Issue link: https://digital.copcomm.com/i/1438629
9 8 P E R S P E C T I V E | J A N U A R Y / F E B R U A R Y 2 0 2 2 centerline of a brilliant white catwalk to createa strong contrasting background for the fashions. The backstage areas were enclosed using custom built screens made of lightweight aluminum trussing frames, each to be recoered in a different colored fabric for the different shows. These frames were easily moved around so they could be uickly reconfigured for dressing the different scenes backstage. For Paolo's 1989 fashion show, it seemed appropriate to be a bit tongue in cheek with the taste leel at aolos epense. The production decided to stage the show in a very tired traditional style and choose the ballroom of the otel St. egis in ome as a standin for the scripted alao Serbelloni in ilan, which is still often used for fashion shows. ith its neo classical architecture, mirrored walls and heavy crystal chandeliers, we felt it had the right sort of oldfashioned feel that was appropriate to the level of Paolo's mediocre designs. To further reinforce this idea, we quite intentionally added a drapery backdrop to the runway entrance in too bold Paolo Gucci Design corporate colors—primary red, blue, and green—with a garishly embroidered esign logo dangling down behind it. ot forgetting the ubiquitous gold chairs and potted Kentish palms, and at the far end of the runway was a mobile musician's platform for the opera soloist and chamber quartet covered crimson red velvet. The designs for Paolo's actual fashions that we see on the runway and being made in his Atelier were drawn ery artfully by Stefano e ardis, antys associate costume designer, and an actual veteran of this period in ilan. The sketches featured prominently in both the scenes in Paolo's Atelier and in the illa ecchi scene where aolo asks his uncle odolfo for financial backing to launch his career as a designer without success. They were also used by Graphic Artist Tommaso Borelli to create a program for aolos show. e also needed lots of sketches to fill aolos portfolio and to dress his workshop. ristina contacted a few art and design schools in Rome and enlisted some talented students to emulate Stefanos original sketching style to produce additional drawings to augment those in Paolo's prop portfolio. The concept for the ucci fashion show followed the continuing tradition of designer Tom ord in the way he keeps the focus first and foremost on the clothes.The pure white lighting was kept tightly on the runway and not spilling off the sides reealing the photographers or any distracting celebrities in the audience. e tried to keep it simple and elegant with no frills. Tightly focused remotecontrolled follow spots were the A. PAOLO'S FASHION SHOW 1989. CONCEPT ILLUSTRATION. B. PAOLO'S FASHION SHOW ENTRANCE. CONCEPT ILLUSTRATION. B A