FASHION
Precision under time pressure and sensitivity in dealing with brands

In the high season of the fashion weeks, there are often less than 90 minutes between two shows. Within this time, running samples, technical setups, light and sound checks, as well as the set-up of the direction, must take place. This means that in around 60 minutes the entire production has to stand for a brand, whether a classic catwalk, live band, or an elaborate show element with dancers. The requirements of brand representatives, designers, and show teams are high, as is the pressure to expectations on the technical team.

Other factors are being added to exclusive high-fashion formats, such as Max Mara's shows in special places such as the Gulbenkian Foundation in Lisbon, the Stadshuset in Stockholm, and the Palazzo Ducale in Venice, such as the fact that the venues are often open to visitors until shortly before the start. The installation and conversion, including the establishment of camera positions, light samples, and sequence tuning, is therefore carried out under high time pressure mostly in historic, listed buildings with sensitive architecture. Every step must be seated now, because the character of the place or the style of the brand should be preserved.

I build bridges between brand and technology, between vision and feasibility. As a director, it is my task to clarify clarity in order to focus on the different teams in a very short time with quiet, empathetic leadership.

For the new multi-brand formats of ABOUT YOU Fashionweek with up to ten brands in a show, each individual brand gets its own individual stage in the joint event frame of mine. At the same time, I coordinate the choreographies of the show elements with up to 100 models, artists, dancers, and technicians, meaning that everything can take place and be presented as a big whole.

For the productions of high fashion, the right feeling for timing and spatial effects are crucial. Therefore, every movement in construction and every sample with light or camera must be precisely matched to the brand experience in conjunction with the architecture.

The shows precisely ran off like clockwork, whether on the Brandenburg Gate with 1,000, in the circus tent in front of 1,500 guests, or in the idyllic courtyard of a Venetian palace. The combination of structured sample management, experience in technical implementation, and safe, calm control ensured that customers and the crews could get involved in the process and rely on the process regardless of the framework conditions, location, or time pressure.