Louis Vuitton’s spring 2020 show. (Photo courtesy of Vogue.com)
As our industry grapples with the impact of fast fashion on our planet and explores circular fashion concepts, such as ‘fundamental redesign’ (the shift from a ‘take-make-waste’ model towards a ‘reuse-based’ model), while other more responsible brands move to put the health of our planet over profits, we must ask ourselves… are fashion shows still relevant?
Add to these concerns the reality that designers are expected to execute four collections a year (spring/summer, fall/winter, resort, and pre-fall) as well as produce an expensive fashion show twice a year. As the industry once again ponders whether the expense and the number of shows are necessary, especially in a digital, on-demand, eco-conscious environment, the fact remains that consumers are not spending as much money on clothing as they are on technology and vacations. So, is this pace and expense sustainable? Let’s take a look. But first, let’s explore the origins of the fashion show.
History of the Fashion Show
According to Historical Dictionary of the Fashion Industry, written by our founder, Francesca Sterlacci and Joanne Arbuckle, the former Dean of the Fashion Institute Technology:
“The first fashion shows can be traced to Paris, beginning in the mid-1800s, with designers Charles Frederick Worth, Jeanne Paquin and Jean Patou. Worth was the first to design and display his own creations for women to choose from, via a “fashion show” on live models, four times a year.”
Fashion models and society ladies at a designer salon circa 1910 (Photo credit: Glamourdaze.com)
The Paris salon show schedule would inevitably become the foundation for ‘fashion weeks’ in Milan, London, and New York. These cities became known as the “Big Four,” the largest and most important centers for fashion. In its early days, shows were solely for core customers, buyers and editors. The general public didn’t see the latest designer wares until they were available in stores some four to six months later. Even fashion magazines understood that the latest creations could not be unveiled in their editorial pages until they could actually be purchased by the consumer. A concept that has changed over time but may need to be revisited.
In 1943, New York fashion designers held ‘press weeks’ in fall and spring whereby editors and buyers would swarm to ritzy hotels to view the latest designer runway presentations. For decades, this is how the system worked. Runway shows offered buyers and editors a chance to see designers’ collection, six months before they became available to the public. This helped buyers plan their “open-to-buy” and advertising budgets, and for editors to plan the trends that they would promote and feature in their editorial pages. Fun fact: American fashion publicist Eleanor Lambert was the first to create fashion shows as charitable events with her March of Dimes shows (1948-1960), that not only raised money but helped promote American fashion design.
Christian Dior Show in 1948 (Photo Courtesy of AP Photo)
The Fashion Calendar
With so many fashion shows to coordinate among the “Big Four,” a schedule was needed to keep shows from overlapping. Enter Ruth Finley and her fashion calendar, known in the industry as the “Pink Bible.” In existence since the 1950s, the Fashion Calendar still is “the” fashion planner for all fashion runway shows and other related fashion events. In 2014, the Council of Fashion Designers of America (CFDA) acquired the Fashion Calendar. Today it has six hundred and fifty subscribers and available in digital format only. No serious designer would dare schedule their show without first consulting with Fashion Calendar.
Fashion Weeks: NYFW – LFW – MFW & PFW
New York Fashion Week (NYFW), as we know it today, began in 1993. Fern Mallis, then executive director of the CFDA, took hold of fashion’s schedule and tried to centralize the shows so that buyers and editors were not shuffling all over the city. “Organized shows put American designers on the map and changed the fashion landscape forever,” Mallis told Racked in 2015. “Before that, there were 50 shows in 50 locations. Everyone did their own thing without understanding what a nightmare it was to get from one show to the other.”
“To dispel the myth that U.S. fashion designers were influenced by their European counterparts, in 1998, American designers decided to move their fashion show schedule ahead of Paris, London and Milan and instead of being the last show, they became the first. This has remained the schedule into the twenty-first century.” ~ Historical Dictionary of the Fashion Industry
Bryant Park, located in mid-town Manhattan, was home to NYFW for 16 years. It was the first time designers were offered the option to present their fashion show without the responsibility of having to produce a fashion show from scratch – the space, lighting, sound, and security were all handled by a production firm (IMG). That’s not to say it was cheap. According to Forbes.com, “In 2007, a show at Bryant Park cost at least $50,000 for designers, according to one estimate.” Bryant Park heightened awareness of NYFW and the fashion game began to change. It also provided an opportunity for designers to invite celebrities to sit front row, next to editors and later led to the rise of fashion bloggers and influencers.
By 2010, and with nearly 300 scheduled shows, the fashion crowd outgrew Bryant Park. NYFW was then moved to Lincoln Center for several seasons, however, as we all know, fashion is fickle. Today NYFW shows are primarily held in spaces along the West Side Highway and at Manhattan’s Hudson Yards, where the spaces are larger and New York City traffic is less of an issue.
Bloggers & Influencers- From left: bloggers Bryanboy, Rumi Neely, Leandra Medine, Natalie Joos, Elin Kling &
Hanneli Mustaparta attend the Phillip Lim Spring 2014 fashion show in New York City. (Wendell Teodoro/WireImage, via Getty)
The Birth of the European Fashion Show Extravaganza
While U.S. designers mostly stayed faithful to the traditional runway show with models parading down a long narrow catwalk or in a passerelle or semi-circular format, their European counterparts favored the extravaganza. For example, Nino Cerutti’s used publicity stunts to self-promote, such as when he painted Lancia convertibles blue, then paraded them down the streets of Rome and onto the runway, where a starlet then broke a bottle of champagne on the hood. Designers Claude Montana and Thierry Mugler staged fashion show “extravaganzas” during the 1970s and 1980s that became media hypes, with fashion models often upstaging the clothes. In the late 1990s and early 2000s, designers John Galliano and Alexander McQueen continued to create some of the most spectacular shows, often with celebrity guests in attendance and sometimes even taking to the catwalk. Viktor & Rolf, Chanel, Rick Owens, Fendi and Ricardo Tisci at Givenchy transformed the fashion show experience for the new millennium by: creating avant-garde conceptual performances, adding plus size models and introducing technology, such as the Fendi show in 2015 that used drones to film and live stream the show.
Broken Fashion Show System
According to the Historical Dictionary of the Fashion Industry, “By 2015, designers, buyers, fashion journalists and fashion organizations, such as the Council of Fashion Designers of America and the British Fashion Council, began to examine the “broken” fashion system as it related to the overcrowded fashion show schedule, the excessive number of shows and the relevance of showing fashion that cannot be immediately purchased; since the traditional fashion show system features merchandise six months in advance of the selling season and live-streamed fashion shows are available to consumers where immediacy is key for consumers in a digital age. Burberry was the first to make the decision to change the model by; showing only two collections a year, combining their menswear and womenswear in the same show, featuring clothes in season and not six months ahead of the season, and making the merchandise for sale immediately afterwards. In 2016, recording artist Kanye West and Adidas made fashion history when, timed to the launch of West’s new album The Life of Pablo, they held the first ever consumer ticket-holder fashion show at Madison Square Garden with tickets for their Yeezy-Adidas show priced at $275 each.”
Today, shows are not only photographed for social media, but they are also live-streamed so anyone sitting at home in front of their computer can tune in. Fashion shows have now evolved into marketing spectacles directed towards a mass audience. Hundreds of thousands attend fashion week, but thanks to today’s digital world, millions of people live-stream fashion shows online. So the purpose of fashion week seems clear; capture the attention of as many people as possible; visibility leads to sales, right? Only to a degree. Unfortunately, the equation is not so straightforward and for years the question of “is fashion week dying” has been an ongoing conversation among fashion insiders.
“In a world that has become increasingly immediate, the current way of showing a collection four months before it is available to consumers is an antiquated idea and one that no longer makes sense,” designer Tom Ford told WWD in 2016. “We have been living with a fashion calendar and system that is from another era.”
While some may believe the fashion week runway format is archaic, this system still exists, but has arguably lost step in a world where everything is instantly visible across various social media platforms. Today, designers and brands can bypass store partners and sell straight to their customers through their own websites. It has become routine for consumers to stream new products that fast fashion popularized and these forces have transformed the fashion industry.
Enter Instagram
One of the biggest game-changers for the industry has been Instagram. The popular social media platform creates a constant connection between brands and customers and has helped reshape the way brands communicate to potential customers. Designers even create Instagammable ‘moments’ during their runway shows.
Chanel transformed the Grand Palais into a beach scene during Paris Fashion Week in October 2018 (Photo courtesy of Reuters)
And yet, fashion shows and their organizers aren’t disappearing time soon, in actuality, the reverse is happening, as more cities around the world are staging their own fashion weeks including Shanghai, Seoul, and even Canada. Many prestigious designer houses have even opted to show full runway extravaganzas for their resort and pre-fall collections as well. Many brands, both large and small, are joining the fashion week cycle because of the prestige and exposure that comes with it.
But one must ask, is the exposure worth the price tag that goes along with producing a fashion show?
Of course, the answer varies by brand. In 2019, Christian Siriano provided a breakdown of his show cost for Vogue Business that reached up to $300,000. It included models, set design, lighting, sound, and all the elements needed to create a runway show. According to an interview in Vogue, Siriano stated, “I think when our investors go through the numbers, it’s really hard for them to see actual returns, obviously, there are ways to tell if a collection is more successful than another, but that doesn’t necessarily have to do with the show. It has more to do with the timing, or the fabrications we’re using or what’s happening with the seasons.”
Christian Siriano’s spring 2020 show. (Photo courtesy of Vogue.com)
While a six-figure tab will give you a basic fashion show format, there are those designers who go to the extreme during NYFW. In 2011, The New York Times reported that Marc Jacobs (following in the European show extravaganza tradition) spent $1 million to produce his show. While these grand spectacles are a tool to sell clothes, the buyers attending these shows do not buy their collections during the show, but rather sales take place during private showroom appointments. So is it all worth it?
Rachel Feinstein’s set for Marc Jacobs’ Fall 2012 show. (Photo courtesy of Vogue.com)
The reach and cost-effectiveness of having such a show is difficult to determine. Most brands look to Instagram as a tool to determine how many potential customers have viewed their runway videos and images.
To hype their show and encourage sales, some brands have tried to offer customers specific looks immediately after the show, both in their stores and on their website, in an attempt to translate the excitement of the runway moment. Others have opted to live stream their runway show so customers can view the show and then immediately shop the collection. A few designers – such as Gucci and Balenciaga- have taken to regularly dropping new items between shows.
So with a six-figure price tag, many young designers are conflicted and ask the question, “is a fashion show worth the cost?” Well for many, the answer is yes. A fashion show is a great marketing tool. It is a way to get customers to notice your exciting and creative work. For many luxury brands, a show is a marketing tool to sell cosmetics, perfume and accessories. These brands may actually lose money producing clothes, as Exane BNP Paribas and the fashion consultancy firm VR Fashion Luxury Expertise have noted. But runway shows and their creative clothing are valuable to the branding. “Today shows have nothing to do with clothes anymore,” Guram Gvasalia, the CEO of Vetements, told WWD after the brand reorganized the scheduling of its runway shows in 2017. “Most of the looks are not even produced and therefore never get to the shop floor. Shows are there merely to sell a dream and that, at the end of the day, will sell a perfume or a wallet in a duty-free store.”
For smaller labels, branding is also an important opportunity that can benefit their brand. Christian Siriano told Vogue Runway that his shows, which have been praised for his diversity in models, have attracted other business, such as a shoe partnership with Payless. Presenting during a major fashion week also adds credibility and legitimacy to a young label. It can help put their brand on radar of industry leaders. Stylists for example keep an eye on fashion week and pull clothes for photoshoots and celebrity events. A young designer can easily land in an editorial layout or on the red carpet on a major celebrity. Or, catch the eye of a savy store buyer who just might be willing to give them a break.
The fashion industry represents over $2.5 trillion dollars (according to a recent McKinsey report in 2018) and, on average, a 10 to 15 minute fashion show can cost anywhere from $200,000 to over $1 million. With these hefty price tags brands must think, “what is the return on investment?” Is the answer social influence? Is it celebrities and street-style stars wearing the collection? Well, according to data analytics provider Launchmetrics, the answer is more complex.
Launchmetrics’ new “Data on the Runway” report suggests the key is MIV or media impact value – an algorithm which measures the impact of media placements to derive a number for performance outcomes.
Take Ralph Lauren’s 50th year anniversary for example (spring 2019), Launchmetrics’ data analysts found that Ralph Lauren’s widely publicized anniversary show ranked first amongst the brands, with the highest MIV generated over the Fashion Weeks at $38 million.
The star-studded event included Hillary Clinton, Oprah Winfrey, Robert De Niro, Donna Karan, Calvin Klein, and Anna Wintour. Lauren also hosted an extravagant collection presentation and finished with a paparazzi-heavy post-show dinner party.
Left to right: Hillary Clinton, Ralph Lauren, and Anna Wintour. (Photo courtesy of Instagram@Ralph Lauren)
According to Launchmetrics, it is clear that influencers garnered enormous buzz for the brand (taking 46.2% of the pie), followed by Ralph Lauren’s owned media channels (at 29.7%).
Following Ralph Lauren, Launchmetrics estimated Coach ($27 million), Dior ($22.6 million) and Gucci ($19.4 million), followed closely behind and once again, Chiara Ferragni topped the charts as the top influencer voice.
Chiara Ferragani (known as The Blond Salad) led with $18.3 million in MIV; to put that into perspective, she nearly reached the same MIV as Versace ($18.7 million) did for their SS19 show — proving the continual power of influencer investments.
Influencer Chiara Ferragni (right) attends many shows over Fashion Month and is expected to boast $18.3 million in Media Impact Value – Zimbio.com
According to Forbes magazine, “social media actually proved imperative for fashion brands altogether; posts shared by celebrities and influencers represent an impressive 89% of buzz compared to online media’s 11%. Spring/Summer 19’s top-performing celebrity was Nicki Minaj, who generated a total of $11.3 million MIV over the season.”
Alison Bringé, CMO at Launchmetrics, said: “Today, fashion weeks are no longer industry events but are a platform to reach the digital savvy consumer, so brands need to think outside the box in order to transform their 15-minute event into something that lives on, beyond what happens on the runway. The case studies within the report shed light on how brands can generate buzz through activities such as using influencers to create 360° campaigns, changing their location to talk to new consumers and markets, or even by focusing on their own media to increase the share of wallet.”
While the ROI for having a runway show differs for every brand, one point is clear; a fashion show is the best way for a designer to communicate their creative vision. “For me, the show is the only moment when I can tell my story,” designer Dries Van Noten once told The Independent. “It’s the way I communicate my ideas to the world.”
Dries Van Noten’s men’s spring 2019 collection, inspired by the work of interiors designer Verner Panton (Photo courtesy of AP Photos)
“If I couldn’t do my shows, I wouldn’t want to be in fashion,” designer Thom Browne told author Booth Moore in her book, American Runway. “I look at my shows as my responsibility in the world of design to move design forward. I think they are such an amazing way of giving a more interesting context to fashion.”
Thom Brown’s spring 2020 show. (Photo courtesy of Vogue.com)
So in the end, we ask these questions: 1) Are fashion shows still relevant? 2) How do emerging designers afford the fashion show price tag? 3) Will the next generation of designers find an affordable alternative to the fashion show? 4) Will millennial & Gen Z designers find a way to disrupt the status quo and make the fashion show as obsolete as the floppy disk? 5) Will we soon be watching virtual 3D fashion shows with life-like avatars walking the runway?
Share your thoughts, we’d love to hear from you!
