Muse: Issue 02

T
here’s something captivating
about watching models strut
down runways in thoughtfully
assembled outfits as major fashion
houses use Haute Couture (custom-fitted
collections) and Ready-To-Wear
shows (standardized sizing) to develop
their brand’s image. Chic music, creative
hair and makeup, and lavish decor all
create a certain fantasy illustrating the
stories of each collection. This form of
artistic expression is what draws so
many people into the world of high fashion.
So yes, we all dream of wearing the
beautiful gowns, perhaps purchasing
a handbag off the runway, and maybe
even attending one of these glorious
The main difference
between those who
are able to sit in the
audience and those
who must watch from
home lies in one key
characteristic of the
individual: status.
shows. But in reality, many fashion
junkies are sitting in their room at 1:00
am watching Chanel’s glorious 2016/17
Métiers d’Art show for the third time
that week.
Who are the ones invited to these
shows? From the public’s perspective,
we recognize the faces of musicians,
actors, and social media influencers.
Within the fashion industry, there are
also corporate buyers, designers, magazine
editors, and online bloggers. So
it seems that only the elite, with fame
and high social status, are invited to
shows for reasons pertaining to profit
and popularity for the designer’s brand.
A brand’s image is perhaps its most
valuable characteristic. By associating
with those who have a large following
and strong credibility, fashion brands
are able to boost their own status by
creating invitation lists full of reputable
individuals. This select group of people
have a unique way of dressing, presenting
themselves, and interacting with
others while attending these shows.
Designers often gift and borrow outfits
to those attending their shows to further
promote their designs. Bloggers often
wear unique outfits to each show and
willingly change in nearby bathrooms
ac to meet these certain expectations.
These expectations guide a stronger
notion of “class” into a runway atmosphere.
Take the iconic editor-in-chief
of Vogue, Anna Wintour for example.
She has undeniably set the standard for
what’s to be expected of a runway show
audience member. Many emulate her
way of conducting herself with a certain
poise while expressing she’s intrigued
by the clothing being showcased. She
always attends shows wearing couture
ensembles by the specific designer
she’s experiencing. The audience
is expected to promote the designer
without distracting from the show itself.
These unspoken expectations limits who
is invited and chosen to represent the
brand at these shows. This constricted
demographic sheds light on the aspect
of exclusivity in the fashion industry: if
you’re in, you’re in.
Now this doesn’t mean that the
general public is not an integral part of
the runway community. Designers and
marketing teams specifically hire videographers
and editors to spread their
designs and creative narrative beyond
the walls of the show. The fast fashion
industry takes trends off the runway to
market to a wider audience and with
current platforms like YouTube, fashion
enthusiasts can watch these runway
shows in the convenience of their own
home. It may be unfortunate that most
people cannot physically sit in the seats
and see the textural intricacies of the
ISSUE 02: SUBCULTURES IN FASHION
PHOTOGRAPHER: Silas Chu, @silas_shc
MODEL: Mavaney Keel, @mavaney
FASHION SHOW: a.oei studio, @a.oei_studio
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