THE FASHION SPECTACLE

Fashion shows have become more than just models walking down a runway, they are a full stage production of lighting, music, props and art. Designers use fashion shows not only to showcase their latest designs, however, use the runway to create a mood around the garments and to give insight into the designers concepts, inspirations and creative processes. Additionally, these often overtly theatrical events gain media attention and publicity for the brand. 

An example of fashion as spectacle can be seen in John  Gallianos 1998 Spring-Summer Hourte Couture show for Dior. The fashion show was a reenactment of the eighteenth century princess and the pea scenario and was an overtly theatrical and lavish event. Gallianos transformation of space involved defacing its real characteristics in the interest of imposing his own fantasy vision on the space, weaving mythologies and creating something out of nothing (Evans 2003, p. 67). The aim behind such a fashion spectacle is for the consumer to loose themselves in a fantasy world, as Guy Bebord describes ‘...for a world driven by false desires’ (1992, p.195). The fashion spectacle is used to seduce the audience and to gain widespread media coverage and hype of the catwalk event, enhancing the brands identity. The brand also gains cultural capital by showing that they have a knowledge and appreciation for art and theater. This form of fashion show can be described as monumental, seductive and fanciful. 

John  Gallianos 1998 Spring-Summer Hourte Couture show for Dior

The fashion spectacle and hourte couture is often described as an art form. It is seen as artwork due to its uniqueness, garments often being one off pieces, the handcrafted quality of the garments, and the concept or message the designer is emoting through the garments. All these elements make hourte couture more than just clothing and is often form over function. Didier Grumbach, President of the Fédération Française de la Couture,  explains ‘The brands that we all know were founded by artists who expressed themselves on the body rather than on a canvas … In the end, fashion is an industry and the designer has to compromise, but during a certain period of the designer’s life, it is art, it must be art, if not, there is nothing and a brand cannot last.’ (Armed 2009) These factors distinguish ready to wear, mass produced clothing from hourte couture and high end fashion shows.  

The influence of art, hourte couture and the fashion spectacle on the fashion industry has translated into still imagery and magazine advertisements. The theatrics and mood of fashion shows is often carried through into magazine spreads and advertisements. Although it looses the performance qualities of a live show, the advertisements have just as much production behind them as the fashion shows. For example, it can be seen in the magazine spread following John  Gallianos 1998 Spring-Summer Hourte Couture show for Dior (refer to image below) that the image is structured to resemble an eighteenth century painting and is overloaded with subject matter, much like the fashion show. This trend of fashion show I believe will change over time alongside popular culture, art movements and music. At present, this type of fashion show is necessary in the attempt to stay original and keep viewers interested in an image saturated world.

A magazine spread from John  Gallianos 1998 Spring-Summer Hourte Couture show for Dior

REFERENCES

Amed, I 2009, Didier Grumbach – Fashion’s creative pragmatist, viewed 27^th October 2012 <http://www.businessoffashion.com/2009/01/didier-grumbach-fashions-creative-pragmatist.html >

Debord, G 1992, Society of the Spectacle, Zone Books, London.

Evans,C 2003, Fashion at the edge, Library of Congress in Publication Data, Italy viewed 27^th October 2012 <http://books.google.com.au>

IMAGES SOURCED FROM

Dior Couture, 2011 Tumblr viewed 26th October 2012 <http://suicideblonde.tumblr.com/post/26344999046/dior-couture-s-s-1998>