Collina Strada SS27 Made Glitter Crawl Head to Toe

By the time Collina Strada SS27 reached Copenhagen’s Operaparken, glitter had escaped every territory beauty traditionally assigns it. It behaved like weather. Like pollen. Like something contagious that had entered the atmosphere and decided the human body offered excellent real estate.

Hillary Taymour brought Delirium in Bloom to Copenhagen Fashion Week as its inaugural International Guest, turning scraps, forgotten swatches and studio remnants from Collina Strada’s history into one-off garments. The runway took place beside the water at sunset, where wind caught chiffon, ribbons, tinsel and reflective particles at once. The beauty team understood the assignment immediately: the collection already looked alive, so the face and hair had to keep spreading the infection.

Zenia Jaeger Let the Glitter Escape the Face

Lead makeup artist Zenia Jaeger, co-founder of Submission Beauty with Johanna Nomiey, approached the models as individual surfaces capable of carrying their own glitter event.

The original brief called for complete maximalism. Submission Beauty supplied its zero-plastic glitter along with custom shades created for the show. Silver, baby blue, pale green, scarlet and gold appeared across eyelids, lips, cheekbones, shoulders, torsos and hair, turning the body into one continuous beauty zone.

Jaeger treated faces and bodies almost like kitsch paintings. Custom glitter mixtures landed directly on skin through thick splashes, translucent smears and scattered fragments. Colour was allowed to clash with the clothes, because harmony would have weakened the strange electricity of the result. A green dress could meet an unexpected metallic flash. A pale face could suddenly erupt with scarlet. Every collision added another layer of delirium.

Jaeger had prepared watercolor washes underneath the glitter during development. Once the models were assembled, those washes pushed the effect toward theatrical costume. She removed them.

Glitter suddenly had space around it. Each fragment carried visual weight because pores, freckles and natural texture remained visible underneath. The sparkle looked deposited onto a living person by some unknown force, creating the strange sensation that the models had walked through a glitter storm on their way to the runway.

Individuality also shaped the application. Each face received its own composition according to the person underneath it. One model might carry metallic scatter around the eyes; another might have a concentrated eruption across lips and cheeks. The casting already carried personality, so the makeup amplified those identities through different degrees of chaos.

Eugene Souleiman Made Hair Look Like Cosmic Debris

Hair lead Eugene Souleiman, working with KEVIN.MURPHY, approached hair as another material inside the collection. His inspiration drew from intergalactic imagery captured by the Hubble telescope: luminous clouds of gas, strange color fields and astronomical formations suspended across space.

That idea produced two major hair languages: CoutureDisco and Space Fairy.

For Couture Disco, the team prepared hair with KEVIN.MURPHY FRESH.HAIR and ANTI.GRAVITY, creating grip and volume before sculpting strands upward into irregular forms. Layers of SESSION.SPRAY helped build and preserve the structure as the shape developed.

The result carried the energy of a cosmic event caught midway through collapse. Hair reached upward, pieces escaped, glitter became trapped inside the structure and reflective strips flashed whenever the head moved. Beauty gained its own architecture.

SESSION.SPRAY was used heavily across wet hair, allowing the team to press it tightly against the scalp beneath a net. Once the surface had been compressed into place, glitter and tinsel entered the hair like foreign material embedded inside a new skin.

Souleiman incorporated textiles from previous collections directly into the hair, turning archival scraps into beauty materials. Fabric that once belonged to clothing returned as decoration on the head. The collection’s circular philosophy therefore traveled upward through the body: Taymour transformed studio remnants into garments, while Souleiman transformed previous garments into pieces of hair sculpture.

That technical decision gave the beauty genuine conceptual weight. Upcycling lived inside the construction process itself, reaching beyond a sustainability statement printed in show notes.

Glitter Crawled Everywhere

Conventional cosmetic glitter has long carried an uncomfortable relationship with plastic. Submission Beauty built its identity around plastic-free alternatives, allowing Jaeger to use sparkle with complete visual abandon while keeping material responsibility embedded inside the execution.

Taymour created Delirium in Bloom entirely from existing studio materials for a fashion week whose sustainability requirements have become central to its international identity. Collina Strada occupied the inaugural International Guest slot supported by The Climate Pledge, carrying environmental responsibility directly into one of the season’s most visible international appearances.

Sustainability became filthy, sparkly, playful and hedonistic.

Deadstock chiffon flew through the wind. Plastic-free glitter looked like somebody had emptied an entire craft cupboard onto human skin. Old textiles became hair accessories. Models walked barefoot with reflective debris scattered across bodies that appeared to have spent the previous night dancing somewhere unreachable by daylight.

Once glitter reaches a toe, the commitment becomes physical. Once it appears on a tongue, the visual joke reaches its natural conclusion: there is nowhere left for the sparkle to go.

This is where the beauty achieved something genuinely useful for sustainable fashion. Environmental responsibility became a method capable of supporting fantasy at full volume. The ethical decision happened during material selection; the visual result was allowed to behave irresponsibly.

The collection therefore occupied every visible surface of the model. Garment, face, body and hair formed one continuous system, which made the runway instantly legible from a distance and extremely rewarding under backstage scrutiny.

That is the beauty team’s real achievement.

Jaeger gave sustainability a glitter addiction.

Souleiman turned hair into another piece of Collina Strada material.

Together they gave Delirium in Bloom a visual infection strong enough to travel far beyond the runway photographs.

A few glitter particles around the eye could have remained makeup.

At Collina Strada SS27, glitter developed ambition. It crawled. It multiplied. It took the face, then the hair, then the body, then the toes, then the tongue. By sunset in Copenhagen, escape had become irrelevant. The glitter had already won.