Cut loose!

It’s the big­gest change in hair­styles for quite a while, but say good­bye to all those so­phis­ti­cated up-dos, says Janet Im­pey. This is the sea­son to loosen up and let your hair down

The Jewish Chronicle - JC Magazine - - Beauty -

EVER SINCE the world fell in love with Kate Mid­dle­ton, it was in­evitable that her long glossy locks would set a trend. The New York cat­walk shows were full of models with Hol­ly­wood-style long loose waves with a groomed and glossy fin­ish.

There were grungy “un­done” tex­tures as well, notably at Hel­mut Lang, plus hair caught back in the in­evitable shiny pony tail at Alexan­der Wang and Ro­darte.

Ponies, braids and city slick­ers were also favourite styles in Lon­don and Paris, where an edgy 1960s vibe made sleek, straight hair very cool.

If Jean Shrimp­ton was the in­spi­ra­tion for long hair, that other 1960s icon Mary Quant in­flu­enced the shorter cuts, where tex­ture, matte and shine, added a mod­ern spin. In Mi­lan, both Prada and Louis Vuit­ton cham­pi­oned the ’60s, with long

Kate Mid­dle­ton’s long and glossy locks have in­evitably set a trend

hair pulled into low ponies and the crown teased into bouf­fants, with added head­bands and rib­bon hair ac­ces­sories.

On the cat­walks, high-shine heads of­ten came with cen­tre or low side part­ings and a ton of gel — some­times used in pan­els across the hair or used just at the top of the head while the rest of the hair was left soft and loose — Mis­soni be­ing the stand-out ex­am­ple.

“This tex­tured look is really im­por­tant this spring,” says top hair­dresser Dar­ren Bain, part of the cre­ative team at HOB sa­lons. “It bor­rows some grunge ideas from the 1990s, not just the shine and matte con­trast, one against the other, but in­cor­po­rat­ing tex­tured lay­ers to give a more un­done look.

“A sim­ple pony­tail can have loose strands pulled out ran­domly, while heavy fringes can be bro­ken up or swept to the side as if grow­ing out a long fringe. It’s all about di­shev­elled def­i­ni­tion, which means you have to get a good cut, then style and pol­ish the hair be­fore fi­nally mess­ing it up so that it’s not too per­fect.”

As with barely-there makeup which­takeshourstoachieve, un­der­stated hair can be just

as hard to ac­com­plish. The se­cret is to style hair first, be­fore slick­ing down the roots or the front sec­tion of the hair. Pre­vent fly­away hairs by us­ing a gel like L’Oréal’s Stu­dio Line Min­eral Con­trol (£3.56) for full-on shine, or use El­nett So Sleek Hair­spray (£3.79) for a smooth fin­ish.

Pony tails were also given the high-gloss treat­ment. At the Acne show, back­stage mae­stro Eu­gene Souli­man used Wella Pro­fes­sion­als Shim­mer De­light Shine Spray on top of a slick of gel at the front of the hair. “I sprayed this just be­fore the models hit the cat­walk, so the shine un­der the lights was max­imised like a ray of light,” he says.

“This glossy ’ 90s min­i­mal­ism needs straight­en­ing irons to achieve su­per-sleek hair, fol­lowed up with a good blow-dry,” says tal­ented hair­dresser Sam McKnight. “Back­stage we al­ways use Pan­tène Pro V Heat De­fense Gloss Spray (£4.49) to pro­tect hair from heat dam­age — it will be a key prod­uct this sea­son.”

At Tr e v o r Sor­bie, Adam Sz­abo, cre­ative stylist at the Covent Garden sa­lon, sug­gests us­ing the straight­en­ers back­wards along the hair shaft to­wards the root. This will cre­ate vol­ume at the root while re­tain­ing a sleek fin­ish,” he says. To achieve a good smooth blow-

Barely-there makeup may take hours. Un­der­stated hair is just as hard

dry at home, ap­ply Trevor Sor­bie Beau­ti­fully Straight­ened Smooth­ing Balm (£5.10) to damp hair. Use a Trevor Sor­bie pad­dle brush to hold hair taut and po­si­tion the hairdryer to­wards the brush, guid­ing it al­most to the ends. The bet­ter the blow-dry, the less need you will have for hair straight­en­ers.

At the Head­mas­ters sa­lons, the spring blow-dry col­lec­tion has reached a new art form, us­ing L’Oréal Pro­fes­sion­nel prod­ucts like the Mythic Oil for a grunge fin­ish, or cre­at­ing pol­ished waves full of vol­ume and curl, or try the su­per straight fin­ish us­ing a gleam­ing Techni Art Crys­tal Gloss. From just £27 for a pro­fes­sional blow-dry, it’s worth it to watch the pro­fes­sion­als at work and to learn their tricks.

One thing that all stylists love to use when cre­at­ing vol­ume is a good mousse prod­uct. The lat­est are soft and pli­able and should be used spar­ingly. Try L’Oréal Stu­dio Line Silk & Gloss Mousse (£3.69) when you blow-dry at home, as it will give hair the added guts to help it stay put. Ap­ply a lit­tle to your palm, then comb it into damp, towel-dried hair. To en­sure even distri­bu­tion, sec­tion your hair from be­hind the ears and comb the mousse through the un­der­neath first and then through the top sec­tions of hair.

For ex­tra vol­ume, Lee Stafford’s Big Fat Root Boost Mousse Spray (£6.99) can be sprayed di­rectly on to hair roots be­fore us­ing your hair dryer to blast the hair, brush­ing from the root to the tip for a smooth fin­ish. “Leave long and loose, or if you want vol­ume with

a mod­ern messed-up look like the tex­tured waves seen at the Roberto Cavalli show, this is eas­ily achieved by twist­ing hair around a wand and adding a spritz of my Big Fat Tex­turised Hair Su­per Spray,” says Lee.

The most pop­u­lar cat­walk show tex­tured looks were ei­ther back­combed to add height to the crown, or had con­trast­ing pan­els of matte and glossy hair.

Cre­ate less-ex­treme looks with Paul Mitchell’s Awa­puhi Wild Gin­ger Tex­tur­is­ing Sea Spray (£18.95), per­fect for a sexy, di­shev­elled look.

Add con­trast with Toni&Guy’s Hair Meet Wardrobe Clas­sic Smooth­ing Lo­tion (£7.19), which adds great def­i­ni­tion and shine.

It’s all about try­ing new ways with hair tex­ture, re­gard­less of whether you have a long or short cut. Chang­ing your look is im­por­tant if you don’t want to end up in a rut and it’s the rea­son why so many celebs never really get bored with their style, says top hair­dresser Mark Hill.

“Although the looks seen on the cat­walk play a big part in shap­ing hair trends, they al­ways need a lit­tle tweak­ing to make them wear­able at home. If you have long hair, try fram­ing your face with loose waves — use my Bad Girl Glam Wicked Wa­ver — and leave the back sec­tions straighter.

“Elec­tri­cal ap­pli­ances are con­stantly be­ing up­dated, so there is noth­ing to stop you go­ing from straight one day to wavy the next.

“For an in­stant change, I rec­om­mend my Rock Rollers — th­ese jumbo-sized heated Vel­cros give your hair max­i­mum vol­ume with min­i­mal ef­fort.

“Strong part­ings were also seen ev­ery­where on the cat­walk, but can look rather se­vere. Try sim­ply swap­ping the side your hair is parted on to get more vol­ume, or ex­per­i­ment with a new hair ac­ces­sory to change the or­di­nary into some­thing ex­tra­or­di­nary.”

An­other quick fix is to plait in some braids. Seen at Bal­main, Holly Ful­ton, Mul­berry and Matthew Wil­liamson, this was a key look for long hair.

“It’s im­por­tant to look at cat­walk ideas and work with shapes and styles that will suit your own per­sonal im­age,” says Nick Ir­win for Tiggi hair.

If you have nat­u­rally wavy hair, the glam­orous hippy look is made for you. If you are lucky enough to have nat­u­rally long straight hair, ei­ther wrap it around large-bar­reled curl­ing tongs be­fore un­rav­el­ling slowly to re­veal loose flow­ing waves.

Straight hair also looks good in a sim­ple pony­tail, left smooth or tex­tured up, but it will de­pend on your face shape as to where to put the part­ing or whether to have a fringe.

Not ev­ery­one will suit a cen­tre part­ing or a neat bob and if you have shorter hair, it is much more re­liant on styling prod­ucts to keep it tou­sled or smooth, and of course the key to ev­ery­thing — the cut. Take ad­vice from your hair­dresser be­fore mak­ing any sweep­ing changes. This is def­i­nitely the sea­son for straight talk­ing.

Akin Konizi’s 1960s look for HoB sa­lons

Sleek pony by Tigi cre­ative team for Gian­franco Ferre

Head­mas­ters’ “Man­hat­tan Kick”: ideal for Kate Mid­dle­ton’s ad­mir­ers

Tex­tured waves by Lee Stafford

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