The New Normal: Welcoming Fashion Films

Back in Paris, when fashion shows were limited to half a dozen people, the news about brands was spread through magazine publications, photographs. But as television became more widespread, you’d think it would fulfil the role fashion shows once held. Not quite. Shows became public events but they were still exclusive, reserved for the crème de la crème with a recording released later on.  

Fashion show 1940s

Fashion and film have always been separate. 

Don’t get me wrong: there have been films for fashion, but they were mostly features or ads. And fashion is frequently inspired by cinema: The themes in Batman were frequently revisited by designers such as Thierry Mugler, The Blonds, and Jeremy Scott. McQueen’s shows were routinely inspired by various films he watched. One show referenced Harry Potter and the Philosopher’s Stone, another was named after Hitchcock’s The Man Who Knew Too Much, one was even titled Supercalifragelisticexpialidoscious from Mary Poppins. His shows were known for their theatricality. I haven’t even gotten to movies such as Cleopatra and Gone with the Wind.

Rather, fashion has never felt the need to create films at par with their shows: and why should they? Again, they had shows. It garnered more than enough media attention. 

Until 2020 hit.

Brands are now on equal footing. There are no longer the monetary limitations that come with holding a show or the exclusivity that buys them their notoriety. We are sharing the same global platform. Makes you wonder how that void will be filled.

I don’t know about you, but I can’t wait for what’s next. 

A great example of a Haute Couture film directed by Matteo Garrone for DIOR 2020-2021