NEW YORK FASHION WEEK
ACME / IMG / 4 EYES
NEW YORK · 2009
PRESENCE HAD TO BECOME PARTICIPATION.
By 2009, New York was no longer a market to be tested.
Several seasons of work had already created visibility, relationships and strategic direction around Spanish fashion.
The next step was more demanding.
Spanish designers had to move closer to the professional system itself.
TACTICA was working directly with IMG, the organisation behind New York Fashion Week, on the seasonal participation and positioning of Spanish designers within the schedule. The work included dates, show times and positioning, because simply being present was only part of the objective.
THE ROADMAP BECAME EXECUTION.
The recommendations gathered in New York had begun to change not only where Spanish designers appeared, but how they approached the market.
Collections alone were not enough.
Presentation, creative direction, styling, production and the teams surrounding the designers all had to operate at the level expected in New York.
TACTICA’s role increasingly became one of translating between systems: understanding the ambitions of Spanish designers, understanding the standards of the American market and creating the conditions in which both could meet.
[IMAGE 2]
Aquí usaría una segunda imagen de producción: makingoff_16 o makingoff_01, porque muestran literalmente la escala técnica detrás de la imagen final. 4eyes_web_makingoff_16 4eyes_web_makingoff_01
A PLATFORM OF ITS OWN.
Working within the New York fashion system was one part of the strategy.
Another required creating a platform with its own identity.
TACTICA opened the conversation with the New York Public Library, exploring whether a project of this scale could be staged there and creating the path to secure the venue.
The result was 4 EYES.
Ana Locking, Carmen March, Juanjo Oliva and Duyos came together in a collective presentation built around New York Fashion Week.
NOT A CONVENTIONAL RUNWAY.
4 EYES was conceived as something more than four individual fashion presentations.
A large-scale fashion film, directed by Nicolás Méndez and Lope Serrano and produced by CANADA, was combined with an installation of forty mannequins presenting pieces from the four collections. Pasted markdown
Before the public presentation, the collections were also shown physically to buyers and leading American fashion editors.
Image and spectacle were being connected with market access.
The collective approach was deliberate.
The objective was not simply to promote four designers. It was to project an image of Spanish fashion.
THE INDUSTRY WAS WATCHING.
ACME BRINGS SPANISH FLAVOR TO NEW YORK
ACCESS HAD BECOME EXECUTION.
By this point, several layers of the strategy were operating together:
editorial validation.
professional access.
creative standards.
buyer exposure.
institutional support.
Spanish fashion was no longer simply trying to attract attention in New York.
It was participating at a different level inside the system itself.