Best way to get noticed? Fashion Week Gimmicks.
Historically, when recalling runways, it’s the theatrics we remember – they’re called fashion shows for a reason, right? McQueen’s glass box entrapment, Balenciaga’s climate crisis commentary, or Coperni subjecting Bella Hadid to a spray-on, quick-drying dress. Designers don’t just display their work to receive praise; they aim to generate buzz. Some may even argue that crafting a compelling storyline is just as significant as the collection itself.
Virality is Valuable.
Written by Kayleigh McCall
The rise of clickbait and brain rot has introduced a new objective within the industry. Becoming a viral phenomenon boosts brand popularity and creates a new type of fashion follower: those who simply want to be entertained. Runways are no longer private affairs, and as creative directors lean into social media-driven marketing, fashion month turns into a game of cat and mouse with shareability. Are fashion exhibitions becoming less about creating meaningful art and cultural narratives, and more about being noticed?
With convicts closing shows, models cartwheeling instead of catwalking, and brides bounding down runways, it’s clear that some brands rely on virality to sell collections. Although this isn’t a new tactic, many fashion houses, even those with decades of history, now depend on the element of surprise to stay relevant. On the flip side, some brands are stripping back the theatrics to distance themselves from the spectacle.
Is No Gimmick the Best Gimmick?
Mugler caused quite a stir during Paris Fashion Week, though not in the usual way. For a brand known for runway ferocity, its pared-back production left some viewers longing for the signature Mugler flair. Creative director Casey Cadwallader explained his intent, highlighting how details often get overlooked amidst extravagant performances.
The usual campy theatrics of Mugler were swapped for a seemingly classic approach, focusing on tailoring and craftsmanship. Yet, disappointment arose because viewers expect a creative director’s perspective to shine through – a glimpse into the designer’s vision and process.
Mugler wasn’t alone in embracing minimalism. The Row, for the second time, banned cameras from its showcase, providing attendees with notepads to jot down their thoughts instead. This move, reflecting The Row’s timeless branding, resonated with consumers by evoking a sense of exclusivity. The privacy of vintage runways was revived, allowing showgoers to form conscious, uninterrupted opinions. In a world saturated with PR rollouts, perhaps avoiding them altogether is the most effective publicity stunt.
The Art of the Spectacle
To gimmick or not to gimmick – that is the question. The fashion world isn’t black and white, so context is key. When theatrics align with a brand’s ethos, they can garner media praise. Avant-garde label Eckhaus Latta redefined “dinner and a show” during New York Fashion Week by turning dinner guests into impromptu models. Co-founders cleverly left a runway-shaped path between tables and revealed that the only way for guests to view the collection was to walk the catwalk themselves. Each look was self-styled, creating an intimate and raw presentation that aligned perfectly with the brand’s unconventional identity.
When chasing publicity, it’s essential that the stunt enriches the brand’s narrative rather than coming across as inauthentic. The Mugler audience, for instance, left craving the attitude they’d come to expect. Stunts should amplify an exhibition’s artistry, not detract from it. The best spectacles push artistic boundaries, creating immersive experiences that ignite applause and admiration from the industry.
