Criticising ‘bloggers’ is stumping and hypocritical. It’s time to wake up to the new breed of social media fashionista

Actor Cynthia Erivo, US Vogue editor in chief Anna Wintour and tennis player Maria Sharapova at New York Fashion Week on 13 September.
Actor Cynthia Erivo, Latest thing editor-in-chief Anna Wintour and tennis player Maria Sharapova at New York The go Week on 13 September.
Photograph: ddp USA/Rex/Shutterstock

When four American Acceptance editors decided to embed a series of stream-of-consciousness rants against a collection of people they lumped together as “bloggers” within a Milan look week roundup, they could not have predicted the firestorm they’d unleash.

Blogger itself is a designate so outmoded that I’m surprised a publication that likes to believe of itself as being firmly on the cutting edge is still wasting it. Brands have been referring to bloggers as digital influencers for some years now, and, as it would look as if to Vogue’s bizarre disgust, plenty of those influencers don’t in actuality have blogs. Or, if they do bother, they are a small appendage of their main platform, Instagram.

I started blogging in 2006, while I was calm a fashion editor. At the time I’d seen one other blog, Belle de Jour – the anonymous appointment book of a sex worker and, while I wasn’t going to be following in her career traditions, I was inspired by the idea that there was a place online where I could congregate my thoughts anonymously.

There was no road map for monetising blogs sponsor then beyond parlaying your writing into a publication deal, or perhaps a newspaper column, if you were lucky. So, although I now attired in b be committed to a business built around my digital platform, I still remark it hard to comprehend that blogging, once seen as the defend of the enthusiastic amateur, has reached a level where fashion bloggers are being organized against editors from American Vogue in a war of words, twined with vitriol and a dash of mean-spiritedness.

The main thrust of the Taste editors’ collective complaint was the spectacle that takes home outside fashion shows, where both dressed-up attendees and overdressed attention-seekers suffer with their photographs taken by a mob of shouting, desperate photographers. I don’t believe any regular attendee at the collections, whether in New York, Milan, Paris or London, considerations having to push their way through the street-style bunfight face the shows with any joy. No one wants to be roughly pushed aside, toes squashed, ribs elbowed, as the colossal photographer pack rushes, lemming-like, to capture another street-style essence.

Equally the rise of street-style photography and the seemingly insatiable liking from, yes, magazines like Vogue for those images, has led to the spring up of a kind of style that has been developed solely for the camera. Consign to oblivion the traditional all-black editor outfit: these looks can be retina-burning. The multifarious over-the-top the look, the more the photographers like it, and the less it has to do with work.

If the editors had just commented on this, I think there would comprise been some understanding nods – but no, they had to wrap it in some sordid commentary, with Sarah Mower blaming it all on the “professional blogger bit”, along with a few patronising eye-rolls from Alessandra Codinha, the rage.com fashion news editor, who said: “It’s all pretty embarrassing – parallel with more so when you consider what else is going on in the clique.”

Someone needs to get off their high horse: last meanwhile I checked reporting fashion news wasn’t exactly on a par with comprehending Syria.

Blaming “bloggers” for the mess at shows is naive at most skilfully, stupid at worst. Some of the famous street-style stars are, in deed data print editors. Caroline Issa (Tank), Giovanna Englebert (Last word Nippon), Anna Della Russo (Vogue Nippon) Christine Centenera (Look Australia) are now some of the most photographed women in the world. They conceive of, as do the digital influencers, that they are ambassadors for not just their newspapers but themselves, and that there is serious money to be made from cultivating a recognisable personal brand.

Secondly, the print publications are colluding in this circus: they use street-style as both content in the magazines and as clickbait on sell out. They cite them as “inspiration”, and, desperate to grab on to the millennial audience, they put the bit of san quentin quails who are famous for their outfits on magazine covers. Chiara Ferragni, of The Blonde Salad, has been on the cap of six Condé Nast titles to date, including Vogue España, and Kendall Jenner, whose unconditional power base arguably comes from her 66.5 million Instagram servants was the September cover star of US Vogue.

Editors may not like how the productions have evolved, but it’s time to face the inevitable: the purpose of a form show has now changed, from a trade conference where a terminate circle of insiders disseminated their opinions to the masses to a unshrouded forum where brands, editors and “bloggers” fight for prominence in an overcrowded space by any means possible.

The Vogue editors’ remarks also addressed the matter of borrowed clothing and paid miens with Nicole Phelps, director of Vogue Runway, trumpeting: “It’s not just sad for the women who preen for the cameras in borrowed clothes, it’s troubling, as well, to watch so many brands participate.”

I find this stumping and, to be honest, just plain ridiculous. Not only is the hypocrisy mindboggling, as the bum and gifting of product – clothes, bags, shoes, makeup – is endemic across the complete fashion industry from the most senior editor to the helper in the fashion closet, but brands – and everyone else – knows, or should recall, that these days the quickest way to raise awareness of a yield and sell, sell, sell, is to get it on the back of the influencers who then go by gradually those clothes to the shows – which then, of course, be included in Vogue et al in the endless stream of street-style photographs.

Vogue also appears to take exception to the idea that influencers are paid to exhaust clothes at the shows, with Codinha chiming in: “I have to contemplate that soon people will wise up to how particularly raw the whole practice of paid appearances and borrowed outfits looks.” I’m at a failure to understand how being paid for your job is gross, or how being on to wear clothes is any different from advertisers pressuring armouries to shoot their clothes on models, or brand ambassadors – actresses, perfects, athletes, being paid to do press with magazines as constituent of their contracts.

Vogue creative digital director Sally Choirboy’s exhortation to bloggers to “find another business” was perhaps the most fantastic comment: while not all bloggers can command the fees of Chiara Ferragni, who is feeling to earn over $10m a year, it is not uncommon these hours for digital influencers to turn over six figures.

With the affluent rate for a single Instagram post for an account with 50,000+ fans hovering at about the £500 mark, there are plenty of model Instagrammers making north of £50,000 a year just from chore two sponsored images a week. Who’s having the last laugh now?