Fashion weeks’ viability are continually being questioned. It’s the same conversation every time on the front row - the fashion industry’s twice yearly deja vecu - What is the point? And, how do fashion brands and designers justify the expense and time?
There’s no doubt the major fashion weeks - New York, London, Milan & Paris - have suffered recently as the industry has contracted, brands have merged men’s and women’s shows together and others have opted out entirely, reducing both the quality and quantity of many fashion weeks. Yet, many brands are still willing to spend millions on a few short minutes of exposure.
Ready-to-wear fashion weeks’ last hoped for raison d’être trend was ‘See Now, Buy Now’, which didn’t really work. It was too restrictive in a creative capacity for brands whose collections are often pulled together and styled a few weeks before each show.
It’s time to try something else, so could ‘public-facing shows’ be the solution and create a much needed source of income for these trade organisations?
Left - Will the BFC's idea for 'Public Facing' Shows' revive fashion weeks raison d'être?
The British Fashion Council has announced public-facing shows at the forthcoming London Fashion Week in September. Designers ‘House Of Holland’ and ‘self-portrait’, the first to be announced, will be taking part in the new London Fashion Week format which sees the internationally recognised event open its doors to the public.
Unlike the ‘London Fashion Weekend’ which is tagged onto the end of fashion week, and is more a exhibition-type event, this will take place during the main fashion week. There are public shows on the Saturday and Sunday with ticket holders choosing from three different time slots; 10am, 1pm and 4pm. The public audience is able to purchase tickets to “an immersive London Fashion Week experience” taking place at the official London Fashion Week Hub where Standard tickets are priced at £135 and Front Row tickets at £245.
The British Fashion Council says, “The experience includes catwalk shows, on Saturday 14th and Sunday 15th September 2019; creative installations, industry-led talk panels from experts offering unparalleled insights to the fashion industry, the DiscoveryLAB, an experiential space where fashion meets art, technology and music and a newly relaunched Designer Exhibition, which will fully embrace #PositiveFashion, the BFC’s initiative designed to celebrate industry best practice and encourage future business decisions to create positive change.”
Fashion Writer, Dal Chodha, @dalchodha says, “Fashion shows are already ‘public facing’ so I don’t think this initiative is necessarily a bad thing. “What is increasingly obvious is that the industry has tried to maintain its aloofness whilst still courting attention from anyone and everyone for too long. There has been no clear welcome of the general public into the fashion conversation, despite all of the hot air about the ‘democratisation’ of fashion. I haven’t seen it.” he says. “There is nothing democratic about showing people clothes they cannot get, or streaming experiences they cannot feel.”
Dan Hasby-Oliver, Blogger, Last Style of Defense, says, “I do think this opens up crucial funding for both designers and the BFC, as well as making an industry more transparent, given the convo. around sustainability - it all goes hand-in-hand. However, I do fear it could become a circus of phone toting teens…”
“I think it’s a great idea. The designers need customers. If we can get #shoptherunway technology and eventually solve the fit issue using technology, we’ll have a seemless way for designers to make money from a runway show. The old model is dead. Off with its head!” says Melissa Shea, Cofounder of Fashion Mingle, the first nationwide platform designed exclusively for fashion professionals.
The full line-up of catwalk shows, talks and designers taking part in the London Fashion Week “Designer Exhibition” will be announced in the next few weeks. London isn’t the first fashion week to try to tap into this enthusiasm from the public.
"I have visited Seoul Fashion Week four times to report on it for Wallpaper and I was most struck by the energy, the excitement in the room!” says Chodha. “I believe they operate on a lottery system, but I don’t think people pay money for tickets. The first show I went to was bizarre because people were screaming and smiling and laughing each time they saw a celebrity or a look they liked. It felt like the photographs of 1980s shows coming to life. People were ENJOYING them – in contrast to the glum faces you see in Paris, Milan and London. Most of us are too busy trying to process what we are seeing to really enjoy it. No one applauds at shows anymore because each of us is wielding a phone, ‘gramming the moment. So if people are avidly watching and enjoying the stories, why not free up a few seats and invite them to the show? I don’t see the harm in it, as long as we are still allowed to do our job. Fashion is a tricky industry because it is so seductive. I just wish that more young people were encouraged to go and see scientists or surgeons at work too, rather than just designers!” he says.
With ticket prices to rival a rock concert, the BFC is clearly hoping to make serious revenue from this. They’ve previously sold tickets to the British Fashion Awards, and sponsors have always been given tickets to London Fashion Week in exchange for money.
“I agree that the pricing is an issue as it pits itself as a ‘luxury’ experience - also in terms of broadening out the kinds of people who have access to fashion, the price of the tickets will foster no new ways of thinking.” says Chodha. “The move from the BFC just confirms fashion’s new role as a type of theatre. It is a spectacle (even when it is bad). Just like traipsing around an art gallery or squeezing yourself into a concert, fashion is entertainment.
“‘Outsiders’ have been going to fashion shows for a long time under the guise of ‘sponsors friends’. Is this the future? It is the here and now. To be snobbish about it is to refuse evolution. Something has to change, that’s for sure.” he says.
“Fashion week is a working environment, and to perhaps make it a free for all could make professionals reconsider their place during the week, thus transitioning the event to a redundant, consumer facing replacement for See Now, Buy Now.” says Hasby-Oliver. “Perhaps more work-place/open days/industry support would benefit keen outsiders looking to the industry instead. I do think, the current price package is prohibitive to the less privileged. Concl: Yes for transparency and education for the few, No to making it a frenzied free for all.” he says.
Traditionally, Haute Couture fashion shows have always been about the consumer with the hope these ridiculously expensive clothes are ordered off the back of the show. But, it was a model only for the mega-monied who could buy entry by becoming a customer. These shows will be separate from the press/buyer shows, but should give attendees a feel of going to a full fledged fashion show. Many people want to attend a fashion show once in their lifetime and if the BFC get the designers, music and models right they should satisfy those with the desire to stump up this sort of cash to go. Unfortunately, the best designers will probably decline to take part.
Fashion and fashion weeks’ exclusivity is one of the attractions of the industry. The desire for tickets, the scrum at the door and the hysteria are all part of the fun. To sell out 6 catwalk shows for these prices will be a challenge, but will certainly generate some income. These shows need to be buzzy and full to give the full LFW experience. If successful, other brands could look at offering another public show after their main one and possibly give the tickets away in a ballot or to VIP customers. The industry will be watching.
Burberry has to be admired for trying “See Now, Buy Now” - the new way of showing clothes in-season and making them available straight away to buy after the catwalk show. While many brands have used the term or jumped on the bandwagon, they were truly the only global brand to do it on scale and fully commit.
Left - The recent AW17 Burberry Show in Clerkenwell
Other brands have done capsules, collaborations and the like, but on a much smaller scale. Some are still doing it, while others have dropped it already, but, it’s Burberry who we’ve been watching to see whether it works or not.
Burberry has done a great job at the logistics. The job of getting things in place: to drop the minute the catwalk has finished, unveiling online and in their network of retail stores and wholesale partners.
They’ve experimented with it and while they’ve proved they can get things in the right places at the right time, unfortunately, it doesn't make for great clothes.
We are on the third collection now and they are no way as accomplished as the previous out of season shows. They still have the same Creative Director - Christopher Bailey - who I rate very highly, but it just shows that this way of working, restricted by manufacturing timetables, limits the ideas and collections.
With “See Now, Buy Now” you’re alway working backwards. What can we make in time? Can our manufacturers make that, in the quantities we need, in time? No? Then, next idea.
What can we do? doesn't make for the most positive start to any collection. It’s too restrictive. It just makes for clothes that are basics with little details tacked on. The latest collection, shown a couple of days ago, illustrated this, literally. Chinos with doodles on or a let’s stick a silver/crystal thing on a quilted sweat shirt to jazz it up a bit. It’s not starting from a strong design base. You’re always working backwards.
Fashion collections often come together a few days before a show. Stylists or designers often ask for little pieces or accessorises to help form looks which have a clear voice and message and is what many trends rely upon. They worry about making them afterwards. This isn’t possible with see now, buy now, as it has be all signed off and produced months in advance. Burberry has over 500 shops in 50 countries. That’s a lot of product. Admittedly, the catwalk makes up a small percentage of the business, but it still has to be in the windows etc.
These clothes are also being made upfront. Many brands use a show to gage demand and then order accordingly. You either have a lot of wastage or you’re very conservative in your ordering of the more difficult and interesting pieces. This leads to boring stores and products.
Right - Burberry - White T-Shirt With Crystal Brooch - £495 - See Now, Buy Now isn't making for the best clothes says TheChicGeek, do you agree?
It’s time to ditch see now buy now. Burberry are good at deciding to drop things when they don't work. They tried to go it alone with their beauty offering, but realised things are too tough out there on your own and have now gone in with beauty giant, Coty.
If it’s any consolation, they can be confident to know that if they couldn’t make it work, then nobody could make it work and can be very proud of themselves for trying something that many thought too difficult and didn't even entertain.
Like all new ideas, some are more successful than others. This is one to put down to experience and it's time to let Christopher Bailey do what he does best.
As Christopher Bailey says goodbye to Burberry, read TheChicGeek's Ode To Christopher Bailey - here
We’re on the eve of London Fashion Week Men’s and, while celebrating its 5th year, the biannual event is having to deal with the changing menswear landscape. Brands are cutting expenditure, many are merging men’s with women’s, budgets are under pressure and London Fashion Week needs to be justified more than ever.
Left - The new face of Topman AW17, Lennon Gallagher giving good brows
The closed, industry facing idea of fashion weeks is over and it’s all about photo opportunities and customer facing events. It’s about promotion, harnessing the buzz and trying to get some direct return on the costly investment.
Perfectly illustrating this is Topman Design. One of the originals on the London men’s schedule and the first to really elevate high-street to a catwalk proposition, Topman Design has decided to shelve the show and instead have a presentation for its new SS18 collection that will be thrown open to the general public over the weekend. Arcadia, the parent of Topman, has seen sales falling and this puts pressure on making these type of events perform.
A ‘multi-media event’ called ‘Transition’, the Topman Design installation is curated by a series of collaborators.. Each collaborator will ‘own’ a space and create an installation showcasing their interpretation of this attitude with each room having a completely different and fresh perspective to create a unique journey through the space.
The event takes place at the Old Truman Brewery and open to the public on Saturday 10th and Sunday 11th June between 10am and 6pm. To gain access to the event simply download the DICE app on the App Store and Google Play or at DICE.fm.
Collaborators featured include photographer and filmmaker Nick Offord, musicians ‘The Rhythm Method’, poet and writer Max Wallis, architect and filmmaker Ben Cullen Williams and photographer and creative director Campbell Addy who will be working alongside illustrator King Owusu. In addition the space housing the installation will be designed by young British architect Benni Allan of estudio b.
The space will also feature a pop-up shop selling exclusive apparel featuring prints and graphics taken from and inspired by the Topman Design archive as well as exclusive pieces from the collaborators exhibiting.
Opening the fashion week up to the city makes it an event and creates the momentum that continues to keep these things going. We need to see more of this and not simply 'See Now, Buy Now'. I was thinking when they pedestrianise Oxford Street, it could become the location for fashion week. Clear marquees could hold shows and outside screens could showcase collections to the general public increasing interest and firmly keeping British fashion as the centre of creativity and the city.
Increasing the public's interest in fashion and fashion week and taking it out of its bubble should be the main objective this LFWM.
Fashionistos, clear your diary! As we stand on the eve of the new SS18 men’s show season be part of the excitement of London Fashion Week Men’s - LFWM - thanks to St James’s. Join TheChicGeek on Saturday, June 10th, as Jermyn Street is transformed into an al fresco catwalk.
The centre for London’s menswear for centuries, the St James’s area is steeped in history while still being one of the best contemporary men’s shopping areas in the world. Combine an afternoon of shopping with an inspirational see-now-buy-now catwalk show featuring some of the best British brands including Turnbull & Asser, John Smedley, Lock & Co and John Lobb as well as contemporary, newly arrived names including Paul & Shark, Jigsaw, Sunspel and Barbour International.
The two shows are at 1.30pm and 3.00pm and the tickets are free. You just need to register - here What are you waiting for? See you there!
Nearest Tube - Piccadilly Circus
Left & Right - Previous St James's presentations featuring the men's retailers within this prestigious area of Mayfair
If you can’t make either of the shows visitors will be able to drop into the shops of St James’s for a variety of special in-store activities such as a shirt cutting demonstration from a Master Shirt Cutter at Harvie & Hudson and complementary wet shaves at world renowned perfumery Floris. Jermyn Street will also play host to some of London’s best street food retailers all offering a bespoke St James’s menu, making sure the day will be a feast for all the senses.
Move over the Little Mermaid as TheChicGeek gets sculptural in the latest menswear collection from Burberry. Inspired by the British sculptor, Henry Moore, Burberry's new collection was a play with form, function and distortion. Oversized dress shirts, sweatshirts with rope detailing and twisted brogues were all part of their 'See Now, Buy Now' collection.
Spot the spring carrot throughout TheChicGeek's SS17 collections as he picks his favourite menswear collections of the season and models his favourite pieces, making him one happy geek!
Credits - Clothes - Burberry SS17, Shoes - Burberry SS17, Spectacles - Salvatore Ferragamo, Fragrance - Givenchy Gentlemen Only Eau De Toilette Fraiche, Bumble & Bumble - Sumoclay
Shot on OlympusPEN by Robin Forster
See more pictures & video below
There are two types of Britishness: urban London Britishness, which is too often clichéd and touristy, involving bowler hats, red telephone boxes and the like, and, then, there's the Britishness of the countryside, which comprises of green rolling hills, National Trust properties with colourful herbaceous borders all soundtracked by the theme of The Antiques Roadshow.
Left - The not-so-secret garden at the entrance of Burberry's pop-up Makers House
The British countryside is basically a giant garden dotted with the history of people aiming to perfect their little corner of it and that's why we all love to be tourists in it, regardless of where we are from.
And, it is this Britishness that Burberry has mined for its latest show and show space, which has been opened to the general public for a week afterwards and is called Makers House.
Right - Makers are gonna make. The day I went it was bookbinding
Located in the old Foyles book store on Charing Cross Road, on the edge of Soho, Burberry has teamed up with British craft collective, The New Craftsmen, showcasing their hand-working skills, making everything from tassels to keys to scissors. There are different people displaying different skills, on each day, creating theatre in the bottom of the space.
Just to be clear, these people didn’t produce anything for the new Burberry collection, but it’s an illustration of the type of skills involved. I guess Burberry needed huge volumes and a long lead time if they were able to be the first brand to fully deliver their new ‘See Now, Buy Now’ concept worldwide, all at the same time, both offline and online.
Left - One of the standout pieces of the menswear show
You can buy their products in a small shop here, but I think Burberry missed a trick by not including a few of their own products. Maybe a few of the classic pieces.
Right - A print taken from the V&A archive and used in the collection and on the show seating
Alongside them is a pop-up branch of Thomas’, the Burberry café from Regent Street, which has to be one of the best of the big brand versions of this type of thing, offering seasonal British fare all served on British made tables and chairs, and in this case, leading onto a garden of white busts and classical plaster casts contrasted with lush green planting that welcomes you at the entrance.
It’s like Daylesford Organic has comes to Soho, hostas and all, in this mix of Virginia Woolf’s Orlando, Nancy Lancaster’s decorating skills, (she was the owner of Sibyl Colefax & John Fowler), and a celebration of the great and good of British history all lined up like a friendly who’s, who. I feel like we may have been given a glimpse of Christopher Bailey’s Yorkshire lifestyle. He has to spend all those millions somewhere after all. This is the fantasy perfection of British country living that we never seem to tire of and one which Burberry has used as inspiration before such as Charleston in Sussex or gardening at Sissinghurst.
Left - TheChicGeek on the poetry staircase doing his best Rapunzel impression!
Upstairs, where the catwalk show was, 83 mannequins show off the full collection of men’s and women’s wear, 250 pieces in total, where you can look at the details and touch the fabrics. Everything is available now, if you can afford it, and the collection was Bailey’s usual strong balance of wearability and fashion. Think artist-like relaxed shirts with ruffled collars and cuffs interplayed with brocade and cropped shearlings and slouchy trousers. I particularly like the orange/biscuit coloured shearling and 30s style printed pyjama shirts. The green carpet design was taken from a garden print from the V&A.
Right - The Tudors are back! Taking the ruff with the smooth
Burberry took a risk on the ‘See Now, Buy Now’ concept, but I think they’ve pulled it off. Unlike other brands, this show season, who have made it a token gesture to gain attention and PR, this is full on and took some organisation. I guess many items had to be comprised or changed to fulfil the tight delivery dates, but it doesn't show.
Left - Pieces of Michelangelo's David looking over his shoulder while a sculptor builds up his clay maquette
I like the way it’s been opened up to the public. You spend all that money on the show space, you may as well as justify it by making it customer facing, especially now they’re selling the items straight away. I can’t wait to see how they will top this in February.
Many other luxury brands will be watching this enviously and wondering whether they could or should do the same.
Right - Nancy Lancaster's bed from her house, Ditchley Park
In a post-brexit world I think Burberry should take this whole concept on a world tour. Tokyo, Shanghai, and Mumbai would relish this little outpost of Britishness, pots plants and all. We have to remember there’s a big world outside of London.
Burberry Makers House Open Until 27th September 2016, 1 Manette Street, London, W1D 4AT
How many of these great British figures can you name?