The catwalk's chaotic origins: from wobbling heels to rocket shows
Forget the perfectly poised models and impeccably curated playlists; the Fashion show, as we know it, began with a near-disaster. In 1971, a fledgling Manolo Blahnik nearly derailed his career when he forgot steel pins for the heels of his shoes at Ossie Clark’s London show, resulting in a wobbly procession down the runway. What could have been a career-ending blunder was, instead, declared a revolutionary aesthetic by Sir Cecil Beaton. Now, this pivotal moment, along with a century of Fashion show history, is brilliantly captured in Catwalk: The Art of the Fashion Show, currently at V&A Dundee.
A history of spectacle: from salons to global events
The exhibition, a collaboration with the Vitra Design Museum, charts the evolution of the Fashion show from the hushed salons of 19th-century Paris and London to the elaborate, immersive spectacles that dominate the cultural landscape today. As Leonie Bell, director of V&A Dundee, aptly puts it, “The Fashion show influences every single thing that we choose to wear and what we’re able to buy.” Scotland’s own rich history in showcasing fashion—from the Empire Exhibition in 1938 to Dior's shows in the 1950s and a recent event at Drummond Castle—adds a particularly pertinent layer to the exhibition's narrative.
Beyond the headline-grabbing designers, Catwalk shines a light on Scottish talent, showcasing Christopher Kane’s debut collection and the inventive designs of Charles Jeffrey Loverboy and Nicholas Daley. But the story isn't just about aesthetics; it’s about the broader cultural shifts reflected in the runway. The shift from the rigid formality of haute couture to the energetic stomp of the 1960s, pioneered by Mary Quant and Paco Rabanne, is strikingly evident.
The rise of the stunt: marketing and fantasy
The 1950s and 60s witnessed a fundamental shift—the rise of ready-to-wear. Suddenly, shows weren’t just for the elite; they were marketing tools. Svetlana Panova, co-curator of the exhibition, notes that shows moved “to where people gather,” revolutionizing their role. The increasing influence of luxury conglomerates in the late 1980s further amplified this trend. “Fashion houses become part of this big portfolio of assets,” explains Panova, “and fashion shows become even more of a marketing tool for creating the fantasy around the brand.”
The result? Spectacles like Karl Lagerfeld’s 2018 Chanel show, featuring a rocket blasting off in the Grand Palais, became defining moments. The exhibition cleverly incorporates footage and even a scale model of the set, alongside props like the iconic Chanel megaphone—a testament to the show’s theatrical ambition.
Beyond the runway: the underside of glamour
Catwalk doesn’t shy away from the backstage chaos that fuels the glamour. Through the tools and creations of makeup artist Val Garland and hair stylist Sam McKnight, the exhibition reveals the collaborative effort behind each show, acknowledging the often-overlooked contributions of those who orchestrate the illusion. McKnight’s eccentric wigs for Vivienne Westwood, displayed on mannequin heads, offer a glimpse into this creative process.
Even the invitations have become a carefully considered element. From Lacoste’s tennis net slices to Demna Gvasalia’s Balenciaga wallet stuffed with receipts and coins, each invitation is a tiny work of art, contributing to the overall narrative. The envelope for Gvasalia’s pandemic show, scented with a disconcerting aroma of “dust and archives… money, power, and blood,” exemplifies the increasingly immersive and unsettling nature of these events.
Ultimately, Catwalk demonstrates that the fashion show is not an isolated moment, but a reflection of and influence on broader culture—whether it’s Quant’s popularization of the miniskirt or the embrace of virtual realms in the age of digital fashion. The exhibition’s exploration of fashion’s evolution proves that even those who never attend a show are, in a way, part of the audience.