L’Oreal Colour Trophy


I got the chance to work with this amazing makeup artist/hair stylist Martin Carter and his creatives at his salon Mr Face. They had to send in the images for L’Oreal Colour Trophy competition and I helped them with styling. One of the images made it to the southern regional final and when they had their big show we won with our second look. We are now in the Grand final!

We work really good together as a team and we have so much fun!


London Update


A lot have happened since I moved to London. Working with commercials and short films, but the best thing was when I found about LCS. I missed working in fashion so much but with no network its really difficult. Through the college I met so many industry professionals which led to paid jobs during the course and I also got friends for life.
When I started to work as a stylist I did it with a “learning by doing” philosophy. Now I feel a lot more confident and I learnt so many tricks about styling, as well as the business side of things, here in London.

London Fashion Week. Backstage Paul Costello.

London Fashion Week. Pam Hogg

Behind the scene. Shooting my “Africa meets Fetish Goth”



I had the chance to see the Balenciaga exhibition “Shaping Fashion” at V&A again. This time is was less crowded and I think if you have the chance to see a exhibition you like twice, you should do it. The second time you see completely other things and you can reflect in another way.

Cristóbal Balenciaga was for me a great designer. Innovative and bold and how he enabled to manipulate the relationship between his clothing and women’s bodies. He totally transformed the silhouette, broadening the shoulders and removing the waist. His manipulation of the waist, in particular, contributed to “what is considered to be his most important contribution to the world of fashion: a new silhouette for women.”
Balenciaga was also an innovator in his use of fabrics: he tended toward heavy fabrics, intricate embroidery and bold materials.
He also took risks and succeeded, overcoming the obstacles of the political and economic circumstances he occasionally faced.

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Cristóbal Balenciaga closed his fashion house in 1968 and died in 1972.  (“There is no one left for me to dress,” he said at the time) The house lay dormant until 1986.
In 1986, Jacques Bogart S.A. acquired the rights to Balenciaga. The first collection was designed by Michel Goma.

Since 2015 Demna Gvasalia is the new Creative Director for the brand. On the surface Cristóbal Balenciaga and Demna Gvasalia couldn’t be more different. Demna´s work for Balenciaga may seem to be worlds away. But the two designers have more in common than one may think.

First and foremost, Cristóbal Balenciaga and Demna Gvasalia are both disruptors of the fashion system. On one level, Balenciaga defied the Chambre Syndicale de la Haute Couture to show his collections a month later than his peers, forcing buyers and journalists from New York to trudge back across the Atlantic, which they willingly did. But as a result, the renegades got exclusive coverage in every style column. This is much like Gvasalia, whose decision to show his label Vetements on the couture calendar has resulted in considerable media attention along with operational advantages. Gvasalia also keeps a cap on international stockists and what each can order to reduce the number of items that end up in clearance sales, making sure that that his own brand remains exclusive enough for customers to return. Similarly, Cristóbal Balenciaga kept a tight lid on the number of clients he would serve, many of whom were turned away upon initial interest. Even loyal clients would be required to order a minimum of two items, which helped to create a mysterious aura around the house and justify high prices.

Demna Gvasalia’s experimentation with shape and proportion, for which he often finds inspiration in the brand’s archive. There’s a synergy between the way they both look at things in 360. They do a lot through cutting instead of styling, and the pieces which Demna has produced that sit off the shoulder are actually cut that way to look as though it’s been styled that way. It’s very sculptural. It’s also very Cristóbal.

What Balenciaga did for his time was so extraordinary and what Demna is doing for his time is taking some of those ideas and extending them to a contemporary context. Would Cristóbal approve of Gvasalia’s witty take on his legacy? I would say yes.
As Cristóbal once said “I regret not being younger, because then I could create the amusing but tasteful ready-to-wear the times we live in demand. For me it’s too late.”

Information taken from Basque Tribune and BOF.



When I received the email that I was going to work backstage for A COLD WALL on London Fashion Week Mens I got goosebumps and I felt really excited. This time as a dresser and not as a makeup artist as I am used to. I started to count the years when I last worked on a Fashion week and I counted it to 8 years ago. It was on Stockholm Fashion Week for a jewellery brand called Miljaki. At that time I worked only with makeup and I had a lot of shows behind me as a makeup director.
I remember all the preparations before the shows, casting models, come up with ideas for the makeup looks and set up a crew and all meetings with designers and so on…Exiting times and my God I have missed it so much!


When I first had a look at this brand I immediately thought about Off White. After a google search I discovered that the designer Samuel Ross worked with Off White as Virgil Abloh assistant for several years. A COLD WALL is a brand to have your eyes on.

Here is what BOF writes about the brand:
“Within just two years, the brand — known for its logoed t-shirts, distressed hoodies and utilitarian outerwear, which takes style cues from the tribes of the British class system — has seen rapid success. Between 2016 and 2017, A-Cold-Wall reached £1.3 million ($1.7 million) in revenue, while its stockists, which include Ssense, Barneys New York and Antonioli, grew by over 110 percent between Autumn/Winter 2017 and Spring/Summer 2018 seasons to 52. Recent collaborations with Nike and Fragment Design have further increased the brand’s exposure amongst street-savvy Millennial shoppers.”

One of my favourite looks and model.


Me in the middle surrounded by such nice girls, all of them worked backstage as dressers. Most of them are now in my class on London College Of Style.

Behind the scene


Since I moved to London I have worked with several short films. Some of them I have done both makeup, hair and costume styling. The last film I did was in december and I was responsible for makeup and hair. One thing I love with working on films is that you get to meet and work with a lot of people. It was 4 intense days, working 12 hours a day and some days outside.
I am so looking forward to see the final result. I liked the script a lot, the story was about a father and a daughter and their struggle in life.


Fat Duck by Heston Blumenthal



When my husband turned 4o last year I had to come up with a nice birthday gift. And as our family is really interested in food, especially my husband, I booked a table at the Fat Duck.
The whole experience is a journey- inspired by some of Heston Blumentahls favourite childhood holiday memories. And some courses was customised on our memories. We had a really nice evening full of really good food. The best thing?! My husband loved his birthday gift.