Amid pandemic and panic, Amazon — at the fore of a rapidly transforming economy — delivers Heidi Klum and Tim Gunn’s MakingTheCut to a global community stuck indoors
, who speaks with the warmth and reassurance of your favorite college professor. “It’s feel-good television. People want to be inspired; they want a distraction. They’re not going to see designers squabbling; they’re going to see designers helping each other. It’s going to be uplifting for people.”
“This was really the foundation — this plan to commit to a couple big, big shows that we could really, truly say are global but would be compelling, that we could then experiment with [in] a week-to-week cadence on the service, which is different for us,” says Salke. “They said no to the plane, but they said yes to the million dollars,” says Klum. “That was amazing, because you need that startup money and you need to have people behind you who believe in you, who support you — and also a place where you can sell.”“We went in to Amazon, and we asked for the world,” says Rea. “And they said yes and yes and yes.”” cast and crew were two weeks away from shooting Season 17.
In lieu of product placement are famous landmarks, as the “Making the Cut” designers roam the streets of Paris for the first half of the season. Some choose to sit and sketch on a grassy hill by the Sacré-Coeur, or soak up sartorial history at the Yves Saint Laurent Museum. After a particularly tough day, the designers decompress at a sidewalk café with glasses of wine. Later, in Tokyo, they wander the Harajuku district for inspiration.
“Like, I’m in Paris — I want to see the Eiffel Tower, I want to see the Louvre, I want to see all these spectacular places,” says Rea. “So we wanted to make that event as big as it could possibly be. If you just watched the fashion show, you’d enjoy that moment because of all of the spectacle that we wanted it to be.”
How audiences in lockdown mode will like it remains to be seen. Will they yearn for escapist, fun fare that distracts from the gloomy headlines and days spent in sweatpants? Amazon is perhaps one of the few companies to flourish amid this massive public health crisis. The travel, restaurant and airline industries have been crushed, but the e-commerce giant is hiring 100,000 more people as its order volumes spike.
For newer Prime subscribers, the platform’s video content is a siren call to become more deeply enmeshed in the Amazon ecosystem. And “Making the Cut” deftly reroutes those customers from the video side back over to its wide retail maw at the end of the program, encouraging them to buy new looks every week.
A valuable opportunity for the “Making the Cut” winner in scaling up his or her business comes in the form of a yearlong mentorship with Amazon Fashion head Christine Beauchamp, another key component of the prize.
As such, simulating an environment that reflects the retail industry was important to the show’s creators. Unlike the competition-in-a-box format that other reality shows rely on, “Making the Cut” has few restrictions. The designers are given two days to complete their assignments and a season-wide budget that can be parceled out however they wish, keeping in mind that the final product will be made for retail.
That’s not to say the pressure doesn’t get to them; the designers know that $1 million is career-changing. But the free-range realism of the show prioritizes their work above all, dampening the interpersonal drama. The theatrics come from the craft itself.
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