THE FASHION EDITOR
UNCOVERED by Molly Apple
Glossy fashion magazines sit actively juxtaposing idle newspapers at the newsstand, waiting for the next fashionista to flip through its carefully curated pages and appreciate the images for their tangibility. Print is certainly not dead, and Djurdja Bartlett’s book Fashion Media: Past and Present, edited by Agnes Rocamora enlightens the reader to the deeper interworking of these shiny publications. Divided into three sections; Magazines – Painting - Photography, Film, and New Media, B ar tlett discusses writings from a variety of authors addressing the fashion magazine through the context of social and technological change in our postmodern society. Bartlett looks at these sources through complex frames of gender, ethnicity, design, taste and authorship. She uses multidisciplinary frameworks of anthropology, art history and psychology to assess past case studies and
how they inform Fashion media today. Upon examination of Alice Beard’s chapter “Fun with Pins and Rope: How Caroline Baker Styled the Seventies” I became intrigued by the particular role of the fashion editor in the specific process of staging and capturing an image for a magazine. The site of a fashion shoot is an involved space between professional players who all have different mindsets and past experience and aesthetics but must collectively convey a single story through several images if it’s a spread, or one image for a cover. I will first explore the hierarchy of these photo from imdb roles in the past and highlight specific editors who’s legacy carries into the construction of contemporary editorials. I will do so by examining the 2012 HBO documentary In Vogue: The Editor’s Eye. Then I will touch on the changing digital editorial landscape of through new platforms of Snapchat and YouTube and argue that these new forms