in the mirror on to design capsule collections all reacted to what is important 2017 was quite self-deprecating. for a year. That gave me a real for , and and we are trying to make our The next year was all about thing about hair. Christian Lacroix, among others. showcase start conversations female empowerment, and a lot Since joining CSM as a visiting about fashion shows, models, of students used genitalia as a tutor in 1999, Sarah has seen styling and the industry as a metaphor for that. This year was many young designers thrive in whole. L’Oréal Professionnel has about cultural appropriation and the college. In the last four years, been very supportive of that, and the tension between students’ she has seen up-close the positive the prizes they award impact the heritage versus where they impact L’Oréal Professionnel’s students enormously. Getting that grew up. support can have. validation from a company like Previously, there was more L’Oréal Professionnel is huge. tough love, but we have a huge In your role as BA Fashion focus on wellbeing now. It’s so Course Leader, what is What are your favourite important that we enable students your experience of the memories of the BA Shows? to become people who are fulfilled partnership with L’Oréal Fredrik Tjærandsen’s balloon and challenge themselves, but Professionnel? collection was fantastic. most importantly, they enjoy being I have seen how important The White Show at the Royal in the college environment. CSM is L’Oréal Professionnel is to the Albert Hall (as part of the 2019 such a special community. course in terms of its financial, British Fashion Awards) was physical and emotional support. amazing. It’s hard to say what my What makes CSM so unique? The company always sponsors favourite memories are, because It’s an art college, not a fashion a project in the Autumn term all of the shows are fabulous. college. The students are and I continue to be impressed L’Oréal Professionnel makes it encouraged to develop their own by the different initiatives they happen. Sometimes, we don’t stories and be as conceptual as “Without L’Oréal have to encourage creativity have the right plug points for them, they like, as long as it’s got some in students. When I became or the electricity is tripping or we kind of academic rigour. You can Professionnel, Course Leader, I was so don’t have the best mirrors, but see that the course is embedded grateful for their support for they always go with the flow. I was in an art school, because the we wouldn’t the White Show and the BA really proud to see Monica Teodoro students collaborate with all of Fashion Show. at the last show, along with quite the other disciplines, which is have a show”

42 43 K iko Kostadinov 2016

e r v ti c Trevor Sorbie Trevor ecial ecial ad fo p M shows shows M see both see both o JOHANNA CREE BROWN JOHANNA CREE BROWN CS reativity” reativity” colle they are a are they t The London-based designer has touted his designer has The London-based are sp are c Bulgarian-born designer Kiko Kostadinov was Professionnel in the 2016 L’Oréal a runner-up After completing both his BA and MA at Award. Central Saint Martins, the designer launched his own label, adding a womenswear line in 2018 (now helmed by fellow CSM alumni Laura and Deanna Fanning). For his MA collection, Kiko designed a meticulously crafted collection, paying extreme attention to pattern, as his models sported seven a 10-look collection. cuts within trouser different As for hair and make-up, Kiko took an avant- whole-body black models wore approach: garde hair mushroom-cut morph suits, with shaggy, the suits obscured stretchy on top. The shiny, much to unrecognisable, face, so models were the dismay of their agencies. In keeping with styled as the experimental theme, jackets were scarves, shrugging the shoulders of pocketed collection The jackets. cropped and shirts dress had a cool palette of pastel blue, sharp black and white, and steely grey. tandem with a variety for design in flexible eye of well-known brands; his highly-anticipated collaborations with ASICS began to generate international attention for Kiko, and his work with Camper continues to draw a cult following. The raw-hemmed and patchworked hoodies second collaboration with Stüssy – his from Market New Dover Street designed exclusively for some of the most highly sought-after – are York market. But it was resale grails on the streetwear collection when Kiko debuted 0001, a premium that 2017 in Mackintosh, brand heritage for he etched his name into British fashion history. to be a finalist he was revealed years later, Two Prize. LVMH for the prestigious DORA BORAS Text s t is inspiring t is inspiring I a he he uture talent. talent. uture T f individual and and individual “ launch launch 45 44 KIM RANCE KIM RANCE s can s can azing azing Session Stylist l allest learn” m rk and and rk biggest erence. erence. m o f make the eone with rove your rove your etai w

m John has maintained his slow and sustainable John has maintained his slow His favourite model is a man called Kevin, p an a d dif Northern John Alexander English designer in Award Professionnel won the L’Oréal Skelton fashion advocate and sustainability 2016, when was the judge. John’s Blanchard journalist Tamsin fleece at British collection incorporated final MA woven wool of percent three only when time a native sheep. For other from in Britain came and tailoring was handspun garments, linen expensive and time-consuming handwoven, an me out of debt in the got craft. “The award all off paid “It says John. career,” my of beginning put into my graduate collection the money I had own my up start to extra little a me gave and It was helpful. business, which was extremely always the first thing journalists mentioned in interviews too.” His Autumn/Winter post-graduation. approach mannequins and 2020 show swapped models for Ryan and collaborator, was narrated by his brother make-up look was Neil Skelton. The only hair and dystopian despair punctuated by tangled, Ryan’s: silver spectacles. cracking white face-paint and street-cast “In my other shows, I’ve generally clothes focus on models,” explains John. “The paramount that the models have so it’s identity, too and hair is their own unique sense of identity better that the it’s central to that. I always think the clothes, rather model has a sense of wearing than the clothes wearing the model.” an – “it’s turning grey whose tight ringlets are amazing combination of colour and texture.” some kind of oddity or strangeness Often, there’s not generically beautiful to his models. “They’re John adds. “I choose models who are either,” what care I like people who don’t slightly off-kilter. a bit unkempt their hair looks like; people who are interesting, more it makes It rough-and-ready. or worncollection full at a looking of different lots by hair types. Everybody people with different way.” embodies clothes in a different BELLA WEBB Text

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When it came to his MA, Richard found to his MA, Richard When it came With textiles and extravagant his hand-printed Prior to the MA collection that launched his career his career that launched the MA collection Prior to BA Fashion Print Quinn studied Richard in 2016, of sense, makes a lot fact that – a little-known florals that powerhouse look at the when you South-East The signature. his be to come have six years at Central Saint Martins, Londoner spent His foundation to finish. collection final BA from gowns in half and collaged them hacked evening hemlines and with asymmetric back together, to boot. clashing prints McCartney the Stella from sponsorship endorsement this to match Keen Foundation. a fabric he even developed with eco credentials, mimic to products animal from free coating Models sauntered the look of patent leather. coats trench oversized in catwalk the down atop gowns, all sitting pretty and flower-strewn in black head-to-toe bodysuits. Bodysuits pink velvet and and white houndstooth, hot added a dark edge not-so-innocent blue gingham aesthetic. otherwise exuberant to Richard’s a hair in sight, but his shows since wasn’t There roller- From little ‘do peek through. have let a in and beehives, the hairstyles waves to bouffants to the shows have added new meaning his recent collection. 1950s inspirations behind his graduate work shows a cabbage silhouettes, Richard’s He even has aspirations. with couture rose was Richard 2018, in approval; of stamp royal a the inaugural Queen Elizabeth II Award awarded for British Design. LÉANA ESCH Text 47 46 e h s, v c s e u ger ger Fry + Dean c m minds here is ration ration ELLENORA DEAN ELLENORA DEAN reati o so T h, ea c “ ent that ent that s l ackstage”

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As she concludes an almost decade-long almost an concludes she As Paolina Russo’s illusion knitwear, expert knitwear, illusion Russo’s Paolina bodysuits athletic and colourful, upcycling, when she everywhere fashion lovers hypnotised Fashion MA Martins Saint Central the opened After 2020. Week Fashion London at Show Talent Young Professionnel the L’Oréal winning the young in 2018 for her BA collection, Award the the distinction thrust her into designer says people to a launching platform for spotlight. “It’s about your and have an idea are know who you you before identity as a designer, work and your she says. “Having the L’Oréal even meet them,” to my name did brand attached Professionnel that for me.” journey Paolina looks forward as a CSM student, has to hold, but embarking to what the future “When I was is bittersweet. on a new adventure I was getting getting close to the MA show, like the bookends of that emotional, because it’s the show to be a chapter of your life. I always find and BA Paolina’s Both moment.” powerful really by the suburban inspired MA collections were and adolescence nostalgia of her childhood and make-up, in Canada. For the runway hair with her Paolina looked to her initial experiments adding a personal own appearance as a teenager, nostalgic touches touch to the show – sensitive, for her memory have become a signature from colourful The make-up looks were the designer. she “I was a super emo teenager,” and extreme. laughs. “I was always chopping up and colouring so I want to bring that essence.” my hair, team was essential in Professionnel The L’Oréal designing bringing her vision to life. “When you’re designing a whole world. For me, clothes, you’re brings Hair that I’m creating. girl this there’s vision of my woman.” the entire forward DORA BORAS Text 49 48 ly ly od rk” do l I o o Daniel Galvin m l and l and u learn learn w l s I ok for ok FRANKIE PULLEN FRANKIE PULLEN o work on work I e u done and n’t W o “a hair. a show, how how a show, w the l get the get to get things to and boards before before boards every time every what wi what

Three years on, Stefan and Jake still reference years on, Stefan and Jake still reference Three Award Professionnel Winning the L’Oréal L’Oréal Professionnel Award-winner Stefan Stefan Award-winner Professionnel L’Oréal alongside brand runs his eponymous Cooke Fashion he met in the MA Jake Burt, who partner reworking have been 2017. The pair class of clothes ever remarkable concepts into humdrum Professionnel with L’Oréal since. Collaborating concept early on. the label’s helped ground into very much was Professionnel “L’Oréal look to enhance the uniformity,” working out a seeing the full line-up with says Stefan. “Actually to felt like a positive end full hair and make-up it comes to the label, Stefan something.” When good, keep to try always “We congenial. it keeps outfit,” he a plausible hair to ground standard Like hair. -boy of fan a always “I’m says. messy.” super normal, clean but kinda reinforce to tweak, it using collections, MA their boy is and how and update who the Stefan Cooke leather The incandescent to move him forward. red in eel black, firebird that appeared trousers collection were and pearl-shine white in their last elastic the MA collection’s updates from direct a call back,” says versions. “It was definitely pieces, about establishing those core Stefan. “It’s ways to convey them so they while using different seem stale.” don’t ideas forward. gave Stefan the validation to push using one silhouette “The MA was a standard put and jacket pattern,” he explains. “We trouser money to use straight away so Jake the award could actually start cutting things and trying stuff fabrics, better meant we could buy out. It also his name which was good.” When Stefan heard even he didn’t called out at the graduate show, not “During the MA, you’re what it was for. realise just trying thinking about winning a prize, you’re advice it.” When asked what his to get through would be, he said: “There recipients to future to be achieved, so use it as is so much more a springboard.” M-C HILL Text Portrait photography STEPHANIE FRANCIS SHANAHAN

Stefan C Stefan oke o 2017 Chop ova Lowena 2018 Bulgarian traditionalclothingcalled punky skirts are inspired by an element of such contrastscool.Thepleatsintheirsignature juxtaposition typicalofabrandbuiltonmaking with 1980s rock climbing references; a stark in authenticfabricsaswellthesilhouettes) merged Bulgarian national dress (articulated by Bulgariantraditionaldress.collection TheirMA unique brandofstreet-style favouritesinspired in thefootstepsofMarques’Almeida toforgetheir Graduating from theMA in 2017,theyfollowed to jointlyenrol onCSM’s MAFashioncourse. and Laura Lowena were the second pair ever Bulgarian-English designersEmmaChopova Text BELLAWEBB Matches andFarfetch. critical acclaim, with stockists including Browns, CSM, thepair have launched their ownbrandto going backtotheessence.”Sinceleaving “escapism, with asenseofnewfuture and the spiritofayearFabioPirasdescribedas the ChopovaLowenastyleperfectlycaptured folkloric footwear. they are more commonlystyledwithtrainersthan Graduating intoanuncertainpoliticalclimate, bruchnici , but wonderful and S aint Mar t Pro o I and ’ have been a m “ c I h thinkthe onne fessionnel fessionnel part o between AHY DARTNELL KATHRYN C noured L’ entral O tins is c o réal tion f it” 50

51 Portrait photographyRAMINTA CEPONYTE Text HILDAKOSUNEN my owntwofeet.” Professionnel hasmadeit a loteasiertostandon says. “The support I have received from L’Oréal steps aftergraduationcanbechallenging,”he his workonfashionperformance.“Thefirst Talent Award, Fredrik hasbeenabletocontinue when thebubblesinflated.” latex. Anyloosehaircouldhavebecometangled actually ahealthandsafetyissue,becauseofthe water-based products. The hair styling was Fredrik explains.“Butwe were onlyabletouse we wantedtoreally reflect thatinthehairstyling,” tight brief. “Since the latex has a special texture, L’Oréal Professionnel hairteamhadtoworka you are intheworld.” and takingyourfirststepstowards shapingwho your unclear memories of adolescence behind element offreshness and innocenceinleaving burst totheclarityofmaturing:“There isan upwards. Fredrik likensthemomentbubbles spheres consumingthemodels from theirwaist hanging likewrappedwings,andbubblegum ballooning bluearm-bands,darkcrescent moons deflated toformsculpturaldresses. There were down therunwayinsideboldlatexbubbles,which fashion andperformanceart,hismodelswalked viral fashionmoment.Blurringthelinebetween Tjærandsen isthedesignerbehind2019’s biggest Norwegian BAFashiongraduateFredrik Winning the L’OréalWinning Professionnel Young To pulloff themid-runwaytransformations,

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idea collab f with the t with de where we share we where o For her MA collection in 2019, Sheryn drew Sheryn drew For her MA collection in 2019, intertwined,” she “Hair and fashion are Sheryn Akiki is one of few designers to win the few designers Akiki is one of Sheryn and at both BA Award Professionnel L’Oréal win twice. expected to but she never MA level, the for me backstage was helping mum “My told me that says. “She Sheryn BA show,” two of my looks and given someone had taken for which is not usually the show, her a ticket for might they I thought that, of Because parents. but me, which was very bizarre, be considering surprise. I was already was a total the MA award their wigs and taking off the models undressing me so Fabio had to get when it was announced, my graduate meant backstage. The awards from were and coverage press of lot a got collections down the line, years for shoots. Two requested helped with my visa application.” that really judged the Karelis Machine-A founder Stavros leading to a collaboration MA prize that year, “It was a very lucky with Sheryn after the show. position to be in.” German choreographer her inspiration from an extension of Pina Bausch, who saw hair as work, one particularly memorable In the body. with laundry, doing their dancers are Bausch’s tumbling locks. suds and pegs buried in their and Sheryn Dalston, from wigs cheap Using similar created team Professionnel the L’Oréal have a sense of looks. “The hair was meant to she says. “One woman urgency and humour,” looking was running out of the house before her in stuck comb a was there so mirror, the in as a parody hair extensions, One had bad hair. was Another behind getting ready. of the process by a friend in Lebanon; she sent me a inspired having was she where the hairdresser, from photo in her hair dyed and her whole head was covered dyed never foil. I’ve aluminium Cleopatra-esque so I thought it was incredible.” my hair, narrative a show to trying are you “If continues. or give a certain emotion in a split-second, every detail matters.” Her own hair is long and “Fashion classic middle-parting. with a untreated, is about how you feel and how you hold yourself. My hair is my comfort zone.” BELLA WEBB Text 53 52

Looking back at the MA show, Goom clearly Goom clearly the MA show, Looking back at emerging As the brand continues to sponsor South Korean designer Goom Heo has a rich has Heo Goom designer Korean South won the having Professionnel, L’Oréal history with collection BA 2017 her for Award Talent Young Creative winning the it up with and followed me to “I think it helped her 2019 MA. for Award collection to a wider myself and my introduce that.” appreciated says. “I really audience,” she support in great offering the hair team remembers her moments before the thrilling-but-exhausting “It was to the crowd. presented collection was “but it she recalls, backstage,” crazy stressful team Professionnel L’Oréal the to have great was the is Hair make-up. and hair with me helping has to be perfect. last touch to finish the look; it of it meant we to take care Having the team there Since graduating, Goom need to worry.” didn’t Fashion making her own brand, her started has East debut for Autumn/Winter 2020. “Hair and The clothes fashion always have to be together. of mood the hair that creates is the lot, but it do a she says. the models and the collection,” advice be for fashion talents, what would Goom’s “Just trust your of the award? recipients future work and your gut.” LISA ZIRNGAST Text

g om he om o o 2019 Leeann Huang 2020 Text ZOELHERNÁNDEZ trying tosay.” and concepttogethertoelevatewhatyouare “Fully stylingsomethingcanbringthewholelook would wonderwhatwashappening,”shesays. see verysimplehairwithanamazingdress, you and elevatethenarrativeofacollection.“Ifyou and make-upshouldinteractwiththeclothes ‘Ultraman’ for hairstyle inspiration. For her, hair at the crazy helmet shapes of ‘Astro Girl’ and Keeping theinfluenceofcartoons,Leeannlooked crime andthenwentonwiththeirday,” shesays. super positiveandauthenticwomenwhofought joyous aboutherfinallooks.“It’s allaboutthese bomb hats,there wassomethingfundamentally for embroidery, embellishmentsandfauxfurfluff- designer to atee.Usingrecycled PET and TPU shift dresses showsoff Leeann’s skillasatextile expect towinaprize.” something that represents me very well. I didn’t a collection that Iwould be veryhappy with, applause. “TheonlygoalofmyMAwasmaking herself standing on the catwalk, surrounded by and confused.”Itdidn’t sink inuntilshefound as thejointwinner, Leeannwas“really surprised effect onthecatwalk.When shewasannounced clean-cut shapes to create a “walkingtelevision” Californian’s collectionusedcolourfultextilesin vibes ofcartoonslike‘ThePowerpuff Girls’,the graduate collection.Infusedwiththe1990s winner LeeannHuangappliedtoherMA that 2020L’Oréal Professionnel Creative Award “Go biggerorgohome”–thisisthemantra The campandcolourfulcollectionof1960s 54 55 creative consultantat under thechin.According toAndrew Davis– bonnet crowned withacabbage leafwastied by singular, hip-length dreadlocks, and a lilac bonnets. Crinkled silk capswere accompanied rosettes ofindigonetting or olivegreen cottage fleshy velvetpeach. bleeding intolividlilacsandyellowsripening The palettewasbruised:blackandpurple tightsandtwistedtulle. in crinkledsilks,torn feminine. Itevokedasortofdystopia,executed the boundariesbetweenferaland “kind of unfinished” looks. The collection blurred mid-movement insoftfocus,Sarahpresented Moon’s photography, whichcaptures models ethereal takeonprimalinstinct. Inspired bySarah 2020 L’Oréal Professionnel Creative Award for her her MAcollection.TheScottishdesignerwonthe the words SarahMcCormack usedtodescribe a waveofpleasurabletransgression” –theseare “In sterile and paranoid times, it was joyriding on Text JESSWORTH takeoncouture.”very modern against thesterilityofstyleandsocietywas“a and panelistfortheprize–Sarah’s battlecry The hairwasstyledtositbeneathbunched The Face The , veteraneditor

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c r o C M Sarah k a m c 2020 FR OW: 20 Years of fashion shows supported by fashion press and celebrities

this spread, clockwise from top centre: JOHN ROCHA; PALMER HARDING; CHRIS NEW, EDWARD MEADHAM and BENJAMIN KIRCHHOFF; GARETH PUGH, HARRIET QUICK and PAUL EDMONDS; GARETH PUGH, DAVID KOMA and GRAYSON PERRY; ROKSANDA ILINCIC, JOE CASELY- HAYFORD and JAMES GALVIN; JARVIS COCKER; HILARY ALEXANDER and ; and DAVID KAPPO; ZAHA HADID 56 57 and JOHN VIAL class of 2020BAF 2020

opposite page: ALEXANDRA ARMATA

this page, clockwise from top left: MASHA POPOVA; DINGYUN ZHANG; JEGOR PISTER; SASKIA LENAERTS; MASHA POPOVA; 58 59 PAOLINA RUSSO this spread, clockwise from left: ALEX WOLFE; SARAH McCORMACK; RUBBER TIME JOURNAL by PIE SUTITHON and DEBORAH WANGSAPUTRI; RAMINTA CEPONYTE; PAOLINA RUSSO; 60 61 DINGYUN ZHANG opposite page: RAMINTA CEPONYTE

this page, clockwise from top left: MATTHEW NEEDHAM; ALEXANDRA SIPA; MASHA POPOVA; ELLA BOUCHT; DINGYUN ZHANG; ANDREA VYTLACILOVÁ; 62 63 SUN MU LEE this spread, clockwise from top left: ELLA BOUCHT; YASMINA ATTA; LEEANN HUANG; ALEXANDER MITROVIC; SASKIA LENAERTS; LEEANN HUANG; JEGOR PISTER; PAOLO 64 65 CARZANA; GUI ROSA opposite page: HARRY BRADBURY

this page, clockwise from top left: SARAH McCORMACK; MASHA POPOVA; JAWARA ALLEYNE; CAMERON WILLIAMS; 66 67 GUI ROSA; GUI ROSA Harry Fa shion Bradbury Communication 2020

Alissa

Aulbekova 68 69 Raminta Ceponyte

Jessica

Gianelli 70 71 Text HILDA KOSUNEN HYW VIES Photography ETHAN HART EL DA PROGRAMME DIRECTOR FASHION CENTRAL SAINT MARTINS

As Programme Director of than that. Our students are not just What have been your favourite Fashion, Hywel Davies has been designers, photographers, stylists, CSM hair/fashion moments in the backbone of the Central Saint writers – they are questioning what the last twenty years? Martins Fashion department fashion is and what it can be. That Every year is different. I am for four years now. Having has always been the DNA of CSM, generally quite emotional, because graduated from the BA Fashion: since 1930. the staff and students have worked Communication with Promotion so hard. It is like the end of an era, course in 1998, Hywel has Why is the L’Oréal but it is also a relief when it goes close ties with the College. Professionnel Award so well. Still, there is a lot of pressure He returned in 2009, having forged important for young designers? leading up to it, just because the a successful career in journalism, The Awards recognise students’ expectations are high – not only writing for the iconic Sleazenation, talent, as well as helping them to from the students and staff, but as well as Vogue, ELLE and The pay back some of the money they also from the industry. Fortunately, Observer. Hywel is also the author spent on making their collections. we have the L’Oréal Professionnel of five books: Modern Menswear, It is a big deal to win that Award, team to support us all along the 100 New Fashion Designers, especially because so many great way, making it a really good place British Fashion Designers and designers have won it before. to be. Fashion Designer’s Sketchbooks (1 and 2). More recently, he co- How would you describe the authored Fashion Central Saint relationship between hair and Martins with fellow faculty member fashion? Cally Blackman. When our students are designing their final collections, they are not What makes L’Oréal only thinking about the clothes, but Professionnel so compatible also about the person who is going “The hair with CSM? to wear them. The hair makes the L’Oréal Professionnel works at the total look. The hair defines the makes the pivotal crux of hair design in the person as much as what they are industry and is globally known as wearing. total look. being the best. Hopefully, CSM fashion is also respected globally Which of the shows sponsored The hair for creating the best, most talented by L’Oréal Professionnel stands designers and communicators. out to you and why? defines It is more like a family, where you I always remember the year sometimes fall out and you can Grace Wales Bonner won. the person challenge each other. You both We had the BA Show outside, push each other because you because we usually have fabulous as much want the relationship to be the weather in June, but that year, most successful. there was a terrible storm. as what The water was coming in through What makes fashion at CSM the roof and it was freezing cold. they are distinct from other colleges? It was chaotic, but I just remember Fashion in CSM is never just about the most wonderful atmosphere wearing” clothes, it is richer and deeper – it was amazing!

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“Watching the models walk in this venue with the audience of fashion industry greats showcasing the students’ work, with a soundtrack of voices of protest and voices of change was a really powerful moment” NICOLE IROH Creative Ambassador, Headmasters

74 75 “The graduates are always so full of fresh ideas and it’s my job to make it workable for their show and enhance the overall look” JASON HALL

76 77 L’Oréal Professionnel C redits and hair teams acknowledgements

CENTRAL SAINT Claire Morley Jake Courtange Mark Caswell Sharon Landman EDITOR MARTINS / L’ORÉAL Clare Hansford James Foster Mark Palmer Shay Morris Bella Webb PROFESSIONNEL Claudia Ma James Oxley Mark Woolley Sheena Otterson 20 YEARS: Craig Johnson James Wood Martine Carroll Shelley Inkster ART DIRECTOR 2001– 2020 Cristian Pignatta Jamie Armstrong Massi Moura Shelley Sumner Claude d’Avoine Cristiano Basciu Jamie Benny Mathieu Krug Silje Vincent HAIRSTYLIST Daffyd Rhys Jamie Busby Matt Robinson Siobhan Baynes CONTRIBUTING CREDITS Dale Perkins Jason Hall Matthew Suttcliff Skyler McDonald WRITERS Danielle Langley Jason Lawrence Megan Summers Sophia Tsilidis Abi Sheldon Darcie Harvey Jason Wyatt Melanie Greenwood Sophie Beattie Brittany Newman Adam Bennett Darren Fowler Jayde Collins Melis Osman Sophie Chandler Chiara di Bernardini Adam Foulser Darren Hau Jayne Mahon Michael Corcoran Sophie Harris Dora Boras Adam Reed Darren Rennison Jennifer Linton Michael Rowen Stacey Egan Dr Geraldine Biddle-Perry Adam Vincent Davide Spinelli Jimi Parkinson Michael Shirley Stacey Hallam Ellie June Goodman Afrodite Koutsouki Despina Sianou Jo Dawson Michaela Galvin Stephen Low Hilda Kosunen Alan Edwards Dominic Lamarind Jo Gossage Michelle Mack Steve Brook Jess Worth Alan Simpson Drew Udall Joanna Macdonald Michelle Mtsibuysu Steve Carr Léana Esch Alfie Booth Eboni Day Jodie Spencer Michelle Pumfrett Steve Robinson Lisa Zirngast Alfie O’Neill Eileen McGrath Jodie Varley Michelle Quinn Steven Riashi M-C Hill Alison Bailey Elettra Guggeri Jody Toner Miffy Goknil Taku Morimoto Shriya Zamindar Alison Dace Elle Modlock Joe Nions Millie Brockway-Fox Tallulah Talone Sophia Mozzali Amy Clarke Ellenora Dean Joey Wheeler Monika Molnarova Tammy Cox Zoel Hernández Amy Ward Ellie Sear Johanna Cree Brown Montana Lowery Tanya Hennessy Ana Fernandez Emily Smith John Cheese Naomi Regan Tasha Newman CENTRAL Ana Storer Emily Watter John Fallows Natalia Vera Lopez Thauibault Dibleds SAINT MARTINS Andrea Daley Emma Beveridge John Morrissey Natalie Bayley Tina Farey EDITORIAL TEAM Andrea McShane Emma Donohue Jonathan de Francesca Natalie Maxwell Tiziana di Marcelli Andrew Cronin Emma McDade Jonathan Soons Natalie Taylor Tom Arnett Adam Murray Andrew Mulvenna Emma Sheerman Jonny Engstorm Natasha Reed Tom Berry Charlotte Terry Andrew Simmonds Emma Vickery Joseph Dalby Nathan Jasztal Tom Connell David Kappo Andria Kaisharis Eve Weatherspoon Josh Aspell Neil Garradley Tommy Cracknell Fabio Piras Andy Heasman Evie Kearney Judith McDonald Neil Woolley Tommy Kane Ffion Knaggs Angel Montague-Sayers Faye Downey Judith McKay Niamh Murphy Tracey Gallagher Hywel Davies Angela Dolan Federico D’Abate Julia Nerpal-Saroin Nick Tucker Tracy Ward Judith Watt Angela Lowery Felix Bruns Justin Smith Nick Williams Trevae Humphrey Mel Ashley Angela Martin Fern Turner Justin Sterling Nick Wynne Troy Barber Peter Close Angelo Seminara Ferne Baker Kaci Clarke Nicola Anning Valerie Benavides Philip Clarke Anna Chapman Fiona Connelly Kareem Abael-Dahab Nicola Clarke Vanessa Essack Roger Tredre Anna Cofone Fiona Fraser Kashif Bishop Nicola Green Vicki Stewart Sarah Gresty Anna Sjoberg Fran Ayton Kat Joyce Nicole Iroh Vicky Matthews Anna Stephanou Frankie Moody Kate Harrison Nicole Van der Heide William Ackerley INSTAGRAM Anna Storer Frankie Pullen Kathryn Dartnell Olive Tucker Yesmin O’Brien Annakarin Sjoberg Gary Brown Kathryn Davenport Olivia Collison Yuraimes Jimeniz @fccsm Antonio Hector Gary Bushell Katie Allan Olivia George Zoe Irwin @bafcsm Ashley Cockrell Gemma Dooby Katie Hay Ollie Mehra @mafcsm Ashley Rattay Gemma McNamee Katie Mulcahy Paolo Mensile PHOTOGRAPHERS @ma_fc_csm Bailey Humphreys George Waterfield Kelly Ogden Patrick Wilson @gdfcsm Ben Colabella Giuseppe Manco Kim Linstead Phil Gallagher Ambra Vernuccio @lorealpro Ben Randle Giuseppe Stelitano Kim Rance Phoebe Wade Eeva Rinne #lorealprouk Beth Dawes Grace Campbell Kirsty Martin Polly Miteva Karen Hatch #lorealproire Billy Dodds Grace Dalgleish Kristine Solem Rachel Brown Jon Bradley Billy Fry Grace Harwood Laura Saunders Rachel Emerson Binky Greg Temple Lauren Bell Rachel Syas Bradley Szekeres Guillaume Vappereau Lauren Huxley Rachel Valentine And thank you to all Bree Davie Haley Reeves Lauren Twig Reiss Harris the students and team Cameron Davidson Hannah Bishop Leah Miles Richard Phillipart at Central Saint Martins, Carly Aplin Harriet Calvert Leigh Hunt Rob Eaton the Production and Carolina Crona Harriet White Leon O’Donnell Roger Rogenmoser Stage Management Caroline McCabe Heidi Rydquist Liam King Rosie Dooley crews, make-up artists, Caroline Schmitt Helen Timofti Lisa Rhead Rosie Potter dressers, sound and Catherine Hindle Herman Ho Liz Jones Ryan Edge lighting and everyone Catherine Ho Holly Martin Lizzie Fox Ryan Steedman who has helped on Catherine Scobie Holly Parkingson Loretta Karam Smith Sacha Faulkner the creative projects Charlie Clarke Honey Dorey Lorna Magilton Sally Gooch and shows. Charlie Manns Ian Yapp Lotti Corbett Sam Ashcroft Charlotte Carson Ida Stenman Louise Queree Sam Burnett Special thanks to Charlotte Knight Ilker Nalkiran Lucy Highland Sam Hawkins Saloni Chotai and Cher Savery Indira Schauwecker Lucy Howden Sam McKeown Catherine McMahon. Chloe Ascott Isabel Clowes Lucy Thompson Sam Stone Chloe Wharton Isabel Harris Lucy Welling Sam Turner Chris Appleton Isabella Hyde Lukas Szejka Sammy Jellyman Chris Pascoe Jack Lawrence Luke Gregory Sarah Begley Christina Baker Jack Merrick-Thirlway Luke Pluckrose Sarah Linley Christina Garrity Jade Collins Maggie Bennett Sarah Pulleston Ciaran Harbinson Jade Litten Mai Ha Scott Chisholm Cilar Peskan Jade Pointon Manuel Novo Sean Dawson Claire Mariscal Jaime Lynn Marc Trinder Shannon Keegan

78 79 L’Oréal Professionnel & Central Saint Martins 2020 special edition Celebrating 20 years RUBBER TIME of Fashion & Hair JOURNAL by PIE SUTITHON and DEBORAH WANGSAPUTRI UGB04814 CSM MAGAZINE SEPT 2020 5051504083933

www.csm.arts.ac.uk www.lorealprofessionnel.co.uk