‘Glass hair’ and noughties trends return at London Fashion Week

High-shine, pin-straight styles dominated backstage at London Fashion Week autumn/winter 2026, signalling a decisive return to noughties hair trends. After seasons of big, bouncy blow-dries and boho texture, a sleeker aesthetic took control, with hair pressed to a mirror-like finish and cut with sharp precision.

The shift was most striking at Chet Lo, where lead stylist Anna Cofone created 'glass straight' hair to complement the designer’s sculptural silhouettes. Backstage, teams meticulously sectioned hair. Fine-tooth combs carved razor-sharp centre partings, and straighteners glided until each panel reflected light like liquid – devoid of bend or fluff.

Cofone explained the inspiration to the Press Association: "The inspiration for the look is pulling from south-east Asian identity, drawing from the iconic head-dresses of the Peking opera. In opera they use ostrich feathers as an extension of the performance […] so we wanted to bring that into the hair. You’ll see these beautiful moments where they have ostrich feathers and we wanted to do it in a simple modern way – the hair is glass straight."

This cultural reference translated through sculptural feather placements, extending horizontally like wings. Its modernity stemmed from an immaculate base: ultra-flat, mirror-like strands tucked behind the ears or falling bluntly against the jawline, with finishing sprays amplifying shine to an almost vinyl sheen.

open image in gallery

Cofone believes the return reflects a broader beauty trend. "I think we’ll see [straight hair] quite a lot this coming season as we’ve had a lot of big hair and a lot of movement, texture so I love the idea of glass straight coming back in," she said.

After seasons of soft waves and voluminous blow-dries, autumn/winter 2026 suggests a swing back towards structure, refining noughties’ flat-iron culture into something more architectural. On the runway, the effect was dramatic: centre-parted bobs, cut blunt and severe, had symmetry emphasised by feathers piercing outward from behind the ears. The hyper-sleek texture contrasted sharply with Chet Lo’s spiked knitwear.

Precision also defined Paul Costelloe’s autumn/winter 2026 show, offering a controlled, classical contrast to Chet Lo’s graphic direction. Toni and Guy global creative director Cos Sakkas crafted a look mirroring the Irish designer’s powerful tailoring. Hair was smoothed to a high-shine finish, drawn into a low, sculpted chignon at the nape.

The crisp centre parting reinforced Costelloe’s suiting, with shine again proving key, appearing almost lacquered under backstage lights to complement structured coats and tailored silhouettes.

open image in gallery

While Costelloe’s aesthetic evoked power dressing, Brazilian designer Karoline Vitto’s runway demonstrated how sleek hair frames sensuality. Models wore slicked-back styles hugging the scalp, their clean finish emphasising bone structure and allowing the brand’s signature cut-outs and draped silhouettes to take centre stage. The hair’s shine mirrored the fluidity of the fabrics, reinforcing the body-conscious nature of the designs.

After seasons celebrating individuality and airy volume, hair now sharpens clothing rather than competing. A severe centre part, gloss of flattened strands, and disciplined low bun elevate a look. This follows the predictable 20-year trend cycle, reimagining early 2000s straightener obsession through a high-fashion lens.

Shine, in particular, defines the emerging beauty trend. From 'glass skin' to 'glass hair'. Whether loose and blade-straight (Chet Lo), coiled into a controlled chignon (Paul Costelloe), or slicked neatly back (Karoline Vitto), gloss is the unifying factor. London Fashion Week’s backstage beauty scene made one thing clear: the era of glass, straight hair is officially back.