![]() Some guests became hostile, demanding to be placed where they could see (and be seen). The process came with many negative and hard conversations for people placed in the second row and beyond. Once the seating chart was set, invites went out. Our main goal was simple: craft a front row where we could create numerous media moments to gain exposure (celebrities and actors) and get the collection in front of the eyes of those who would influence sales (fashion editors and buyers). ![]() "Sitting in the front row meant you mattered more than anyone else." Both situations would be detrimental for all parties involved, including our brand. We carefully made sure rival publishers weren't sitting next to each other, or that a known scandal wasn't visually displayed at our show. The process was lengthy: divide 50-75 front row seats among top fashion editors, buyers, celebrities, athletes, models, friends and family, and influencers. It was great, but the one thing I hated every year was managing the seating arrangements for fashion shows.Įvery spring and winter, our team would hand select the attendees, dole out invites, and assign seating to the coveted show. I got to plan and attend extravagant events for what seemed like the most important people in the world. I was tasked with helping the director dress our celebrity clientele for red carpet events. Working for a global brand was amazing and very educational. ![]() Before becoming a journalist, I was on the other side of the press, working at a luxury fashion house in their public relations department.
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