fashion runway, without seats for sitting, under the open sky. The families that lived
there constantly, their children became the informal participants of the show [8].
Meanwhile, the turning point in the conceptualization of fashion shows was the
demonstration of Alexander McQueen’s collection in 1996. He organized a show at
the abandoned church, and the collection of the British eccentric was called Dante.
Actually, from that time on, the fashion shows decidedly began to be compared to each
other by theatricality. The location, as the context for the deployment of a narrative of
the collections, has acquired the same meaning as fashionable clothing that is
represented.
Fig. 5. Alexander McQueen's fashion show at London Fashion Week. 1998.
Already in the 21st century, designers demonstrated an unprecedented variety of
media transformation for the shows: among icebergs and waterfalls, aboard planes and
cruise liners, in the woods, on the beach, in the supermarket, in the rain, and so on.
Each such location hid the history of a certain hero – the image of a collection that
embodied the personal creativity of a designer or a certain brand. Historical characters,
for example, Jeanne d’Arc or Marie Antoinette, as well as the literary ones, like
Ophelia, Alice, and others, are among the popular images. Designers often resort to the
interpretation of images of popular actresses and public figures as the “style icons” of
the 20th century. Sometimes, they confine themselves to a collective image of
subcultures representatives, thus expressing certain styles of clothing. According to the
image of the hero in the collection typical girl models are selected, their hairstyles and
makeup are developed, as well as the rhythm of walking the catwalk, characteristic
movements, etc. Given that, it becomes clear that the concept of “a person in a
costume” remains dominant for this format of representations. Each show is a separate
story about the life of such a person, and the costume itself is a marker of his/her tastes,
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