The Reinvention of the Runway by Kirsty Foster

the reinvention of the runway

Kirsty Foster N0417193 Negotiated Project Stage 1 FASH30001

Contents

The Introduction

The Methodology

The Context

The Digital Age

The Different Forms

The Spectacles

The Balance

The Next Generation

The Platforms

The Consumer

The Future

The Big Idea

Mise-en-scĂ¨ne

The Invites

The Venue

The Designers

The Lookbook

The Conclusion

The Introduction

Fig 1. Louis Vuitton SS15

“The best shows this season brilliantly combined product and production with raw underlying creativity, providing irrefutable justification for the continued relevance and power of staging a well-considered fashion show” (BoF, 2014).

he fashion show, put on seasonally twice a year by brands, is an advertising opportunity like no other. It is the designer’s one chance to bring their collections to life, captivating the audience and creating for fifteen minutes, a fashion-induced world full of creativity. For anyone that loves clothes, fashion shows are a dream to attend. However, due to the evergrowing schedule, with four fashion weeks twice a year, not including other seasonal collections, re-sees and press days, the fashion show set up is, by some, being disregarded and questioned. “What is lacking from the current fashion show model is real risk and innovation. Perhaps elevating the show experience could bring back its relevance” (Doran, 2013).

With many looking upon the fashion season cycle as laborious, fashion shows could be regarded as a waste of time: a group of women, walking up and down in front of the guests, too quick to really get to see what they are wearing. Guests sit on uncomfortable seats, surrounded by a sea of camera phones flashing every second with everyone rushing to send the first tweet or upload the first photograph onto social media, and it is sometimes becoming all too much (Tungate, 2014, see appendix 5.3).

However, fashion shows are, and should be, so much more than this. After all, the verb, to catwalk, means to show off (Cartner-Morley, 2014). With the right venue and lighting, an engaging narrative and a beautiful collection, a fashion show can be the perfect piece of theatre. “Fashion in many ways often leads the way in dramatising the mundane and highlighting the ordinariness of everyday life by celebrating its own existence through spectacle and by visually communicating its own extraordinary nature” (Hancock and Peirson-Smith, 2013, p.174).

This report will investigate the changing role of the fashion show in today’s society, arguing that the digital shift in our society calls for more entertaining and engaging shows, using theatrical production to create amazing live experiences for the show attendees. It will look at how this seasonal presentation, which is in a constant state of flux, will affect smaller designers in the industry attempting to keep up or compete with the big brands during fashion week. The outcome of this report suggests a platform whereby emerging designers can collaboratively share a venue and the production costs, in order to present their collections in an engaging and immersive way to gain important industry attention.

Fig 2. Zuhair Murad

The Methodology

ith a topic so current, all my research began with the reading of both online and magazine articles, published within the past couple of years, with most dating back to 2012. Business of Fashion, i-D, Vogue, Dazed and Confused, The Guardian and The Independent all provided me with reliable sources of information and opinions. However, in order to broaden my knowledge around the subject area and have more breadth to my research, I began to read around the subject area in a wider context. I turned to books and academic research to further inform my ideas and understanding. This proved insightful to look at how consumer attitudes are changing, as well as current trends in society. It especially led me to look at the influence of digital trends on the fashion industry and how these trends then affect consumer behaviour.

With it being an industry-centric based research project, I sought out the opinion of those who actually attend shows and have a valid reason for being there. Due to the nature of the project, it was not appropriate to conduct generalised questionnaires or focus groups. The most effective way of contacting those who work in the industry was by conducting interviews via e-mails as it allowed them to get back to me with informed resposnes in their own time (Denscombe, 2014, p.192). However, it often proved challenging to obtain contact addresses for important buyers and the press, and then often even harder to get responses, as such busy people may not want to speak to people they do not know. Knowing this however meant that gaining responses from highly accredited editors and producers was a real achievement and they all were fascinating to interview. Interviewees included i-Dâ&#x20AC;&#x2122;s Anders Christian Madsen and Courntey Iseman; journalist of Fashion Brands A-Z: Mark Tungate; show producer Charlotte West; set designer Simon Costin and various bloggers and stylists. However, one particularly insightful interview was a phone interview with French lighting designer and show producer Thierry Dreyfus who has designed shows for a range of clients including Comme des Garcons and Raf Simons.

Fig 3. After Chanel SS15

The Context

“Traditionally beginning in New York and ending in Paris, ‘fashion week’, also known as ‘the collections’, showcases the up-coming season’s prêt-à-porter clothing” (Entwistle and Rocamora, 2006, p.736).

Fig 4. The Mechanical Smile

Fig 5. The Mechanical Smile

lthough the origins of the fashion show are not specifically known, it is often attributed to it being in the late 1800’s that the fashion show began with “fashion parades” being held in couture salons in Paris (Evans, 2013, p.12). At the start of the 1900’s, an increasing number of fashion houses were holding instore fashion shows for consumers, as seen in figures 4 and 5. It is not cited that it was a particular designer that began the trend for the fashion show, but that it was more of a gradual shift towards more professional presentations to present collections (Finamore, N/A). In 1943, PR agent Eleanor Lambert hosted the first “Press Week” in New York, fashioning the development of the current Fashion Week format held twice a year in many different cities today (Fortini, 2006). During the evolution of the fashion show, the 50’s and 60’s saw more traditional presentation styles. However as fashion houses entered the 70’s, and the fashion shows became more visible to the public, the theatrical elements of the show became more extravagant, leading to the shows becoming much larger scale productions throughout the 80’s (Finamore, N/A).

This was the beginning of the “fashion show” as we know it today, a largely celebrated event, attracting buyers and press from around the world, especially for the ‘Big 4’ fashion weeks. The big four weeks held in New York, London, Milan and Paris have often retained different values:

“It’s said that New York knows the business, Milan makes the workmanship, London lays the courage, yet Paris presents the dream” (Yan, 2003). However, these lines have been blurring in recent years, as we see an increasing number of designers adopting a more daring, theatrical style and embracing the physical nature of these shows, as, “There has been a steep escalation in theatrical and performative modes of presenting fashion on the catwalks in Paris, Milan, and especially in London” (Bugg in Hancock and Pierson-Smith, 2009, p.12).

Fig 6. Jodie Kidd

The Digital Age

“The more digitalised everything gets, the more important the live experience gets” (Madsen, 2014, see appendix 5.1).

Fig 7. Louis Vuitton SS15

n an age where the paradigm shift to digital ubiquity is unavoidable, the desire and demand for immersive and engaging real-life experiences is becoming increasingly stronger. “There really is no substituting the visceral excitement of being present at an event” (Armstrong, 2014). We are craving this need for tangible experiences in all aspects of our lives in order to balance the amount of time we spend on digital devices. This longing for a fulfilling live experience is also very much the case for those attending fashion shows.

We have accustomed ourselves to a society in which we can watch and download movies instantly and buy or sell clothing at the click of a button. When we expect everything to occur instantaneously, it brings into question the validity of the traditional fashion show in its seasonal format (Friedman in Iseman, 2014). However, whilst this continuous deliberation of whether the fashion cycle, and the format of seasons, is still relevant goes on, the shows themselves are going through a period of rejuvenation. In a month packed full of catwalks, presentations and events, it is imperative that brands create exciting shows in order to gain the attention of the busy show attendees.

Fig 8.

Fig 9. Fig 10.

Fig 11.

The ever-growing fashion week schedule and technological advances within the industry, such as live streaming and digital fashion weeks, have called for some people to start questioning the need for the physical fashion show. As Doran (2013) questions, “Why does the fashion world not only preserve, but perpetuate, a historical solution to an increasingly complex network of modern dilemmas?”

The value of the experiential is a difficult element to replicate online: to be able to see the movement of the fabric, to hear the music and to feel the immediate reaction around of the audience in the room (Ackermann in Madsen, 2014, p.74). These aspects, all truly unable to be captured on a camera and fully perceived through a screen, are the reason that the shows still hold their valid place in the industry.

However, as journalist Courtney Iseman of i-D magazine stated in a conducted interview, “The purpose for having shows might be shifting, but I feel the need for an in-person experience will never go away and I hope brands continue to fulfill that need” (Iseman, 2014, see appendix 5.2).

“There’s only one thing worse than not being present at the show and that’s watching it on the Internet” (Madsen, 2014, see appendix 5.1).

As pointed out by fashion editor Anders Christian Madsen in the preceding quote, there is no doubt that live streaming technologies have become a useful tool in involving consumers and fans of the fashion industry in these stunning events to the extent that live streaming can. However, for the important industry attendees, the people who the shows are really for, experiencing the event first-hand will always remain a priority.

Fig 12. Proenza Schouler Live Stream SS14

Fig 13. Own infographic showing facts and figures from London Fashion Week September 2014

Fig 14. Own infographic highlighting the decrease in the amount of designers showing at the BFC showspace

The Different Forms

Fig 15. Kenzo SS15

“The very notion of what is NOT impossible when it comes to making your collection stand out from the hundreds on the schedule is being redefined all the time” (Costin, 2014).

n light of technological advancements and with a more diverse approach to the way clothes are being presented, we are seeing the reinvention of the runway thriving in its creativity and innovation. With the Spring/Summer 2015 season of London Fashion Week seeing eighty-two designers show their seasonal collections, fifty-eight of those being catwalk shows and the remaining twenty-four creating presentations (londonfashionweek.co.uk, 2014), the fashion “show” no longer necessarily means a catwalk.

Many brands are challenging the way in which clothes can be presented. This was seen in the SS15 season when Gareth Pugh created an immersive live experience that pushed the boundaries of fashion performance, as seen in figure 16 (Bernard, 2014), whilst Opening Ceremony collaborated with director Spike Jonze to put on a one act play, shown in figure 17.

Fig 17. Opening Ceremony SS15

Fig 16. Gareth Pugh SS15

Both brands took current consumer trends and created shows that focused on these attitude changes. In a society where it often takes a lot to impress and we are constantly expecting more and more from brands, consumers are looking for brands to take an unexpected approach to their marketing, especially looking for humour and irony in places you would not normally find it (WGSN, 2014). Opening Ceremony achieved exactly this by creating a play that mocked its own industry, portraying in a humorous way what is often perceived as all the bad aspects of being part of the trade (WGSN, 2014). Whilst Gareth Pugh, taking a more serious approach, understood the audienceâ&#x20AC;&#x2122;s need for an emotional connection and their craving for an element of surprise by creating a live performance never before achieved in the fashion industry, leaving guests waiting on tenterhooks for his next move (Duggan, 2014).

Fig 18. Polo Ralph Lauren SS15

In a reaction to the technological innovations surrounding our every day lives, Polo Ralph Lauren immersed their brand in the digital world by creating a show that used 4D projection mapping to create a futuristic light show in the middle of Central Park, New York, see figure 18 (Fisher, 2014). All of these brands are paving the way for others to follow by exploring new environments and formats for the displaying of garments. And many might consider it is about time. After 120 years of fashion shows following the same format, in an industry that changes so readily, the shift in consumer attitudes and needs, as well as technological advancements, call for a unanimous evolution in the growth of the fashion show. As Gareth Pugh noted in an interview,

“the fashion industry deals heavily with change from season to season, so it’s odd it can be so resistant to change when it comes to how things are presented” (Paton, 2014).

Fig 19. Gareth Pugh SS15

Fig 20, 21, 22. Simon Costinâ&#x20AC;&#x2122;s Impossible Catwalk Shows

Set designer Simon Costin recently curated an exhibition called Impossible Catwalk Shows. Costin, who worked with Gareth Pugh to create his SS15 show and worked with the late Alexander McQueen, designed a series of sets that exceeded the boundaries as to what a fashion show presentation could be. “Each fictitious show challenges current formalized ways of viewing garments” (Costin, 2014). The exhibition included a nuclear power plant in which the clothes hung inside would decay over time; a forest in which the audience had to spot the models amongst trees and a bathroom-style set up where the clothes were suspended from the ceiling as the dye from the clothes dripped into the tubs positioned below, as seen in figures 20, 21 and 22.

Although some of these concepts of shows will be left to our creative imaginations, other models are not far off what we could be seeing in the future. Mark Tungate, journalist of Fashion Brands A-Z, highlighted this when he said, “a show often starts with the venue itself – a designer who chooses to show his collection in, say, a greenhouse in the middle of winter clearly had more on his mind than finding a large space. And personally, I’d rather show up at an unusual setting or a historic monument than a tent” (Tungate, 2014, see appendix 5.3). It is becoming an increasing occurrence for brands to be thinking outside the constructed fashion show box. Getting the choice of environment right and combining it with effective lighting and a powerful soundtrack, all of which stem from the same narrative, is more important than ever.

Fig 23, 24, 25.Gypsy Sport SS15

A brand that can be considered one step ahead of the game, in terms of the setting for their show, is cult brand Gypsy Sport. In September 2014 they took over Washington Square Park to unveil their SS15 collection, as seen in the images above. Although this presentation was illegal, and therefore was perceived to have had flaws, the energy of the show was the most vital component and the brand aesthetic was embedded throughout (Bernard, 2014). It seems that designer Rio Uribe, in ownership of Gypsy Sport, understands the value a show holds and the importance of translating the spirit of the brand to its audience.

Despite all of the different ways clothing can be presented, choosing what type of show a brand wants to put on should be about the brand itself. A show should be a resonating structure of the designer’s aesthetics, a presentation in their true, creative style. In an interview conducted with i-D journalist Courtney Iseman, she highlighted this when she said: “It’s a chance for designers to really show who they are, what their brand identity and aesthetic is all about” (Iseman, 2014, see appendix 5.2). A one-act play would not be in line with many brands other than the witty, innovative Opening Ceremony. Rather, it could only be the likes of Chanel that could create their own entire street, lined with protesting models and fake paparazzi. It is imperative that a show speaks for the brand and their values and that the themes can be then taken through all other aspects of a brand’s marketing strategy. This especially includes the brand’s retail space and visual merchandising and show producer Thierry Dreyfus believes in this, “all the shows have the same mood as the shop windows, and back and forth” (Dreyfus, 2014, see appendix 5.9).

Savile Row Case Study Fig 26. Savile Row LCM Cabinet War Rooms

Savile Row embraces a completely unique approach to the presentation of their collections year after year at London Collections Men. They create interactive events that allow the guests to walk around at their own leisure so that they can fully take in the details of the various collections. “The models are like characters in a film and the clothes are styled to fit with the story being told” (Heran, 2014, see appendix 5.5). In 2014, the presentation was held at The Cabinet War Rooms, as seen in figure 25, and was a celebration of elegant, British menswear, reminding the attending buyers and journalists that London is the capital of masculine style. Actors and models, including Sir Michael Gambon, exhibited the suits, in an unlikely, but appropriately situated venue. The previous year, Savile Row created a first when they chose to hold their presentation within the Lord’s Cricket Grounds, as seen in figures 25 and 26. Various models and cricketers spent the afternoon sporting the collection, at a venue that couldn’t have been more fitting for the tailored summertime collection. Their presentation style format, held within historical buildings, depicts the narratives behind the collections and creates engaging, one-off experiences. The guests are taken on a journey and at each point, get a theatrical presentation, embedding all the imperative values of a fashion show into a professional and unique event.

Fig 27, 28. Savile Row LCM Lord’s Cricket Ground

The Spectacles

“Brands are now choosing the runway as a forum to build their identity for the season and show something outstanding and inspiring” (O’Shea in Harris, 2014).

n the past couple of seasons there has been a growing trend for creating fashion show spectacles, for revolutionising the fashion show as a stage to tell a story and sell a dream, not just to sell clothes. Cochrane (2013) recognises that “Generally more commercial than catwalk pieces, pre-collections are increasingly bringing in a greater total revenue than the shows.” With most of buying taking place before the shows, it allows designers to be more creative and inventive within their shows. They can use theatrical elements and adapt what a catwalk is in order to really immerse their audience in their brand’s world. After all, as Rick Owens says, “if you’re going to drag people to a show, then do a show” (Fury, 2013).

A fashion show spectacle should not necessarily mean something big and extravagant, but simply something rare, something with substance and with an essence of true creativity. The annual Victoria’s Secret Fashion show is an extravagant spectacle, see figure 30. However, it is very evident that the shows are for entertainment purposes and eminently a consumerled event, carried out as a brilliant marketing strategy (Armstrong, 2014). Although this works for Victoria’s Secret and their brand aesthetics, high-end fashion brands should avoid such attention if they want their shows to hold their worth in the industry (see appendix 6.1).

Fig 29. Thom Browne Mens Fall 2015

Fig 30. Victoria’s Secret 2014

Fig 31. Kenzo SS11

Whilst many brands are now focusing on creating something remarkable with their shows and finding new ways to set pulses raising (Woo, 2013), it is still evident which designers have always used the runway to say something meaningful and use it as a medium for the underlying theme to their collection. “The clothes may be the message, but the shows are the medium. And in fashion, the medium becomes the message too” (Fury, 2013).

Designer Kenzo Takada was one of the first to introduce change into the catwalk world, by creating spectacular shows that, using theatrical aspects, combined wit and innovation to mark him as a pioneer in the reinvention of the runway (Everett and Swanson, 2013). He will always be known as the designer that became a game changer with his 1979 show being held in a circus tent as he himself rode atop an elephant (Walker, 2010). This set the way for theatrical shows to thrive, as the 1980’s saw a decade of excess before the 1990’s saw a return to the minimalist approach and a demise of the theatrics (Everett and Swanson, 2013).

One designer who always owned a sense of spectacle in his shows synonymous with his designs was Lee McQueen who, under the brand of Alexander McQueen, year after year never failed to design a show that was anything less than extraordinary. His Spring/Summer 1999 show entitled No.13 begun with Aimee Mullins, a physically handicapped athlete walking the show, and closed with model Shalom Harlow rotating in a plain white dress as two mechanical robots spray painted her with black and yellow paint, captivating the audience into a theatrical and moving performance, see figure 32 (Dunn, 2014). McQueen is an innovator who has always recognised the importance of drawing from cultural parallels to enhance his collections and tell the narrative behind his concepts. As supported by Evans in Duggan (2001), “The fashion show also has a relationship to art, theatre and film; to consumerism; and to the commodification and eroticization of the female form in mass culture; in short, to the wider formations of gender, image, desire and commerce in the twentieth century”. In 2004, McQueen produced a show called Deliverance that was inspired by Sydney Pollack’s 1969 film ‘They Shoot Horses Don’t They?’ “McQueen’s Deliverance is composed of a complex network of inter-textualities that comprise literature, theatre, cinema, painting, music, dance and fashion” (Gil-Curiel, N/A).

Fig 32. Alexander McQueen, Untitled, SS99

Fig 33. Rick Owens SS14

Rick Owens Case Study

Rick Owens, dubbed the “master of elements” by Selfridges, is an American designer who emerged in 2003. He has been creating spectacular shows that have been rattling the fashion industry’s cage with a consistent ability to amaze. “Owens’ runway productions are grand — an elemental proscenium arch through which he can show his clothes — and he has been realizing these feats with La Mode en Images since his Paris debut in 2003” (Fury, 2013). His Spring/Summer 2014 menswear show saw Estonian punk/metal band Winny Puhh, play an enthralling set that created an atmosphere like no other (Michault, 2014).

With his previous show still resounding in the guests’ minds, the anticipation for his following womenswear show was high, and the show did not disappoint. “Forty dancers—features set in a scowl steppers call “grit face,” intended to intimidate the competition—pounded the catwalk in outfits that transfigured Owens’ signature wrapped, draped tropes” (Blanks, 2013). The catwalk was electrified with a style of performance that has never been seen before in the fashion industry to create a vision of spectacle that lasted fifteen minutes and never once lost its substance. 41

The Balance

Fig 34. Dries Van Noten SS15

“Striking the right balance between serving the swelling masses, hungry for imagery, and creating an appropriate showcase for a designer’s feats of creativity and craft is a delicate task” (BoF, 2014).

n the Spring/Summer 2015 season of shows, the most successful and influential ones were those that accepted that it was no longer enough to just present the clothes on a catwalk, but also recognised that the production should not take away from the product. The best shows were those that let product and production work together to communicate the desired message and sell the brand’s aesthetics and values (BoF, 2014). Brands need to create a show that, using innovation at the core, balances all the elements of a successful production in order to create a lasting impression on its guests.

After interviewing several show attendees as part of this project, from editors to stylists and bloggers, it was clear that there was a unanimous opinion about the success of a show. In order to have the greatest impact, a successful show has to be an effective combination of music, lighting and an impressive venue in order to enhance the presentation of the primary reason for the show: the collection itself. One aspect should not have an overriding place of importance over the other. “It’s a combination of everything, never one thing in isolation” as blogger and stylist Navaz Batliwalla, also known as DisneyRollerGirl, stated in an interview (Batliwalla, 2014, see appendix 5.4).

Although some people believe that a collection should be able to speak for itself and the other elements should not be necessary if the collection is impactful enough, many believe it is a case of creating an atmosphere that aids the story and message behind the collection, to create an experience that goes beyond just seeing models walk up and down a runway. Mark Tungate reinforced this when he said, “obviously you’re trying to concentrate on the clothes, but usually they’re part of a larger message that the designer is trying to project” (Tungate, 2014, see appendix ).

As show producer Alexandre de Betak says in Fashion Makers, Fashion Shapers: “The aim of a show is to a) enhance the distinctive features of that collection you’re showing; b) enhance the collection but within the line of identity of the designer; c) make it a moving and memorable experience; d) ensure you create the maximum number of images for press and TV” (Jaeger, 2009, p.184). It is becoming clear that whilst some brands are achieving some of these points, they are failing to encompass all other aspects. At the aforementioned Polo Ralph Lauren 4D show, although it was at the pinnacle of technological advancement, the clothes themselves were difficult to see and out of all the different forms of a show, this one wasn’t an effective way of showcasing a collection (Indvik, 2014). They may have created a show that was in line with the identity of the brand and created a memorable experience but the collection itself was not easily seen and images of the production were not easily visible. This highlights that whilst it is important to stay ahead of the game in terms of trend and innovation, it is imperative not to forget the primary reason for these shows and to still keep this in mind.

Fig 35. Thom Browne SS15

The Next Generation

“Should we be encouraging younger designers to decide how their clothes should be seen? There’s a machinery of PR and production for fashion shows. But a generation that’s grown up seeing in more ways than in person (and feeling, for that matter) may have new ideas” (Bernard, 2014).

ne of the primary problems often seen with the way the fashion week schedule works, is that the emerging designers, the new generation of creatives eager to debut their collections, are not getting the buyers’ and press’ attention that they need in order to really elevate themselves within the industry. “In the spirit of the new and creative, many start their own fashion business, or work on a freelance basis. The sheer numbers that embark on this path contribute to a unique and ever flourishing market that is both created by and kept lively by, young creative energy” (Priest, 2005, p.260). These young designers, still full of enthusiasm and passion, are constantly coming up with new ideas and innovative collections.

However they are scheduled against the big brands, and any commentary of their show gets lost amongst the endless tweets, instagrams and articles about the biggest “happening” that day. It leads to questioning whether it is even worth them presenting in the first place? As Iseman (2014) says, “You could argue over who has more of a need to show at Fashion Week, established brands or young designers.” Because surely celebrating emerging talent should be what fashion weeks are for? Of course it is also to allow the big names to put on a spectacle to keep up their image, but it is also for granting smaller designers the opportunity to get their name out in the public domain and sell their clothes.

Fig 36. Thomas Tait SS15

There are designers out there setting the tone for other following young creatives, such as womenswear designer Thomas Tait, who recently produced a show that turned a derelict building into a living art space to create what was described as a ‘marvellously unsettling scene’, see figure 36 (Zarrella, 2014). It is shows like this that editors and buyers recognise as being the start of something special. Although they are dealing with a much smaller budget, their passion is clear and they work extremely hard, knowing how much is at stake when they produce a show. This is the generation that has grown up surrounded by the digital world, and with the courage to challenge existing systems. “I feel like the designers taking risks and coming up with fresh approaches are often the really major, household-name labels and the really new, up-and-coming brands. It’s presumably that the big brands have the budget, and the fresh designers have the drive, the creativity, the feeling they need to introduce themselves with a bang” (Iseman, 2014).

The Platforms

â&#x20AC;&#x153;Though it makes sense for smaller brands to be part of fashion week, many are calling into question the actual benefits of producing a showâ&#x20AC;? (Doran, 2013)

hilst there may be an open-ended debate about what the growing expense in producing a show for fashion week means for smaller designers, the changing role of the show means that it is more crucial than ever for these emerging designers to be involved and to showcase their brand. Though it is evident that smaller designers do not have the funds to produce the same level of shows as the big brands, with the help of platforms such as Nolcha in New York and Newgen and Fashion Scout in London, these brands are able to put on a professional show, worthy of industry time and attention.

Nolcha Case Study Nolcha is a platform in New York that runs alongside New York Fashion Week that, through effective collaboration and notable brand sponsorship, allows independent designers to produce cost effective shows that elevate them into industry visibility in an otherwise competitive, and difficult to crack, world (Hwang, 2012). Nolcha’s events are produced to a high industry standard, allowing these designers, who don’t have the funds or experience, to exhibit their collections at a worthwhile show. “We teach fashion designers the valuable lesson of doing a runway show or presentation at industry standard and to the right audience” (Bannigan, 2014). Nolcha attracts noteworthy celebrities and media attention to their events using reputable sponsorship and thus creating a distinguished audience for these independent designers.

“It has established itself as a platform of discovery promoting innovative fashion designers through runway shows and exhibition” (Nolcha, 2014). The platform offers their clients a runway package that includes: Pier 59 Studio space as the venue, professional sound and lighting, a hair and make-up team, professional models and all the other aspects of a successful staged catwalk show. In the past seven years, Nolcha Fashion Week has been a powerful platform for these independent designers, however, as bigger brands are adopting a new style of show, abandoning the traditional catwalk format and embracing the theatrical, physical nature of what a show constitutes, Nolcha’s conventional arrangement may not be enough anymore.

Fig 37. Nolcha Fashion Week

In London, platforms such as BFC Newgen and Fashion Scout also aid smaller and emerging designers in producing industry-standard shows and establish these brands in fashion week. BFC Newgen, which is sponsored by Topshop, provides designers with a spot in the hectic London Fashion Week schedule and a venue for these collections to be uncovered. Fashion Scout, similarly to Nolcha, is an off-schedule showcase that puts on around twenty-eight shows and presentations throughout the week for their emerging designers and is a highly accredited and successful platform for uncovering the next generation of talent (see appendix 5.2). Missing from these platforms, however, are shows that are theatrical, immersive and exciting, or shows that present themselves in venues that bring an element of surprise and mystery for the guests. At times there is a lack of hype created around these shows as guests know exactly what to expect, but the buzz is what is needed to really draw in industry attention amongst the spectacles they are seeing within fashion month. As Troy (2003) states, “Fashion depends on ‘an audience, a discourse, a profile in the public sphere’ for its success” (Craik, 2009, p.178). With the role of the fashion show changing and the increasing need for shows to be entertaining, these platforms need to be offering their designers the opportunity to do this. As stated by Paton (2014), “The curtain is about to rise on a new season of fashion shows and with them comes a trend for the theatrical” and therefore meaning that we are seeing a shift away from simple catwalk shows to more spectacular productions.

As this shift continues to take place, the extensive gap between small designers and the big fashion houses will only continue to grow, as the smaller designers continue to just show in tents or simple show spaces. Although the finances of these shows are the prominent issue in preventing them doing more theatrical shows, we are very much entering an age where sharing and collaborating is something of the norm. “DIY culture is still alive and very well elsewhere. From small beginnings come superstars” (Kissick, 2014). There is a whole generation of visionaries emerging within the creative scene, equipped with the talent and tenacity to disrupt the fashion show mechanism; it is just a matter of giving them the appropriate platform, or financial help with doing so. This is where collaboration and the sharing economy could play a key role in the creation of something spectacular. “Their need to get crafty and put on more with less often leads to shows that stand out, shows that we remember” (Iseman, 2014). The sharing economy is upon us and is specifically becoming a fundamental way of thinking amongst younger generations.

Fig 38. Thomas Tait SS15

Fig 39. Thomas Tait SS15

The Consumer

The Editors, Journalists, Buyers and Bloggers... Anders Christian Madsen, Navaz Batliwalla (Disney Roller Girl), Susy Menkes, Hannah Almassi, Mark Tungate and Susie Lau

he fashion show consumer is an individual working within the industry who relentlessly attends the shows year after year. Despite the fact that the shows have a growing number of attendees, with a lot of questions about their validity for being there, there is a solid group of editors, journalists, stylists and esteemed bloggers whose presence at a show is fundamental for the show’s resounding success. With front rows often becoming a celebrity parade, packed with people who are just “famous for being famous” (Menkes, 2013), with no actual interest or understanding of the collections themselves, it is vital that in order for the fashion shows to continue to be considered valid, they need to return to their industry-centric roots.

As Anders Christian Madsen said, “It’s important to keep the attendance at shows strictly professional. Otherwise the industry loses its worth. It would be the same as designers basically saying that my colleagues and I are just full-time shopaholics” (Madsen, 2014, see appendix 5.1). Therefore, celebrities or general consumers are not a valid source for insight into the surrounding conversation about fashion shows. Despite the growing debate amongst designers, editors and buyers on the credibility of bloggers who attend shows, it was still beneficial and justifiable to gain insight from bloggers, as they are becoming an intrinsic cog within the fashion show system. However, it was noted that the opinions from editors and journalists provided a more legitimate judgment and observation for this subject matter.

Fig 40. The Consumers

“The role of the editor is to see the collections first, evaluate, decode, edit, distill and serve up in digestible bites. The editors are there to decode the shows as a whole, and present trends, ideas etc. which may be ahead of the consumer’s time” (Batliwalla, 2014, see appendix 5.4). Fashion editors and bloggers attend shows in order to be able to translate the designer’s message to the consumer, who, as much as they may love to watch the show, will not always understand what it is they are looking for. Editors especially, play an extensive role in then deciding the success of that show; they have an immense effect on which trends from that collection will reach the consumer and their opinion can really affect the masses.

With some editors and buyers attending up to as many as three hundred and fifty shows a year (Madsen, 2014), the need for designers to create something unique in order to be memorable is imperative for their shows to be successful. “With today’s instantaneous internet and social media coverage, the old purpose of Fashion Week might now be a moot point, so maybe now the point should be a chance for designers to entice the press, buyers and shoppers by making their shows into treats for all the senses that people talk about for months to come” (Iseman, 2014).

Fig 41. Hamish Bowles

The Future

“Fashion’s future is rooted in its past. In an age where boundaries have been stretched to the point of breakage, the only way to be new is to draw from the old and bring it to life in new ways” (Seay-Reynolds, 2014).

Fig 42, 43. Haider Ackermann Mens Fall 15

fter witnessing the fashion month of SS15 bursting with excessive, and expensive, fashion spectacles and with fifty of the eighty-two London Fashion Week shows being live streamed (londonfashionweek.co.uk, 2014), it is likely that with this being one of the biggest years for extravagance and accessibility, the next few years will see a turning point for fashion shows. We will see fashion looking back to its past, combining traditional elements with new ideas and innovation in order to create something new in the years to come.

This was emphasised by Anders Christian Madsen when he stated: “the future of the fashion show is the past, because we can’t possibly increase the size and spectacle of these shows anymore, but rather scale them down and keep them industry-centric” (Madsen, 2014, see appendix 5.1). As we overcome our obsession with letting technology dictate our lives and see it eventually become more seamlessly integrated (Costin, 2014), the future fashion show will see a shift away from the influence of social media and ideas of “digitalising” everything.

Shows will use subtle digital enhancements to rejuvenate the fantasy realm that the fashion world lives in. As revealed in an interview with Mark Tungate, “the future of the fashion show is a theatrical experience that uses real-time digital media to enflame desire for the product” (Tungate, 2014, see appendix 5.3). The realms of fashion and performance will continue to blur as brands continue to take a more theatrical approach towards the presentation of their clothes. 65

The Big Idea

ombining the knowledge of the gap in the market for smaller designers at fashion weeks, with the most prominent and lasting values of the fashion show, the idea is to create a platform that allows emerging designers to put on a theatrical and memorable show that, through the use of a collaborative show venue and sharing costs, will draw attention from notable buyers and press during fashion week. The platform, unlike others currently available for young designers, holds the collectionâ&#x20AC;&#x2122;s narrative at the core of the show, allowing the designer to translate this narrative into all aspects of the show, encouraging creativity and innovation. At a time when the big brands are creating more hype around themselves and their shows than ever, the platform realises that in order to compete with these brands, it needs to offer an experience that engages all senses.

It must offer a unique, industry-centric and intriguing event that buyers and media are seeking amongst the busy fashion week schedule. As a brand, it recognises the current trends and those developing in the next year regarding consumer behaviour and responds to such in order to create a desirable and engaging experience. As seen on trend forecasting website, WGSN, a consumer trend for 2015 is the attitude for craving the unpredictable and wanting an element of surprise (WGSN, 2014). Companies such as Secret Cinema are making the most of this knowledge by enticing their guests to their events by keeping mystery and anticipation at the core of their company (see appendix 6.3). With hundreds of fashion shows taking place each year, creating a visceral element of surprise is a vital component to a successful show.

Fig 44. Chanel Couture SS15

As previously mentioned, the need to utilise fashion shows as a platform to tell a story, is a move being influenced by consumers seeking narratives from a brand and itâ&#x20AC;&#x2122;s story. â&#x20AC;&#x153;People are more hooked on stories than everâ&#x20AC;? (Jordan, 2014). Fashion brands especially need to create an emotional connection with their audience through their shows and the narratives behind their collections to avoid being ignored, or easily forgotten. If a show can evoke an emotion from its audience, whether it is excitement, shock or awe, then it is more likely to be remembered by its audience and generate more interest for the following season.

Combining the consumer behaviour trends and the insight into what it is that important editors and bloggers are pursuing when they attend a show, it will use this knowledge to aim to attract the aforementioned consumers. All these industry show attendees are very explicit about what attracts them to a show in order to make their time and effort worthwhile and therefore the platform will act upon this.

Mise-en-ScĂ¨ne

lthough there are other platforms currently in London Fashion Week that support emerging designers such as Fashion Scout and Newgen, there is a gap in the market for providing a platform that allows the designers to put on theatrical and engaging shows. Shows that can begin to compete with the designers with the big budgets. The reason that this has not really been done before is because smaller designers cannot afford the costs of doing this. However, following the generational shift in accepting the sharing economy and taking a more DIY and creative approach to producing a show, the designers can share the production and venue costs. This would therefore allow them to achieve the show that they believe will best enhance and demonstrate their collections.

Mise-en-scène is the name of the platform as it fully encapsulates its values and aims and objectives. Miseen-scène translates into English as ‘placing on stage’ and is the theatrical term for all the design aspects of a production, often meaning the visual theme and the telling of a story. It is the arrangement of everything that appears on stage or in the frame as the result of the collaboration of many professionals and also can be the representation of multiple single scenes to represent the overall story. As the fashion week platform is a platform that encourages the collaboration of different talented emerging designers in order to create a show that is theatrical and strongly tells the narratives of their collection, the name could not be more appropriate.

Mise-en-Scene

Mise-en-scene -en- cène ise M S

Mise-en-scene

Mise en Scene - -

Fig 45. Logo Designs

Fig 46. Website Mock Ups of Changing Branding

With the brand name fully epitomising the brand’s values, Mise-en-scène takes a slightly different approach to its branding. As the platform’s core is embracing the new and the different and represents a wide scope of different aesthetics, its branding will continuously change. Miseen-scène focuses on creating an anti-brand, believing the designers are the most important part of the platform, not the platform itself. Mise-en-scène will be constantly adapting itself to the partaking designers’ aesthetics and representing the fashion industry in its constant state of flux.

Therefore, the logo of the brand is made up of five different fonts and styles that change each time a viewer sees the logo of the brand, see figure 45. The use of the repetitive orange accents is to allow the logo to have a consistency amongst its changing aesthetic, as well as bringing some colour and vibrancy to the branding. In terms of colour theory, the colour orange represents youth, creativity, balance and enthusiasm. It is also a colour that draws attraction and allows something to show off (Colour Wheel Pro, 2014) (see appendix 4.1).

The Invites T

he invites that the guests receive should be one of the most creative and exciting stages of the show process; it is the part of the show that they experience before anything else. It is imperative that this invite intrigues them and encourages them to attend the show. With important industry influencers ending up with hundreds of invites on their desks for the forthcoming month, an invitation, that does not have one of the big brand’s names on it, needs to catch their attention. Similarly to the way in which Paul Boudens designs invitations for Haider Ackermann, Mise-enscène aims for a simple, yet effective design that is also cost-effective. “Honest about the financial limitations of the fashion industry and the ominous trend for the budget to be of primary importance, Boudens is happy to exercise a ‘less is more’ aesthetic” (Hess, Pasztorek, 2014, p.110) As Mise-en-scène wishes to create a sense of mystery and build up a buzz around the forthcoming event, the invitations would be sent out in two parts with four different styles representing each designer and are synonymous to a Lookbook which will be handed out to the guests at the start of the show.

The first part, as seen in figure 47, is a stripped back version of the invite, with a block of colour representing each of the four designers. The first part does not reveal much about the show but leaves the guests waiting upon the second part to find out what this branding means. The second part of the invite would then be received a week later. The secondary section, figure 48, is the size of the block of colour on the first invite and is an image of the relevant designer’s choice. On the other side of the invitation are the details about the show. However, the invitation still does not give too much away. It tells its guests the date, location and the featuring designers, however it leaves the guests intrigued as to what the new platform will entail. The use of the geometric shapes and lines on the invitation, which also feature in the Lookbook, are representative of the structure of the Hayward Gallery, the venue that the first collaborative show will be held at. The gallery has a strong architectural shape and will be a prominent feature of the show. The geometric block of orange is consistent to the logo, invitation and future Lookbook as it holds everything together synonymously, despite the continually changing branding and aesthetics that depend on the designer.

Fig 47. First Part of Invitation

Fig 48. Second Part of Invitation

Fig 49. Invitations

Fig 50. Invitations

Fig 51. Invitations

The Venue W

ith the setting of a show increasingly becoming one of the most important aspects of a designerâ&#x20AC;&#x2122;s narrative and in proving their originality as a brand, it is imperative that the venue chosen for the designerâ&#x20AC;&#x2122;s collaborative space is one that enables each individual designer to accentuate the narrative of their show and strongly display their aesthetics. The Hayward Gallery is an arts and performance gallery situated on the South Bank of London and plays home to some of the most innovative and immersive exhibitions (southbankcentre.co.uk, 2014).

Fig 52. Hayward Gallery

The choice of this venue for Mise-en-scène’s first collaborative show is appropriate as it not only allows multiple shows and presentations to take place but also because of the nature of the building and what it stands for. The building is already a celebration of creative talent and understands the importance of the creative arts in our society. “The intention and purpose of showing fashion in an art environment has further been called into question when major brand names exhibit their past collections in art galleries. This and similar presentations and installations are played out against the historical hierarchies of design and art, as well as our understanding of the purpose of the art gallery” (Bugg in Hancock and Peirson-Smith, 2009). The building’s layout allows collaborative shows to take place as the interior, and the exterior, can be easily adapted to the designer’s vision.

Fig 53. Hayward Gallery Terrace

Fig 54. Blind Light at Hayward Gallery

Fig 55. Hayward Gallery Floorplans

The set up of the show within this venue is also to allow guests to have a more intimate look at the designer’s collection right after the show to see any further detailing of the design or any pieces they may have missed, therefore preventing re-see events weeks after the shows from having to take place. This has been inspired by the success of the aforementioned Savile Row presentations, which hold a strong narrative throughout whilst allowing the guests to, at their leisure, immersive themselves in a captivating experience. The brutalist concrete architecture of the building seen from the outside provides a dynamic backdrop for projections to be displayed on which would be viewed as the guests arrive, as well as attracting the attention of people passing by. The use of projection on the outside walls, with glimpses of what is going on inside, would create a digital spectacle that would be embracing the adventurous nature of the show, as well as providing a more immersive and impressive version of live-streaming the event.

“At Dries Van Noten’s SS14 men’s show, models posed against a huge golden backdrop after having walked the show, inviting guests to leave their seats and go up close and take pictures. It is new takes on the show format like these, which we should really look to if we want to make a difference in the way fashion week works” (Madsen, 2014). 81

The Designers E

ach individual designer would bring their own narrative and ideas to the way in which they wish to adapt the given space. The concrete exterior of the gallery on both floors would enable effective presentations of the designers’ collections, with the backdrop of London and the Thames being a reminder of the fact that London is home to some of the most talented young creatives who are thriving at their best (Knox, 2011). “While other capitals rely on long-established fashion houses to pull in the crowds, London comes up with new heavyweights every season” (Dailey, 2013). Although it is up to the designers what they wish to do with their show and the message they wish to convey,

As a brand, they encourage the designers to think of innovative and immersive ways of presenting their clothes, and enables them the opportunity to do so. Mise-enscène focuses on holding two main values at the core of everything it produces: the successful promotion of a collection and the telling of a narrative, both of which need to strongly translate to the audience. “It is the viewers understanding of the clothed and communicating body and their own memories and experiences that enable them to engage and connect with the ideas and narratives communicated, regardless of whether these are presented in the context of fashion or performance” (Bugg, 2011, p.5).

Fig 56. J Moon

Fig 57. Jamie Wei Hua

Fig 58. Grace Weller

Fig 59. Camilla Grimes

For example, designer Jamie Wei Huang’s collection plays with geometric forms and is strongly influenced by ancient art. Using the gallery space on the first level, Mise-en-scène would use the shows shown in figure 60 as inspiration and create a presentation that used reflective mirroring and low-level lighting in order to create a futuristic show that create many levels and dynamics, just like the collection itself. It is also a space where projections would work effectively, a feature that would enhance Jamie Wei Huang’s collection. The use of light and projection in the space would create an otherworldly experience for its guest and would certainly be a memorable and immersive experience.

Fig 60. Jamie Wei Huang Concept Inspiration

Elsewhere throughout the show, recent graduate Camilla Grimes would be showcasing her most recent collection. With a collection so fun and fresh, Mise-en-scĂ¨ne would encourage the use of props, similarly to the way Meadham Kirchoff do, to emphasise the vitality of her designs. A show like hers would need to embrace her feminine yet eccentric aesthetic and would use bright colours and playful props to create a childlike dream world surrounding her presentation, see figure 61.

Fig 61. Camilla Grimes Concept Inspiration

Another recent graduate designer, Grace Weller, would be able to create an effective and visually stunning show by portraying her feminine, yet gothic, floral aesthetic by creating a presentation and show that celebrates the beauty of nature, see figure 62. Some of the most successful and memorable shows have been the ones that have accentuated the use of flowers and plants as it provides a beautiful backdrop for the presentation of a collection.

Fig 62. Grace Weller Concept Inspiration

Mise-en-scĂ¨ne would encourage designer J Moon to really focus on the set for her show, understanding that factors such as the layout of the show and the seats themselves could be utilised in an exciting and creative way in order to fashion an engaging and immersive experience. Using shows as seen in figure 63 as example, bright colours and artistic techniques can be used to enhance the colours and textures of her collection. The combination of the four varying shows and presentation styles would take the audience on an exciting and immersive journey.

Fig 63. J Moon Concept Inspiration

The Lookbook

Fig 64. Lookbook

iven the fact that a lot of buyers and editors are becoming increasingly frustrated with the seasonal fashion show cycle, having to wait months after the show for press days and for the collection to arrive in stores, Mise-en scène aims to bridge this gap more effectively. Although it cannot aim to change the fashion cycle completely, as journalist Mark Tungate noted, “the only adjustment that could be made is perhaps in the timing of the collections […] But that’s not going to happen - it would be like trying to turn around an oil tanker” (Tungate, 2014, see appendix 5.3). It can however use tools to make the months between show and sale work to the designer’s advantage.

With the invite being the pre-show experience, and the event itself being the core of the brand, what is often missing from fashion shows are effective post-show experiences. Buyers, editors and bloggers have to attend tedious re-sees and press days for big brands and there seems to be lacking something tangible provided by the brand to aid the post-show process (Madsen, 2014, see appendix 5.1). Often the only thing the guest can immediately take away from the show is the goody bag and this is increasingly losing its appeal. Designers need to start thinking about how they can utilise what they give guests at shows in the most efficient way possible regarding the promotion of their collection, as after all, that is what the fashion show is primarily for.

Mise-en-scĂ¨ne will provide the guests with a Lookbook when they arrive at the event that features the partaking designersâ&#x20AC;&#x2122; collections and any notes or comments from the designers. In order for this to be something the attending guests actually want to take away with them, the Lookbook is designed to be a working notebook for throughout the show. At too many fashion shows pieces of paper and card are left lying around and discarded. Therefore, with it being something more substantial, and memorable, the guests will actually want to take it away with them.

Fig 65. Lookbook

Fig 66. Lookbook

Fig 67. Lookbook

The Lookbook will be ordered to the order of the designersâ&#x20AC;&#x2122; position throughout the gallery, and hence will then follow the order of the line up. Beside each look there will be spaces for the guests to make notes and further information to view, including fabric samples and even price notes for buyers. Once they have come away from the show, they have easy access to the information regarding the overriding narrative to the collection as well as further detailing about specific pieces or looks. This helps buyers, editors and bloggers understand the collections better and provides them with more information for when they come to write their review, blog post or are considering buying pieces of that collection rather than having to wait until a few months down the line.

Hopefully, the Lookbook will encourage designers not to feel the pressure to tweet throughout the show, being able to quickly make notes in the book rather than looking at a screen and encourage them to focus on the show that is unravelling in front of them. Mise-en-scène will also have a system in place in which unofficial photographs taken by social media staff from throughout the day can be sent to the attending guests’ phones or tablets once each show or presentation has been viewed. This will then allow them to then use these photographs to upload on to social media before any official images from the press are released. In our digitally driven society, we all feel the pressure to take as many photographs as we can at an event, wanting to be the first to upload it on to social media, often spending more time trying to get the right photograph than actually enjoying the moment we are in. This system will hopefully encourage people to put their phones away and fully immerse themselves in the experience that is surrounding them, knowing they will receive social media worthy shots of the show once it’s over.

“All you get is the same photo taken, badly, by lots of different people. None of these fashion editors wish to tweet from every show anyway – they only wish to enjoy the collections – but everyone else is, so they have to as well” (Kissick, 2014).

Without undermining the influence social media can have over the success of an event or a show, the platform simply encourages its guests to utilise social media in the pre- and post-show experience process but to just enjoy being present and embracing their time at the actual show, fully immersing themselves in the engaging and exciting event unfolding around them.

The Conclusion

n a society where the craving for immersive, live experiences is becoming ever more apparent, the need for a strong narrative within theatrical fashion shows is becoming imperative for a brandâ&#x20AC;&#x2122;s success. This report has, using the knowledge of all the most important values of a fashion show, created a solution for young, emerging designers within the industry in response to this changing scene. Using key insights from interviewees, academic research and articles, a platform has been created that fully epitomises all of the successful elements of a show that carefully considers the before, during and after process of fashion week. The platform recognises the budget that these emerging designers have to work with and so uses cost-efficient methods in the production of the show. The platform simply aims to create a stage for these talented designers and enables them to create immersive and innovative shows that can compete with the big brands in fashion week. The platform is turning the focus of the guests who attend fashion weeks to supporting the emerging creatives in the industry, as these will be the next generation of major designers if given the right start in the fashion world.

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Fig 68. Rami Al Ali Model