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This needs to happen at lightning speed so the more prepared, the better. Remember, fashion shows last 17 – 20 minutes during which time the designer will present up to 70 looks, so depending on how many models are hired, it could mean up to three changes per model – a very difficult feat. This allows them to see the clothing and how it is assembled with accessories, how the clothing fits the models, and any other things they may need in order to be prepared. The head seamstress and head dresser should attend model fittings with you, which usually happen well in advance of the fashion show. You will also create the “show-flow” – a chart of what will happen when, who is responsible for what and general logistics for the entire day. You’ll work closely with the public relations and marketing team on advance press and the guest list because your team will be responsible for accommodating the crowd and setting up the press. Most importantly be sure your set design will look great in the room and will scale properly, meaning, the set will fit comfortably and be impactful in the room, remembering to leave room at the end of the runway for the press pit – an area with stepped platforms for print and electronic media. Work closely with the venue you’ve chosen to coordinate load-in and out schedules, union rules if applicable and any other venue restrictions that may apply. Once you’ve assembled this team, start preparing for the big day by designing the set, presenting it to the designer and getting him or her to sign off on the design so it can go into production.
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Who will you need? Front and back of house show runners, a head dresser and crew, an expert seamstress, key hair and makeup professionals, a crack audio visual company, a lighting company with prior experience doing fashion shows (essential), a sound designer who will work closely with the designer’s team on creating the perfect soundtrack, set fabricators, a great graphic designer and printing house, a social media expert (more important than ever), and, if the designer doesn’t already have one, a public relations and marketing team. The first stage of production, after landing the gig and getting a budget approved, is to look for the best people to work with. In other words, wow them! Like Pieces of a Puzzle Something that will convince the designer and his or her team that you understand and love fashion, have experience in live show production and are a professional. It’s important to do your homework, familiarize yourself with the designer’s past work and really prepare for a killer presentation. This meeting will usually be attended by the fashion designer and their business partners, a marketing and public relations team and a slew of interns, lackeys and wannabes. The initial meeting with the client is where you’ll have this do-or-die opportunity. The models walked around vacuuming the rug. Another show for the same label took place in an empty car showroom. Everything happened – music, models, mayhem, before the cops arrived to break up the crowd. It was all kept a secret until the last minute when guests got a text telling them where to go. I remember a show in New York for the label Imitation of Christ, that was held on a subway platform. From these lists you will cull the best ideas and come up with two or three cohesive and impactful themes for presentation. Ideas that will make the collection pop, create a social media buzz and best compliment the designer’s vision, no matter how absurd or impossible the ideas may initially seem. Let the creative juices flow and make lists of ideas without editing. There are a few important stages before the actual event where you’ll have to prove your worth and convince the client that you are the right person and event production company for the job.Ĭhances are you’ll be producing a show for a smaller brand or individual designer, maybe even a newly graduated, fashion loving friend. Think of the astounding fantasies created by John Galliano for Dior or Alexander McQueen for Givenchy and later for his own label, or the budget-busting productions of Karl Lagerfeld for Chanel. But even with global brands the designers have unique visions for every collection. Examples would be using Burberry’s plaid on the runway or as a backdrop or as seat covers, for example. If it’s an established fashion house like Prada or Givenchy there are usually highly recognizable global signifiers to play off of, like logos, trademarks or patterns, such as Chanel’s diamond shaped quilting or Burberry’s ubiquitous plaid. The early stages of fashion show production are always the most exciting, meeting the client, understanding their needs and desires, collaborating on concepts and getting the creative gears moving.