By Rifan Muazin 
In the rapidly shifting landscape of men’s high fashion, few figures have managed to capture the intersection of rugged athleticism and refined bohemianism quite like Connor Storrie. As the Saint Laurent global ambassador, Storrie has consistently proven that his aesthetic versatility is his greatest asset, moving seamlessly from the sweat-drenched realism of a hockey rink to the high-glamour stages of the Golden Globes. However, it is his latest collaboration with the French luxury house for the Fall 2026 campaign that has truly set the style world ablaze. Centered around a haircut already being dubbed the "Storrie Shag," the campaign serves as a masterclass in how to bridge the gap between 1970s counterculture and 1980s corporate ambition.
The campaign’s centerpiece is a mesmerizing 35-second film that strips away the noise of modern advertising to focus on the raw kinetic energy of Storrie’s hair. Set to the soulful, rhythmic pulse of Milli Vanilli’s 1989 hit “Girl I’m Gonna Miss You,” the video features Storrie from the chin up. As he bobs his head to the downbeat, his trademark curls react with a choreographed grace, bouncing and settling in a way that feels both chaotic and perfectly controlled. It is a visual testament to the "heavy lifting" Storrie’s hair does in his public persona—a feature that has previously seen him channel everyone from a post-game athlete to a grunge-era Kurt Cobain.
But the "Storrie Shag" is more than just a fortunate genetic accident; it is a highly engineered piece of follicular architecture. To achieve this specific look, Storrie’s long-time hairstylist, the renowned Candice Birns, looked back to a pivotal moment in New York City’s cultural history. While the clothing in the campaign leans heavily into the "yuppie" power dressing of the 1980s—complete with pinstriped dress shirts, popped collars, and leather jackets—the hair finds its soul in the 1970s punk rock scene. Specifically, Birns cites the legendary photographer Robert Mapplethorpe as the primary inspiration.
Robert Mapplethorpe was a titan of late-20th-century photography, known for his stark, black-and-white portraits that explored the boundaries of sexuality, celebrity, and the underground BDSM subculture of New York. His own personal style—a mixture of leather-clad toughness and a soft, curly mop of hair—became an emblem of the era’s "hunky" yet intellectual masculinity. By channeling Mapplethorpe, Birns and Storrie have managed to inject a sense of artistic rebellion into a campaign that might otherwise feel strictly corporate. "We all love Connor’s natural curls," Birns told GQ. "He doesn’t need a whole lot, and it just made sense to go in that sort of effortless, hunky late ’70s, early ’80s feeling."
The technical execution of the "modern mod" cut, as Birns describes it, is where the artistry truly lies. For those looking to replicate the look at their local barbershop, the terminology is vital. Birns utilized what is known as "90-degree square layering." In this technique, the hair is pulled straight out from the head at a right angle and cut in a way that creates a boxier, more masculine silhouette. This prevents the hair from collapsing into a round, feminine shape, instead maintaining a "masculine square shape" that frames the face with intent.
Furthering this rugged aesthetic is the use of "point-cutting" rather than traditional blunt cutting. By using the tips of the scissors to cut into the hair at an angle, Birns avoids the harsh, straight lines associated with more conservative styles. This creates a "lived-in" and "rough" texture that suggests the wearer has just stepped off a stage or out of a dark club, rather than a stylist’s chair. The signature of the look is the diagonal line where the fringe meets the perimeter, a detail that requires precision to ensure the hair moves with the "weightless" bounce seen in the Saint Laurent video.
Interestingly, achieving this "effortless" look is a labor-intensive process. Birns revealed that Storrie’s hair in the campaign likely contains around eight different products—a staggering number for a look that appears so natural. The process begins with a careful preparation phase, involving a mixture of curl cream and hair oil to provide hydration and definition without the crunch. This is followed by a thickening spray to add volume and a light texture paste or cream run through the ends to create "pieciness." To lock in the shape while maintaining movement, a hair diffuser is used to dry the curls, followed by a finishing touch of sea salt spray. The result is a head of hair that is, in Birns’ words, "fun and flirty and playful," yet undeniably sophisticated.
The fashion context of the campaign further highlights the genius of the hair. Storrie is styled in a way that evokes the "Finance Bro" archetype of the mid-80s—the kind of man who might transition from a high-stakes board meeting at 4:00 p.m. to a round of golf or a late-night gallery opening by 6:00 p.m. He wears wraparound sunglasses that suggest a level of impenetrable cool, paired with the structured shoulders of Saint Laurent’s signature tailoring. The juxtaposition of this rigid, "power-dressing" attire with the wild, Mapplethorpe-inspired curls creates a tension that defines the modern Saint Laurent man under the creative direction of Anthony Vaccarello. It is a look that says the wearer is successful enough to follow the rules, but rebellious enough to ignore them.
This campaign also marks a significant moment in the career of Connor Storrie. Already a darling of the indie film scene and a breakout star of the hit project Heated Rivalry, Storrie’s ascension to global ambassador for a house as prestigious as Saint Laurent signals his transition into a major cultural influencer. His ability to carry such a specific, historically-weighted look speaks to his "it-factor"—a quality that Candice Birns has also helped cultivate in other Hollywood leading men like Jacob Elordi and Gerran Howell. Birns has become the go-to architect for the "new masculine" hair trend, which favors texture, length, and personality over the sterile, high-fade pompadours that dominated the early 2010s.
The "Storrie Shag" arrives at a time when men’s grooming is undergoing a radical transformation. As gender norms continue to blur and the influence of the 1970s and 90s continues to dominate the runways, men are increasingly embracing longer, more expressive hairstyles. The "modern mod" is the sophisticated older brother to the "wolf cut" or the "mullet," offering a way for men to experiment with volume and length while maintaining a sense of high-fashion elegance. It is a style that demands confidence, requiring the wearer to embrace their natural texture rather than fighting against it.
In the broader scope of fashion history, Saint Laurent has always been the house most closely tied to the spirit of rock and roll. From Yves Saint Laurent’s own fascination with the beatniks to Hedi Slimane’s indie-sleaze revolution, the brand has thrived on the energy of the music scene. Vaccarello’s current vision for the house is a more polished, cinematic version of this heritage. By selecting Storrie and referencing Mapplethorpe, the Fall 2026 campaign pays homage to the grit of New York’s past while looking toward a future where masculinity is defined by a blend of strength and sensitivity.
As the Fall 2026 season approaches, the "Storrie Shag" is poised to become the most requested haircut in high-end salons. It represents a shift away from the over-manicured looks of the past decade toward something more visceral and authentic. Whether you are an actor on a red carpet or simply a man looking to elevate his daily style, the lesson from Connor Storrie and Candice Birns is clear: the most powerful look is one that feels lived-in, looks effortless, and carries the weight of history in every bounce of a curl. In the end, the "Storrie Shag" isn’t just a haircut; it’s a statement of intent for a new era of men’s style—one where the ghost of Robert Mapplethorpe dances to the beat of Milli Vanilli, and where a beautiful head of curls can, indeed, do no wrong.
