I have been studying archive catwalk footage exploring themes of tech anxiety at the turn of the century and also innovations for a new type of showcasing. In terms of the current discourse, this is very interesting to observe (fashion week and the recent change due to Corona).
Alexander McQueen was often credited as a pioneer in the conceptual fashion show movement, thoroughly concerned with audience reaction and innovative ways of communicating (Evans, 2003). Although he was heavily influenced by the natural world, a point of contrast was his continued exploration of futurism. McQueen speculated on how technological advancement would impact humanity and consistently juxtaposed these considerations with classic references. Through cleverly intertwined contemporary social commentary, complex historical relays between past and present were contemplated (Evans, 2003). In McQueen’s Spring/Summer 2001 show ‘Voss’, tension was ensured through the structure of the runway itself, the audience were seated around a large mirrored cube, turning the media’s gaze back on themselves, whilst listening to the unsettling pulse of a heartbeat. Once the lights inside the box were illuminated and the models began to walk within the cube, it was clear that the structure was made of one-way mirrored glass, evoking questions surrounding the power imbalance between media and model (Bolton, 201
McQueen’s Spring/ Summer 1999 show entitled ‘No 13’ was presented on a ground-level unvarnished wooden runway inspired by the late Victorian Arts and Crafts Movement. The runway itself was conceptualised as part of the narrative: bright, harsh lighting from a lowered ceiling reminiscent of a hospital ward shone over the set, which consisted of two large industrial machines. The finale featured ballerina Shalom Harlow, dressed in a pure white gown, standing on a central rotating disk between the two robots as they seemingly gained consciousness. Whilst Harlow swayed her arms in a delicate dance, the robots began to spray her white gown with acid yellow and black paint as she rotated (Bolton, 2011). Far from the traditional runway presentation, this cemented McQueen as a pioneer in breaking down the barriers between fashion, art and performance whilst challenging prevailing attitudes towards beauty and technological anxiety.
An innovative way of removing the exclusivity that had become associated with fashion showcasing was to set the shows in non-traditional public spaces, significantly democratising accessibility. Martin Margiela set his Spring/Summer 1990 show in Paris, not in the specially erected tents outside of the Louvre, but in a graffiti sprayed children’s playground far away from the centre of Paris (Samson, 2018), exploring notions of urban space. Frederic Sanchez produced the sound for the show, which was intended to mimic fragmented memories and push the boundaries of what was considered a fashion show – a notion reflected in the way the models were directed. The unconventional setting provided an uneven surface of rubble and dirt, which forced the models to walk in a more natural way, as opposed to the typical model ‘strut’ (Shin, 2012). A significant number of models stumbled as they weaved back through the audience and the cross-legged children reached forward to stroke the clothes. From schoolchildren local to the area designing the invitations, to children ending up front row and even interacting with the show itself, the result was refreshingly inclusive.
Another Maison Martin Margiela presentation which took an even greater risk in terms of the format, was the Spring/Summer 1993 show during which two runway shows were staged simultaneously. This unpredictable move broke with tradition (Samson, 2018), challenged conventional notions of spectatorship and speculated on what the future of showcasing collections could look like. With a runway formed of a white sheet on the ground and no seating for the audience, the show was the opposite of capitalist excess. Featuring an unorthodox soundtrack from Judy Nylon talking about the beheading of John the Baptist, the immersive presentation was used as a platform to communicate the designer’s attitude towards sustainability within commerce (Evans, 1998).
An additional designer poised between conceptual performance and commerce during the 1990s was Hussein Chalayan. Chalayan was firmly attached to the rebel independence of the antifashion movement (Antifashion, 2012) and showcased his transgressive innovations throughout the decade. The presentation of the Autumn / Winter 1999 show entitled ‘Echoform’ was communicated through high concept and minimal set design, set on a pure white runway with white walls opening out like a stage. The designer frequently used showpieces throughout his presentations, which functioned as marketing tools and way of communicating the designer’s ideology (Black, 2009). Echoform opened with a model wearing a moulded resin dress, transforming and opening in the style of an aeroplane coming into land, dealing with themes of technology and escapism (Quinn, 2002) and resulting in an experimental performative style showcase.
Chalayan’s Autumn / Winter 2003 presentation continued his already innovative ethos of dealing with themes of escapism and culture clash (McRobbie, 2000). Accompanied by a live string orchestra, this complex performance art presentation was symbolic of Noah’s Ark and represented the designers hope for humanity (Mower, 2003). The wooden installation on a circular stage consisted of various structures, including a small upturned boat, a large trampoline and a tall cabinet. This scene illustrated the religious and cultural concepts which were juxtaposed with the futuristic aesthetic of Chalayan’s clothing. Opening with a model sitting on the trampoline and attached to two helium balloons before closing with a finale that had become typical of the brand. Representative of seeking asylum and fleeing war (McRobbie, 2000), the clothing became a transformative concept and expanded like a life jacket before the audience’s eyes.
A designer with a similar anticipation of technological transformation was Helmut Lang, notably the first designer to replace the sacrosanct fashion show with an internet presentation in 1998 (Borelli-Persson, 2016). The Spring/Summer 1996 show was a clear representative of the hierarchy that had developed alongside these designer showcases, where attendance had become indicative of status and adjacency to the catwalk had become key. The minimalist undertones of Lang’s work were reflected in the structure of his presentation and the runway itself was formed of chairs lining either side. Whilst analysing the crowd at this particular show, it was clear to see how overcrowded the event was, with the audience fanning themselves and models physically brushing past those on the front row due to their incredibly close proximity to the catwalk. Notably by the following year, the showcase was moved to a digital one resulting in Lang’s showcases from the early 1990’s gaining a deeper meaning through the elimination of the physical audience but extension of the possibilities for a virtual one.