The art of seating arrangement at fashion shows

During fashion week, the front row inadvertently becomes the ‘center of attention’ for the media regardless of the timing. Fashion shows have long been a staple, but what often captures attention the most is the guest list – something that can determine the status of a brand or designer.

Before the era of social media, fashion weeks used to be secretive events with only the elite being invited. The front row played a role akin to a representation of cultural ideology. According to creative strategist and digital expert Laurent François, the front row has evolved into a stage in today’s age.

At one of the early Christian Dior shows, French surrealist icon Jean Cocteau and American socialite Wallis Simpson were often spotted sitting alongside journalists. In the 1970s, Bianca Jagger – a VIP guest of the brand – was often placed between Studio 54 owner Steve Rubell and pop art pioneer Andy Warhol.

Previously, information about the front row could only be found in the celebrity sections of major magazines. But now, the ‘main characters’ are not just the models on the catwalk but also the attendees.

Jordan Frazes, founder of Frazes Creative agency, agrees that front row guests are increasingly important in fashion shows: “Fashion can be revisited, but it’s the famous faces inadvertently appearing in the lens at the front row that can become headlines for the media.”

Gia Kuan, founder of Gia Kuan Consulting, a global consulting firm, says: “With new influencers entering the fashion industry, seating arrangement has become an art form.” She asserts that there is no standard solution for guest lists because there are many factors influencing this, such as contractual limitations and brand objectives.

She reflects: “We need to consider the characteristics of the brand and where they are or want to be when it comes to important milestones. Is this a community-oriented brand that needs the presence of direct consumers, or are they prioritizing press and buyers?”

The decision-making process of who will be invited depends on each brand and PR department, but since the front row contributes to introducing novelty and raising expectations for the event, they still have to prioritize certain guests. However, this may vary between seasons.

Sometimes, brands will adhere to industry traditions, prioritizing high-level fashion experts, sponsors, traditional publishing editors, and those who are likely to help the brand achieve its goals and ensure sales figures – specifically designers, buyers, and brand ambassadors.

Matthew Cancel, founder and CEO of Cancel Communications, a PR and creative relations company, begins with two main questions: “How will this collection be perceived?” and “How will this collection be sold?”

Sometimes, brands adhere to industry traditions, prioritizing high-level fashion experts, sponsors, traditional publishing editors, and those who are likely to help the brand achieve its goals and ensure sales figures – specifically designers, buyers, and brand ambassadors.

He explains: “It’s not as simple as making a last-minute decision; brands need to understand where their customers are actually shopping and receiving their information. This is why social media creatives are now an integral part of NYFW. They have reach, they have engaged audiences, and millions will only tune in through their channels.”

Kuan explains: “At some shows with limited space, they’ve added a second row. I know that ‘industry standards’ often take precedence, including those with seniority in the industry and social influence. Sponsors are important because they need to see the product clearly.”

Lindsey Solomon, founder of Lindsey Media, one of New York’s top fashion journalists, says: “Every season, we review who has supported the brand since the last show, who the excited customers are, and what requests we’ve received domestically. I think brands only want to invite those who are genuinely excited and eager to be there.”

Sataporn Panichraksapong, CEO of GMMTV, says: “The ultimate goal is to create mutually beneficial partnerships that help both artists and brands shine. We believe that key factors include checking whether the brand aligns with the artist’s image and values, ensuring the brand connects with the target audience they’re trying to reach. The reputation of the fashion brand and the potential for long-term engagement are also factors to consider.”

“The ultimate goal is to create mutually beneficial partnerships that help both artists and brands shine. We believe that key factors include checking whether the brand aligns with the artist’s image and values, ensuring the brand connects with the target audience they’re trying to reach. The reputation of the fashion brand and the potential for long-term engagement are also factors to consider.”

In addition to prioritizing influencers to build relationships, there are other factors that determine who will sit in the front row. And as Cancel mentioned, the space of the runway does not allow brands to plan seating charts early.

Beyoncé and Zendaya Have an Ultra Glam Moment in the Front Row at the Louis Vuitton Show The front row at the SS24 Louis Vuitton men’s fashion show saw the presence of celebrities Zendaya, Beyoncé, Jay Z, and LVMH chairman Bernard Arnault

He says: “VIP schedules are often filled, so they can’t attend and need to be replaced by others.” This is particularly true in February, when celebrities’ schedules are packed with award seasons. “Typically, they prepare about six weeks before the show, and everything is just finalized in the last two weeks.”

They also apply this to inviting editors: “The media industry is constantly changing, so it’s difficult to invite an editor too early because they may not be working for that magazine when the fashion show takes place.”

Last-minute confirmations, absences, and cancellations will greatly affect seating arrangements. Kuan explains: “We need to consider and predict non-attendance – it’s a risk calculation. Seating arrangements are usually made the week before the show after they receive confirmations from participants the day before and any changes throughout the day.”

In an era where the success of a fashion show is measured through metrics like Media Impact Value (MIV), numbers are also considered to some extent. Social media following, audience attraction, and brand visibility are factors influencing whether they get chosen for VIP areas.

However, there are still exceptions like Kuan, someone not visible on the internet or working at a magazine to enhance brand value but still gets a front-row seat. “Our job is to prioritize deep cultural values. So, follower count and MIV certainly aren’t what we care about.”

From a talent perspective, Frazes also recognizes the importance of storytelling tactics and the opportunities a specific moment can bring. She says: “There’s always a marketing team calculating metrics in the show. And they’ve proven that we still build PR strategies rather than overly focusing on metrics. If talent can be used properly, then they can collaborate on future projects and partnerships.”

In conclusion, the target audience and consumers of the brand will play a crucial role in their decisions for the front row.

He shares: “In my opinion, it seems like the public has paid too much attention to the front row. I’ve been to Brandon Maxwell’s shows, where the brand didn’t reserve front-row seats for VIP guests but instead reserved them for members of his own team. I think that’s a brilliant and creative decision.”