Alexander McQueen wasn’t just showcasing clothing when he staged his 1999 show in which robots spray-painted a white muslin garment that Shalom Harlow wore. He was exposing an idea: the conflict between brutality and beauty, between machine and muse. It was incredibly successful in demonstrating that the runway could serve as a medium for emotion in addition to its commercial function. Silent but enthralled, the crowd was not watching fashion but rather art in action.
Designers began reconsidering the definition of a show toward the end of the 20th century. Thierry Mugler created performances that resembled futuristic theater, transforming the runway into a magnificent stage. Over 6,000 people attended his 1984 anniversary performance at Paris’s Zenith music theater, which was a historic occasion. He created the music, staging, and lighting himself, giving the performance a cinematic feel. It was especially avant-garde for its time since the designer doubled as a director and storyteller, putting just as much emphasis on entertaining as on style.
Gianni Versace’s now-famous 1991 “Freedom!” furthered this performance-based strategy. ’90’ show, in which Linda Evangelista, Cindy Crawford, and Naomi Campbell strutted to a George Michael song. It was electric energy. The exhibition introduced the supermodel era while symbolizing the glitz and confidence of women. Versace’s approach to fusing fashion and celebrity culture was incredibly effective, laying the groundwork for how companies currently promote their identities through spectacle, emotion, and memorable moments.
| Name | Alexander McQueen |
|---|---|
| Occupation | Fashion Designer |
| Nationality | British |
| Known For | Transforming runway shows into theatrical performances |
| Notable Works | “VOSS” (2001), “No.13” (1999), “Plato’s Atlantis” (2010) |
| Awards | British Designer of the Year (4 times) |
| Influence | Known for fusing art, emotion, and technology in fashion |
| Reference | https://www.vam.ac.uk/articles/alexander-mcqueen |
Some designers chose to focus on glitter, while others did the opposite. The secretive Belgian designer Martin Margiela made his stage debut in a small Parisian cabaret in 1989. With veils covering their faces, the models moved barefoot through the audience, their painted feet creating crimson scuffs on the white sheets. It was very human, raw, and disturbing. His strategy was incredibly successful in subverting the fashion industry’s snobbery and elevating anonymity to the level of art. A new type of performance, one based on sincerity rather than excess, was brought about by Margiela’s resistance.
As designers started utilizing narrative to express more profound concepts, the runway’s metamorphosis quickened. Hussein Chalayan used clothing that changed on stage to represent migration and transformation as a means of exploring identity. Using step dancers rather than models to promote diversity and power, Rick Owens transformed his performances into declarations of strength and defiance. These frequently divisive performances demonstrated that fashion could spark conversation in addition to appreciation.
By using clothing and dance to create whole stories, Thom Browne expanded on that concept. Models in his exhibitions act out situations from fictional universes, such as office workers who become athletes, brides who glide through mist, or characters who are imprisoned in symmetrical fantasy settings. His performances unfold like bizarre nightmares. In a time where social media imagery predominates, Browne’s ability to combine art and absurdity is especially helpful for brands looking to evoke emotion. His presentations are emotionally complex in addition to being visually stunning.
With amazing accuracy, John Galliano’s Maison Margiela has advanced this ideology. Directed beneath the Pont Alexandre III bridge in Paris, the Spring 2024 Artisanal exhibition has the feel of a cutting-edge movie. Both in-person and online viewers were enthralled by the models’ creepy, delicate, and Pat Boguslawski-choreographed moves. By combining performance with craft, Galliano’s method was significantly enhanced, utilizing dramatic lighting and sound effects. His performances serve as a reminder that presence may be just as important to artists as production.
During the 1998 FIFA World Cup final, Yves Saint Laurent, who had always favored understated elegance, embraced spectacle on a massive scale. He created a living tableau of his career by presenting 300 archival looks across the Stade de France in front of millions of people. Its message was very clear: fashion is just as much a part of culture as couture. His performance, which seamlessly combines art, legacy, and national pride, is still regarded as one of the most iconic in history.
This theatrical impulse has only grown stronger in the digital age. Instead of creating shows for local audiences, companies like Coperni and Balenciaga now create them for international broadcast. McQueen’s inventiveness was echoed by Bella Hadid’s spray-painted garment at Coperni’s 2023 show, demonstrating that spectacle can still succeed when it is genuine and intentional. Many contemporary labels find it difficult to strike this balance, yet the performance was incredibly effective in generating viral engagement while upholding artistic integrity.
