https://www.vogue.

com/article/future-of-fashion-shows-2020-2021
Vogue Runway covered 952—and counting!—fashion shows this year. Of
those nearly 1,000 shows, the first 250 or so were “normal

fashion show remains the key method of transmitting new ideas for brands large
and small. 

 a fashion show holds cultural and industry cachet.

Yes, there have been IRL runways from Valentino, Balmain, Rick

Owens, Chanel, and Louis Vuitton since the pandemic hit, but not more than a
couple handfuls of them. Instead we’ve unpacked Loewe’s Show in a
Box, screened films made by directors like Nick Knight for Maison
Margiela and Gus Van Sant for Gucci, and watched puppets work a runway
at Moschino and a virtual Bella Hadid come to life at Mugler. We’ve even
played video games from Balenciaga and Collina Strada.

I still see the fashion show as a grand finale of a creative process, so for me
personally and also for my studio, it’s a very normal thing that when you have
worked six months on a collection, that you end it with a fashion show,” Dries
Van Noten told me earlier this year. Suffice to say, the world seems to agree
with Van Noten. But exactly what constitutes a fashion show and who gets
invited will continue to evolve into 2021.

Bella Hadid gets 3-D scanned to build an avatar for Mugler’s spring 2021 collection video.
 Photo: Torso / Courtesy of Mugler

Sam Lobban, the senior vice president of designer and new concepts at
Nordstrom, rejects the divide between physical and digital too. “I don’t think
anyone lives in one world or the other,” he says. “The most engaging
experiences of the past six to nine months have been those that have really
shown up for the customer with a real understanding of their lives, rather than
taking a singular approach. How Jonathan Anderson handled both JW
Anderson and Loewe, delivering physical assets that connected people to what
was going on digitally, was super clever, because he was really reaching into
people’s homes as well as connecting them on the internet.”

Innovation Without Intention Is Meaningless

The brands that made headlines this year did so with Posters! Video Games!
Avatars! And VR Headsets! But the clothes and the ideas behind them must
outshine the flash of technological advancement.

“Everybody has gone crazy for the Balenciaga video and video game,” says
Edwards. “Of course that’s also where lots of people have gone wrong with
fashion films. They don’t consider the customer or the audience that’s going to
watch it. Balenciaga, for example, knows that people watch music videos
online, and it created its own film that emulates that. When you do sort of a
pretentious fashion film, even when it’s models dancing or something, it just
doesn’t do it. It just feels like: This is not for you.

An experience “for you,”—the user, the viewer, and ultimately the customer—
is an ideology the industry should really take to heart. Demna Gvasalia, the
creative director of Balenciaga, is blunt about that fact. 

Speaking about his video game for fall 2021 to Vogue’s Sarah Mower, he said:
“Today’s customer does gaming. It’s an important luxury customer base. They
project so much onto their character. It’s a parallel world.”

Brands don’t need a Balenciaga budget to make an impact either. Designer

Anifa Mvuemba launched her collection in May via an Instagram Live virtual
show with invisible 3-D models. A virtual unknown, she gained global attention
for her use of innovative technology to represent different body types and
celebrate her Congolese heritage. “We know that some people may never
experience a Fashion Week or Hanifa showcase, so we wanted to show up for
our audience where they show up for us on a daily basis,” she told Teen
Vogueafter her springtime launch. Since then she has appeared in the pages
of Vogue,and celebrities from Beyoncé to Zendaya have begun wearing her
pieces
Virtual shows also offer limitless opportunity to express a brand’s message.
Collina Strada’s creative director, Hillary Taymour, produced a green-screen
video for her spring 2021 collection and a functional video game for her pre-fall
outing as a part of #GucciFest. The process of creating these virtual
realities was “the hardest thing I’ve ever done,” she says, but notes that poring
over hand-drawn avatars, working to layer 18 clips at a time for her video, and
shooting over five days paid off. “We made a 14-minute video that didn’t feel
like a 14-minute video—and people watched it to the end.”

What about a 52-minute film? Nick Knight’s mini documentary for Maison
Margiela Artisanal’s fall 2020 collection has nearly 121,000 views on YouTube
—though Edwards estimates the user engagement goes far deeper than views
alone. “When you give viewers more information, like Margiela did in the mini
documentary, then that’s going to be successful. People really liked seeing what
happened; it goes back to this idea of an artisan and attracts people who want to
know about fashion.

John Galliano seems firm in his opinion that these types of docu-films are the
best path forward. “This is my proposal for how I’d like to show my collection.
We’re just not creating a runway show. What I want to message now is that this
is just the best medium,” Galliano told Sarah Mower this summer.
Models walk the finale of the Louis Vuitton spring 2021 show, which used green-screen technology to project Wim
Wenders’s Wings of Desire for viewers at home.
 

Like Fashion Week? Try Fashion Year

Would you rather watch fashion shows during unified Fashion Weeks—
#NYFW, #LFW, #PFW, #Etc—or tune in all year long for stand-alone single
brand drops? Best make time for both.

Dedicated times of year for Fashion Weeks seems to work in the broadest
sense. Google searches for “fashion show” peaked around late February and
early March of 2020 and then again the first weeks of October, times that align
with Paris Fashion Week. As a result, smaller and independent brands that
partake in official weeks can receive much more press than they would
with a stand-alone show.

TikTok Fashion Month to offer a streamlined and singular fashion experience

for users

Fashion is happening every day now,” says CeCe Vu, fashion and beauty
partnerships lead at TikTok. “But I would say without a defined week, it’s hard
for people to understand when the celebration is. That’s why we want to come
in and introduce

TikTok Fashion Month, to truly consolidate and celebrate with the community
together in a different way.”
With contributions from brands such as Prada and Celine alongside models like
Coco Rocha, TikTok’s Fashion Month goes beyond what a traditional Fashion
Week can offer. There are a lot of conversations going on, and it’s not just
about the brands but also about aspirations and the topics that the community
actually cares about,” says Vu. That’s an idea that mainstream Fashion Weeks
have picked up on: London Fashion Week offered Instagram Live Q&As and
podcasts alongside look book reveals and streamed shows, while brands like
Loewe, Gucci, and Prada have hosted conversations on their own platforms.

brands that want to truly dominate the conversation may find it best to set their
own timelines alongside participation in traditional weeks. “When a brand does
its show off calendar, it gets the full attention [of the internet]—and not only for
that day either,” says Edwards, citing the recent content rollout of the Dior Men
pre-fall 2021 collection as an example of a weeklong content rollout. “When
you’re talking about fashion that is a bit more millennial and Gen-Z, you have
to keep them stimulated all the time.
In the end, the solution seems to be a perennial fashion calendar hubbed around
key Fashion Weeks, but offering content all year round

Loewe’s Show in a Box was complemented by 24 hours of live content streamed on Instagram.
 Photo: Courtesy of Loewe

Truly Embracing Digital Means Having a Conversation…

power really does lie with the people. For much of its existence, fashion has
handed the public items, trends, and ideas from on high. That’s just not the case
anymore—and for proof, check out TikTok’s ever-growing fashion influence.
“We’ve seen stuff coming way more from TikTok, which is sort of the digital
version of the proverbial street, where things happen more organically by
osmosis,” says Edwards. On the app, users are encouraged to react, respond,
and even re-create popular videos, using soundtracks or voiceovers to parody or
pay homage to original creators. It creates an endless feedback loop in which
brands can play with influencers on the same scale.

Over the course of last year, we’ve seen an influx of interest and engagement
from the community for fashion content. From my experience, whenever I go to
these fashion shows, they always felt exclusive. There is a lot more benefit to
really being inclusive and inviting the audience into the experience.” If some
insiders might disagree, favoring the intimacy of private events, the numbers
don’t lie: The #MakeItVogue hashtag on TikTok, launched only last week, has
more than 940 million views.

Brands are definitely branching out and leaning in toward the TikTok
communities more. Social listening will be key to these brands, because
they need to understand what is the perception right now for the brand.
How can they join in or how can they correct the perception; how can they
accentuate it?” Vu continues. “That also becomes a thing with fashion
shows; they need to be interactive.”

“We feel like the brands have really opened up and are being more authentic
and creative in their way to adapt to this Gen-Z mindset,” says Vu.
“Postconsumer experience is real. The community will google what they’ve just
seen in a fashion show video, how to do it, how to make it. Brands are aware of
these postconsumer experiences, and they can really capitalize on relevant calls
to action that generate trends within the community.”

Even the Hard Conversations

Gen-Z cares a lot about the environment, and that’s why we’ve seen how
fashion houses are now surfacing these conversations about sustainability and
what they stand for, like how Prada is adopting recycled nylon,” says Vu. “

Thrifting, vintage shopping, sustainability—those are the big trends within

TikTok itself right now. We’ve also seen that brands are working with creators
who have both style and substance. They work with activists who care about
social issues, who are vocal about anti-racism, and who talk about social
injustice. Those 15-second videos may seem like little [pieces of content], but
actually they contain a lot of powerful information.”

Digital Fashion Shows Must Come With Digital Fashion

Vibes
It might sound silly, but the energy in a room or the happenstance of bumping
into someone on the way in or out of a show can reframe an entire collection
“Digital shows are definitely missing something because there isn’t that
element of everyone together in one physical space.”

Those happenstance moments—who takes a photo of whom, who is seated

beside one another—can translate into real results for brands. “Everybody’s got
a camera phone, and during backstage and in the front of house, people are
taking selfies—that all contributes to brand awareness and, at the end of the
day, to the bottom line: the sales,” says Edwards. “A social story by somebody
even in the fourth row could sell a bag that is thousands of [dollars]. There is
nothing that has really replaced that online. You need that human aspect.

interconnected all the facets of the industry are, from street style photographers
to makeup artists to the assistants hand-carrying samples to shoots. Everyone
has a story; spotlighting them helps make fashion matter.

Behind the scenes of Collina Strada’s spring 2021 video shoot.

 Photo: Hunter Abrams 
Sustainability Means Making Less Clothing, More Content
There’s something beautiful [combining] pieces that are from different seasons,
bringing them together, and putting them back together in a way that feels
fresh,

Fashion houses are going to have to evolve in the next 10 years about product,
because we’re not going to be able to make 90-piece collections that are going
to be for sale in stores. The question is: How do we create shows that keep our
customers engaged, but without showcasing a product to buy because we’re not
making a product?”
Will you tune in to a runway show on Patreon and pay to watch it? That money
could go to designers or to a charity. I think you’re going to see that a lot in the
next couple of years,” says Taymour. “We are also experimenting with visual
things, like a filter that you can use online and we could charge for. Selling
experiences rather than products offers a more sustainable path forward.”
Can the industry jump off the hamster wheel of constantly producing new stuff
in favor of more meaningful digital experiences? That will be the big question
fashion must grapple with in 2021 and beyond.

Iris van Herpen 

True to its architectural style, Iris van Herpen presented a digital show

composed of evanescent and structured 3D silhouettes and fluid dresses with
side cuts. Baptized "Earthrise", the collection honors our planet and the
immensity of space, a science that has fascinated the Dutch designer since she
was 15. The collection was composed of 19 looks that evoked both the lightness
and grace of movement and the power of these contemporary armors, halfway
between experimentation and poetry in subtle gradient colors.

https://www.fratelliborgioli.com/worlds-top-fashion-events-
in-2021/
If you are passionate about fashion, you have to follow what happens in the world’s top
fashion events – they are the best place to find new fashion trends.
A fashion show is an event organized by fashion designers or stylists to showcase their
upcoming line of clothing and/or accessories. 
The shows debut every season, particularly in the Spring/Summer and Fall/Winter seasons.
This is where the latest fashion trends are made.
The display of the clothes on the runway is often an intellectual and artistic construction
of the designer’s ideas. The public has the task of interpreting them, while appreciating the
details and workmanship of every single item. 
Many of the contemporary designers tend to produce their own shows as if they
were theatrical performances, with additional elements such as live music and technology
components.
Here is our list of the world’s most famous fashion events of 2021:
 Pitti Uomo, Italy
 Paris Haute Couture Week, France
 New York Fashion Week, U.S.
 London Fashion Week, U.K.
 Milan Fashion Week, Italy
 Paris Fashion Week, France
 Tokyo Fashion Week, Japan
 Shanghai Fashion Week, China
 Met Gala, U.S.
 CFDA Fashion Awards, U.S.
 Green Carpet Fashion Awards, Italy

Harrods unveils ‘Emerging Designers: China’ pop-up

https://fashionunited.com/news/fashion/harrods-unveils-emerging-designers-china-pop-up/
2021110843513

https://www.fashionabc.org/top-5-famous-fashion-events-attend/
It is essential to look at the future and the
opportunity to change, collaborate and innovate.
Many of our businesses have always embraced
London Fashion Week as a platform for not just
fashion but for its influence on society, identity
and culture”. Caroline Rush, BFC Chief
Executive.
London Fashion Week with the support of British Fashion Council (BFC) revamped their website
and updated a platform, digitally accessible for trade and general public audiences. This website
hosts multimedia content and acts as a global meet-up point, offering interviews, designer imagery,
digital showrooms and webinars. 

BFC started the merging of all womenswear and menswear presentations into one gender neutral
platform, allowing designers greater flexibility. With the merge, they increased the number of
presentations for both segments and unified the dates when designers showcased, as the space
limitations physical presentations required became nonexisten

GO GREEN OR GO HOME: SUSTAINABILITY AS THE

ONLY WAY
sustainability has been a subject behind all governance structures surrounding the fashion
ecosystem. The green campaign has landed into many product phases related to the design process,
and not only presentations. 
Is the fashion week model a sustainable one? Is fashion production fair? Is worldwide travel for
fashion presentations worth it? Are fashion seasons obsolete? Tough, but necessary questions to be
answered by top management executives. 

CFDA released the study “Sustainability by Design: Rethinking New York Fashion Week Today”
in partnership with Boston Consulting Group addressing two main subjects: first, the environmental
impact of NYFW and second, a playbook for brands who want to get into the action. 
The report stated a score on overall sustainability for NYFW is 53 out of a 100, within six impact
areas such as generating content, sampling, production, venues, public relationships, transportation
and logistics. 
Another finding was the top impact area in NYFW: production and sampling, which are, without a
doubt, the common ground in worldwide problems for all fashion cities. “For example, if one
designer discovers a supplier with hyper-sustainable fabric, they should share that with other
designers to help push the overall industry toward sustainability” stated designer Maria Cornejo, in
aim to build an industry based in cooperation and strong bonds and less secrecy around designers.
The study revealed that brands are unclear about how to set goals and objectives and do not know
how to control costs, as implementing sustainable policies drives up budgets. Although in the long
run, being sustainable is a good pay off if we trace the right commitment
“Half of the waste or more is already being
generated at the design table; being sustainable is
not more expensive; in fact, being conscious of
waste has helped me reduce costs at my
company.” Gabriela Hearst, Fashion Designer.
THE INS AND OUTS OF THE SEASON
The biggest change covering the headlines this season around Fashion Week is the absence of the
biggest fashion brands in the official calendars. 
From NYC to Paris, each hub suffered a major step down of key participants. Ralph
Lauren,Michael Kors, Coach, Tory Burch skipped NYFW. Alexander McQueen and Burberry did
not show the womenswear collection in London. In Milan, Gucci, Bottega Veneta neither, as well
as Saint Laurent and Balenciaga, in Paris.
This no-show trend, in some cases, is due to brand policies and their own right to present or to not
present novelties, and on the other hand, to do it outside their city or country. Kering Group is
leading the differentiation strategy, showing collections in their own terms, seasonless -in some
cases-, and in their own timing. 
The change of structures and global trends is what prompted designer Tom Ford, president of
CFDA, to rename the organisation schedule as the “American Collections Calendar”, as a way to be
in sync with the times. “We will include all American designers within the calendar and on
RUNWAY360, regardless of location or collection release date”, stated in a letter, promoting
American designers showing off-calendar and abroad. 
Ralph Lauren will present the new collection in a “immersive fashion experience” featuring its
muse, the singer Janelle Monáe. Titled “All or Nothing at All,” the show will be streamed on the
brand’s website and feature the women’s Ralph Lauren Collection and men’s Purple Label line
together. 
Promising a cinematic experience, the brand is aiming for guests to buy directly from the screen in
a see-now-buy-now strategy. 

stand out from the competitors. I

Entertainment, as a form of fashion communication and client engagement, is spreading through all

fashion brands and gaining its position as the “normal” way in showcasing a collection, besides
selecting the right time and place to win the battle of PR promotion.  

Digital Fashion Weeks have created a space for all those designers who, in other circumstances,
would not have been able to present in official calendars. However, with the increase in the number
of presentations, and the all-welcome strategy, the positioning of each organisation and, their
selection criteria, are less defined and focused. 
Especially now if they, as institutions, are promoting sustainability. In this context, promoting
more brands that produce more items, is clearly not the solution.

Pitti Connect is a platform released last summer, now improved (from January to March 2021) with
new functions, designed and realized, to satisfy requirements of the brands with regard to their
relationship with buyers. 
“Compared to the June 2020 edition, when the platform was launched, visits have increased by
55%, the number of pages visited grew by 60% , states Agostino Poletto, General Manager of Pitti
Immagine, as the organisation shared impact data. The reach is beyond Pitti Uomo, as the platform
Connect includes the Pitti Immagine fairs, Filati and Bimbo. 
The digital platform has already attracted around 12k buyers, record a 1.3m page views and 252k
visits in total with 470 brands present. Their editorial platform The Billboard, recorded a rise of
+147%, meaning an interesting rise of brand content consumption from potential buyers.

Première Vision (PV), the ultimate destination for textile sourcing based in Paris, also had to
create digital solutions for its more than 1,500 exhibitors and worldwide buyers. The response
is “Première Vision Marketplace”, an interactive digital catalog to facilitate products’ presentation,
and buyers’ sourcing. 
The platform helped to show the latest product developments and manufacturing solutionsin yarns,
fibers, fabrics, accessories and components, designs, leathers and garments. Also, offer inspiration
and creation services in virtual forums, webinars, as well as networking through video-calls, to
personalize meetings and the ability to highlight specific product information via photos or videos.
In comparison to the Summer event, the February edition of Première Vision, incremented all its
numbers, confirming the relevance of its future omni-channel strategy. With international visitors
from 110 countries, the platform had 35k connections over five days, with more than 460k page
views and almost 175k products viewed in an average visit of 20 to 50 minutes. Their “Digital
Talks series” were followed live by 7.260 fashion professionals

It is an inspiring moment when brands and their

creative teams and top talent can collaborate
during fashion week, generating content assets
that live well beyond the runway show
Fashion show, si deve andare sul digitale, mostro darti pitti e premier e su probelma sustenabilita
cfda,
e poi sul fatto che sono qualcosa del passato? O del futuro

Although fashion week shows no sign of exiting, the purpose has seemed to have
shifted. Major brands who once assembled large audiences and crowds no longer
depend on media and retailers, as they had done in the past.

A great amount of marketing budgets now focussed on social media platforms and
driving online sales, as well as spending on influencers whose followers will
purchase their latest outfits. 

ashion labels no longer rely on the presence of editors or lots of buyers at their shows.

The consumer’s need for fashion critics, who once had the control to sell or destroy a
collection, has reduced. Consumers are in a much more powerful position, as it is
now a quick and simple process to view fashion online and form their own opinion
whether they like the products or not.

Fashion shows have always focussed on branding, marketing and selling items. In a
post-pandemic (or virus? Not sure why you’d say ‘vaccine’ here) world, these
focusses will remain in the industry but with marketing and selling a product directly
to a customer

Fashion shows will most likely be smaller, with front rows made up mainly of
influencers who can easily magnify a marketing concept to millions of consumers
globally.

This transition has been in the pipeline for a while; however, the pandemic has given
brands the green light to move rapidly, with savvy and pragmatic business strategies
overriding traditional norms and the fashion industry’s status quo.

With retailers adopting a customer-centric approach, the customer will most likely be
placed at the centre of any grand fashion shows. The decline of traditional trade will
also take place as massive budgets spent on flights, hotels and entertainment in return
for investment, is an strategy which has been shrinking over the years as retailers and
publishers can no longer afford to validate such expenditure.

I think firstly we had to take a step back from our operations and quickly adapt, to
what was happening in the world. We had to ensure our content was relevant to our
community – normally a beautiful shoot on a beach with models interacting with
each other can bring a new collection to life but we knew this would not mirror
the world we were living in."

t’s a two way conversation, always.”

Some brands have adapted to the current climate and have challenged the status quo 
through showcasing months before Europe and USA’s fashion week. Creative
director of Louis Vuitton, Virgil Abloh, showcased a fashion show for an audience of
1,500 guests in Shanghai.

The collection’s creative message promoted the virtue of upcycling and challenged
the traditional fashion show rota of delivering new collections season on season. But,
most importantly, the framework offered a savvy business plan for how brands can
stage a successful fashion show in a world  which requires a radical reset due to the
Coronavirus pandemic, globalisation, and growth of digital media.

The Coronavirus pandemic has also caused the fashion sector to shift from an
industry-centric approach to a consumer-centric.  Virgil’s move in showcasing off-
schedule, after June’s traditional men’s fashion week was cancelled in Paris,
signalled a major transition towards concentrating on the consumer as opposed to the
industry. However, the most significant move Virgil made was showcasing in
Shanghai, distant from the brand’s permanent location in Europe which marked a
major step.

To be sure, Louis Vuitton is not the first luxury fashion brand to showcase an off-
schedule show in China. However out of the 1,500 guests at the Shanghai event, half
were clients.  The show was the Abloh’s first since the brand transitioned to adopt a
season-less format.

The pandemic could also potentially steer traditional fashion shows into becoming
more localised as opposed to centralised. Hosting local fashion shows in target
markets is an idea which has been floating before the pandemic. As many leading
clients were unable to travel to Europe due to COVID-19, Louis Vuitton brought the
show to these clients. However, a localised approach has a number of benefits which
overcome the effects of the Coronavirus.

The idea of localising fashion shows also raises questions about the efficacy and
necessity of Eurocentric fashion exhibitions. Traditionally, major fashion shows rely
on a strategy of holding one-size-fits-all events in European industry hubs like Paris
and London, the prestige and glamour of which is supposed to influence and activate
markets with unique cultural dynamics on the other side of the world. But, when
shoppers from Asia, the Middle East, Africa and Latin America collectively account
for the majority of luxury sales, do Eurocentric fashion shows still make sense?
Louis Vuitton’s fashion show in China clearly showed how the brand is open to
moving away from the conventional fashion format through staging multiple events
for local markets and embracing more of global outlook as oppose to a Eurocentric
approach of fashion shows

https://www.theindustry.fashion/are-traditional-fashion-shows-something-of-the-past/

Over the course of the past year, businesses in nearly every industry have had
to accelerate their digital transformation to accommodate new challenges:

 Shift to online channels

 Improvement of steps along the value chain
 Alignment of teams
 Adaptation to consumer values

That said, brands and retailers have dealt with digital transformation differently over the
past year, each in their own way. According to McKinsey’s State of Fashion 2021, 45%
of fashion executives identify Covid-19 as the biggest challenge this year, and 30%
see going digital as the biggest opportunity. Brands’ existing business model,
company culture, brand identity, and strategy have informed their path of digital
transformation, with some transforming top-to-bottom, and others in bits and pieces.
Regardless, one thing is certain: those who are more digitally-savvy have an objective
advantage over those who are less so. According to McKinsey and Co., when we look
through the lens of digital transformation there exist two types of fashion companies
today: 
 

1. Digital leaders: Online sales make up 30-40% of total sales, the value chain is
significantly digitized, and online and offline channels are integrated to some extent
2. Laggards: Online sales make up less than 20% of total sales, the value chain has
low levels of digitization, and online and offline channels are largely separated
For non-digitally native brands, the pandemic pushed many to become more strategic in
their social media approach. Direct-to-sale features have become a main tool for many of
these brands on social media: consumers can now shop directly from the Instagram app,
for instance.
Indeed, social media is an indispensible arena for reaching consumers. A survey
conducted by Search Engine Watch found that 73% of US teenagers say Instagram is
the best way to reach them with new fashion items and trends, proving the
effectiveness of social media in brands’ marketing strategies. In consequence, more than
just brands have begun looking to social media to track consumer desires and
trend behavior: trend forecasters like Heuritech scan social media images with an AI
technology to draw out trend insights

F show con vestiti solo per quello senza venderli.

One, we produce too much stuff. Two, we produce a lot of the wrong stuff. One of the ways
of tackling the first problem is making sure the clothes work harder for all of us, and that
means restoration services, that means rental, that means resale.

ou can spend a lot of money on your clothes if you use them and if you
take care of them. I’ve always repeated things. I feel like that’s what style
is. If we allow that to be a part of the narrative of fashion, I think it
allows so many more people the opportunity to feel enough and
celebrate it.
Sono un tool per insiegnare , respoonsabilizzare

Mr. Ghesquière It is very important that the entertainment industry is

encouraging that by recycling all those gowns and dresses that we do for
awards ceremonies or events. I really appreciate that we see more and
more people wearing clothes they already wore without being afraid to
wear it twice.

Mr. Wintour It’s interesting. We’ve helping a number of different

people with their looks for the Met gala, and many of our guests are
asking for vintage. It’s maybe important sometimes for designers to take
pieces from their past and put them out on the runway with something
new, to re-emphasize the importance of creativity and craft and how it
really lasts.

I also feel the Zoom has brought us all together in a different, very
humane way, a very open way. That’s the most important thing to me,
that we don’t close the door on this time.

Ms. Ross The doors should not be closed. And that is part of a lot of my
work with DEI. I always remind people it’s not just diversity and
inclusion. It’s diversity, equity and inclusion. And the equity part of it is
where fundamental change can occur. It’s how do we change the
pipeline? How do we change the access? How do we open those doors
and create a space where all of us can be around the table or other tables
can be built because the ones that exist don’t actually match the world
we live in. I think that’s the responsibility for all of us who have power,
who have voices where we can make changes

 How do we continue to connect to our humanity in a way that makes it

better and not just takes us away from things like a photograph or a book
or a magazine, that are an expression of who we are?
https://www.nytimes.com/2021/09/10/style/future-of-fashion.html

https://www.wmagazine.com/gallery/fashion-exhibitions-digital-2021
From the 1970s to the early 2000s, Thierry Mugler changed the face of
fashion, again and again. Whether he was defining the look of the 1980s, or
working with iconic models Jerry Hall and Iman, “I have always been
fascinated by the most beautiful animal on earth: the human being,” said
Mugler. “I used all the tools that were at my disposal to sublimate it:
fashion, staging of shows, perfumes, photography, video.” Now, the
designer’s retrospective “Couturissime” opens at the Le Musée des Arts
Décoratifs in Paris this fall (after debuting at the Musée des beaux-arts in
Montréal). This retrospective looks at how one man changed contemporary
fashion with his singular vision
2019:

THIERRY MUGLER: COUTURISSIME,MONTREAL MUSEUM

OF ART
THIERRY MUGLER: COUTURISSIME AT THE MONTREAL MUSEUM OF
ART
MARTIN OUELLET-DIOTTEGETTY IMAGES
For Thierry Mugler’s first major exhibition, the Montreal Museum of Art
examines the how the Parisian designer shifted attitudes towards haute couture
from his anatomical shaping and unique textiles. Comprised of around 150
garments from 1973 to 2001, Thierry Mugler: Couturissime, curated by Nathalie
Bondil, notes the designer's visions of women as “metamorphoses, super-heroines
and cyborgs." The highly theatrical exhibit, which will run until September 2019
before embarking on an international tour, mirrors the drama of the garments in
thematic rooms complimenting the collections. 
MARTIN OUELLET-DIOTTEGETTY IMAGES
"He staged the most spectacular fashion shows and breathed new life into haute
couture, notably through the use of new materials such as metal, vinyl, latex and
faux fur," Bondil said. Mugler gave name to his brand by creating some of the
most iconic fashion moments in pop culture history, including Demi Moore’s
black dress in the 1993 movie Indecent Proposal. The timing of the exhibit hits a
sweet spot with Mugler’s recent revival in contemporary pop culture, as CR stars
including Cardi B and Kim Kardashian began wearing some of the most legendary
pieces from Mugler's archives. 

German artist Anne Imhof may be well-known for winning the Golden Lion
at the 57th Venice Biennale in 2017, but her work doesn’t stop there. The
artist, who recently collaborated on projects with Juergen
Teller and Riccardo Tisci, is staging an exhibition at the Palais de Tokyo in
Paris this fall, as part of the museum’s “Carte Blanche” series. Imhof will be
combining performance art with music, installation, and painting. And it’s
bound to include androgynous model Eliza Douglas, her longtime partner
and muse.
The famed French-Tunisian designer’s foundation in Paris is currently
showing an exhibition called “Alaïa and Balenciaga – Sculptors of Form,”
which showcases a series of dresses, coats, and suits by the two designers
who changed the face of fashion. It runs until February 14 and a video tour
of the exhibition is on the foundation’s website. They’re also planning to
open a new restaurant and café this spring, which pairs high-end
cuisine with designer furniture (with lighting by Le Corbusier and
chairs by Harry Bertoia).
 PERMANENT

Though the legendary Paris designer Pierre Cardin passed away last month, his namesake museum in
Paris carries on Cardin’s legacy. Over 80 different mannequins display the designer’s storied career as a
space age, futuristic fashion pioneer. The permanent exhibition features over 250 haute couture designs
from 1950 to 2000 (and the museum selects garments from their archive of 4,000 archived items). Don’t
forget to check out the recent documentary on the designer, House of Cardin.

https://www.crfashionbook.com/fashion/a26950328/the-most-iconic-fashion-exhibits-of-all-
time/

While many have oft debated whether or not fashion is considered a true form of
art, fashion exhibitions have gradually appeared in museums all around the world.
From a museological perspective, fashion was previously viewed as commercial
and a woman's pastime, while museums were collectors in important historical
objects. Yet, fashion designs have become integrated into the museum space,
providing a platform for designers to visually present their creative processes to a
mainstream audience, experience with different designs, and use storytelling as an
intimate way to engage with audiences and future creators. Fashion in the museum
space has brought us closer than ever into the minds and ateliers of some of
fashion's greats. Here, CR spotlights some of the most memorable fashion
exhibitions of all time.

GIORGIO ARMANI, ARMANI/SILOS, ZONA TORTONA OF

MILAN 
ARMANI/SILOS PERMANENT
ARMANI/SILOS
At the Zona Tortona of Milan lies Armani/Silos, a permanent exhibition space
devoted to Italian fashion designer Giorgio Armani. Opened on the 40th
anniversary of his business, Armani renovated the space in his signature style,
right down to the soothing background music that plays through the halls. The
space is divided into three floors: daywear and suits on the first floor,
"Exoticisms" on the second floor dedicated to his cross-cultural references, the
third floor called "Color-Schemes" composed of his color use, and the fourth floor
being a research space for those who want to take a look into the digital archives
themselves. Inherent to the Milanese culture, Armani's presence in Italian fashion
has been firmly documented in Armani/Silos.

ALEXANDER MCQUEEN: SAVAGE

BEAUTY, METROPOLITAN MUSEUM OF ART 
ALEXANDER MCQUEEN: SAVAGE BEAUTY AT THE VICTORIA & ALBERT
MUSEUM
ANTHONY HARVEYGETTY IMAGES
A little over a year after the death of British fashion designer Alexander
McQueen, The Metropolitan Museum of Art in New York City paid homage to the
designer in the 2011 exhibit Savage Beauty. Curators Andrew Bolton and Harold
Koda showed pieces across McQueen’s career in fashion from his tenure at
Givenchy, to personal archives from his home in London. Six galleries were
arranged by theme: "The Romantic Mind", featuring some of his oldest work in
the early 1990s; "Romantic Gothic and the Cabinet of Curiosities," featuring his
exploration of Victorian Gothicthemes; "Romantic Nationalism," examining
Scottish and British identity; "Romantic Exoticism," examining non-Western
influences in his designs; "Romantic Primitivism," featuring natural materials and
organic designs; and "Romantic Naturalism” featuring his attempts to integrate
themes of the natural world with technology. The exhibit was a huge success for
the museum with around memberships rising by 15 percent and over 650,000
people having viewed the exhibit, making it one of the most popular in the Met's
history.
DICO PRIMA FW POI COLLEGO COPN INTRODUZIONE COPIATA DI PRIMA POI
PERMANENT EXP E POI LE PRINCIPALI DEGLI ULTIMI ANNI.

MUSÉE YVES SAINT LAURENT, PARIS / MARRAKECH 

PERMENENT

MUSÉE YVES SAINT LAURENT PARIS

STEPHANE DE SAKUTIN/AFPGETTY IMAGES
Located at 5 avenue Marceau in Paris, the Musée Yves Saint Laurent occupies the
space of Hôtel Particulier where the designer spent nearly 30 years designing his
collections from 1974 to 2002. The permanent space displays various mediums of
photo, video, sketches, 30,000 accessories, and over 7,000 garments from Saint
Laurent’s personal collections. Guests are able to view the designer’s personal
sketching desk, complete with keepsakes like an inspirational photo of Catherine
Deneuve and his personal thick-framed glasses laid out. Tours include the
opportunity to walk through Saint Laurent’s studio where he conducted fittings.
Memorable pieces, such as the 1965 Mondrian dresses and the 1988 van Gogh
“Sunflowers” jacket, are featured in the galleries. An additional sister-museum is
located in Marrakech near Jardin Majorelle, a cobalt blue home surrounded by a
12-acre botanical garden purchase by Saint Laurent and lifelong partner Pierre
Bergé

MARGIELA / GALLERIA: 1989-2009, PALAIS GALLIERA

MARGIELA/GALLIERA: 1989-2009
CHESNOTGETTY IMAGES
Martin Margiela remains a mystery to the fashion world. The faceless designer,
who doesn't do interviews, is rarely ever seen in the spotlight, relishing in his
anonymity. Yet, the Margiela mystique has stirred so much curiosity that it has
become famous in its own right. What we do know is the designer is the only
Belgian designer of his generation to found his own house in Paris. Though the
secret sauce of Margiela is kept behind closed doors, Margiela/Galliera: 1989-
2009 was the designer's first retrospective, allowing guests to get closer to
knowing him than ever before. Curated by Alexandre Samson, the exhibit displays
Margiela's avant-garde techniques in deconstruction and unusual materials, which
were originally controversial to the fashion purists of Paris. The exhibit itself used
more than 130 garments, which were arranged and styled by collection

The clothing and fashion industry is all about following trends and coming
up with new concepts. That’s why every professional is highly engaged in
events like trade shows and fashion weeks. Participating in those events
is without a doubt the best way to source new products and brands but
it’s also the place where you will find the best networking opportunities.
To make life easier for you, no need to search, just sit back, relax
and discover our top 10 and largest clothing and fashion trade shows and
fairs to participate in or exhibit at.

WWDMAGIC showcasts the largest selection of women’s apparel and

accessories in the United States with more than 1,000 exhibiting brands. You
will find the latest women’s and juniors’ trends, the trendiest brands as well as
the hottest designers. The most influential fashion retail decision makers unite
for this show. For the 60,000 visitors, it’s a yearly unmissable shopping
experience

Pure London
Date: 10 to 12 February 2019
Where: London
Get more info about Pure London
 
London is probably the most famous destination for emerging designers and
established brands and Pure London is the main clothing and fashion trade
show in the city of London with more than 10,000 visitors. The show is split into
eight exciting womenswear show sectors that welcomes around 700 brands,
manufacturers and fabric suppliers.

Who’s Next
Date: 18 to 21 January 2019
Where: Paris
Get more info about Who’s Next
 
For more than 20 years, Who’s Next is one of the leading fashion show in
Europe for womenswear. It gathers twice a year almost 50,000 industry
professionals and 600 exhibiting companies. Brands, buyers, journalists and
trendsetters hailing from over 100 countries come together to discover the
hottest trends and products.

Texworld Paris
Date: 17 to 10 September 2018
Where: Paris
Get more info about Texworld
 
Happening twice a year, Texworld federates more than 1,000 exhibitors of the
textile and clothing industry. It’s an international show with companies coming
from 26 countries and 26,000 visitors from all around the world. It features a
great set of high-end conferences to catch up with the latest trends and learn
from the most influential experts.
https://tradefest.io/blog/en/top-best-largest-clothing-fashion-trade-shows-fairs-world/
he good news? As the UK’s lockdown restrictions lift, museums and galleries
are opening their doors to an exciting array of fashion exhibitions. These are the
ones not to miss.

https://www.countryandtownhouse.co.uk/culture/must-see-fashion-exhibitions/
MOLTA ROBA
Despite the ever-growing profit margins of the luxury sector, market
saturation and the fashion cycle make it difficult for consumers to
determine the value of, and for producers to imbue value in, luxurious
fashions. However, there is a space where the individual can appraise
the surplus value of rarefied and spectacular fashions without the ‘noise’
of commercial discourse. Under the right curatorial conditions, the
museum exhibition shelters luxury fashion from the reification of the
mercantile and allows the visitor to engage personally with the garments
on display to create an anthropologically enriching experience, in the words
of the contemporary German philosopher Lambert Wiesing. By engaging
with the curatorial decisions in a number of recent fashion exhibitions at
the Royal Ontario Museum, in Toronto, Canada; at the Metropolitan
Museum of Art and the Whitney Museum, both in New York City; Fashion
Space Gallery, in London, England; and the Musée Galliera, in Paris,
France, this article proposes to analyse successful and unsuccessful
experiences of museum fashion that allow the visitor to rethink luxury at
a more personal and personally enriching level.

https://i-d.vice.com/en_uk/article/k7eyde/the-designer-artist-duo-challenging-our-perception-of-the-
fashion-display

“We're so pre-conditioned to read fashion through mannequins or display. I was

at the Alaïa museum in Paris a couple weeks ago, and he placed his clothes on
mannequins that are about seven feet tall. There's something about the
quietness of the clothes that mean they have to be elevated by being put on
these impossible women,” continues Lucy. “In fashion shows and exhibitions,
there’s this level of perfection, below which anything is read as trash -- as soon
as you go to a fashion museum that doesn't have the budget of the Met, the
V&A or the Palais Galliera, it somehow feels cheap. That intrinsic connection
between beauty ideals and capitalism is really reflected in mannequins. On the
high street, you notice that the mannequins have heads, but if you then go to
Celine, they don't -- the clothes are presented as artworks, rather than as
objects to be worn on real human bodies. Those relationships are absolutely
fascinating."
The designer-artist duo challenging our perception of the
fashion display

In their Moscow exhibition, Passer-By, Atelier E.B unpack

how mannequins and shop windows shape the way we
understand fashion today. 


The challenge is to be able to read data that these digital
interactions generate and use it to create a more holistic
flow of experiences and products alike. After all, the new
generations of consumers are very attentive to certain
aspects of consumerism that the pandemic has accentuated.
The digital format needs to have a wow factor that is elevating brands to the next
level. And so far, we have not seen that.” He continues: “The rethinking of the
digital model for a fashion show is flawed because it is detached from the
commercial reality of what brands today are doing. A lot has been said
regarding slowing the system, yet a united vision is far from being reached.
It’s not a fashion show that needs to be regenerated but the whole system”.

anessa Friedman, on her New York Times column, mentioned the fact that fashion
week without the excitement for the wait, the first look on the catwalk, the rituals
is not the same. Perhaps the new template for a digital fashion week needs to
take into consideration the fact that these events are meant for a selected view
but broadcasted to a global audience. That should be the principle governing
activities. Even the digital ones. 
At Fashion Week, Signs of Stalled Progress on Diversity
Some Black creatives say they’re worried the industry is already moving on from its
recent focus on racial injustice, leaving them to carry the load. 
American destination-wear brand, Bohn Jsell, made its return to the runway for
SS22. DiAngela Payne. (DiAngela Payne)
By 

 SHEENA BUTLER-YOUNG

16 September 2021

When Kasha Reavis and John Bell, co-founders of womenswear brand Bohn
Jsell, were preparing for their sixth New York Fashion Week showing, they had
a precise vision for the kind of model who would embody their African
savannah theme.

She would be Black or Latinx, have a curvy figure and thick, textured hair that
lent itself to a larger-than-life, brushed out curly afro reminiscent of Diana
Ross in the early ‘90s. But, more than a year after hundreds of fashion
companies and leaders called for an end to systemic racism and made financial
and other commitments to help fight injustice and level the playing field for
minorities, not much appeared to have changed when it came to casting.

“I went to the casting and spoke to production and I said ‘we would like to have
as many Black models as possible,’” said Reavis, who co-founded the brand
with Bell in 2016. “We wanted white models to be a last resort because the
concept was inspired by the different attributes of Black women.”

Despite assurances from the casting company that they understood Reavis and
Bells’ vision for a “metaphorical representation of visibility for women of
colour,” when it was time for the show on Sunday, Sept. 12, the duo ended up
sending just as many white models down the runway as Black ones. And,
because the production company wasn’t able to book a complete team of Black
makeup artists and hairstylists — some of the issues stemmed from challenges
with Covid testing and vaccine mandates — on the day of the show Reavis
found herself anxiously fussing with models’ hair to create the curly ‘fro she
envisioned.
A model embodying the designers' vision walks runway Bohn Jsell's Spring/Summer
2022. DiAngela Payne. (DiAngela Payne)

“I think there is still a pressure on Black designers to keep up with diversity —

and I don’t feel like that pressure should be on us,” she said.

Reavis’ frustrations are evidence of the ongoing and complicated challenges in

building a more equitable and inclusive fashion industry. Even as Black
designers say they have more chances for their work to appear in high-profile
settings like fashion week, they still lack many of the tools they need to take full
advantage of the opportunity.

Racial diversity among models at NYFW in February 2021 was already

shrinking compared with September 2020 when momentum around racial
equity was still high, according to The Fashion Spot’s diversity report. The
group found 50.7 percent models of colour at NYFW Fall 2021, down from 57.1
percent for Spring 2021.

Overall there are still more Black designers showing at Fashion Week these
days than in years’ past. Sergio Hudson, Laquan Smith, Theophilio and Khiry
were among the prominent Black designers showing this season. At this week’s
Met Gala, Christopher John Rogers, Hudson and Theophilio also dressed some
of the evening’s biggest stars although traditional European designers
continued to dominate the carpet.

This industry does not like things that are uncomfortable, so I’m not
surprised that they’re ready to move on.

Magazines have published dozens of “Buy Black” lists, hundreds of companies

have made diversity commitments and more Black brands are showing up on
retail shelves. But many Black founders say those efforts were meant to be a
starting point in a long journey to a more inclusive industry — not the end goal.

“This industry does not like things that are uncomfortable, so I’m not surprised
that they’re ready to move on,” said Brandice Daniel, founder and chief
executive of Harlem’s Fashion Row (HFR), which hosted its 14th Annual
Fashion Show and Style Awards on Sept. 7. “But fashion needs to sit in this. It’s
not time for us to move on. We’ve done that before and nothing has
significantly changed. There have been commitments that have been made but
we’re not sure if those commitments have been followed through.”

Getting Results

Marrisa Wilson, founder of women’s apparel brand Marrisa Wilson NY, made
her NYFW debut in February at the Black in Fashion Council’s showroom and
showed again last week alongside 12 other emerging Black designers.
While she sees some momentum building for her business with each showing —
mostly in visibility among fashion editors — she believes fashion’s overall
excitement around diversity is waning in tandem with the uptick in high-profile
brands getting back into NYFW as well as more in-person events.

“Even during [New York Fashion Week] in February, diversity and inclusion
felt like ‘pink for fall’ … it was trendy and buzzy,” she said.

Many industry “elites” seem stubbornly averse to change, said Tamara Cincik,
founder and chief executive of the UK’s Fashion Roundtable.

“For me, it’s about what does [the industry] reimagined look like?” Cincik said.
“And how can we do that? We need to hear about the future opportunities …
We already know you will make more money if you’re more inclusive, we need
to challenge why businesses aren’t actually doing that.”

A deceleration in appetite for meaningfully supporting Black designers in

fashion would be detrimental to scores of emerging brands that are just on the
cusp of breaking through. For founders like Reavis, showing at NYFW alone is
proof that their brands have already cleared tremendous hurdles. The next step
is walking away with new business accounts and greater brand visibility.

Nigeria Ealey, Esaïe Jean Simon and Victor James, founders of the streetwear
label Tier, June79 designer Shawn Pean and Johnathan Hayden, founder of his
eponymous apparel label said they are still on a high from appearing at HFR’s
star-studded event last Tuesday.
Harlem's Fashion Row (HFR) held its 14th annual Fashion Show & Style Awards as a
kick-off to New York Fashion Week. Courtesy. (JN)

But even after an outpouring of praise across social media and in publications
like Vogue, Pean said he’s received just one phone call from a department store
interested in picking up his collection. Hayden had not heard from any buyers
in the week since showing — although it could be too early to tell.

“I’m grateful for that one department store but [I wonder about the others] that
say ‘we love this collection’ but don’t follow up and say, ‘how do we get in touch
with you or how can we dig deeper into your collection ... to make sure you’re
represented in our store?’” Pean said. “Is [this just] conversation or is it real?”

Even when emerging Black designers land those major wholesale accounts,
many are concerned about whether they will have the resources necessary to
make the most of it.

“It’s not just opening those wholesale accounts [but it’s] scaling it in a way that
is healthy for both sides,” said Wilson.

Daniel said it’s too soon to say how much of an impact the DEI efforts
introduced over the last year have actually had. She’s cautious not to disregard
seemingly small signs of progress, including having multiple retail buyers
attend the HFR show this year — something that has not happened in the 14
years since the event was established.
HFR founder and CEO Brandice Daniel with designers Charles Harbison, Shawn Pean,
Johnathan Hayden, Nigeria Ealey, Esaïe Jean Simon and Victor James. Shawn
Brackbill/Crown Royal. 

Kevan Hall, womenswear designer and president of the Black Design Collective,
believes “a lot of the pledges that were made were not lived up to” but he’s also
holding onto signs of progress like the Collective’s new partnerships with Saks
Fifth Avenue and Saks Off Fifth.

“I’d like to see designers of colour be able to tap into funding and resources to
begin to build our own heritage of brands and strong, legacy businesses,” Hall
said. “But that [requires] support on so many different levels … there’s so many
layers to what actually makes a successful brand.”

Many Black creatives continue to feel that most of the work of driving
meaningful diversity, equity and inclusion change falls on them.

“I feel like we all feel like we have to be at the forefront of this and that at the
moment that we slow down then everyone else will slow down,” said Daniel.

LAUNCH OF ECODESIGN TOOLS FOR FASHION EVENTS AND

COLLECTIONS.

Back in September 2019, the Fédération de la Haute Couture et de la Mode made a commitment to

provide Member Houses and the Houses listed in the Official Calendar of Paris Fashion Week®
(PFW®) and the Haute Couture weeks with two eco-design support tools. The first is dedicated to
events (in particular fashion shows and presentations) relating to the event value chain; the second
concerns collections and the industrial value chain.

After launching a consultation process, the Federation commissioned PwC to produce these tools. They
are now up and running and will be systematically made available to Houses in the coming weeks.
These tools were made possible thanks to the support of DEFI.

Ecodesign and support tool for events

This tool is designed to measure the environmental, social and economic impact (with theInstitut
Français de la Mode) of the PFW® (macro measure). It will enable each participating House to proceed
with their calculations before organizing an event (fashion show/presentation/showroom…) and help
them make the smartest choice when it comes to service providers in order to reduce environmental
impact and optimize social impact (micro measure). It was produced by PwC by pooling the
expertise of sustainable development teams, data analytics teams and the PwC Experience Center, in
close cooperation with the Federation’s own teams. It helps calculate 120 KPIs of quantitative and
qualitative data from Houses. The steering committee was made up of Bureau Betak, DLX and the
Palais de Tokyo. All stakeholders in the ecosystem were involved in the development, namely Houses
of all sizes, production agencies, press and communications agencies, modeling agencies, the main
venues where PFW® events take place, and institutions. It was developed in 2020, tested in early 2021
and will be fully operational by September 2021.
On the eve of World Environment Day (June 5), Paris is the world’s first fashion capital to offer
this kind of solution to the Houses that present their collections in the city, and the first to
employ high-precision analysis for the purpose of continuous improvement. The tool will then
be distributed internationally to fashion event organizers. Discussions are underway with the
cultural sector (notably the Palais de Tokyo and the RMNGP) to adapt the tool to the
programming and production of exhibitions.

What is the hybrid event experience?

Hybrid events do not separate the virtual elements from the in-person ones. They actively
integrate  the two, so attendees can get the best of both worlds for an inclusive and interconnected
experience.

Whether experiencing the event virtually or in person, the goal is for every attendee to find the
event relevant and valuable. That end goal doesn’t change for a hybrid event — the event
experience needs to create impact for all attendees, and hybrid events call for us to think about how
we can connect virtual attendees into an experience that also has an in-person component, so they
feel completely included.

The goal is to create an experience that engages your audience, no matter where they are —
engagement is the essential ingredient in hybrid events.

Integrate virtual and in-person attendees into a shared

interactive experience.
Adopting a hybrid approach means designing meaningful solutions that showcase the best of both
disciplines and bridging the gap between physical and digital by removing points of friction. Just
like any other event type, hybrid events put the audience journey first – for both audiences. It’s
critical to treat your live and online audience equally to maximize the event’s value and impact,
planning the program and activations for virtual and in-person attendees together rather than
treating them as completely separate audiences. A hybrid event is not just streaming an in-person
event online for viewers at home. Humans are social creatures that crave connection, so face-to-
face, virtual-to-virtual, and face-to-virtual connections are all hybrid experiential realities. And the
event’s purpose is to create that connection by driving attendee engagement.

The keyword to remember for virtual event venues is spatial volume. The goal is to allow the space
for virtual attendees to access the live experience and enable them to feel as if they’ve gone
somewhere, escaped the norm, and can enjoy interaction from within the experience. An experience
with spatial volume allows attendees to network and connect with others who are interested in
similar ideas and engage in lively discussions to learn more and become inspired.

6 hybrid event ideas that can create a dynamic

experience.
Here are some ways you can create a hybrid experience that engages everyone involved:

01
Host viewing parties
Content is still king and sharing moving stories fosters human connection. Host in-person viewing
parties where small groups of attendees can watch from various remote locations together. Build in
ways for the different small groups to interact with each other virtually to drive inter-audience
engagement.

02
Panel discussion breakouts
This could happen after a keynote to give every attendee, in-person or online, a chance to feel
involved and ask questions. This may look like small, individualized groups that break off from the
keynote to connect and discuss their new knowledge and how they can apply it. Drive inclusion and
participation wherever possible.

03
Create on-site avatars for virtual attendees
Guests attend events for connection and interaction. From Beam robots to iPads and webcams, use
technology to allow virtual guests to roam the in-person event and experience the activations. Take
grand opening events, hold virtual tours for remote guests where they are personally walked
through the space by an event host who can stop and answer questions along the way.

04
Conversations with company executives
This could focus on a central event with the top executives of the company at their headquarters or
another location, but the experience can be broadcast and shared with employees across the world
through regional “watch party” events. These could be hosted by regional executives who build on
the global event with a local component to engage their employees and answer key questions and
concerns.

05
Create an internal summer camp for a company
Whether exploring online or in-person, this concept allows attendees to discover the different
activities offered, anchored in creating moments of interaction between the digital and physical
attendees. They could go see music, participate in interactive games DIY sessions, or try out
another type of hands-on experience.

06
Live stream a celebrity concert
A concert with a celebrity musician could be streamed to both attendees watching from home and
in-person attendees watching together from a park. This both saves on production costs and
provides a similar experience for both attendee types. You can give an even more intimate
experience to everyone by hosting a live fan Q&A chat that allows all attendees to talk with their
favorite celebrity after the show.

Hybrid is going mainstream in 2021

Virtual events had their moment in 2020. As the world gets ready to open back up, you need to be
ready to respond with unique and appropriate types of experiential engagement. The beauty of
hybrid events is that there are so many ways to approach them, but the bottom-line goal remains the
same — to create engagement for your attendees so that they feel connected and valued, no matter
where they’re attending from.

There are many benefits to creating a hybrid experience. Make sure your event works to achieve the
following:

Budget. Technological challenges, pick the right venue, rising costs during the planning event.
Kepp track of the event planning process, time management


The cities of Paris, London, Milan, and New York, the most important fashion centers
worldwide, host two times a year the major event in the fashion world: Fashion Week. It is
considered the fashion event of the year where brands from all over the world present, share
and discuss the latest fashion trends. As many other great events, Fashion Week has a
considerable impact on the environment, due to the transportation of merchandise and the
travel of people as well as the organization itself of the fashion shows. 

In more general terms, the fashion industry is known to have a strong negative impact on the
environment. The fashion industry is becoming increasingly conscious of the consequences of its
activities on the planet’s resources and the need to substantially change its mechanisms and
operational modes. In 2018, almost fifty brands signed the UN Fashion Industry Charter for Climate
Action to prove their commitment to the fight against climate change. All signatory companies
share common objectives and the goal to reduce the global fashion industry emissions by 30% by
2030(1). Today, approximately 150 companies have signed the Fashion Pact, committing to a
common core of environmental goals. 
This article will analyze the environmental impact of fashion and will answer the most relevant and
essential questions. Let’s get started!

How is the fashion industry contributing to GHG emissions?

The fashion industry is considered accountable for approximately 10% of global greenhouse gas
emissions (more than the emissions of all international flights and maritime shipping combined!)
(2). However, not only does fashion have an impact on the environment in terms of CO2 emissions,
but the textile industry is also accountable for 35% of the plastic microfibers released in oceans and
20% of the industrial water pollution (3). 

This harmful environmental impact is multiplied by the increasingly high demand for the
production of clothes. Today, production rates are higher than ever! What has become known as
“fast fashion,” the sale of low quality and cheap clothes, has boosted the creation of new collections
and products. The use of unsustainable materials accompanies this and an increasing amount of
waste in the production and retail phases as collections are renewed every six months. The result?
Tens of thousands of unsold clothing are destroyed each year.
It has become clear that the fashion industry needs a revolution to reduce its environmental impact
and align to a more sustainable long-run trajectory. 

What about the environmental impact of Fashion Weeks?

Fashion has always had a close relationship with climate. As seasons change, fashion trends and
products change too. For this reason, fashion weeks are held every year in February for the
Autumn/Winter collection and in September for the Spring/Summer collection. This inherent
relationship between fashion and climate has however taken a negative connotation. Fashion is no
longer changing with climate, but actually changing climate. 

Just as the production of fashion products, Fashion Weeks have a significant impact on the
environment too. As Fashion Weeks gather thousands of retailers and designers and hundreds of
models and influencers, the environmental impact of Fashion Weeks is sometimes measured as the
equivalent of lighting up the Eiffel Tower for 3060 years (4). The carbon footprint of the event
includes traveling, accommodation, transportation of the collections and intercity traveling of
fashion actors. On top of this, one should add press activities and the setting up of the different
locations.
De Betak was initially inspired to make this change after he realised just how
sustainable the spring ‘20 Jacquemus was. “It was absolutely as low impact as can
be,” de Betak told Business of Fashion. Using natural sunlight and easy-to-
transport folding chairs, the show also mostly invited guests from Paris, rather than
those from across the globe, which cut down on travel-based carbon emissions. “We
really hoped it would help every designer and brand see you can do it like that,” de
Betak said.
On top of the Commandments, de Betak is working to get certified for
the International Organization for Standardization’s sustainable event management
standard, which will require that his company follow a strict plan to reduce carbon
dioxide emissions by 25% by 2022, among other guidelines.
While de Betak might be the first runway producer to integrate sustainability
pledges into his business, climate-focused initiatives are happening across the
industry. Copenhagen Fashion Week released its sustainability action plan, a
commitment that promises a 50% reduction in carbon footprint by 2022, and plans
to develop digital solutions to minimise travel. Following Copenhagen’s
lead, designer Richard Malone outlined his own sustainable objections via his
runway show in London. 
Said de Betak, “I’ve worked all my life doing something that’s not good, but that’s
behind me, and now I can use that to do good.”
Fashion shows
Fashion designers and manufacturers promote their clothes not only to retailers
(such as fashion buyers) but also to the media (fashion journalists) and directly
to customers. Already in the late 19th century, Paris couture houses began to
offer their clients private viewings of the latest fashions. By the early 20th
century, not only couture houses but also department stores regularly put on
fashion shows with professional models. In imitation of Parisian couturiers,
ready-to-wear designers in other countries also began mounting fashion shows
for an audience that combined private clients, journalists, and buyers. In the late
20th and early 21st centuries, fashion shows became more elaborate and
theatrical, were held in larger venues with specially constructed elevated
runways (“catwalks”) for the models, and played an increasingly prominent role
in the presentation of new fashions

By the early 21st century, fashion shows were a regular part of the
fashion calendar. The couture shows, held twice a year in Paris (in January and
July) by the official syndicate of couture designers (comprising the
most exclusive and expensive fashion houses), present outfits that might be
ordered by potential clients but which often are intended more to showcase the
designers’ ideas about fashion trends and brand image. Ready-to-wear fashion
shows, separately presenting both women’s and men’s wear, are held during
spring and fall “Fashion Weeks,” of which the most important take place
in Paris, Milan, New York, and London. However, there are literally dozens of
other Fashion Weeks internationally—from Tokyo to São Paolo. These shows, of
much greater commercial importance than the couture shows, are aimed
primarily at fashion journalists and at buyers for department stores, wholesalers,
and other major markets. Extensively covered in the media, fashion shows both
reflect and advance the direction of fashion change. Photographs and videos of
fashion shows are instantaneously transmitted to mass-market producers who
produce inexpensive clothing copied from or inspired by the runway designs.

ashion shows? How can it positively affect your business in a

creative manner?
In the world of fashion and modeling, fashion shows are of
extraordinary importance. Their popularity has risen rapidly,
becoming one of the leading events in the world of fashion. Many
fashion designers consider fashion shows as the most valuable part of
their careers. Also, Fabusse as a fashion agency has paid particular
attention to these events, providing full support for its partners.
But we have some important reasons for taking part in the fashion
s h o ws . I n t h e s e s h o w s , y o u h a v e t h e o p p o r t u n i t y t o d o s o m e
professional photo shootings that will enrich your portfolio. You can
also get familiar with recent trends and recent collections of different
designers.
 You can also recognize people from all over the world who share the
same passion as you. It is a great place and extraordinary opportunity
for such issues. Another reason just as interesting and attractive is
t h e v a r i e t y o f l o c a t i o n s . F a s h i o n s h o ws a r e o r g a n i z e d e v e r y w h e r e i n
the major cities of the world, enabling a chance to see different world
cultures.
But what’s even more important to fashion designers for these shows
is that they can promote their design and craftsmanship. In this way,
they can attract as many customers or business partners as possible
and establish cooperative relationships. Fabusse’s fashion services
guarantee professional realism in the organization, counseling, and
running of these fashion events.