Our talk with Eyesight Group’s Project Director ALEXANDRA AVALONE


BY MARC KARIMZADEH

How did you become a fashion show producer?
In college, I worked for my friend and talented photographer, Dikayl Rimmasch. He believed in me and opened my eyes to production. From there, I went on to intern at Eyesight, where, again, Thierry [Dreyfus] and Marie [Meresse] believed in me and offered me a job in the company. Before I knew it, I was working on Acne, Galliano shows and Philipp Plein, and now I am a partner in the company.

How have shows changed in the last five years?
I see how social media has had a big impact on the fashion show in many different ways. Fashion shows used to be private, exclusive events, and now they can be seen around the world within minutes, within seconds, really. That’s also changed shows in a sense that there has been more of an Instagram ‘Wow’ moment that has driven a lot of the shows, and that can be seen backstage with models, with sponsors, and also front-of-house. It’s evolving, and as technology grows, it will impact shows even more.

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How has the rise of social media affected your job as a fashion show producer?
We have to be creative in our creative concept, our light design, and the backstage Instagram moments, but at the same time, there is something to be said for the emotional moments of the guests that transcend Instagram. We have to appeal to both.

With all the talk of ‘see-now, buy-now’ shows, and shows directly catering to the consumer, does the timing of shows matter in the big scheme?
I think each designer or brand has their own way of doing it that works for them and appeals to their consumer. From a personal perspective and as a consumer, I think it’s interesting what Maxwell [Osborne] and Dao-Yi [Chow] are doing at Public School and how they changed their show dates around. There is something to be said for seeing something on the runway, loving it, and being able to buy it right away.

Do you see more and more people doing that?
Buyers place their orders so far in advance, and I think that there is something to be said for consumers to be able to place their orders when they want to. It might also help cut out fast fashion retail in the sense that it gives designers more credit for their work.

What do you think the next evolutions of shows will be?
I see two movements – one going back to the more intimate, salon-style exclusive shows, similar to what we do for ACNE and Comme des Garçons in Paris. Then, I also see a second movement towards Instagram-able, social-media-driven, massive-scale shows like Philipp Plein. It’s next level.

What was your favorite show experience?
It’s hard to pick one show as a favorite. There is so much time, dedication and energy that goes into each show. Working with talented people and putting in all those months of hard work, it’s really about making sure that things go smoothly, and seeing a designer smiling backstage, knowing that their months of hard work paid off in a beautiful show.

Do you ever find that a designer has a demand that is impossible to realize?
Yes, but that is part of working in production. No matter what the question or demand is, you have to find a solution. That’s why we’re good at what we do.