How interactive catwalks are redefining classic fashion shows

From the surreal fantasy of AVAVAV to the futuristic proposal of BOSS, Milan witnessed the most immersive and creative catwalks in the history of fashion; becoming a backdrop against which the brands staged and activated all the senses of the spectators, transmitting new emotions or sensations in the key of storytelling with which to intensify their proposal.

Provocation, subversion and the reinvention of the hermetic tradition suspended on the catwalk formed a trilogy and/or a powerful narrative for SS24 through exciting and fun fashion shows, as we saw in the new episode of Glenn Martens for Diesel.

The avant-garde brand continued experimenting with its ‘denim rave‘ made up of 73 looks destroyed and deconstructed based on an infinite number of techniques for treating the material. The collection captivated the 5,000 spectators – among them, some who attended thanks to their previous ticket raffle – collectively shocked to see how an intense rain fell on them, and how a sort of Bella Hadid doppelganger closed the show structured around the democratization of fashion.

Meanwhile, Beate Karlsson‘s brand, AVAVAV, once again defied the fashion status quo to embrace the zeitgeist: one replete with chaos and humor as models frantically ran down the runway, jostled by staff, transferring feelings of overwhelm, fear and anxiety.

Karlsson once again encapsulated the essence of the brand with a new conceptual proposal staged on a wraparound show with which to denounce the shortcomings of the industry or social issues, reflecting this time the unrealistic expectations of the industry to see incomplete garments. In it, looks with naked torsos, amorphous foam garments or caps pierced as face masks or mascara smeared tears intensified this decadent and disconcerting scenario.

THE IMMERSIVE EXPERIENCE

SUNNEI‘s new creative episode didn’t leave anyone indifferent either. The Italian brand, founded by Simone Rizzo and Loris Messina in 2015, opted again for a humorous or ‘theatrical’ approach by organizing a fashion jury in the audience, and distributing numbered palettes with which to reward each of their looks, while a voiceover read: ‘This time you will be more than just a part of the show’s scenery!’ And, indeed, she succeeded with flying colors through this ‘acting’ that practically bordered on reality show.

As Friday night fell in Milan, BOSS took attendees straight into the future through ‘TECHTOPIA‘: a universe centered on the ‘CorpCore’ theme that used a humanoid robot named Sophia the Robot to create the mood of the fashion show. Yes, Hanson Robotics’ social humanoid robot was part of this new disruptive story, interacting with the audience, as a space that was also invaded by a cast of real actors inside, mimicking robotic movements. 

Finally, if there was another amazing parade or interactive show, it was the debut of THE ATTICO. Gilda Ambrosio and Giorgia Tordini starred in their first runway show at MFW by taking to the Milanese streets with padded sofas on which ‘the neighbors’ sat through an underground concept that broke with the brand’s formal and sophisticated identity. The cinematic display was moving for that audience, who -for the most part- would have experienced all those sequences or immersive experiences of SS24 fashion.