THE PAST, PRESENT AND FUTURE OF FASHION SHOWS

Susanna Tikanoja 2021

Susanna Tikanoja The Past, Present & Future of Fashion Shows Master of Arts 30 credits Supervising professor: Pirjo Hirvonen Thesis advisors: Elina Peltonen & Linda Turunen Department of Design Master’s Programme in Fashion, Clothing and Textile Design Aalto University School of Arts, Design and Architecture 2021

Aalto University, P.O. BOX 31000, 00076 AALTO www.aalto.fi Master of Arts thesis abstract Author Susanna Tikanoja Title of thesis The Past, Present and Future of Fashion Shows Department Department of Design Degree programme Master’s Programme in Fashion, Clothing and Textile Design Year 2021 Number of pages 59 Language English Abstract This thesis explores the past, the present and the future of fashion shows. Through the history of the fashion shows since their emerging in the late 1800s, they have evolved within the time and society. However, certain fashion show features can still be identified today. The research aims to discuss how the shows are relevant today and how their nature is evolving in our time. The main focus is on identifying current fashion show elements in order to define the future. The thesis project started in December 2019 and in early months of 2020, the COVID-19 pandemic spread worldwide and brought a new layer to the research. The pandemic had immediate effects on the fashion industry as safety regulations, social distancing and travel restrictions came to order. The research focuses on three main parts: the history of fashion shows, the current state of fashion shows and finally, interviews with five Finnish fashion industry insiders sharing their insights. The traditional fashion show culture is observed through the chapters. By exploring both the past and the present of fashion shows as well as analyzing the information received from the interviews, this research aims to understand how the fashion shows are evolving. As a conclusion of the research it can be stated, that the future of the fashion shows is yet not completely recognizable as the fashion industry is in a significant transformation. Today active responsibility and sustainability proposals are made by the industry players, though understanding that the change needed might take time. The findings of the research reveal that the fashion shows will most likely adapt to digital formats even more widely and the possibility of a hybrid, a combination of physical and digital, is recognized. In addition, the findings of this research highlight the significance of live events to the people. However, it must be acknowledged that the fashion show is evolving and will unlikely be the same as before the pandemic. Keywords fashion show history, fashion shows today, COVID-19 and fashion shows, fashion show future

Aalto-yliopisto, PL 11000, 00076 AALTO www.aalto.fi Taiteen maisterin opinnäytteen tiivistelmä Tekijä Susanna Tikanoja Työn nimi The Past, Present and Future of Fashion Shows Laitos Department of Design Koulutusohjelma Master’s Programme in Fashion, Clothing and Textile Design Vuosi 2021 Sivumäärä 59 Kieli Englanti Tiivistelmä Tämä opinnäytetyö keskittyy tutkimaan muotinäytösten historiaa, nykypäivää sekä tulevaisuutta. Läpi muotinäytösten historian aina 1800-luvun lopulta asti, näytökset ovat kehittyneet ja peilanneet yhteiskuntaa. Muotinäytökset ovat kehittyneet ajan mukana ja tietyt niille ominaiset piirteet ovat edelleen tunnistettavissa. Opinnäytetyö keskittyy tutkimaan, kuinka muotinäytökset ovat ajankohtaisia ja miten niiden luonne kehittyy meidän aikanamme. Opinnäytetyöprojekti alkoi joulukuussa 2019. Vuoden 2020 alussa COVID-19 viruksen levittäytyminen maailmanlaajuiseksi pandemiaksi toi kuitenkin työlle uuden ulottuvuuden. Painopiste keskittyi lisäksi pohtimaan pandemian vaikutuksia muotinäytösten ja muodin alan osalta. Pandemia vaikutti välittömästi muotiteollisuuteen ja muodin alan yritykset maailmanlaajuisesti ajautuivat kriisin partaalle. Tämä tutkimus keskittyy kolmeen eri osa-alueeseen: muotinäytösten historian lyhyeen läpikäymiseen, näytösten nykytilaan sekä tutkimusta varten tehtyihin haastatteluihin. Haastateltavat edustavat suomalaisia alan ammattilaisia, joiden näkemys on tutkimukselle arvokas. Perinteinen muotinäytöskulttuuri analysoidaan näiden edellä mainittujen kolmen painopisteen pohjalta. Mennyttä muotinäytösten historiaa läpikäyden ja keskittyen analysoimaan haastatteluista saatua informaatiota, tämä tutkimus pyrkii ymmärtämään muotinäytösten nykyisen kehityksen suunnan. Tutkimuksen yhteenvetona voidaan todeta, että muotinäytösten tulevaisuuden suuntaa on vaikea vielä täysin määrittää, sillä muodin ala kokonaisuudessaan on tällä hetkellä muutoksen alla. Useat alan toimijat ovat aktivoituneet paremman muodin tulevaisuuden edessä, mutta on kuitenkin ymmärrettävä, että muutos vie aikaa. Tutkimus osoitti, että muotinäytökset tulevat vieläkin laajemmin siirtymään digitaaliseen muotoon. Hybridi, jossa yhdistyvät sekä fyysinen- että digitaalinen kokemus, on kuitenkin todennäköinen vaihtoehto. Tutkimus ja sen tulokset korostavat live-tapahtumien sekä fyysisten kontaktien merkitystä ihmisille. On mahdollista, että muotinäytökset eivät palaavat täysin samanlaiseen formaattiin kuin ennen pandemiaa. Kaiken kaikkiaan digitalisaation, kokonaisvaltaisen vastuullisuuden sekä live-tapahtumien merkityksen korostaminen ovat todennäköisesti tulevaisuuden suunnan muokkaajia. Avainsanat muotinäytösten historia, muotinäytösten nykytila, COVID-19 ja muotinäytökset, muotinäytösten tulevaisuus

CONTENTS 1 INTRODUCTION ............................................................................................................................................................................... 1 1.1 AIMS A ND OBJECTIVES ................................................................................................................................................... 4 1.2 RESEARCH METHODS ....................................................................................................................................................... 5 2 OBSERVATION ON HISTORY OF FASHION SHOWS .......................................................................................... 7 2.1 DEVELOPMENT OF FASHION SYSTEM .................................................................................................................. 8 2.2 BIRTH OF FASHION MODELING ............................................................................................................................... 10 2.3 HISTORY OF FASHION SHOWS 1920 - 2000 .................................................................................................... 11 3 FASHION SHOWS TODAY ...................................................................................................................................................... 15 3.1 FASHION SHOW ELEMENTS ....................................................................................................................................... 15 3.2 BUREAU BETAK AND FAS HION SHOW PRODUCTION ............................................................................ 18 3.3 FASHION SHOW OBSERVATION ON BUREAU BETAK CASES ........................................................... 20 4 MODERN PHENOMENA SHAPING FASHION SHOWS ...................................................................................... 23 4.1 TOWARDS MORE RESPONSIBLE FASHION INDUSTRY .......................................................................... 23 4.2 REIMAGINING FASHION SYSTEM AND FASHION CALENDAR ........................................................... 25 4.3 DIGITAL FASHION SHOWS AND PRESENTATIONS ................................................................................... 27 4.4 COVID - 1 9 .................................................................................................................................................................................. 31 5 METHODOLOGY ............................................................................................................................................................................. 33 5.1 CONTENT ANALYSIS ........................................................................................................................................................ 33 5.2 INTRODUCTION OF THE INTERVIEWEES .......................................................................................................... 34 6 FINDINGS ............................................................................................................................................................................................ 36 7 CONCLUSION ................................................................................................................................................................................... 45 7.1 FINAL NOTE BY THE AUTHOR .................................................................................................................................. 47 7.2 LIMITATIONS AND FUTURE RESEARCH ............................................................................................................ 48

1 1 INTRODUCTION This thesis observes the past, the present and the future of fashion shows. The aim of this research is to identify modern phenomena shaping fashion shows as well as discuss possible future elements of the shows. In the early months of 2020, concerns about COVID-19 spread worldwide. The pandemic immediately affected the fashion industry as safety regulations, social distancing and travel restrictions came to order. The industry faced a challenging situation. Factories worldwide shut down, deliveries were cancelled and postponed, fashion weeks and fashion shows were cancelled, and businesses suffered severe damages. Though already before the pandemic there was a need to create a more responsible future for the industry, the crisis pushed the inevitable change by speed. Gucci’s Creative Director Alessandro Michele’s quote from May 2020, well identifies that the crisis will shape the fashion industry and its patterns. “As for me, in my own small way, I feel the urgent need to change a lot of things in the way I work. I have always been professionally inclined to change, after all, bringing with me a natural and joyful creative restlessness. But this crisis has somehow amplified such transformative urgency, which can’t be deferred anymore.” (Michele 2020). According to #rewiringfashion, proposal for the global fashion industry started by fashion professionals in May 2020, the fashion system needs to be set around fresh set of principles. The proposal identifies practical issues such as: an outsynced fashion calendar and an outdated fashion show format. #rewiring suggests, that the reimagined future would have less trends, less seasons, fewer fashion weeks and fewer collections. In addition, fashion buying, new consumption behaviors and less depending on discounting would need support. (#rewiring 2020). As mentioned in Brydges et al. (2020) ideally, the crisis caused by the pandemic could enable opportunities for these movements to grow. However, in reality it might not be as straight forward – the reduction in demand has caused financial pressure and severe unemployment threatening these sustainability initiatives. (Brydges et al. 2020). The quarantine circumstances during the pandemic have caused changes in consumer behavior, as people have been locked down to their homes. People have spent more time at home and they have been encouraged to rethink consumption. Nevertheless, it is still uncertain whether the pandemic will be “the sustainability reset” that the industry needs. (Brydges et al. 2020). The ideal scenario would be that the pandemic supports both brand and consumer behaviors leading to a more responsible future. As stated by Brydges et al. (2020) the fashion industry should use this time to reflect and rebuild a more inclusive, environmentally and socially sustainable industry. (Brydges et al. 2020).

2 Fashion show is a relatively modern phenomenon in the Western fashion. The origins of fashion show can be found in the development of the French haute couture system and the show began to develop towards year 1900. Though fashion shows have always evolved within the time and society, there are today still many essential features that were established in the first decades of the 20th century. (Evans 2013 p.11-12). The first fashion shows were a form of marketing, as they naturally still are today. The first shows also represented production and consumption of the modern era and they were a link between commerce and culture, a form of business between Europe and America. (Evans 2013 p.10-12). Today the fashion industry is facing a future filled with uncertainties. However, the only thing certain is that the industry will probably look very different from what it was before the pandemic. (Brydges et al. 2020). As Anna Wintour, Editor of Vogue and artistic director of Condé Nast, stated in The New York Times Magazine interview, there will probably be nothing like the fashion week as we knew it. According to Wintour, the pandemic clarified the long-term conversations the fashion industry had been having for a while already. (Aleksander 2020). As digital solutions are taking over the field of fashion and the industry is reconsidering its priorities, it is very possible that fashion shows are not expected to return to the pre-COVID-19 format. Digital solutions, such as fashion films and virtual fashion shows among many others, are replacing the traditional live format with fashion show audience. During 2020 the fashion show evolution has taken major leaps with a push from the worldwide pandemic. In addition to digital development, brands have declared taking ownership of their fashion calendars. For example, Saint Laurent announced that the brand will not attend the 2020 fashion calendar and will “launch its collections following a plan conceived with an up-to-date perspective, driven by creativity.” (Binkley 2020). The following page will briefly present five digital fashion shows brands have executed instead of live shows during 2020.

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4 1.1 AIMS AND OBJECTIVES This thesis explores the past, the present and the future of fashion shows. The research aims to observe modern phenomena affecting especially the future of the shows. By briefly studying the history of the shows, the thesis identifies certain features that are essential to the shows’ nature. The thesis project started in December 2019 and the main focus then was to discover new ideas for fashion show production and execution. I have been working as a styling and a production assistant in Finland for six years. It was out of my personal interest to discover the evolution of fashion shows in order to reach a deeper professional knowledge in my career. However, as the COVID-19 pandemic took over the world during the first months of 2020, the thesis got a new perspective. The new layer brought by the pandemic affected the research and my personal objectives. The main objective shifted to observe the current state as well as the future of the shows. By exploring both the past and the present of fashion shows as well as analyzing the information received from the methodology of this thesis, I try to understand the modern evolution of the fashion shows. This thesis focuses on observing modern and current phenomena shaping the shows. Due to the broadness of the thesis topic, future research would be valuable. Personally, I would like to continue this study further in order to reach a deeper understanding. While writing this, the pandemic is still very much affecting everyday life. Therefore, it is uncertain to create definite future insights, but the findings of this study will most likely shape the fashion show future.

5 1.2 RESEARCH METHODS This thesis is divided into three main parts: the history of fashion shows, the current state and elements of fashion shows and finally the methodology by qualitative research in the form of interviews. The research methods of include secondary literary review as well as primary qualitative research. The literary review consists of the history of fashion shows as well as academic articles and other industry related articles. The literary review for this research includes the following books: Stark (2018) The Fashion show: History, Theory and Practice, Betak (2017) Fashion Show Revolution and Evans (2013) The Mechanical Smile: Modernism and the First Fashion Shows in France and America, 1900-1929. Academic journals such as Brydges et al. (2020) Will COVID-19 support the transition to a more sustainable fashion industry, Rocamora & Entwistle (2006) The Field of Fashion materialized: A Study of London Fashion Week and Fletcher (2010) Slow Fashion: An Invitation for Systems Change, have been essential references for this research. Internet references were broadly used in order to receive the latest industry news and other related information. Notable industry Internet references are: Business of Fashion (BoF), Vogue, Women’s Wear Daily (WWD), fashion week platforms, fashion magazines and fashion brands’ own websites. The secondary data, the articles and media hits from the current fashion shows, was collected systematically in 2020 in order to observe especially digital solutions fashion brands have used during the year. Qualitative research was conducted in the form of interviews. The interviews as a research method were chosen, because the study needed concrete and specific material. Carefully hand-picked five interesting fashion professionals and industry insiders based in Finland share their insights and visions. These interviews are considered valuable for the research, because it needed the personal expertise of these selected interviewees. The interviews were conducted in between November 2020 and December 2020. While finishing this thesis in March 2021, the pandemic is still creating uncertainty worldwide. However, it must be acknowledged that it has already been one year since the fashion industry was in front of a new situation. Fashion brands have had time to adapt and especially digital fashion shows and presentations have been in popular use. Fashion weeks are currently adapted to digital formats and for example New York fashion week in spring 2021 is completely digital including livestreams on Internet as well as special access links.

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7 2 OBSERVATION ON HISTORY OF FASHION SHOWS This chapter focuses on observing the birth of the Western fashion shows since the late 1800s until year 2000. Fashion show is a relatively modern phenomenon in the Western fashion and its origins can be found in the development of the French haute couture system. The fashion show as we know it today, began to develop towards year 1900 and by 1910 it was already well established. Though fashion shows have evolved within the industry and time, they still have many essential features that were established in the first decades of the 20th century. (Evans 2013 p.11-12). The very first fashion shows were a form of marketing and promotion, as they still are today. They were a link between commerce and culture, being a form of business between Europe and America. Towards the later 1800s, the beginnings of the emancipation of women resulted partly in the creation of fashion shows. Women were more independent, and for example it was more acceptable for wealthy women to start visiting dressmakers at their premises. The first fashion shows’ character was more theatrical than simple fashion modeling, and the shows represented production and consumption of the modern era. (Evans 2013 p.10-12). Couturiers in the early 1900s designed elegant salons as they wanted to recreate their fashion houses. The salons were a combination of a drawing room and a theatre. They had rows of golden chairs, mirror walls and stages with curtains. The mannequins appeared behind these curtains and there was a certain social order as more important clients were given better seats in the front row. Later on, fashion show started to take inspiration from popular culture and music, refreshments and programs were introduced. The arts were closely linked to fashion as for example Picasso designed theatre seats and couturiers designed theatre costumes. (Stark 2018 p.16-18). As mentioned by Stark (2018) we often talk about street style as it is a modern phenomenon. However, displaying fashion and new styles as well as ‘style-spotting’ has its origins in the 19th century. People tend to parade in fashionable places and observe what others (the wealthy, the famous or royal) were wearing. Theatre and races were popular social gatherings, and this is where Parisian tailors saw an opportunity to employ young men to show the latest fashion in early 19th century. (Stark 2018 p.9). The global trade networks across the Americas and Europe played a significant role in the birth and evolvement of fashion shows, as haute couture houses dealt with manufacturers and wholesalers at all levels of the market. Fashion shows played a major role in this process. Export trade and the shows were created for the convenience of both trade buyers and individual clients. (Evans 2013 p.11-12).

8 2.1 DEVELOPMENT OF FASHION SYSTEM The Western fashion system as we know it today started to develop in the mid-1800s. Savile Row in London, became known for men’s tailoring and Paris as a city became known for its couture fashion. Dressmakers became internationally known for their craftmanship and they were celebrated for innovation and creativity - this also applied to promoting collections. These dressmaking businesses soon evolved into fashion houses, which produced collections twice a year and both national and international customers visited these couturiers. The fashion houses created a pattern of establishing two collections per year, two seasons, autumn/winter and spring/summer. This forms the bases of the fashion calendar as we have known it. (Stark 2018 p.13). In 1868 in Paris, the Chambre Syndicale de la Haute Couture was established. The association replaced medieval guilds and ensured that craftspeople had great influence. It also set rules to govern the couture industry in France in the 1900’s. The rules included for example the minimum number of outfits on shows, the number of employees to create collections, and that two collections a year must be shown on live models. (Stark 2018 p.13). ‘The social season’ in the late 1800s and early 1990s was the time of the year for the social elite to gather and socialize in events such as balls and dinners. ‘The Openings’ were part of the social season and it was a notable commercial opportunity for the Parisian couturiers. The greater leisure time made a significant difference in life and allowed culture to develop. Music, theatre, photography and especially the fashion show became the highlight of the season. As traveling became popular among the wealthy, businesses such as Louis Vuitton grew. Traveling took a long time and the elite had to pack the latest fashion to be paraded in. As Paris was seen as the home for fashion, it became a custom for both men and women to attend fashion shows when arriving to the city. According to Stark, when you attended the Paris fashion shows, you were “fashionable, modern and the right social set.” (Stark 2018 p.14-15). (6) Models in Parisian fashion house in early 1900s.

9 As identified by Stark (2018) the American market brought much wealth to the French couturiers and the French fashion industry. However, a new market was emerging as a result of the industrial revolution in the latter 1800s. The industrial revolution resulted in the development of mass production and especially readyto-wear clothing. Ready-to-wear clothing gave the fashion show a totally new purpose. In addition to the elite, now also international buyers came to Paris twice a year. International buyers knew that garments would sell back home as “having been designed in Paris.” Fashion houses sold their designs (models or toiles) to buyers and manufacturers, who mass produced these designs in other countries, especially in America. Couture fashion was still made by hand to the elite and the ready-to-wear market sold expensive clothing produced by fashion houses. Couturiers capitalized this as a new opportunity and designs were simplified and even modified for mass-manufacturing. “Designed in Paris” was however still a valuable selling point. (Stark 2018 p.14-15). Towards the early 1900s, the department store had become a popular retail format. Visiting a department store was a social activity and there were often events such as concerts, exhibitions and fashion shows. International buyers had seen the fashion show as an opportunity to showcase new designs in department stores. For example, Harrods in London showed designs on living models as early as 1909 to attract customers. (Stark 2018 p.16). The ‘shopping experience’ and ‘being fashionable’ had become features of the city life and fashion show had developed into a method of making retail stores more attractive. By 1920s fashion shows were extensively held also by American retailers. (Stark 2018 p.16).

10 2.2 BIRTH OF FASHION MODELING Already in 1700s well before emerging of fashion models, French dressmakers sent fashionably dressed dolls around Europe to promote their work internationally. The dolls were 75 centimeters high and had miniature adult figures. (Evans 2013 p.12). The Western fashion modeling became well established in the 1800s. The fashion show pioneers Paquin, Lucile, Poiret and Patou were developing the modern form of sales, marketing and publicity. For example, Paquin had modelling stages, which was an innovation of Lucile’s that soon became adapted by Parisian and American companies. There is evidence, that Paquin had ballet performances concluded in her shows. However, fashion shows at the time were not open to public. Living mannequins became part of the bourgeoning publicity industry and they were used in advertisements of the couturiers. (Evans 2013 p.30-31). In the beginning of the 1820s, tailors hired handsome men known as ‘mannequins.’ These mannequins were the ancestors of the fashion model. While the fashion dolls mentioned earlier were always female, the first fashion models in Paris were actually male and they were often poor and young men. They were obliged to display fashionable clothing at races as well as other fashionable events and were paid in money or clothes. Typically, paid mannequins had to return their clothes in the evening which was considered pitiable. Professional actors, who worked as unpaid models, were however more admired. Young actors were employed as mannequins to parade outfits in fashionable public spaces of Paris. (Evans 2013 p.12). Many decades later, English fashion couturier Worth among others sent their female mannequins to the races. According to Evans, Worth might have been feminizing an advertising practice long familiar to tailors. Perhaps men’s freedom to parade unaccompanied explains why men were the first to model clothing in this way and not women. (Evans 2013 p.12). Slowly in the second half of the 19th century women began to be used as professional mannequins, however only in the privacy of the couture houses. By the end of the century the profession had become feminized, as most fashion models were female not male. Before then, society women did not visit their dressmakers’ premises and naturally there was no need for young women to model there. In the 18th century, a lady’s dress was made by a number of different individuals; tailor, dressmaker, milliner etc. Only companies such as Worth, Virot or Laferrière received customers in their maison, rather than attending the customer at their homes. By 1880, private clients visited the couture houses twice a year (in April and November) to see the new fashions modelled by living mannequins. In the 1890s, it was common for fashionable society women to spend the afternoon looking at the mannequins in the couture houses. (Evans 2013 p.12-13). (7) Model in mid 1800s at couturier Charles Frederick Worth.

11 2.3 HISTORY OF FASHION SHOWS 1920 - 2000

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15 3 FASHION SHOWS TODAY Since the emerging of the first fashion shows in the late 1800s, the shows have evolved from private salon shows into entertainment catered to the masses. As identified in the previous chapter, fashion shows have evolved within the time and society. The shows have adapted each decade’s movements and therefore represent well a certain time period. The essential features of the shows have involved the shift from business to entertainment, the change in fashion show audience as well as the development of the fashion show production and execution. One of the greatest changes identified through the history of the shows is digitalisation, which has opened the before closed shows to new audiences. 3.1 FASHION SHOW ELEMENTS Through a study on London Fashion Week (LFW), Rocamora and Entwistle (2006) observe how a fashion week traditionally functions. As identified in the research, LFW has brought the key people of fashion industry together; fashion designers, models, journalists, buyers, fashion stylists, celebrities and other important figures. It is noted that these key people also include fashion students, who are on the margins of the field because of their ‘outside status.’ (Rocamora & Entwistle & 2006). This particular research demonstrates how different people have different status and appreciation in the industry, creating contrast as well as strong division between the actors of the field. Fashion show audience has traditionally consisted of fashion industry insiders, whereas today shows are live streamed to wide audiences without no specific status in the field. It must be noted that the article by Rocamora and Entwistle, which is being referred to in this chapter, is written in 2006. The fashion industry has gone through changes in the past years and especially while writing this particular thesis during the COVID-19 pandemic. As an example of this evolvement, today LFW is a digital gender-neutral platform. The platform was first launched in spring 2020 and it is accessible yearround at https://londonfashionweek.co.uk/ (London Fashion Week 2021). Though it might be that the circumstances created by the COVID-19 pandemic might not have as drastic change to the industry as one might expect, it must be argued that the exclusivity of fashion week and fashion shows has diminished. As stated by Stark (2018) fashion shows are no longer for the elite. Brands promote their collections directly to the public and present their work through mass communication, which used to be a privilege only for the industry insiders. In addition, consumers today can revisit the shows and watch them multiple times. (Stark 2018, p 79). Rocamora and Entwistle (2006) rely strongly on Bourdieu’s field theory in order to explore institutional settings and their role in the reproduction of the field they belong to. As identified by Bordieu, in addition to other fields, also the field of fashion is a place where some people fulfil the conditions of access to play a certain game whereas others are excluded. (Rocamora & Entwistle 2006). In order to understand how the traditional field of fashion is organized by its players, this particular theory must be taken into consideration.

16 Continuing and reflecting on the work of Bordieu, the article argues that LFW as an event has been a materialization of the field of fashion. The main purpose of LFW is to showcase next seasons’ clothing and ‘to produce, reproduce and legitimate the field of fashion and the positions of those players in it.’ The players who already belong to this particular field have a recognized position within it and gain access to the event. (Rocamora & Entwistle 2006). Rocamora & Entwistle (2006) state that the fashion show’s function is to promote the work of designers and also the field’s players. Rather than an open to public fashion show, the event is a closed space which only few can enter. The division between ‘inside and outside’ is strong. This notion mirrors and reproduces the boundaries existing around the wider field of fashion. (Rocamora & Entwistle 2006). When contrasting the theory above to modern fashion show culture, Bureau Betak (a world known company focusing on fashion show production and set design) has produced fashion shows which have been either completely or partially accessible to others than fashion show guests with an invite. For example, the Mango Fall/Winter 2011 fashion show at Centre Georges Pompidou in Paris by Bureau Betak - a fashion show which also the public could view from the outside. The fashion show hosted guests with invites inside, but as the show took place in the see-through ‘Catepillar’ of the building it was presented to both the public and the guests. (Betak 2017). In addition, it must be noted that through digitalization and live-streaming of shows on social media, the traditional division of ‘the inside and outside’ has diminished. The shows have been made accessible to wider audiences and especially others than only industry insiders. According to Rocamora and Entwistle (2006) the body itself is witness of a player’s membership in the field. The body represents physical presence and the notion of ‘being seen.’ A person’s body is a signifier of field membership as the appearance and habitus both are critical in reproduction of one’s position. This is made stronger by the notion of ‘the gaze.’ This can be clearly identified on the catwalk and in the audience, where especially the front row is a subject and object of others’ gaze. (Rocamora & Entwistle 2006). The following two pages will observe the traditional fashion show elements adapted from Rocamora & Entwistle (2006) The Field of Fashion materialized: A Study of London Fashion Week.

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18 3.2 BUREAU BETAK AND FASHION SHOW PRODUCTION Through observing the work of Bureau Betak, a company focusing on fashion show production and set design, high-profile productions are being studied in this chapter. Bureau Betak founded by Alexandre de Betak, who has been credited for having the ability to transform a simple fashion show idea into multi-sensory event and experience. (Business of Fashion 2020). (8) Alexandre de Betak (on the right). Bureau Betak has been credited for having revolutionized fashion shows. The company aims to approach fashion shows as architectural, artistic and emotional expressions. According to de Betak himself, it can be argued whether fashion is an art form or does fashion become art through the way it is presented. (Betak 2017 p.7). Historically speaking the very first fashion shows were more theatrical events rather than simple fashion modeling. There is evidence of concluding ballet performance with dancers as early as the late 1800s. (Evans 2013 p. 30). In addition, when reflecting Bureau Betak to history of fashion shows, you could make a comparison to for example Elsa Schiaparelli’s approach on fashion shows in the 1930s. Schiaparelli approached fashion as an art form and was part of the Surrealist movement. (Stark 2018 p. 22). Later in the 1990s designers staged spectacular shows in order to promote their brands and names. Both John Galliano and Alexander McQueen are perfect examples of this fantasy kind of fashion shows. (Stark 2018 p.40). Executing fashion shows with an artistic approach is nothing new, but Bureau Betak has the ability to build a comprehensive fashion show experience in the modern world. As earlier mentioned in this thesis, many of today’s fashion show’s essential features were already established in the first decades of the 20th century (Evans 2013 p.30-31). For most of the history of modern fashion since the turn of the 19th and 20th century, modeling new clothing styles has been about “the walk.” The presentation of clothing has happened for small audiences in a dress salon or department store by slowly walking around. (Betak 2017 p.7). Though in our time we might consider street style as a new phenomenon, displaying fashion and new styles as well as ‘style-spotting’ has its origins in the 19th century. People used to stroll in fashionable places, like avenues and races, and observe what others were wearing.

19 (Stark 2018 p.9). Since the 1960s the character of fashion shows has evolved even more with new approaches such as plastic arts, fine arts, video arts as well as new technologies. (Betak 2017 p.7). Today, fashion show is strongly a creative form of expression. It can be an experience combined with set, location, light and performance. Fashion show is more than just a background for what you see – the shows are full of a-list celebrities, influencers and inspiring clothing. According to de Betak, a fashion show is also a platform where to communicate attitudes and show concern. (Betak 2017 p.7). (9) Dior Couture Spring/Summer 2017 Musée Rodin, Paris. By Bureau Betak. In April 2020, in the middle of the COVID-19 crisis, Alexandre de Betak discussed the future of fashion shows in an interview with the 10magazine. (Bonacic 2020). As de Betak explains: “I think that the discussion about switching is happening, even if it’s not as fast as I wished. The mentality and the habits of over a century of fashion shows and fashion weeks are hard ones to change yet I think they will. In order to see the positive side of that negative situation, it will force us to do so. Coming out of it, doing things exactly the way we did them before won’t make sense. The environmental benefits on the planet of the slowest time in our lives, as far as we can all remember it, will hopefully make us realise that we shouldn’t go back to the way things were.” (de Betak in Bonacic 2020). “…I don’t think anything will ever kill a fashion show. It’s a live event – and even if you see it only reported to you digitally, you understand you’re seeing a live event. I think our world needs live experiences. Once things get better again, our world will continue to want to celebrate it, just maybe not as wastefully as it did. (…) I will always try to find a better solution to a 100% old-fashioned live show. What I’m sure of is that I don’t want to revert to a 100% virtual and digital life. Our world needs human interaction and we shouldn’t let go of it entirely for any reason.” (de Betak in Bonacic 2020). In the following chapter, five of Bureau Betak’s fashion shows are observed more closely. The material is adapted from Adapted from Betak. (2017). Fashion Show Revolution. Phaidon Press Limited.

20 3.3 FASHION SHOW OBSERVATION ON BUREAU BETAK CASES

21 Fashion shows often require building a massive tent, which can be annoying to the city’s inhabitants. This particular notion of frustration and annoyance resulted in de Betak coming up with the idea of a mirror box. “A non-disruptive device to investigate urban environments, reflecting the beauty around you.” The first mirror box was made for Jil Sander “Pure” fragrance launch in 2003 and they continued to develop the concept with Christian Dior in several different locations such as Red Square in Moscow and Musée Rodin in Paris. (Betak 2017 p.17). The Christian Dior Fall/Winter 2013 fashion show by Raf Simons at Red Square, in Moscow, featured also a mirror box. Rather than being just a simple black fashion show tent, the surface of this constructed venue adapts to the environment allowing the public to be part of the experience. In addition, the venue does not only serve as a place for the fashion show, but rather an installation in the city. In planning a fashion shows the importance of the location becomes crucial. This requires careful planning and especially appreciation of both the location and culture. According to de Betak, the rise of the globalization in early 1990s destroyed the identity of a location and changed the way fashion shows or events were developed. Globally brands looked the same wherever they were. However, when a brand goes to a different culture they should embrace that particular culture. For Bureau Betak it has always been important to incorporate a country’s values and culture into everything they create and produce there. (Betak 2017 p.17). Bureau Betak is well known for playing with contrasts and they always aim to present the perfect juxtaposition. If a collection is youthful, they will show in a more sophisticated venue, for example a museum or a gallery. A venue can also signify a transition or a change in brand’s message. In the world of fashion, a new designer brings new perspective and new ideas to a brand. In this case, a venue telling a new story or a place reflecting a new chapter, would be chosen. Sometimes returning to a favorite venue signifies keeping with tradition. (Betak 2017 p.17). The Christian Dior Spring/Summer 2016 fashion show by Raf Simons at Louvre, Paris, allowed both the city’s inhabitants and museum visitors to follow the construction process from the beginning. This enabled the crowd to understand better what it takes to build a fashion show in this enormous scale. In addition, creating a contrast between a historical place such as Louvre and modern fashion, is Bureau Betak at its best. The idea of allowing the public to be part of the fashion show is a relevant and a participatory experience. After the fashion show, the delphinium mountain stayed put as an installation and people could take flowers to their homes. Similar to the Fall/Winter 2013 show, the venue did not serve as a single use purpose as it was left in place as an installation after the show. Today images and other digital material of fashion shows spread around the world in within seconds. Historically speaking fashion shows have always been considered as closed events, which only privileged fashion insiders can attend. Until the 1990s only few had the chance to witness the runway as it happened. The Mary Katrantzou’s Fall/Winter 2016 fashion show at Central Saint Martins, in London, was staged with silver balloons. This particular show and especially the images of the finale are a perfect evidence of the change in the fashion show culture. What was interesting about the show, was the finale and especially the way the audience responded. The audience was mesmerized by the sight of the silver balloons and wanted to record the finale on their mobile devices. Today, there is less clapping at the end of the shows than before as everyone is capturing moments on their phones. (Betak 2017 p.92). When the world entered a new millennium, the fashion show and documenting a fashion show turned digital. This phenomenon changed the direction of fashion show evolution and the way shows were perceived by the public. (Stark 2018 p.42).

22 An example of a participatory fashion show experience is Bureau Betak’s H&M Fall/Winter 2015 show “On the Moon” at Grand Palais, in Paris. This set design of the show was used as both a fashion show venue and an after party. By allowing fashion show guests into the set offers them a participatory experience and the audience becomes more involved with the show. (Betak 2017 p.94). The Mango Fall/Winter 2011 fashion show at Centre Georges Pompidou, in Paris, allowed the public to follow it from the outside. The fashion show guests with invites could view the show from the inside, while bypassers got a glimpse of Mango’s new collection. This was the first time a fashion show was organized at the Pompidou’s caterpillar. (Betak 2017 p.45). The Mango Fall/Winter 2011 fashion show is an interesting example how to involve both the public and the invited fashion show guests. It could be argued if this type of event reduces the exclusivity around fashion shows and the glorification around them? As consumer culture has evolved, is it more suitable to show collections to everyone than rather to a small audience? In this case the show was designed for Mango, a high street fashion brand, so it could be stated that at least in this particular case allowing others than only the event guests to see the show was surely efficient and suited the brand. In addition to fashion shows, Bureau Betak has designed performances for brands such as Berluti, Hussein Chalayan, Viktor & Rolf and Jacquemus. (Betak 2017 p.192). Bureau Betak continues to set new standards in fashion shows and in spring 2020 the company received certification from the Swiss International Organization for Standardization for sustainable event management. The certification ISO 20121 requires that Bureau Betak adhere to strict standards; the company will focus on reusable materials, green energy and banning single-use plastic in show production and catering. In addition, the company is working on better digital solutions and for this purpose they launched Bureau Future, a branch dedicated to creating multimedia-first experiences. These experiences include creating “everything from diverse visual assets to live-streams, all assuring that physical presence at shows doesn’t become imperative in their reach.” (Bonacic 2020).

23 4 MODERN PHENOMENA SHAPING FASHION SHOWS This chapter aims to identify current phenomena shaping fashion shows. As observed so far in this thesis, fashion shows have since their birth evolved through society and time. Historically, designers have for decades presented their visions and collections through fashion shows. Fashion show has been traditionally considered as a way of communication of the designer’s philosophy. (Stark 2018 p. 48). 4.1 TOWARDS MORE RESPONSIBLE FASHION INDUSTRY In recent years there has been an active discussion about the need to create a more responsible future for the fashion industry. Consumer culture, the fashion cycle and especially the ever-speeding pace of fashion and trends do not necessarily meet the future standards. Mass production, rapidly changing trends, poor fabric quality and garment construction result in quick replacements in our wardrobes. Mass production has also resulted in the fact that garments are bought in multiples. The perception of cheapness as well as volume are the key features when describing the consumer culture of today. (Fletcher 2010). The logic of growth is well established in the fashion industry as the basis of power and success. Large retailers and global brands have great economic power which builds pressure in countries where fashion is manufactured at low cost and especially on workers within the industry. (Fletcher 2010). Unfortunately garments today are often perceived as having little value and they are thrown away after little use. As Lidewij Edelkoort, a famous trend forecaster states, prices suggest that clothes are to be thrown away and even unwanted before being loved, teaching us that fashion has no value. (Edelkoort 2015). Edelkoort has written ‘a manifesto for the next decade’ in 2014, stating ten reasons why the fashion system is outdated. Edelkoort shares her insights on fashion education, materialization, manufacturing, designers, marketing, presentation, advertising, press and blogging, retailing as well as consumers. According to Edelkoort (2015) all aspects of marketing fashion are seen from one perspective, which is to produce better figures rather than to produce better products or to generate a better culture and working environment. Designers are under pressure as they are requested to produce multiple collections. One significant problem in the industry is that consumers are invited to shop ever earlier to take in money as soon as possible, “showing cashmere in May and swimwear in November.” (Edelkoort 2015).

24 According to Stark (2018) if simply considering fashion show as a spectacle, the runway is questionable in both sustainable and ethical matter. Behind the spectacle lies consumers’ obsession to owning something new and buying new trends. (Stark 2018 p. 73). In contrast to the growth-obsessed fashion industry, a movement of slow culture and slower values in fashion has emerged. According to Fletcher (2010) slow culture is an invitation to think about the change of systems in the fashion industry as well as question the role of economic growth. In addition, slow fashion invites to rethink the values and views in fashion in order to develop a more responsible society. Slow culture aims to support healthy dialogue between the rules and the goals in the fashion sector that challenge values and economic priorities in the future. (Fletcher 2010). Several players in the industry, including fashion weeks, have been lately focusing on sustainability initiatives. For example, Copenhagen Fashion Week for season Autumn/Winter 2021 focuses on digital platform combining both talks and shows. Sustainability is the main focus of Copenhagen Fashion Week and it aims to explore alternatives to shows in order to reach even wider audience using digital solutions and therefore minimizing traveling. (CPHFW 2021). In their Sustainability Action Plan for 2020-2022, Copenhagen Fashion Weeks aims to help make a change in the industry and accelerate both necessary and comprehensive sustainability efforts. The main focus is to push sustainable development through the fashion week and to reduce negative impacts, innovate the business model and accelerate industry change. Copenhagen Fashion Week aspires to become zero waste and targets to make the event more sustainable in terms of climate change, consumption and waste creation. According the action plan, collaboration is a vital part of transition towards a more sustainable fashion week and the industry over all. (CPHFW 2020).

25 4.2 REIMAGINING FASHION SYSTEM AND FASHION CALENDAR In May 2020, a proposal for the fashion industry called #rewiringfashion was posted on Internet at www.rewiringfashion.org aiming to “rewire” the fashion calendar and the industry model. #rewiringfashion is a platform of active conversation between an international group of independent designers, CEOs and retail executives who joined together during the COVID-19 pandemic to rethink the industry future. The initiative claims that the fashion system does not serve the designers, the retailers or the customers. The practical issues are an out of synced fashion calendar and an outdated fashion show format, to mention few. (Rewiringfashion 2020). The proposal states, that the fashion show format has not changed in 50 years and is therefore out of date. According to #rewiringfashion, fashion labels should be free to reimage the presentation of their collections in order to better target products to their consumers. The previously closed industry events for press, buyers and other insiders now welcome celebrities and influencers. This change in fashion show audience results that the events are captured and shared online for everyone to see. One other problem highlighted is that fashion shows are not optimal for the digital world. In this digital age, fashion imagery spread fast and limits the return on customer desire created by the investment to fashion shows. #rewiringfashion suggests repositioning fashion shows as events primarily designed to engage customers and create awareness as well as desire for collections just before deliveries arrive in stores. (#rewiringfashion 2020). (10) #rewiringfashion Instagram post, May 2020.

26 In spring 2020, Saint Laurent announced that they will not attend Paris Fashion Week in September. The brand stated to focus on reshaping the schedule for showing collections during this break. (Saint Laurent 2020). At the same time, also Gucci announced they are going seasonless. The brand decided to slow down the pace of fashion shows and in the future show only twice per year. In a diary entry posted to Gucci’s Instagram account, The Creative Director of the brand Alessandro Michele stated: “I will abandon the worn-out ritual of seasonalities and shows to regain a new cadence, closer to my expressive call.” (Michele in Deeley 2020). “We will meet just twice a year to share the chapters of a new story. Irregular, joyful and absolutely free chapters, which will be written blending rules and genres, feeding on new spaces, linguistic codes and communication platforms.” (Michele in Deeley 2020). Alessandro Michele published also diary notes on the company website stating: “As for me, in my own small way, I feel the urgent need to change a lot of things in the way I work. I have always been professionally inclined to change, after all, bringing with me a natural and joyful creative restlessness. But this crisis has somehow amplified such transformative urgency, which can’t be deferred anymore.” (Michele in Deeley 2020). In an interview with The New York Times Magazine, Editor of Vogue and Artistic Director of Condé Nast Anna Wintour stated that the COVID-19 pandemic clarified the long-term conversations the fashion industry had been having for a while already. According to Wintour, there will definitely be something in the future, but nothing like the fashion week as we knew it before the pandemic. The article states that fashion week might be over and ‘certainly the collective circus that travels from New York to London to Milan to Paris twice a year.’ (Aleksander 2020). In May 2020, an article by Business of Fashion discussed the effects of the pandemic on the fashion industry. According to the article, COVID-19 has enabled global communication and future collaboration instead of competition. Revolutions are made in a similar matter and fashion needs one, the article declares. If it took a worldwide pandemic to create the conditions for change, it shows the measure of how great the need for the revolution has been. (Blanks 2020).

27 4.3 DIGITAL FASHION SHOWS AND PRESENTATIONS Though digital concepts in fashion are a rather new phenomenon, fashion films date back to 1990s and already in the 1980s brands produced films instead of runway shows. However, film as an alternative to runway did not become widely popular until the 2000s. (Stark 2018 p.77). In 1998 Helmut Lang was one of the first designers to present a collection online (Goodman 2018) and in 2009 Alexander McQueen became the first designer to live-stream his Spring/Summer 2010 show “Plato’s Atlantis.” (Knight 2019). In recent years, digital solutions and especially live-streaming of fashion shows have become widely used among fashion brands. The use of digital alternatives increased even more during 2020 as the COVID-19 pandemic forced the fashion industry to rethink its patterns. As live fashion events and fashion shows were not allowed to organize due to the pandemic restrictions, the use digital platforms allowed presentations to continue. As an example, the Met Gala could not be arranged in spring 2020 and instead Vogue hosted a YouTube livestream to raise money for the American Fashion Industry. The CR Fashion Book in turn launched a virtual fashion show and the event raised money to fight against COVID-19. (Mondalek 2020). Fashion weeks such as Copenhagen Fashion Week and London Fashion Week will both run as digital platforms today. London Fashion Week (LFW) is run as a digital gender-neutral platform, which was first launched in 2020. The LFW platform accessible year-round at https://londonfashionweek.co.uk/. It is constantly updated for all players in the field from industry professionals, retailers, media and consumers worldwide. The platform serves as the Official LFW Digital Hub and is freely accessible to everyone. According to the LFW, this enables collaboration and brings together fashion, culture and technology. (London Fashion Week 2021). An example of a fashion brand using digital solutions instead of live fashion shows is the Prada FW2021 Menswear collection presentation. Following the presentation, Prada debuted an online conversation between students from all over the world and co-creative directors of the brand Miuccia Prada and Raf Simons. Students from Italy, USA, China, Japan, South Korea, UK combining fields of fashion, art, design, architecture and philosophy – these conversations show the passion and interest both Prada and Simons have towards educations and nurturing the future generation of creatives. On the brand website you can find the collection in detail, the conversation in full, as well as rich information. you also get to explore the show space more in detail through 10 images. (Prada FW21 2021). In the conversation with the students, when Miuccia Prada is asked about which technological innovation has affected her most, she answers that this new situation without live shows and people – this was the biggest change. How technology connects you to people, they are searching for humanity in this. How to make technology at the service of your ideas and feelings. Simons adds, that technology is so present right now due to Covid-19 pandemic and we can’t have live fashion shows. We are used to live shows and now feelings and visuals are showed worldwide through technology. (Prada FW21 2021).

28 (11) Prada Fall/Winter 2021 online conversation. In addition to fashion brands taking advantage of using digital fashion shows and campaigns, for example Jacquemus among others has aimed to create dialogue between the brand and their customers. In November 2020 the brand posted questionnaires on Instagram stories asking questions like “Where do you see our next show?” and “Which Jacquemus item would you dream to see back?” Another example of using dialogue in campaign is Prada’s Spring/Summer 2021 collection, that exists as a dialogue open to multiple perspectives. You can join the conversation by replying to the questions found on brand website and submitting you answers there. (Prada SS21 2021). These dialogues between the brand and its consumer could be the result people being in lockdown and restricted from seeing others during 2020. It has already been identified, that people do need contacts with others. Historically, there has not been similar platforms for people to communicate with the brands as straight forward as it possible today through Internet and social media. It might be that the future fashion consumers need discussion with the brands and the communication must be a movement towards both directions. (12-13) Prada Spring/Summer 2021 Dialogues.

29 Balenciaga presented the Autumn/Winter 2021 collection in a videogame format. The collection ‘Afterworld: The Age of Tomorrow’ can be viewed at https://videogame.balenciaga.com/en/video. There is also the possibility to watch the collection in the form of a look book. (14) Balenciaga Autumn/Winter 2021 collection video game. Though digital technology has enabled fashion brands to communicate for wider audiences, it can be argued whether digitalisation has had an impact on fashion shows losing exclusivity. Certainly, digitalisation has had a great impact on the fashion industry, but perhaps the speed of development has been the problem. As everything suddenly was made so available and accessible, passion and dedication were sacrificed. As mentioned by Stark (2018) technology has brought immediacy of communication which has resulted in the speed of communication. This however has lessened the feel of exclusivity as all information is revealed at the same time. The volume of information is outstanding in the fashion industry and perhaps the volume of uncontrolled information has replaced quality. (Stark 2018 p.78). Anna Wintour discussed in an interview with The New York Times Magazine the effects of the COVID-19 pandemic on the fashion industry. According to Wintour, media certainly had something to do with the industry taking a hit. Wintour stated, that as everything went so instant through digital and the emphasis on what’s new, fashion became more vulnerable. (Aleksander 2020). #rewiringfashion (2020) states that one significant problem with digitalisation is events being captured and shared online for everyone to see (and copy.) The previously closed industry events for press, buyers and other insiders now welcome celebrities and influencers. In addition, #rewiringfashion states that fashion shows are not optimal for the digital world. In this digital age, fashion imagery spreads fast and limits the return on customer desire created by the investment to fashion shows. (#rewiringfashion, 2020). The problem often is that the shows are often streamed by fashion show audience. These endless blurry Instagram videos are decreasing desirability, because if you’re there watching shows via a tiny phone screen while the real live show is happening feet away, why even go? (Aleksander 2020).

30 According to fashion show producer Alexandre de Betak, year 2020 might be a start of a new era and we are never going back to how it was before the pandemic. As a result of the worldwide pandemic, fashion shows and presentations will rely more on digital technology. This naturally has an effect on guest lists of fashion shows, audience as well as seating. (Binkley 2020). As discussed in previous chapters, seasonal calendar is losing its relevance and de Betak is basing his future fashion show vision on the Jacquemus Spring/Summer 2020 show in Provence. The show relied on relatively small guest list, mainly friends and family of the label and its founder Simon Porte Jacquemus. However, the images spread globally and made a memorable statement. (Binkley 2020). Perhaps the future of fashion shows strongly relies on digital solutions, but it must be however stated that in addition to digital content there must be something personal involved. The Jacquemus Spring/Summer 2020 show is a perfect example perhaps creating a hybrid of live and digital – the audience portrayed a personal feel to the brand while of course naturally in order to reach worldwide consumers, the brand must communicate in digital format. (15) Jacquemus Spring/Summer 2020. Set design and production by Bureau Betak.

31 4 . 4 COVID - 19 As the COVID-19 pandemic took over the world in the beginning of year 2020, consumers worldwide locked down to their homes. McKinsey & Company in partnership with Business of Fashion (BoF) released an annual report on the state of fashion in December 2020. The State of Fashion 2021 analyses, that the COVID-19 pandemic has had devastating consequences throughout the global supply chains, in retail stores and corporate offices. Consumers have felt less need to buy new clothing because of the lockdown measures and both trendiness and style have had less priority. Features such as quality, practicality, comfort and value for money have become more influential factors. This has resulted in shift towards basic and casual wear items. (McKinsey & Company 2020). The State of Fashion 2021 identifies the most important themes affecting the fashion industry and evaluates possible future responses. Though the pandemic has had devastating effect on the fashion industry, there is also possibility that the responses made will lead to positive outcomes in the future. During the crisis, several fashion companies have focused to reshape their business models. The defining themes in the sector will include shifting consumer behaviors (digital channels, social-justice concerns, travel restrictions), opportunistic investment, and the need to build more efficient, simple, and demand-focused operating models. (Berg et al 2020). As identified by Berg et al. (2020) digital channels will continue their dominance, reflecting the trend that was already established before the COVID-19 crisis. According to the State of Fashion 2021 report, there has been a five-year leap forward in both consumer and business digital adoption in just few months. Shopping during the pandemic has been shifting to digital channels and E-commerce players have consistently overtaken the market. (Berg et al 2020). As China is leading the way in digital solutions, fashion brands will probably become even more engaged with social media in order to offer customers exclusive content and personalized experiences. The report however notes, that the belief in physical channels is still strong. It suggests that businesses offer a more refined and focused selection of products. With these two trends in mind, the future of fashion is suggested to be a combination of the best human and automated services. (Berg et al 2020). The state of Fashion 2021 report by McKinsey in partnership with Business of Fashion emphasizes the importance of sustainability through the value chain. (McKinsay & Company 2020). However, as the pandemic might have been the push that the industry desperately has been needing, the concept of sustainability is not straight forward. According to #rewiringfashion the reimagined future would have less trends, less seasons, fewer fashion weeks and collections. In addition, fashion buying, new consumption behaviors and less depending on discounting need support. The pandemic could ideally enable opportunities for these movements to grow. However, it is simply not just about sustainability and responsible initiatives. The reduction in demand has caused unemployment in Asia as well as financial pressure threatening these sustainability initiatives. The COVID-19 pandemic has had a significant impact on garment production and especially on garment workers. (Brydges et al. 2020). Already by now COVID-19 has had a significant impact on the fashion industry and changed the way business is done. However, it is still uncertain whether the pandemic will be “the sustainability reset” that the industry needs. So far, the sustainable developments have not been even across the supply chain. The best future scenario would be that the pandemic fuels brand and consumer behaviors leading to a more sustainable fashion industry. As stated by Brydges et al. (2020) fashion industry should use this time to reflect and rebuild a more inclusive, environmentally and socially sustainable industry. Fashion will face uncertain future, but what is more certain is that the industry will probably look very different from what we knew before the pandemic. (Brydges et al. 2020).

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33 5 METHODOLOGY The methodology of this thesis consists of qualitative research performed in the form of interviews. In qualitative research, interviews are typically made in the form of (more or less) open questions to selected individuals. The interviews are executed by the interviewee. The interviews, which can also include open discussion, are well prepared before-hand and preliminary research on the interviewees has been made. This particular research method enables to explore interviewees personal experience as well as importance of the topic chosen. It is especially helpful when researching natural situations and experiences. Interviews as a research method are particularly suitable to explore a field that is being researched. (Metsämuuronen 2006 p.88-91). The methodology of this study is conducted as semi-structured interviews. The interviews were constructed of nine questions, which were all presented in the same order to the interviewees. The questions were carefully formed on the basis of the theoretical part of the thesis. The aim of the questions was to discuss specific topics and therefore gain specific information on the thesis topic, especially focusing on the current state and the future of the shows. Interview as a research method makes the study and its themes more concrete. The group of five interviewees was carefully hand-picked. All interviewees represent different fields of the fashion sector and they all have their own specific expertise. The group is heterogenous, representing fruitful outsights on fashion shows’ future and relevancy. The group represents Finnish nationality, however most of them have broad international work experience. They are observing fashion shows which are not executed in Finland and this makes them neutral observers. The age group of the interviewees is between 30 years to 45 years. This particular age group was examined because each interviewee has a strong 10-year expertise of the fashion industry. They all have a comprehensive understanding of how the industry was before, and how year 2020 could possibly affect the shows’ future. The interviews were executed between November 2020 and December 2020. It must be highlighted, that the interviewees were chosen because as the author of this thesis, I trust their long-term expertise as well as their future insights. I have followed these fashion professionals and their careers for several years and therefore I specifically wanted to integrate their ideas into this work. 5 . 1 CONTENT ANALYSIS In order to analyze certain material, content analysis must follow certain steps. Firstly, it is necessary to understand the material throughout and identify the essential concepts. After carefully adapting the content, a draft of the themes can be made. The themes must then be carefully defined and identified. Through this categorization it is possible to analyze the content and finally make a conclusion. (Metsämuuronen 2006). The content of this research was therefore first transcribed and carefully assimilated. The material was roughly categorized in order to find the similarities, simply by dismantling the information by writing essential themes on a mood board. Through this method, it was possible to visualize the themes that rose from the interviews (such as significance of live events and the lessening of exclusivity of the shows among others.) The themes were then categorized into current fashion show themes shaping the future.

34 5.2 INTRODUCTION OF THE INTERVIEWEES

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36 6 FINDINGS This chapter focuses on the interviews with the five industry professionals introduced in the previous chapter. The interviewees’ expertise is considered valuable for this research in order to identify the future of fashion shows. The material received form the interviews deepen the thesis research and give concrete suggestions well as current information from the field of fashion. The theoretical parts of this thesis (Past & Present) are observing rather broad themes and the methodology will make the study more tangible. Firstly, the interviewees’ motivation to follow fashion shows is identified. This is important in order to understand how devoted followers of fashion shows the interviewees are and which platforms are commonly used to follow the shows. According to the interviews, all five interviewees follow fashion shows, but not regularly. Fashion shows are mainly followed for inspiration and for work. However, a certain fashion show would definitely be explored if there would be ‘buzz about it’ – meaning, there would be common discussion and common interest among the industry. As Martta Louekari mentioned, she did watch the Balenciaga fashion show with a Finnish model in it. As a conclusion, all five interviewees unanimously stated that they do follow fashion shows, as they are part of the industry and fashion shows relate to their work. They simply might not follow fashion shows on daily basis. Fashion shows are followed when there is something particularly interesting or personal involved. “I do follow few brands but not regularly. If there is visually something especially interesting, I might focus on it more.” (Louekari 2020). “Yes, but mainly for work. Typically for a particular reason when doing research or searching for inspiration for an upcoming fashion show that I am involved in. I don’t usually browse fashion shows just for fun, unless of course there is a buzz about something special. I am exposed to fashion every day on Instagram and on other platforms. I follow many brands and colleagues for inspiration. Also, I often need to do some quick research for a client, for example suggesting a makeup look. I really like ‘Vogue Collections’ because they have excellent fashion show images and trend collages. It’s is a great tool as are fashion show images on vogue.com, which I tend to browse for inspiration.” (Oksanen 2020). “I follow few shows per season, mainly if there has been a buzz about a certain show or someone talks about something interesting. I would say these fashion shows are the ones by ‘the biggest brands.’ I personally might also follow brands which have made something interesting the previous season. Only Prada, which is my personal favorite, I follow every season regularly.” (Kemppainen 2020). “I did watch that Balenciaga show (online) with a screen roof and water floor, the one where were several Finnish models, including Minttu Vesala. That was amazing and it was great to celebrate Finnish models too.” (Louekari 2020).

37 The Vogue.com website and Vogue’s downloadable ‘Runway app’ were among the favorite platforms where to follow fashion shows. Fashion brands’ own websites were mentioned as the best way to experience online fashion shows. The overall opinion was that currently online fashion shows do not translate well to online streaming. All five interviewees preferred to follow live fashion shows, as this is considered as a more meaningful and a personal experience. However, Instagram was mentioned as a typical place where to follow fashion brands and other industry related information. On Instagram you choose who to follow (fashion brands, colleagues etc.) and therefore you are automatically exposed to the content that is fed to your personal Instagram feed. “I don’t follow fashion shows regularly, maybe more on Instagram. Maybe sometimes through vogue.com. On Instagram I have chosen who I follow, and they feed me content.” (Roos 2020). “On Instagram I end up following shows by brands who I follow. The information comes automatically there. Sometimes I watch shows on vogue.com but it depends. Maybe if someone talks about an interesting show I might see it. I don’t wait for shows. Fashion shows are related to my work, but then on the other hand not at all.” (Louekari 2020). “Instagram definitely. It is approachable and currently part of my everyday life. If I want to have a better look at the clothing, I use vogue.com or brand’s own website. Experiencing the show or collection on brand’s own website is usually the best option.” (Hagelstam 2020). “I do follow fashion shows online. Mostly on the vogue.com’s runway app and of course Instagram on my phone. On Instagram you see things ‘by accident’ as you scroll, while when using the runway app it is more conscious that I have made the choice to look for shows or collections. On Instagram I might see something related to fashion shows, perhaps because someone I know has worked with a show.” (Kemppainen 2020).

38 Finding 1: Fashion shows bring inspiration “When you work in fashion, I guess all inspiration starts with seasons and fashion shows and all that new. When speaking about fashion shows – Yes, I would say fashion shows are a big inspiration. In addition, all the history that they have and make. You can always interpret and be inspired by previous shows and search for them in archives.” (Kemppainen 2020). “I think the main purpose of a fashion show is to create an atmosphere and inspiration. It is like theatre, it is an experience. Since the beginning of my studies, fashion show culture has changed significantly.” (Oksanen 2020). Historically, a fashion show has been a creative way of communicating collections. The entertainment value of a show has however been affected by the mood and the characteristics of a certain era. (Evans 2013 p.10-12.) The findings of the interviews reveal that today the main purpose of a fashion show is still to bring inspiration and to create a wholesome experience as well as a certain mood or an atmosphere. Fashion shows communicate vision and creativity. As Sandra Hagelstam (2020) described “fashion show is art.” In a study on London Fashion Week, Rocamora and Entwistle (2006) question, whether a fashion show is a space for business or a space for art. According to the study, though still considered a traditional institution, fashion show is more entertainment than business. (Rocamora & Entwistle 2006). On the other hand, this notion in reference to today’s social media culture could be argued. Though fashion weeks have lost their “industry trade fair position,” fashion shows streamed for example on social media are a powerful marketing method. Fashion consumers today can purchase products directly through platforms such as live streams and therefore it can be stated that fashion shows today are indeed a combination of both entertainment and business.

39 Finding 2: Fashion shows have lost exclusivity “In the beginning of my career fashion shows felt more personal and it was much of an insider event. I think it can be a challenge for brands to cater to the masses at the same time as bringing something exclusive to the audience. Most physical fashion shows are also streamed these days which means they might lose that personal touch.” (Hagelstam 2020). “Before fashion shows had more status, simply just because they existed. I used to fan fashion shows.” (Kemppainen 2020). According to the interviews, fashion shows felt more personal before and they had more status as well as a greater importance to the interviewees. Also fashion weeks have lost their ‘glory’ and exclusivity. Before the broad development of digitalisation, collections and fashions shows were followed with greater interest and passion. Though digital evolvement has enabled much, it is also partly the reason why shows have lost their personal touch and customer engagement. As Miika Kemppainen mentions, “I used to fan fashion shows.” Though enabling great innovations, perhaps broadcasting digital fashion shows to bigger audiences has had its part in shows losing their attraction and mystified culture. “What has changed over the years - before I used to know a certain collection much better and even by heart. Today I might only recognize the most hyped pieces, which all know. Today brands really know how to market certain pieces, for example sneakers, so that everybody knows them. Thanks to Instagram, just by scrolling for seconds you are automatically exposed to these hyped fashion items.” (Kemppainen 2020). “Fashion shows also used to be places where one went to see and be seen by colleagues and clients. At virtual events we miss out on these personal encounters. I think the main purpose of a fashion show is to create an atmosphere and inspiration. It is like theatre, it is an experience. Since the beginning of my studies, fashion show culture has changed significantly.” (Oksanen 2020). “I don’t consider fashion shows as ‘that exclusive anymore.’ Everything spreads around through Internet and it has changed a lot how fashion shows are seen.” (Roos 2020). Already before the pandemic, there was discussion regarding the fashion schedule and the fashion show format. As Edelkoort (2015) explains, as garments are sold ever earlier, who wants to buy cashmere in May? The fashion schedule is partly outdated due to this notion of buying garments in ‘the wrong season.’ However, showcasing clothes and collections are still considered relevant, as it has been throughout the history of fashion shows. In today’s demanding consumer culture there must however be something more tangible to support brands and brand communication. The fashion show culture is currently developing and the COVID-19 pandemic has pushed this change by drastic speed. This can be well identified through the use of digital solutions in 2020 and their quick development in the fashion sector.

40 Finding 3: Fashion show audience has changed “The front row has changed from buyers to celebrities. Celebrities have taken over the first row and sitting in the front row is its own show.” (Kemppainen 2020). “I don’t like everything that fashion weeks have become. People have realized that these events are places where you get noticed and publicity. Fashion week used to be this insider event and now it is a commercial circus, which has it’s good and bad sides. Street style has become a whole industry in itself and the guests and what they are wearing has taken an important role that brands have made part of their marketing strategy.” (Hagelstam 2020). In our time, the change in fashion show audience has been from buyers to celebrities – the front row is its own show as well as the street style scene, as discussed with Hagelstam (2020). In the study on London Fashion Week, it was identified that the notion of ‘seen and being seen’ is significant among the industry insiders. The body itself is witness of a player’s membership in the field. It represents physical presence and a person’s body is a signifier of field membership as the appearance and habitus both are critical in reproduction of one’s position. This is made stronger by the notion of ‘the gaze.’ This can be clearly identified on the catwalk and in audience, where especially the front row is a subject and object of others’ gaze. (Rocamora & Entwistle 2006). “A lot of fashion shows have been streamed without audience (or with little audience) and this is not such a great experience. A properly produced video or film would have more impact than a streamed show, this might be because of the lack of audience.” (Louekari 2020). A fashion show audience is still considered an essential part of the fashion show setting, as identified in Rocamora and Entwistle (2006). The methodology of this thesis also indicates that an audience is still an important signifier for a traditional fashion show. However, the restrictions caused by the COVID-19 pandemic made the fashion show audience suddenly disappear. As the shows are currently streamed without audience, it is interesting observe how the lack of fashion show audience will affect the shows’ culture in the future. The audience of a fashion show has been considered an excellent promotion factor for a certain brand. The presence or the absence of an important figure in the audience can signify a great deal, as identified in Rocamora & Entwistle (2006). For example, the presence or the absence of a fashion insider can be a strong way of communication. In these uncertain pandemic circumstances, it remains to see how fashion brands will use this absence of audiences in their advantage. By Rocamora and Entwistle (2006) a fashion show ticket can be an evidence of one’s presence in the field of fashion. A ticket is considered as a passport to a fashion event and it is a visible sign of belonging. The ‘gatekeepers’ of a fashion show guard who is let in. (Rocamora & Entwistle 2006). As explained by Kemppainen (2020), shows today are more restricted than before and there is more security around. Before working during fashion week was more care free and not so controlled. “10 years ago, when I was working for fashion shows like Margiela and Wang, we used to sneak to the back row to watch the shows. Today it is not allowed anymore. Everybody on backstage has ‘backstage passes’ and for example us makeup artists are only allowed to move in our backstage area and naturally you must always have the permit with you. Before working in a fashion show was more ’relaxed.’ Meaning, if you consider for example flying today, there is so much more security control than before. There were less regulations, restrictions and security control 10 years ago.” (Kemppainen 2020).

41 Finding 4: Collections are relevant, but fashion show format is evolving “I think collections are relevant. Most fashion shows today are live streamed and fashion shows spread to the world in the form of images, such a small percentage actually sees them live in a physical place and setting. When considering a fashion show as presentation of a certain collection, I would definitely say that they are relevant. Presenting a collection is indeed relevant, the format just might be different than a traditional fashion show. I think being relevant is the basis for fashion industry itself. In the end, everybody copies fashion, collections, brands… Fashion as an industry has not lost its appeal as a trendsetter, whatever the form might be. Fashion defines what everybody does and follows. I don’t see that creating fashion collections changes, only the format may evolve and change.” (Kemppainen 2020). “I would like to believe that they are still relevant. The world is changing, but I still think in fashion it is about seeing the clothes on a moving real figure. The traditional fashion show might be a little out of date but presenting clothes is relevant, the concept might just change.” (Roos 2020). “The format of showcasing clothes must be relevant, but you need something to support the brand and brand communication, more visual and communicational elements. If I consider the Chanel fashion shows, it is a huge traditional institution itself. But one show lasts some minutes and then it is over. I am not sure, but it might be that the time for these kinds of fashion shows is over, though of course it is an established format. It just feels insane when you think about the investment versus time (the moment a show lasts) especially today. A moment doesn’t mean anything as everything goes and is digital. I read an article on BoF about how irrational fashion shows are. That you just sit and wait for a show to begin, and then there is all this exclusivity around you. Only time will tell if the elements of a traditional fashion show are fading.” (Louekari 2020). As observed from the above statements, the current state of fashion shows and especially their future created a lot of speculation and discussion among the fashion professionals interviewed. The interviews revealed that there is a definite need to develop the show format in order to better suit today. The traditional fashion show set up is also evolving to better meet future consumer culture. In the future, fashions shows might not only be produced for the sake of only fashion shows and fashion weeks. Consumers today are more demanding and need a more personal experience. Rocamora and Entwistle (2006) argue, whether the fashion weeks exist simply because they are considered tradition. Is tradition the only reason for their existence? (Rocamora & Entwistle 2006). The future of the fashion industry will be digitalized, similar to other industries. As mentioned before, the year 2020 was a major leap for online platforms’ development as we all faced a new situation being restricted and locked down into our homes. The COVID-19 pandemic pushed things forward in speed and digital solutions were hurried in order to sustain businesses. Digitalisation might be especially fruitful for small businesses, as executing and producing a fashion show can be inefficient due to high costs. Not all fashion businesses can afford to showcase clothes in the traditional fashion show format, which can be rather costly. “A moment doesn’t mean a thing as all goes and is digital today,” stated Martta Louekari (2020). Money versus time spent on fashion show production is often not in balance and executing a show might not always be efficient if considering the length of a show.

42 “The fashion show budget is always a lot bigger, so we mainly focus on small scale and fashion presentations. We have also executed lunch events and parties for press – this is more cost efficient and results are the same. For example, at Pitti Uomo we had a fashion presentation combined with cocktail party.” (Louekari 2020). “I think digitalization might lead to new opportunities for smaller fashion businesses. Organizing a live fashion show is an expensive and small businesses might not have the chance to use traditional methods of fashion show production. They have to be creative and find new and innovative solutions. This might lead to something totally new!” (Oksanen 2020). “It is not cheap to produce a fashion show, though it is a good way of promoting sales. Before fashion shows had commercial benefit, but consumer habits have changed so much. I am not sure the kids today are interested in live fashion shows, they find the information they want on Internet. Kids today get a lot from social media influencers rather than simply following fashion shows.” (Roos 2020). According to the interviews, the future of fashion show is described as ‘a hybrid’ – a live experience combined with digital content. As an example, Martta Louekari (2020) explains how Juni Communication is currently planning digital content combined with ‘something physical,’ like fabric samples sent to clients. In addition to digital solutions, the next big trend might be ‘locality and small-scale thinking.’ The COVID-19 pandemic will probably give birth to new business models and consumer patterns. Small businesses are making small product batches and releasing them on Instagram. This is challenging old business models and actors in the field, as well as traditional way of selling clothing. For example, buying garments through online fashion shows and presentations could be further researched. “Maybe something will be sent in forehand to medias which can’t be present, something physical. We are planning on sending fabric samples to journalists, so that they could have a look at something physically. Pitti for example, have also developed a digital platform to promote brands. I think it is something that most of the trade shows will do – if they have not done it already.” (Louekari 2020). What might not change in the fashion show culture, is what defines a certain country’s fashion business through fashion weeks. For example, France has a long history in the industry and Paris Fashion Week is an established institution. Currently, it would be difficult to imagine that part of the industry suddenly disappear. Not because something is firmly established, but simply because what fashion as an industry brings to a certain country. As Louekari well describes: “But then when you think about Paris, Milan, London, New York… In Italy and France there is so much more than just a fashion week: there is the brand of the country, dignity, heritage, tradition, traveling and tourism around this business. There are all these other elements defining a country’s fashion business through fashion shows. But – then thinking about Paris fashion week. The schedule is crazy! I think some people might be tired of this rushing.” (Louekari 2020).

43 Finding 5: Live events (fashion shows) are still considered significant All the five interviewees unanimously stated, that the power of live event is still great, and they especially highlighted the significance of live fashion shows. Seeing clothes on a real moving figure is important as well as a live audience. Because of the COVID-19 restrictions, fashion shows have lately lacked audience. Shows are being streamed without audience and it is not a great experience to watch empty venues. As it has been identified during the pandemic in 2020, people do need in real life contacts and experiences. Prada integrated ‘audience’ into their Spring/Summer 2021 Menswear presentation through involving a discussion with fashion students around the world. The fashion show was first presented in a studio in live stream format, following a discussion with both Raf Simons and Miuccia Prada. Perhaps with this kind of dialogue, the feeling of an audience could be integrated into digital presentations? The Prada Spring 2021 Ready-to-wear collection (which Kemppainen below refers to) was presented in September 2020 in a studio without audience. The show was broadcasted at the brand website (you could also follow it on Instagram live) and it was followed by a conversation with Miuccia Prada and Raf Simons. Prada and Simons announced their new Prada partnership in spring 2020 and in the conversation, they answered handpicked questions submitted both online and on Instagram. Typically, we often see backstage material integrated in the shows, either before or after a show. Could these types of presentations become widely adapted? “The Prada show (Spring 2021 Ready-to-wear) on Instagram livestream felt more stronger way of communicating, though there was less audience present than normally due to the pandemic. I am not sure a consumer misses a physical fashion show, if he has received other information of the collection of other ways than a traditional fashion show?” (Kemppainen 2020). The interviewees all felt that exclusivity gets lost through Internet. As everything spreads around so quickly, exclusivity gets lost. When discussing the future of fashion shows and digitalisation, the common opinion among the interviewees was that online fashion shows are often considered “too long and not interesting.” However, according to Hagelstam, fashion films might be a format we see even more in the future. In addition, an interpretation of the Prada presentations in 2020 could be introduced in this context. When considering the Prada conversations in their Fall/Winter 2021 presentation, could a brand rebuild and strengthen the feeling of exclusivity among their customers as well as followers? “I still need to add – when discussing fashion films. I think they are truly something unique, but there are a lot of different challenges in making them captivating and interesting without too much commercial focus on the garments. When done well, they can be an amazing concept and something that I think we’ll see more of in the near future.” (Hagelstam 2020). “When considering the millennials and even younger consumers, will they have the interest to watch live fashion shows?” (Hagelstam 2020).

44 Finding 6: Currently the future of fashion shows is uncertain, but a hybrid is a likely direction “It could go either way. Brands are pushed to think small scale during this time, to get creative and do something different than follow a tight schedule. BUT there might also be an opposite effect – when the boarders open again brands might host huge gala events and go crazy! Copenhagen Fashion Week had small local events during the 2020 summer. Local and smallscale thinking could be a thing in the future.” (Hagelstam 2020). “Probably this Covid-19 pandemic forces to come up with all things creative. However, I must say I am a bit old fashioned, I don’t think you can experience live events the same way through digital alternatives. You could compare it to a theatre experience – the feeling doesn’t come across through digital appliances. I think this also applies to fashion shows. I would like to believe in live events, but is it an outdated concept today? I do believe that people need strong experiences and feelings, which the screen can’t deliver/ offer.” (Roos 2020). “I think people will miss physical events, something real. A real experience. Maybe after the pandemic we will settle in a hybrid format?” (Louekari 2020). “I think the biggest change is that all brands have had to make virtual shows and other digital content. Covid-19 enables digital content and its evolvement. People are talking how “traveling will never be the same again,” but I think once traveling is allowed again (as it was before the pandemic) people will return to airports and fly around. Not necessarily the next summer, but it will happen. You might say the same about fashion and fashion week – I think for example Paris fashion week will survive and exist. Change always ‘clears away something.’ Those who have meaningful content and a strong brand will survive.” (Kemppainen 2020). ”Many big changes in how we use and relate to online tools have been made in 2020. Everyone has had to learn new ways of working and doing things. Online apps, zoom meetings etc… Most of us have had to learn how to use these. In my opinion online meeting platforms are good and efficient ways for decision making and getting things done. But it’s killing creativity. We need to meet with people and colleagues in real life in order to be brave and innovative. I think digitalization might lead to new opportunities for smaller fashion businesses. Organizing a live fashion show is an expensive and small businesses might not have the chance to use traditional methods of fashion show production. They have to be creative and find new and innovative solutions. This might lead to something totally new! As mentioned before, I strongly believe in the power of live experiences. It is hard to imagine a brand like Chanel giving up on organizing their live fashion shows.” (Oksanen 2020). As stated by Louekari (2020) the future of fashion shows will probably be a hybrid – a combination of digital and physical. Though the COVID-19 pandemic has forced fashion brands to turn to digital fashion show solutions, the unanimous opinion among the interviewees was that people will miss physical events. The interviewees felt that digital shows are not as engaging as live shows. Overall throughout the interviews, a digital experience was considered weaker than a live experience. The pandemic will most likely push the fashion industry to the direction of the desired change. Change will always give birth to new innovations, though it currently might be challenging to imagine what the future brings. According to de Betak, the fashion industry is under a change though it might not happen as fast as desired. The elements of over a century old fashion shows and fashion weeks are difficult to change, thought they most likely will. The environmental benefits identified already during the pandemic will probably result in a realization that we should not go back to how things were. (de Betak in Bonacic 2020). However, nothing will ever kill a fashion show. It is often a live event and even though it is reported to you digitally, you understand that you are seeing a live event. The world needs live experiences and we need human interaction. (de Betak in Bonacic 2020).

45 7 CONCLUSION This Master’s Thesis observes the past, the present and the future of fashion shows. As stated in Evans (2013) fashion show is a relatively modern phenomenon in the Western fashion. The fashion show origins can be found in the development of the French haute couture system and the shows as we know them today, began to develop towards the 1900s. Though fashion shows have evolved within the industry and time, they still have many features that were established in the first decades of the 20th century. In addition, the shows were and still are an essential form of marketing and promotion. (Evans 2013 p.11-12). According to Stark (2018) street style is not a new phenomenon, as we might mistakenly think. Displaying fashion and new styles as well as ‘style-spotting’ has its roots in the 19th century as people tend to parade in fashionable places and observe what others were wearing. (Stark 2018 p.9). Through the 20th century, fashion shows continued evolving and mirroring the atmosphere of a certain period. Already in the 1930s fashion shows hosted celebrities and for example Dalí was a regular guest at the Chanel salon shows. Towards the 1950s fashion shows were yet not open to the public, but they had become a form of entertainment. Since its existence, the runway has reflected the mood of the time, for example portraying models in a certain way or stating ideologies and fashion designers’ visions. Since the 1980s and the emerging of the supermodels, especially the fashion show production reached a new era as the shows evolved into even greater spectacles. The development of digitalisation in the late 1990s allowed presenting the collections to wider audiences. (Adapted from Stark 2018). Rocamora and Entwistle (2006) identify, that the fashion week has traditionally brought the key people of the fashion industry together, creating a setting of ‘insiders and outsiders.’ The players who already belong to this particular field have a recognized position within it and gain access to events. The function of a fashion show is to promote the work of designers, but also the field’s players. (Rocamora & Entwistle 2006). Stark (2018) however notes, that fashion shows are no longer for ‘the elite.’ Seeing fashion shows as they were presented on the runway used to be a privilege only for the industry insiders. Fashion brands today promote their collections directly to their customers through social media and other forms of mass communication. In addition, the shows can be revisited and watched multiple times. (Stark 2018, p.79). As mentioned, fashion weeks have traditionally been exclusive insider events. However, as the COVID-19 pandemic spread worldwide in the beginning of 2020, the fashion industry had to quickly adapt to digital solutions in order to continue presenting collections. Though the use of digital platforms is not a new invention, the wide access to shows is most likely changing our perspective of the exclusivity of the shows as well as the perception of fashion show audience. Several fashion weeks are currently using the advantage of digital platforms and we can only imagine what is yet to come as the digital evolution keeps on advancing and adapting to new consumer habits. These uncertain pandemic circumstances we are currently living in, will most likely result in new innovations for both fashion businesses and the industry as a whole. However, as the methodology of this thesis through interviews with fashion professionals revealed, perhaps the future of fashion shows is a hybrid – a combination of something physical and digital.