Back in the days, fashion runways were a form of theatrical representation and self-expression for both models and designers. It was an artistic weapon used by young artists to send a message and manifest a vision. Nowadays, runways are less dramatic to ensure that the focus stays on the clothes rather than on the models. But isn’t an unforgettable moment what makes you remember a specific piece of clothing? Uniformity doesn’t leave a lasting impression. With social media offering access to all the runway shows online, how can you ensure that the viewers remember a specific piece if it’s not by creating an over-the-top moment?
The 80s and 90s are known to be the golden age of extravagance. Let’s go back to the time where Dior held the most iconic runways with the most enchanting pieces. In other words, let’s go back to the era of John Galliano at Dior. His art resides in the way he presented his pieces to the world and would help people immerse themselves into this universe; his universe. He redefined fashion as a form of storytelling. His ability to send a message through clothes, settings, makeup and models is what made him successful. John Galliano’s spring-summer 1998 runway is one of the most spectacular shows ever made combining historical movements and fantasy. Inspired by Marchesa Casati, this collection celebrated glamour, extravagance and the baroque cultural movement. To do this he used elaborate embroidery and strong contrast between light and dark to evoke the baroque style on the runway to create dramatic moments and stimulate emotional intensity. In his runways, you could feel models were embodying characters. This way, the audience would imagine their stories transforming a catwalk into a theatrical performance. We’re talking about the prime of haute couture. The prime of Dior.
John Galliano spring-summer 1998.
In the same spirit, Alexander Mcqueen was also known to be a visionary who pushed all boundaries to go beyond a simple fashion presentation. It wasn’t just about showcasing clothes, he used runways as an artistic expression to create emotional storytelling. For instance, he often employed elemental forces like fire or rain in the 1998 and 2004 collections which turned the runways into spectacles with a narrative. Even if sometimes people would feel discomfort, they would still feel something and that was his end goal. One iconic example is the 1999 spring-summer runway that featured a strong performance by Shalom Harlow. She stood on a platform while robotic arms spray painted the white dress she was wearing, a symbolic connotation to point out the evolution and innovation of machinery at the time.
Alexander Mcqueen 90-2000
Talking about Shalom Harlow, her graceful walk would give character to the clothes. Supermodels like her didn’t just walk, they performed which made each of them unforgettable. Every single one would adapt their walk to the designer’s vision creating a connection with the clothes.
For instance, Naomi Campbell was known to be the “panther” because of the way her hips would slowly sway. Gisele Bündchen on the other hand had a more confident and powerful strut while Kate Moss was more effortless and laid back. Their different walks, or actually their different style of expression, brought diversity to the runway which would captivate the audience who would associate the walk to a fashion moment.
With this being said, can the supermodels outshine the clothes they wear? This is what Miuccia Prada believed. The control they had on the runway was threatening. When they became too powerful, she introduced the “Prada Effect”. Miuccia Prada imposed minimalism on the runway as a form of sophistication in order to shift the attention strictly on the clothes itself. Most models were from Eastern Europe; blue eyes, blond, skinny girls. They were known as the “Slavic dolls”. There was a sort of uniformity since all models were the same height, all the same race, and had all the same walk. She transformed models into “mannequins”; an immobile figure used to display clothes in stores. She had to shut off their spark in order to regain full power. To this day, some designers still use a revisited form of the “Prada effect”. Even though it’s more inclusive and diverse in terms of race and appearances, models are still frequently constrained by the boundaries of minimalism.
The “Prada effect”
The ongoing use of the Prada method proves its effectiveness on keeping focus on the clothes. However, it defeats the purpose of fashion shows. Fashion goes beyond just clothes; it’s about creating a moment that resonates. Just like art, it’s used to express and provoke emotions or to deliver a message. It’s a form of language, a medium of beauty. To create a successful runway show, you need to push all boundaries by creating something different from all the other shows or else it becomes repetitive and boring. Some designers are becoming more and more aware and are trying to give to the public what they’re looking for, as seen in Elie Saab’s recent show in Riyadh. Clothes are not enough and this is why including theatrical elements is crucial because it creates a sense of individuality and uniqueness that elevates fashion to something higher than a simple presentation of clothes. The extravagance of the 90’s is deeply missed since it is more and more rare to find the same level of entertainment and depth nowadays. In other words, it’s time to give back to supermodels their power and restore the grandeur of the golden ages of fashion.
By Stefanie Nassif
