2009 was the last year before Instagram upended the very way the fashion industry saw, and disseminated, itself
What we talk about when we talk about 2009. Photo-Illustration: by Stevie Remsberg; Photo by Dennis Valle Your own time: You love to see it! Good luck trying. We’re suspended in it, swimming through Jell-O, with all the clarity that suggests. Sometimes you can only see where you are by looking at where you were. Ten years ago, when I was a young fashion writer, things looked different, but not dark-to-light different. “President Trump” existed — as a Simpsons character.
The crowds at Bergdorf Goodman at the inaugural Fashion’s Night Out: après ça, le déluge. Photo: Patrick McMullan/Patrick McMullan via Getty Image There was a renaissance brewing. Fashion’s fantasy, once foisted onto the many by the few, was opening wide. An eager public lapped it up — they wanted, and were finally invited, in.
An even greater tectonic shift was right around the corner: This was the last year before Instagram upended the very way the industry saw, and disseminated, itself. It has become the preeminent platform to see fashion — more than the magazines, more than TV, more than the red carpet. After its advent, Alexander Wang told me in 2014, “The way that we shoot it, the way that we showcase it and the way that we make the clothes and design them changed.
Thumbs up! Photo: Patrick McMullan/Patrick McMullan via Getty Image If they were fashion fan-fiction, films and shows cropped up purporting to show fashion fact. The Devil Wears Prada had been a hit in 2006, and in August 2009, Vogue’s counteroffensive, The September Issue, opened in New York, to show, in the words of its director, R.J. Cutler, “the real Anna Wintour,” not the Oscar-nominated Streep amalgam.
He was fun, he was photogenic, he threw the parties everyone wanted to get into: That season, he had the party of the week, taking over a westside gas station and letting guests run amok, pilfering what they pleased. He understood what his customers wanted, not the Nan Kempners, but his contemporaries. The collections would be great one season, so-so the next, but that almost didn’t matter: The energy was all. That season, it was infectious.
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