In today's New York Times, fashion critic Cathy Horyn dissects the business of inviting (or disinviting) journalists to fashion shows. Horyn launches into the story by describing the multitude of reasons she was recently banned from all future Armani shows by Giorgio himself—among them "unnecessarily sarcastic comments" and "an embedded preconception."
"The subject of banning journalists from fashion shows seems as quaint as the practice itself, neither a commendation to the industry nor a badge of honor to the critic," Horyn writes. "Indeed, fashion is the only creative field that attempts to bar the news media. Drama and film critics are often baited and pressured by producers.... But those critics can always buy a ticket to a play or movie. A fashion writer must be invited to a runway show."Horyn continues that banning a journalist no longer has the impact it did in the '80s and '90s, seeing as anyone can pull up images of the shows hours after it has occurred. "The wonder to me is not why a designer like Mr. Armani bans a journalist," she writes. "Rather it is why he doesn’t use the power of digital technology to take his message directly to the public, effectively knocking out journalists who complain that his clothes are out of touch."
The critic also delves into the "rigid caste system" of runway seating, with the front row reserved for editors in chief, art directors, and top photographers, with stylists, junior editors, and—nowadays—bloggers seated further back.
In one scenario, Hadley Freeman, deputy fashion editor for The Guardian in London (who, sidenote, is banned for life from Jean Paul Gaultier shows), received a letter from Chanel in the days following its show apologizing that her seat did not reflect "the hierarchal order" of the British audience. Freeman replied with a laugh, "Aren't we there to look at the clothes?"
"The subject of banning journalists from fashion shows seems as quaint as the practice itself, neither a commendation to the industry nor a badge of honor to the critic," Horyn writes. "Indeed, fashion is the only creative field that attempts to bar the news media. Drama and film critics are often baited and pressured by producers.... But those critics can always buy a ticket to a play or movie. A fashion writer must be invited to a runway show."Horyn continues that banning a journalist no longer has the impact it did in the '80s and '90s, seeing as anyone can pull up images of the shows hours after it has occurred. "The wonder to me is not why a designer like Mr. Armani bans a journalist," she writes. "Rather it is why he doesn’t use the power of digital technology to take his message directly to the public, effectively knocking out journalists who complain that his clothes are out of touch."
The critic also delves into the "rigid caste system" of runway seating, with the front row reserved for editors in chief, art directors, and top photographers, with stylists, junior editors, and—nowadays—bloggers seated further back.
In one scenario, Hadley Freeman, deputy fashion editor for The Guardian in London (who, sidenote, is banned for life from Jean Paul Gaultier shows), received a letter from Chanel in the days following its show apologizing that her seat did not reflect "the hierarchal order" of the British audience. Freeman replied with a laugh, "Aren't we there to look at the clothes?"
