The Runway Revolution
Image via Paolo Carzana AW25
As February comes to a close, haute couture and catwalk shows remain at the forefront of conversations. Runway shows have long been a cornerstone of the industry, but their purpose and execution have shifted dramatically over the years. Once a straightforward presentation of seasonal collections, they have now transformed into immersive experiences that transcend the clothes themselves.
We sat down with our Associate Art Director, Paul-John Titterton (PJ), to explore this evolution further. With deep expertise in fashion platforms, experience concepts and multimedia branding, and having worked on a range of campaigns from Matches Fashion to Selfridges and adidas —Paul-John offers a unique perspective on how runway shows are shaping and being shaped by the industry.
How have fashion presentations evolved over the years and what major shifts have you seen in how designers approach their shows?
PJ: Fashion brands and catwalks have always had a fluctuating relationship, shifting between tradition and innovation.
Post-pandemic, absurdity and fantasy have taken over, with designers prioritizing spectacle over just showcasing clothes- now, it’s all about clicks, shares, and viral moments. Think models holding cats, and apocalyptic sets. Today, fashion shows feel more like performance art, where success is measured by online buzz rather than just craftsmanship. If a show doesn’t go viral, did it even happen?
How do you think runway shows shape the creative identities of brands beyond just the clothes?
PJ: Runway shows do so much more than just showcase clothes—they really help define a brand's creative identity. A lot of it comes down to things like location and venue, which can totally change the vibe. For example, a French brand showing in New York or someone like Yohji Yamamoto in Paris says a lot about their vision and where they fit in the global scene.
The show itself doesn't really shape the brand; it's the brand that shapes the show. The bigger the spectacle, the more it reflects the brand's creative direction, especially when all the key players in the industry are watching.
Are there any standout shows from this year which demonstrate the revolution of the runway experience?
PJ: Just last week, I went to Paolo Carzana runway show in the Holy Tavern — a pub. It felt so important to his vision and emotional expression, and the whole thing had this intimate, personal vibe. No big production lights or sterile white-box spaces, just high-level couture in a low-key, familiar setting - and it worked. This move toward venues based on familiarity and accessibility helps us see the pieces in a more relatable context.
Another great example is OBS’s first-ever show at Berlin Fashion Week. They staged it on a construction site inside the St. Elisabeth Church, and the contrast was incredible. The venue wasn’t just a backdrop, but also reinforced the collection’s focus on durable materials and the idea of a world that’s always building and evolving.
Do you think physical runway shows still hold the same cultural impact they once did?
PJ: I think physical runway shows are in a bit of a slump right now. Fantasy and spectacle have really become the norm, especially over the last year. There’s this growing pressure on creative directors to produce more designs, faster, which means they're constantly churning out new collections to keep up.
Pop-ups have become a huge part of the game now, giving brands a chance to engage with people directly, without the need to sell a product. Think of the Jacquemus ‘Le Bleu’ swimming pool pop-up, or Fendi Ice Cream—they’re about the experience and connecting with the brand, not just pushing a handbag. Even Gucci invested much more heavily in the ‘City Tours’ experiences for their recent Ancrora campaign in comparison to the runway show which was somewhat basic.
While collections are quickly evolving, brands are using pop-up experiences to maintain consistency and demonstrate their offering in a unique format.
Heritage is dead, long live the future.
Image via Jacquemus ‘Le Bleu’
How has social media changed the way creative direction is approached for fashion week?
PJ: Shows are no longer just for the front row—they’re accessible to anyone, anywhere, thanks to live streams on platforms like TikTok and Instagram. This has stripped away a lot of the exclusivity, which forces designers and creative teams to think differently.
There's a bigger emphasis now on creating visually stunning, over-the-top moments that resonate online. It’s all about performance, spectacle, and capturing attention in real-time, where absurdity and fantasy have become essential tools for standing out. Social media demands a constant flow of fresh, eye-catching content that feels almost like a live event, even if you're watching it from your phone.
As brands seek to connect more deeply with audiences, how do you see fashion shows evolving in the next five years?
PJ: In the near future, as brands look to connect more deeply with their audiences, they will need to think globally but act locally, tailoring their shows and offerings to different age groups and regions. For example, a Gucci event in Seoul would look very different from one in Mexico, as staying culturally relevant means embracing localization.
The role of the audience is evolving. Rather than passively observing a spectacle, they are becoming active participants in the experience. For instance, in our recent project for Back Market’s fashion collaboration with artist Gab Bois, we went beyond a traditional runway showcase. We created a dedicated try-on area, allowing attendees to engage with the collection firsthand. This interactive approach transformed the event into a shared community experience, where everyone played a role in shaping the moment.
Sustainability and innovation are hot topics in fashion. How do you think these themes will influence the way shows are produced?
PJ: From Stella McCartney to Louis Vuitton, luxury brands are upcycling their archive materials to reduce their environmental impact, but this popular trend will soon plateau. A ‘vintage’ or more sustainable option will be required for all brands, almost becoming a staple aspect.
The Diesel SS25 runway show perfectly sets the scene for what’s to come, incorporating waste denim into the viewer experience, as a bold and direct way of addressing the issue. The entire show was built around reuse and repurposing, steering the presentation toward sustainability as its central theme.
If you could design the ultimate immersive fashion experience, what elements would you include?
PJ: The ultimate immersive fashion experience should remove traditional structures while keeping the thrill of exclusivity alive. In an ideal world, the front row will no longer be based on the ‘coolest’ people of the year — and these ‘VIP’ sections will be based on genuine excellence in the industry.
I would also break the glass wall between audience members and models on the runway. Instead, the show would move through the people, or better yet, the audience could become part of the show itself. Maybe the models aren’t even human, but instead robotic figures, AI-driven holograms, or shape-shifting digital avatars could replace them, pushing the limits of what a “fashion show” even means.
The most powerful concepts don’t need to be understood; they need to be felt. Let’s ditch conventional storytelling and embrace chaos—fashion bleeding into art, tech, sound, architecture, and beyond. The future of fashion isn’t about explaining your vision until people ‘get it’, it’s about making people love your creations without necessary explanation.
I would also like to highlight that a show might be 9 minutes, 100 looks, 25 models, but it took 100-fold of that to create it, and that’s what you don’t see. If I were to do a show, I would find a way to celebrate those behind the scenes from runners and lighting techs to cleaners and BA’s because these spectacles, much like the experiences we create at Seen Presents, wouldn’t be possible without them.
Paul-John Titterton