Kanye West's highly anticipated Yeezy Season 3 show-cum-album-release extravaganza lived up to all its hype—if not for anything more than the sheer size and scope of production. Held February 11 at Madison Square Garden, the show was attended by nearly 20,000 people (a mixture of V.I.P.s, media, and consumers who purchased tickets) and lasted some three hours. Guests arrived at the sports arena to find a dark space where a massive rock-like edifice shrouded in cloth stood in the center. The show was also streamed via Tidal.
Some 1,200 models—sans the supermodels who appeared in the show—had to stand still for more than 90 minutes while West played his new album in its entirety and entertained the masses with his quips and one-liners. The models were also given a list of 38 rules to which they had to adhere, including "no whispering," "no sexy posing,” and "do not act cool."
For Rihanna's debut Fenty Puma runway show, held February 12 at 23 Wall Street, production company Prodject commandeered about 35,000 square feet of space in the financial district for a distinctly unique five-day build. Only the video floor portion of the runway was raised, covered by about 200 pieces of custom mirror. Models first walked on the runway, then around the perimeter of the space on the same level as the first row of seats, bringing the clothing closer to the guests.
"The mirror allowed the collection to be viewed from multiple angles in an exciting way," said Prodject founder and president Keith Baptista. "Since the audience was sat on risers around the set in a theater-style setting, each guests saw the collection in a completely unique way."
On the coldest night in more than 20 years in New York City, Moncler Grenoble staged its Fall 2016 presentation at Lincoln Center—outdoors. The landmark venue's iconic plaza was cordoned off for the occasion, an event once again produced by Villa Eugenie.
Despite city warnings to "remain indoors," crowds came out for the February 12 show, enduring the 20-minute presentation of 80 athletes dressed in uniforms of blue ski suits performing a synchronized march. More than one editor deadpanned that heating stations, fire pits, and even thermoses of cocoa would have been sincerely appreciated.
Thom Browne's February 15 show at Skylight Modern featured 41 models, 372 guests, and a set meant to evoke Washington Square circa the Great Depression. Produced by Villa Eugenie, the city square was outlined in scrim drawings of what appeared to be 19th-century residences. The images bordered a dirt walkway around the perimeter of a small park.
Tommy Hilfiger's February 15 show at the Park Avenue Armory was produced by KCD and boasted a near-lifesize Randall Peacock-designed ship, dubbed the T.H. Atlantic. The ship boasted two main cabins, steam stacks, operational architectural lighting fixtures, branded buoys, piles of antique luggage, and an overall dimension of 130 by 40 feet.
The ship was made of scenic lumber cladding a steel frame structure. The actual hull was treated canvas stretched over a lumber frame to create curvature and maintain lightness for transport. Construction was done off site; the set was then deconstructed and rebuilt on site over four days (and removed in about five hours). Some 60 guests sat on the boat itself, while in total 900 attendees sat for the show.
Stuart Vevers's sophomore runway show for Coach had the leather goods giant and show producer KCD taking over Pier 76, the old equestrian stables of the New York Police Department. The custom-built set sat 600 and was modeled as a basketball court with 7,000 square feet of genuine maple hardwood flooring (much of it repurposed) applied with custom graphics. Risers were painted and clad in maple as well with custom faux leather cushions fashioned to resemble a basketball's texture. Almost all of the services, including heating, had to be brought in. The install took two weeks to complete and included a considerable amount of cleaning.
