The unsung heroes of fashion are now mostly unemployed
IN A pre-coronavirus world, hundreds of editors, clients, stylists and celebrities would have converged on Paris this weekend for the couture shows. For many, they are also a major employment opportunity.
You may see models in gowns on Instagram and hear of the famous names responsible for the updos and cat eyes, but making that perfect 20 minutes happen also demands an army of independent contractors, largely unknown – and, now that shows have gone digital, they are largely unemployed.
A scattering of these men and women describe their lives in the absence of shows.
Yesmin O’brien, 53, hairstylist
“I’ve worked with the hairstylist Sam Mcknight as part of his freelancer team for 13 years. I’m a director for a group of hair salons in and around London, but whenever Sam has been booked for a fashion show, then off I go to that city.
“There are around 40 stylists on Sam’s team. We do all the Chanel couture shows. But this year, there is nothing. I’ve been trying to use the time to think creatively about ideas, but I miss the atmosphere.”
Jacques Negrit, 56, security guard
“Fashion weeks in Paris make up 60% of my annual income, so not having couture this season is a big loss. It is not just the shows – it is the presentations, fittings, celebrity work and cocktail parties, too.
“I’ve been a security guard for 20 years and built my business around it. I have almost 200 freelance guys working on my books during couture week. I’ll be thinking about what might happen in terms of physical shows in September. For whatever events take place, security – and maintenance of new safety regulations – will be more important than ever before.”
Luc Deperrois, 40, florist, Stéphane Chapelle
“I’ve worked with Stéphane for 20 years. We are known for our large, extravagant bouquets. We usually work with around 10 to 12 people, although during show time, that usually goes up to 25 to 30. Fashion weeks together are 40% to 45% of our annual business.
“It’s all mostly stopped, though. There are some orders – enough to keep our staff. I am hoping that because so much of fashion is on Instagram, there will be a need for flowers to animate the sets and the looks, to bring some humanity to the digital world.”
Eny Whitehead, 38, make-up artist
“In 2005, I met Pat Mcgrath, and she brought me along to do the make-up for a Galliano show. Then I started doing shows for Milan and Paris fashion weeks.
“I do ad campaigns and magazine shoots, but the shows are such a big thing here in Paris because it’s not just the catwalks; it’s also all the VIPS that fly in for them. During couture, I might have three clients call me in a single day to do their make-up to go to a show or an event after a show, and then the next day I will be backstage for the couture.
“For three months, everything stopped. I was lucky because, as a self-employed person, I qualified for the government assistance. They gave everyone €1 500 (R29 000) if they had lost 70% of their income, and I lost 100%.”
Naki Depass, 22, model “Normally, I should be in Paris by now,” Naki Depass, a Jamaicaborn model discovered five years ago, said from her family home in Kingston. After her breakout season in Europe, Depass appeared for Armani Privé and Valentino.
“I find I’m missing work – missing travelling for jobs, exploring the world. You don’t want to be away for too long; by the time you come back, your clients are looking for a new sensation.”
Jacques-andré Henriquez,
64, founder, Névé Cleaning Co
“We are responsible for cleaning the venue. And because many shows are in strange, industrial places or building sites under construction, it can be dirty, dusty and complicated.
“In January, we did Dior, YSL. I made about €80 000 that season. I was budgeting €120 000 to €150 000 for men’s and couture in July. We are getting a little work. I am planning for only €15 000 to €20 000 this season. I feel lucky because I only have one person on staff. Otherwise, we would be in trouble.”
Acielle Tanbetova, 41, the photographer behind Style du Monde
“Normally, I would be shooting backstage for American Vogue, and between the shows I’d shoot street style. Last year, I was travelling nonstop, shooting from one fashion week to another. It’s very strange to be at home, I took this time for myself and to study, to improve myself, to reflect. I’m licensing my pictures to publications, like British Vogue or Glamour Germany.
“I’ve been invited to Copenhagen Fashion Week in August.”
Charly Lavado, 33, freelance patternmaker and dressmaker
“For the past eight years I have worked part-time for Dior couture in Paris. Usually, I will work in the atelier for four to five months of the year, with two months before the January shows and then two months in the run-up to the shows in July. This year, I am doing nothing.
“It has been a big shock. Some of my friends have been working at Chanel on a reduced couture collection and on client orders made in January. Now all the pieces are ready for fittings, but none of the clients are able to travel.
“I have always loved the flexibility of being a freelancer, but if things don’t change in another few months, I may have to reconsider – if there are even jobs.”
Philippe Cerceau, 60, lighting designer
“After the clothes, lighting is the most important thing at a fashion show. With bad lighting, the audience can’t see any of the beautiful details or the finish of a collection. You can also get bad photographs.
“I’ve been designing lighting for shows for 25 years, and nowadays fashion week work makes up about two-thirds of the income for my business, Clair Obscur.
“In January, my clients for couture were Dior, Valentino, Elie Saab and Viktor & Rolf. For July, there are none. We’ve started to get some inbound for the September shows in Paris, but it is early days.” | The New York Times