EARTH TO THE PEOPLE

WE TALK SUSTAINABILITY, MEDITATION AND SCULPTURAL STYLING WITH GINA CONWAY

In an exclusive interview for Runway, we sat down with Gina Conway, the visionary hairstylist and sustainability advocate, to discuss her latest collaboration with fashion disruptors VIN + OMI. From backstage chaos to creating avant-garde, eco-conscious hair looks, Gina shares all about the high-octane process of bringing their 20th-anniversary show to life. Discover how she melds artistry, innovation, and sustainability, all while keeping the creative energy flowing with her signature calm, collected style.

“MORE PEOPLE SHOULD CONSIDER THE EARTH FIRST.”

When did preparations begin for the show, and what were those initial conversations like?

I met Vin and Omi at a Creative HEAD judging panel for the Most Wanted Sustainability Hero award! We hit it off immediately, and I told them that one day, I would work with them. I was so eager to learn from them and be part of what they’re creating – the world-changing aspect really spoke to me. Around May, I got a call from Vin saying, “Remember when you said you wanted to work with us?”. That’s when the seeds were planted. I’d been to their shows before, so I knew what to expect creatively and was familiar with their unique sculptural design concepts. I started out sculpting many years ago and studied at Central Saint Martins in London and the Fashion Institute of Design and Merchandising in San Francisco, so I felt like a great fit for this show.

I began researching the history of VIN + OMI as a brand to truly understand their vibe, especially since this show was a retrospective celebrating 20 years of their work. I compiled inspiration files filled with hair designs, sculptural elements and a colour palette, which I organised into a storyboard. Once they decided which ideas to move forward with, I began testing each one to ensure they were achievable and aligned with their brand. The clothes weren’t finalised until the last week, so everything was off the cuff, and flexibility was key. I started to worry because the 60+ models needed elaborate headdresses, and I was running out of time. Thankfully, my friend (and awardwinning avant-garde hairdresser!) Enrica Russo, was there to support and inspire me. Together, we did a lot of behindthe-scenes work leading up to test day, timing the looks and refining the final designs for the show.

Why VIN + OMI? What drew you to them as designers?

I love that they’re more innovators than fashion producers. They don’t sell clothes; they consult with brands on their sustainability journey. For example, they work with King Charles to produce fabric from his Sandringham estate, which they turn into stunning creations for their shows. They don’t want to contribute to the planet’s landfill problem, which I respect. More people should consider the earth first.

Talk us through the hair test process – what’s expected of you as the hair lead?

I was only allowed one assistant for test day, so I brought two... cheeky, I know! There was no way I was going to remember all the steps for each look by myself. My plan worked, and I had Enrica and Alex with me – Alex works on Phantom of the Opera and has loads of experience with wigs and building shapes, so I was in good company. The brief from the designers was strict: no landfill. I couldn’t buy any extensions, only borrow or upcycle items for the show. We also had to use natural hair products and sustainable ingredients from Philip Martin’s, with no blow dryers allowed. So, massive hair with limited resources – challenge accepted!

On test day, we met the designers for the first time since being invited to the show months earlier. We went through each look in detail, discussing everything from the recycled fishing line I’d sourced to the combed sheep wool clumps they provided for the hair sculptures. Of course, the wool needed a good wash! We collaborated closely, tweaking the designs until they were just right. By 8pm, we had all seven looks finalised alongside the make-up artist, ensuring they worked cohesively as a collection. The designers even said it was the shortest test day they’d ever had!

Where do you find inspiration?

I spend a lot of time trawling Pinterest and Instagram, following my favourite hairdressers and artists. Omi gave me a great piece of advice at the start of this project – he told me not to think like a hairdresser, to forget about the rules, and to approach headpieces as a form of art. That opened my mind, and I embraced a ‘yes’ mentality, welcoming innovation. Meditation also plays a big role in helping me stay creatively open.

Can you walk us through the key hair looks from the show?

Baubles & Waif started as a banded look, but we wanted to create more structure and dimension. We worked with three sections, weaving in wire for the hair to form around and wrapping recycled nylon to create soft wisps that floated down the runway.

Fleece and Texture involved building large shapes using white filler sheets, secured into wig caps, and adding sheep’s wool fleece in varying colours to create interesting patterns.

Deconstructed Poetry began with prepping the hair in large waves. We created a beehive, spun around the head section by section, which we deconstructed further with each outfit change. By the final look, the beehive was almost completely undone.

Sum up the show in three words…

Sustainable, anti-gravity, deconstructed.

I was amazed by the calm, organised environment backstage. What’s your secret?

Organisation isn’t my natural strength, so I knew I had to be extra prepared. I put a lot of thought into selecting team leaders, assigning tasks, and setting up each station with everything needed for each look. Each team had a leader who, once they mastered the look, could replicate it across the models, knowing exactly what was expected. We even had a wellness break, where a yoga instructor led the team in aromatherapy, breathing exercises and techniques to block negative energy. They say you can take the girl out of California...

What are your must-have kit items?

My teal Beau Pro comb, a selection of pin tail combs, elastic spools, Philip Martin’s Pepigrino Wax for a matte finish, and Philip Martin’s Strong Air aerosol spray for hold. But the real hero was Philip Martin’s Aloe Pure Gel – it gave our braids and ponytails that perfect wet look while being gentle on the hair and scalp. It’s an editorial essential.

What’s your one piece of advice for anyone wanting to lead a hair team at shows?

Take every opportunity to work on shows, no matter how big or small. Be the first one there and the last one to leave. Even now, I assist others just to stay inspired and support my peers. If you want to succeed, don’t be a prima donna. Be a team player who goes above and beyond - soon enough, you’ll be recognised as someone reliable, and you’ll get your big break.