Giambattista Valli

Giambattista Valli gave as a cue for the beauty look of his fall show the idea of a nomadic traveler, Paul Hanlon said. “It’s a continuation of a story from last season,” he explained, referring to a tale of a young aristocrat who falls in love with an artist to the chagrin of her family. This season she’s on the go, but “still has to feel quite grand, in a way, and very strong,” continued Hanlon. So models’ hair was left seeming natural, but with a polish and control, especially through the top of their heads. Tresses were given a messy middle parting, then tucked behind ears. “For some girls we’re just tying [hair] back in little messy knots, like she’s thrown it up,” he said. Key products came from L’Oréal Paris’ Elseve and Elnett brands. — Jennifer Weil

Stella McCartney

Eugene Souleiman described the hair look at Stella McCartney’s show as “raw.”  Models’ hair was freshly washed, then leave-in conditioner was added. “So it’s totally their natural texture,” he said. — Jennifer Weil

John Galliano

Long beaded necklaces were the starting point for the long hairstyle Paul Hanlon crafted for the John Galliano show. “Basically, the beads are the accessory for the hair,” he said. The tightest loop of necklace around models’ necks cinched their hair that then spilled out from underneath it. “There’s a kind of deconstructed thing to it,” continued Hanlon, who kept tresses clean, using practically no product on them save for some hair spray for the extensions and dry shampoo. — Jennifer Weil

Poiret

The hairstylist Duffy was “making the best of each girl,” he explained backstage before the Poiret show. Models with long tresses were given a loose, slightly masculine knot “stitched to the head with an elastic, with a little tail hanging out,” he described. “We’re really simply embracing each girl’s haircut, putting a finish on it or making it slightly rougher.” Duffy, who was working with L’Oréal Paris products, added of the look: “It’s about power, strength, individuality.” — Jennifer Weil

Givenchy

Hairstyles at the Givenchy show gave a nod to the Eighties, with tresses parted to one side. “Claire loves the boyish girls and that kind of thing,” said Guido Palau, referring to the house’s artistic director. Using Redken products, he washed models’ hair with All Soft Shampoo then applied No Blow Dry Airy Cream to bring out texture. A handful of models agreed to have their hair cut shorter for the show. — Jennifer Weil

Sonia Rykiel

For the show celebrating Sonia Rykiel’s 50th anniversary in fashion, Paul Hanlon gave a big nod to the signature frizzy hairstyle sported by the house’s founder. But he made it “almost slightly New Romantic, New Wave [with] a bit of a punky element to it,” Hanlon said. A dry texture was given to models’ tresses, which resembled curly hair brushed out, then molded with the help of hairspray (think blitz kids and club kids’ coifs) — “just to give it a bit of youth,” he explained. “I love the fact that the hair is quite thin around the ends…it’s meant to look slightly naive.” He also described the look as playful. “The hair is going to move and bounce; it’s fun,” said Hanlon. He prepped tresses with L’Oréal Paris Elnett Hairspray and mousse, then backcombed and brushed them out. A wave was formed above one eye. And the last five models walking the show had glitter — in red, green, silver or gold colors ­— spangling their coifs. — Jennifer Weil

Elie Saab

Stéphane Lancien had gypsies in mind when creating the hairstyle for the Elie Saab show. “There are a lot of things around the neck, a lot of color, [so] we decided to do just a low ponytail with two different textures,” he said. One was straight, and then at the tips of hair waves were added with a curling iron. Around models’ faces wisps wafted, as if a sweater had just been pulled over their heads. He called the look “sensual and sexy. It’s really spontaneous, like she did it herself.” Lancien, who is the global hair director of L’Oréal Paris, was using the brand’s products. — Jennifer Weil

Haider Ackermann

“Every season [Haider Ackermann] looks for a different character that he’s inspired by or that he identifies with,” explained the hairstylist Duffy backstage before the designer’s fall show. He said this season “we’ve drawn from the extreme countercultures.” Models sported a coif reminiscent of the Chelsea girl cut. Duffy and his team worked for a week trimming and coloring 45 wigs (with one being tinted just prior to the show). “We’re custom-fitting each one to the girls,” he continued. “It’s about cutting sections out and making it fit correctly, and then really just working on the face shape of each girl. Hair color-wise, Haider and I worked together on choosing different tones. There are a lot of blondes, Venetian blondes, there’s a pastel pink in there, there’s a lot of burnt oranges. There’s always an attitude to the woman, always an independent strength.” Duffy was using L’Oréal Paris products. — Jennifer Weil

Yohji Yamamoto

Eugene Souleiman said that in keeping with how the fall 2018 Yohji Yamamoto collection referenced Azzedine Alaïa and Pablo Picasso, the hairstyle for the show did, too. “We’ve tried to do something that has the feeling, the graphicness of cubism and [its abstraction] with the kind of sensuality and strength of a woman,” he explained. “The hair is asymmetric. There’s a round shape to it and a very soft square shape…and the head is very flat. Then there are really soft ends. So it’s something that is really quite graphic, yet also has a romance to it.” Souleiman added he aimed to create a look in keeping with Yamamoto’s world, but diverged from the harder, gelled coifs of recent seasons. “I wanted to revisit the kind of lightness and texture that we always gave him, with something a little more abstract and graphic,” continued Souleiman. “What I love about it is the textures that morph. It’s very beautiful.” — Jennifer Weil

Balmain

Val Garland said that she was “making the best of each girl and her features,” at Balmain. The global makeup director of L’Oréal Paris used the brand’s products such as Tattoo Signature liner on the eyes. She sculpted, shaped and highlighted skin, and applied Glow Mon Amour Highlighting Drops for a glowy effect. Brows were slightly emphasized. On eyelids, Garland applied 905 Color Riche Shine — to reflect mirrors on the clothing. The makeup artist said she had spoken with the house’s artistic director Olivier Rousteing, who said models were to look natural but glowing. “He was like, she’s herself. She wears Balmain — she’s confident, empowered, looks amazing. She takes care of herself,” said Garland. — Jennifer Weil

Y/Project

“Generally when I do Y/Project the hair is always tucked behind the ears, behind the shoulders, because there is usually so much going on with the clothes that they don’t want [it] to compete,” explained Ramona Eschbach. “So it’s kind of the same vibe, but the texture this season is dry.” She said the house’s artistic director Glenn Martens wanted models to look like they’d gotten their hair done for a gala with oodles of hairspray and then brushed it out. So Eschbach used Tecni.Art Beach Waves from L’Oréal Professionnel before blowing tresses dry straight with a Mason Pearson brush and finished the coif off with a dry shampoo. “There’s no hairspray, there’s nothing sticky,” she continued. “It’s still going to move when the girls are walking, but it’s a rough finish — like the ends aren’t polished.” — Jennifer Weil

Rochas

“We wanted to give her this kind of very youthful, twisted, almost sickly sweet [hairstyle],” said Anthony Turner of the models at Rochas. “It’s like that goody two-shoes girl at school, who wears her hair very neat. She’s got her hair in a little barrette, and everything is kind of perfect. But you don’t quite know whether she’s also a little bit kooky at the same time.” So he crafted a “cute,” “simple” look with a side part, leaving hair with natural texture. A key product used for the effect was L’Oréal Professionnel Tecni.Art Pli Shaper thermo-modeling spray. — Jennifer Weil

Tommy Hilfiger

“Nice hair with a natural texture,” said Eugene Souleiman, describing his hairstyle for Tommy Hilfiger. Long hair was usually parted in the center, sometimes featuring little braids inside.
To get a shiny effect, the hairstylist used Sugar Lift by Wella Professionals to make the hair “sexy that you want to touch,” he said.

Giorgio Armani

Hair styles by Aldo Coppola’s Agency for Giorgio Armani played on volumes, shaping two main designs on the back, where the hair was then tied up in a low ponytail. On the front the hair was kept natural and free to move. No extensions were used. — Teresa Potenza

Backstage at Marco De Vincenzo RTW Fall 2018

“Our look at Marco de Vincenzo is very exaggerated,” said hairstylist Holli Smith. A lot of hair was brought to the front with a retro wave secured with a bobby pin. “It’s a kind of sweet but kind of hard and also a little bit retro,” she mused.

In the back, Smith used tiny silver clips and thickening spray, pinching the hair right up the root with the clips for a few seconds, leaving a little volume at the root.

“We’re leaving a lot of curly hair, straight hair and wavy hair, doing this look with their own texture,” she noted. — Teresa Potenza

Antonio Marras

James Pecis described a rebel girl who loves “traveling by boat from Spain to Argentina and the United States, then back to Portugal, back and forth across the ocean.” This is why the hair had a little bit of a wet feeling.

He divided the hair into two parts, each of which was pulled back and then rolled up — using a rolled wire — into strange shapes that suggested waves. “We wanted it to look kind of retro but with a weird twist to it,” he said. On the front, Pecis used a little bit of gel around the outer sides, so that hair appeared to be wet but still had structure. — Teresa Potenza

Etro

A Western mood inspired hairstylist James Pecis at Etro. “A woman traveling on a horse to the desert in the Seventies,” he explained. A lot of oil was used around the face to keep the hair brushed back while giving “a nice wave around the face.”  — Teresa Potenza 

MSGM

Hairstylist Anthony Turner said he wanted to celebrate individuality and “real girls” by exalting each model’s peculiarities.

The hairstylist therefore decided to keep all the different textures “trying not [to disturb]” the hair too much. The philosophy was bringing the hair “back to life and all those little mistakes that happen when you do that,” Turner explained. 

In some cases, hair was pulled back with a simple band. — Teresa Potenza

Roberto Cavalli

A sexy, feminine and soft woman was what hairstylist Paul Hanlon thought to be the best image of Roberto Cavalli’s woman. Hair was pulled back using strong fixing products and left natural. — Teresa Potenza

Prada

A woman in a movie is what Guido Palau had in mind when thinking about the hairstyle for Prada’s show. He called it “a very cinematic, nighttime person,” who had a mix of strength and simplicity. Shiny tresses were pushed back in a way that was reminiscent of that moment when “you get out of the shower and run your hands through” your hair, Palau added. Then the coif was then loosened around models’ faces. Working with Redken products, he used Full Frame 07 All-Over Volumizing Mousse and Forceful 23 Super Strength Finishing Spray. — Teresa Potenza

Fendi

Hairstylist Sam McKnight said he gleaned inspiration from Fendi fashion. “I’ve made the hair very glossy, elegant and feminine, but very sharp and very straight at the same time,” he described. For the show, McKnight left models’ tresses flowing — swept from their faces and hanging loose at the back. — Teresa Potenza

Backstage at Emilio Pucci RTW Fall 2018

“I imagined a baby Marilyn [Monroe], thinking also about the younger sisters of my big family,” said Tom Pecheux, describing what he had in mind when creating the makeup look at Pucci. Specifically, he envisioned the moment when a little girl dreams of becoming a woman and starts using her mother’s makeup in a light-touch, natural way — so she can wear it to school. “I used a little bit of eyeliner just in the corner of the eye, with a little wing,” Pecheux explained. He worked with MAC Cosmetics, including Brushstroke Liner, and applied a touch of Haute and Naughty Too Black Lash mascara. Lips remained natural colored but with a high gloss, thanks to a layer of Cremesheen Lipstick in Pure Zen overlayed with Gloss Crème Brillance. Skin was made fresh-looking. — Teresa Potenzaf

Alberta Ferretti show, Runway, Fall Winter 2018, Milan Fashion Week, Italy – 21 Feb 2018

Kaia Gerber on the catwalk
Alberta Ferretti show, Runway, Fall Winter 2018, Milan Fashion Week, Italy – 21 Feb 2018

Moschino show, Detail, Fall Winter 2018, Milan Fashion Week, Italy – 21 Feb 2018

Model on the catwalk, glasses and jewelry detail
Moschino show, Detail, Fall Winter 2018, Milan Fashion Week, Italy – 21 Feb 2018

Christopher Kane

“It’s about embracing each girls’ individuality,” said Guido Palau, who was working with Redken products and Dyson tools at Christopher Kane. “If they’ve got great curls or if they’ve got a great shortcut, my job is to enhance that look and to sort of bring out their personality in their hair.” Palau started off with Redken’s All Soft Mega Shampoo and No Blow Dry Airy Cream. He said that “the realness of the hair was on trend,” and depending on models’ hair type or style, he used a Dyson hairdryer with or without a diffuser. — Lorelei Marfil

Erdem

 
“A modern type of Twenties hair” is how Anthony Turner, who was working with L’Oréal Professionnel products and Dyson tools, described the beauty look at Erdem. Using L’Oréal Professionnel Tecni.art Pli spray and Wild Stylers Rebel Push Up texturizing mousse, he pulled a section of hair loose at the top of models’ heads and blow-dried the back section, where tresses were straightened using a hair dryer. Meanwhile, finger waves were created with a comb and hair spray was applied to obtain a weathered feel. The hairstylist also employed lots of Infinium Hairspray and a bit of Mythic Oil afterward. — Lorelei Marfil

Peter Pilotto

“She is a modern take on a bohemian girl,” said Anthony Turner, who worked with L’Oréal Professionnel products. “It’s very Seventies and very gorgeous. It’s a little bit of a Kate Moss rock-and-roll influence.” Turner treated tresses using the Beach Waves Wild Styler and Tecni Art Pli mixed together. This achieved a fluffy and light texture. 

Mary Katrantzou

Structured hair was created for Mary Katrantzou, crafted by Gary Gill. Tresses were blow-dried with hair nets placed on top of models’ heads. Hair was coiffed in a stiff and structured way on the front, while Gill loosely tied hair in the back.

J.W. Anderson

Hairstylist Anthony Turner created a polished look that emulated a well-groomed art student – with a Sixties vibe. “She is very existential, intelligent, well-kept with very beautiful hair,” said Turner, who worked with KMS Hair products. Tresses had a low side part and were blow dried using a large, round brush for a bouncy kick at the ends, keeping hair off the shoulders. Turner prepped hair with styling mouse for hold, used hairspray to control flyaways and applied Tame Frizz De-friz oil to finish. Ñ Lorelei Marfil

Simone Rocha

“The painter John Constable was one of the starting points for the inspiration,” said hairstylist James Pecis, working with KMS Hair products. “It was more about the color scheme in his paintings and also his portraits of women. There is a lot of tailoring in this collection, so they wanted to bring a tomboy feeling.” Models’ hair was given a side part on the right side, then blow-dried, pulled back and tied into knots. Hair was divided into three separate sections in zigzag manner – all the way around to the back – and topped off with a bow. Ñ Lorelei Marfil

Marc Jacobs

While some models had their hair tucked up in hat-wearing position (again), others sported custom cuts and colors, using a not-yet-launched Redken product called Express Blonde, said Redken global color creative director Josh Wood, who worked on hair with Guido Palau. Nine girls had custom colors and cuts, mostly short, ranging from blue to pink to purple to green. “It’s like the new age of expressive hair color,” Wood said. Express Blonde, which allows users to bleach hair using a heated iron, helped speed up the multiple hair processes required to get the colors, Wood said. “This is precision color. This is about knowing exactly where to place color to really emphasize those quite severe haircuts,” Wood said. “I worked very closely with Marc…on the fabrics being used in the collection — there’s a relationship between the texture of the fabric and the color of the fabric and the hair. You’ll always see a reflection of the hair color in the fabric.” 

Michael Kors

Hairstylist Orlando Pita worked with models’ natural texture to create a subtly wavy, natural look. — Ellen Thomas

Carolina Herrera

Lead hairstylist Odile Gilbert for TRESemmé created a romantic chignon for Carolina Herrera’s fall show, using TRESemmé volumizing dry shampoo for texture and the Compressed Micro-Mist hair spray in Boost to keep the style in place without stiffness. “It’s very classic, very young, very clean — she doesn’t often do messy hair, because she is perfection,” Gilbert said of the designer. — Ellen Thoma

Alice + Olivia

“The collection is punk rock princess-inspired,” said Justine Marjan, who keyed hair for TRESemmé. Marjan created two looks for the show, the first being a beachy, rocker-inspired wave with a one-inch curling iron that was then relaxed with a flat iron. Two models got a Marie Antoinette-inspired, pompadour-esque hairstyle that was first created by curling the hair with hair rollers. Then, a hair piece was placed underneath the hair to give it height and volume. Dry shampoo and hairspray were used to add more texture. — Layla Ilchi

Anna Sui

“We decided to take inspiration from the Mudd Club, so we’re taking the hair and bringing it into an Eighties world,” said Garren, who keyed hair for R+Co. Hair was swept across the face to one side of the head using R+Co Jackpot and Mannequin, two styling creams, and was given texture to give it an undone look. The textured look was created to juxtapose the ladylike clothing and fabrics seen in the collection. — Layla Ilchi

Libertine

Elaine Mitchell for Sassoon created a crimped, Twenties-inspired style for female models at Libertine. The waves were brushed out until fluffy, and then tucked into the clothes and secured in the front with bobby pins. — Allison Collins

3.1 Phillip Lim

Hair for 3.1 Phillip Lim was created into a romantic undone ponytail. After using a generous amount of ocean mist, the hair was divided into two loose ponytails, one at the middle of the head and one at the base. Both were then partially connected to create a swooping pattern that fell loosely at the back. – Layla Ilchi

Philipp Plein

Brigitte Bardot meets Barbarella. This was the inspiration that Tina Outen worked with for hair at Philipp Plein. Many models were given pastel-colored wigs which were doused with Bumble and bumble Curl Conditioning Mousse to create a bump at the crown of the head. Ribbons tied in a Bardot-esque way to enhanced the look. — Layla Ilchi

Oscar de la Renta

“The hair is a middle part, big waves in the back and it’s tucked behind the ear but not pinned — and no hairspray,” said hairstylist Orlando Pita of the look he created for Oscar de la Renta, noting his distaste for too much product in the hair. “But then we have girls with very individual looks — we have four girls with fringe and four girls with very curly or Afro hair, and we’re just making them the best they can be.” — Ellen Thomas

Alexander Wang

The hair claw stole the show at Alexander Wang’s fall 2018 presentation, which was themed as “modern ceo.” Redken creative director Guido Palau used the Eighties working woman hair accessory — custom-designed in metallic silver especially for Wang — to accent the scraped-back up-do he designed. Palau intentionally slicked back strands and left rake marks throughout the hair for a tough look. “The hair is sort of an ironic take on that power woman,” Palau said. — Ellen Thomas

Jill Stuart

“We’re doing a romantic hairstyle with a twist of rock ‘n’ roll, said Odile Gilbert, who led the hair look at Jill Stuart using TRESemmé. Gilbert shaped the hair with mousse and teased at the roots to create texture, using plenty of dry shampoo and hairspray — she particularly leaned on the new TRESemmé Micro Mist hairsprays. — Ellen Thomas

Prabal Gurung

Continuing the retro hair accessory momentum from Alexander Wang’s presentation, Anthony Turner for Wella used an accordion headband to accent the sporty bun he created for Prabal Gurung’s fall show. — Ellen Thomas

Brandon Maxwell RTW Fall 2018

While models sported different hairstyles, they each embodied the same vibe. “It should feel like she put on some sweats, an expensive Brandon Maxwell top and she went to the store to get a carton of milk,” said James Pecis, who keyed hair for Dyson. Texture was a big component for hair, with Oribe Maximista Thickening Spray used generously on most models.  – Layla Ilchi

Cushnie et Ochs

Hair at Cushnie et Ochs juxtaposed polished and messy. Justine Marjan, who keyed hair for TRESemmé did a clean blowout at the top of the hair, tucking it behind the ears with the TRESemmé Keratin Smooth Heat Protecting Spray to create a smooth look. Then she used a thickening balm at the ends of the hair to create textured, slightly messy waves at the back to finish the look. — Layla Ilchi

Chromat

Kien Hoang for Oribe created a handful of hairlstyles for Chromat. In one, he created a high ponytail with multiple bungee ties down the lengths — the sections in between the ties were fluffed into balls. For another look, Hoang used a tapelike fastener near models’ eyes and looped in a bungee cord, which sat at the back of the head. “It’s just going to pull and accentuate their eyes,” Hoang said. Other models were left with their natural hair textures. “There’s so many types of models that we have at Chromat today, we have artists,  we have musicians, we have incredible people with beautiful hair and we want to keep them looking their best,” Hoang said. — Allison Collins

Jeremy Scott

For hair, many models were seen sporting colorful wigs that corresponded to their clothing. The wigs, which were seen in colors like pastel pink, neon blue and lime green, were cut into short, blunt bobs with bangs that framed the face. — Layla Ilchi

Tory Burch

Palau chose a middle-parted, wavy style, wielding the curling iron in a way that created more of a bend in the hair than a true curl. He prepped hair with Redken’s Diamond Oil Glow Dry shampoo and conditioner and smoothed strands out with Satinwear 04, a heat-protecting lotion. “It’s easy sophistication, easy glamour — that’s the key to any Tory Burch look,” said Palau. “It’s how girls want to wear their hair.” — Ellen Thomas

Sandy Liang

Naeemah LaFond, global artistic director for Amika, led the hair look. Keeping with the theme of the majority of the past several seasons of New York shows, LaFond worked with each model’s natural texture, stating she was only planning to “just elevate it a little” using Amika hot tools and products. A key product used throughout was the brand’s Undone Texture Spray. — Ellen Thomas

Adam Selman

“We’re doing a Willie Nelson roadie,” said James Pecis, who keyed hair for Dyson, on the inspiration behind the greasy, textured look. After blowdrying the hair with the Dyson Supersonic Hair Dryer, Pecis enhanced hair texture by creating two braids, which were then finger-combed out and slicked back to create a textured look. — Layla Ilchi

Ulla Johnson

 “We wanted there to be a toughness to the hair with some femininity and softness,” said Esther Langham, who keyed hair for Amika. The braided bun was made by first creating two braids at the hairline and bringing them to the back to join five to six additional braids. The braids were then all wrapped together to create the finished look. — Layla Ilchi

Tom Ford

“There was no [inspiration],” said Orlando Pita of the hair look. To create it, he used rhinestone and leather headbands created by Ford tied straight across models foreheads, then pinned the hair up into an unstructured style, adding his Great Inflate Mousse for hold. 
The end look reminded Pita of Japanese animation, “when I look at it, it gives me a little bit of that feel.” 

Giambattista Valli RTW Fall 2018

Giambattista Valli RTW Fall 2018

Giambattista Valli RTW Fall 2018

Giambattista Valli RTW Fall 2018