cfi-The Look and The Law Aug 09:The Look, The Law & The Knowledge 2009 07/09/2009 13:55 Pag
from top stores etc. You will soon discover that amazing levels of ingenuity and
guile are used by people at fashion shows to get where you don’t want them to
be. You will see why ushers and guards are so important, and so generally
disliked.
• Runway Photographers: These guys are very important to you also. They are
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normally accredited by the official body running the fashion week: in London, The
British Fashion Council. The photographers are given a pass which they must
show for entry to the venue. You must provide them with a space (the press pen)
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which must be sufficiently, safely and solidly constructed to take at least 20
cameramen, usually on raised platforms which not only do not collapse but are
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spaced so that all have an uninterrupted view of the runway. Where the press
pen is placed is up to you but it is normally at the end of the main runway.
If you show in the official venue, the British Fashion Council (BFC) will provide the
basics for a show (but you have to pay them a fee). Being allocated a spot on the
official calendar is a lottery but, if you are chosen, then a lot of the problems cease
to be yours. Other bodies include On|Off, Vauxhall Fashion Scout and Fashion East.
What to think about when working with a show production company:
• Venue Research: What kind of space works best to show off your collection and
provides the background for your show from an aesthetic and capacity point of
view?
• Lighting: Daylight lighting is cleaner and fresher but is more expensive. Tungsten
lighting works best to create certain moods, and allows you to play with colour
variations.
• Set Design: Think about the shot the press photographers will take, how the girls
will be framed when they walk down the runway.
• Seating: Benches are a cost effective way to seat guests, and allow some
flexibility with numbers as you may be able to squash extra bums on seats. The
same goes for banquettes but they are more expensive to produce. Chairs would
be most comfortable and allow each guest equal amounts of space to sit.
• Music: Think as much about how your show music is going to influence the
models walk as how it will make the audience feel.
• Styling: Work with a stylist who sees your overall vision and can add their own
genius touch.
• Casting: What kind of girl would best suit the garments of the collection (hair
colour, skin tone, height, bust, hips, and age)? Think about what attitude she
should have and the way she should walk down the runway.
• Choreography: Do the girls walk best down the middle of the runway, do they
stop, make a sharp turn, is this fast paced and punchy or slow and moody etc?
• Hair & Make-Up: What overall look best compounds and compliments the key
messages of your collection? You will need a hair and a make-up director / artist
to help with direction and execution of the look on the day, supported by a team
of assistants.
• Backstage: Think about taking everything that you could possibly need to
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