Fashion shows hold significant influence and generate high levels of anticipation within the international industry. The primary objective of the event is to showcase the collection. However, it is important to acknowledge the extensive efforts involved in the production of each fashion show, as fashion houses strive to present a new collection every season. One aspect that significantly enhances the overall experience of a fashion show is the focus on set design. This encompasses various elements such as the atmosphere, scenery, details, special effects, color palette, as well as stylistic and architectural elements. Collectively, these components work together to bring the fashion show to life.
Set designers are faced with the challenge of transforming a physical environment into a conceptual experience that enhances the collection and immerses the audience in the world of the fashion house, while also maintaining practicality in fulfilling its purpose of conveying the creative vision.
The origin of the contemporary fashion show can be traced back to the 1860s when Charles Frederick Worth, an English fashion designer, introduced the practice of employing live models instead of mannequins to showcase his designs in the city of Paris. This established the precedent for the definition of a runway or catwalk as a level platform that extends into an auditorium or between sections of an outdoor seating area, utilized by models to exhibit clothing and accessories in the context of a fashion show. While the underlying concept is easily comprehensible, the implementation of this endeavor is a profoundly immersive and multi-sensory experience. Set designers delve into the sources of inspiration for the collection in order to effectively translate them into visually striking and tangible elements.
In contemporary society, the nature of a fashion show has evolved into a captivating and multisensory experience, characterized by its immersive, atmospheric, and theatrical elements. This transformation blurs the boundaries between artistic expression and commercial endeavors, resulting in a moment of unadulterated creativity. Furthermore, this event serves as a conduit, facilitating the communication of a fashion house’s collection to the wider public.
According to Alexandre de Betak, a renowned creator of sets for prominent fashion houses such as Dior, Helmut Lang, and Galliano, the notion that a fashion show is a frivolous and ethically questionable endeavor is misguided. Primarily, its objective lies in the dissemination of brands that collectively constitute an industry catering to the global populace.
Given the aforementioned context and comprehension of the role of a set designer, it becomes apparent that the visual aspects of the runway play a pivotal role in presenting the collection. Consequently, presented herein are the ten most awe-inspiring and innovative runways.
Let’s begin with the examination of Alexander McQueen’s Fall/Winter 1999 collection, titled “The Overlook.” Drawing inspiration from the 1980 horror film “The Shining,” which takes place in the Overlook hotel, McQueen presented a visually captivating display of elegance amidst decay. The runway featured a Victorian-themed clear box resembling a snow globe, containing 25 tons of textured snow and adorned with planted birch trees. This artistic choice imbued the runway with an atmosphere of opulent yet fragile beauty. The tranquility of the environment was disrupted by the movement of figure skaters, while models gracefully paraded on an icy surface adorned with winter-themed attire. These garments showcased a variety of icicle-inspired designs, incorporating elements such as rock crystals, metals, soft knits, and opulent furs. The individual effectively conveyed the emotional essence of the film through the strategic use of attire and ambiance, in conjunction with the dramatic elements of the performance, which were organized into distinct segments. The initial segment of the runway presentation elucidated the concept of delicate visions, wherein the pastel hues gradually transitioned into deeper shades, accompanied by a shift towards more defined garment structures. Ultimately, the culmination of the show featured a stark white palette accentuated by gentle contours. The conclusion of the show took place amidst a snowstorm, during which a model, embellished with crystal rocks that appeared to be organically emerging from her skin, made her way onto the runway. Subsequently, the models collectively directed their gaze towards the audience, peering through the transparent glass.
The Christian Dior Spring 1998 haute couture collection, led by John Galliano, was presented at the Palais Garnier Opera House in Paris. The showcase of this collection was characterized by a theatrical presentation, drawing inspiration from Marchesa Casati and her deep interest in the ballets russe. This influence was reflected in the incorporation of opera coats, Art Nouveau prints, and the careful styling of accessories. The aforementioned Italian heiress gained recognition for her distinctive appearance, which was subsequently harmonized with the iconic Dior “New Look” in its implementation. The models gracefully descend the grand marble stairs, evoking the ambiance of an early 20th-century salon or ball. The orchestra, encircled by tango dancers and a multitude of extras adorned in costumes representing iconic characters from the world’s most renowned operas, enhances the spectacle. The fashion show concluded with a grand finale, as an abundance of pastel-colored tissue paper confetti butterflies gracefully descended upon the final ensembles and attendees.
At the Louis Vuitton RTW Fall 2012 show, when the clock struck 10, steam emerged from the black gates of the runway, revealing a concealed train track. Subsequently, a fully operational one-carriage train made its entrance onto the set. The train was constructed entirely by the Vuitton team, starting from raw materials. In addition to the construction of the exterior, the interior of the structure was equipped with wooden paneling upholstery and luggage racks. Each model was accompanied by a porter who was responsible for carrying their bags and luggage. The television program was deeply connected to its cultural heritage, as the origins of the brand can be traced back to the craftsmanship of producing luggage and trunks. The historical aspects of Vuitton luggage were incorporated into both the clothing and the set design as a means of honoring its heritage. The primary objective was not to achieve accuracy, but rather to comprehend the romantic ideals prevalent during the era and appreciate the inherent aesthetic qualities associated with it.
In the context of Chanel Fall 2017 READY-TO-WEAR, the Grand Palais underwent a remarkable metamorphosis, assuming the appearance of a space station, complete with a towering rocket measuring 35 meters (115 feet) in height positioned at its core. The design featured a classic and minimalist black and white aesthetic that adhered to the iconic Chanel codes. The motifs of the fashion house were incorporated into the intricate details, while the show’s specific elements were printed throughout the design. The incorporation of the collections concept paid homage to the significant period of space exploration, as evidenced by the galaxy-themed aesthetics and the utilization of modern silhouettes, which were showcased by models on the platforms adjacent to the rocket. During the culmination, a countdown was initiated, and models encircled the spacecraft on the adjacent platform, accompanied by the emission of smoke to signify the commencement of the launch, coinciding with the playing of Elton John’s ‘Rocket Man’. The rocket ascended while the remaining models exited the stage, thereby concluding the performance.
The Fendi FALL 2016 couture collection showcased at the Trevi Fountain of Rome was enhanced by a substantial investment of 2.4 million dollars, which was dedicated to the restoration of this iconic landmark. This restoration effort aimed to transform the Trevi Fountain into an extraordinary setting for the 90th anniversary show. The Trevi Fountain, renowned for its connection to Rome’s legendary history, stands as the largest Baroque fountain within the city and enjoys global recognition as one of the most iconic fountains. The overarching motif explored in the collection revolved around “Legends and Fairy Tales,” effectively enhancing the ethereal and fantastical ambiance of the ensemble. The models gracefully traversed a transparent glass runway, creating the optical illusion of walking upon the water of the fountain, thereby endowing each of them with an ethereal and divine appearance. The captivating allure of the environment incorporated elements of elegance and fantasy inspired by the illustrated book “East of the Sun and West of the Moon” by Danish artist Kay Nielsen, which influenced the color palette of the clothing.
The Maison Margiela Co-Ed Collection Spring-Summer 2021 made effective use of the expansive digital platform, offering a multitude of opportunities. The collection was showcased through a dual narrative film, which not only conveyed the essence of the collection but also incorporated elements of a thrilling storyline. The intention behind this approach was to stimulate both intellectual and emotional contemplation among viewers. The utilization of set design effectively contributes to the portrayal of intense and passionate themes such as community, family values, and generational exchange. This is achieved through the incorporation of elements such as a home, graphics, and bodies of water. The eerie background serves to complement the captivating tango and family drama depicted through gothic imagery. In the context of the second installment, the fashion house employs the technique of submerging models into water to visually capture the artistic expression, dynamic motion, and traditional deconstructive elements.
During the Spring of 2005, Alexander McQueen showcased his collection by utilizing a supermodel chess set, featuring garments that combined elements of eighteenth-century silhouettes and traditional kimono pieces. These garments were adorned with embroidery, corresponding to the respective side of the chess set. Every gaze was meticulously designed to resemble a specific chess piece, and the models gracefully maneuvered along the runway, embodying the characteristics of their respective chess pieces, while synchronizing their movements with the lighting effects. The genesis of this concept can be attributed to the designer’s fascination with representing women hailing from diverse backgrounds, who were compelled to confront each other, and were perceived as pawns within a larger narrative that overshadowed their individuality. The delivery of directions by a mechanical voiceover elicited disconcerting emotions, while the “players” executed their movements with a focused alignment relative to their two queens, portrayed by models Gemma Ward and Hana Soukupouva.
During the highly anticipated debut of a prominent designer, Raf Simons ushered in a new era with the Christian Dior Fall Couture 2012 collection. Simons derived artistic inspiration from the founder’s affinity for floral aesthetics, as well as the iconic DIOR “Flower Woman,” when conceptualizing the set design for Christian Dior’s residence. This design entailed a sequence of intimate rooms, meticulously embellished with an abundance of flowers spanning from the ceiling to the floor. In an adjacent chamber, one can observe the presence of white orchids, pink peonies, royal blue delphiniums, and a variety of multicolored roses in full bloom. Simons expressed that the integration of past and present in the fashion house signifies the emergence of a new era. He described the flowers as being “nearly emblematic of the collection in its entirety.” The desire was for the design to establish a connection with the established principles of Christian Dior, while simultaneously embodying a sense of dynamism, modernity, and vitality.
To commemorate the 10th anniversary of his eponymous brand, Jacquemus organized his SPRING/SUMMER 2020 show, wherein he explored the concept of tradition from an artistic perspective, drawing inspiration from renowned artworks that possess a direct connection to their origins. The models in the collection consisting of 65 looks participated in a visually striking display, as they walked through lavender fields. The runway, adorned with a vibrant fuchsia pink carpet spanning a distance of 500 meters, served as a symbolic tribute to post-impressionist art. The collection itself drew inspiration from the pop art elements found in David Hockney’s landscapes and Christo’s installations. During an interview with Vogue, the designer elucidated, stating, “I aimed to create an aesthetic reminiscent of a David Hockney painting or a Christo installation amidst the vast expanse of fields.” Characterized by a multitude of prints. The artwork under discussion features a depiction of a painting contained within another painting, situated within a field. The user’s text does not contain any information to rewrite. A poetic tribute to the formative experiences of his early years.
Prior to the culmination of the World Cup in France in 1998, a notable event took place at the Stade de France. A fashion show curated by Yves Saint Laurent was organized, featuring an impressive procession of 300 models. This grand exhibition served as a commemoration of Yves Saint Laurent’s four decades of significant contributions to the realm of fashion. The production involved a workforce of 900 individuals responsible for backstage operations, 130 dressers, and 4,000 stadium staff members who collaborated to coordinate the fifteen-minute event. This spectacle garnered the attention of approximately 1.7 billion viewers worldwide, who watched the event unfold through live television broadcasts. The fashion show possessed six themes that showcase the boundless and everlasting range of the designer, each with 50 models to talk about wearing garments that the fashion house has offered since 1958 on a catwalk designed to look like the sky. Located at the focal point of the design was a prominent red YSL emblem. The set design effectively paid homage to a significant historical moment in French culture, encompassing elements of sports and fashion.
As we can see from this range of fashion shows, set design goes beyond a space, it truly defines and creates the experience of a fashion show so that the creative vision is not just seen, but felt and touches the heart in a manner suitable to the collection. Whether it be subtle and minimal or theatrical and extravagant- set design serves to ensure an immersive experience, to transport people even just for a moment into a world, concept, or emotion. The people behind the set aid in defining a moment, their ideas, creativity, and work make the experience what it is seen and felt as. Their abilities and skills in hand with the creative vision of a collection provides the space where the whole world falls away for one moment of authentic, engaging, and inspiring beauty through a lens of the fashion house that we may look through.
