Werewolf & Lisichka
Werewolf Werewolf
Have you ever seen a runway show where the models actually transform into something else? I was thinking about how full moons could inspire some shapeshifter‑inspired garments.
Lisichka Lisichka
I’ve never seen a runway where the models actually turn into a full moon—though I’d love to see a show where a model slowly morphs from a sleek crop top into a shimmering silver gown that looks like moonlight draped over her. Imagine a collection that shifts through the phases, from a crisp new‑moon look to a full‑moon glow with iridescent panels and LED accents. It would be the ultimate shapeshifter vibe, and I’d totally love to push that concept even further—maybe a runway that ends with a dramatic, moon‑lit blackout that leaves everyone wondering if the models really transformed or if we were just looking at a brilliant lighting trick.
Werewolf Werewolf
That sounds like a dream—models turning into moonlight on the runway, each phase a different piece, ending in a blackout that feels like the moon has pulled them away. It’s the kind of night that would make everyone wonder if the magic was real or just a trick, and I’d love to hear more about how you’d weave that into the show.
Lisichka Lisichka
I’d start the show in a darkened loft, the only light coming from a giant, hand‑painted moon hanging over the catwalk. The first model would walk in a crisp white ensemble, the fabric catching the light like dew on a new moon. As she steps onto the runway, hidden panels in the dress would pop open, revealing a silver, holographic overlay that shimmers like the first sliver of moonlight. Then the second model would bring the crescent, with a cut‑out in the dress that lets a ripple of LED light pulse across her shoulders—like the moon slowly waxing. The music would shift to a slow, rising synth, building anticipation. Midway, a fog machine would swirl around the models, and the lighting would dim until the only glow is from tiny, programmable LEDs embedded in the gowns, creating a constellation effect that follows each step. The third model would be the full moon: a flowing, iridescent gown that seems to float, its surface catching every hue of the stage lights. The finale would be a blackout, but the stage would be bathed in a subtle, blue-white glow as the last model walks out. Then, with a dramatic cut of the lights, a projected aurora would roll across the ceiling, giving the illusion that the moon has swallowed them whole. I’d keep the choreography tight, the transitions seamless, and the audience on the edge of their seats, wondering if the magic was real or just a brilliantly orchestrated trick.