Entering a nightclub near Times Square at 11 am on a Tuesday is a very different way I would’ve entered a nightclub 20 years ago, but isn’t that part of the magic of NYC? It was for New York Fashion Week, and Le Shag was asked to work with Edward Tricomi and his crew preparing models for the Frederick Anderson Fashion Show, the Spring/Summer 2027 “The Garden Party” Collection.
We arrived at Nebula (135 W 41st St, New York, NY), coffees in hand, and patiently waited for the club crew to finish preparing the hair and makeup rooms downstairs in the basement. There were going to be 18 models for this show and Tony Award nominee Amber Iman, who was going to open the fashion show, and they all needed hair and makeup done. Lights, tables, and slant back easel mirrors were put into position, and chairs and supplies followed directly next. Every participant has their own bags of tricks and tools designated to make the fast paced environment behind the scenes move swiftly.
As the models trickled in, the model coordinator kept track of what each model had done and what they still needed before hitting the runway.
Edward set the theme and inspiration before any strand was touched. Our only info going into this beforehand was braids. Bring extensions, be ready to braid. As he elaborated on this, he talked about Star Wars and space hair and space braids, and to really pull inspiration from this and get creative. Immediately, brushes went into action and finger dexterity was in demand. It’s a bit of a roll of the dice in these situations. You have no idea who is going to sit down in your chair or what type of hair they might have, but no matter what, you set to work on making the vision come to life.
I wandered between both rooms, taking photos with my phone and my tiny digital twin lens reflex camera, and observing all the action and moving parts. When Amber Iman arrived, she was rehearsing in a hallway, and the sounds of her banjo strumming gave an unusual calm in an otherwise high stress situation. More photographers started arriving, and the rooms got tighter. Lightbulbs and flashes and maneuvering between bodies, everyone angling for the best shot.
Then it was time for rehearsal. Everyone had to stop what they were doing, the models had to head to the runway, and the artists got some coffee and fresh air. I joined the onlookers watching the rehearsal and was fascinated by watching how it all comes together. The music, the announcers, the setting up of relay cameras and, again, getting perfect angles. The models had to embody the essence of spring and had these fabulous enormous baskets of bouquets as props as they headed up and down the runway. They received specific instructions of where to stop and where to look, where to turn and where to begin and exit. Rows of chairs were being set up for all the onlookers, and I noticed outside a line was starting as guests began to arrive.
I headed back downstairs to claim a final spot before everyone else came back down. Even more press started to arrive, and VIP attendees decked out in their best Fashion Week gear started rolling through too. Edward gave some final touches to certain models he spied during the rehearsal walk that needed some extra attention. He also praised the looks that were perfect and flawless and exactly captured his vision, and yes, one of those looks was Le Shag’s, created by Jennifer Donovan and Marissa Whittaker.
And then our part was over. The models headed out to the next step, which was their fittings. We walked out of a disorienting dark yet heavily lit basement into the NYC afternoon. It was a beautiful almost fall day in the city. And what else were we gonna do except go shopping.
11 AM at a Nightclub: Behind the Runway
