Paul Hanlon's 6 favorite beauty looks from the Fall 2019 shows

Bottega Veneta: “It was the designer [Daniel Lee]’s first show for the house. He used to work with Phoebe Philo at Celine. He went for this very effortless glamor, quite sexy and strong—hair off the face, with a bit of product through it, but still quite easy. You could say it was slightly athletic. The guys were very masculine and tough. [Their hair] had a slight sci-fi feel to it—a Stormtrooper kind of thing. Lots of pomade, off the face, a bit of volume at the front. We tried to make the men and women look very similar.”

Lacoste: “Lacoste was very, very natural. It was Louise [Trotter]’s first collection for the house. It was really about the clothes and the hair could just take a backseat—not in a bad way, she just didn’t really need it. She wanted to produce a very modern, contemporary woman’s wardrobe with the collection. There were lots of hats, and obviously a nod to tennis with the textured ponytail in the back. We found the green elastic to match the color from Lacoste, to give it a bit of personality and make it more unique for the show.”

Chloé: “Chloé was quite different from the last few seasons. Natacha [Ramsay-Levi] wanted it to feel like the woman was a little bit more outdoorsy—almost like an adventurer, a woman in the wild, a pioneer. The idea of the hair was very weathered and wild—the elements had been into the hair. [The Chloé woman] was in the mountains, and a little bit ravaged by the wind and the rain. I don’t want to say the hair was greasy or dirty, but it had a bit more product in it. It had an unwashed feel to it. And it was all very personal to each girl. [Ramsay-Levi] has a very diverse casting, with different hair lengths and textures.”

Gucci: “There were references of punk, new romantic, period hair… It was an alchemy of looks, which [Alessandro Michele] always loves. We look at each character individually then come up with a look for them. You could say there were a few nods to Bowie, with the girl with the orange hair. There was the very, very, very long hair that came out of the bottom of the jackets and almost touched the floor. Then there were the big bun-shaped things which were slightly Victorian. The inspirations were all very diverse, which is why it’s always so fun to do Gucci. Alessandro Michele’s inspiration comes from all walks of time, all generations, and all around the world.“

Pacp Rabanne: “There were three looks. The main one was 40s inspired—that sort of Lauren Bacall Hollywood hair, but making it more contemporary. We did a more pulled-out, younger version of that hair, with a clean side-part and glossy lengths. The girls with the ponytails [were inspired by] the 60s Edie Sedgwick and Warhol scene—low side-part, and masculine through the front. Then there were the girls with the more natural, Afro-Caribbean hair texture, which we braided into these beautiful, intricate braids—the two big ones on the side, and the two little ones at the front. We used the accessories from Paco—these little jeweled clips that went into the braids.”

Roberto Cavalli: “The hair was inspired by the idea of masculine and feminine. The masculine being the front part, which was combed and parted like a man’s hair—very Bowie-inspired, with the volume at the front, from the period of the Thin White Duke. The designer, Paul [Surridge], wanted something that was sexy and strong and controlled. In the back, it was very feminine—very easy and sexy hair with a soft wave. You could say it was a bit Helmut Newton-inspired. He always used to present his women as very confident and very strong.”

Document Journal

Desiring literature with Nate Lippens and Kate Zambreno

Following Semiotext(e)‘s release of Lippens’s ‘Ripcord’ and ‘My Dead Book,’ the authors trace consciousnesses of queerness and class through both novels and friendships

“What we habitually see confirms us. Yet it can happen, suddenly, unexpectedly.”

Photographer Pegah Farahmand and fashion editor Dogukan Nesanir collaborate on this fashion portfolio for Document’s Fall/Winter 2024–25 issue

“To remain innocent may also be to remain ignorant.”

Photographer Rodrigo Carmuega and fashion editor Laetitia Leporq collaborate on this fashion portfolio for Document’s Fall/Winter 2024–25 issue

“All photographs are there to remind us of what we forget”

For Document’s Fall/Winter 2024–25 issue, Sam Penn photographs some of her closest friends and collaborators near and far on Fire Island and on FaceTime screens

Paul Hanlon’s 6 favorite beauty looks from the Fall 2019 shows

Paul Hanlon’s 6 favorite beauty looks from the Fall 2019 shows

Issue No. 25 FW 2024–25